Arts and Humanities Commons^™

Aesthetics In Culture, Dan Rager

Dan Rager

This article examines the role of aesthetics in art, music, non-art objects, and activities in daily life. It shows that recognition is vital to our understanding of art and art-objects and sometimes creates conflicts which ask, what does one do with art? The question becomes more confusing when we think about non-art objects and activities which concern our everyday experiences from eating, clothing, cleaning and dealing with life's natural elements. The author points out that Western cultures have a distinct artworld that is usually limited for special occasions set aside for that purpose. He suggests that aesthetics in culture is …

The Role Of Music In Society Past, Present And Future, Daniel Rager

Dan Rager

The author investigates the role of music in the United States from the nineteenth century forward, and how it transformed into new genres through global ideologies. The paper examines the development, social and functional roles in early American music education and envisions music’s future in an ever changing world. The article encompasses think tank organizations such as the Association of Performing Arts Presenters who have brainstormed on the theme of change and opportunity in America while asking: • Who are the existing audiences for classical music? • Who are untapped or potential audiences? • What do they need to feel …

Classical Music In America, Daniel Rager

Dan Rager

Research on the state of classical and educational music in America shows declines and growth within its various disciplines. This article looks at what is called "the good old days," concert attendance, and statistics of the musical arts from the 1970s to the present. The paper encompasses think tank organizations such as the Association of Performing Arts Presenters, who brainstorm on the theme of change and opportunity in American education as well as society's support of the arts. Presented are global issues, which compound the complexity of the situation, and American educators who survey the ecological change of classical music.

Babelian Cosmopolitanism Or Tuning In To “Sublime Frequencies”, Puspa Damai

Puspa Damai

Jacques Attali, in his critically acclaimed book, Noise: The Political Economy of Music, cites one of Leibniz’s little known but “extraordinary” texts, “Drôle de pensée touchant nouvelle sorte de représentation,” in which the philosopher describes the “Palace of Marvels.” The Palace of Marvels is Leibniz’s idealization of a perfect political organization, which is built in such a way that the master of the house is able to hear and see everything that is being said and done in the premises without himself being perceived by his subjects. Leibniz’s vision of disciplinary society not only predates Bentham’s or Foucault’s subsequent versions …

Uncharted Waters: "Hidden" Jazz Collections At The U.W.O Music Library, Lisa Rae Philpott

Lisa Rae Philpott

Popular music has long been ignored by academic music programs and their associated libraries. If we are now playing 'catch-up' with pop music, then what is the status of jazz music? At Western, surprising collections of jazz music exist, but are hidden. This presentation offers an overview of the Simmons Collection and the CKGW Radio Orchestra collection, and highlights some of the Canadian content contained therein.

Sharing Music Files: Tactics Of A Challenge To The Industry, Brian Martin, Christopher L. Moore, Colin Salter

Colin Salter

The sharing of music files has been the focus of a massive struggle between representatives of major record companies and artists in the music industry, on one side, and peer-to-peer (p2p) file-sharing services and their users, on the other. This struggle can be analysed in terms of tactics used by the two sides, which can be classified into five categories: cover-up versus exposure, devaluation versus validation, interpretation versus alternative interpretation, official channels versus mobilisation, and intimidation versus resistance. It is valuable to understand these tactics because similar ones are likely to be used in ongoing struggles between users of p2p …

Rave Reviews The History Of Akron's Tuesday Musical, Thomas Bacher, Cynthia Harrison, Sharon Cebula

Thomas Bacher

The Tuesday Musical Club was founded in 1887 by thirteen young Akron women who had an overwhelming desire to share their love of music. With further support of Gertrude Penfield Seiberling, the wife of industrialist Frank Seiberling, the organization grew like many other musical organizations across the country. Unlike similar clubs, the Akron-based entity continued to expand and is one of a very few that have survived. Among the artists who have appeared as a part of the rich history of Akron's Tuesday Musical Organization are Vladimir Horowitz, Artur Rubinstein, Yehudi Menuhin, Yascha Heifetz, Glenn Gould, Van Cliburn, Isaac Stern, …

Preserving The Louisville Sound: Outreach And Donor Relations, Elizabeth E. Reilly, Heather Fox

Elizabeth Reilly

Moody Blues: The Social Web, Tagging, And Nontextual Discovery Tools For Music, Susannah Cleveland, Gwen Evans

Susannah Cleveland

A common thread in discussions about the Next Generation Catalog is that it should incorporate features beyond the mere textual, one-way presentation of data. At the same time, traditional textual description of music materials often prohibits effective use of the catalog by specialists and nonspecialists alike. Librarians at Bowling Green State University have developed the HueTunes project to explore already established connections between music, color, and emotion, and incorporate those connections into a nontextual discovery tool that could enhance interdisciplinary as well as specialist use of the catalog.

All Kidding Aside: An April Fool's Faculty Recital, Beth Cram Porter

Beth C. Porter, M.M.

No abstract provided.

Monkee Business: The Musical And Commercial Revolution Of The 1960s, Andrew T. Murphree

Andrew T Murphree

Very few bands in the history of American popular music possess a more captivating story of rapid ascension to commercial acclaim than that of The Monkees, an American rock band that was brought together in 1966 by executives at Screen Gems, a division of Columbia Pictures. Originally conceived for the purpose of a television show that followed the everyday life of four young musicians aspiring to become the next Beatles, their artificial construction as a band represented their primary purpose as a commercial venture as opposed to a traditional artistic endeavor. While The Monkees rose to success as a merchandising …