Notice bibliographique
Résumé
The initial impetus for this special issue came from a conference I co-organised on Music, Politics and the Environment at the University of Technology, Sydney, in April 2013, which coincided with a request from Ross Watkins of Social Alternatives to edit a special issue on Music and Politics. Papers presented at the conference covered topics including music and environmental activism; music and its technological environment; music, acoustic ecology and soundscape studies; the constitution and development of different musical environments; music, landscape, architecture and design; music, memory and place; and music and the political environment. This had in turn been influenced by a conference held by the Canadian branch of the International Association for the Study of Popular Music in Montreal in July 2011, at which I had given a paper on the music of the Australian lyrebird. Although only three papers survive here from the UTS conference, and the rest are from a call for papers sent to the International Association for the Study of Popular Music (IASPM) list, there is an Australian focus in at least two of the papers published here, along with papers focusing on music in Iceland and Canada.Ecomusicology has become a 'buzz' word in popular music studies of late, and in studies of the role of music in environmental activism, along with zoomusicology and soundscape studies. The latter term was of course initiated by Canadian composer and environmentalist R. Murray Schafer as long ago as 1969, in his book The New Soundscape, and despite its appropriation by numerous dubious new age music projects, continues to have considerable traction. Other 'founding fathers' in the field include Francois-Bernard Mâche, a former student of the great French birdsong composer Olivier Messiaen, who coined the term zoomusicology, and the related field of ornitho-musicology, in his book Music, Myth, Nature, first published in French in 1983. Dario Martinelli, the author of the 2009 Of Birds, Whales and Other Musicians - Introduction to Zoomusicology, has done much to advance this field of study. The work of ethnomusicologist Steven Feld, especially his New Guinea-based 1990 Sound and sentiment: birds, weeping, poetics, and song in Kaluli expression, has also been a pioneering voice on music and environmental activism, along with David Rothenberg, the author of Why Birds Sing (2005) and a study of whale song, Thousand Mile Song (2008). The reader will find references to all these authors in the papers that follow.This issue leads off with Carolyn Philpott's study of Australian composer Malcolm Williamson (1931-2003), and his attempts to use his 1982 'transcontinental' Symphony No. 6 as a weapon in the fight to save the Tasmanian Franklin River from being dammed. (Former Australian Greens Party leader Bob Brown also played a key role in this protest movement.) Initially an Australian Broadcasting Commission (as it then was) project involving all six of Australia's capital city orchestras together with a television film featuring Australia's natural environment, the ABC withdrew its involvement after Williamson insisted it express its support for the anti-Franklin dam activists. Philpott examines the historical background of this 'non- event' in the context of Williamson's often controversial musical involvement in social activism. The dam was eventually prevented due to the election of Bob Hawke's Labor government to power in 1983, but Williamson's relations with the ABC were never healed.This is followed by two papers which deal with 'animal music', an often contentious field involving musical interaction between human and non-human agents. In 'Animal Ecologies', Sabine Feisst, an ecomusicologist who has published widely on music and the environment, including an essay about the important US environmentalist composer John Luther Adams, profiles three compositions by New York-based composer Laurie Spiegel involving animals and birds which have become urban 'pests': mice and pigeons. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,003 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,002 | 0,002 |
| Études des sciences et des technologies | 0,007 | 0,008 |
| Communication savante | 0,018 | 0,008 |
| Science ouverte | 0,001 | 0,005 |
| Intégrité de la recherche | 0,004 | 0,004 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,055 | 0,008 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».