Zeitschriftenartikel: „Expanded music“

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de la Motte-Haber, Helga. „Expanded Film ‒ Expanded Sound“. Archiv für Musikwissenschaft 69, Nr. 3 (2012): 207–17. http://dx.doi.org/10.25162/afmw-2012-0019.

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2

Irlandini, Luigi Antonio. „Expanded Modal Rhythm“. Revista Vórtex 5, Nr. 1 (30.06.2017): 1–24. http://dx.doi.org/10.33871/23179937.2017.5.1.1859.

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This article is written by a composer on his own music. It describes a set of rhythmic organization principles used in my compositional research since 1989. These principles greately expand what is traditionally known as "modal rhythm" , which appears for the first time in the music of the 12th century polyphonists of the Notre Dame School: Leoninus and Perotinus. For this reason, I call this group of rhythmic principles "expanded modal rhythm" . They are a part of a larger context of temporal organization principles designed to generating ametric textures, complex polyrhythm and cross rhythms, and certain desired types or rhythmic flow. I use examples taken from four of my compositions.

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Laes, Tuulikki, und Heidi Westerlund. „Performing disability in music teacher education: Moving beyond inclusion through expanded professionalism“. International Journal of Music Education 36, Nr. 1 (14.05.2017): 34–46. http://dx.doi.org/10.1177/0255761417703782.

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Disability is a neglected field of diversity within music education scholarship and practices. The study reported in this article sought alternatives for the hierarchical practice-model and ableist discourses that have thus far pervaded music teacher education, through a reconceptualization of expertise. The focus is on a Finnish university special education course, where musicians with learning disabilities conducted workshops for student music teachers over three consecutive years. Student teachers’ written reflections ( n = 23) were reflexively analyzed in order to examine how performing disability may disrupt, expand, and regenerate normative discourses and transform inclusive thinking in music teacher education. Performing disability is here seen to generate critical discursive learning, and create third spaces for pedagogical diversity and the co-construction of professional knowledge. It is thus argued that through teaching with, and by, rather than about, we in music education may move beyond normalizing understandings and practices of inclusion, towards an expanded notion of professionalism.

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Cole, William Davy. „TOUCH AS A MODEL FOR EXPANDED MUSICAL FORM“. Tempo 73, Nr. 287 (24.12.2018): 62–70. http://dx.doi.org/10.1017/s0040298218000657.

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AbstractTouch is world-directed, temporally extended, exploratory contact and movement. It was by modelling his theory of perception on touch that Alva Noë was able to show (inAction in Perception, 2006) that perceptual experience acquires content through our physical interactions with the world, that the detail we perceive in the world ‘is experienced by us asout there, not asin our minds’ (p. 33). In this essay, I share some thoughts on how understanding musical experience on these terms, as touch-like, may be a useful means of looking past the work-concept to the wider field of musical possibilities beyond. I begin by briefly considering the phenomenology of touch, which serves as the basis for the argument that follows.

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Powell, Bryan. „Community music interventions, popular music education and eudaimonia“. International Journal of Community Music 00, Nr. 00 (24.02.2021): 1–23. http://dx.doi.org/10.1386/ijcm_00031_1.

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The fields of community music and popular music education have expanded rapidly over the past few decades. While there are many similarities between these two fields, there are aspects that set these two areas of practice apart. This article seeks to explore the intersections of community music interventions and popular music education to explain how they are similar and in which ways they are unique. This discussion centres on examinations of facilitation, ownership of music, training and certification, inclusivity, life-long music making, amateur engagement, informal learning and non-formal education, and social concerns. The Greek philosophy of eudaimonism, understood as ‘human flourishing’ is then used to explore the opportunities for human fulfilment through popular music education and community music approaches.

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Guez, Jonathan. „Process and Pendulum in Schubert's Expanded Type 1 Sonatas“. Music Analysis 40, Nr. 2 (Juli 2021): 147–77. http://dx.doi.org/10.1111/musa.12172.

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7

Smith, Neil T. „Alessandro Perini - Alessandro Perini, The Expanded Body. Kairos, 0015061 KAI.“ Tempo 76, Nr. 301 (Juli 2022): 99–100. http://dx.doi.org/10.1017/s004029822200016x.

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G'Froerer, Callum. „WEAVING AN EXPANDED SONIC PRACTICE: PROPOSING A TEXTILIC SONIC METHOD“. Tempo 77, Nr. 306 (01.09.2023): 7–21. http://dx.doi.org/10.1017/s0040298223000311.

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AbstractThis article discusses the way textile metaphors can act as catalysts for reflection in my practice as a trumpet performer and composer. Metaphors such as ‘fibre’, ‘spin’, ‘yarn’, ‘ply’, ‘weave’, ‘loom’, ‘drape’ and ‘felt’ are engaged as lenses through which the dynamic, contingent and tailorable interactions are made between sonic and extra-sonic elements in my expanded practice. The metaphors are engaged to shape instrumental techniques, improvisation, form, audiovisual media, physicality and spatial design. In this article, I describe how I developed my own expanded sonic practice by using Tim Ingold's concept of ‘textility’, expressed as a Textile Sonic Method (TSM). I demonstrate the application of this method using a subset of textile metaphors as the basis for the development of new double-bell trumpet techniques and applications in a range of compositions: Gradient (2020–23), for double-bell trumpet, live video and sound processing, co-composed with Olivia Davies and Nick Roux; Untitled (2021), for double-bell trumpet, portative organ and electronics, co-composed with James Rushford; and my own work Charcoal VI (2017), for spatialised, amplified double-bell trumpet. This article outlines the potential for the application of metaphor as a creative catalyst in an expanded sonic practice.

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Harley, James. „Peter Manning: Electronic and Computer Music, Revised and Expanded Edition“. Computer Music Journal 28, Nr. 4 (Dezember 2004): 93–95. http://dx.doi.org/10.1162/comj.2004.28.4.93.

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10

Goodall, Mark. „Auto Jazz: Barney Wilen and the expanded soundtrack“. Soundtrack, The 14, Nr. 1 (01.06.2023): 37–50. http://dx.doi.org/10.1386/ts_00020_1.

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This article offers a close analysis of the 1968 ‘soundtrack’ LP Auto Jazz: Tragic Destiny of Lorenzo Bandini (MPS) by the French saxophone player Barney Wilen. The theme of the LP is Italian racing driver Lorenzo Bandini’s death in a motor racing accident at the Grand Prix Automobile de Monaco in 1967. The article also discusses the visual dimension of the work; image materials were originally to have been presented with the recording to make Auto Jazz a multi-media experience. We tend to associate the late 1960s with revolutionary jazz, free jazz and experiments with jazz form and Auto Jazz: Tragic Destiny of Lorenzo Bandini is certainly ‘far out’. Jazz music at this time took on revolutionary tendencies both aurally and ideologically. However, it is not the politics of such countercultural acts that the recording expresses but rather (as a unique soundscape with elements of musique concrète) the emotional impact of a tragic real-life event through organized sound. The article examines the context for the LP: the development of ‘new wave’ cinema and use of jazz in this form, the concurrent revolution in modern jazz and contemporary experimental music and the form of ‘expanded cinema’ () that Auto Jazz: Tragic Destiny of Lorenzo Bandini was conceived to a contribution to.

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Berliner, Adam H., David Castro, Justin Merritt und Christopher Southard. „Expanded interval cycles“. Journal of Mathematics and Music 12, Nr. 1 (02.01.2018): 21–33. http://dx.doi.org/10.1080/17459737.2018.1453950.

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Badaloni, Federico. „Design Notes: On the Information Architecture of Music“. Journal of Information Architecture 6, Nr. 1 (01.04.2021): 41–57. http://dx.doi.org/10.55135/1015060901/211.009/3.038.

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The article frames music through the lens of information architecture in order to infer a few considerations on information architecture through the lens of music, and is a thoroughly revised and expanded version of the author’s opening keynote at World Information Architecture Day in Verona, Italy, February 18 2017

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Culp, Mara E., und Matthew Clauhs. „Factors that Affect Participation in Secondary School Music: Reducing Barriers and Increasing Access“. Music Educators Journal 106, Nr. 4 (Juni 2020): 43–49. http://dx.doi.org/10.1177/0027432120918293.

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Students often enter secondary schools with increased autonomy over course selection and how they meet graduation requirements. Those who once participated in school music may discontinue music studies for a variety of reasons. Music teachers should be mindful of factors that may affect a student’s ability or desire to participate in school music. This article discusses these factors and suggests practices to increase access to music education for all students. By examining practices and considering ways they can be altered or expanded to provide more options and be more inclusive, music educators may be able to provide more opportunities for all students.

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Waters, Heather D. „Optional music interactions with young children: Narratives from preservice music educators“. International Journal of Music in Early Childhood 16, Nr. 2 (01.09.2021): 155–73. http://dx.doi.org/10.1386/ijmec_00035_1.

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Young children are best supported when adults engage in behaviours that acknowledge and extend their unique musical capabilities via an understanding of developmentally appropriate practices. However, preservice music educators may receive few opportunities to interact with the youngest musical learners as part of their fieldwork experiences within formal degree requirements. This narrative inquiry explores the collective experiences of one teacher educator and five preservice music education majors as they interacted musically with young children during an optional programme designed to supplement existing fieldwork requirements. Specifically, we uncovered tensions related to balancing teacher educator support with students’ freedom, perceptions of teaching skills and perceptions of young children’s musical capabilities. These tensions promoted growth via reflection and uncovered expanded perceptions of teaching competencies and identities.

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Gatt, Michael. „The OREMA Project: A call for the liberation of sound analysis“. Organised Sound 20, Nr. 3 (16.11.2015): 316–22. http://dx.doi.org/10.1017/s1355771815000242.

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Following Edgard Varèse’s influential lectures – translated and documented in ‘The Liberation of Sound’ – electroacoustic music has spawned many different styles and genres. His argument was for composers to follow their imagination and not be bound to the constraints of musical notation. This, arguably, was one of the catalysts for the emergence of electroacoustic musical works. With past and recent technological advancement, the varieties of genres and styles within electroacoustic music have only expanded, challenging the notion of how one could analyse such works. It is therefore unsurprising that there is no general consensus on analytical methodologies. But for an art form that celebrates all musical possibilities should the analysis of such musics be constraint to a set number of formalised analytical methodologies?Rather than propose a new all-encompassing methodology, this article will argue for a universal approach to electroacoustic music analysis and the liberation of sound analysis. The concept of an analytical community (a community that accepts multiple analyses whilst encouraging practitioners to find new and innovative ways to analyse such works) will be raised as a means to address the issues facing electroacoustic music analysis, using the OREMA (Online Repository for Electroacoustic Music Analysis) project as an example of such an initiative.

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Lilliestam, Lars. „On playing by ear“. Popular Music 15, Nr. 2 (Mai 1996): 195–216. http://dx.doi.org/10.1017/s0261143000008114.

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The vast majority of all music ever made is played by ear. To make music by ear means to create, perform, remember and teach music without the use of written notation. This is a type of music-making that has been little observed by musicology, which has mainly been devoted to notated music. Even in the research on folk and popular music, which has expanded in the last twenty or thirty years, questions of musical practice when you play by ear are rarely treated: how do you learn to play an instrument, how do you make songs, how do you teach and learn songs and how do you conceive of music theory?

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Wärja, Margareta, und Lars Ole Bonde. „Music as Co-Therapist: Towards a Taxonomy of Music in Therapeutic Music and Imagery Work“. Music and Medicine 6, Nr. 2 (25.10.2014): 16. http://dx.doi.org/10.47513/mmd.v6i2.175.

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In receptive music therapy, music listening is used as a therapeutic medium in many different ways. The Bonny Method of Guided Imagery and Music (GIM) is a specific receptive music therapy model where the client or patient listens to selected classical music in an expanded state of consciousness in an ongoing dialogue with the therapist, facilitating symbolic and metaphorical imagery in many modalities. In this model, music is often considered a “co-therapist”, and more than 100 music programs are used to address specific issues and problems. However, no classification of the music used in GIM exists. This article presents a matrix with 3 major categories: 1) Supportive music – 2) Mixed supportive and challenging music – 3) Challenging music, with three subcategories within each category. Based on a review of literature related to music listening in music and medicine the taxonomy is introduced and its relevance for the Bonny Method discussed, with special focus on two adaptations: KMR-Brief Music Journeys and Group Music and Imagery (GrpMI). Vignettes from KMR with one individual cancer patient and from GrpMI sessions with psychiatric patients are presented and related to the taxonomy.

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Brook, Taylor. „Ascending Music: Meaning and Expression in the Chamber Music of Brian Cherney“. Overviews 37, Nr. 1 (17.05.2019): 83–98. http://dx.doi.org/10.7202/1059888ar.

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This article investigates the musical language of Brian Cherney, applying the idea of musical topics as a strategy for analyzing the extramusical content of his music. The idea of musical topics, traditionally applied to works from the classical era, is expanded with a collection of topics that are specific to Cherney’s work. Focusing on a set of chamber pieces from throughout Cherney’s compositional output beginning in the 1960s, this article focuses particularly on the topic of “ascending music,” tracing its musical and expressive meaning through these chamber works. The article concludes with a topic-based analysis ofGan Eden,a 1983 piece for violin and piano, providing an example of how topics coexist and interact within a single composition.

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STREHOVEC, Janez. „Art State, Art Activism and Expanded Concept of Art“. Cultura 18, Nr. 2 (01.01.2021): 55–73. http://dx.doi.org/10.3726/cul022021.0003.

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Abstract: Contemporary post-aesthetic art implies an expanded concept of the work of art that also includes political functions. Beuys’s concept of social sculpture and Marcuse’s idea of society as a work of art can be complemented by Abreu’s project of a musical orchestra as a social ideal (the Venezuelan example of the music and education project El Sistema) and the Neue Slowenische Kunst transnational state formed from the core of art. These concepts are close to the views of Hakim Bey (Temporary Autonomous Zone), with D’Annunzio also touching upon them with his State of Fiume (1919–1920), for which he wrote the constitution and defined music as its central governing principle. Although the art state is a utopian project, art can serve a variety of emancipatory functions even in the dystopian present to intervene in and change the political. In this article, we also discuss the case of art activism in Slovenia, where culture (with many engaged artists) has become a central part of civil society oriented towards social change. Art activism contributes to an expanded concept of the political, which includes new subjects and new forms of antagonisms. Likewise, such repurposing of art emphasises its role in research.

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Baker, George. „Photography's Expanded Field“. October 114 (Oktober 2005): 120–40. http://dx.doi.org/10.1162/016228705774889574.

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Dwyre, Cathryn, und Chris Perry. „Expanded Fields: Architecture/Landscape/Performance“. PAJ: A Journal of Performance and Art 37, Nr. 1 (Januar 2015): 1–7. http://dx.doi.org/10.1162/pajj_a_00230.

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22

Caplin, William E. „The “expanded cadential progression”: A category for the analysis of classical form†“. Journal of Musicological Research 7, Nr. 2-3 (September 1987): 215–57. http://dx.doi.org/10.1080/01411898708574585.

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23

Bye, Antony. „Carter's ‘Classic’ Modernism“. Tempo, Nr. 189 (Juni 1994): 2–5. http://dx.doi.org/10.1017/s0040298200003417.

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In a recent interview Elliott Carter reaffirmed his commitment to ‘modernism’, a concept which he went on to define – with respect to music – as ‘the concern with an expanded vocabulary which Stravinsky, Varése and Schoenberg introduced before the first world war – and after’. This ‘expanded vocabulary’ involved ‘Not only the whole field of dissonance, but also new points of view about rhythm and new sonorities’. Carter's musical modernism was also bound up with an awareness ‘that we were living in a world… completely changed by the writings of Freud’ and that ‘the whole sense of the subconscious and the conscious were much more intricately involved that we had thought’.

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Ritterman, Janet. „Music History – On the Decline?“ British Journal of Music Education 7, Nr. 3 (November 1990): 239–47. http://dx.doi.org/10.1017/s0265051700007841.

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The position of music history, traditionally regarded as a central element of the music curriculum in higher education as well as in secondary schools, has seemed to be challenged both by recent changes in the curriculum content and by reappraisals of the philosophy and practice of advanced musical study. This article, an expanded version of a paper given in the session on Curriculum Developments in Higher Education at the first British Music Educators' Conference in Huddersfield in July 1989, assesses the impact of these changes and relates them to changing attitudes within the discipline of musicology as well as within other historically based areas of enquiry.

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Lee, William R. „Music Education and Rural Reform, 1900-1925“. Journal of Research in Music Education 45, Nr. 2 (Juli 1997): 306–26. http://dx.doi.org/10.2307/3345589.

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Between 1900 and the early 1920s, music began to be viewed as an important social tool by Progressive Era reformers. One aspect of reform was inspired by the Country Life Movement. With over half the children in the United States still living in rural areas, reformers focused on improving the economic and social conditions of rural people. Rural reformers expanded university offerings in music and campaigned for the legal and educational framework for music education. Ideas for mass music education were explored, including efforts based on agricultural extension models. New approaches were tried that are now standard. A social rationale for music was expounded, giving importance to the Community Music Movement and the Pageant Movement. Rural reform contributed to a wider acceptance of music as an important aspect of education and promoted music as a social necessity.

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Lerdahl, Fred. „Genesis and Architecture of the GTTM Project“. Music Perception 26, Nr. 3 (01.02.2009): 187–94. http://dx.doi.org/10.1525/mp.2009.26.3.187.

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I EXAMINE THE INTELLECTUAL AND MUSIC-THEORETIC origins of A Generative Theory of Tonal Music (Lerdahl & Jackendoff, 1983) and review the crucial steps in theory construction that led to its overall architecture. This leads to a discussion of how shortcomings in GTTM motivated developments in Tonal Pitch Space (Lerdahl, 2001). I conclude with a diagram that encompasses the major components of the expanded GTTM/TPS theory.

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Brooks, Darlene. „Clinical Training Guide for the Student Music Therapist: 2nd Edition Polen, Donna, Shultis, Carol, & Wheeler, Barbara (Eds.)“. Music and Medicine 10, Nr. 1 (25.01.2018): 48. http://dx.doi.org/10.47513/mmd.v10i1.601.

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This is a second, expanded and updated edition of Clinical Training Guide for the Student Music Therapist, originally published in 2005. Designed for use by music therapy students at all levels of training, the information is organized to support the scaffolding of knowledge and skills as students advance through typical levels of involvement: observing session; participating and assisting; planning and co-leading; and ultimately leading sessions independently

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Coaldrake, Kimi. „Plucked Strings and Expanded Horizons: Tradition and Diversification in Japanese Musical Instrument Studies“. Musicology Australia 34, Nr. 2 (Dezember 2012): 297–305. http://dx.doi.org/10.1080/08145857.2012.681624.

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Kirby, David. „Little Richard, Here's Little Richard (remastered and expanded). Specialty Records CD 2100, 2012.“ Journal of the Society for American Music 7, Nr. 2 (Mai 2013): 222–23. http://dx.doi.org/10.1017/s175219631300014x.

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Vlad, Radu. „Electronics in Music: Preliminary Stages“. Bulletin of the Transilvania University of Braşov Series VIII Performing Arts 13(62), Nr. 1 (03.08.2020): 185–90. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.20.

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With a first recorded appearance dating around the 1950s, electronic music – the fruit of rigorous and tenacious labour by acoustician-researchers and composers who tried and succeeded in imposing a new sound-universe – channelled the evolution of the art of sounds as nothing before it. Prominent composers of the orientation – Pierre Schaeffer, Pierre Henry, Edgar Varèse, Herbert Eimert, Karlheinz Stockhausen, Vladimir Ussachevsky, Luigi Nono – had a determinant role in the way music expanded. The literature mentions as early as the beginning of the 20th century the existence of creators with a true calling for identifying original solutions to permanently transform music, breaking its barriers and thus allowing it to develop, expression-wise, in a variety of directions.

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Mansur, Marcia. „The montage of “Cine Rabeca”: music, memory and ethnography in an expanded cinema experience.“ AVANCA | CINEMA, Nr. 14 (05.01.2024): 140–42. http://dx.doi.org/10.37390/avancacinema.2023.a485.

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“Cine Rabeca” is a documentary that expands onto the stage and blends live music with ethnographic archive. It is a cine-concert, where musicians Luiz Paixão and Renata Rosa are permanently on stage, dialoguing with their own filmic memories. During the performance, a new time is composed out of what is seen, heard and imagined. The passage of time is felt in the contrast between images of the rural world of Pernambuco, Brazil, in 1990-2000 and the image of the presence of the musicians on stage. In this cinematographic re-encounter with their trajectories, Paixão and Rosa improvise with their rabecas (fiddles) and recreate themselves. Through music, they circulate amongst rural and ancestral festivities and the narrative is permeated with the language of memory, which explores traces and reminiscences.Time and memory articulate themselves in a singular space that experiments with a form of collaboration between the languages of music, film, and anthropology. This paper explores the process of making this expanded documentary and how it has remained live during the last years, constantly transforming itself amongst the borders of the stage and the screen, between life and film. It shows a process of unfinishing that transcends the finalization of documentaries; of the very life that follows ethnographic recordings.

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Kyprianides, Christine. „A FEW WORDS ABOUT MISS MARY HOLMES“. Victorian Literature and Culture 45, Nr. 3 (25.08.2017): 527–47. http://dx.doi.org/10.1017/s1060150317000043.

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From May 1850 to January 1851, the Lady's Newspaper and Pictorial Times of London featured a series of articles entitled “A Few Words about Music” by “M. H.” The author was the governess, composer, and Catholic convert Mary Holmes (1815–1878). Over the course of several months, Holmes extolled the value of music in women's education, offered practical advice on practicing the piano, recommended suitable repertoire for students, and provided useful guidelines for teaching music to children. In 1851, the articles were expanded into a small book and published by J. Alfred Novello as A Few Words about Music: Containing Hints to Amateur Pianists; to Which Is Added a Slight Historical Sketch of the Rise and Progress of the Art of Music, by M. H.

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Elphick, Daniel. „Boris Asafiev and soviet musical thought: Reputation and influence“. Muzikologija, Nr. 30 (2021): 57–74. http://dx.doi.org/10.2298/muz2130057e.

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The theories of Boris Asafiev, including musical process, symphonism, and intonatsiya, proved to be hugely influential in the Soviet Union and beyond. While Asafiev?s ideas were widely adopted by theorists and audiences alike, they were also appropriated by a generation of music critics. As composers struggled to come to terms with what might constitute socialist-realist music, critics built a discourse of projecting meaning onto works via Asafiev?s theories. At the same time, multiple theorists developed and expanded his ideas. The picture that emerges is of a multitude of applications and responses to a multivalent body of work that became a vital part of musical discourse in the latter half of the Soviet Union. In this article, I survey the main theories from Boris Asafiev?s writings on music, and their significance after his death. I begin by defining key terms such as symphonism, musical process, and especially intonatsiya. I then discuss the 1948 Zhdanovshchina and Asafiev?s involvement, and the less well-known 1949 discussions on Musicology. For the remainder of the article, I provide examples of key studies from Soviet music theorists using Asafiev?s terms to illustrate how their usage expanded and, in some cases, moved away from Asafiev?s myriad intentions.

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Zhang, Yiyue. „Walking a mile in their shoes: Developing pre-service music teachers’ empathy for ELL students“. International Journal of Music Education 35, Nr. 3 (02.05.2016): 425–34. http://dx.doi.org/10.1177/0255761416647191.

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In recent decades, music educators have become increasingly aware of the English Language Learner (ELL) population due to mainstreaming and inclusion policies. Meanwhile, the need for adequately preparing pre-service music teachers has become a focal point for music teacher preparation programs in the United States. In this article, I will 1) discuss the importance of developing pre-service music teachers’ empathy for ELL students; 2) offer suggestions for developing empathic pre-service music teachers; and 3) describe how a classroom cultural immersion experience can help pre-service music teachers to develop their empathy as well as increase their awareness of effective teaching strategies for ELL students. Through a short-term classroom cultural immersion experience, pre-service music teachers in the U.S. learned what it was like to be an ELL; as a result of their experience, they became more culturally and linguistically responsive. They deepened their level of empathy for ELLs, and expanded their knowledge base of techniques for effective music teaching.

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Culp, Mara E., und Karen Salvador. „Music Teacher Education Program Practices: Preparing Teachers to Work With Diverse Learners“. Journal of Music Teacher Education 30, Nr. 2 (21.01.2021): 51–64. http://dx.doi.org/10.1177/1057083720984365.

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Music educators must meet the needs of students with diverse characteristics, including but not limited to cultural backgrounds, musical abilities and interests, and physical, behavioral, social, and cognitive functioning. Music education programs may not systematically prepare preservice teachers or potential music teacher educators for this reality. The purpose of this study was to examine how music teacher education programs prepare undergraduate and graduate students to structure inclusive and responsive experiences for diverse learners. We replicated and expanded Salvador’s study by including graduate student preparation, incorporating additional facets of human diversity, and contacting all institutions accredited by National Association of Schools of Music to prepare music educators. According to our respondents, integrated instruction focused on diverse learners was more commonly part of undergraduate coursework than graduate coursework. We used quantitative and qualitative analysis to describe course offerings and content integration.

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Totan, Virđinia, und Petruța Maria Coroiu. „The Beginning of Modernism in the Music of Serbian Composers“. Studia Universitatis Babeş-Bolyai Musica 67, Nr. 1 (30.06.2022): 155–63. http://dx.doi.org/10.24193/subbmusica.2022.1.10.

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"Significantly penetrating the years between the two world wars, this situation testifies to the long process of uneven development of Serbian music. Despite the founding of the Belgrade Opera (1920), the gradual growth of performing qualities, the expansion of the repertoire, the premiere of the first Serbian musical and dramatic achievements of modern expression, the influence of popular music remains an almost exclusive privilege of traditional national forms of music. In order to establish internal continuity, they modernized and expanded the existing tradition with new genres, appreciating that sudden new leaps in language can be accepted primarily in those genres that have already gained some continuity in national music. Keywords: modernism, serbian, tradition, nationalism, genres. "

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Wells, Paul F., und Charles K. Wolfe. „Thomas W. Talley's Negro Folk Rhymes: A New, Expanded Edition, with Music“. Ethnomusicology 37, Nr. 1 (1993): 127. http://dx.doi.org/10.2307/852255.

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38

Uroskie, Andrew V. „Visual Music after Cage: Robert Breer, expanded cinema and Stockhausen's Originals (1964)“. Organised Sound 17, Nr. 2 (19.07.2012): 163–69. http://dx.doi.org/10.1017/s135577181200009x.

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Within William Seitz's 1961 exhibition The Art of Assemblage for the New York Museum of Modern Art, the question of framing – of art's exhibitionary situation within and against a given environment – had emerged as perhaps the major issue of postwar avant-garde practice. Beyond the familiar paintings of Johns and Rauschenberg, a strategy of radical juxtaposition in this time extended well beyond the use of new materials, to the very institutions of aesthetic exhibition and spectatorship. Perhaps the most significant example of this disciplinary juxtaposition can be found in the intermingling of the static and the temporal arts. Like many artists of the twentieth century, Robert Breer was fascinated by the aesthetic and philosophical character of movement. Trained as a painter, he turned to cinematic animation as a way of extending his inquiry into modernist abstraction. While the success of his initial Form Phases spurred what would be a lifelong commitment to film, Breer quickly grew frustrated with the kind of abstract animation that might be said to characterise the dominant tradition of visual music. Starting in 1955, his Image by Images inaugurated a radical new vision of hyperkinetic montage that would paradoxically function at the threshold of movement and stasis. As such, Breer's film ‘accompaniment’ to the 1964 production of Stockhausen's Originals has a curious status. While untethered from the musical performance, Breer's three-part ‘film performance’ extended Stockhausen's aesthetic and conceptual framework in rich and surprising ways. It might thus be understood as a ‘post-Cagean’ form of visual music, one in which the sonic and visual components function in a relation of autonomous complementarity within an overarching intermedia assemblage.

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Aziz, Andrew. „The Expanded Caesura-Fill and Transcendental States in Beethoven's "Hammerklavier" Sonata“. Music Theory and Analysis (MTA) 7, Nr. 2 (31.10.2020): 382–413. http://dx.doi.org/10.11116/mta.7.2.4.

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Anticipating Beethoven's late style, his Piano Sonata Op. 106, "Hammerklavier," contains distinct passages that serve to suspend formal time (noted by numerous scholars, including Adorno, Dahlhaus, Greene, Kinderman, et al.) and disrupt the forward progress of thematic zones within a sonata form. In this essay, I tie this suspension of time to a specific formal space introduced by Hepokoski and Darcy (2006)—the "caesura-fill"—which serves as a venue for compositional exploration throughout Beethoven's sonata oeuvre. Because caesura-fill music occurs between two thematic zones (transition and secondary themes), it has the potential not only for expansion but also for establishing a state of transcendence. In part 1, I investigate the presence of expanded caesura-fill in the exposition of the "Hammerklavier", which enters a transcendental state and postpones the secondary theme zone; harmonic and textural effects in the music underscore this aesthetic. In part 2, I draw comparisons to early- and middle-period works, most significantly the Eroica Symphony, Op. 55, and the "Archduke" Piano Trio, Op. 97. Finally, in part 3, I illustrate how the exposition of the "Hammerklavier" provides a script for the development section to again enter a zone of transcendence, using sharp-side keys to postpone and ultimately undermine the recapitulation.

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Vickery, Lindsay, Louise Devenish, Stuart James und Cat Hope. „Expanded Percussion Notation in Recent Works by Cat Hope, Stuart James and Lindsay Vickery“. Contemporary Music Review 36, Nr. 1-2 (04.03.2017): 15–35. http://dx.doi.org/10.1080/07494467.2017.1371879.

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Iwamasa, Dawn A. „Music Therapy Degree Program Enrollment Trends: What the Numbers Tell Us“. Music Therapy Perspectives 37, Nr. 2 (2019): 196–204. http://dx.doi.org/10.1093/mtp/miz010.

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Abstract Music therapy educational programs have expanded since their inception in the 1940s, but no studies have examined the trends regarding enrollment and degree attainment in music therapy. The purpose of this study was to investigate the trends in music therapy undergraduate and graduate program enrollment and degree attainment from 2000 to 2017. Data were collected from the Council of Arts Accrediting Associations’ Higher Education Arts Data Services (HEADS) survey for music therapy and all other music majors’ combined program enrollment and degree attainment. Additionally, data from the National Center for Education Statistics (NCES) were used to compare music therapy and all other combined music major trends with those from all 4-year degree-granting postsecondary institutions. Results indicated that music therapy program enrollment and degree attainment at the undergraduate and graduate levels are growing at a faster pace than all other music majors combined—and at all 4-year degree-granting postsecondary institutions. Economic theories that may explain this phenomenon are discussed, as are implications for future research.

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Ismail, Md Jais, und Fung Chiat Loo. „Evolvement of Syncretic Music: the Aesthetic Values of Malaysian Popular and Traditional Music“. Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 2 (10.08.2023): 87–105. http://dx.doi.org/10.24193/subbmusica.2023.spiss2.06.

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"Malaysian music was influenced by British, Portuguese, Indian, and Chinese cultures, which created syncretic music. Aesthetics values strengthen the existence of syncretic music by molding taste and interest among the listeners. It somehow creates various feelings whether to appreciate, accept, or against the music, further developing musical preferences among individuals. Exploring aesthetic values in popular and traditional music is crucial as many cultures have influenced Malaysia due to colonization, trading, wedding, and migration. This paper reviews on Malaysian syncretic music, the aesthetic values in Malaysian popular and traditional music, and the influence factors of Malaysian music. It is found that there was a confluence of various intercultural musical elements in the early era, while assimilation has taken place due to traditional Malay rhythmic patterns and traditional folk themes. This led to the Malaysian conception of music and musical composition, creating the idea that Malaysian music has drastically expanded its artistic resources since the pre-colonial era. We also found communities living in the pre-modern or modern era have different unique taste in the aesthetic characteristics. Despite this, most remote communities are compelled to participate in postmodernity in some way due to the globalization of media, capital, and mobile networks. These combinations result in many theories, concepts, and discourses that enrich aesthetic values in Malaysian syncretic music. Keywords: Syncretic music, culture, Malaysian music, aesthetic, music assimilation, traditional music"

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Van Leeuwen, James, Humphrey Nabimanya, Andrew Ward, Ryan Grundy und Mark Thrun. „Music Festivals Serving as a Catalyst for Collaborative HIV Prevention Education and Expanded HIV Testing in Rural Uganda“. International Journal of Community Development 6, Nr. 1 (09.06.2018): 1. http://dx.doi.org/10.11634/233028791503915.

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From 2014 through 2016, we produced a music festival in rural Kabale, Uganda in order to facilitate HIV testing and reproductive health services offered by NGOs specializing in HIV and sexual health. Our aim was to assess the effectiveness of a music festival to engage persons in sexual health and HIV screening services. Clinical service data was compiled and analyzed. Between 2014 and 2016, over 38,000 persons attended the annual festivals and were exposed to HIV prevention messaging. Over 7,000 persons have been tested for HIV. In 2016, 4,588 HIV tests were performed. In addition, 36 long-acting means of contraception were placed, 33 women were screened for cervical cancer, 2 tubal ligations were performed, and 193 men were referred for circumcision. Music festivals created a novel opportunity to provide sexual health services including prevention education, reproductive healthcare, and HIV testing to persons at risk for HIV in rural Uganda.

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Hanhardt, John G. „Video Art: Expanded Forms“. Leonardo 23, Nr. 4 (1990): 437. http://dx.doi.org/10.2307/1575348.

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Silsbury, Elizabeth. „Tertiary Music Education in Australia“. British Journal of Music Education 5, Nr. 2 (Juli 1988): 173–80. http://dx.doi.org/10.1017/s0265051700006513.

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During the Whitlam years, tertiary education burgeoned in Australia. Colleges of Advanced Education, most of them transformed Teachers' Colleges and unconvinced that their coaches would not turn out to be pumpkins after all, sprang up and/or expanded in city and country districts in all states. A national study carried out in 1977 showed that tertiary music and music education was everywhere healthy and in some places flourishing. In 1980 the Razor Gang went on a surgical rampage, perpetrating amalgamations in the name of economy on the GAEs, and forcing many of them into alliances as unwieldy as they were unholy. In 1987 a national review involving universities as well as GAEs was launched.Elizabeth Silsbury's article traces those changes, describes their effect on music and takes a punt on what might happen when the dust settles for the third time in less than 20 years.

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HURON, DAVID, und JOY OLLEN. „Agogic Contrast in French and English Themes: Further Support for Patel and Daniele (2003)“. Music Perception 21, Nr. 2 (2003): 267–71. http://dx.doi.org/10.1525/mp.2003.21.2.267.

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A. D. Patel and J. R. Daniele (2003) compared the rhythms of musical themes written by French and English composers. They found a significant difference that mirrors known prosodic differences in French and English speech. Specifically, Patel and Daniele found the note-to-note durational contrast to be higher in English music than in French music. Their study was based on 137 English themes and 181 French themes that were selected according to stringent criteria. Here we report a replication of Patel and Daniele with a greatly expanded sample of nearly 2000 themes.

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Tran Huong, Giang. „Using active teaching methods when designing learning activities for ordinary music contents in order to develop students’ quality and capactity“. Journal of Science Educational Science 66, Nr. 4 (September 2021): 80–85. http://dx.doi.org/10.18173/2354-1075.2021-0111.

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Music Subject has first time expanded and contributed in the 2018 General Education Program (High School). One of its content branch that are spread throughout grades 1 to 12 is Ordinary music. This learning content is mainly theoretical, and it is hard to attract students in the teaching process. So while designing learning activities, teachers have to chose teaching methodes and teaching organizations in order to: agree with contents, objectives and age psychology; develop students’ activtities and creativeness; develop students’ common qualities, abilities and subject capacity.

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MacIntyre, Peter D., Gillian K. Potter und Jillian N. Burns. „The Socio-Educational Model of Music Motivation“. Journal of Research in Music Education 60, Nr. 2 (08.05.2012): 129–44. http://dx.doi.org/10.1177/0022429412444609.

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The well-established socio-educational model of second language learning motivation developed by R. C. Gardner was adapted and applied to study instrumental music learning motivation. The similarities between music and language suggested that the adaptation might lead to new insights in the study of music motivation. At the heart of the proposed model is a multifaceted description of the relationships among motivation, attitudes, anxiety, support from others, perceived competence, and achievement. A sample of 107 high school band students was selected to participate in this study. Results of a path analysis of questionnaire responses indicate that the adapted and expanded socio-educational model fit very well with the present data and described key motivational structures. The key support for motivation to learn was supplied by integrativeness (an interest in taking on the characteristics of musicians, positive attitudes toward learning instruments, and an interest in music learning), plus attitudes toward the learning situation (music teacher and course).

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Jacobs, Marjorie Lee. „Music Connects“. Music and Medicine 9, Nr. 4 (28.10.2017): 269. http://dx.doi.org/10.47513/mmd.v9i4.574.

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Psychiatric rehabilitation aims to promote health recovery from significant losses, both physical and psychological, that have derailed the lives of adults and young adults so that they can actively participate in rebuilding and recreating themselves. The population faces premature morbidity and experiences higher than average rates of chronic and life-threatening diseases, including diabetes, obesity, metabolic syndrome, cardiovascular disease, and pulmonary diseases. When participants join any of the Center for Psychiatric Rehabilitation programs, they take on the role of student, increasing their knowledge, skills, and supports to further their personal goals and recovery journeys. Most of the mind-body, rehabilitation interventions I design and teach utilize music to boost mood and motivation, facilitate social connection, increase concentration, improve memory, create new memories, deepen respiration, promote movement, and elicit the relaxation response. In addition, I use seated and walking meditation (often combined with nature sounds, music, chanting, and/or singing) to cultivate attention, curiosity, awareness, acceptance, an expanded perspective, accurate perceptions, compassion, and optimism. The poem Music Connects was inspired primarily by my 13-week intervention entitled Developing Spirituality for Stress Resilience that I recently taught spring semester 2017. I have been teaching and developing this course since 2007. The 17 participants were adults and young adults diagnosed with one or more of the following: trauma- and stressor related disorders, schizophrenia, anxiety, depression, bipolar disorder, autism spectrum disorder, attention deficit/ hyperactivity disorder, and/or obsessive-compulsive disorder. Each class of Developing Spirituality for Stress Resilience encouraged its participants in class to engage in a variety of music-related activities to inspire hope, feel part of a community, and let their spirits soar by together listening to music, reading aloud song lyrics, reflecting upon and discussing the lyrics’ relevance to their lives, and singing. Music Connects was written during the second week of the semester when there was quite a bit of resistance from four participants to singing aloud. After writing the poem, I shared it with everyone the following week. The results are found in the poem.

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Thomas, Luke. „Towards a ladder of popular music support in Wales: The educational impact of Forté Project“. Journal of Popular Music Education 5, Nr. 1 (01.04.2021): 89–112. http://dx.doi.org/10.1386/jpme_00045_1.

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Introduced in 2016, Forté Project is a publicly funded talent development initiative aimed at young popular musicians residing in the Arts Connect region of South Wales. Using a combination of survey data and interviews with participants, this article analyses Forté Project’s educational impact on musicians, where it emerges as both complementary of, and a potential alternative to, music industry career pathways provided by traditional forms of further and higher popular music education. Within the wider context of the current Wales-based ladder of publicly funded popular music support, this article also investigates how Forté Project might be improved and/or expanded to better serve the educational needs of emerging popular musicians based throughout Wales.

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