VR Reconstruction of La Garma Cave in Spain, featuring the sound of a Shaman's drum played inside @ruperttill

Uploaded April 2023 | Updated September 2026, 39 minutes ago

This is a screen capture of Professor Rupert Till's Soundgate App, that allows you to see and hear what it was like to be in ancient archaeological sites. This one features the Paphos Theatre in Cyprus. It features Dr Stefan Hagel playing a reconstruction of Aulos, as well as modelled acoustics of the theatre.

VR Reconstruction of La Garma Cave in Spain, featuring the sound of a Shamans drum played inside

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$Klesley Bueno Brandão: Extra musical content at the service of style in idiomatic improvisation https://crosstowntraffic2018.wordpress.com This presentation took place as part of the conference Crosstown Traffic: Popular Music Theory and Practice, which was hosted by The University of Huddersfield from September 3 - 5 2018. This event combined the IASPM UK&Ireland Biennial Conference, the 13th Art of Record Production Conference (ARP), an ISMMS conference, and the additional participation of Dancecult. A recurrent theme within popular music studies has been discussion of how the field can integrate different disciplines and professions, for example exploring both music and its context; involving both practitioners and researchers; and encouraging interdisciplinary and collaborative work. Many different issues make such approaches challenging, and various different popular music focused subject organisations have developed somewhat independently of one another. This conference brought four such groups together, to exchange knowledge, collaborate, and encourage crosstalk. /// SUPPORT Popular Music Studies Research Group (PMSRG), University of Huddersfield https://research.hud.ac.uk/pmsrg/# Centre for Music, Culture and Identity (CMCI), University of Huddersfield https://research.hud.ac.uk/institutes-centres/cmci/ The International Association for the Study of Popular Music UK and Ireland Branch (IASPM UK & Ireland) www.iaspm.org.uk Association for the Study of the Art of Record Production (ASARP) www.artofrecordproduction.com/ Dancecult Research Network (DRN) studies into electronic dance music culture www.dancecult-research.net International Society for Metal Music Studies (ISMMS) www.metalstudies.org/ /// ORGANIZERS IASPM UK&I: Rupert Till ARP: Katia Isakoff, Shara Rambarran ISMMS: Karl Spracklen Dancecult: Graham St. John University of Huddersfield: Jan Herbst, Austin Moore, Lisa Colton, Toby Martin, Catherine Haworth, Mark Mynett /// CREDITS This online project was edited, collated, and made available online by Chris McConnell, Jack Zissell, and Colin Frank. /// PRESENTATION DETAILS Extra musical content at the service of style in idiomatic improvisation: approximations with Bakhtin’s enunciative theory Klesley Bueno Brandão – Unicamp (university of Campinas). E-mail: buenobrandaotrp@yahoo.com /// ABSTRACT This article proposes the idiomatic improvisation, the one that aims at the configuration of a pre-established musical genre, as a form of enunciation, from the theoretical perspective of Bakhtin’s philosophy of language. According to this perspective, a utterance is constituted indissolubly of three elements: a content (thematic), style and compositional construction, and the relatively stable forms of these three elements of the a enunciation is configured as discursive genres. So, an idiomatic improvisation, as a form of enunciation, will have the same three elements and is linked to a musical genre. Thus, it is pointed out as crucial the identification of the possible contents present in a certain musical genre, for an appropriate stylistic interpretation. For the identification of these possible contents, bakhtinian dialogism, understood as the link between the utterance, can be a important analytical tool. For Bakhtin, one utterance is understood as a response to the other and also provokes responsive attitudes. Therefore, a enunciation, regardless of the form in which the utterance occurs (written, spoken, musical) has a refracted content that can be ascertained, even, in its own compositional constructions. Therefore, through the knowledge of the historical development of a particular musical genre, it becomes possible to identify dialogisms that point to possible contents refracted in a given musical genre, providing material for the development of idiomatic improvisation, respecting the stylistic of the genre, contributing for the decision-making of the improviser corroborating for development of the style of the own interpreter without compromise the genre.$

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