1,720,964 research outputs found
From the Brooklyn Bridge to Pennsylvania Highway 11: Bernard Herrmann’s score for “the Hitch-Hiker” from radio drama to The Twilight Zone
No full textThe reuse of storylines from radio dramas on early television was not uncommon; indeed, much of the television programming of this period consisted of repurposed radio scripts. The scores for these radio dramas were often reused, as well. Music from radio dramas was recycled into new television contexts, or the radio dramas and their music were adapted into television shows. The literature often does not discuss these radio-to-television adaptations, let alone their music. This article discusses the appropriation of radio music in The Twilight Zone in the context of Lucille Fletcher’s radio drama ‘The Hitch-Hiker,’ her reworking of the drama into a staged play, and Rod Serling’s version for The Twilight Zone (1960). Bernard Herrmann’s score for the radio drama was repurposed for the television version, and its function in both versions, depending on the author/adaptor’s agenda, created a profound change in the story trajectory. The addition of several gendered musical cues in the television version, for example, helped to shape the musical portrayal of an independent career woman of the 1950s
32. Using Generative AI in the Music History Classroom
Get PDFGenerative Al affords students and college teaching both challenges and opportunities, though faculty mainly focus on the challenges, as most discussion centers on assignment modification to prevent plagiarism and concentrate on text-generating Al. However, there is an entire world of Al tools that are not text limited that can be used to create non-text-based outputs and can be used for information recall and transferability of student knowledge; these tools are well-suited to the arts. One discipline in which these tools can be used is music; specifically, music history. Al generation tools not specifically created for music, such as chatbots, can be used in multidisciplinary contexts, including in music classes. There are also generative Al tools that can be used for music generation. In this chapter, I discuss how generative Al can be used in music history classrooms for both information recall and having students learn about Al\u27s potentialities and limitations through close examinations of how they produce music according to proper musical style using the former and generate biographical information using the latter
The Music Professors of YouTubiversity
No full textThis dissertation explores the current use of YouTube in music studies in higher education while suggesting a reconsideration of the academic as both source and resource in the neo-information age. In it, I summarize interviews with ten current YouTube content creators who run music education channels, focusing on their role as teachers in an invisible classroom. I also share findings from a nationwide survey of instructors who teach music studies in higher education. The results illustrate how music professors use YouTube for teaching and learning in a post-pandemic world. I aim to bridge the divide between the ivory tower and cybersphere by highlighting current collaborations between traditional and YouTube academics and suggesting how the two can cooperate to maximize learning effectiveness for Generation Z. Chapter 1 serves as an introduction and provides a brief history of YouTube. Chapter 2 offers a literature review. In Chapter 3, I review the sociology of knowledge, hyperreality, and the idea of the “unacademic,” all of which are philosophical concepts central to my discussion of YouTube content creators and their role as educators in relation to traditional professors in higher education. Chapter 4 describes the survey results, and Chapter 5 summarizes the content creator interviews. In the conclusion, Chapter 6, I offer my thoughts on the future of music studies in the traditional university and YouTubiversity.Music Histor
We Will Control All that You Hear : The Outer Limits and the Aural Imagination
No full texthttps://digitalcommons.montclair.edu/all_books/1034/thumbnail.jp
A Dimension of Sound : Music in the Twilight Zone
No full texthttps://digitalcommons.montclair.edu/all_books/1219/thumbnail.jp
Hearing History: Music in the Freedomland Amusement Park, 1960–1964
No full textIn 1960, the Freedomland, U.S.A. Amusement Park opened in The Bronx, New York. Created by the same designers as Disneyland and unofficially dubbed the “Disneyland of the East Coast,” Freedomland was shaped like the United States and centered on significant historical events over the past 200 years of American history such as the Chicago Fire and the San Francisco Earthquake. It also allowed visitors to experience historical times and events such as early 20th century New York City, Mardi Gras, and the Old Southwest. Because the park’s attractions were based on history, music director Paul LaValle was hired to compose and arrange music that would be played by live costumed bands such as a German “oompa band” in the Little Old New York area and a square dancing band in the Old Southwest area which would be called by famous square dancer Piute Pete. Music by composer Jules Styne and lyricist George Weiss was written specifically for each area and piped through the park’s sound systems. There were even operas written for and performed in the Freedomland Opera House and Saloon. When the park closed in 1964 to clear the land for a housing development that still stands today, most of the documents were destroyed, and the music played by the bands remained unknown. Using archival documents, I have determined the likely music that was played in Freedomland and discuss how it helped visitors immerse themselves in the park’s historical areas, including how it contributed to the park’s goal to accurately present American history
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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