Singer

ENT/phoniatrics specialists are frequently the primary reference persons for patients who have problems with the professional use of their voice. Singers show the highest risk factors for voice disorders among all professional voice users. The treatment and care of singers requires specific knowledge and competence of the physician, as well as a treatment setting adapted to the needs of this special group of patients, whose existence depends on the use of their voice. To some extent, evidence based concepts can be taken into account when treating professional singers. In cases for which no concepts have yet been developed and evaluated, recourse to clinical experience is necessary. In the present paper, current concepts for the treatment of singers are discussed on the basis of scientific publications and on long-standing experience of consultations in musician's medicine and ENT, under the aspects of diagnosis, therapy as well as prevention, taking into account the most frequen...

Esta monografia trata acerca de algumas possibilidades na interpretação da canção popular brasileira. O trabalho visa proporcionar uma compreensão mais aprofundada sobre recursos empregados por cantores na execução de uma composição musical, envolvendo uma abordagem analítica sobre a interpretação e a canção brasileira. São apresentadas descrições exemplificadas sobre alguns recursos interpretativos; e uma análise motívica da canção Só Danço Samba (Tom Jobim e Vinícius de Moraes), gravada pela cantora Rosa Passos.

Dans l'œuvre de Pierre Huyghe, la présence animale, sans remettre en question la présence humaine, peut aider à définir ce qui fait «l'humain de l'homme». C'est notamment l'une des ambitions de son  film Untitled  (Human  Mask) (2014)  qui  met  en  scène  un  singe  portant  un  masque  anthropomorphe. L'artiste cherche une fois de plus à créer un écosystème dans lequel évolue l'animal, son intervention ayant pour effet de produire une forme de réincarnation du corps humain, et le réinvestissement de son milieu. Grâce à cet acteur malgré lui, et sur les lieux mêmes de la catastrophe de Fukushima, Huyghe revisite, voire déjoue l'œuvre de l'homme et, partant, ses représentations du monde
Mots clés: Art contemporain, animal, humain, figuration, écosystème.

Abstract: In the work of Pierre Huyghe, the presence of the animal, alongside the human, helps to define what makes “the human of the man.” This is one of the ambitions ofUntitled  (Human  Mask) (2014),  a  movie featuring a monkey wearing an anthropomorphic mask. Theartist seeks once again to create an ecosystem in which the animal evolves, its intervention having the effect of producing a form of reincarnation of the human  body,  and  the  reinvestment  of  its  environment.  Thanks  to  this  unwilling  actor  at  the  scene  of the Fukushima  disaster,  Huyghe  revisits  and  even  foils  the  work  of  the  Man  and,  consequently,  his representations of the world
Keywords:Contemporary art, animal, human, figuration, ecosystem.

Automatic extraction of information from music data is an important and challenging issue in the field of content-based music retrieval. As part of the research effort, this study presents a technique that automatically identifies cover versions of songs specified by users. The technique enables users to search for songs with an identical tune, but performed by different singers, in different languages, genres, and so on. The proposed system takes an excerpt of the song specified by the user as input, and returns a ranked list of songs similar to the input excerpt in terms of the main melody. To handle likely discrepancies, e.g., in tempo, transposition, and accompaniment, between cover versions and the original song, methods are presented to remove the non-vocal portions of the song, extract the sung notes from the accompanied vocals, and compare the similarities between the sung note sequences. Our experiments on a database of 594 cross-lingual popular songs show the feasibility o...

The singer-songwriter has emerged as a significant figure in contemporary Irish culture. Ireland’s monumental history in musical practice has cultivated some of the most internationally respected singer-songwriters of recent decades. While much research has been devoted to the songs of Irish artists at large, little attention has been allocated to demystifying their songwriting praxis. The present work critically examines the relationship between the Irish singer-songwriter and wider mediated discourses surrounding their artistry. Independent of genre it interrogates the compositional practices of performing songwriters by way of phenomenological study. Specifically, the lived experience of Irish singer-songwriters is explored and evaluated through in-depth interviews, and consideration of artefacts including song texts and recordings. Tracing the most important sources of their creativity it is evident that while some practitioners are largely influenced by indigenous Irish folk music many are predisposed to multicultural traditions. Whilst experiences are unique to individual singer-songwriters many share similar complexities in attempting to migrate from conventional praxis. It is evident that limitations frequently provide artistic definition, thereby safeguarding the practitioner’s aesthetic. Accession of an individual voice presents an interesting conundrum for a twenty first century singer-songwriter as the emphasis of a traditional culture is by nature, not individually focused. It is concluded that while a grounded musical tradition may certainly be viewed as a privilege, much of the Irish singer-songwriter’s labour involves conscious effort in re-encoding their work.

This article aims to contribute to an understanding of the evaluation of musical artistry in Africa, through Mali as a case study. The discussion focuses on the informal discourses of the occupational group of Mande artisan-musicians known as jeli (pl. jeliw, jalilu), concerning the ideal of musical greatness, signified by the polysemic term ngaraya; while there is consensus about the ideal, there is much debate about who qualifies. Drawing on extensive interviews and fieldwork with leading jeliw over the past twenty years, it pays special attention to the views of and about Malian women singers, who since the 1980s have – somewhat controversially, as explored here – been the “stars” on the home scene. The article shows how local discourses challenge the widely accepted view that only men are the true masters (ngaraw). Many women jeli singers (jelimusow) have a special claim to ngaraya, and some also seek to position themselves within the canon, as they increasingly move into centre...

This paper, in its second part, adds the lacking theoretical  underpinnings to the literature on exports and growth. It attempts to demonstrate why most of the theoretical analysis of the terms of trade phenomenon has been inadequate from the development point of view. It then pre-sents in its third part, an open Solow type model in which the arguments of Prebisch and Singer, income and price elasticities of export demand, are indeed the reason for lower growth rates in comparison to those of the losed Solow model. Part IV draws  some conclusions with respect to policies and research requirements.

INTRODUCTION Global ethics is a new term that has emerged over the past few decades. In an exceptionally short time it has become established as a recognized area of study: it has a particular approach to ethical dilemmas and some consider it to be becoming a distinct academic discipline rather than a subset of other disciplines. This dramatic growth means that global ethics is an exciting field to be in because those who enter it are committed to discussing, and more importantly to seeking solutions to, the most pressing contemporary ethical issues. Issues addressed in global ethics include the “war on terror”, rogue states, child labour, torture, scarce resources, trafficking, migration, climate change, global trade, medical tourism, global pandemics, humanitarian intervention and so on; the list goes on and on. Global ethics is not only topical – these are issues we are all concerned about – but also important. How we resolve (or fail to resolve) the dilemmas of global ethics will determine the framework of future global governance. This will shape and limit the possible relationships and opportunities of all global actors; moreover, decisions made now will affect future generations. This is true not only for problems of climate change, where our actions now determine the environment our children and grandchildren will inherit, but also for decisions about what it is acceptable and permissible to do to human beings. For instance, if we collectively decide that it is acceptable to torture or to buy body parts then we are making judgements about what human beings are, and these decisions will limit and shape what is possible or permissible for future human beings.

8 UTILITARIANISM AND INTERNATIONAL ETHICS ANTHONY ELLIS Utilitarianism, in its modern form, is the detailed articulation of two basic premises. The first is that the only thing that is intrinsically good, or good in itself, is well-being. Other things may be good, of course, but only ...

Жизнь свою целиком отдала она Песне. Сравненье ее с Пиаф, храбрым воробышком Света — глубокое: как и она, Мирей — птица в полете Любви, воин Музыки на одиноком неторном пути. С тем, средь толп ее славящих — она одна, и семья ей, высокой, есть Вечность.

      Dans l'œuvre de Pierre Huyghe, la présence animale, sans remettre en question la présence humaine, peut aider à définir ce qui fait « l'humain de l'homme ». C'est notamment l'une des ambitions de son film Untitled (Human Mask) (2014) qui met en scène un singe portant un masque anthropomorphe. L'artiste cherche une fois de plus à créer un écosystème dans lequel évolue l'animal, son intervention ayant pour effet de produire une forme de réincarnation du corps humain, et le réinvestissement de son milieu. Grâce à cet acteur malgré lui, et sur les lieux mêmes de la catastrophe de Fukushima, Huyghe revisite, voire déjoue l'œuvre de l'homme et, partant, ses représentations du monde.

For many people, in many places, violent or potentially violent conflict is part of the human experience. Headline stories of civil strife, insurgency, nation-state warfare, terrorism, and the proliferation of weapons of mass destruction document the prevalence of conflict as a basic fact of life. Less dramatic indications of conflict include deadbolt locks, gated residential communities, electronic security systems, and handgun sales, to name a few. At first blush, it might appear that economics has little if anything to say about life's harder side. Economics textbooks typically restrict their attention to the peaceful behavior of consumers, producers, and governments in the marketplace. Thus, it might seem that potential and actual violence over resources, goods, and political power lie outside the domain of economics. But this is a misperception, as is demonstrated by the rapidly developing field of conflict economics. What Is Conflict Economics? Conflict economics has two defining characteristics. First, it maintains that the concepts, principles, and methods of economics can be fruitfully applied to the study of conflict activities. Thus, diverse phenomena like war, arms races, alliances, and terrorism are analyzed and understood as outcomes of purposeful choices responsive to changes in underlying incentives. As just one example, economics explains how consumers shift purchases from one good (say orange juice) toward another (say grape juice) when the price of one rises relative to that of the other.

I wish from my Heart, I could avoid concluding, that since Morality, according to your Opinion as well as mine, is determin'd merely by Sentiment, it regards only human Nature & human Life. . . . If Morality were determin'd by Reason, that is the same to all rational Beings: But ...