Music and the Moving Image

This paper introduces a groundbreaking methodology for creating chess openings based on principles developed by O. D. Cowley. Leveraging concepts of decentralization, dynamic equilibrium, and recursive evaluation, the framework outlined in this study offers a systematic approach to strategic innovation in chess. Four new openings are presented: the Cowley Gambit, Cowley Chain, Cowley Cascade, and Cowley Fortress. These openings are designed to optimize control, balance piece activity, and enhance adaptability, providing players with robust and versatile strategies for modern gameplay. By drawing parallels between chess and advanced computational theories, this interdisciplinary approach highlights new avenues for strategic exploration and competitive excellence.

This paper by Oliver Derrick Cowley, introduces a novel approach to chess opening theory by utilizing mathematical optimization principles to develop new strategies aimed at disrupting opponent play. Through the application of concepts such as central control, mobility minimization, and symmetry maximization, we construct openings that limit the opponent's options and create opportunities for early advantage. Unlike classical opening theory, which relies heavily on empirical analysis of historical games, this approach mathematically evaluates position-based metrics to inform move selection. The result is a systematic framework for generating openings that cripple the opponent's mobility and force suboptimal development. The paper provides theoretical foundations, calculation examples, and references for further study.

La recherche actuelle est une contribution aux concepts pub*. Elle observe les transformations des discours publicitaires à travers l'étude des stratégies et médiations d'acteurs principalement marchands. Elle pointe une double métamorphose, communicationnelle et identitaire, discutée à travers le concept de remédiation. Il s'agit de montrer que cette dernière est constitutive des concepts pub* et structure le mouvement qui les caractérise, appelé ici republicitarisation. La republicitarisation est analysée à la lumière de la relation qu'elle entretient avec les médias investis et avec la publicité-même, dans une optique réflexive.

Over the last two years Sport in the USSR magazine published a series of 24 lessons introducing chess fans, in simple language, to openings, the most common middle and end games, and other typical situations at all stages of the game. This series of articles forms a 'chess school', taught by Gary Kasparov. B.T.Batsford Ltd. are proud to reproduce these lessons in book form. Gary Kasparov is World Champion. He was born on April 13, 1963 in Baku. He won the world junior championship in 1980. As a member of the USSR team he shared the gold medals at the 1980 and 1982 World Olympiads and the 1980 and 1983 European championships. Gary Kasparov, as the officially qualified challenger, has played two matches for the world championship with the 1975-85 title holder, Anatoly Karpov; the first was aborted after a record 48 games when Gary though trailing 5-3 had the initiative; the second in 1985one of the great encounters in world championship historyhe won 5-3 with 16 draws. He was awarded an Oscar as the world's best chess player for 1982, 1983 and 1985. Gary Kasparov delves into the tactics and strategy in the openings, middle and end game. He gives examples from games of the world's outstanding grandmasters illustrating endings, planning, combinations, and many other aspects of the game. We hope that the recommendations of the famous grandmaster will expand the outlook of chess enthusiasts and improve their understanding. R. G. Wade London, 1986 5 ... d5 Black radically strengthens his position in the centre. The move ... d5, however, has its disadvantages, as it blocks the diagonal for the b7-bishop. 6 cd Qxd5 After 6 ... ed the b7-bishop would have been obstructed 6 Ideas and Techniques by its own pawn and risked remaining immobilised for some time. Although this feature of Black's position alone cannot predetermine White's success, a consistent accumulation of such minor advantages allows an experienced grandmaster to turn the tide in his favour. 7 Wc2 Another micro-conflict on the chess stage develops around the move e4, which would allow White to occupy the centre. In choosing his move White takes into account the fact that after 7 e4? Qxc3 8 bc Axe4 Black has an extra Pawn. 7 ... c5 Black could have destroyed White's plan by 7 ... f5 but at great cost. He would be left with a weak backward e6-pawn. 8 e4 Qxd 9 bc This is a new gain by White. He has achieved a strong pawn centre and is engaged in combat for domination over the fifth rank, i.e., over 'enemy' territory. Chess players call this a 'space advantage'. 9 ... Be7 10 lb5-t Ac6 11 Ad3 In chess a straight line is not always the shortest distance between two points. By moving the Bishop to d3 in two moves White has gained more advantages than he would have by doing it in one move. Black was prevented from replying with the most natural move against the check, because after, 10 &bS+ Qc6 11 Qe5 Pc8 12 %a4 Wc7 13 Wxa7 Ea8? 14 Axc6+ White wins. Black's bishop is unfortunately placed on c6, getting in the way of its own pieces. In such cases chess players refer to bad piece location and poor coordination of forces. 11 ... Qbd7 The bishop occupying c6 has ldeas und Techniques 7 forced the knight to take a passive position instead of the active one on c6 where it would have attacked the White centre. It could be that Black did not want to give the opponent the advantage of two bishops after 11 ... 0-0 12 Qe5, but this would have been the Iesser of two evils in the present situation, as in the actual game the black king remained in the centre. It would be more reasonable for Black to see to the safety of his king by trying to remove it from the centre as soon as possible. 12 0-0 i 1 As Black has delayed 1 placing his king safely in shelter White aims to open up the centre at any cost (to clear the central files of pawns.) For this reason White removes his king from the scene of action vacating the area for his rooks. 12 ... h6-Like 4 a3 which stopped Black's ... Ab4 this is a preventive move. But 12 ..-0-0 would have been more appropriate. An important game component is the accurate timing of an operation. Grandmaster Fforian Gheorghiu chooses an unfortunate moment for preventive measures. 13 ad1 White centralises his rook, foreseeing the opening of the d-file. 13 ... Wc7 10 Material Balance position was'as follows: 33 g4+ *f4 34 Ed4+ &i3 35 Wb3+ 42 Wfl + &e4 43 WxcQ+&f3 44 #tl+ &e4 45 Wxa6 Now the White queen has received a helpera passed pawn on a2. It was this pawn that finally decided the outcome of the battle, but that is a subject for another lesson. 1 e4 e5 2 f4! ef At present, the most popular reply is the counter gambit 2 ... d5 3 ed e4! and the battle for the centre becomes more subtle. 3 Qr3 Wilhelm Steinitz, the first official world champion (1836-1900) liked to play 3 d4, allowing 3. .. Wh4-k 4 *e2. He believed that having an The Importance of the Cenrre 15 advantage in the centre was more important than having good protection for the king. 3. g5 4 Ac4 g4 5 0-O! gf 6 Wxf3 Wf6 7 d3 Ah6 , 8 Qc3 Qe7 9 hxf4 d6. .

Este trabajo analiza las interacciones entre música, alimentación e imaginario de Andalucía en la publicidad audiovisual, haciendo énfasis en el carácter multifocal de la representación sonora del “sur” como territorio. Empleando el análisis musical intertextual como herramienta para la conexión del hecho sonoro con los discursos y prácticas culturales, se examinan cinco estudios de caso de anuncios comprendidos entre 1997 y 2018 que ilustran, con sus rupturas y continuidades, tres estrategias diferentes de significación de Andalucía a través de productos como el aceite, el jamón serrano o la cerveza: asimilación de estereotipos flamencos; uso de repertorios patrimonializados y fronterizos, como el rock andaluz; subversiones y resignificaciones del estereotipo andaluz, en una suerte de omnivoridad estilístico-musical enmarcada en un distanciamiento de las representaciones centradas en la hibridación flamenca. Este trabajo pretende, en último término, reflexionar sobre la disputa de la “música andaluza” como imaginario dinámico en la publicidad audiovisual sobre alimentación.

The Moody Institute of Science (MIS) was founded in 1945 by the Moody Bible Institute and Irwin A. Moon as an evangelical group that used science demonstrations to preach to the masses. A California pastor who had been using science experiments in his sermons since the early 1930s, Moon believed that the marvels of science provided visible evidence of a divine plan of creation. In the late 1940s, MIS-with Moon as their director-began producing a series of technologically innovative, often riveting, and always religiously motivated science and social studies films. As James Gilbert in Redeeming Culture and Heather Hendershot in Shaking the World for Jesus demonstrate, these films provided a religious interpretation for science, offering their viewers-in the church as well as in the American military, the public school system, and industry-a glimpse of a natural world so complex that it could only be explained, according to the films' narrators, through the existence of a higher power or an intelligent designer. 1 In fact, MIS's first films-like The God of Creation (1946) and God of the Atom (1947)-were conceived of precisely as "Sermons from Science," a concept Moon developed in the late 1930s while conducting live scientific-evangelical demonstrations, the most famous of which included running a million volts of electricity through his body. 2 Although Gilbert and Hendershot both offer compelling and useful histories of MIS and of Moon's career as a technologically savvy Christian filmmaker, much of the MIS film catalog remains unexplored and the nature of MIS's infiltration of the midcentury secular classroom has been especially obfuscated. 3 The Moody Bible Institute still circulates some of Moon's films in video format, largely for use in home-schooling environments, and it is these films that have been the primary focus of previous scholarship, largely, we suspect, due to the difficulty, until recently, of accessing reference copies of the vast majority of MIS's educational films that were marketed to mainstream educators in the 1950s and beyond. 4 Although their specific impact on recent ideological and litigious battles over the teaching of evolution and the introduction of intelligent design into the classroom may be difficult to surmise, evidence certainly attests to the staggeringly wide circulation of MIS films in the postwar era of across-the-board escalation in classroom film usage. 5 Gilbert notes that MIS records for 1947 and 1948 indicate an audience of 2.5 million for its three circulating films. 6 In 1950 Ken Hughes, writing for The Chaplain, comments that "here and abroad, almost a million people during one short year crowded into high schools, universities, and military bases as well as churches to glimpse the [MIS] films," and Hendershot claims that "by 1956, MIS films were used in 389 school systems in 46 states." 7

The Moody Institute of Science (MIS) was founded in 1945 by the Moody Bible Institute and Irwin A. Moon as an evangelical group that used science demonstrations to preach to the masses. A California pastor who had been using science experiments in his sermons since the early 1930s, Moon believed that the marvels of science provided visible evidence of a divine plan of creation. In the late 1940s, MIS-with Moon as their director-began producing a series of technologically innovative, often riveting, and always religiously motivated science and social studies films. As James Gilbert in Redeeming Culture and Heather Hendershot in Shaking the World for Jesus demonstrate, these films provided a religious interpretation for science, offering their viewers-in the church as well as in the American military, the public school system, and industry-a glimpse of a natural world so complex that it could only be explained, according to the films' narrators, through the existence of a higher power or an intelligent designer. 1 In fact, MIS's first films-like The God of Creation (1946) and God of the Atom (1947)-were conceived of precisely as "Sermons from Science," a concept Moon developed in the late 1930s while conducting live scientific-evangelical demonstrations, the most famous of which included running a million volts of electricity through his body. 2 Although Gilbert and Hendershot both offer compelling and useful histories of MIS and of Moon's career as a technologically savvy Christian filmmaker, much of the MIS film catalog remains unexplored and the nature of MIS's infiltration of the midcentury secular classroom has been especially obfuscated. 3 The Moody Bible Institute still circulates some of Moon's films in video format, largely for use in home-schooling environments, and it is these films that have been the primary focus of previous scholarship, largely, we suspect, due to the difficulty, until recently, of accessing reference copies of the vast majority of MIS's educational films that were marketed to mainstream educators in the 1950s and beyond. 4 Although their specific impact on recent ideological and litigious battles over the teaching of evolution and the introduction of intelligent design into the classroom may be difficult to surmise, evidence certainly attests to the staggeringly wide circulation of MIS films in the postwar era of across-the-board escalation in classroom film usage. 5 Gilbert notes that MIS records for 1947 and 1948 indicate an audience of 2.5 million for its three circulating films. 6 In 1950 Ken Hughes, writing for The Chaplain, comments that "here and abroad, almost a million people during one short year crowded into high schools, universities, and military bases as well as churches to glimpse the [MIS] films," and Hendershot claims that "by 1956, MIS films were used in 389 school systems in 46 states." 7

Le probleme essentiel des recherches sur les representations spatiales est le manque de donnees concernant les enfants deficients visuels. Le but de ce projet est premierement de completer les donnees en examinant le developpement des representations et des expression spatiales. Deuxiemement, l'etude vise a analyser des conversations quotidiennes entre les enfants et entre enfant et enseignant en situation d'apprentissage collaboratif. Des propositions de dispositif informatique tangible et interactif seront presentees et discutees afin d'ameliorer l'apprentissage de l'espace et de soutenir la collaboration entre enfant.

Queen (1951). 4 Film reviewers praised Latuko for its authentic, color footage and synchronous sound, claiming it represented "a novel African document" 5 and a "dizzying antidote to most ordinary film fare." 6 AMNH officials were optimistic and hoped profits from Latuko would help offset their annual budget deficit. 7 However, full frontal male nudity in the film led to a commercial ban of the film in several East Coast states (New York, Virginia, Maryland, and Massachusetts) and contributed to a nationwide debate over film censorship during the early 1950s.

Introduction. The scientific relevance of the topic is due to the fact that the concepts of colonialism and neocolonialism are currently becoming part of the official Russian political discourse. The article examines how film representations of the struggle against American neocolonialism in Latin America are used to create the image of the American enemy in the context of the Cold War, which determines the novelty of this work. Methods and materials. The article is based on Soviet features and documentary films about Latin America. Analysis and results. The author comes to the following conclusions: images of neocolonial exploitation of Latin America contributed to the creation of the image of the American enemy, endowing it with such features as immorality, greed, cruelty, and contempt for the population of the Third World. In addition, the images of Latin America and the struggle of its population against neocolonialism were used in the politics of Soviet identity. A demonstration of solidarity with the people of Latin America maintained the image of the USSR as the leader of the liberation struggle against (neo)colonialism. The struggle against pro-American governments in Latin America acquired legitimacy through images of the plight of the countries ruled by powers accomplishing American neocolonialism. Films about the Cuban and Nicaraguan revolutions served to predict victory over neocolonialism in the region in particular and the American enemy in the Cold War in general.

Despite the growing momentum of the field of ludomusicology, concerts of video game music have been underrepresented in academic discussion. The transition of video game music to a classical and orchestral setting opens up ideas for debate that the academic community has yet to consider. Video game concerts are a potential lifeline for struggling classical music venues in their current state of decline, so the examination of these concerts is important to understanding the future of classical music venues. This study examines how video game music is adapted for concert hall presentation, why video game fans may feel compelled to attend such concerts, and how video game concert repertoires are developed. This is achieved by examining topics of interactivity, nostalgia and
canonisation in this context. Specific case studies presented include Video Games Live, The Legend of Zelda: Symphony of the Goddesses and Pokémon: Symphonic Evolutions. In addition, this study will analyse the impact of video game music to the classical music repertoire and present the possibility of a future where video game music is common in live orchestral performance.

1 Les trois spectateurs en question proviennent d'une enquête en cours (A. Pinto [dir.], « Le goût des séries », Labex ICCA/DEPS ministère de la Culture, 2021) et d'une enquête réalisée par C. Thoër et al. (à paraître). Les prénoms ont été changés ou inventés lorsque la personne était anonymisée dans l'article.

The occasion of this special issue on experimental moving images allows us to conduct an experiment of our own. As we have learned, there is a large and diverse community of scholars, makers, archivists, technicians, programmers, and enthusiasts invested in this subject. No matter how we tried to shape the issue, however, we were aware that important perspectives were being left out and that critical questions remained unanswered, sometimes even unasked. For this reason, we reached out to a group of people whose names kept coming up in our countless conversations on the topic and asked for short musings on whatever topically relevant subject they felt like opining about. Our questions were basic: what worries you about the place this material occupies in the archive? How do we move this discussion (and our practices) into the twenty-first century? Our primary hope was to see if points of overlap and divergence, conversation and debate, might occur on their own. The following eight short responses are the result. We find the section especially fascinating and insightful. These are think pieces in every sense, and we thank this group for responding to our somewhat unorthodox call with such useful ruminations.

En tant que défilé permanent de corps engagés dans des performances spectaculaires qui sont aussi d’intensives performances de genre, le secteur du clip constitue une scène privilégiée pour la construction et la négociation des identités culturelles associées aux genres. Centré sur la question des masculinités, cet article prend pour objet le vaste corpus des vidéos de hard rock et de heavy metal multi-diffusés dans la première décennie de MTV. Quelles expériences musico-visuelles ces clips proposaient-ils à leurs audio-visionneur·ses ? Quels rapports entre hommes et femmes mettaient-ils en scène ? En quoi contribuent-ils à éclairer certaines façons de se définir en tant qu’homme dans le contexte social, politique et médiatique des années 1980 ? Derrière la reconduction de certains stéréotypes sexuels (et le détournement de certains autres), que nous communiquent ces objets audiovisuels sur la construction d’un sujet masculin peut-être plus ambigu qu’il n’y paraît ?

The article seeks to explore the central role the fugue plays in Paul Klee’ paintings and writings. The fugue, by its very nature, forms an outstanding expression of the way texture and structure are interrelated in music. On the one hand, the fugue is built by procedural texture that emerges in real time, thus emphasizing the fact that music is a temporal art. On the other hand, the principals of fugal composition introduce structural logic, thus organizing the procedural flow into a whole form. It is this dialectical relationship between texture and structure that explains the special appeal the fugue had for Paul Klee and other Bauhaus artists in their attempts to construct a new, abstract, visual language.

Primorosas ilustraciones atestiguan el esfuerzo invertido en este almanaque serio, pionero, que recorre caminos poco transitados por su originalidad, dedicados a la Ópera y a nuestra entrañable Zarzuela. El resultado es un feliz encuentro con los Maestros para celebrar sus cumpleaños y abrir nuevos horizontes musicales. Cada día despierta la curiosidad Las autoras, Carmen Arias, gran acuarelista, pianista y musicóloga, y Consuelo Patino, titulada en Piano y Pedagogía musical, han hecho una aportación rigurosa para divulgar a lo largo de las cuatro estaciones estas fechas históricas. Ojalá que el cariño y el trabajo que acompaña a cada página, unido al entusiasmo con que se ha concebido este Calendario Artístico, sean ingredientes que faciliten su difusión, para que el granito de arena aportado por las autoras en favor de la Música añada a los días felices del 2014 la belleza de la Ópera y Zarzuela, tan admiradas siempre. Entre las críticas preludio de esta publicación destacan las de los conocidos: José María Carrascal (Periodista): "Un calendario musical que merece vivir más allá del año que representa. Como admirador de la Ópera, cordial enhorabuena" Cristóbal Toral (Pintor): "Una joya" Pedro Peña (Actor): "Un recital de buen gusto para las cuatro estaciones" Esther Patino (Periodista): "Un verdadero capricho para el espíritu" Juan A. Gracia (Periodista): "Un magnífico calendario para medir el paso del tiempo, que ayuda a huir del mundo grisáceo y a refugiarnos en el alegre jardín del Bell Canto y de los sentimientos" PEDIDOS: Tel.

Hasta el momento son escasos los estudio del cine musical español centrados en el contexto mundial en que se desarrolló, comparándolo con el cine norteamericano y europeo del momento, quizá pensando que el aislamiento forzoso del país nos determinaba a una autodefinición de la “españolada” como cantus firmus de los exitosos musicales estrenados en nuestro país durante varias décadas. Los estudios del cine musical español se han centrado en aspectos como la transición histórica del ambiente
cultural de la II República a la larga Dictadura franquista; en la importancia de las canciones populares que dichas películas difundían a través de la radio, las partituras que se difundían en baratas ediciones y los primeros discos singles que se comercializaron; y, sobre todo, en los cantantes protagonistas, analizándolos como modelos identitarios de los cambios políticos y sociales de los años que vivieron, con unos repertorios transformados camaleónicamente según los dictados de la moda y los
gustos personales y comerciales de los directores de esas películas. Proponemos un análisis de los principales números musicales de estas películas españolas más allá de la bata de lunares y el clavel rojo con que muchas veces se resumen estas producciones musicales cinematográficas.
Abstract. Until now there are few studies of Spanish musical film focusing on the world in which developed and compared with European and American cinema of the moment, perhaps thinking that the isolation of the country forced us to a self-determined the "españolada" as cantus firmus of the hit musical premiered in our country for decades. The Spanish musical film studies have focused on issues such as the cultural historical transition of
the Second Republic to the long Franco dictatorship, the importance of popular songs that such films disseminated through radio, scores that were broadcast in cheap editions and the first records singles were sold, and, above all, in the singing actors, analyzing them as identity models of political and social changes of the years that lived with chameleonic transformed repertoires according to the dictates of fashion and business and personal tastes of the directors of these films. Our proposal is an analysis of the
main musical numbers of these Spanish films beyond the polka dots gown and red carnation often summarizes these films.

En este artículo se presentan varios parámetros de análisis de la música en las películas del cineasta Almodóvar: desde el análisis formal de la música como metatexto del discurso fílmico, hasta los aspectos diegéticos e incidentales de su música de cine. Esto nos permitirá hacer una valoración objetiva sobre la creación musical en las películas de este director.
Abstract. In this article there are several parameters for analysing the film music in the movies of the filmmaker Almodóvar: from the formal analysis of the music as metatext, to the diegetic and incidental characteristics of his film music. This will allow us to make an objective valuation on the musical
creation in the movies of this director.

Until now there are few studies of Spanish musical film focusing on the world in which developed and compared with European and American cinema of the moment, perhaps thinking that the isolation of the country forced us to a self-determined the "españolada" as cantus firmus of the hit musical premiered in our country for decades. The Spanish musical film studies have focused on issues such as the cultural historical transition of the Second Republic to the long Franco dictatorship, the importance of popular songs
that such films disseminated through radio, scores that were broadcast in cheap editions and the first records singles were sold, and, above all, in the singing actors, analyzing them as identity models of political and social changes of the years that lived with chameleonic transformed repertoires according to the dictates of fashion and business and personal tastes of the directors of these films. Our proposal is an analysis of the main musical numbers of these Spanish films beyond the polka dots gown and red carnation often summarizes these films.

Tekst był publikowany w: "ArtPapier" 2007, nr 18(90).

Obaj artyści nie są debiutantami na weneckim Biennale, imprezie uznawanej przez jednych za najważniejsze miejsce konfrontacji współczesnych artystów, a przez innych za przykład całkowitej komercjalizacji i urynkowienia sztuki. Bill Viola w roku 1995 reprezentował Stany Zjednoczone na 46 Biennale, prezentując jedną ze swoich pierwszych instalacji wideo "Buried Secrets". Lech Majewski w roku 2001 został zaproszony przez organizatorów weneckiego Biennale, by pokazać zrealizowany w roku 1997 "Pokój saren" filmową "wersję" opery autobiograficznej, pokazywanej wcześniej i później między innymi w Muzeach Sztuki Nowoczesnej w Buenos Aires (2000) i Nowym Jorku (2002) oraz w paryskiej Galerie Nationale du Jeu de Paume (2004). O ile jednak Viola (notabene tylko dwa lata starszy od Majewskiego, bo urodzony w roku 1951) jest dziś powszechnie uznawany za jednego z najważniejszych współczesnych artystów i już nie tylko standardowo wpisywany w kontekst szeroko rozumianej sztuki wideo czy wideoinstalacji, to twórczość Majewskiego, zwłaszcza w kraju rodzinnym, jest traktowana co najmniej z dużą rezerwą.

La presencia del mito literario de Tristán e Isolda en la película de ciencia ficción Melancholia (2011), de Lars von Trier, se deja sentir desde que suenan los acordes de Tristan und Isolde de Wagner. Sin embargo, la relación entre ambas piezas artísticas no se queda ahí, pues la música une a la protagonista con el planeta Melancolía, símbolo de su propia depresión. En efecto, la atracción entre la joven y el astro que está a punto de chocar contra la Tierra se introduce como si se tratase de la historia de los trágicos amantes. Así, la ópera y el filme se unen en un conjunto armónico en el que los fragmentos wagnerianos dotan a la obra de nuevos significados.

The goal of this research is to maximize chord-based composition possibilities given a relatively small amount of information. A transformational approach, based in group theory, was chosen, focusing on chord intervals as the components of a modified Markov process. The Markov process was modified to balance between average harmony, representing familiarity, and entropy, representing novelty. Uniform triadic transformations are suggested as a further extension of the transformational approach, improving the quality of tonality. The composition algorithms are demonstrated given a short chord progression and also given a larger database of albums by the Beatles. Results demonstrate capabilities and limitations of the algorithms.

The focus of this paper is to connect an area of film studies (related to film sound) and recent findings in neuroscience. Since 1929 and Alfred Hitchcock's "Blackmail" subjective film sound has been introduced and after that significantly "tweaked" and redefined. However, it is quite interesting to observe that even though the filmmakers "intuitively" arrived at the sort of "formula" for creating the oneiric sound experience, there is actually neuroscientific evidence that supports this "formula".

Muchos flautistas especializados en música del siglo XVIII conocen las excelentes sonatas que Jakob Friedrich Kleinknecht (1722-1794) dejó para el instrumento. Jakob Friedrich era el mediano de los tres hijos músicos de Johannes Kleinknecht (1676-1751), violinista y organista asistente de la catedral de Ulm. El mayor, Johann Wolfgang (1715-1786), fue violinista y compositor. El menor, Johann Stephan (1731-1796), fue también flautista, y aunque aparentemente no se conserva ninguna de sus composiciones para flauta, tenemos la suerte de contar con un extenso relato autográfico, publicado en Meusel, Miscellaneen artistischen Innhalts, volumen 12, p. 334-348 (1782), y que, que yo sepa, no se ha reimpreso en una edición moderna ni en el original alemán ni en ninguna traducción. Creo que la rareza de este tipo de escritos de cualquier flautista de siglos anteriores merece una traducción

This essay examines uses of mobile cinemas in Cuba utilized after the Cuban Revolution of 1959. Like Russian agit-prop trains that filmed peasants and screened films in the countryside after the 1917 Revolution, Cuban cines moviles also emphasized bringing cinema to the rural provinces. In the Cuban case, cinema was used both in educational and entertainment contexts, in the hope that rural areas might be integrated into the nation-building project led by Castro's socialist government. These cinemas were a sign of ...

Film has influenced the public as an important cultural form since the 20th century, and film music, as an integral part of film, plays an important role in shaping its content. Film music was influenced by late European Romantic music, and the Hollywood film score system was established based on composers of European descent, followed by the fusion of numerous emerging musical styles, such as Jazz, Rock, and EDM, etc. The orchestral music as the main composition of the film score has a sense of aural expectation in the sound expression, which largely comes from the chromaticization of the harmonies. When analyzing Hollywood film music, it is inevitable that chromatic harmony progression cannot be accurately expressed by traditional tonal music analysis. This study analyzes the chromatic harmony progression of chromatic mediant relationship in the film scores of four composers from the perspective of neo-Riemannian theory. And the correlation between the four sets of transformations...

Shot, directed, edited, and produced by filmmaker Richard Parks, Music Man Murray is a short documentary film about an eighty-eight-year-old man, his hundreds of thousands of vinyl records, and his desire for his collection of carefully curated recorded sound to live beyond his years. The film introduces viewers to Murray, the founder and owner of Music Man Murray, a vinyl record store located in Los Angeles, California. While the film focuses on an older man's relationship to his enormous record collection, it also portrays a rich snapshot of midcentury Jewish Los Angeles, a mix of Canters Deli, Hollywood cameos, and Jewish cultural brokers like Murray whose iconic shops served as multicultural meeting points in the diverse LA landscape. The film is also an audiovisual essay that invites reflection about the preservation of the material objects of recorded sound in the face of rapidly changing entertainment technologies. While not made by a music scholar, Music Man Murray connects with ethnomusicology in important ways. It is a powerful testimony to the way that mediated sound objects are made meaningful by the people who make, sell, and buy them. Far from a cold economic analysis of the changing nature of music industries, the film shows us how records accumulate layers of meaning as they are curated into collections and enthusiastically bought and sold by people who cherish not only the records but also the places where records can be found. The film also serves as an evocative point of entry from which to jump into more nuanced conversations about the social actors who populated the local economies of mediated music in Los Angeles over the past century. From another angle, Music Man Murray contributes to conversations about music and aging by emphasizing not only what younger generations gain from the wisdom and life stories of older adults but also what older adults gain from engaging in creative activities that allow them to stay engaged and connected to their communities. In a scene between Murray and a young aspiring opera singer, we see Murray's joy passing on cultural knowledge about a particular album filtered through his own autobiographical anecdotes while they actively listen together. The narrative structure of the film is built around filmed interviews of Murray and his son, Irving, leaving viewers at the end with the kind of knowledge they might gain from having wandered into Murray's shop one afternoon. Each man takes turns speaking uninterrupted, creating an intergenerational backand-forth between father and son as they independently reflect on Murray's relationship to the thousands of records covering every visible surface in his store. While Murray charismatically talks about his life story and his search to find a buyer for his entire collection, Irving speaks of his admiration for his father

The article discusses the strength of stillness both at a narrative level related to Rosana’s appearance and at an aesthetic level related to the soundtrack. The quiet sound design communicates intensity and meaning, as does Rosana, who is largely ignored by the family but is an eminently strong character.

Remediating Sound studies the phenomena of remixing, mashup and recomposition: forms of reuse and sampling that have come to characterise much of YouTube's audiovisual content. Through collaborative composition, collage and cover songs to reaction videos and political activism , users from diverse backgrounds have embraced the democratised space of YouTube to open up new and innovative forms of sonic creativity and push the boundaries of audiovisual possibilities.

Observing the reciprocal flow of influence that runs between various online platforms, 12 chapters position YouTube as a central hub for the exploration of digital sound, music and the moving image. With special focus on aspects of networked creativity that remain overlooked in contemporary scholarship, including library music, memetic media, artificial intelligence, the sonic arts and music fandom, this volume offers interdisciplinary insight into contemporary audiovisual culture.

L’usage des surfaces de regard, de consommation et d’activation des contenus audiovisuels et numériques suscite une très grande réflexivité discursive sur le phénomène de « la société des écrans ». La réflexivité porte avant tout sur les effets cognitifs postulés (perte de l’attention, zapping), le domaine métapsychologique (« narcissisme », « paranoïa », « schize ») et comportemental (addiction notamment). Face à ces métadiscours, nous proposons une hypothèse théorique et méthodologique sous le nom d’« écran-analyse » ou plutôt d’« écranalyse », comme mode principal d’appréhension du développement de ce champ de réflexivité bio-sociale des pratiques. Pour faire ressortir cette forme amplifiée de réflexivité embarquée et de critique du « soi » numérique, nous nous appuierons sur l’analyse de deux objets empiriques diversifiés : le phénomène du « selfie » en général et le clip de la chanson Carmen de Stromae.

At the end of 2018 the singer Rosalía Vila Tobella (Barcelona, 1993) released her second album, entitled El mal querer, acquiring great visibility in the international media, as well as significant awards such as two Latin Grammys. Simultaneously, as a musical phenomenon she has generated strong controversy on the cultural appropriation accusation, yet emerging since the beginning of the same year due to her previous work. In consequence, there has arisen a considerable number of educational videos on the YouTube platform focused on promoting the album content and musical value by dignifying it. However, there has not been an exhaustive musical analysis proposal of its songs, video clips or the marketing campaign itself adopted by Rosalía. In this sense, it is intended in this article to carry out a semiotic and hermeneutic study of the song that also has a video clip in her official YouTube channel: «Di mi nombre (Cap. VIII: Éxtasis)». In addition, iconographic analysis methodologies would be implemented, with a multidisciplinary perspective, and how the characteristics of the urban musical genres hybridized with flamenco interact in Rosalía’s music with each other. Thus, several intertextuality processes would be identified and the symbolic imaginary would be specified as a method to prove the work hypothesis.

Explorations of the artist in the biopic genre are often formulaic in approach. The biographical narrative, modelled on the literary monograph, celebrates a public figure who overcomes challenges to rise to the top of their field. These films traditionally present the artist’s life and work as intrinsically involved with each other so that the artwork can only be explained through contextualising biographical knowledge. Derek Jarman’s Caravaggio (1986), in the vein of his highly personal, experimental filmmaking, is not a biopic in this traditional sense. Taking advantage of what little is known about Michelangelo Merisi da Caravaggio, the Italian painter widely recognised as the first great artist of the Baroque period and a master of chiaroscuro, Jarman constructs a heavily fictional ‘biographical’ narrative. This narrative is built upon historical speculation, personal identification, and most significantly, his subjective interpretation and visualisation of the paintings themsel...