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Gendered boundaries in music-making

Describe two ways in which you have noticed gendered boundaries in music-making drawing from your own personal experiences. Choose two examples of what you would consider to be representative of “nationalistic” music. Name the music and musician, and the national association.

Sample Solution

Western Europeans would represent one. A symbol would be needed that is more ideographic than pictographic, to suggest a house rather than to represent a cultural style of a house. ‘Interpretation thus presupposes a discrepancy between the clear meaning of the text and the demands of (later) readers. It seeks to resolve that discrepancy.’ (Sontag.S, 1966. pg.3). Chapter 3: Designing for the World. Commonality through Evolution. The 1964 Japan Olympics were the first to implement pictograms for information communication and the visual identity of the event (fig.13). Katsumi Masaru created the icons for each event, designing them as neutral as possible so that every culture and gender felt represented. Within a visual language representation of the audience is integral to communication and understanding; in the case of universality we would need to represent everyone with symbols that represent things or elements that we all share or can understand with our individual associations. fig.13 1964 Japan Olympic Games pictograms (Katsumi.M, 1964) Otl Aicher designed the identity for the 1972 Munich Olympics with a developed approach to using pictograms and ideograms to communicate efficiently and effectively to the world (fig.14). Aicher’s pictograms were isometric and minimalistic, stripping away the things that make us different. They focus not only on representation, but are open to the readers identity and associations. Could there be a commonality between all humans and the way we see? Could this be used to design a pictorial language that would be correctly interpretative to all people? fig.14 1972 Munich Olympic Games pictograms (Aicher.O, 1972) In 1980, both Japan and the Soviet Union proposed a fire exit sign to ISO (the International Organisation for Standardisation). The signs were close to the same design (fig.15), and were developed with limited communication between the designers of each respective nation (Turner.J, 2010). In 1985 the Japanese sign was chosen for international use. This phenomenon suggests that a symbol that represents an escape route for us could be what everyone best associates with and possibly a universal understanding. […] ‘a fundamentally human exit sign, one that speaks to some primal cognitive notion of escape.’ (Yukio.O). Yukio suggests that perhaps there are visual triggers ingrai

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