Zeitschriftenartikel: „Brigada S (Musical group)“

1

Towse, Esme. „Group Analysis and Improvisation: A Musical Perspective“. British Journal of Music Therapy 11, Nr. 2 (Dezember 1997): 51–55. http://dx.doi.org/10.1177/135945759701100204.

Der volle Inhalt der Quelle

Annotation:

The writings of S. H. Foulkes, founder of group analysis, abound with musical imagery. This paper describes how musical experience has contributed to the author's understanding of aspects of group analytic theory and practice, and is an attempt to put some of that understanding back into the development of a model of group music therapy.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

2

Padulo, Johnny, Alin Larion, Olfa Turki, Ionel Melenco, Cristian Popa, Stefano Palermi, Gian Mario Migliaccio, Stefania Mannarini und Alessandro Alberto Rossi. „Ecological and Construct Validity of a New Technical Level Cuban Dance Field Test“. International Journal of Environmental Research and Public Health 18, Nr. 24 (16.12.2021): 13287. http://dx.doi.org/10.3390/ijerph182413287.

Der volle Inhalt der Quelle

Annotation:

The study aimed to explore the sensitivity and specificity of a new methodological approach related to the musical rhythm for discriminating a competitive Cuban dancer’s (CDCs) level. Thirty CDCs (Age 23.87 ± 1.76 years, body mass 60.33 ± 9.45 kg, stature 1.68 ± 0.07 m) were divided into three groups: beginner (BEG, n = 10), intermediate (INT, n = 10), and advanced (ADV, n = 10) according to their training experience/level. Each dancer was assessed while dancing at three different musical rhythms: fast (118 BPM), medium (96 BPM), and slow (82 BPM). The assessed variables were average heart rate (HRM), peak (HRP), and dancing time (DCT). The ADV group succeeded at all three musical combinations (317, 302, 309 s for 82, 96, 118 BPM). The INT group correctly performed only the first two combinations (304, 304 s for 82, 96 BPM), while a significant time difference was shown at the fast musical rhythm (198 ± 6.64 s) compared to the medium (p < 0.001) and slow rhythms (p < 0.001) respectively. As the speed of the musical rhythms increased, the BEG group was not able to follow the rhythm: their results were 300 ± 1.25 s for the slow musical rhythm, 94.90 ± 12.80 s for the medium musical rhythm and 34.10 ± 5.17 s for the fast musical rhythm (p < 0.001). The HRM and HRP grew along with the increase in musical rhythm for all groups (p < 0.001). The ROC analysis showed a high sensitivity and specificity in discriminating the groups for each rhythm’s condition. The BEG and INT groups showed an AUC = 0.864 (95% CI = 0.864–0.954); INT and ADV showed an AUC = 0.864 (95% CI = 0.864–0.952); BEG and ADV showed an AUC = 0.998 (95% CI = 0.993–1.000). The results of this study provided evidence to support the construct and ecological validity of the time of the musical rhythms related to competitive CDCs. Furthermore, the differences in the performances according to various musical rhythms, fast (118 BPM), medium (96 BPM), and slow (82 BPM), succeeded in discriminating a dancer’s level. Coaches and strength and conditioning professionals should include the Cuban Dance Field Test (CDFT) in their test battery when dealing with talent detection, selection, and development.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

3

Prachumwan, Komphorn, und Chalermpol Ataso. „Influence of Long-Term Communist Confrontation on Inducing Changes in Society and Musical Culture of Hmong Ethnic Group in Thailand“. Asian Culture and History 12, Nr. 1 (18.12.2019): 1. http://dx.doi.org/10.5539/ach.v12n1p1.

Der volle Inhalt der Quelle

Annotation:

The ethnic group ‘Hmong’, the descendants of Chinese ‘Miao’ group who migrated south to reside in Northern Thailand, is known to possess their own unique arts, culture, tradition, and music. However, the influence of social change seemed to largely affect the musical culture of Hmong ethnic, Khao Kho District, Phetchabun Province, in a multifactorial manner. Through different phases of a series of communist wars, the original musical cultures were subjected to the cumulative changes of social contexts, evolving toward modernization, at a great extent. In addition, not only the social changes have had a large impact on the Hmong ethnic’s musical cultures, but also on their ritual performances that require music as its core. This study aimed to elucidate the effect of social changes on musical culture by identifying the key contributing factors that determined Hmong’s musical performances and appreciation based on their historical features.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

4

Paşca, Eugenia Maria. „Number 13 / Part I. Music. 9. A Research of The Musical Education at George Breazul and Dmitri Borisovich Kabalevski“. Review of Artistic Education 13, Nr. 1 (01.03.2017): 79–85. http://dx.doi.org/10.1515/rae-2017-0009.

Der volle Inhalt der Quelle

Annotation:

Abstract The musical language structure consists of living elements (because inside them the human`s musical language is synthesized), rich elements (because through them, people expressed their ideas and feelings), various elements ( as all cultures have formed and developed throughout history, their own and inexhaustible structures, transmitted through the ages, taken over, selected, enriched, extended). George Breazul was the first Romanian musician, who tried to conceptualize the embodiment of musical education through song, music play, and listening, starting from the specific acoustic universe, namely, children‟s folklore. Dmitri Kabalevski propsed the accomplishment of the musical education, based on the interpretation and listening of songs, belonging to a group of genders, which could represent musical styles and forms organized on themes. Originality and viability of the two visions, can be further noticed, because the logical organization of the acoustic material creates the circumstances for the listener‟s emotional auditory perception of the artistic message. The mutual interrelation and conditioning of elements which form the musical language generated the emphasizing and prominence of each one, within the musical speech, which is reflected in the educational process.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

5

Gfeller, Kate, Shelley Witt, Mary Adamek, Maureen Mehr, Jenny Rogers, Julie Stordahl und Shelly Ringgenberg. „Effects of Training on Timbre Recognition and Appraisal by Postlingually Deafened Cochlear Implant Recipients“. Journal of the American Academy of Audiology 13, Nr. 03 (März 2002): 132–45. http://dx.doi.org/10.1055/s-0040-1715955.

Der volle Inhalt der Quelle

Annotation:

The purpose of this study was to compare the effect of structured training on recognition and appraisal of the timbre (tone quality) of musical instruments by postlingually deafened cochlear implant recipients. Twenty-four implant users (Nucleus C124M) were randomly assigned to a control or a training group. The control group experienced only incidental exposure to music in their usual daily routine. The training group participated in 12 weeks of training delivered via a laptop computer in which they were introduced to excerpts of musical instruments representing three frequency ranges and four instrumental families. Those implant recipients assigned to the training group showed significant improvement in timbre recognition (p < .0001) and timbre appraisal (p < .02) compared to the control group. Correlations between timbre measures and speech perception measures are discussed.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

6

Lima, Daiane, Simone Regaçone, Anna Oliveira, Yara Alcântara, Eduardo Chagas und Ana Frizzo. „Analysis of the Effect of Musical Stimulation on Cortical Auditory Evoked Potentials“. International Archives of Otorhinolaryngology 23, Nr. 01 (25.07.2018): 031–35. http://dx.doi.org/10.1055/s-0038-1651507.

Der volle Inhalt der Quelle

Annotation:

Introduction Cortical auditory evoked potentials (CAEPs) are bioelectric responses that occur from acoustic stimulations, and they assess the functionality of the central auditory system. Objective The objective of the present study was to analyze the effect of musical stimulation on CAEPs. Methods The sample consisted of 42 healthy female subjects, aged between 18 and 24 years, divided into two groups – G1: without musical stimulation prior to the CAEP examination; and G2: with stimulation prior to the examination. In both groups, as a pre-collection procedure, the complete basic audiological evaluation was performed. For the musical stimulation performed in G2, we used an MP4 player programmed to play Pachelbel's “Canon in D Major” for five minutes prior to the CAEP examination. To analyze the effect on the groups, the ear side and the ide–group interaction , a mixed analysis of variance (ANOVA) of repeated measures was performed. Box M test and Mauchly sphericity test were also performed. Results Test differences were considered statistically significant when the p-value was < 0.05 (5%). Thus, it was possible to observe that there was a statistically significant difference of the P2 component characterized by the decrease in the amplitude of response in the left ear in G2 when comparing the responses of CAEP with and without prior musical stimulation. Conclusion The result of the present study enabled us to conclude that there was a change in the response of CAEPs with musical stimulation.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

7

Athanasopoulos, George, und Nikki Moran. „Cross-Cultural Representations of Musical Shape“. Empirical Musicology Review 8, Nr. 3-4 (24.10.2013): 185. http://dx.doi.org/10.18061/emr.v8i3-4.3940.

Der volle Inhalt der Quelle

Annotation:

In cross-cultural research involving performers from distinct cultural backgrounds (U.K., Japan, Papua New Guinea), we examined 75 musicians’ associations between musical sound and shape, and saw pronounced differences between groups. Participants heard short stimuli varying in pitch contour and were asked to represent these visually on paper, with the instruction that if another community member saw the marks they should be able to connect them with the sounds. Participants from the U.K. group produced consistent symbolic representations, which involved depicting the passage of time from left-to-right. Japanese participants unfamiliar with English language and western standard notation provided responses comparable to the U.K. group’s. The majority opted to use a horizontal timeline, whilst a minority of traditional Japanese musicians produced unique responses with time represented vertically. The last group, a non-literate Papua New Guinean tribe known as BenaBena, produced a majority of iconic responses which did not follow the time versus pitch contour model, but highlighted musical qualities other than the parameters intentionally varied in the investigation, focusing on hue and loudness. The participants’ responses point to profoundly different ‘norms’ of musical shape association, which may be linked to literacy and to the functional role of music in a community. 

APA, Harvard, Vancouver, ISO und andere Zitierweisen

8

Dutchak, Violetta. „The Ukrainian Bandura as a Musical Instrument of the Chordophone Group“. Journal of Vasyl Stefanyk Precarpathian National University 4, Nr. 2 (30.10.2017): 125–33. http://dx.doi.org/10.15330/jpnu.4.2.125-133.

Der volle Inhalt der Quelle

Annotation:

The article examines the characteristics of the bandura as a plucked chordophone. A comparative analysis of the researches undertaken by outstanding musicologists, performers, ethno-organologists S. Lyudkevych, E. Hornbostel, C. Sachs, H. Khotkevych, Z. Shtokalko, and others is carried out. The morphology of the instrument and the main stages in its evolution are discussed. The stable and mobile elements of the bandura’s structure and tuning are described. The technical characteristics of the instrument in different periods of its evolution and the achievements of the bandura makers and bandurists of Ukraine and the Ukrainian diaspora are analyzed. The common and distinguishing features of the bandura and some kindred instruments are pointed out

APA, Harvard, Vancouver, ISO und andere Zitierweisen

9

Tejada, Jesus, und Delia Serra. „The Effects of Static and Dynamic Visual Representations as Aids for Primary School Children in Tasks of Auditory Discrimination of Sound Patterns. An Intervention-based Study.“ International Journal of Emerging Technologies in Learning (iJET) 13, Nr. 02 (27.02.2018): 60. http://dx.doi.org/10.3991/ijet.v13i02.7430.

Der volle Inhalt der Quelle

Annotation:

It has been proposed that non-conventional presentations of visual information could be very useful as a scaffolding strategy in the learning of Western music notation. As a result, this study has attempted to determine if there is any effect of static and dynamic presentation modes of visual information in the recognition of sound patterns. An intervention-based quasi-experimental design was adopted with two groups of fifth-grade students in a Spanish city. Students did tasks involving discrimination, auditory recognition and symbolic association of the sound patterns with non-musical representations, either static images (S group), or dynamic images (D group). The results showed neither statistically significant differences in the scores of D and S, nor influence of the covariates on the dependent variable, although statistically significant intra-group differences were found for both groups. This suggests that both types of graphic formats could be effective as digital learning mediators in the learning of Western musical notation.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

10

Schiavio, Andrea, Jan Stupacher, Richard Parncutt und Renee Timmers. „Learning Music From Each Other: Synchronization, Turn-taking, or Imitation?“ Music Perception 37, Nr. 5 (Juni 2020): 403–22. http://dx.doi.org/10.1525/mp.2020.37.5.403.

Der volle Inhalt der Quelle

Annotation:

In an experimental study, we investigated how well novices can learn from each other in situations of technology-aided musical skill acquisition, comparing joint and solo learning, and learning through imitation, synchronization, and turn-taking. Fifty-four participants became familiar, either solo or in pairs, with three short musical melodies and then individually performed each from memory. Each melody was learned in a different way: participants from the solo group were asked via an instructional video to: 1) play in synchrony with the video, 2) take turns with the video, or 3) imitate the video. Participants from the duo group engaged in the same learning trials, but with a partner. Novices in both groups performed more accurately in pitch and time when learning in synchrony and turn-taking than in imitation. No differences were found between solo and joint learning. These results suggest that musical learning benefits from a shared, in-the-moment, musical experience, where responsibilities and cognitive resources are distributed between biological (i.e., peers) and hybrid (i.e., participant(s) and computer) assemblies.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

11

Danielsen, Anne, Kristian Nymoen, Martin Torvik Langerød, Eirik Jacobsen, Mats Johansson und Justin London. „Sounds familiar(?): Expertise with specific musical genres modulates timing perception and micro-level synchronization to auditory stimuli“. Attention, Perception, & Psychophysics 84, Nr. 2 (03.12.2021): 599–615. http://dx.doi.org/10.3758/s13414-021-02393-z.

Der volle Inhalt der Quelle

Annotation:

AbstractMusical expertise improves the precision of timing perception and performance – but is this expertise generic, or is it tied to the specific style(s) and genre(s) of one’s musical training? We asked expert musicians from three musical genres (folk, jazz, and EDM/hip-hop) to align click tracks and tap in synchrony with genre-specific and genre-neutral sound stimuli to determine the perceptual center (“P-center”) and variability (“beat bin”) for each group of experts. We had three stimulus categories – Organic, Electronic, and Neutral sounds – each of which had a 2 × 2 design of the acoustic factors Attack (fast/slow) and Duration (short/long). We found significant effects of Genre expertise, and a significant interaction for both P-center and P-center variability: folk and jazz musicians synchronize to sounds typical of folk and jazz in a different manner than the EDM/hip-hop producers. The results show that expertise in a specific musical genre affects our low-level perceptions of sounds as well as their affordance(s) for joint action/synchronization. The study provides new insights into the effects of active long-term musical enculturation and skill acquisition on basic sensorimotor synchronization and timing perception, shedding light on the important question of how nature and nurture intersect in the development of our perceptual systems.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

12

Griscom, Richard, Joshua Henry, Deborah Lee, Richard P. Smiraglia, Rick Szostak und J. Bradford Young. „Classifying Musical Medium of Performance: Object or Property?“ Notes 80, Nr. 3 (März 2024): 455–72. http://dx.doi.org/10.1353/not.2024.a919032.

Der volle Inhalt der Quelle

Annotation:

ABSTRACT: How best to classify musical medium of performance? We welcome the advice and expertise of the community of Notes readers to inform our deliberations. Specifically, when referring to the sources of musical sound, should we be describing the objects (e.g., aerophone), the properties (e.g., piccolo), or some combination of the two? The Institute for Knowledge Organization and Structure convened a research group to discuss “the phenomena of music for classification.” What does it mean to classify the phenomena of music rather than musical documents or documents containing texts about music? How might we represent music apart from its documentary representations (scores, recordings, etc.)? We considered the Library of Congress Medium of Performance Thesaurus (LCMPT) and Hornbostel-Sachs (H-S) classification. The universal Basic Concepts Classification (BCC) is interdisciplinary and is organized around phenomena (things), relators (the relationships that exist among phenomena), and the properties that phenomena and relators may possess. We sought a comprehensive classification of medium of performance for the BCC. H-S focuses on the physical nature of instruments and how they make sound, the LCMPT effectively identifies specific instruments by name. H-S does not provide the level of granularity that we need but LCMPT’s larger set of terms are organized with only a few layers of hierarchy. H-S avoids local nomenclature, LCMPT embraces it. The two are attractive because they provide well-developed vocabulary and because their differences manifest as different strengths for a Semantic Web application. Ultimately our analysis reaches no specific conclusion. Instead, we have reflected thoroughly on the panoply of phenomena associated with the representation of medium of performance as phenomena of music in nondocumentary contexts.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

13

González Gómez, Isabel, und Manuel Delgado-García. „The consumption and reggaeton´s language under debate among adolescents“. Linguo Didáctica 1 (02.12.2022): 36–55. http://dx.doi.org/10.33776/linguodidactica.v1.7476.

Der volle Inhalt der Quelle

Annotation:

Music is not just a simple pastime, as it also contributes to the construction of identities, promotes cultural development or generates close affective ties between those who share the same musical preferences. In recent years, reggaeton has become very popular, a musical genre admired by youth and characterized by containing, in its lyrics, discriminatory messages towards women. In this sense, it is vitally important to question the impact exerted on adolescents, where it has penetrated with greater impetus, analyzing the possible consequences that it may have when building or reinforcing macho thoughts. A qualitative research is proposed that tries to examine the perceptions of adolescents. Through two focus groups, the opinions of young people enrolled in the educational stages of 2nd ESO and 3rd ESO from two secondary education institutes in the province of Huelva are debated and confronted. During the focus group sessions, the participants question the relationship between different variables that emerge from the properties of the language used in some reggaeton lyrics, such as machismo or gender violence. The analysis of the speeches derived from the work sessions has been developed through the Maxqda software. The results reveal a type of music that is expanding as a trend among adolescents, whose messages are not clearly discriminated or prosecuted and which tend to normalize certain discriminatory behaviors towards women and reinforce macho thinking among the male gender. For all these reasons, the educational system must promote the creation of a musical culture that invites adolescents to be aware of and critically judge the music they listen to daily.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

14

Collins, Dennis, und W. Andrew Schloss. „An Unusual Effect in the Canon Per Tonos from J. S. Bach's Musical Offering“. Music Perception 19, Nr. 2 (2001): 141–53. http://dx.doi.org/10.1525/mp.2001.19.2.141.

Der volle Inhalt der Quelle

Annotation:

We propose that the phrase repetitions in the canon per tonos from J. S. Bach's Musical Offering are not recognized by listeners as being successively upward. We examine possible causes for this effect and suggest that it may be due to Bach's use of chromatic harmony. To test this hypothesis, we conducted an experiment in which one group of listeners was presented with Bach's canon, while another group was presented with a modified version of the canon in which the harmonies were altered in order to make the upward phrase repetitions more apparent. We found that subjects recognized the ascending pattern in the modified canon with greater ease than they recognized the ascending pattern in Bach's canon. We also consider briefly why Bach may have wished to cause such an effect.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

15

Galella, Donatella, Masi Asare, Jordan Ealey, SAJ, Hye Won Kim, Matthew D. Morrison, Fred Moten, Karen Shimakawa und Celine Parreñas Shimizu. „MT/D, or change: An anti-racist musical theatre reading group“. Studies in Musical Theatre 16, Nr. 1 (01.04.2022): 53–76. http://dx.doi.org/10.1386/smt_00085_1.

Der volle Inhalt der Quelle

Annotation:

In this roundtable held at the Association for Theatre in Higher Education conference in 2021, the participants discussed the racialized politics of citation in musical theatre studies. Some of the speakers lifted up anti-racist scholarly pieces that have significantly shaped their work: SAJ considered Douglas Jones Jr’s chapter ‘Slavery, performance, and the design of African American theatre’, Jordan Ealey shared lessons from Matthew D. Morrison’s article ‘The sound(s) of subjection: Constructing American popular music and racial identity through Blacksound’, Masi Asare expanded upon Fred Moten’s essay ‘Taste, dissonance, flavor, escape’ to think through sweeping away and stealing away, Donatella Galella applied Karen Shimakawa’s book National Abjection: The Asian American Body Onstage to contemporary yellowface, and Hye Won Kim talked about the influence of Celine Parreñas Shimizu’s book The Hypersexuality of Race: Performing Asian/American Women on Screen and Scene on her own work. Morrison, Moten, Shimakawa and Shimizu reflected on why they wrote those pieces of scholarship and how they understand their research years later. Finally, the co-authors spoke to reasons why scholars situated in musical theatre studies have so rarely cited research in fields like Black and Asian American performance studies and imagined radical possibilities beyond a racist citation framework.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

16

Khliebnikov, P. „National Elements of Musical Culture of Cherkashchyna at the End of the XX – The Beginning of the XXI Century“. Culture of Ukraine, Nr. 80 (30.06.2023): 65–75. http://dx.doi.org/10.31516/2410-5325.080.08.

Der volle Inhalt der Quelle

Annotation:

The concept of “musical culture of Cherkashchyna” is characterized as a complex system that includes musical values, types of activities related to them, a set of subjects, institutions and social institutes of this type of activity. The musical culture of Cherkashchyna is presented as an integral part of the spiritual culture of Ukraine and the musical culture of Ukraine. The purpose of the article is to study the current state of the musical culture of Cherkashchyna, to determine the elements of the national level in its structure, to define the level of national significance of contemporary performers of Cherkashchyna. The methodology. The authorial vision of the problem is based on the principles of scientificity and objectivity. The structural and systemic approach was applied in the analysis of the infrastructure system of the musical culture of Cherkashchyna and further determination of its elements at the national level. The ranking scores approach made it possible to determine the most popular musical performers of Cherkashchyna in social networks. The results. According to the results of the study of the current state of the musical culture of Cherkashchyna, the following elements of the national level were determined in its structure, namely: S. S. Hulak-Artemovskyi Cherkasy Music Vocational College; the Cherkasy Regional Philharmonic, where collectives with the honorary title — “academic”, and the T. H. Shevchenko Cherkasy Academic Ukrainian Regional Music and Drama Theater. Using the ranking scores approach, a ranking of the most popular musical performers of Cherkashchyna in social networks was made, according to which the “Spiv Brativ” group holds the first position. The scientific novelty. The article defines the elements of the national level in the structure of Cherkashchyna, defines the level of national significance of modern performers of Cherkashchyna. The practical significance. The results of the research can be used by specialists in the field of cultural studies, musicology, musical pedagogy, as well as at higher educational institutions that implement educational programs, the learning outcomes of which are the ability to apply knowledge of the Ukrainian musical space of individual regions.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

17

Dmytriyeva, Olena. „Transformation of Borys Lyatoshynsky›s school ideas in the creative search of Leonid Grabovsky and Valentyn Silvestrov“. Contemporary Art, Nr. 17 (30.11.2021): 119–30. http://dx.doi.org/10.31500/2309-8813.17.2021.248436.

Der volle Inhalt der Quelle

Annotation:

The historical and cultural preconditions for the emergence of the group of composers “Kyiv Avant-Garde” in the context of the 1960s have been studied. The projection of the ideas of Borys Lyatoshynsky’s school in the creative search of his students Leonid Grabovsky and Valentyn Silvestrov, iconic figures of the Ukrainian musical culture of the second half of the XX century is considered. The innovative features of Lyatoshynsky’s school in the transformations of the worldviews of both artists, who marked their creative path with high professionalism and individual artistic and aesthetic achievements, are outlined. The aim of the research was the cultural component of Borys Lyatoshynsky’s school in the context of the creative achievements of Leonid Grabovsky and Valentyn Silvestrov. The musical material and scientific publications related to the works of these artists, which form a unique picture of the processes of formation of Lyatoshynsky’s school, are analyzed. The research methodology consists of structural-functional, comparative and system-activity approaches. In the process of complex culturological analysis of the school of the outstanding artist, the projection of its ideas in the musical and creative narratives of Leonid Grabovsky and Valentin Silvestrov was clarified.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

18

Robledo, Juan Pablo, Sarah Hawkins, Carlos Cornejo, Ian Cross, Daniel Party und Esteban Hurtado. „Musical improvisation enhances interpersonal coordination in subsequent conversation: Motor and speech evidence“. PLOS ONE 16, Nr. 4 (15.04.2021): e0250166. http://dx.doi.org/10.1371/journal.pone.0250166.

Der volle Inhalt der Quelle

Annotation:

This study explored the effects of musical improvisation between dyads of same-sex strangers on subsequent behavioural alignment. Participants–all non-musicians–conversed before and after either improvising music together (Musical Improvisation—MI—group) or doing a motoric non-rhythmic cooperative task (building a tower together using wooden blocks; the Hands-Busy—HB—group). Conversations were free, but initially guided by an adaptation of the Fast Friends Questionnaire for inducing talk among students who are strangers and meeting for the first time. Throughout, participants’ motion was recorded with an optical motion-capture system (Mocap) and analysed in terms of speed cross-correlations. Their conversations were also recorded on separate channels using headset microphones and were analysed in terms of the periodicity displayed by rhythmic peaks in the turn transitions across question and answer pairs (Q+A pairs). Compared with their first conversations, the MI group in the second conversations showed: (a) a very rapid, partially simultaneous anatomical coordination between 0 and 0.4 s; (b) delayed mirror motoric coordination between 0.8 and 1.5 s; and (c) a higher proportion of Periodic Q+A pairs. In contrast, the HB group’s motoric coordination changed slightly in timing but not in degree of coordination between the first and second conversations, and there was no significant change in the proportion of periodic Q+A pairs they produced. These results show a convergent effect of prior musical interaction on joint body movement and use of shared periodicity across speech turn-transitions in conversations, suggesting that interaction in music and speech may be mediated by common processes.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

19

Rankovic, Sanja. „Interpreting the musical experiences of women from Gora“. Bulletin de l'Institut etnographique 68, Nr. 3 (2020): 613–39. http://dx.doi.org/10.2298/gei2003613r.

Der volle Inhalt der Quelle

Annotation:

The ethnic identity of the inhabitants of Gora was formed over the course of many centuries during which time religious conversion took place (from Orthodox Christianity to Islam). This gave rise to a particular cultural matrix based on the continuous movement of various influences, deeply limited by patriarchal values and faith-based rules which dictated that woman?s role be tied to the home and the birthing of children. In this sense the ?musical behavior? of women is in accordance with the generally accepted norms deemed desirable by the Gorani environment. Starting in the mid-twentieth century up to today, the ethnomusicological study of the musical and folkloric heritage of Gora has uncovered the role of women in the process of establishing continuity of the rare forms of traditional singing in private, semi-private and public spaces. Analyzing the results of in-field research carried out not only in their traditional homeland but in Belgrade, the musical experiences of the women can be defined as being aimed not only towards their own community, but also representing the promotion of Gorani culture in a wider framework. By comparing the position of the female narrator using chronological and spatial perspectives, their significance is perceived in the process of preserving and popularizing traditional singing, which is concurrently the link with the Others and the ?materialization? of this ethnic group?s identity.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

20

Muzyka, Lesia. „Piano Pieces for Children in Serhiy Bortkevych’s Musical Heritage“. Musical art in the educological discourse, Nr. 8 (2024): 67–72. http://dx.doi.org/10.28925/2518-766x.2023.810.

Der volle Inhalt der Quelle

Annotation:

The article reveals the artistic and pedagogical potential of piano music for children by the Ukrainian Diaspora’s prominent composer Serhiy Bortkevych. For this purpose, we analysed the piano cycles Little Traveller, Marionettes, Musical Wonderland (based on H. H. Andersen’s fairy tales) and From My Childhood. We specified the stylistic features of his music, didactic and educational tasks, which can be determined by working on small pieces of lyrical, dance, scherzo and march genres with their inherent modest scale and simplicity of presentation. S. Bortkevych tends to the chamber type of expression, modesty of texture, and absence of external effects, which reveals the composer’s commitment to the art of the Biedermeier. This component of S. Bortkevych’s creative personality is complemented by his constant interest in the world of childhood, both in terms of imagery and content, as well as didactics and education. All of S. Bortkevych’s children’s piano cycles clearly demonstrate the great importance of programmatic model in revealing the figurative content of piano pieces, in which nature paintings, portrait sketches, emotional experiences, travelling motifs, cities and countries, fairy-tale images, puppetry, etc. take an equal position. Up-tempo pieces (toccata, scherzo) require the same work as etudes, but with the difference that in etudes, artistic tasks are auxiliary, while in music pieces they are the main goal. In dance pieces, the basis for the work is the need to identify the specificity and character of the dance (waltz, mazurka, polka, hopak) and the originality of the rhythm. Lyrical pieces develop musicality, emotionality, artistry and performing initiative due to the musical language accessibility, vivid imagery and laconism of the form. The works of this group are of pedagogical value as they are aimed at gradual mastery of certain piano skills and techniques. S. Bortkevych’s compositional achievements deserve attention in terms of including his heritage in the educational repertoire of modern music institutions to deepen the educational and cognitive process of children’s and youth’s musical and aesthetic education.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

21

Etchemendy, Pablo E., Ignacio Spiousas und Ramiro Vergara. „Relationship Between Auditory Context and Visual Distance Perception: Effect of Musical Expertise in the Ability to Translate Reverberation Cues Into Room-Size Perception“. Perception 47, Nr. 8 (14.05.2018): 873–80. http://dx.doi.org/10.1177/0301006618776225.

Der volle Inhalt der Quelle

Annotation:

In a recently published work by our group [ Scientific Reports, 7, 7189 (2017)], we performed experiments of visual distance perception in two dark rooms with extremely different reverberation times: one anechoic ( T ∼ 0.12 s) and the other reverberant ( T ∼ 4 s). The perceived distance of the targets was systematically greater in the reverberant room when contrasted to the anechoic chamber. Participants also provided auditorily perceived room-size ratings which were greater for the reverberant room. Our hypothesis was that distance estimates are affected by room size, resulting in farther responses for the room perceived larger. Of much importance to the task was the subjects’ ability to infer room size from reverberation. In this article, we report a postanalysis showing that participants having musical expertise were better able to extract and translate reverberation cues into room-size information than nonmusicians. However, the degree to which musical expertise affects visual distance estimates remains unclear.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

22

Jovanovic, Jelena. „The appearance of concept albums in Yugoslav popular music: Kamen na kamen - long play records“. Muzikologija, Nr. 17 (2014): 167–94. http://dx.doi.org/10.2298/muz1417167j.

Der volle Inhalt der Quelle

Annotation:

It is commonly understood that a concept album is ?a studio album where all musical or lyrical ideas contribute to a single overall theme or unified story? (Shuker 2002: 5). In this paper this term will be used to denote an album containing extra-musical themes and not simply collections of compositions defined only by genre or theme. In order for an album to belong to this category, it must have taken a thematic unity realized by the common content (thematically) of its compositions and common musical means. Although the beginnings of such creative trends can be traced from 1940, the 1960s and 1970s brought the most influential releases of this kind, especially The Beatles? album Sgt. Pepper?s Lonely Hearts Club Band (1967), which has had a great impact on many authors. As far as is known, the topic of concept albums in Yugoslavia has not yet been elaborated, so this article seems to be the first dedicated to this subject. It seems that in Yugoslavia there had been albums with elements of concept released before the appearance of the Kamen na kamen group album in 1973, entitled LP-60993 (Zagreb: Jugoton). The author of the album was Nikola Borota Radovan. After that, a double LP by the same ensemble and songwriter appeared in 1975 entitled OOUR/AVNOJ (RTV Ljubljana), with even more clearly expressed characteristics of concept. The aim of this article is to show that the thematic and conceptual elements of these editions are firmly connected to those of the concept album. These LPs were formed within the following thematic and contextual frames: 1) Borota`s general inclination towards folklore tradition(s) as a permanent source of inspiration, 2) models among the greatest popular music works that influenced his writing projects, primarily The Beatles? concept albums, and 3) social, economic and political circumstances in Yugoslavia at the time when these albums appeared. Even if it is not strictly a concept album in the full sense, the album LP- 60993 might be regarded as the first album with elements of concept published by a Yugoslav author, according to all the criteria and analyzed results. The elements that show a clear connection to the concept are as follows: leading subject(s)/idea(s) that demand(s) the order of compositions, organization of musical elements and motives on macro- and micro-levels (to produce formal and thematic unity), elements of narrative and musical/sound symbols, including elements of musique concr?te.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

23

Abrianto, Chandra Okta. „HIP HOP “BERASA” JAWA (PROSES PENCIPTAAN MUSIK HIP-HOP KM 7 YOGYAKARTA)“. Sorai: Jurnal Pengkajian dan Penciptaan Musik 12, Nr. 1 (27.08.2019): 44–53. http://dx.doi.org/10.33153/sorai.v12i1.2622.

Der volle Inhalt der Quelle

Annotation:

Boedi Pramono’s creativity as the creator of the Hip Hop KM 7 group is by combining Javanese traditional music with hip hop music. This paper reviews from the beginning of Boedi Pramono’s artistic career until the formation of Hip Hop KM 7. The problems that arise are (1) Revealing and explaining the formation and structure of Hip Hop KM 7’s music, (2) Explaining the creative process of Hip Hop KM 7’s music. To answer such problems, this research employs qualitative research methods by studying empiricism, trying to be able to express objectively which is more oriented towards the field of textual research, with the addition of Bambang Sunarto’s concept of the creative process in art. The creative process of art is the process of finding the constructive elements of art in regards with (1) the artist’s belief in creating the artwork, (2) the vocabulary and the artistic model, (3) the artistic concepts and (4) the artistic models, which are then used as means to create the artwork, thus answering the question. This article reveals that: firstly, the musical form presented by Hip Hop KM 7 is a digital-based music enriched with gamelan idioms and in general Javanese traditional music. Here, the musical structure is divided into two musical impressions, namely the West and the Traditional music. Secondly, Boedi Pramono with his musical creativity formed Hip Hop KM 7 from a thickly artistic environment and later included the traditional element and further the traditional dance to the hip hop music.Keywords: Hip-hop Jawa, Hip-hop Km 7, Hip hop Yogyakarta.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

24

Kropyvnyi, Oleksandr. „Digital Repository of Ukrainian Musical Folklore: Prerequisites for Creation, Ways of implementing the Concept, General Features of the Structure“. Problems of music ethnology 17 (17.11.2022): 79–87. http://dx.doi.org/10.31318/2522-4212.2022.17.270908.

Der volle Inhalt der Quelle

Annotation:

A significant risk that we might lose especially valuable funds of Ukrainian musical folklore under conditions of Russian military aggression and, at the same time, the outstanding interest of Ukrainian society in its own national cultural heritage call for rethinking approaches to archival storage, post-processing and dissemination of folklore field research materials stored in archives of Ukrainian scientific institutions and in the personal scientist`s collections. Forced preparations for the sudden evacuation of the folklore archives, backup process and relocation, started by a group of folklorists from Kyiv and Lviv shortly before the Russian invasion, revealed a number of disadvantages of Ukrainian musical folklore archives organization. These include the impossibility of quick data transfer, unavailability of digital media backups, a lot of non-digitized materials stored on analog media, the inconsistency of analog and digital collection`s condition with modern (digital) information storage methods (mostly paper based documentation), etc. This article analyzes the current condition of the digital collections of Ukrainian musical folklore, which are located in the archives of several Ukrainian scientific institutions and in some personal collections of the scientists. The most important issues of organization and functioning of Ukrainian musical folklore digital collections are outlined. Existing principles and models of data structuring according to the modern analytical requirements outlined in the studies of Ukrainian emusicologists have been analyzed in detail. The new principles of data and metadata organization are proposed to simplify information search and analysis and extensive use of computer systems to work with digital collections of Ukrainian musical folklore. Development and implementation of a reliable digital repository as a component of the unified workspace for digitization, electronic archiving, analysis and presentation of the field folklore materials are intended not only to solve most of the mentioned issues related to the digital collections of Ukrainian musical folklore, but also to provide access to the intangible achievements of the Ukrainian nation for scientists, artists and a wide range of involved users.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

25

Djohan, Djohan, und Fortunata Tyasrinestu. „The Role of Active Musical Listening to Enhance the Emotional Health on Early Motherhood“. International Journal of Creative and Arts Studies 6, Nr. 1 (22.08.2019): 1–11. http://dx.doi.org/10.24821/ijcas.v6i1.3270.

Der volle Inhalt der Quelle

Annotation:

The purpose of this study was to identified the role of active musical listening on emotional health and well-being in Javanese early motherhood. Listening tomusic will not only have a soothing and uplifting effects on someone but also apositive influence on the unborn baby. Feeling emotional during pregnancy iscommon because of hormonal changes. And it‟s natural to feel more stressed oranxious than usualy. Although it‟s normal to have periods of worry and stresswhen pregnancy and this can be a sign of something more serious such asdepression, anxiety or bipolar disorder. Emotional health is a state of wellbeing.An one way anova test with the pre-posttest scores as the control revealed that thechanges by listening the gendhing gamelan were significantly decreased in theexperimental group compared with the control group. A randomized experimentalstudy design was developed and implemented. A hundred and twenty of firsttrimester pregnant women were randomly assigned to music listening (n=60) andcontrol (n=60) groups (mean age=29.0; SD=5.0). The experiment group received5 minutes of music intervention and the control group received only generalprenatal care. Psychological health was assessed using three self -report measures:State-Trait Anxiety Inventory (STAI) and Beck-Depression Inventory (BDI). Theresult shows significant effect (p<0.05; F=5.340) of gendhing gamelan to reducestress and enhance the emotional well-being in early motherhood thus thehypotheses is accepted. The findings can be used to encourage early motherhoodto use this cost-effective method of listening music in their daily life to reducetheir stress and enhance the emotional wellbeing. Further research is needed to test the long-term benefits.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

26

Chen, Jiuzhou. „Dancing with math: Using Kleins quartic for music generation“. Theoretical and Natural Science 39, Nr. 1 (21.06.2024): 23–42. http://dx.doi.org/10.54254/2753-8818/39/20240565.

Der volle Inhalt der Quelle

Annotation:

Studying music from a mathematical perspective is often based on the notions of symmetry and topological space. A group G acting on some set S of musical objects in a meaningful way is seen as a symmetry group in music. This can be used in analysing motif development and chord progressions. In neo-Riemannian analysis, one has three principal chord transformations that generate a group GD_12, acting on the set S of 24 major and minor triads. Moreover, this theory is visualized through a simplicial complex whose underlying space is a topological torus. In this paper, we first introduce various symmetry groups and graphic presentations in music theory. We then propose a way of doing neo-Riemannian analysis on Kleins quartic, which is a genus 3 surface instead of a torus, realizing an idea of John Baez. Finally, we use our theory to perform a harmonic analysis of The Imperial March from Star Wars.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

27

Wassermann, Gilbert, und Mark Glickman. „Automated Harmonization of Bass Lines from Bach Chorales: A Hybrid Approach“. Computer Music Journal 43, Nr. 2-3 (Juni 2020): 142–57. http://dx.doi.org/10.1162/comj_a_00523.

Der volle Inhalt der Quelle

Annotation:

In this article, a combination of two novel approaches to the harmonization of chorales in the style of J. S. Bach is proposed, implemented, and profiled. The first is the use of the bass line, as opposed to the melody, as the primary input into a chorale-harmonization algorithm. The second is a compromise between methods guided by music knowledge and by machine-learning techniques, designed to mimic the way a music student learns. Specifically, our approach involves learning harmonic structure through a hidden Markov model, and determining individual voice lines by optimizing a Boltzmann pseudolikelihood function incorporating musical constraints through a weighted linear combination of constraint indicators. Although previous generative models have focused only on codifying musical rules or on machine learning without any rule specification, by using a combination of musicologically sound constraints with weights estimated from chorales composed by Bach, we were able to produce musical output in a style that closely resembles Bach's chorale harmonizations. A group of test subjects was able to distinguish which chorales were computer generated only 51.3% of the time, a rate not significantly different from guessing.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

28

Lee, Kyoung Yeon, und Jin Hee Kim. „The Effects of Play-Centered Activities Utilizing Original Children's Songs on the Musical Expression Abilities and Playfulness of Three-Year-Old Children“. Korean Association For Learner-Centered Curriculum And Instruction 23, Nr. 19 (15.10.2023): 331–47. http://dx.doi.org/10.22251/jlcci.2023.23.19.331.

Der volle Inhalt der Quelle

Annotation:

Objectives The purpose of this study is to investigate the effects of play-centered activities utilizing original children's songs on the musical expression abilities and playfulness of three-year-old children. Methods The study focused on 40 children aged 3, attending the preschool class at S Kindergartens in Seoul. In the experimental group, play-centered activities utilizing original children's songs were implemented for 16 weeks, while the comparison group engaged in music-centered activities based on the Nuri curriculum for the same duration. Measurement tools included the music expression ability assessment tool revised and refined by Kim Kwang-ja (2004), and the playfulness assessment tool revised and refined by Kim Young-hee (1995). To vali-date the educational effects of play-centered activities using age-appropriate songs, pre- and post-tests were conducted on children from both the experimental and comparison groups. The independent samples t-test was performed and analyzed using the SPSS 18.0 program. Results The research findings indicate that, firstly, play-centered activities utilizing original children's songs were effective in enhancing the musical expression abilities of children, including singing, playing musical instruments, body expression, and creating music. Secondly, these play-centered activities were also effective in improving children's playfulness, including physical spontaneity, social spontaneity, cognitive spontaneity, expression of joy, and sense of humor. Conclusions This indicates the significance of utilizing play-centered activities with original children's songs for enhancing the musical expression ability and playfulness of 3-year-old children. This study holds importance in moving away from the traditional teacher-centered approach of planned song instruction, and instead, assisting teachers to actively employ original children's songs, thus aiding in the understanding and implementation of child-led play activities.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

29

Matthews, Wendy K. „“Stand by Me”: A Mixed Methods Study of a Collegiate Marching Band Members’ Intragroup Beliefs Throughout a Performance Season“. Journal of Research in Music Education 65, Nr. 2 (10.03.2017): 179–202. http://dx.doi.org/10.1177/0022429417694875.

Der volle Inhalt der Quelle

Annotation:

The purpose of this mixed methods study was to investigate intragroup beliefs regarding participation in a National Collegiate Athletic Association (NCAA) Division II marching band throughout the university’s American football season. Fifty-three undergraduates from an urban midwestern university elected one of two options: (1) focus group only or (2) focus group and surveys. For the quantitative inquiry, it was hypothesized that members would report a downward concavity of group cohesion attributes and collective efficacy beliefs across time. A repeated measures multivariate analysis of variance (MANOVA) found group integration–task (GI-T) and collective efficacy dipped at the midpoint of the season while beliefs regarding members’ attraction to the group, both task and social (ATG-T, ATG-S), and group integration–social (GI-S) remained consistently high. Focus groups data analysis revealed five broad themes: (1) connections, their pride in the band and its connectedness to their school and beyond; (2) family, how the band represents a family environment; (3) acceptance, belonging to the group; (4) music, the role of music in their lives; and (5) time, the temporal beliefs of the group throughout the season. These findings provide insight into the dynamic nature of group beliefs over time with musical ensembles.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

30

Du, Yan, Penny Roberts und Qingwen Xu. „The Effects of Tai Chi Practice With Asynchronous Music on Compliance and Fall-Related Risk Factors in Middle-Aged and Older Women: A Pilot Study“. Journal of Holistic Nursing 35, Nr. 2 (07.03.2016): 142–50. http://dx.doi.org/10.1177/0898010116636972.

Der volle Inhalt der Quelle

Annotation:

Purpose: This study examined whether practicing Tai Chi (TC) along with music can maximize the effects of TC on compliance and fall-related risk factors (Dynamic Gait Index and fear of falling). Design: A convenient sample was recruited in a community senior center. Eighteen women aged 50 to 84 years (9 White, 9 Black) were block randomly assigned to a TC in silence (TC + S; n = 6) or a TC with music (TC + M; n = 12) class. Method: Thirteen participants (4 in TC + S group, 9 in TC + M group) with completed pre- and posttests were included in the final analysis. Paired t tests were conducted to examine changes within groups over time and analysis of covariance was used to assess group differences. Findings: After 15 weeks of intervention, balance increased in both groups with significantly higher benefits in the TC + M group ( p < .05). Fear of falling scores improved in TC + M group and compliance rate was higher in this group. Conclusions: Practicing TC + M may help increase adherence in White and Black middle-aged and older women, and maximize the effects of TC on fall-related risk factors. Studies with more rigorous study design, including musical considerations, are warranted.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

31

Situmeang, Joel Franky, und Agusti Efi. „KAJIAN PERTUNJUKAN MUSIK IRINGAN TARI JOGI DI SANGGAR WARISAN PANTAI BASRI PULAU PANJANG BATAM KEPULAUAN RIAU“. Gorga : Jurnal Seni Rupa 12, Nr. 1 (21.04.2023): 11. http://dx.doi.org/10.24114/gr.v12i1.42331.

Der volle Inhalt der Quelle

Annotation:

This research is a case study of musical performance in the Basri Heritage Beach Group or SWPB. Where SWPB always promotes and performs Jogi music. Jogi is a music and dance performance that tells the story of a wife who is left by her husband when she goes to sea. The form of a musical performance entitled "Ari Dunie Jogi." Jogi music is included in two parts consisting of 1) Dondang with musical accompaniment of the inang rhythm, and 2) Dances with musical accompaniment of Joget silat. The purpose of this research is to study the musical performances of the Basri Beach Heritage Sanggar, whose musical performances have never been studied. This research is a qualitative analytic description, while the research methods are field observations, interviews, literature studies, and participant observers. The result of the research is the success of the musical performances of the Basri Beach Heritage Studio through the stages of the training process, performance flying hours, and performance evaluation for the progress of the Basri Beach Heritage Studio. This procession was born through discussions and agreements among fellow musicians so that the sustainability and sustainability of the Basri Beach Heritage Studio group was established.Keywords: music, performance, study, jogi.AbstrakPenelitian ini merupakan kajian pertunjukan musik studi kasus pada kelompok Sanggar Warisan Pantai Basri atau SWPB. Di mana SWPB selalu mempromosikan dan mempertunjukkan musik Jogi. Jogi merupakan pertunjukan musik dan tari yang bercerita istri yang ditinggal suami saat pergi melaut. Bentuk pertunjukan musik berjudul “Ari Dunie Jogi.” Musik Jogi termasuk pada musik dua bagian yang terdiri dari, 1) dondang dengan musik iringan rentak inang, dan 2) tarian dengan musik iringan rentak Joget silat. Tujuan penelitian ini adalah untuk mengkaji pertunjukan musik Sanggar Warisan Pantai Basri yang belum pernah dikaji pertunjukan musiknya. Penelitian ini berupa kualitatif deskripsi analitik, adapun metode penelitiannya adalah pengamatan lapangan, wawancara, studi literatur, dan partisipan observer. Hasil dari penelitian adalah bahwa keberhasilan pertunjukan musik Sanggar Warisan Pantai Basri melalui tahapan-tahapan proses latihan, jam terbang pertunjukan, dan evaluasi pertunjukan untuk kemajuan Sanggar Warisan Pantai Basri. Prosesi ini lahir melalui diskusi dan kesepakatan di antara sesama pemusik, sehingga terjalin keberlangsungan dan kebertahanan kelompok Sanggar Warisan Pantai Basri.Kata Kunci: kajian, pertunjukan, musik, jogi. Authors:Joel Franky Situmeang : Universitas Negeri PadangAgusti Efi : Universitas Negeri Padang References:Abdullah, A. (2021). “Pola Penganak dan Pola Pengibu Pada Musik Jogi”. Hasil Wawancara Pribadi: 12 April 2021, Taman Dendang Melayu Jembatan 1 Barelang.Cook, N. (2001). Between Process and Product: Music and/as Performance. Music Theory Online, 7(2), 1-31.Merriam, A. P. (1964). Antropologi Musik. Yogyakarta: Institut Seni Indonesia Yogyakarta.Normah, N. (2021). “Lirik Dondang Ari Dunie Jogi”. Hasil Wawancara Pribadi: 12 April 2021, Taman Dendang Melayu Jembatan 1 Barelang Batam.Parncutt and Mc Pherson. (2002). The Science and Psychology of Music Performance: Creative Strategies For Teaching and Learning. Britania Raya: Oxford University Press.Schechner, R. (2003). Performance Theory. Britania Raya: Routledge.Sedyawati, Edi. (2006). Pertumbuhan Seni Pertunjukan (Cetakan Pertama). Jakarta: Sinar Harapan.Sujarno, S. (2003). Seni Pertunjukan Tradisional Nilai, Fungsi dan Tantangannya. Yogyakarta: Kementrian Kebudayaan dan Pariwisata DIY.Suwandi, S. (2007). Berkarya Seni Budaya. Bekasi: Ganeca Exact.Syafrizal, S., Efi, A., & Budiwirman, B. (2022). Management Event Seni Pertunjukan Performance Art. Gorga: Jurnal Seni Rupa, 11(2), 246-252.Watanabe, R. T. (1967). Introduction to Music Research. New Jersey: Prentice Hall.Yulfita, A. F., & Herdianto, F. (2022). Deskripsi dan Interpretasi Teknik Permainan Instrument Marimba Concerto In G Major RV dan A Whole New World. Gorga: Jurnal Seni Rupa, 11(1), 60-66.Zamri, Z. (2021). “Gelek Pada Musik Jogi”. Hasil Wawancara Pribadi: 12 April 2021, Taman Dendang Melayu Jembatan 1 Barelang Batam.Zulkifli, Z. (2021). “Biola Pada Musik Jogi”. Hasil Wawancara Pribadi: 12 April 2021, Taman Dendang Melayu Jembatan 1 Barelang Batam.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

32

Dyachkova, Olena. „«Modification of ghosts»: conductors interpretations of Yevhen Stankovych’s Sinfonietta in 2017 and 2023“. Scientific herald of Tchaikovsky National Music Academy of Ukraine, Nr. 138 (22.12.2023): 60–75. http://dx.doi.org/10.31318/2522-4190.2023.138.294694.

Der volle Inhalt der Quelle

Annotation:

The relevance of the study. «Sinfonietta» (1971) stands as one of the pioneering polystylistic compositions in Ukraine. This work marked the artistic debut of Yevhen Stankovych, a prominent figure in contemporary Ukrainian music, and earned him recognition. «Sinfonietta» incorporates fragments from various musical styles and compositions, each evolving independently in performance practice. It is the style and works of J. S. Bach, G. Mahler, S. Prokofiev, and I. Stravinsky. Listeners in the 1970s, 2017, and 2023 have interpreted these musical polystylistic references in diverse ways. The dynamic evolution of performing interpretations and listening perceptions of «Sinfonietta» has unfolded against the active interplay of political propaganda and musical life. The performing interpretations of "Sinfonietta" today align with the broader context of the heated discussions about Russian heritage in Ukrainian culture. The main objective of the study. The purpose of the article is to reveal the author’s (composer’s) intentions for the composing of the «Sinfonietta» in modo collage and to study the changes of semantic emphasis in the music meaning sphere in the conductor’s interpretations of this work depending on the social and media contexts in 2017 and 2023. The methodology. The work uses the methods of contextual analysis and comparative studies. The research on performance interpretations of music is based on the theory of interpretation by V. G. Moskalenko. Results and conclusions. The type of «play with other composers’ styles» in «Sinfonietta» was new, even in the context of the widespread use of stylization in Ukrainian music in the 60s and 70s. Within the text of «Sinfonietta,» the inclusion of a quote from the Second Prelude in C minor from the first volume of «The Well-Tempered Clavier» by I. S. Bach and the emulation of S. Prokofiev's style carried profound symbolic significance. It is plausible to interpret the с-moll Prelude quote as a response to Arvo Pärt’s «Credo» (1968), which incorporated a quote from the C-dur Prelude in the first volume of the Well-Tempered Clavier — considering the political persecution faced by Arvo Pärt and the Estonian Philharmonic workers after the premiere of «Credo». Y. Stankovych’s inclusion of the prelude quote took on the nature of a social challenge — a gesture of solidarity with his Estonian counterpart. S. Prokofiev’s stylistic influence on Ukrainian musical culture during the 60s and 70s manifested itself through socially oriented, "classical" compositions by members of the «Kyiv avantgarde» group, notably V. Silvestrov. The expulsion of V. Silvestrov from the Union of Composers of Ukraine in 1970 triggered an artistic response in 1971 in «Sinfonietta» by Y. Stankovych. When Y. Stankovych presented the piece upon joining the Union of Composers, its provocative nature was evident but closed for the conservative musicians. Additional motivations for stylizing in the spirit of S. Prokofiev within the «Sinfonietta» are rooted in Y. Stankovych’s musical preferences. His interpretation of the «composer’s school» concept is especially significant. The fact that S. Prokofiev studied under R. Glier held considerable value for Y. Stankovych. Notably, the 20th-century Ukrainian music classics Levko Revutsky and Borys Lyatoshynsky were also students of Reinhold Glière. B. Lyatoshynsky mentored Y. Stankovych. In essence, the emphasis on the works of I. S. Bach, G. Mahler, S. Prokofiev, and I. Stravinsky in the «Sinfonietta» directed the listeners of the 1970s toward music that, according to the prevailing Soviet ideological standards of that era, was slated for silencing, ignoring, and, ultimately, destruction. Yet, the compositions of these composers held immense importance for Y. Stankovych. The composer valued their «freedom of spirit» and exceptional artistic professionalism. In the 1990s, Y. Stankovych delved into themes associated with the concept of national memory, evident in works such as «’Panahyda’ for those who died of hunger,» [Requiem for Holodomor victims], Kaddish-Requiem «Babyn Yar» (1991), and «Black Elegy» (1991). Subsequently, the composer’s work began to symbolize the image of national consciousness. A «vulnerability zone» appeared in the semantic field of «Sinfonietta,» with the name of S. Prokofiev, which after 2014 was associated with the symbols of Russian art. An updated semantic vision of the «Sinfonietta's» conception distinguishes the interpretation of the Ukrainian conductor Volodymyr Sirenko. The features of this performance version [Stankovych, Sirenko, 2017] connected with strengthening elements of the Y. Stankovych author’s style. The conductor pays attention to the composer’s timbre dramaturgy, vocalization of instrumental lines, rhetoric of solo episodes, «public speech» musical images, and rhetorical exclamations. Prokofiev’s sphere in the interpretation of V. Sirenko was related to the field of musical fairy tale intonational groups and had an aggressive emotional load. The culmination of V. Sirenko’s interpretations is a tragic trombone solo. Due to the maximum detail in the articulation, it turns into a solo restrained speech of the crying hero - as a witness of tragic events. Dilyaver Osman’s interpretation [Stankovych, Osman, 2023] distinguishes the finding of new intonation parallels between the work «Sinfonietta» by I. Stravinsky, K. Debussy, F. Poulenc, K. Orff. The texture of the «Sinfonietta» strengthened the position of the quote from the prelude by I. S. Bach. The nature of the trombone solo has changed — instead of the genre model of a solo speech, the conductor uses the model of a choral funeral march. Conclusions and perspectives of the study. «Sinfonietta» by Y. Stankovych is a work that has demonstrated incredible musical images and semantic mobility during its 50 years of existence. In contemporary interpretations, it is a semantic and stylistic «transformer» capable of forming a new concept of music from small changes in intonations. The «playing with styles» demonstrated its potential as a musical «documentary narrative about the war.» Further studies of this work will likely unfold in the field of intertextual connections, both with the texts of other composers and in the inner area of the music of Y. Stankovych.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

33

Šalamon, Samo. „The Political Use of the Figure of John Coltrane in American Poetry“. ELOPE: English Language Overseas Perspectives and Enquiries 4, Nr. 1-2 (16.06.2007): 81–98. http://dx.doi.org/10.4312/elope.4.1-2.81-98.

Der volle Inhalt der Quelle

Annotation:

John Coltrane; one of the most influential and important musicians and composers of the 20th century; began to inspire jazz musicians and American poets in the 1960s with the Black Arts Movement poets. His music was interpreted and used for the promotion of political ideas in the poetics of Amiri Baraka; Sonia Sanchez; Askia Muhammad Toure; Larry Neal and others. This is the political Coltrane poetry. On the other hand; Coltrane’s music inspired another kind of poets; the musical poets; which began to emerge in the 1970s. In this case; the poetry reflects the true nature of Coltrane’s spiritual music quest. The poets belonging to this group; like Michael S. Harper; William Matthews; Jean Valentine; Cornelius Eady; Philip Levine; Nathaniel Mackey and others; go beyond politics; beyond race or gender. The paper will examine the first type of the Coltrane poetry; where Coltrane’s music was used to promote the political ideas of the Black Art Movement in connection with the political movement of Malcolm X. These poets changed; rearticulated and shifted Coltrane’s spiritually musical message towards the principles of the black nationalism.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

34

PAVLIV, Yarema. „СREATIVE PORTRAIT OF PROMINANT VIOLINIST (IN MEMORY OF SERHIY OREL)“. Bulletin of the Lviv University. Series of Arts Studies 280, Nr. 20 (2019): 133–46. http://dx.doi.org/10.30970/vas.20.2019.10646p.

Der volle Inhalt der Quelle

Annotation:

Serhiy Orel (1952–2017) – an outstanding violinist, original composer, Carpathian folklore interpreter, teacher, organizer of musical work, born in Kolomyia in the family of a choral singing teacher and multi-instrumentalist Stepan Orel. He studied at the Lysenko Musical Institute Branch since the age of six years in Matviy Ruzichner’s violin class. He proved himself as a gifted improviser, while gaining universal academic violin education. In his student days at D. Sichynsky College in Ivano-Frankivsk he began composing music and orchestrating his favourite classical works. He deeply immersed in folklore, collaborated with well-known Hutsul virtuosos-performers on the flute traditional instruments – Vasyl Popadiuk (1940–1991), Mykhaylo Tymofiiv (1944), violinist Petro Terpeliuk (1941–2012), cymbalist Vasyl Myroniuk. He gained performance experience while serving together with them Huzul wedding ceremonies in a manner aimed at folk authentication and adopted traditional huzul folklore repertoire using oral method. At the time of obtaining higher education at the Kyiv Institute of Culture (specialty of folk bandmaster), S. Orel already had a two-year record of the soloist and bandmaster of the Hutsul song-and-dance ensemble of the Ivano-Frankivsk Philharmonia, as well as the experience of Kolomyia musical bands director. Musician’s move to the village of Deliatyn, Nadvirna district of Ivano-Frankivsk region in 1977 became fateful major shift, where he, having taken a position of the musical school director, founded together with his wife – singer Liubov Orel (Bilinkevych) the Arkan orchestra. Having rallied first nine participants he created his music piece – musical adaptation of Arkan Hutsul dance. Subsequently, the entire band’s repertory was developing of personal orchestrations and musician’s own works. The general features of his orchestral style include the improvisatory enriched themes of the violin-solo part, main texture load on the string group (violin solo, three parts of violin, viola, cello, contrabass), fipple flute and cymbal second parts, accordeon’s chordal and harmonic functions, tambourine rhythmic patterns, which highlight melody features. A year later, the orchestra gained “folk” title and represented Hutsul region in contests and festivals taking winner awards. Today, about 3,000 S. Orel’s note developments are known, including his own vocal and instrumental works, numerous orchestrations of Ukrainian and multi-ethnic folklore, interpretation of famous composer miniatures, church choral works, author’s music for children’s performances and theatrical productions, genre music pieces for violins and cymbals with orchestra. The phenomenon of the violin-interpreter had an impact on a style of play of presently municipal Arkan folk music orchestra founded by Serhiy Orel, which represents in complex the creative achievements of its artistic director across different scenes of Ukraine and worldwide.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

35

Fadel, Congeta, Angela Ribas, Débora Lüders, Vinicius Fonseca und Monica Cat. „Pitch-Matching Accuracy and Temporal Auditory Processing“. International Archives of Otorhinolaryngology 22, Nr. 02 (13.06.2017): 113–18. http://dx.doi.org/10.1055/s-0037-1603763.

Der volle Inhalt der Quelle

Annotation:

Introduction Pitch-matching refers to the ability to vocally reproduce an acoustic model in a corresponding tone to the presented sound. This ability, which is dependent on pitch perception ability, can vary among individuals, and some are not able to sing in the correct tune or discriminate differences between tones. Objective To correlate pitch-matching accuracy and auditory processing in individuals without musical training. Methods A Pitch-Matching Test (vocal reproduction of synthesized and human voice sounds) and two commercially available tests of auditory temporal processing (the Pitch Pattern Sequence Test and the Random Gap Detection Test) were administered to all participants. A total of 62 college students of both genders, aged between 18 and 35 years old, were divided into 2 groups, according to their performances in the Pitch-Matching Test (the accurate match group and the inaccurate match group). Results In the Pitch-Matching Test, both groups achieved better results when reproducing vocalized sounds. The accurate match group achieved a significantly higher pitch pattern sequence test performance. In the Random Gap Detection Test analysis, there were no differences between the two groups. The Pearson's chi-squared test showed a direct correlation between the Pitch-Matching Test and the Pitch Pattern Sequence Test. Conclusion The findings of this study suggest the existence of a significant relationship between temporal auditory processing and pitch-matching, through which accurate pitch-matching individuals perform better in the Pitch Pattern Sequence Test. Inaccurate pitch-matching individuals may be skilled at discriminating pitch, despite their poor performance in the Pitch-Matching Test.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

36

Boltz, Marilyn G. „Musical Soundtracks as a Schematic Influence on the Cognitive Processing of Filmed Events“. Music Perception 18, Nr. 4 (2001): 427–54. http://dx.doi.org/10.1525/mp.2001.18.4.427.

Der volle Inhalt der Quelle

Annotation:

Previous research has demonstrated that the accompanying music of a film can influence both the affective impact of a scene as well as its subsequent remembering. The intent here was to investigate whether the affect of music can also contribute to a story's comprehension by guiding the course of selective attending and providing a more elaborative encoding of characters' actions, motivations, and inherent temperament. These ideas were examined by presenting participants with three ambiguous film clips accompanied by positive, negative, and no music. Immediately after viewing each clip, some participants were asked to extrapolate the film's ending, evaluate the personality and motivations of the main character(s), and complete a series of bipolar adjective ratings about the film's actions. In addition, other participants returned a week later for a surprise recognition test that assessed their memory for certain objects within each film. Results revealed that relative to the control group of no music, positive and negative music significantly biased viewers' interpretation and subsequent remembering of a film in a mood-congruent fashion. These findings are discussed in terms of the schematic influences of music upon the cognitive processing of visual scenes.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

37

Bissonnette, Josiane, Francis Dubé, Martin D. Provencher und Maria T. Moreno Sala. „Virtual Reality Exposure Training for Musicians: Its Effect on Performance Anxiety and Quality“. Medical Problems of Performing Artists 30, Nr. 3 (01.09.2015): 169–77. http://dx.doi.org/10.21091/mppa.2015.3032.

Der volle Inhalt der Quelle

Annotation:

Music performance anxiety affects numerous musicians, with many of them reporting impairment of performance due to this problem. This exploratory study investigated the effects of virtual reality exposure training on students with music performance anxiety. Seventeen music students were randomly assigned to a control group (n=8) or a virtual training group (n=9). Participants were asked to play a musical piece by memory in two separate recitals within a 3-week interval. Anxiety was then measured with the Personal Report of Confidence as a Performer Scale and the S-Anxiety scale from the State-Trait Anxiety Inventory (STAI-Y). Between pre- and post-tests, the virtual training group took part in virtual reality exposure training consisting of six 1-hour long sessions of virtual exposure. The results indicate a significant decrease in performance anxiety for musicians in the treatment group for those with a high level of state anxiety, for those with a high level of trait anxiety, for women, and for musicians with high immersive tendencies. Finally, between the pre- and post-tests, we observed a significant increase in performance quality for the experimental group, but not for the control group.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

38

Rahmat, Anggi Datiatur, Heru Kuswanto, Insih Wilujeng und Elisabeth Pratidhina. „Improve critical thinking skills using traditional musical instruments in science learning“. International Journal of Evaluation and Research in Education (IJERE) 12, Nr. 4 (01.12.2023): 2165. http://dx.doi.org/10.11591/ijere.v12i4.25753.

Der volle Inhalt der Quelle

Annotation:

Experiment activity is an essential part of science learning. Suling (flute), a traditional musical instrument from West Java, can be used as a learning media for sound wave concepts. Technology-based mobile can be used as an experimental tool is Phypox. This study aims to report using a combination of Suling and Phypox in experiment activities. The designed activity aims to engage students in critical thinking. The instrument for measuring critical thinking consists of five questions based on the critical thinking aspect: interpretation, analysis, evaluation, inference, and explanation. The study used a one-group pre-and post-test design on 32 8th-grade students at one of the junior high schools in West Java Province, Indonesia. The study procedure is a pre-test, discussion of Suling’s concepts, introduction to Phypox application, experiment activity, presentation, and post-test. Data analysis uses the normalized gain to compare the pre-and post-test. Experiment activities help students to understand frequency, open organ pipes concepts, and investigate the speed of sound produced by Suling. The study found a significant change in the pre-and post-test scores of students after experimenting, so it could be interpreted that the experimental activities using Suling and Phypox affected critical-thinking students.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

39

Khai, Mykhailo. „Musical and instrumental culture of Ukrainians as a component of the formation of national outlook“. Aspects of Historical Musicology 19, Nr. 19 (07.02.2020): 94–119. http://dx.doi.org/10.34064/khnum2-19.06.

Der volle Inhalt der Quelle

Annotation:

Background. One of the integrating, determining and identifying forces of the social progress of the entire human community is the custom and folklore tradition of the smallest sub-ethnic units / constituents individual nations and peoples, their verbal and ethno-cultural (including ethno-musical) sources, that, like rivers and brooks, fill the ocean of culture promoting for life and further development. The structure of the traditional Ukrainian musical culture, along with the well-known the old practices of group singing, itinerant kobzars and lira players, also consists of a powerful musical-instrumental component (herdsman’s folklore, calendarian-ritual chanting and dance). The aim and methods of the research. This article examines the phenomenon of traditional instrumentalism from the point of view of its fundamental influences on the worldviews regarding the formation and functioning of the ethnic sound of Ukrainians based on the longtime field-type, theoretical, pedagogical and practical (scientific and reconstructive musical performing) the experience of the author. The research results. Especially effective and such that, in recent years, was involved in the processes of salvation and “strengthening” (the term by S. Hrytsa) of traditional musical aesthetics, is the method of scientific and executive reconstruction of old folk music genres and forms. Systematic scientific-theoretical and structural-typological analytical work aimed at reproducing prototypes and structural details of reconstructed objects, forms, genres and actions of traditional Ukrainian musical culture, including instrumental, was reflected primarily in the research of S. Hrytsa (2000; 2002; 2015), A. Ivanytskyi (2007), I. Matsiievskyi (2012), B. Kindratiuk (2012), V. Yarmola (2014) and the author of these lines (Khai, M., 2011a; 2011b; 2013 and others). The author of the article thoroughly considers special issues of indexing musical instruments according to the system of E. Hornbostl – K. Sachs with the principle of division into classes, subclasses, categories, subdivisions; for the first time in Ukrainian ethnoorganology he carrys out a complete and consistent grouping of Ukrainian folk musical instruments. It is stated that the most important criteria of all classifications are: form, construction, structure, way of playing, repertoire, manner of performance. The criteria of traditionalism and functioning of folk instruments are determined separately (see: Khai, M., 2011a: 145–261). Based on this, Ukrainian folk musical instruments are considered in the following groups: 1) folk idiophones (self-sounding), 2) folk membranophones; 3) folk chordophones (strings); 4) folk aerophones (wind). Analyzing the existing classifications of national instrumental music, the author puts forward the thesis: areas of distribution and “density of ingrowth” of non-ethnic and authorial elements in the traditional centers of Ukrainian national instrumental music are mostly related to factors of geographical proximity, of natural extinction and administrative-repressive planting of alluvial and so-called “parallel” culture. Experiments on the instrumental traditions of Ukrainians, along with the autochthonous traditional instrumental repertoire, testify to the active functioning at the level of reception / ingrowth of works of other national origin. The interethnic and inter-genre transformation of the folk-instrumental style is connected with the spread of the Moscow, Polish, Romanian and Jewish intonation elements on the territory of the country. Touching the extremely complex and topical problems of archetypal traditional culture, interethnic relations of nations in the modern kaleidoscope of globalization processes, the article focuses on the negative (forced, administrative-aggressive absorption and destruction) and the positive (diversity, enrichment) interactions of the mentioned cultural elements. Characterizing from the positions mentioned here the main features of the ethnic sound ideal in the instrumental tradition of Ukrainians, the author defends its “European model” (tendency to cantilena sound of violin and flute ) as opposed to the type, which dominates the ethnosonic aesthetics of East – tremolo on one string. For the first time in these studies, the thesis is asserted that sounds that imitate the human voice or complement it predominate in Ukraine: flute cantilena, bandura-kobza and partly cymbal arpeggio, which differ significantly and fundamentally from the “Asian” coloristics of one-string tremolo. Conclusions. The final outcome of the study, about the cathartic function of traditional instrumentalism and musical culture in modern social-sublimation processes of human development and, conversely – about neglecting it as a manner to the complete destruction of human civilization as such, steers away from pessimism, inspiring hope for survival in the cataclysms of nature and society as a whole.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

40

Королькова, И. В. „“Falcons” — Special Musical Type of a Wedding Song from the Novgorod Region“. OPERA MUSICOLOGICA 16/2, Nr. 2024 (26.06.2024): 184–207. http://dx.doi.org/10.26156/operamus.2024.16.2.010.

Der volle Inhalt der Quelle

Annotation:

Песни о женихе-соколе являются одной из важных составляющих музыкального репертуара русской свадьбы. Их тематика непосредственно раскрывает ведущую функционально-смысловую линию свадебного обряда, направленную на соединение двух родов. Предварительные наблюдения, сделанные на основе анализа свадебных песен центральных и северных районов России, позволяют выдвинуть ги потезу о том, что песни с сюжетом о женихе-соколе имеют общие структурные свойства. В настоящей статье она подтверждается в ходе изучения фольклорных традиций Новгородской области и сопредельных территорий Псковской, Ленинградской, Тверской областей. Материалами исследования выступают записи, сделанные в фольклорных экспедициях Санкт-Петербургской консерватории в 1968, 1988–1992 гг. В ходе анализа новгородских свадебных песен о женихе-соколе устанавливается принадлежность их одному песенному типу. Выделены общие признаки напевов: 7-сложная тоническая основа стиха, ритмический тип с контрастным соотношением двух строк, принцип сочетания парных и троичных ритмических ячеек. Несмотря на то, что напев является политекстовым, поэтический текст «Соколы вы, соколы» выступает обязательным спутником данной музыкальной формы. Все остальные тексты объединяются общей смысловой идеей, раскрывающей различные грани взаимодействия жениха и невесты в ходе свадебного обряда. В статье рассматривается распространение двух локальных версий песенного типа «Соколы», выявленных на территории Новгородской области. “Falcons” represent a specific group of wedding songs in Russian folk traditions related to the groom-falcon. Their themes directly reveal the leading functional and semantic line of the wedding ceremony and are aimed at connecting the bride,s family and the groom,s family. Preliminary observations made on the basis of the analysis of wedding songs of the central and northern regions of Russia allow us to hypothesize that songs concerning “Falcons” have common structural properties. In this article, it is confirmed based on the study of folklore traditions of the Novgorod region and adjacent territories of the Pskov, Leningrad, Tver regions. The research materials were recorded in folklore expeditions of the St. Petersburg Conservatory in 1968, 1988–1992. A structural analysis of Novgorod wedding songs has shown that the tune associated with the story of the groom-falcon is polytextual. It combines texts commenting on the crucial stages of the ceremony (the moving of the wedding train, the blessing of the bride and groom, the beginning of the feast). The tunes have common features, such as: tonic basis of the verse, 7 syllables per line, contrast between two rhythmic periods, combination of binary and ternary pulsation. Two local versions of the “Falcons” were identified in the Novgorod region. The south-western version goes beyond the Novgorod region and connects it with the Tver and Pskov regions. The north-eastern version has a more compact area, and probably developed precisely in the Novgorod territories.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

41

Han, Siuebin. „Early piano work of Sang Tong: becoming a style“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, Nr. 52 (03.10.2019): 160–72. http://dx.doi.org/10.34064/khnum1-52.11.

Der volle Inhalt der Quelle

Annotation:

Background. The article explores the development of the piano style of the outstanding composer Sang Tong, one of the founders of the national pianistic art. He was one of the first Chinese composers to apply modern techniques of composer writing on the basis of national musical elements. The early period of the creativity of this musician (1950–60’s) was the basis for the formation of his composer personality. The basis of the creative experiments of Sang Tong was his early piano work. In such works as “In a distant place” (1947), “Seven Ballads on the Themes of Songs of Inner Mongolia” (1953), “Three Preludes” (1955), “Two Piano Pieces” (1956), “The Little Children’s Suite” ( 1958), “Miao National Songs” (1959), “Imagination” (1959), the composer’s innovative style crystallized. Objectives. The purpose of the article is consideration and study the early period of Sang Tong’s piano work, the development of his compositional style in the 1950–60’s. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. The influence of European teachers V. Frankel (student A.Schoenberg), J. Schloss (student A. Webern), and Chinese musician Xu Luosi on the formation of the artistic worldview of Sang Tong is investigated. If V. Frankel and J. Schloss instilled in the young musician an interest in modern techniques of composer writing, then Xu Luoxi pointed out to San Tong the importance of preserving the national principle in musical compositions. The influence of other musical genres, in particular, vocal and instrumental, on the formation of the composer’s piano style in the 1950s is also considered. Composer’s works have high artistic value due to his composer personality and high artistic merits of his works, which reflect the national style of music. His music is modern, it is often performed on stage, it sounds on radio and television, it adorns a lot of art and documentary films. The early works of San Tong, according to the peculiarities of harmonic language and musical content, can be divided into three groups. To the first group based on traditional harmony, it is possible to carry its vocal works. Although Sang Tong tried to adhere to traditional harmony, he does not associate himself with rigid canons. The composer boldly uses modern harmonic complexes consisting of nine, eleven, thirteen sounds, variable chords performing the function of complication, uses complex polyphonic combinations, which leads to a strong and dramatic sound. The second type of works differs in that their musical language is based on modal harmony and the structure of pentatonic. Mostly it concerns such works as “Spring wild mountain song”, “Jiannan thousand aromas of rice”, “Piano song about Miao song”, etc. The composer creates his own rich, gravitating to the national style, poetically depicting bright and memorable pastoral paintings. Functional limitations of pentatonic allow the author to diversify the style and demonstrate the inherent elegance of writing. The third group of the composer’s early works is based on a modern style. The main works, where the author used modern innovations, are his “Three Preludes”, “Night” and “In that remote place”. Boldly relying on some principles of modern harmony and combining them with a pentatonic fret, Sang Tong made some useful discoveries. In the “Three Preludes” retaining the color of pentatonic, the author used the serial technique of the composition for the development of the material. When composing chords, he relies on the Chinese principle of Yin Yang, which in this context embodies harmony and disharmony and expands the scope of the chord. Breaking the traditional harmonic concept and transforming it into a complex function that depends on factors such as multi-level chords, using a number of modern notions of harmony, the composer invades the sphere of traditional pentatonic sounding, modernizing it, which allows us to rethink the possibilities of the pentatonic fret. Conclusions. Thus, the early period of music creation laid the foundation for the study of the modern theory of harmony in the work of Sang Tong, and also contributed to the further development of innovation in the use of modern techniques of composer writing in synthesis with pentatonic.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

42

SHAFFER, MELANIE. „Finding Fortune in Motet 13: insights on ordering and borrowing in Machaut's motets“. Plainsong and Medieval Music 26, Nr. 2 (Oktober 2017): 115–39. http://dx.doi.org/10.1017/s0961137117000055.

Der volle Inhalt der Quelle

Annotation:

ABSTRACTOn first glance, Machaut's Tans doucement/Eins que ma dame/Ruina (M13) is a typical motet with few musical or textual anomalies. Perhaps this is why, with the exception of a brief article by Alice V. Clark, little extensive, individual study of M13 has been conducted. This article examines the musico-poetic cues for Fortune found in M13’s many forms of reversal, duality and upset order. The discovery of a new acrostic which references the Roman de Fauvel, whose interpolated motet Super cathedram/Presidentes in thronis/Ruina (F4) is the source of M13’s tenor, further supports a Fortune-based reading of this motet. M13 may therefore be included among the Fortune-prominent motets proposed by Anna Zayaruznaya and Jacques Boogaart (M12, M14 and M15). Understanding that Machaut intentionally ordered his motets, M13 fills a sequential gap, suggesting that M12–15 may serve as a meaningfully ordered group of Fortune-based motets. The acrostic's Fauvel reference also provides additional connections between M13 and F4, offering insight into ways Machaut may have responded to and cleverly cited his sources.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

43

Mamona, Anhelina. „Four Songs op. 41 to Rabindranath Tagore’s poems in musicological reflection: aspects of exploring Karol Szymanowski’s Oriental visions“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 69, Nr. 69 (28.12.2023): 40–55. http://dx.doi.org/10.34064/khnum1-69.02.

Der volle Inhalt der Quelle

Annotation:

Statement of the problem. Karol Szymanowski’s vocal works have repeatedly drawn the attention of researchers particularly from the perspective of embodying an oriental colour. In the majority of such studies one of the composer’s cycles, which should clearly be included in the group of his oriental works, is interestingly omitted. Four Songs op. 41 to the poems by Rabindranath Tagore seem to fall out of the context of the composer’s work, since they lack the traditional complex of musical idioms associated with Eastern exoticism, which was typical for K. Szymanovsky in the 1910s and early 1920s, as well as for the Western European tradition of that time in general. However, this cycle, as argued in this article, is an example of Orientalism, although unusual. Objectives, methods, and novelty of the research. The purpose of the study is to reflect on this cycle from the perspective of the composer’s creative search and testing of alternative to European musical Orientalism artistic solutions. To achieve this objective, the following research methods were chosen: source-critical, comparative-historiographical, genre and stylistic, and semantic. In the musicological works dedicated to Szymanowski’s vocal music and oriental aspect of it the Four Songs to Tagore’s texts are often neglected or characterised as those that lack of significant artistic value. The cycle is usually not considered as a part of composer’s oriental “visions”, which determines the original contribution of the proposed article to researching K. Szymanovski’s work. Results and conclusion. Answering the question whether Szymanowski’s Four songs op. 41 are an extra cycle or a technical exercise, we note that both answers may be correct, but with the negative connotation being excluded. In a group of oriental works, this cycle can really seem odd due to the lack of exoticism in its sound. In a certain sense, the writing of this cycle can be understood as a technical exercise, being perceived as K. Szymanowskis attempt to master the potential of Orientalism beyond exoticism. The composer probably did not set himself the goal of completely moving away from the very idea of Orientalism in the music of the cycle, but he clearly avoided the use of stereotyped signifiers of musical exotics. Apparently, Tagore’s poetry prompted him to try to embody its images on a more personal expressive level. The result of the “technical exercise” was the realisation of the possibility of creating an artistic vision of oriental imagery beyond the clichés of musical exoticism practiced in European art. However, as it can be seen from K. Szymanowski’s subsequent works, this approach, caused by the peculiarities of the poetic source, did not become the leading one in the composer’s work. Four songs op. 41 to the texts by R. Tagore arose at the intersection of two creative interests of the composer: the world of the East and modern musical language. And in this case, the creative decision of the artist was to level in the cycle of signs of musical Orientalism; instead, K. Szymanovsky focuses attention on the deeper, psychological side of R. Tagore’s poems.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

44

Liu, Jian. „Metamorphoses of Puccini’s “La bohème” in Jonathan Larson’s musical “Rent”“. Aspects of Historical Musicology 21, Nr. 21 (10.03.2020): 83–97. http://dx.doi.org/10.34064/khnum2-21.05.

Der volle Inhalt der Quelle

Annotation:

Theoretical background. Depending on the choice of the original source underlying the work, all Broadway musicals can be divided into three main types – with the original libretto and plot (“Next to normal” by T. Kitt), based on (or even on the material) of the same name cartoons (E. John’s “The Lion King”, D. Stewart’s and G. Ballard’s “Ghost”) and operas (E. John’s “Aida” after G. Verdi’s opera of the same name, J. Larson’s “Rent” written after “La bohème” by G. Puccini). In the latter group there is a contrasting branching, which can be observed even on the example of the two named musicals. If E. John seeks to preserve the historical correspondence to the epoch depicted in the opera, as well as to embody the conditionally Egyptian oriental color with the help of exotic orchestration, then J. Larson makes a radical modernization of the plot. His radicalism lies not so much in the time distance over which he “transposes” events, as in the “reduction” to naturalistic brutality and nudity of forbidden, but very “painful” in the 90s of the twentieth century topics – drugs, AIDS, same-sex relationships. In comparison with the problems of the musical, G. Puccini’s opera is perceived as a romanticized fairy tale. The social acuity of the musical is closer to the verismo aesthetics than the opera by G. Puccini, and encourages a more thorough analysis of its relationship with the opera prototype. The objective of the article is to reveal the specifics of the metamorphosis of the plot and musical drama of Puccini’s “La bohème” in the musical “Rent” by J. Larson. In accordance with the goal, research methods such as structural and functional are used to identify the components of the composer’s text and their role in the drama of the whole, comparative method to consider selected works in terms of plot interpretation, libretto features, general developing of the drama and musical text. Results of the study. J. Larson’s musical “Rent” demonstrate a free interpretation of G. Puccini’s opera original, with which a number of metamorphoses take place. The first is related to the modernization of the plot, which is transposed from Paris in the mid-nineteenth century to the 90s of the twentieth century and the “lower classes” of New York. The plot is reduced due to the saturation of its topical issues, which reflected the American spirit of the 90’s – AIDS, drug addiction, same-sex relationships. At the same time, the lyricization of drama is carried out, because in the musical J. Larson shows the development of the love affair of three couples. Almost all of them end tragically: Angel dies, Mimi is also on the verge of death. In turn, Joan and Maureen constantly quarrel and reconcile only at the end of the musical. At the same time, the plot outline of the development of Roger and Mimi’s relationship duplicates a similar line of the opera, starting from the scene of their acquaintance and ending with a duet in the finale, where the characters once again confess their love for each other. The key scene is the manifesto of bohemian life, as in the opera, is the scene in a cafe (“La Vie Boheme”, № 23). Musical dramaturgy of “Rent”, in contrast to the plot, is far removed from the operatic original, due to the genre tradition of the musical, which is reflected in the two-act structure, the principle of dramatic “relaxation” in the second act, where the denouement of all plot lines comes, number structure, where musical numbers alternate with conversational dialogues. At the same time, J. Larson strives for the integrity of the musical’s dramaturgy, which is reflected in the “musicalization” of dialogues, which mostly sound with musical accompaniment and flexibly flow into duet-ensemble scenes. The solo numbers, which brings a stop to the action, is mostly replaced by duets that “promote” the action and reveal the development of the characters’ relationships (the key pair has four such duets). Conclusions. All mentioned qualities of the musical “Rent” significantly distinguish the composition of J. Larson from another example of the musical based after the opera – “Aida” by E. John, which allows us to talk about the presence of individual compositional and dramatic solutions, even when working with a similar source. This shows the significant potential of the Broadway musical as a musical-theatrical genre, as opposed to its accusations of commercialism and the assertion of the priority of entertainment, which makes it an interesting and perspective material for research.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

45

Kusumawati, Intan. „Penerapan Model Pembelajaran Atraktif Berbasis Multiple Intelligences Tentang Pemantulan Cahaya pada Cermin“. JIPF (Jurnal Ilmu Pendidikan Fisika) 1, Nr. 1 (01.03.2016): 5. http://dx.doi.org/10.26737/jipf.v1i1.52.

Der volle Inhalt der Quelle

Annotation:

Penelitian ini bertujuan untuk mengetahui efektivitas penerapan model pembelajaran atraktif berbasis multiple intelligences dalam meremediasi miskonsepsi siswa tentang pemantulan cahaya pada cermin. Pada penelitian ini digunakan bentuk pre-eksperimental design dengan rancangan one group pretest-post test design. Alat pengumpulan data berupa tes pilihan ganda dengan reasoning. Hasil validitas sebesar 4,08 dan reliabilitas 0,537. Siswa dibagi menjadi lima kelompok kecerdasan, yaitu kelompok linguistic intelligence, mathematical-logical intelligence, visual-spatial intelligence, bodily-khinestetic intelligence, dan musical intelligence. Siswa membahas konsep fisika sesuai kelompok kecerdasannya dalam bentuk pembuatan pantun-puisi, teka-teki silang, menggambar kreatif, drama, dan mengarang lirik lagu. Efektivitas penerapan model pembelajaran multiple intelligences menggunakan persamaan effect size. Ditemukan bahwa skor effect size masing-masing kelompok berkategori tinggi sebesar 5,76; 3,76; 4,60; 1,70; dan 1,34. Penerapan model pembelajaran atraktif berbasis multiple intelligences efektif dalam meremediasi miskonsepsi siswa. Penelitian ini diharapkan dapat digunakan pada materi fisika dan sekolah lainnya.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

46

Prokopov, S. „J. S. Bach and G. F. Handel’s works performed by the choir of the Kharkiv National Kotlyarevsky University of Arts students“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, Nr. 52 (03.10.2019): 22–37. http://dx.doi.org/10.34064/khnum1-52.02.

Der volle Inhalt der Quelle

Annotation:

Background. In Ukraine both musicologists and performers (in particular the choirs conducted by well-known choirmasters) do much for the further development of the home Bach studies. For instance, the direction of the ‘choral bahhiana’ was actively developed by the leading choirmasters of that time professor M. Berdennikov (Kiev), Y. Kulik (Kharkiv) in the 60’s and 70’s. It is known that future students of the choral conducting departments first learn the choral heritage of J. S. Bach and G. F. Handel, as a rule, at the piano lessons at children musical schools and secondary schools. Unfortunately, their choral works aren’t often sounded today in the concert halls of musical academies and universities of arts. This music seemed to move from the concert stage to the classrooms. Analysis of publications according the topic. Among the researches that highlight the problems of the style of the sacred works of J. S. Bach and G. F. Handel, it is necessary to point out the fundamental studies of I. Givental and L. Gingold, M. Druskin, T. Livanova, V. Protopopov, A. Schweitzer, articles of modern authors by K. Berdennikova, N. Inutochkina, Y. Lyashenko, V. Semenuk, G. Skobtsova. However, the questions of the specifics of choral vocal technique remain, as a rule, outside the attention of scholars and they constitute the topic’s relevance of the article. Methods. The usage of the historical method contributed to the research of the educational choral performance at the present stage. It is involved structural-functional and intonational methods for establishing dramatic works’ features and concretization of their spiritual content. The comparative method is used to determine the differences between vocal style of J. S. Bach and G. F. Handel’s works and the technique of working with them. Objectives. The main goal is systematization of theoretical and practical observations with the performance of J. S. Bach and G. F. Handel’s choral works by the choir of the Kharkiv National Kotlyarevsky University of Arts students. The article is devoted to highlighting the problems of the performing process and the specifics of the choir practice of students with compositions by J. S. Bach (Cantata No. 140, ‘Wachet auf, ruft uns die Stimme’ and Magnificat) G. F. Handel (Dettingen Te Deum in D major, HWV 283). Results. The holding of the 22nd International Music Festival “Kharkiv Assemblies” devoted to the J. S. Bach and G. F. Handel’s oeuvre in 2015 was a significant event not only for Kharkiv but also the whole Ukraine’s musical life. The choir of the Kharkiv National Kotlyarevsky University of Arts students traditionally participated in it as in previous years (art director – Honored Art Worker of Ukraine, professor S. Prokopov, choirmasters – laureate of the all-Ukrainian competition H. Savelyeva, award winner of the all-Ukrainian competition O. Fartushka). The choir performed Magnificat and Cantata No. 140 by J. S. Bach ‘Wachet auf, ruft uns die Stimme’, fragments from the Dettingen Te Deum in D major, HWV 283 by G. F. Handel (the last two works are Kharkiv premieres). The work with them took place in short order and so it caused of some vocal technique difficulties and the problems of performative concept and performative style. Complaxities were intensified by the lack of necessary acoustic accumulation and the practical experience of performing the music of the Baroque by many young choirmasters, members of the choir group. The importance of studying the musical heritage of composers of genius in order to make a conductor-choirmaster personality is emphasized in the article. The main difficulties of learning choral scores due to the lack of performing experience, certain acoustic accumulation of choral music of the late baroque period which students of choral conducting specialization have. The approximation to the true understanding of the performing style of choral music by J. S. Bach and G. F. Handel may be provided with conditions of a thorough in-depth studying their works. The main tasks of the performative choices are described: appreciation of the entire depth of the spiritual content of J. S. Bach’s and G. F. Handel’s music by young performers, the correlation between vocal and instrumental principles, rational and emotional ones. One of the main tasks of the choir practice of students with J. S. Bach’s cantata No. 140 «Watchet auf, ruft uns die Stimme» was an adequate presentation of composer’s style. The composer treats the human voice as equal to the orchestra. Therefore, the vocal-instrumental nature of Bach’s choral style needs another way of sound-building, a greater unity of voices than our home choral music needs. They consider specific methods and techniques of work on such executive factors as tempo-rhythm, strokes. The questions of choral vocal technique, in particular, vocal intonation (significance of timbre expression, usage of different types of respiration, clear diction, active articulation) are raised. J. S. Bach’s interpretation of voice as an instrument, demands from performers a great deal of its mobility, almost virtuosity, especially in contrapuntal sections. As for the vocal style of G. F. Handel, the influence of the operatic style, which is felt in his oratorios and cantatas is emphasized. Conclusions. The choir practice of students and performing by the student choir of German composers’ genius works, the communication of young performers with outstanding conductors, singers (including foreign ones) became for them the true school of craftsmanship, promoted the professional growth of the choir group, revealed its new performance capabilities. Choral music of J. S. Bach and G. F. Handel should move from the educational audiences of universities and academies to the specific halls. The works of genius need to include in student choral groups’ repertoire.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

47

Putro, Dhimaz Anggoro, und Muhammad Nur Salim. „PERKEMBANGAN GARAP KARAWITAN JARANAN KELOMPOK SENI GUYUBING BUDAYA DI KOTA BLITAR (1980-2017)“. Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 18, Nr. 1 (26.03.2019): 52–66. http://dx.doi.org/10.33153/keteg.v18i1.2396.

Der volle Inhalt der Quelle

Annotation:

AbstrakPenelitian ini dilatarbelakangi oleh ketertarikan terhadap perkembangan garap karawitan Jaranan yang terjadi pada kelompok seni Guyubing Budaya di Kota Blitar. Kelompok tersebut berusaha mengembangkan garap karawitan Jaranan dengan tujuan mendapatkan kepopuleran dan mengoptimalkan sajian pertunjukan kesenian Jaranan sebagai upaya menjaga kualitas di kalangan masyarakat dengan tetap mempertimbangkan kearifan lokal warisan leluhur kesenian Jaranan yang telah diwariskan secara turun-temurun. Permalahan yang ingin dijawab pada penelitian ini adalah, (1) bagaimana kronologi perkembangan garap karawitan Jaranan kelompok seni Guyubing Budaya dari tahun 1920 sampai 2017, (2) mengapa garap karawitan Jaranan kelompok seni Guyubing Budaya saat ini mengalami perkembangan.Konsep garap Rahayu Supanggah digunakan untuk mengupas permasalahan terkait garap. Dengan dasar konsep tersebut, garap karawitan Jaranan dapat dibagi berdasarkan unsur-unsur garap di dalamnya yang meliputi (1) materi garap, (2) penggarap, (3) sarana garap, (4) perabot atau piranti garap, (5) penentu garap, dan (6) pertimbangan garap. Sedyawati menjelaskan istilah mengembangkan lebih mempunyai konotasi kuantitatif dan kualitatif yang berarti memperbanyak tersedianya kemungkinan untuk mengolah dan memperbarui. Teori tersebut adalah landasan untuk mengupas permasalahan terkait perkembangan. Penelitian ini juga menggunakan dasar analisis evolusi multilinear Julian Steward. Menurut Steward Terdapat tiga tahapan analitik penting untuk membaca kasus perkembangan kebudayaan dengan teori ini. Tiga tahapan tersebut adalah melakukan perbandingan, menelusuri hubungan causal, dan melihat secara mendalam elemen manusia dalam lingkungan berdasarkan kronologinya.Perkembangan garap karawitan Jaranan kelompok seni Guyubing Budaya terjadi secara kronologis, melalui beberapa tahapan masa atau waktu. Perkembangan ini terjadi karena adanya faktor-faktor pendukung dari dalam (internal) dan dari luar (eksternal) kelompok seni Guyubing Budaya. Hasil penelitian ini menunjukkan bahwa perkembangan garap karawitan Jaranan kelompok seni Guyubing Budaya terdapat benang merah dengan garap karawitan Jaranan terdahulu. Perkembangan garap tersebut juga ditunjukkan dengan penambahan materi garap, penggarap, prabot atau piranti, penentu dan sarana garapnya.Kata kunci: Garap, Perkembangan, Kronologi, Faktor Pendukung, Karawitan JarananAbstract This research is motivated by an interest in the stylistic developments of the music that accompanies Jaranan, as played by the group Guyubing Budaya in Blitar. This group has been actively developing the style of Jaranan musical accompaniment in order to maintain the quality of performances in the community while also considering the local wisdom [kearifan lokal] passed down through the generations that informs this art form.The issues explored in this research involve 1) a chronological study of Guyubing Budaya from its founding in 1920 until 2018, and 2) the changes that Guyubing Budaya is currently experiencing. This article invokes Supanggahâ€™s theory of garap, which discusses the musical materials and tools at the disposal of the musicians is used to explore issues of musical garap It also utilizes Sedyawatiâ€™s exegesis of the term â€œdevelopmentâ€ which has quantitative and qualitative connotations that increase the chances for development and renewal. The research also uses Julian Stewards idea of multilinear evolution as the basis of analysis. According to Steward, there are three important analytical stages in understanding the development of culture. These stages involve making comparisons, tracing casual relationships, and taking a chronological view in order to make deep explorations of human elements within their environment.This article gives a chronological account of Guyubing Budaya through its various stages and eras, noting the internal and external factors that motivated the changes. The study shows the continuity between the musical style developed by Guyubing Budaya and the styles of Jaranan accompaniment in the past, indicated by the factors which Supanggah has outlined in his theory of garap.Keywords: Garap, Development, Chronological factors supporting development, Jaranan

APA, Harvard, Vancouver, ISO und andere Zitierweisen

48

Ma, Lita. „Bentuk dan Elemen Musik Akustik dalam Piano Kover Lagu ‘DNA’ karya BangtanSonyeondan (BTS)“. PROMUSIKA 9, Nr. 2 (17.03.2022): 78–83. http://dx.doi.org/10.24821/promusika.v9i2.5435.

Der volle Inhalt der Quelle

Annotation:

Perpaduan antara musik elektronis dan musik populer menghasilkan aliran musik baru, yaitu Electronic Dance Music (EDM). EDM merupakan genre musik elektronis perkursif dengan menggunakan peralatan berteknologi tinggi. Salah satu tempat yang mulai mengeksperimen EDM adalah Korea Selatan, yaitu Kpop atau lebih dikenal sebagai Korean Pop. Kpop menggunakan perpaduan antara musik Korea dengan musik Barat, salah satu contoh yang menggunakan EDM adalah lagu ‘DNA’ karya grup BTS. Masyarakat sekarang suka mengkover lagu ke bentuk vokal ataupun instrument, salah satunya adalah piano kover. Permasalahan yang diteliti adalah mengetahui bentuk dan elemen musik EDM dalam bentuk piano kover. Penelitian ini bertujuan untuk mengetahui bentuk dan elemen musik lagu ‘DNA’ karya BTS dalam piano kover. Penelitian ini menggunakan metode kualitatif dengan pengambilan data berupa studi literatur, studi diskografi, dan observasi. Hasil penelitian menunjukkan bahwa bentuk musik yang diterapkan dalam piano kover tetap sama, tetapi terdapat perbedaan dalam elemen musik, yaitu poliritmik, harmoni, dan warna nada.AbstractForms and Elements of Acoustic Music in Bangtansonyeondan (BTS)'s Piano Cover of 'DNA'. Electronic music and popular music combined resulted in a new genre of music, namely Electronic Dance Music (EDM). EDM is a percussive electronic music genre using high-tech equipment. One of the places that started experimenting with EDM was South Korea, namely Kpop or Korean Pop. Kpop uses a mix of Korean music with Western music. One example that uses EDM is the song 'DNA' by the BTS group. People now like to cover songs to vocals or instruments, one of which is a piano cover. The problem under study is knowing the form and elements of EDM music in a piano cover. This study aims to determine the form and musical elements of the song 'DNA' by BTS on the piano cover. This study uses qualitative methods with data collection in literature studies, discography studies, and observations. The results showed that the musical form applied to the piano cover remained the same, but there were differences in the musical elements, namely polyrhythmic, harmony, and tone colour.Keywords: electronic music; music popular; EDM; Kpop; piano cover

APA, Harvard, Vancouver, ISO und andere Zitierweisen

49

Demianko, N. „THE SIGNIFICANCE OF THE PROFESSOR HRYHORII LEVCHENKO’S CONDUCTING AND CHORAL ACTIVITIES IN UKRAINIAN CULTURE AND EDUCATION“. Aesthetics and Ethics of Pedagogical Action, Nr. 28 (19.12.2023): 127–37. http://dx.doi.org/10.33989/2226-4051.2023.28.293176.

Der volle Inhalt der Quelle

Annotation:

The article reveals the significance of Professor H. S. Levchenko’s conducting and choral activity in Ukrainian culture and education, its main stages are considered. They are the following: the organization and management of the women’s choir of the Poltava Sewing Factory (1957), the amateur choir “Reshetylivka embroiderers,” the women’s song and dance ensemble at The Palace of Culture of Poltava Cotton and Spinning Factory (1960), the “Horlytsia” choral folk group (1961). The significance of H. S. Levchenko’s creative achievements, participation, and victories in many regional, republican, and international festivals and competitions are emphasized. The peculiarities of the artist’s work with the academic choir chapel of Poltava V. G. Korolenko State Pedagogical Institute (1967), the Ukrainian folk choir “Barvinok” of Poltava meat processing plant (1974) are revealed. It has been determined that the apotheosis of H. S. Levchenko’s conducting and choral activity is the constant artistic direction of the Ukrainian folk choir “Kalyna” (1979-2022). It is analyzed in artistic, pedagogical, and organizational aspects. Attention is focused on the achievement of a high professional and performing level of the group. Its creative achievements and awards, choral repertoire, concert activities, and touring trips are characterized. It is noted that “Kalyna” became a creative laboratory of the Department of Music of Poltava V. G. Korolenko Nation Pedagogical University, where the best traditions of future teacher training were preserved and continued, and the pedagogical ideas of the outstanding Ukrainian teacher, musicologist, conductor, ethnographer, choreographer and composer V. M. Verkhovynets were implemented. Based on the Ukrainian folk choir “Kalyna,” students achieved high-performing vocal-choral, instrumental, and stage skills during several years, enriched themselves spiritually, improved their professional and organizational skills, and deepened their knowledge of musical-aesthetic and national education of the young generation.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

50

Векслер, Ю. С. „Erwin Schulhoff ’s Dadaist Ballets: From Mystery to Grotesque“. OPERA MUSICOLOGICA 15 / 3, Nr. 15/3 (2023) (12.09.2023): 8–27. http://dx.doi.org/10.26156/om.2023.15.3.001.

Der volle Inhalt der Quelle

Annotation:

Статья посвящена двум балетам чешского композитора Эрвина Шульхофа (1894–1942), написанным в 1920-е гг. Они вобрали в себя как его опыт в области джаза, так и многие идеи дадаизма — движения, к которому он примкнул в конце 1910-х. Шульхофа привлекали упругие ритмы и откровенная сексуальность танцевально-джазовой музыки, он рассматривал ее как действенное средство обновления музыкального искусства. Дадаисты пробудили его интерес к примитивным культурам, неевропейской экзотике. Важными оказались и контакты дадаистов с создателями так называемого «выразительного танца» — Рудольфом фон Лабаном и Мари Вигман. Балетная мистерия «Огелала» (Ogelala, 1922) написана на сюжет из жизни ацтеков. Одним из первых Шульхоф прибегает к эмансипации ударных инструментов и разрабатывает дифференцированную систему соответствий между их звучанием и пластикой балета. Второй балет, «Лунатичка» (Die Mondsüchtige, 1925), основан на ранее написанной Сюите для камерного оркестра (1921), которую Шульхоф снабдил эпатажным дадаистским прологом. Сюита, составленная из модных танцев и джазовых пьес, была переработана в «танцевальный гротеск» (Tanzgroteske) на либретто чешского поэта Витезлава Назвала, близкое послевоенным балетам группы «Шести». The article is devoted to two ballets by the Czech composer Erwin Schulhoff (1894–1942), created in the 1920s. They absorbed both his experience in the field of jazz music and many of the ideas of Dadaism, a movement which he joined in the late 1910s. Schulhoff was attracted by the elastic rhythms and outright sexuality of dance and jazz music, he considered it an effective means of renovation of the musical art. Dadaists awoke his interest in primitive cultures, non-European exotics. Their contacts with the creators of the so-called “expressive dance”, Rudolph von Laban and Mary Wigman, were also important. The ballet mystery Ogelala (1922) is composed according to a plot from the life of the Aztecs. Schulhoff was one of the first to resort to emancipation of percussion instruments and develop a differentiated system of concordances between their sound and the plasticity of ballet. The second ballet, Die Mondsüchtige (1925), is based on a previously composed Suite for Chamber Orchestra (1921), which Schulhoff precessed with an outrageous dada prologue. The suite, composed of fashionable dances and jazz pieces, was reworked into a “grotesque dance” (Tanzgroteske) based on a libretto by the Czech poet Vítězslav Nezval, close to the post-war ballets of the Six group.

APA, Harvard, Vancouver, ISO und andere Zitierweisen

Zeitschriftenartikel zum Thema „Brigada S (Musical group)“

Geben Sie eine Quelle nach APA, MLA, Chicago, Harvard und anderen Zitierweisen an