Keindahan dalam Hikayat Sultan Taburat

Hikayat Sultan Taburat written by Muhammad Bakir. Hikayat Sultan Taburat is one of adventure stories which is also included in the type of solace tale. This research used transliteration of Hikayat Sultan Taburat ML 259 version from Rias Anto Suharjo in 2019. Hikayat Sultan Taburat has a dominant aesthetic elements and function in it. Malay aesthetic theory by Bragunsky used to be able to reveal those purpose. The various elements of external aesthetic in Hikayat Sultan Taburat could be identified through the description of the beauty of clothing, the charm of the princess, garden, music, reception, warfare, ship, and the crowds of the country. The function of external aesthetic in Hikayat Sultan Taburat is to entertain the reader.

Musik mit dem Radio hören: Über den Begriff der musikalischen Aufführung

This article focuses on the phenomenon of listening to music via radio transmission. In an examination of linguistic findings and media archaeological observations, the specific performance characteristics of mediatized music are worked out using the example of a radio broadcast of a Beethoven symphony. The music-aesthetic and sociological essay “The Radio Symphony: An Experiment in Theory” (1941), written by Theodor W. Adorno during his stay in New York, is subjected to a re-reading. Although Adorno showed the full scope of his cultural conservatism in this essay, his thoughts nevertheless exemplify a function of technically mediated music reception that seems to be constitutive for the concept of musical performance as a whole.

Voices That Matter: Authenticity, Identity, and Voice in the Musical Career of Lana Del Rey

Discursive authentications of singing voices in pop music reception are often rooted in gendered expectations. Moving away from essentialist understandings of the ‘authentic voice,’ this article proffers that voices are formatively entangled in processes of subjectification. Lana Del Rey is a singer whose (vocal) career has been considered inauthentic in the discourse of journalists, particularly when she first rose to stardom in 2011 via YouTube. Del Rey is a prime example of the contemporary values of artistic personae in pop culture, as her career has been so bound to notions of authenticity and sounding authentic. Through an analysis of the vocal aesthetics of Del Rey and the discourse that surrounds her, the notion of ‘vocal ontogenesis’ is developed. This concept moves from subjectification as an ontologically complete instance to subjectification as a never-ending process. The notion of vocal ontogenesis becomes useful for comprehending the complex aggregations of which the voice is a component, and more broadly implies the need for further study of vocal materialism, setting an agenda for decentered examinations of voice, gender, and authenticity.

Bittersweet Symphony: Nostalgia and Melancholia in Music Reception

Listening to music can cause experiences of nostalgia and melancholia. Although both concepts are theoretically related, to date they have not been analyzed together. In this study, we identify their theoretical underpinnings and determine how they can be measured empirically. We analyze how listening to music causes nostalgia and melancholia, and whether both experiences are related to different behavioral intentions. To this end, we conducted an online experiment with 359 participants who listened to music they considered either nostalgic, melancholic, or neutral. Afterward, participants answered 122 items related to nostalgia and melancholia. Using Structural Equation Modeling, and more specifically Multiple Indicators and Multiple Causes Modeling, we first developed two new scales, the Formative Nostalgia Scale and the Formative Melancholia Scale. Both scales consist of five items each. Results showed that listening to music indeed increased nostalgia and melancholia. Although considerably different, both concepts are related nonetheless: Listening to nostalgic music increases melancholia, whereas listening to melancholic music does not increase nostalgia. In addition, both experiences are related to different behavioral intentions: Whereas experiencing nostalgia was associated with a stronger intention to share the music and listen to it again, experiencing melancholia revealed the exact opposite relation.

Popular music, digital technologies and data analysis: New methods and questions

This article explores how respondents to The Harkive Project ( www.harkive.org ) are enfolding streaming services and automated recommendation systems into their everyday music reception practices. Harkive is an online project running annually on a single day in July that invites people to provide detail and reflection on their experiences with music. Since the project first ran in 2013, it has gathered over 10,000 individual entries. It is conceived as an ongoing experiment in research methodology that attempts to produce an online social space that encourages reflection from respondents about the detail of their music reception practice, while simultaneously acting as a place able to replicate commercial practices around data collection and analysis. This article will demonstrate how such a research process can produce rich descriptive data from respondents who provide a useful snapshot of contemporary music reception practice. The article begins with an overview of how streaming services, data collection from numerous online channels and automated recommendation systems interrelate, and how together they raise questions around how people engage in acts of music reception. It then describes how Harkive is based on similar types of computational/algorithmic processing to those used by key players in the digital music space. The analysis that follows shows that although respondents are engaging in everyday use of streaming services and dynamic recommendations, this engagement tends to be spread across a variety of online channels used in differing combinations, and that it is often recommendations from ‘traditional’ routes, such as media outlets (newspapers, radio stations) and users’ own social groups, that feature prominently in respondent descriptions. Indeed, what Nowak (2016) calls the ‘affective’ element of recommendation appears to be rooted in existing practices that are still in the process of being transposed to the relatively recently emerged digital platforms, rather than – and sometimes in spite of – the rhetorical framing of those platforms as key sites for recommendation and discovery by the companies who operate them. Through a discussion of those findings, and based on an update of Michael Bull’s concept of ‘auditory nostalgia’ (2009), it is then suggested that examining how listeners are enfolding the new technologies of music reception into their everyday routines and routes to meaning-making may be a useful direction for future research. The article then suggests that a mode of working where scholars attempt to reflexively harness data-derived processes may be useful in producing that work, and that experimental and practice-led approaches could enable popular music scholars and listeners alike to develop better epistemic responses to the data-related technologies that have recently helped bring about such huge changes in our everyday music reception practice.

Między dźwiękiem, słowem i obrazem: o przestrzenności w muzyce

The aim of this paper is to analyse the role of space in the imagination of music listeners. It includes general observations on the place and the importance of the problem of space in musical studies and it explores the peculiarity of some aspects of the music reception. Furthermore, it focuses on the relationship between literature and 19th century programme music in order to point different techniques used by composers to produce spatial associations in listeners’ imagination.

Electoral Music Reception

Audiences in Africa are a grossly under-researched demographic. This paper centres on the comparative analysis of two electoral audience-based surveys conducted between April and September 2012 in the Nigerian states of Bayelsa and Lagos; following the April 2011 presidential election in Nigeria that ushered the erstwhile President Goodluck Jonathan into power. The surveys sought to know the electorates’ reaction to the electoral campaign songs that endorsed Jonathan and how these songs informed their choice of candidate. The paper’s analysis combines an appreciation of the surveys’ results and the surveys’ procedure while focusing on the middle-ground between aesthetics and politics in the context.

Concluding Remarks

The conclusion provides a summary of the central arguments of the book concerning time in the blues and, specifically, the temporal fields explored in the analysis. A defense of the archive covered in the analyses—the inclusive and capacious understanding of the blues as a genre—asserts the interconnection between the historical context of origin and aesthetic production. The book concludes with a consideration of how sympathy enters into music reception, raising the possibility of an ethical dimension to listening to the blues.