The Mass Media and Musical Culture

Josipović, Ivo

doi:10.2307/836508

Cited by 2 publications

(1 citation statement)

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“…For instance, one study traced the deep origins of a single village by the particular variety of the language spoken there; 52 another marveled that Žumberak was 'a true linguistic treasure trove,' where every dialect and variant of the language once known as Serbo-Croatian was spoken and indicated some connection to migrations centuries past. 53 Planners marveled at the isolated and inward nature of a place only a halfhour's drive from Zagreb. 'The majority of Žumberčani marry amongst themselves,' an anthropologist concluded.…”

Section: Dual Marginalization and The žUmberak Ghettomentioning

confidence: 99%

Žumberak: A Sixteenth-Century Refugee Settlement Zone

Miller

2017

Immigrants & Minorities

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This article examines the movement of Orthodox Christian refugees from Bosnia to the Habsburg Monarchy in the 1530s and their settlement in a district called Žumberak. The movement of these Uskoks has never been examined in the context of refugee studies. This study of a refugee movement and settlement over a five century period offers the possibility of reaching a better understanding of the long-term outcome of refugee movements. Ultimately, this article suggests that the refugees affected the land they settled as much as the settlement zone affected them, that, in this case, the refugees were able to define their own outcome.

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Section: Dual Marginalization and The žUmberak Ghettomentioning

confidence: 99%

Žumberak: A Sixteenth-Century Refugee Settlement Zone

Miller

2017

Immigrants & Minorities

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Technology and Music Performance in the Age of Mechanical Reproduction

Frederickson¹

1989

International Review of the Aesthetics and Sociology of Music

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. Croatian Musicological Society is collaborating with JSTOR to digitize, preserve and extend access to International Review of the Aesthetics and Sociology of Music. sound engineer. The social technology involves the method of hiring, the patterns of cooperation to produce the show, and the artistic conventions of the musical show artworld.Social technology prepared the way and was the stimulus for machine technology in musical artworlds. When social technology moved the orchestra to the pit, it would be only a matter of time before the orchestra could be moved to the sound studio for musical shows. If the social technology established that the orchestra need not be visible, it was only a matter of time before machine technology would replace the orchestra. If the audience can't see the orchestra, its live presence is not necessary since it has become merely a soundsource to be submitted to rational principles of organization. For instance, in the artworld of musical shows an entire orchestra can be replaced by four synthesizers. Four musicians playing synthesizers, one each for brass sounds, woodwind sounds, string sounds, and drums, create the illusion of an entire orchestra in the pit. Or when an orchestra is used in a musical show, the orchestra may be recorded in a studio, its sounds subjected to manipulations by an engineer, then broadcast into the hall. Or an orchestra may be completely replaced by machine technology as in ballet performances given with the accompaniment of tape recordings.The social technology which creates invisible human components appears to be an important precondition for the development of machine technology. This is as true for conductors as for orchestras. When the social technology created an invisible conductor, he could be replaced too. In 1822 BERLIOZ (1904) described the advantages of an electric metronome, a precursor for the modern day click track. He noticed that a back stage orchestra often was poorly synchronized with the stage orchestra. Since the back stage conductor was invisible to the audience, he could be replaced by a machine. The conductor by pressing a key would send an electrical impulse to an electrical metronome backstage. >,The performers being grouped behind the scenes, their eyes fixed upon the stick of the electric metronome, are thus directly subject to the conductor, who could, were it needful, conduct, from the middle of the Opera orchestra in Paris, a piece of music performed at Versailles.* Since the backstage conductor was simply the extension of the other conductor's baton, he could be replaced by a metronome.One might note, however, that the social technology of the conductor and the pit has not led to similar mach...

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The Mass Media and Musical Culture

Cited by 2 publications

References 0 publications

Žumberak: A Sixteenth-Century Refugee Settlement Zone

Žumberak: A Sixteenth-Century Refugee Settlement Zone

Technology and Music Performance in the Age of Mechanical Reproduction

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