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Feige, Daniel Martin. „Jazz als künstlerische Musik“. Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 59. Heft 1 59, Nr. 1 (2014): 29–47. http://dx.doi.org/10.28937/1000106235.
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Der Text gilt einer Klärung der spezifischen Qualität des Jazz als künstlerischer Musik. Eine solche Qualität wird im Rahmen einer Analyse dreier wesentlicher Dimensionen dieser Musik vorgenommen, die zwar keineswegs als disjunktiv notwendige und konjunktiv hinreichende Dimensionen des Jazz im Sinne einer Definition profiliert werden, gleichwohl aber als für seine Wertschätzung zentrale Dimensionen diskutiert werden: Improvisation, Interaktion und Intension. Die Logik der Improvisation im Jazz wird kontrastiv zur Logik des Spielens eines musikalischen Werks in der europäischen Tradition künstlerischer Musik erläutert. Zugleich wird geltend gemacht, dass selbst dieses Spielen von Werken in gewisser Weise noch von der ausgewiesenen Logik der Improvisation bestimmt ist. Interaktion wird so spezifiziert, dass Jazz wesentlich als eine Form eines dialogischen Antwortgeschehens im Medium der Musik verstanden werden muss. Intensität schließlich meint die vor allem, aber keineswegs ausschließlich anhand der rhythmischen Dimension ausweisbare Fokussierung des Jazz auf jeden einzelnen Zug und jedes einzelne Moment seiner Darbietung. Der Jazz erweist sich dabei mit Blick auf seine philosophische Relevanz als eine künstlerische Musik, die wesentliche Aspekte künstlerischer Praxis überhaupt explizit macht.<br><br>The aim of the paper is an analysis of the specific quality of jazz as a kind of artistic music. Three dimensions are brought forward as central for jazz music: improvisation, interaction and intensity. Even though these dimensions are not understood in terms of a definition – as solely necessary and jointly sufficient conditions –, they are meant to be central qualities in our appreciation of jazz music. The logics of improvisation are explored in contrast to the practice of performing a composed work in the European tradition of art music. Despite this difference the thought is articulated that the performance of a composed work is in some way governed by a similar logic. Interaction is specified in terms of jazz being fundamentally a kind of dialogical practice in the medium of music. Intensity finally is spelled out as a certain focus of jazz music toward every single moment of its performance that is mainly but not solely due to its specific rhythmic dimension. Jazz music proves to be a kind of artistic music that renders aspects of artistic practice in general explicit.
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Körber, Annegret. „Improvisation - Begegnungen in Psychoanalyse und Musik“. Musiktherapeutische Umschau 33, Nr. 1 (März 2012): 74–75. http://dx.doi.org/10.13109/muum.2012.33.1.74.
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Sell, Matthias. „Ästhetische Erfahrung in der Musik und humanistische transaktionsanalytische Psychotherapie“. Musik-, Tanz- und Kunsttherapie 25, Nr. 2 (03.06.2014): 67–80. http://dx.doi.org/10.1026/0933-6885/a000179.
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Es wird die ästhetische Erfahrung als eine gemeinsam ko-kreativ hergestellte, ko-präsente Erfahrung von Künstler, Kunstwerk und Betrachter oder Rezipient beschrieben. Kunst als ästhetische Erfahrung wird als eine Schwellenerfahrung dargestellt. Anhand von verschiedenen Kunstwerken wird die Schwellensituation der ästhetischen Erfahrung erfasst und historischen Werken ebenso wie postmodernen zugeordnet. Die Musik wird als ästhetische Erfahrung speziell in der Improvisation vorgestellt. Ebenso wird gezeigt, dass im psychotherapeutischen Prozess stets eine Improvisation auch als Brückenerfahrung vorhanden ist, in der sich ebenfalls eine wechselseitige Improvisation eröffnet, wobei dies unterschiedliche Standpunkte und Blickweisen auf Gleichheiten oder Unterschiede der Erfahrung von Kunst eröffnet.
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Sadguna, I. Gde Made Indra, Kadek Dimas Mahardika und I. Nyoman Sudiana. „Musik Eksperimental: Angkep Wilang“. PROMUSIKA 11, Nr. 1 (11.04.2023): 10–18. http://dx.doi.org/10.24821/promusika.v11i1.8823.
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Musik eksperimental sering dikatakan sebagai musik kontemporer atau musik yang berbeda dari konvensi musik tradisional. Perbedaannya, dalam musik eksperimental mengedepankan pengalaman auditif yang ‘tidak biasa’. Hal tersebut bisa dilihat dari bermacam elemen, seperti dari pemilihan alat, cara memainkan alat yang non-konvensional sehingga menghasilkan timbre yang tidak lazim, serta pola garap musik yang memfokuskan pada eksplorasi bunyidalam pembangun suara sehingga menghasilkan output yang kadangkala tidak familiar di telinga. Berpijak dari penjelasan mengenai musik eksperimental tersebut, timbul ketertarikan penulis untuk menciptakan sebuah karya musik kontemporer dengan mengadopsi salah satu rumus/sistem kerja matematika yaitu pencarian KPK (Kelipatan persekutuan terkecil), dengan menggunakan metode pohon faktor (faktorisasi prima) sebagai cara kerja dalam penciptaan karya musik eksperimental yang berjudul Angkep Wilang. Formulasi serta cara kerja aritmatika ini penulis transformasikan ke dalam media ansambel gamelan Bali, dengan memadukan dua jenis laras yang terdapat pada gamelan Bali yaitu laras pelog dan laras slendro. Jenis gamelan yang digunakan sebagai perwakilan dari laras pelog adalah Semar Pagulingan Saih Pitu, sedangkan untuk laras slendro menggunakan gamelan Angklung Saih Lima. Metode penciptaan karya yang digunakan dalam komposisi musik ini mengacu pada konsep kekaryaan yang dikemukakan oleh Alma M. Hawkins,yaitu exploration, improvisation, dan forming.AbstractExperimental Music: Angkep Wilang. Experimental music is often said to be contemporary music or music that is different from traditional music conventions. The difference is that experimental music puts forward an 'unusual' auditive experience. This can be seen from various elements, such as the selection of instruments, unconventional ways of playing instruments that produce unusual timbres, and patterns of musical compositions that focus on sound exploration in sound construction to produce output that is sometimes unfamiliar to the ear. Based on this explanation of experimental music, the author's interest arose in creating a contemporary piece of music by adopting one of the mathematical formulas/work systems, namely the search for the LCM (least common multiple), using the factor tree method (prime factorisation) as a way of working in creation. An experimental piece of music is entitled Angkep Wilang. The writer transforms the formulation and the practice of working this arithmetic into a Balinese gamelan ensemble medium by combining the two types of tunings found in Balinese gamelan, namely the pelog tunings and the slendro tunings. The kind of gamelan used to represent the pelog tunings is Semar Pagulingan Saih Pitu, while for the slendro tunings, the gamelan Angklung Saih Lima is used. The numbers used in the search are 28 and 20; these two numbers are obtained through the media used to realise the concepts that have been designed. The work creation method used in this musical composition refers to the creative idea put forward by Alma M. Hawkins, namely exploration, improvisation, and forming.Keywords: Angkep Wilang; Experimental; LCM
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Gusstu Da’a, Ida Bagus Putu Da’a Mahadita, und Ni Wayan Masyuni Sujayanthi. „Experimental Music Patri | Musik Eksperimental Patri“. GHURNITA: Jurnal Seni Karawitan 3, Nr. 2 (13.06.2023): 153–58. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i2.1182.
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Karya musik Patri mengangkat ide penciptaan yang lahir dari pengalaman empiris penulis dalam memainkan instrument reong sejak menimba ilmu di SMP Negeri 1 Tampaksiring.Karya ini menonjolkan pengolahan dari kekayaan warna suara yang mampu dihasilkan instrumen reong dan daya kreativitas penulis serta daya tafsir musik masa kini. Adapun tujuannya untuk memberikan inspirasi bagi masyarakat bahwa satu pencon instrumen reong dapat menghasilkan warna suara yang beragam. Metode yang digunakan dalam proses penciptaan karya musik patri, adalah metode dari Alma M. Hawkins, yang terdiri dari tahap penjajagan (exsploration), percobaan (improvisation), dan pembentukan (forming) dari ketiga metode yang digunakan dalam proses penciptaan karya ini mampu menghasilkan sebuah karya musik eksperimental yang menggunakan media ungkap lima jenis instrumen reong dan tiga jenis alat pukul (panggul) yang memiliki karakter berbeda-beda. Karya Patri memakai struktur tri angga, yaitu kawitan/awalan (bagaian I), pengawak/isi (bagaian II), pengecet/penutup (bagaian III), yang disetiap bagian I dan II memiliki tiga motif yang berbeda-beda, sedangkan pada bagian III memiliki satu motif yang sama dengan meteran bar yang panjang. Terciptanya karya musik patri ini diharapkan dapat memberikan motivasi bagi generasi muda untu berkarya yang tidak hanya mengolah pola-pola tradisi tetapi yang mampu mengembangkan pola tradisi.
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Diederichsen, Diedrich. „Horde als sozialmusikalische Aufgabe“. Die Musikforschung 57, Nr. 3 (22.09.2021): 249–56. http://dx.doi.org/10.52412/mf.2004.h3.677.
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Anlass des Textes, die Frage noch mal zu stellen: "Was will die Improvisation?" ist die Entwicklung, dass es wieder Bands, Ensembles und Kollektive gibt, für die die Improvisation auch ethisch, wenn nicht gar politisch mit Lebensformen verbunden ist. Zunächst will die freie Improvisation zwei Dinge: zum einen die Annullierung jeglicher musikalischer Vorgaben aus musikalischen Gründen. Die moderne oder modernistische Ablehnung von Regeln in Bezug auf Tonalität, Rhythmik, Form, Format, Instrumentenbehandlung, etc. war die eine Seite auch der freien Improvisation. Das andere aber, was sie will, ist die Unvorhersehbarkeit, die Abwesenheit eines Plans: Das war mit einem großen Teil neuer Musik, für die Fortschritt ja oft gerade in der höheren Genauigkeit bei der Bestimmung musikalischer Parameter bestand, nicht zu haben.
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Kluck, Steffen. „Timo Dresenkamp: Musik, Komposition, Improvisation. Grundbegriffe der Musikphilosophie“. Philosophischer Literaturanzeiger 74, Nr. 2 (15.06.2021): 172–81. http://dx.doi.org/10.3196/2194584519742122.
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Anggayanto, Iketut yogi, und Tri Haryanto. „Innovative Music Composition, “Reboisasi” | Komposisi Musik Inovatif, “Reboisasi”“. GHURNITA: Jurnal Seni Karawitan 1, Nr. 3 (03.07.2023): 161. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i3.358.
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Reboisasi adalah karya musik yang terinspirasi dari lingkungan sekitar yang dahulunya asri hingga terjadinya penebangan pohon secara liar, serta berkeinginan untuk mencoba menanam Kembali. Kary aini menggunakan media ungkap Gender Wayang sebagai instrumen pokok serta penambahan empat buah instrumen suling dan satu tungguh Gong Pulu sebagai instrumen pendukung. Reboisasi merupakan komposisi musik inovatif yang cenderung mengungkap ide-ide atau gagasan baru walaupun masih berpedoman dengan unsur-unsur tradisi yang ada. Dalam penggunaan panggul sebagai alat pemukul karya Reboisasi menggunakan satu panggul yang memiliki dua fungsi secara bersamaan, yaitu penata memodifikasi panggul gender pada bagian kekembangan panggul dengan menambahkan karet pada permukaannya yang membentuk setengah lingkaran. Secara Teknik bermain Gender memadukan dua style yang berbeda antara Sukawati dan Kayumas dengan tujuan untuk mencari nuansa suara yang berbeda. Metode penciptaan yang dipergunakan menggunakan metode yang dikembangkan oleh Alma Hawkins dengan tiga tahapan dalam berkarya, yaitu tahap penjajagan (Exploration), tahap percobaan (Improvisation), dan tahap pembentukaan (Forming). Karya ini didukung oleh 9 (Sembilan) orang penabuh dengan durasi waktu 11 menit
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Ardi, Ardi Gunawan, und Santosa Hendra. „Innovative Music Composition “Blabur” | Karya Musik Inovatif “Blabur”“. GHURNITA: Jurnal Seni Karawitan 3, Nr. 3 (25.08.2023): 295–305. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i3.2072.
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Blabur is defined as a source of imagination and pouring out ideas that will later be able to reflect both natural disaster phenomena and offer ideas through works of art. Blabur's innovative music works use spoken media which focuses on Gender Wayang on the instruments of drum krumpungan, gong pulu, kecek ricik, flute, gantora and kajar with the aim of knowing the ideas, structure and concept of making Blabur's innovative music works. Through the creation of this work, stylists want to develop existing patterns from before. Blabur's innovative musical work was appointed as a work as a reflection and a message to us that if the natural forces are so great if they experience an imbalance, they will become a disaster. The process of creating Blabur's innovative musical works has gone through three stages, namely the Exploration stage, the Improvisation stage, and the Forming stage. Blabur's innovative musical work consists of three main parts, namely part one, part two and part three. This work is supported by ten musicians and one gerong from Sanggar Mekar Seruni with a duration of 13 minutes and 14 seconds.
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Sudirana, I. Wayan. „Improvisation in Balinese Music: An Analytical Study of Three Different Types of Drumming in the Balinese Gamelan Gong Kebyar“. Journal of Music Science, Technology, and Industry 1, Nr. 1 (31.08.2018): 1. http://dx.doi.org/10.31091/jomsti.v1i1.502.
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ABSTRACTGong kebyar emerged in early 20th century and was initially an instrumental genre. In its later advancement, the ensemble became accustomed to accompanying dance compositions, which are decorated with miscellaneous dance improvisations corresponding to the characteristic style of gong kebyar. There are three types of Balinese drumming that are considered improvisational, in particular the styles that are played in the repertory of gamelan gong kebyar. Gamelan gong kebyar is the most popular and influential genre of twentieth century music developed in Bali. In gamelan baru, the function of the drum (in Bali it is called kendang) in the ensemble is more important than it was in older styles and it is considered to be the leader of the ensemble. Drummers are skilled musicians and usually teachers, who know all of the parts that are played by other instruments in the ensemble. Krumpungan, Cedugan, and Gupekan are examples of drumming style that gives incorporate the idea of improvisation, though in Bali we do not have a special term for improvisation. We do however have the same ideas and sense of the meaning of improvisation itself in the way some drumming is played spontaneously in the course of performance, by using drummer’s abilities to create spontaneously new pattern on stage. There are some important aspects that need to be underlined in creating those patterns, such as: melody accompaniment, dancer’s cues, good partnership (in krumpungan and cedugan), and the ability to lead the ensemble. Those aspects have the prominent role in the acheivement of drum improvisation in the performance. Drumming improvisation remains something that has to be learned more comprehensively in the future. It is still an abstract concept for many musicians as well as Balinese gamelan lovers.Keywords: improvisation, drumming, kendang, gong kebyar. ABSTRAKGong kebyar muncul pada awal abad ke-20 dan pada mulanya merupakan genre instrumental. Dalam perkembangan selanjutnya, ensambel tersebut menjadi terbiasa dengan komposisi tari yang menyertainya, yang dihiasi dengan improvisasi tari yang berbeda sesuai dengan gaya khas gong kebyar. Ada tiga jenis drum Bali yang dianggap improvisasi, khususnya gaya-gaya yang dimainkan dalam repertoar gamelan gong kebyar. Gamelan gong kebyar adalah genre musik abad ke-20 yang paling populer dan berpengaruh yang dikembangkan di Bali. Dalam gamelan baru ini, fungsi drum (di Bali disebut kendang) dalam ensambel lebih penting daripada pada gaya lama dan dianggap sebagai pemimpin ensembel. Drumer adalah musisi yang terampil dan biasanya adalah guru, yang tahu semua bagian yang dimainkan oleh instrumen lain dalam ensembel. Krumpungan, Cedugan, dan Gupekan adalah contoh gaya drum yang memberikan ide improvisasi, meskipun di Bali tidak ada istilah khusus untuk improvisasi. Namun di sini ada ide yang sama dan rasa makna improvisasi itu sendiri dengan cara memainkan beberapa drum secara spontan dalam jalannya pertunjukan, dengan menggunakan kemampuan pemain drum untuk menciptakan pola spontan baru di panggung. Ada beberapa aspek penting yang perlu digarisbawahi dalam menciptakan pola-pola tersebut, seperti: iringan melodi, isyarat penari, kemitraan yang baik (dalam krumpungan dan cedugan), dan kemampuan untuk memimpin ensambel. Aspek-aspek tersebut memiliki peran penting dalam pencapaian improvisasi drum dalam pettunjukan. Improvisasi drum tetap sesuatu yang harus dipelajari lebih komprehensif di masa depan. Ini masih merupakan konsep abstrak bagi banyak musisi dan juga pecinta gamelan Bali. Kata kunci: improvisasi, drum, kendang, gong kebyar.
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Kariasa, I. Nyoman, und I. Kadek Tunas Sanjaya. „Introduction to Contemporary Music “Ngegong” | Pengantar Musik Kontemporer “Ngegong”“. GHURNITA: Jurnal Seni Karawitan 1, Nr. 1 (23.06.2023): 11–19. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i1.141.
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“Ngegong'' is a work of contemporary musical composition that uses eight types of gong instruments used in various types of Balinese gamelan barungan as a medium of expression. The eight gong instruments in question are, gong lanang and wadon (in gong kebyar), gong tanggung (in gamelan bebarongan), gong bor ber (gong bheri), gong pulu (geguntangan), also gong ageng and gong alit (in gamelan selonding ensemble). The composer wants to embody his imagination into contemporary musical compositions that highlight the diversity of Balinese gong instruments.The creating process of this musical composition is divided into three stages which are taken from the concept of Alma M. Hawkins in the book Creating Through Dance, namely exploration, improvisation, and formation. Ngegong's music artwork is embodied in the form of a contemporary musical composition frame that takes the elements of sound and musicality into consideration. Contemporary music has the connotation of new works composed using various sound sources, both traditional and non-traditional instruments or all objects that can produce sound or sound according to needs.
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Maulana, Syarif. „Kritik Pemikiran Theodor Adorno tentang Status Heteronom Musik Jazz“. MELINTAS 39, Nr. 3 (22.03.2024): 307–22. http://dx.doi.org/10.26593/mel.v39i3.7825.
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Theodor W. Adorno, a prominent thinker in the Frankfurt School, articulated his views on jazz music. He considered jazz music to be ‘functional’ music (Gebrauchsmusik) serving the bourgeois class in the post-war period. Furthermore, Adorno observed that the spontaneity in jazz music was a myth as it originated from the 32-bar song patterns akin to Broadway tunes. Through improvisation, jazz music created an illusion of uniqueness in its ‘products’ by emphasizing a distinctive style of performance. However, Adorno argued that improvisation, inadvertently, was constructed within similar constraints across various musical compositions. Additionally, in another accusation, Adorno regarded blue notes in jazz music performance as an error that one attempts to correct within their own auditory perception. Conversely, Adorno extolled music containing Arnold Schoenberg’s twelve-tone technique as autonomous art capable of social critique through internal logic within the music itself. This article seeks to pinpoint Adorno’s fallacies in his critique of jazz music, based on his failure to formulate the ontological aspects of jazz music which rigidly adhere to canonical forms, his inability to situate the potential of jazz music within autonomous art, and the distortions stemming from stereotypes about jazz music prevalent in his time.
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Suardana, I. Putu. „Introduction to Creation Music Kumat | Pengantar Musik Kreasi Kumat“. GHURNITA: Jurnal Seni Karawitan 2, Nr. 2 (23.05.2022): 116–24. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i2.450.
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Kumat's work is a composition of new creations that is packaged with a traditional nuance. This work is an interpretation of the mechanism of bipolar mental disorder compiled through a musical formulation that corresponds to the mechanism of bipolar. This work focuses on two building elements, namely musical formulations and musical nuances, musical formulations are concrete and musical nuances are variable according to the listener's musical experience. Kumat's work uses a modified Jegog gamelan as a medium of expression. The location of the modifications is on the barangan instrumen, kantil, suwir which are made into one stump, with the addition of two other instrumens as melody modifiers, namely kuntung and undir. The process of creating this work is carried out in four stages, namely initial stimulation combined with the concept of Alma M. Hawkins in the book Creating Trough Dance which consists of exploration, improvisation, formation. This work is manifested in the form of creative percussion which is still based on the realm of tradition, the renewal contained in this work lies in the musical formulation that adopts the mathematical science of the magic square as the basis for the formation of the work.
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Ruta, Marcello. „Musik, Komposition, Improvisation: Grundbegriffe der Musikphilosophie, written by Timo Dresenkamp“. Grazer Philosophische Studien 99, Nr. 2 (04.10.2022): 329–34. http://dx.doi.org/10.1163/18756735-00000163.
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Juniarta, I. Nyoman, I. Nyoman Sudiana und Ni Putu Hartini. „Composition karawitan Bali "Pajegan" | Komposisi Karawitan Bali “Pajegan”“. GHURNITA: Jurnal Seni Karawitan 2, Nr. 1 (07.03.2022): 25–31. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i1.389.
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Berbagai macam hal yang bisa menimbulkan rasa indah pada saat kita mengalaminya dan berbagai macam proses yang penata lalui untuk mewujudkan karya musik pajegan. Karya musik pajegan terinspirasi dari tradisi mapeed yang ada di Desa Adat Kapal, penata menganalogikan atau membahasakan suatu bentuk dari pajegan ke dalam suatu musik. Pajegan merupakan sebuah istilah Bali yang pada umumnya sering disebut Gebogan yaitu sebuah sesajen yang dihaturkan ke pada Tuhan Yang Maha Esa atau Sang Hyang Widhi Wasa. Proses penciptaan karya ini dilakukan dengan 3 tahapan yaitu rangsangan awal yang dipadukan dengan konsep Alma M. Hawkins dalam buku yang terdiri dari Exploration (eksplorasi), Improvisation (improvisasi) dan Forming (pembentukan). Karya ini diwujudkan dalam bentuk tabuh kreasi pepangulan yang tetap berpijak pada ranah tradisi. Dalam karya musik pajegan ini menggunakan media ungkap barungan Gamelan Gong Kebyar dimana jumlahnya melebihi 30 orang, karya ini juga dilakukan dengan proses tahap bereksperimental dan melakukan suatu perkembangan motif – motif permainannya dibentuk secara sistematis.
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Gruenhagen, Lisa M., und Rachel Whitcomb. „Improvisational Practices in Elementary General Music Classrooms“. Journal of Research in Music Education 61, Nr. 4 (25.11.2013): 379–95. http://dx.doi.org/10.1177/0022429413508586.
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Despite historic and ongoing support for the inclusion of improvisation in the elementary general music curriculum, music educators consistently report challenges with implementation of improvisational activities in their classes. This study was designed to examine (a) the extent to which improvisational activities were occurring in the participants’ elementary general music classrooms, (b) the nature of these improvisational activities, and (c) participants’ perceptions of the quality of their students’ improvisations. The most common improvisational activities reported by these teachers were question-and-answer singing, improvising on unpitched and pitched percussion instruments, and improvising rhythmic patterns using instruments. Analysis of their reflections on these activities revealed three broad themes: (a) process, practice, and experience, (b) sequencing, scaffolding, and modeling in instruction; and (c) collaboration, reflection, and creation. These teachers stated they were most interested in the quality of the improvisational process rather than with the product and indicated that sequencing was crucial in the instruction of improvisation. While some put less importance and priority on improvisation, the majority perceived it as necessary to the development of students’ musical skills, as an important way for students to show musical understanding, and as an empowering creative process that produces independent thinkers and musicians.
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Adi Bawa, Putu Tiodore. „Asta Wirat Bhumi: Musik Eksperimental sebagai Refleksi dan Resepsi Lontar Tutur Bhuwana Mabah“. Journal of Music Science, Technology, and Industry 6, Nr. 1 (30.04.2023): 31–38. http://dx.doi.org/10.31091/jomsti.v6i1.2416.
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Purpose: This article is about to discuss the process of creating an experimental musical composition entitled Asta Wirat Bhumi which is the result of reflection and reception of the ejection of Tutur Bhuwana Mabah. Method: Creation in Balinese karawitan art becomes very interesting when the exploration of tools and ideas is poured simultaneously. The process of developing Asta Wirat Bhumi uses the theory of creation according to Alma M. Hawkins which consists of the stages of exploration, improvisation, and formation. Asta Wirat Bhumi as a reflection of the Lontar Speech reception of Bhuwana Mabah as an idea for a piece of music that is outlined in Asta Wirat Bhumi's gamelan barungan. Results and discussion: Processed activities starting from exploration, improvisation, and formation to become a reference in a framework that is refined with animating stages. Reflection and reception were chosen as techniques for understanding texts as the ideas of Asta Wirat Bhumi's musical works which are contained in the form/structure of the piece and the performance of the work. Implication: The results obtained are in the form of an experimental musical work "Asta Wirat Bhumi" by casting it in the gamelan barungan "Asta Wirat Bhumi" carrying a message to the audience
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Wegele, Peter. „Jazz im Film“. Kieler Beiträge zur Filmmusikforschung 9 (08.07.2023): 150–83. http://dx.doi.org/10.59056/kbzf.2013.9.p150-183.
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Der vorliegende Text beleuchtet das Thema »Jazz im Film« aus drei Blickrichtungen. Zuerst wird der Jazz als Sujet eines Filmes vorgestellt. Dann werden Filmmusiken von Miles Davis, Duke Ellington und Charles Mingus erörtert, um aufzuzeigen, wie Jazzmusiker mit der Herausforderung umgehen, ihre Musik in einen außermusikalischen Schaffensprozess einzuordnen und sich den Gesetzen des Films anzupassen. Zum Schluss wird gezeigt, wie prominente amerikanische Komponisten sich des Jazzidioms bedienten, um eine originär amerikanische Musiksprache zu schaffen. Deren Musik diente als Vorbild für einige wichtige Filmpartituren aus den fünfziger Jahren. Die Improvisation, ein Wesensmerkmal des Jazz, spielt bei den Filmmusiken der Jazzmusiker eine Rolle, bei den durchkomponierten Partituren fehlt sie zumeist völlig. Aus methodischen Gründen werden in diesem Beitrag ausschließlich fiktionale Filme besprochen. Dabei wird der Frage nachgegangen, ob oder inwieweit der individualistische Charakter der Jazzmusik verloren geht, wenn sie zur Filmmusik wird. Miles Davis oder Duke Ellington hatten ihre Musik nicht auf den Filmschnitt komponiert, sondern spielten ganze Takes ein. Diese Musik wurde danach in die Filme montiert. Dabei waren klar filmische, also außermusikalische Kriterien für den Umgang mit der Musik entscheidend. Dennoch ist beim Betrachten der Filme klar, dass sie gerade durch die Individualität der Musik eine besondere Wirkung entfalten, seien es die Attribute, die man dem Jazz zuweist (»Coolness«, »Melancholie« oder »Urbanität«) oder auch der Sound oder Groove dieser Musik. So kann man in dieser Hinsicht durchaus von einem Synergieeffekt dieser beiden Kunstformen sprechen.
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Negara, I. Gede Agung Surya. „The Karawitan Contemporary “Ngontang Gambang” | Karya Karawitan Kontemporer “Ngontang Gambang”“. GHURNITA: Jurnal Seni Karawitan 3, Nr. 2 (13.06.2023): 129–37. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i2.2075.
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Ngontang Gambang secara definisi memiliki arti dan pesan yang penata rasakan yaitu perbedaan yang jika disatukan akan menghasilkan sesuatu gebrakan baru. Ngontang sebagai sumber imajinasi dan penuanghan ide yang nantinya mampu menerjemahkan suatu peristiwa yang dirasakan penata dan dituangkan ke dalam suatu media ungkap gamelan Gambang dengan menawarkan gagasan pemikiran melalui karya seni. Karya musik kontemporer Ngontang Gambang ini menitikfokuskan pada gamelan Gambang atau tingklik (bahasa Bali) yang menggunakan 3 pasang gamelan Gambang dan 5 buah Kendang. Proses penciptaan karya ini menggunakan tiga tahapan yaitu tahap penjajagan (Exploration), tahap percobaan (Improvisation), dan tahap pembentukan (Forming). Karya musik kontemporer Ngontang Gambang terdiri dari tiga bagian utama, yaitu bagian satu, bagian dua, dan bagian tiga. Karya ini didukung oleh 7 (tujuh) orang penabuh dari Sanggar Mekar Seruni dengan durasi waktu kurang lebih 12 menit.
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HEAD, MATTHEW. „C. P. E. BACH ‘IN TORMENTIS’: GOUT PAIN AND BODY LANGUAGE IN THE FANTASIA IN A MAJOR, h278 (1782)“. Eighteenth Century Music 13, Nr. 2 (16.08.2016): 211–34. http://dx.doi.org/10.1017/s1478570616000051.
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ABSTRACTIn his Magazin der Musik, Carl Friedrich Cramer reported that C. P. E. Bach's Fantasia in A major, h278 (1782), was composed during the agonies of gout. Tapping into a reported epidemic of this patrician malady among men of letters, Cramer's anecdote invoked rich associations of sequestered suffering, withdrawal from public life, the pleasures of the table, genius, sexual (im)potency and humour. Reflecting contemporary nerve-based theories of sensation, Cramer aligned different types of physical and mental pain with specific musical gestures. In so doing, he did more than indulge his hermeneutic imagination: he suggested a connection between Bach's solo keyboard music and the experience of embodiment. The seemingly abstract gestures of improvisation were linked dialectically to the corporeal. Behind the specifics of Cramer's reading is a conviction that this kind of music ‘knows’ about the body, as well as the mind, and that it moves between gestures suggestive of thinking, speaking, feeling and corporeal sensation. Analysis of the fantasia, and Bach's letters, supports Cramer's reading.
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Nettl, Bruno, und Daniel Koglin. „Gelebtes Spiel, gespieltes Leben: Improvisation und Tradition in der Musik des griechischen Kaval“. Lied und populäre Kultur / Song and Popular Culture 47 (2002): 242. http://dx.doi.org/10.2307/3595214.
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Hörmann, Karl. „Musik und Begräbnis - Musiktherapie und Trauer 1Vortrag und Workshop auf dem Musiktherapie-Symposion am 8./9. Mai 1999 in der Wiener Internationalen Akademie für Ganzheitsmedizin.“ Musik-, Tanz- und Kunsttherapie 10, Nr. 2 (April 1999): 94–114. http://dx.doi.org/10.1026//0933-6885.10.2.94.
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Zusammenfassung. Die Verdrängung und Kommerzialisierung des Todes gilt als Ursache vieler psychiatrischer Krankheiten. Die weitgehend fehlende soziale Stützfunktion begünstigt pathologisches Trauern und macht die Einrichtung von Hinterbliebenenbetreuung erforderlich. Angesichts der Alterspyramide und aufgrund des Wandels in der Einstellung zu Tod und Trauer ist mit einer zunehmenden Aktualisierung dieses Problems zu rechnen. Bereits die Auswahl von Begräbnismusik führt zu ständigen Konflikten. Der Kirchenmusiker sieht sich oftmals mit Trends konfrontiert, die dem Selbstverständnis seiner Institution wie auch seinem künstlerischen Anspruch zuwiderlaufen. Das komplexe Problem läßt sich mit Mitteln polarer Musikpsychologie behandeln: Es gilt sowohl unter den veränderten Sinnkonzepten Fragen zur Musikauswahl, Interpretation und Improvisation bei der Begräbnisfeier aufzugreifen als auch die Funktionalisierung von Musik mit entsprechend dechiffriertem Gehalt und mit geeigneten Verfahren des rezeptiven und aktiven Umgangs mit Musik in der Hinterbliebenenbetreuung zu entwickeln. Diese sollte künftig als spezielles Berufsfeld im Sinne von Musiktherapie als angewandter Musikpsychologie etabliert werden.
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Oka Prabawa, Ida Bagus, und Ni Putu Hartini. „Individualism: A Work of Musical Composition Experimental | Individualisme : Sebuah Karya Musik Eksperimental“. GHURNITA: Jurnal Seni Karawitan 3, Nr. 1 (01.03.2023): 78–85. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i1.1013.
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Karya musik eksperimental bejudul Individualisme ini bertujuan untuk menyampaikan sifat dari manusia yang memiliki paham berlebihan tentang idealisme. Mengungkapkan tentang bagaimana mereka menjalani hidup yang menganalogikan keyakinan mereka sendiri. Berawal dari sikap idealis mereka itulah, muncul karakteristik mereka yang cenderung ingin menyendiri, ingin memiliki kebebasan tersendiri, memenuhi kebutuhan hidup, menjalankan hidupnya sendiri, dan terkadang mereka melalukan hal apapun agar mencapai kepuasan. Sikap individualisme ini tidaklah dari secara perorangan, terkadang juga secara berkelompok yang menyatukan presepsi mereka dibawah kendali seseorang sebagai pemimpinnya. Penciptaan komposisi musik ini menggunakan metode penciptaan dari Alma H. Hawkins pada buku Metode Penyusunan Karya Musik (Sebuah Alternatif). Adapun tahap-tahap atau metode yang dimaksud yaitu penjelajahan (exploration), penuangan dan percobaan (improvisation), dan pembentukan (forming). Dari tahap-tahap atau metode tersebut, penata melakukan proses kreativitas sebuah konsep sifat dari individualisme yang berawal dari sebuah ide ini menjerumus ke penggunaan instrumen dan juga ke pola garap sebuah karya tersebut. Dari karya ini kita bisa bercermin untuk kelangsungan hidup kita agar kedepannya tidak menjadi kekecewaan dan juga penyesalan bagi diri kita, maupun orang lain. Karya ini dituangkan kedalam instrument yang memiliki ritme, timbre, dan dinamikanya sendiri, yang menggambarkan dari sikap masing-masing seorang idealisme.
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Reardon-Smith, Hannah, Louise Denson und Vanessa Tomlinson. „FEMINISTING FREE IMPROVISATION“. Tempo 74, Nr. 292 (06.03.2020): 10–20. http://dx.doi.org/10.1017/s004029821900113x.
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AbstractThe idea and meaning of ‘freedom’ in free improvisation has largely been determined by a masculine subject position. This paper proposes a thinking of free improvisation from a feminist perspective, drawing upon the writings of Donna Haraway, Sara Ahmed and Anna Löwenhaupt Tsing, and on our own practices as improvising musicians. Reflecting on our own experiences in music and life, we ask: What does it mean to be a feminist free improviser? What inspires us to seek freedom through our improvisation practices? Can thinking improvisation through the lens of feminist theory inform our improvisational practices? We seek to think improvisation from a collective, inclusive origin. We posit that improvising is always, as Donna Haraway has suggested, ‘making-with’: creating, moment-to-moment, requiring interaction with the environment and its inhabitants. Free improvisation is not free if its practice is delimited by an exclusive world view. ‘Feministing’ free improvisation can challenge assumptions that undermine free improvisation's claim to freedom.
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Yulfita, Ade Febri, und Ferry Herdianto. „DESKRIPSI DAN INTERPRETASI TEKNIK PERMAINAN INSTRUMENT MARIMBA CONCERTO IN G MAJOR RV DAN A WHOLE NEW WORLD“. Gorga : Jurnal Seni Rupa 11, Nr. 1 (30.06.2022): 60. http://dx.doi.org/10.24114/gr.v11i1.34428.
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This research is motivated by a marimba instrument soloist in performing his repertoire must be able to become a reliable music player and make a positive contribution to music lovers. This study aims to describe the solo playing technique by interpreting the Concerto in G Major RV 310 repertoire through the two mallet technique with string quartet accompaniment and realizing the solo play by interpreting the A Whole New World repertoire through the four mallet technique with the Marimba Instrument according to the needs of today's performances. The repertoire presented is the repertoire of Concerto in G Major Rv 310 and A Whole New World. This repertoire has been considered to be played according to the great or achievement of the percussion instrument. The research approach used in this study is a qualitative approach that is useful for analyzing phenomena and for interpreting data. Based on the repertoire analysis of Concerto in G Major Rv 310, several obstacles were found in playing it, namely there was a double stroke technique played in an allegro tempo. The repertoire of the Concerto in G Major Rv 310 baroque era, there is a lot of ornamentation on the melody, and the phrases of songs that have a clear theme. While the repertoire of A Whole New World is classified as modern music (popular) which is a simple choral composition that is logical and easy to digest. Keywords: description, interpretation, instrument, marimba. AbstrakPenelitian ini dilatarbelakangi oleh seorang solis instrumen marimba dalam mempertunjukkan repertoarnya harus mampu menjadi pemain musik yang handal dan memberikan konstribusi positif kepada penikmat musik. Penelitian ini bertujuan mendeskripsikan teknik permainan solis dengan cara menginterpretasikan repertoar Concerto in G Major RV 310 melalui teknik dua mallet dengan iringan kwartet string dan mewujudkan permainan solis dengan cara menginterpretasikan repertoar A Whole New World melalui teknik empat mallet dengan instrumen marimba sesuai dengan kebutuhan pertunjukan saat ini. Repertoar yang disajikan yaitu repertoar Concerto in G Major Rv 310 dan A Whole New World. Repertoar ini telah dipertimbangkan untuk dimainkan sesuai dengan great atau capaian instrument perkusi. Pendekatan penelitian yang digunakan dalam penelitian ini adalah pendekatan kualitatif yang berguna untuk menganalisis fenomena dan untuk menginterpretasikan data. Berdasarkan analisis repertoar Concerto in G Major Rv 310, ditemukan beberapa kendala dalam memainkannya, yaitu terdapat teknik double stroke yang dimainkan dalam tempo allegro. Repertoar Concerto in G Major Rv 310 zaman barok, banyak terdapat ornamentasi pada melodi, dan frase lagu-lagu yang memiliki tema yang jelas. Sedangkan repertoar A Whole New World tergolong musik modern (popular) yang mudah dipahami.Kata Kunci: deskripsi, interpretasi, instrumen, marimba. Authors:Ade Febri Yulfita : Institut Seni Indonesia PadangpanjangFerry Herdianto : Institut Seni Indonesia Padangpanjang References:Arsyad, J., Putrianti, A., & Khadijah, K. (2020). Implementasi Alat Musik Perkusi Dalam Kemampuan Mengelola Emosional Anak Usia Dini di RA Az-Zahwa. Jurnal Raudhah, 8(2).Batallas, P.M. (2013). La marimba como Patrimonio Cultural Inmaterial. Fuente: Trabajo De Campo.David Samuel. (1982). Musical Approach to For Mallet Tecnique Volume 1. New York: New York Press.Dewatara, G. W., & Agustin, S. M. (2019). Pemasaran Musik pada Era Digital Digitalisasi Industri Musik dalam Industri 4.0 di Indonesia. WACANA: Jurnal Ilmiah Ilmu Komunikasi, 18(1), 1-10.Herdianto, F. (2021). Pertunjukan Solis Marimba dengan Repertoar The Variantions on Theme (From The Malay’s “Pucuk Pisang”). Jurnal Sitakara, 6(1), 1-12.Herfanda, F. R. (2014). Bentuk pertunjukan musik perkusi Paguyuban Sayung Hore (PSH) di Semarang. Jurnal Seni Musik, 3(1).Hoffman, G., & Weinberg, G. (2010, May). Gesture-based human-robot jazz improvisation. In 2010 IEEE international conference on robotics and automation (pp. 582-587). IEEE.Hugh M. Miller. (1996). Pengantar Apresiasi Musik. Terjemahan B.Triyono PS. Yogyakarta: Institut Seni Indonesia Yogyakarta.Sinaga, S. S. (2017). Pemanfaatan Pemutaran Musik Trhadap Psikologis Pasien Pada Klinik Ellena Skin Care Di Kota Surakarta. Jurnal Seni Musik, 6(2).Moleong, Lexy J. (2010). Metodologi Penelitian Kualitatif. Bandung: Remaja Rosdakarya.Prier Sj, Karl –Edmund. (1993). Sejarah Musik Jilid 2. Pusat Musik Liturgi: Yogyakarta.Pono, Banoe. (1984). Pengantar Alat Musik. Jakarta: CV Baru.Yang, N., Savery, R., Sankaranarayanan, R., Zahray, L., & Weinberg, G. (2020). Mechatronics-driven musical expressivity for robotic percussionists. arXiv preprint arXiv:2007.14850.Saryono dan Anggraeni, Mekar Dwi. (2010). Metodologi Penelitian Kualitatif Dalam Bidang Kesehatan. Yogyakarta: Nuha Medika.Sugiyono. (2014). Metode Penelitian Kuantitatif, Kualitatif dan R dan D. Bandung: Alfabeta.
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Alam, Andi Zulfikar, Citra Aryandari und Andi Taslim Saputra. „SOCIAL MEDIA ENGAGEMENT NGAYOGJAZZ SEBAGAI FESTIVAL MUSIK DI YOGYAKARTA“. JURNAL HARMONI 13, Nr. 2 (29.10.2023): 132–53. http://dx.doi.org/10.26618/jh.v13i2.12881.
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This study aims to find out 1). How social media engagement is present in Ngayogjazz as a music festival in Yogyakarta. 2). How Social media plays a role in portraying the Ngayogjazz festival. To achieve the objectives of the study, qualitative research methods were used with a virtual ethnographic approach from Christine Hine where Social media was chosen as the locus of research. Social media theory is used as a foundation in framing thoughts and discussions.Data collection techniques are carried out in two ways, namely observing Ngayogjazz's activities on Social media and conducting interviews to confirm some data found directly with several sources directly related to this event. In addition, existing literature and documentation data are also used as references in describing and analyzing Ngayogjazz events in Social media.The results of this study show that Social media that is present in Ngayogjazz as a music festival in Yogyakarta, using four platforms, namely Facebook, Twitter, Instagram and Youtube shows a binding interaction between Ngayogjazz as a festival and the community at large. Ngayogjazz utilizes Social media as one of the strategies in branding itself as a music festival whose presence is taken into account in the country, improvisation and musical interaction that characterize jazz.
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Irianto, Ikhsan Satria, Indra Gunawan, Lusi Handayani und Tofan Gustyawan. „Abdul Muluk Improvisation Techniques in the Warung Kajang Lako Program on TVRI Jambi“. Mudra Jurnal Seni Budaya 39, Nr. 2 (29.04.2024): 144–57. http://dx.doi.org/10.31091/mudra.v39i2.2632.
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One of the characteristics of traditional Indonesian theater, including Abdul Muluk Jambi, is that the performances rely on the improvisational abilities of the actors. Therefore, improvisation techniques are an essential element in traditional Indonesian theater acting, especially the Abdul Muluk Jambi theater. One of the theater groups that is intense in developing improvisation techniques based on Abdul Muluk's improvisations is Sanggar Pancarona Jambi. This research was conducted to find patterns of improvisational acting techniques in the Abdul Muluk performance by Sanggar Pancarona Jambi. The material object of this research is the performance of Abdul Muluk by Sanggar Pancarona which was broadcast on TVRI Jambi in the Warung Kajang Lako program. This event featured Abdul Muluk's appearance with a shortened duration. The selection of this object was based on the characteristics of the Abdul Muluk performance by Sanggar Pancarona which prioritizes the power of actor improvisation. To find patterns in Abdul Muluk's improvisation techniques, the research method used was a qualitative method with stages, observation, interviews and data analysis. The results achieved from this research are that Sanggar Pancarona Jambi uses improvisation techniques adopted from the Abdul Muluk Jambi theater. Abdul Muluk's improvisation technique which was applied at the Warung Kajang Lako TVRI Jambi event consisted of: Improvisation Rules, Building Agreement, Creating and Saying Topics, Creating Collective Imagination, Division of Tasks, Setting Timings, Starting from Introductions and Interacting with the Audience. The supporting element for Abdul Muluk's improvisation is music that is improvised in response to the actor's improvisation.
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Toxværd, Laura. „At lære med tilblivelser af grafisk notation i musik som iterativ intra-aktion“. Journal for Research in Arts and Sports Education 6, Nr. 3 (30.08.2022): 63–75. http://dx.doi.org/10.23865/jased.v6.3567.
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Artiklen tager afsæt i en jazz duo med to professionelle musikere – en pianist og artiklens forfatter på saxofon. Vi skaber musikken gennem improvisation i sammenfiltringer med grafisk notation, som jeg løbende udvikler og nedtegner som grafisk noterede partiturer. I min undersøgelse er duoen udvidet med endnu en saxofonist. Med en performativ forskningstilgang og en performativ opfattelse af musik lader jeg mig guide af effekter af materialiteter som eksempelvis musikinstrumenter og selve musikken i tid og rum, samtidig med at jeg er opmærksom på affekter. Begrebet intra-aktion fra Barads teori om posthumanistisk performativitet tænker jeg sammen med min genererede empiri i en analyse, der bygger på agential realisme. Forskningsspørgsmålet er følgende: Hvordan intra-agerer menneskelige og ikke-menneskelige materialiteter i en grafisk notations tilblivelser henover 1,5 år, når musikken ikke er et værk, der definerer, hvad vi skal lære, men forstås som iterativ intra-aktion, der gør noget med os og verden, mens vi lærer? I stedet for at betragte musik som et objekt eller den musikalske aktivitet som rettet mod en performance sigter denne undersøgelse på at være et bidrag til, at vi kan lære og sanse i iterative intra-aktioner sammen med musikkens uudtømmelige muligheder for tilblivelser.
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Madura Ward-Steinman, Patrice. „Vocal Improvisation and Creative Thinking by Australian and American University Jazz Singers A Factor Analytic Study“. Journal of Research in Music Education 56, Nr. 1 (April 2008): 5–17. http://dx.doi.org/10.1177/0022429408322458.
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In this study, the author investigated factors underlying vocal improvisation achievement and relationships with the singers' musical background. Participants were 102 college students in Australia and the United States who performed 3 jazz improvisations and 1 free improvisation. Jazz improvisations were rated on rhythmic, tonal, and creative thinking criteria; free improvisations were rated only on creativity criteria. The results are as follows: (a) A significant difference was found between jazz and free improvisation achievement; (b) extensive jazz experience, especially study and listening, was found to be significantly correlated with vocal improvisation achievement; (c) 3 factors were found to underlie jazz improvisation: jazz syntax, vocal creativity, and tonal musicianship; and (d) 3 factors were found to underlie free improvisation: musical syntax, vocal creativity, and scat syllable creativity.
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Septiani, Mila Rezeki, Fadhilah Hidayatullah und A. Heryanto. „Rejung Bukit Barisan Desa Ulak Agung Kisam dalam Perspektif Sajian Musik“. Indonesian Research Journal On Education 2, Nr. 3 (25.08.2022): 1276–83. http://dx.doi.org/10.31004/irje.v2i3.149.
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Rejung is a regional art of South Sumatra through the spread of Besemah culture. The form of thepackage is a rhyme that uses the Besemah language, developed and equipped with guitaraccompaniment. The problem in this study is the lack of appreciation of the art of rejung to thecommunity in Ulak Agung Kisam Village, Muara Dua Kisam District, South OKU. The purpose ofthis study was to introduce Rejung Art as a local culture in the province of South Sumatra, in UlakAgung Kisam Village, Muara Dua Kisam District, South OKU. The research method used isdescriptive qualitative. Collecting data through observation, interviews, and documentation. Dataanalysis using; data collection, data reduction, data presentation, and conclusions. This researchresulted in the style and technique of presenting Rejung Meringit/Lamentations, Petik Dawi andFate by Orpin Malhadi. The style of mentioning kate-kate Pronunciation of letters in the chantingof the art of rejung, rejung has characteristics and characters on the emphasis of the letters /E/,/I/, and /U/, which can be used at the beginning, middle, suffix, and a mixture of syllables in thepoem , and do the opening in the first remarks and improvisation or creation of rhymes. Thetechnique used is to tell in advance the purpose and theme of the rejung that will be presented,with spontaneity, improvising the rhyme according to the expression of taste, as well as how to sit with the slapstage and using the method with crooked or voice color that has its own character.
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Lee, Colin Andrew, und Amy Clements-Cortés. „Applications of Clinical Improvisation and Aesthetic Music Therapy in Medical Settings: An Analysis of Debussy’s ‘L’isle joyeuse’“. Music and Medicine 6, Nr. 2 (25.10.2014): 61. http://dx.doi.org/10.47513/mmd.v6i2.181.
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The application and use of clinical improvisation is an important technique in medical music therapy. Through the analysis of Debussy’s ‘L’isle joyeuse’ this study aims to provide the beginnings of a new way of working within a music-centered philosophy for music therapists in medical settings. The piece is divided into eight sub-sections, offering practical suggestions for how the music can be adapted and used for specific clinical outcomes. Each analysis may be used separately to create smaller improvisations or collectively in varying combinations, to create larger improvisations. Throughout the study connections are made between musical process and clinical outcome. Due to the transparent and ever-changing environment of patient’s experiences in hospital settings, the potential for the free-flowing form of improvisation is emphasized as an important clinical technique. This paper offers a contemporary and musically scientific view of clinical improvisation in medical settings.
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Husni, Wikal, Asep Saepul Haris, Rafiloza Rafiloza und Muhammad Zulfahmi. „Syncop Section Inspirasi Vokal Goreh Tapuk Galambuak Randai Minangkabau dalam Karya Komposisi Musik Karawitan“. Jurnal Musik Etnik Nusantara 1, Nr. 2 (30.11.2021): 140. http://dx.doi.org/10.26887/jmen.v1i2.2242.
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This musical composition, entitled Syncop Section, was inspired by the game Tapuak Galambuak, the traditional art of Randai in Minangkabau. Tapuak Galambuak is a very interesting game movement in Randai's energetic performance and serves as a transition from changing story segments in Randai art. The Tapuak Galambuak game has a musical movement, in which there is a Goreh vocal music system which is played in a syncopated game pattern with vocal syllables such as hep, tah, tih, has, intertwined with each other by clapping hands on galembong. The principle of the Tapuak Galambuak game has similarities with the rhythm of jazz music such as syncopation, improvisation and unison, so that it becomes a unique one if it is collaborated. Furthermore, the Syncop Section combines two different types of typical music (Tapuak Galambuak and Acid Jazz) but have the same playing principle. Acid Jazz is part of the Jazz music genre that combines several elements from other genres such as Funk, Disco, and Soul. Syncop Section's musical compositions are made using the popular music approach method in the Acid Jazz sub-genre using basic concepts and developments that give rise to a musical collaboration. This work is shown in audio visual form using the concept of Work From Home during the current pandemic. The form of application of this work is presented by means of audio-visual performances aimed at reaching a wider audience.
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Körting, Anna, Alexander Marmé, Rolf Verres und Heike Stammer. „Musiktherapie mit Paaren, bei denen die Frau an Krebs erkrankt ist“. Musik-, Tanz- und Kunsttherapie 16, Nr. 4 (Oktober 2005): 161–67. http://dx.doi.org/10.1026/0933-6885.16.4.161.
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Zusammenfassung. An der Universitäts-Frauenklinik Heidelberg wurde seit März 2003 im Rahmen eines eintägigen Kommunikationsworkshops für Paare eine musiktherapeutische Interventionseinheit implementiert und evaluiert. Ziel der Intervention ist es, über aktives Musikmachen (Improvisation) mit dem Partner die Kommunikation der Paare anzuregen, Möglichkeiten der Förderung des körperlichen und seelischen Wohlbefindens bewusst zu machen und den Zusammenhalt des Paares zu stärken. Zur Erfassung der Fragestellung wurde eine fünfstufige Musiktherapie-Ratingskala zur Selbstbeurteilung der Paare entwickelt. Auf Grund des explorativen Charakters der Untersuchung wurden die Ergebnisse deskriptiv ausgewertet. An dem Workshop nahmen bisher 16 Paare teil. Sowohl die Männer als auch die Frauen erlebten beim gemeinsamen Spiel einen intensiveren Kontakt zu ihrem Partner und verspürten größere Nähe zu ihm. Darüber hinaus gaben die Paare an, Spaß beim Musik machen gehabt zu haben. Einiges deutet darauf hin, dass diese musiktherapeutische Intervention einen besonderen Beitrag für die Krankheitsbewältigung von Krebspatientinnen und deren Partnern leisten und somit das Spektrum psychosozialer Interventionen in der Psychoonkologie bereichern kann.
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Cobussen, Marcel. „Improvising (with) sounds: A sonic postcard from Belgrade“. New Sound, Nr. 50-2 (2017): 269–84. http://dx.doi.org/10.5937/newso1750269c.
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This impressionistic essay is indeed an attempt to record the thoughts I developed on improvisation while visiting different places in Belgrade, meeting various musicians who are living in this city, and reflecting on a few texts dealing with musical improvisation. In seven short meditations, seven "stops", I criticize the anthropocentric discourse around improvisation, formulate ideas about improvisation that try to overcome dichotomous constructions, and trace improvisational structures in sound art, rock music, contemporary composed music, and everyday listening.
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Pambajeng, Nadya Rany Sekar, Suryati Suryati und Musmal Musmal. „Teknik Vokal dan Pembawaan Lagu Keroncong Stambul “Tinggal Kengangan” Ciptaan Budiman BJ oleh Subarjo HS“. PROMUSIKA 7, Nr. 1 (07.04.2019): 29–37. http://dx.doi.org/10.24821/promusika.v7i1.3166.
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Artikel ini disarikan dari penelitian yang berjudul “Teknik Vokal Dan Pembawaan Lagu Keroncong Stambul “Tinggal Kenangan” Ciptaan Budiman BJ Oleh Subardjo HS”. Ada beberapa permasalahan yang menjadi alasan untuk melakukan penelitian lebih mendalam dan hasilnya dapat digunakan sebagai referensi tambahan. Penelitian ini menggunakan metode penelitian deskriptif kualitatif sebagai pendekatan dalam menggali data-data serta tahapantahapan yang harus dilalui sesuai dengan prosedur. Sumber-sumber data diperoleh melalui metode observasi, wawancara, dan dokumentasi. Dalam meneliti teknik vokal dan pembawaan lagu keroncong stambul “Tinggal Kenangan” ciptaan Budiman BJ, terlebih dahulu menganalisa seputar teknik vokal keroncong, bentuk dan karakter lagu stambul. Setelah melakukan analisis pada teknik vokal dan pembawaan lagu keroncong stambul “Tinggal kenangan” ciptaan Budiman BJ, selanjutnya melakukan wawancara kepada beberapa pelaku musik keroncong, meliputi pelaku yang mempunyai latar belakang akademisi serta pelaku yang memang seorang praktisi musik keroncong. Dari hasil penelitian dapat diketahui bahwa teknik dan pembawaan lagu keroncong stambul “Tinggal Kenangan” ciptaan Budiman BJ mempunyai karakter dan ciri khas lagu yang mendayu, dan dibawakan dengan teknik dan improvisasi sesuai dengan pembawaan Subardjo HS. This article is extracted from a study entitled “Vocal Technique And Stylized Keroncong Stambul Song“Tinggal Kenangan” Budiman BJ creation by Subardjo HS”. There are a number of problems that are Reasons for doing more in-depth research and the results can be used as additional references. This sudy uses qualitative descriptive research methods as an approach in exploring the data and the stages that must be passed in accordance with the procedure. Data sources were obtained through observation, interviews, and documentation. In researching vocal technique and stylized keroncong stambul song Tinggal Kenangan Budiman BJ creation, especially first analyzing the keroncong vocal technique, the form and character of the stambul song, after analyzing the vocal technique and stylized keroncong stambul song Tinggal Kenangan Budiman BJ creation, then interviewing some actors keroncong music, including actors with background behind academics and practitioners of keroncong music. From the result of the study, it can be seen that the Vocal Technique And Stylized Keroncong Stambul Song Tinggal Kenangan Budiman BJ creation has the characteristic song and presented with technique and improvisation in accordance with styled by Subardjo HS.Keywords: vocal technique, styled, keroncong stambul
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Smith, Derek T. „Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance“. Journal of Research in Music Education 57, Nr. 3 (30.09.2009): 217–35. http://dx.doi.org/10.1177/0022429409343549.
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The purpose of this study was to construct and validate a rating scale for collegiate wind jazz improvisation performance. The 14-item Wind Jazz Improvisation Evaluation Scale (WJIES) was constructed and refined through a facet-rational approach to scale development. Five wind jazz students and one professional jazz educator were asked to record two improvisations accompanied by an Aebersold play-along compact disc . Sixty-three adjudicators evaluated the 12 improvisations using the WJIES and the Instrumental Jazz Improvisation Evaluation Measure. Reliability was good,with alpha values ranging from .87 to .95. Construct validity for the WJIES was confirmed through the analysis of a multitrait-multimethod matrix.The results of this study indicate that the facet-rational approach is an effective method of developing a rating scale for collegiate wind jazz improvisation performance.
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Firdaus, Ade Surya, Hendra Santosa und Ni Wayan Ardini. „I Gusti Anglurah Panji Sakti: Sebuah Interpretasi dalam Musik Jazz“. Gondang: Jurnal Seni dan Budaya 3, Nr. 2 (03.12.2019): 86. http://dx.doi.org/10.24114/gondang.v3i2.13843.
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Interpretation of I Gusti Anglurah Panji Sakti is a title of musical composition that interprets or reinterprets the figure of King Panji Sakti who has smart characters, courageous, sympathetic, accommodating, and always close to his subordinates and thick with the Patriotism nature of anti-hegemony, anti-imperialism and anti monopoly in a jazz composition. In the process of its creation, it was motivated by an interest in the figure of Panji Sakti as a King who deserved to be a role model, because of his nationalist and patriotic character which according to the composer was very good in build character of the nation, evident from his living history in speech stories and folklore, through this work the composer also hopes to contribute in reviving the Panji Sakti figure to theother people. This article aims to provide an overview of the process of transforming the figure of King Panji Sakti into jazz music. The process of transformation into jazz music is done by the method of creation from exploration which begins with the study of literature on the history of Panji Sakti and research.in the improvisation step, the composer imagine to find suitable motives to implementing the figure of Panji Sakti and design it so that it becomes the main melodies in this work, then rests on Pono Banoe's opinion about the elements of music namely melody, rhythm and harmony the creator explored the main melody with chords and rhythm which was deemed suitable for this work so that it became a complete musical composition, after which this work was copied into musical notes, and the result is music compositions with a tempo of 100 and beats 4/4, 5 / 4, and 7/4 with key centers G / 1 # (one sharp) and song forms AI, AII, B, and AIII, at the forming step the composer determines the instrument, and chooses supporting musicians who will help in the process of this music.
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Budy, Gandhes Sembodro. „Akademi Lalare Orchestra Sebagai Pengembang Kreativitas Musik Pada Anak Di Kabupaten Banyuwangi“. Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 4, Nr. 1 (30.06.2021): 11. http://dx.doi.org/10.26740/vt.v4n1.p11-19.
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Abstract: Creativity is a talent possessed by every individual and can be honed or nurtured through the right educational institutions. In a creativity formation, children need help to build their creativity. Supporting factors and the formation of creativity in children, namely with the full support of the people or the environment around them. The Lalare Orchestra Academy is an educational institution that teaches children to be more creative in playing musical instruments. This research uses descriptive qualitative method with data collection using observation and interview techniques, while the analysis technique uses the stages of reduction, presentation, and drawing conclusions. The research objective was to describe the background of the Lalare Academy Institute for orchestra and the process of developing musical creativity in children. The results showed that the background for the establishment of the Lalare Orchestra Academy was driven by the interest of the chairman of the Blambangan Arts Council, namely Syamsudin and Kadafi Kadiso as art enthusiasts to provide space and opportunities for academic music education to children. In its performances, the Lalare Orchestra Academy always presents Banyuwangi traditional music games with a number of musical instruments that are not only one device, but use many traditional musical instruments so that they are called orchestra music games. In its development, the Lalare Orchestra Academy is in great demand by children because children are given the opportunity to develop game techniques, thus motivating children to be creative. The process of developing creativity is carried out by teaching Banyuwangi traditional music playing techniques, improvisation, and its application when playing music in an orchestra. Thus children will be able to improvise existing songs and be able to play music well.Keywords: Lalare Orchestra Academy, Creativity
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Gillon, Les. „Varieties of Freedom in Music Improvisation“. Open Cultural Studies 2, Nr. 1 (01.12.2018): 781–89. http://dx.doi.org/10.1515/culture-2018-0070.
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Abstract This article considers the freedom for the musician that exists within different kinds of music improvisation. It examines the constraints, conventions and parameters within which music improvisations are created and identifies three broad strands of improvisatory practice, that have developed in response to the development of recording technology. It argues that non-hierarchical, pan-ideomatic and structurally indeterminate forms of music improvisation that began to emerge in the late 20th century represent a form of music that models and expresses the felt freedom of the improvising musician.
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Kim, Kangwon. „An exploration of critical issues relating to improvisation in Western music education“. Korean Association For Learner-Centered Curriculum And Instruction 24, Nr. 6 (31.03.2024): 409–24. http://dx.doi.org/10.22251/jlcci.2024.24.6.409.
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Objectives The purpose of this study was to explore and discover critical issues of Western music education regarding improvisation, and to analyze and discuss them.
Methods As a systematic literature study, strategies such as database searches, backward snowballing, and forward snowballing were used to collect data. English words, improvisation, music, education were used as key words for data searches to identify relevant English literature. In order to discover potential critical issues gathered literature were thoroughly reviewed and re-analyzed by realms.
Results Recurring important issues of improvisation in Western music education were divided into four realms. Those were issues relating to defining the term, diverse spectrum of improvisation, the critique of current pedagogies, and music teachers’ avoidance of improvisational activities. Also, the second issue was subdivided into three. Those were improvisation as musical traditions, improvisation as musical activities, and improvisation as pedagogical approaches.
Conclusions This study suggested defining improvisation in an educational context, having a sensitivity to a degree of freedom given for students’ musical choices, and taking action to incorporate improvising activities in music teacher education.
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Revzis, Inessa M. „About the Development of Improvisational Skills in the Pupils of Children’s Music Schools“. ICONI, Nr. 2 (2019): 106–15. http://dx.doi.org/10.33779/2658-4824.2019.2.106-115.
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A considerable amount of pedagogical manuals and the programs devoted to methods of instruction of improvisation is connected with examining improvisation in the context of jazz pedagogy, or the art of performance (most frequently — piano). However, the development of the composer’s improvisational skills is deemed to be more important. The diffi culties of creation of the algorithm of instruction of this type of activities, but quite apparent is the set of conditions connected, fi rst of all, with the natural inclination towards improvisation, and also the presence of compositional abilities; second, with the mandatory mastery of an entire complex of music theory knowledge. Upon the combination of these two factors, it becomes possible to speak of a high level of development of improvisational skills. The article offers the point of view regarding the organization of the process of acquisition of skills of improvisation, the basis of which is comprised by six basic components, presenting six types of improvisation: melodic, poetical, harmonic, textural, ornamental and genre-related. Each separately presented subject is signifi cant, most notably, for the content of the course of “Composition,” which reveals the basic laws of construction of a musical composition, which, in their turn, are fundamental for the development of improvisational abilities. And because improvisation frequently becomes the fi rst impulse for creating a musical composition, which presumes its expression through spontaneity, it follows that both improvisation and composition thereby exist in close mutual connection.
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Watzatka, Ágnes. „„Zur Reinigung und Veredlung des Geschmacks des Volkes“ Ferenc Zsasskovszky und die Blütezeit des Musiklebens in Eger im 19. Jahrhundert“. Studia Musicologica 49, Nr. 1-2 (01.03.2008): 73–90. http://dx.doi.org/10.1556/smus.49.2008.1-2.4.
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Ferenc Zsasskovszky (1819–1887) wurde in Zsasskó, Nordungarn (heute Žaškov, Slowakei) als Kantorensohn geboren. Er studierte von 1841 bis 1843 an der Prager Orgelschule bei Karl Franz Pitsch, der ihn in die Kunst der Bach’schen Improvisation einführte. 1846 wurde er Regens Chori am Dom zu Eger, wo er Kirchenmusikwerke von Joseph und Michael Haydn, Mozart, Beethoven, Hummel, Cherubini etc. aufführte. Neben seiner Tätigkeit als Kantor organisierte Zsasskovszky auch weltliche Konzerte. Während dieser Zeit zählte Eger zu den bedeutendsten Musikzentren Ungarns. Zsasskovszky war auch als Pädagoge tätig, er unterrichtete Musik und leitete die Schulchöre der Lehrerbildungsanstalt, des Gymnasiums sowie der Volksschule. Zsasskovszky gab seiner Arbeit mit modernen Handbüchern eine theoretische Grundlage, die er gemeinsam mit seinem Bruder, Endre Zsasskovszky (1824–1882), verfasste. Ihr bedeutendstes Werk ist das Katholische Kirchengesangbuch ( Katholikus Egyházi Énektár , 1855), welches den ungarischen Kirchengesang entscheidend beeinflusst hat und bis in die 1960er Jahren im regulären Gottesdienst verwendet wurde. Die Brüder Zsasskovszky verfassten Gesangbücher für alle Unterrichtsstufen und Choral-Sammlungen für alle gängigen Chorbesetzungen, die im ganzen Land verbreitet wurden und zu einem allgemeinen Aufschwung des Chorgesangs beitrugen.
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Lipsky, M., und J. Kantor. „Identification of Challenges and Strengths of Children with Special Educational Needs in Their Musical Improvisations“. Клиническая и специальная психология 8, Nr. 1 (2019): 118–36. http://dx.doi.org/10.17759/cpse.2019080108.
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The study of therapeutic uses of musical improvisation can help to improve music therapy assessment which is the aim of this paper. This paper identifies 1. the individual challenges and strengths that may help to deal with problems reflected in musical improvisations of children with special needs and, 2. ways of their identification while listening to the children’s musical expression. Data collected from 180 verbal descriptions of musical improvisations of four children with special needs and then analysed using grounded theory as well as content analysis of documents. It was found that music reflects children’s problems (with mainly bio-behavioural character) as well as their strengths that may be helpful in coping with those problems. Some theoretical guidelines for analysis of musical improvisation and the planning of music therapy intervention were suggested based on these findings.
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Delia-Pietra, Christopher J., und Patricia Shehan Campbell. „An Ethnography of Improvisation Training in a Music Methods Course“. Journal of Research in Music Education 43, Nr. 2 (Juli 1995): 112–26. http://dx.doi.org/10.2307/3345673.
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In the belief that the strengthening of secondary school music programs is at least partially linked to the training of prospective teachers in the techniques of improvisation, me have examined the process by which music education students reveal an understanding of improvisation, its relationship to analytical listening, the musical and social interactions that can result from its study and practice in a group setting, and ways to integrate it into the curriculum. A 5-week improvisation training segment was included in a secondary music methods course. Five 90-minute sessions were focused on listening and analyzing model pieces and consequent small-group improvisations “in the style of the model.” Data were analyzed using ethnographic techniques. The profiles of two students were developed to trace emerging thoughts and behaviors regarding improvisation training. Although the profiled students differed as to prior experiences and personal perspectives on music-making and teaching, both showed evidence of an evolving sensitivity to the process of improvisation due to instruction—for themselves and for their students.
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Norgaard, Martin, Samantha N. Emerson, Kimberly Dawn und James D. Fidlon. „Creating Under Pressure“. Music Perception 33, Nr. 5 (01.06.2016): 561–70. http://dx.doi.org/10.1525/mp.2016.33.5.561.
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A growing body of research suggests that jazz musicians concatenate stored auditory and motor patterns during improvisation. We hypothesized that this mechanism allows musicians to focus attention more flexibly during improvisation; for example, on interaction with other ensemble members. We tested this idea by analyzing the frequency of repeated melodic patterns in improvisations by artist-level pianists forced to attend to a secondary unrelated counting task. Indeed, we found that compared to their own improvisations performed in a baseline control condition, participants used significantly more repeated patterns when their attention was focused on the secondary task. This main effect was independent of whether participants played in a familiar or unfamiliar key and held true using various measurements for pattern use.
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Rivkin, Aaron. „Group Improvisation in Secondary School Instrumental Ensembles“. Music Educators Journal 109, Nr. 1 (September 2022): 37–43. http://dx.doi.org/10.1177/00274321221112870.
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Group improvisation encourages students to improvise in a collective setting to build confidence in their individual and group improvisational skills. In this article, I describe group improvisation methods that offer an accessible entry into creative music-making for learners in secondary school instrumental ensembles. Instructional considerations and establishing a positive classroom environment are discussed.
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Rabdina, Anisa, Yan Stevenson und Wardi Metro. „TANAH LIAT SEBAGAI INSPIRASI DALAM MENCIPTAKAN KARYA TARI “TUBUH YANG MENGGELIAT”“. Laga-Laga : Jurnal Seni Pertunjukan 8, Nr. 2 (01.09.2022): 139. http://dx.doi.org/10.26887/lg.v8i2.3111.
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ABSTRAK Karya tari Tubuh Yang Menggeliat berangkat dari sifat tanah liat yang memiliki sifat mudah dibentuk ketika basah seperti gerakan mengalir dan bersifat keras ketika kering seperti gerakan stakato atau sentakan-sentakan. Fokus pengkarya ialah mentransformasikan sifat tanah liat itu ke dalam tubuh penari. Dimana disampaikan dalam respons tubuh penari terhadap sifat tanah liat tersebut pada setiap bagian dalam karya ini. Divisualkan oleh lima orang penari serta diperkuat dengan musik tekno live serta elemen komposisi lainnya. Metode yang digunakan dalam penggarapan karya ini adalah metode eksplorasi, improvisasi, dan pembentukan. Karya ini digarap dengan tema kehidupan dan menggunakan tipe abstrak yang terdiri dari tiga alur garapan dan ditampilkan di Auditorium Boestanoel Arifin Adam Institut Seni Indonesia Padang Panjang.Kata Kunci : Sifat, Tubuh, dan Tanah Liat ABSTRAK The Body Wriggling dance work departs from the nature of clay, which is easy to shape when wet like a flowing movement and hard when dry like a staccato movement or jerks. The focus of the artist is to transform the nature of the clay into the dancer's body. Which is conveyed in the response of the dancer's body to the nature of the clay in every part of this work. Visualized by five dancers and reinforced by live techno music and other compositional elements. The methods used in this work are exploration, improvisation, and shaping methods. This work is done with the theme of life and uses an abstract type consisting of three plots and is displayed at the Boestanoel Arifin Adam Auditorium, the Indonesian Art Institute, Padang Panjang. Keywords: Nature, Body, and Clay
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Wilson, Dave. „A Conflux of Musical Logics: Memory, History and the Improvisative Music of SLANT“. Leonardo Music Journal 30 (Dezember 2020): 79–83. http://dx.doi.org/10.1162/lmj_a_01095.
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The author discusses SLANT, an improvisation-based project he coconceived, recorded and performed on tenor saxophone in duo with pianist and new music specialist Richard Valitutto. The project deconstructs sound worlds such as late nineteenth-century Romanticism, avant-garde/free jazz, microtonal spectralism and southeast European rural music. Drawing on George Lewis's systems of improvisative musicality, the article analyzes SLANT through the lens of sociomusical experience. The author shows how Afrological, Eurological and other systems of musicality participate together, manifesting in dialogical improvisative music-making that emerges from multiethnic and multicultural histories of improvised music.
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Guilbault, Denise Marie. „The Effects of Harmonic Accompaniment on the Tonal Improvisations of Students in First Through Sixth Grade“. Journal of Research in Music Education 57, Nr. 2 (18.06.2009): 81–91. http://dx.doi.org/10.1177/0022429409337201.
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The purpose of this research was to examine the effects of harmonic accompaniment on the tonal improvisations of elementary school students. Specifically, this study was designed to (a) determine if the addition of a root melody accompaniment to song instruction affects the implied harmonic changes and harmonic rhythm in the tonal improvisations of students in first through sixth grade and (b) determine whether age affects the tonal improvisation scores of students in first through sixth grade. Results indicated that students who received song instruction with root melody accompaniment received significantly higher tonal improvisation rating scores than those students who did not have such instruction. No statistical difference was found for the main effect of grade level.
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Sutton, Julie. „The invisible handshake: A context for improvisation in music therapy“. British Journal of Music Therapy 32, Nr. 2 (09.10.2018): 86–95. http://dx.doi.org/10.1177/1359457518799076.
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Improvisation is a fundamental aspect of music therapy practice but until recently was much neglected by researchers. This article outlines hitherto unpublished findings from doctorate research completed in 2001, at a time when few investigations were being undertaken. The findings stand the test of time and are detailed in the article as well as updated within the current literature context. The strength of the research is in consideration of underlying temporal, relational aspects of improvisation, which show how improvisations in music and in everyday conversation have both similarities and differences at deeper, structural levels. This research is of interest to current researchers, improvisers and Music Therapists.