Zeitschriftenartikel: „Music studies“

1

Tan, Shzr Ee. „Special issue: Decolonising music and music studies“. Ethnomusicology Forum 30, Nr. 1 (02.01.2021): 4–8. http://dx.doi.org/10.1080/17411912.2021.1938445.

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2

Warnaby, John. „Dieter Schnebel and his ‘Sinfonie X’“. Tempo, Nr. 186 (September 1993): 26–31. http://dx.doi.org/10.1017/s0040298200003077.

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The German composer Dieter Schnebel was born in March 1930, in Lahr, Baden. He began serious piano studies at the age of 10, and made his first attempts at composition around the end of the war, in his mid-teens. His principal music studies took place at the Musik Hochschule, Freiburg from 1949 to 1952; having encountered the music of Hindemith in 1949, he became aware of Bartók, Stravinsky and the Second Viennese School during the early 1950s, and studied at the Darmstadt Ferienkurse für Neue Musik, where he came into contact with Krenek, Varèse, Adorno, Henze, Nono and Boulez.

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Kawamoto, Akitsugu. „Popular Music Studies in Japan: Reviewing the Journal Popular Music Studies“. IASPM Journal 9, Nr. 2 (Dezember 2019): 86–91. http://dx.doi.org/10.5429/2079-3871(2019)v9i2.8en.

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4

Mackinlay, Elizabeth, und Peter Dunbar-Hall. „Historical and Dialectical Perspectives on the Teaching of Aboriginal and Torres Strait Islander Musics in the Australian Education System“. Australian Journal of Indigenous Education 32 (2003): 29–40. http://dx.doi.org/10.1017/s132601110000380x.

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AbstractIndigenous studies (also referred to as Aboriginal and Torres Strait Islander studies) has a double identity in the Australian education system, consisting of the education of Indigenous students and education of all students about Aboriginal and Torres Strait Islander cultures and histories. Through explanations of the history of the inclusion of Aboriginal and Torres Strait Islander musics in Australian music education, this article critiques ways in which these musics have been positioned in relation to a number of agendas. These include definitions of Aboriginal and Torres Strait Islander musics as types of Australian music, as ethnomusicological objects, as examples of postcolonial discourse, and as empowerment for Indigenous students. The site of discussion is the work of the Australian Society for Music Education, as representative of trends in Australian school-based music education, and the Centre for Aboriginal Studies in Music at the University of Adelaide, as an example of a tertiary music program for Indigenous students.

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5

Dawe, Kevin. „Minotaurs or musonauts? ‘World Music’ and Cretan Music“. Popular Music 18, Nr. 2 (Mai 1999): 209–25. http://dx.doi.org/10.1017/s0261143000009053.

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In a recent issue of Popular Music devoted to the music of the Middle East, Martin Stokes and Ruth Davis note that ‘the movement of Middle Eastern sounds into Western cultural spaces … has largely been ignored’ (1996, p. 255) and that ‘Middle Eastern popular musics will probably continue to mark an unassimilable and unwelcome “otherness” for most Europeans and Americans’ (ibid, p. 257). In this paper, written partly in response to these remarks, I examine the movement of contemporary Middle Eastern sounds into Greek cultural space and Greek musical culture, a musical culture that has an affinity with ‘Eastern’ musics but also a strong sense of its own identity. Middle Eastern music can indeed take on the form of an ‘unwelcome “otherness”’ in Greece and I shall provide examples of this from my own fieldwork on the Greek island of Crete. Greece and the Greek islands are outposts, on the European periphery, on the frontier between ‘the East’ and ‘the West’, where a history of confrontations, invasions and forced exchanges in political, economic and demographic terms with the Middle East has ensued for millenia. Greece and Turkey still remain in dispute over territory from the Thracian borderlands to the smaller islands of the Eastern Aegean Sea.

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Manuel, Peter. „Music as symbol, music as simulacrum: postmodern, pre-modern, and modern aesthetics in subcultural popular musics“. Popular Music 14, Nr. 2 (Mai 1995): 227–39. http://dx.doi.org/10.1017/s0261143000007455.

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Postmodern aesthetics has come to be recognised as a salient feature of much popular culture, including music. Urban subcultures, and especially migrant subcultures, may have inherent inclinations toward postmodern aesthetics, while at the same time retaining ties to modern and even pre-modern cultural discourses. The syncretic popular musics created by such subcultures may reflect these multiple cultural orientations by combining postmodern and more traditional characteristics. Thus, for example, punk rock and rap music can be seen to combine postmodern techniques of pastiche, bricolage and blank irony with modernist socio-political protest. Similar eclecticisms can also be found in the musics of some urban migrant subcultures, whose syncretic musics, like their senses of social identity, often self-consciously juxtapose or combine ancestral homeland traditions with the most contemporary cosmopolitan styles and attitudes. Interpretations of such musics may call for a particularly nuanced appreciation of the distinct aesthetic modes which may coexist in the same work.

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Móricz, Klára, Ronit Seter, Judah M. Cohen, Alexander Knapp, Steven J. Cahn, Rebecca Cypess und Edwin Seroussi. „Jewish Studies and Music“. Journal of the American Musicological Society 65, Nr. 2 (2012): 557–92. http://dx.doi.org/10.1525/jams.2012.65.2.557.

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8

Makeig, Scott. „Studies in music psychobiology“. Journal of the Acoustical Society of America 79, Nr. 2 (Februar 1986): 575. http://dx.doi.org/10.1121/1.393502.

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9

Turner, Kate, und Bill Freedman. „Music and Environmental Studies“. Journal of Environmental Education 36, Nr. 1 (Oktober 2004): 45–52. http://dx.doi.org/10.3200/joee.36.1.45-52.

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10

Hagstrom, Kristina, und Anna Frisk. „Musica Sveciae--Folk Music in Sweden“. Ethnomusicology 41, Nr. 3 (1997): 579. http://dx.doi.org/10.2307/852773.

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11

Shin, Hyunjoon. „Inter‐Asia popular music studies: cultural studies of popular music in Asia“. Inter-Asia Cultural Studies 10, Nr. 4 (Dezember 2009): 471–73. http://dx.doi.org/10.1080/14649370903166077.

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12

Perrone, Charles A. „Brazil“. Popular Music 6, Nr. 2 (Mai 1987): 219–26. http://dx.doi.org/10.1017/s0261143000006000.

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With its blends of Amerindian, African and European sources, Brazil has one of the richest and most diverse musical cultures in the world. Primitive tribal musics flourish in the Amazon, rural and urban regions practise many folk/traditional forms, and cosmopolitan art music has been produced since before the time of Villa-Lobos. Various musics that can be considered popular reflect both this wide national spectrum and the impact of international mass media pop music. Here, a description of the major tendencies in contemporary urban popular music of Brazil will be followed by bibliographical and discographic indications for further study or research.

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13

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

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

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14

Allen, Sandy. „Case Studies in Music Consultancy“. British Journal of Music Education 6, Nr. 2 (Juli 1989): 139–54. http://dx.doi.org/10.1017/s0265051700007014.

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This article gives an historical survey of the growth of music consultancy in primary education and follows on from the same author's Music Consultancy in Primary Education published in Vol. 5 No. 3 of BJME. It is postulated that the move towards the teaching of music by the generalist class teacher, supported by the consultant, has evolved gradually as a result of ideological factors, falling rolls and cuts in expenditure. The case studies represent contrasting accounts of music consultancy in operation in two primary schools. The more balanced music education was provided by the class teacher at School A, where the staff and head teacher appeared to be more committed to and more capable of including music in the curriculum.

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15

Cohen, Sara. „Ethnography and popular music studies“. Popular Music 12, Nr. 2 (Mai 1993): 123–38. http://dx.doi.org/10.1017/s0261143000005511.

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Simon Frith (1982) once bemoaned the fact that students would rather sit in the library and study popular music (mainly punk) in terms of the appropriate cultural theory, than conduct ethnographic research which would treat popular music as social practice and process. Ten years later the literature on popular music is still lacking in ethnography.

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16

Lasauskiene, Jolanta. „Peculiarities of developing intercultural competence in music education Master’s degree studies“. New Trends and Issues Proceedings on Humanities and Social Sciences 3, Nr. 1 (28.06.2017): 166–74. http://dx.doi.org/10.18844/gjhss.v3i1.1764.

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17

van der Linden, Bob. „SIKH SACRED MUSIC, EMPIRE AND WORLD MUSIC“. Sikh Formations 7, Nr. 3 (01.12.2011): 383–97. http://dx.doi.org/10.1080/17448727.2011.637364.

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18

Whiteoak, John. „‘Jazzing’ and Australia's First Jazz Band“. Popular Music 13, Nr. 3 (Oktober 1994): 279–95. http://dx.doi.org/10.1017/s0261143000007200.

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A growing tendency to study Australian popular musics as an aspect of Australian cultural studies has begun to bear fruit in the form of long overdue appraisal of the socio-cultural and musical significance of these musics. Yet in our justified enthusiasm for the exciting horizons made visible by this development, it is possible to forget that music research can serve more traditional but nevertheless important functions. In the study of popular musics, in particular, knowing how music was played can be more important than knowing what piece of repertoire was performed. For example, discovering what was ‘done’ to music in performance can tell us about the sound of unrecorded genres and can facilitate (for whatever reason) the reconstructed performance of these genres. Knowing that specific performance gestures (such as ‘flattened’ or ‘blues’ notes) were applied can of course increase our understanding of the social, cultural, and even the political nature of specific musics. In this article I am mostly concerned with applying this notion of ‘doing things’ to music to the retrieval of musical information about a specific ensemble. This more or less indigenous ensemble, which was promoted in 1918 as ‘Australia's First Jazz Band’, has captured the imagination of Australian jazz writers and is widely considered to represent the beginning of Australian jazz (Bissett 1979, p. 9).

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19

Gjerdingen, Robert O. „“Historically Informed” Corpus Studies“. Music Perception 31, Nr. 3 (Dezember 2012): 192–204. http://dx.doi.org/10.1525/mp.2014.31.3.192.

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Musicians can choose between various “historicist” or “presentist” ways of performing works from the past. Music scholars who study early music sometimes are forced to make similar choices. If one thinks of corpus studies in music as an objective form of counting the “elements of music,” the question of what constitutes an “element” can involve similar historicist/presentist dilemmas. The article examines three historically significant characteristics of European art music—three historicist features—that are not always recognized in presentist corpus studies. For an illustrative example, a comparison is made between how the cadenza doppia in a Bach toccata for organ might be represented in a corpus study as either a two-voice framework or a series of Roman numerals in the tradition of Allen McHose (1947). Because that type of cadence was a commonplace in Bach’s time and in Bach’s compositions, a corpus analysis should be able to detect its multiple occurrences as a core element of the music.

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20

Bowman, Wayne D. „Music Education and Post-Secondary Music Studies in Canada“. Canadian University Music Review 21, Nr. 1 (04.03.2013): 76–90. http://dx.doi.org/10.7202/1014479ar.

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This essay questions the efficacy of conventional disciplinary boundaries in post-secondary music studies, boundaries that reductively define music education as a training ground for public school music teachers. Our expectations of music education and its sphere of influence have been far too modest. To the extent we segregate music education from the goals and objectives of music studies more broadly, we neglect our collective responsibility for the musical life of our country. We have focused inwardly, engrossed in our specialties, leaving the design of school music curricula and the fragile environments in which they must compete for survival to the whims of non-musician bureaucrats and politicians. We have been less than successful in our collective obligation to enhance the musical well-being of the country. Changing these circumstances is among our greatest challenges in the decades ahead.

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Bowman, Wayne D. „Music Education and Post-Secondary Music Studies in Canada“. Arts Education Policy Review 103, Nr. 2 (November 2001): 9–17. http://dx.doi.org/10.1080/10632910109600282.

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22

Jolly, Desmond. „Music“. Multicultural Perspectives 1, Nr. 1 (Januar 1999): 24–25. http://dx.doi.org/10.1080/15210969909539882.

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23

Jolly, Desmond. „Music“. Multicultural Perspectives 1, Nr. 2 (Januar 1999): 17–19. http://dx.doi.org/10.1080/15210969909539896.

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24

Lam, Joseph S. C. „MING MUSIC AND MUSIC HISTORY“. Ming Studies 1997, Nr. 1 (Januar 1997): 21–62. http://dx.doi.org/10.1179/014703797788763526.

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25

Stokes, Martin, und Ruth Davis. „Introduction“. Popular Music 15, Nr. 3 (Oktober 1996): 255–57. http://dx.doi.org/10.1017/s0261143000008254.

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This special issue is the first collection of articles specifically devoted to Middle Eastern popular musics to be published anywhere. When we began work on this issue, we were not operating in a void, however. Popular Music has already published a number of articles on Middle Eastern topics and the ‘great names’ associated with mass distributed musics and films in the earlier part of this century – in particular the Egyptian stars Umm Kulthūm and Muhammed 'Abd al-Wahhāb – have already been the subject of excellent studies published elsewhere. This issue has, however, provided us with an opportunity to reflect on the ways in which Middle Eastern musics have conventionally been studied and represented, and on the contribution that several decades of popular music studies might make to this field. The contributors have responded to these opportunities in a variety of ways and the result, we feel, is a distinctly fresh picture of the Middle East.

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Guilbault, Jocelyne. „Interpreting world music: a challenge in theory and practice“. Popular Music 16, Nr. 1 (Januar 1997): 31–44. http://dx.doi.org/10.1017/s0261143000000684.

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This article focuses on the issue of meanings in ‘world music’ practices. The main questions addressed are how such musical cultures take on meanings, and what meanings are constructed by such cultures. As Deborah Pacini has indicated, the term ‘world music’ in this case does not refer to a musical genre. It is used, rather, ‘[as] a marketing term describing the products of musical cross-fertilisation between the north – the US and Western Europe – and south – primarily Africa and the Caribbean Basin, which began appearing on the popular music landscape in the early 1980s’ (1993, p. 48). From 1985, the expanding ‘world music’ umbrella has come to include practically any musics of cultures of non-European origin.

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MORDECAI, PAMELA. „Music, Music, Music“. Matatu 12, Nr. 1 (26.04.1994): 178–84. http://dx.doi.org/10.1163/18757421-90000094.

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28

Butler, Alison. „The judges’ decision is final: Judgement in music talent reality TV and school music education“. Journal of Popular Music Education 3, Nr. 3 (01.12.2019): 399–415. http://dx.doi.org/10.1386/jpme_00003_1.

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This article explores music talent reality television (RTV) and conceptualizes it as a site of music education. It also considers whether music talent RTV might magnify sociocultural traits that are less easily detected in other sites of music education. A considerable body of research has developed around RTV, notably from the fields of sociology, media studies, cultural studies and women’s studies. These scholars frequently draw on Bourdieu’s concepts of habitus and capital to analyse participant and audience engagements with the genre. Judgement is central to these discussions, particularly in the subgenre of music talent RTV, with several authors showing how taste and distinction are influenced by habitus. Reviewing the RTV literature highlights how certain musics and musicking experiences are judged, and how such judgement can devalue the musical experiences of those young people who are least likely to access school music education. This raises questions for further study about music talent RTV’s relationship with school music education, and for the study of music talent RTV as a music education setting in its own right, but it also highlights themes that warrant consideration in school music education sites, where judgements and their impacts on access and participation are often disguised or unquestioned.

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van der Lee, Pedro. „Sitars and bossas: World Music influences“. Popular Music 17, Nr. 1 (Januar 1998): 45–70. http://dx.doi.org/10.1017/s0261143000000489.

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Popular music is sometimes discussed from a rather ethnocentric viewpoint, lacking awareness of, or not acknowledging, influences assimilated from non-Western musics, while in the field of ethnomusicology, issues such as the preservation of traditional styles (see Baumann 1992, pp. 11–15) remain important, but there is an increased interest in the processes of change and the effects of technology (see, for example, Wallis and Malm 1984). As Western and traditional styles interact, changes occur, and as Frith puts it: ‘popular music study rests on the assumption that there is no such thing as a culturally “pure” sound’ (1989, p. 3).

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Nooshin, Laudan. „Parenting and Music Studies Forum“. Ethnomusicology Forum 29, Nr. 3 (01.09.2020): 269–75. http://dx.doi.org/10.1080/17411912.2020.1873553.

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31

Waksman, Steve. „Popular Music Studies and Interdisciplinarity“. Journal of World Popular Music 6, Nr. 2 (26.11.2019): 232–36. http://dx.doi.org/10.1558/jwpm.40177.

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32

Prickett, Carol A., und Kenneth E. Bruscia. „Case Studies in Music Therapy“. Notes 52, Nr. 1 (September 1995): 129. http://dx.doi.org/10.2307/898835.

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JOHNSON, BRUCE. „DIRECTIONS IN POPULAR MUSIC STUDIES“. Perfect Beat 2, Nr. 4 (06.10.2015): 98–105. http://dx.doi.org/10.1558/prbt.v2i4.28773.

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Jagow, Shelley. „Case Studies in Music Education“. Music Educators Journal 92, Nr. 4 (März 2006): 18–19. http://dx.doi.org/10.2307/3401099.

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Battier, Marc. „The Electroacoustic Music Studies Network“. Leonardo 40, Nr. 5 (Oktober 2007): 418. http://dx.doi.org/10.1162/leon.2007.40.5.418.

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Mitsui, Toru. „Popular music studies in Japan“. Popular Music 7, Nr. 1 (Januar 1988): 103. http://dx.doi.org/10.1017/s0261143000002592.

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Mckerrell, Simon. „Social constructionism in music studies“. Popular Music 35, Nr. 3 (14.09.2016): 425–28. http://dx.doi.org/10.1017/s0261143016000581.

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Stacey, Cara. „Analytical Studies in World Music“. Journal of the Musical Arts in Africa 10, Nr. 1 (Dezember 2013): 131–33. http://dx.doi.org/10.2989/18121004.2013.846989.

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39

Behague, Gerard, Jose Maria Neves, Bruno Kiefer, Regis Duprat, Dulce Martins Lama, Jaime C. Diniz, Tiago De Oliveira Pinto und Luis Paulo Horta. „Recent Studies of Brazilian Music“. Latin American Music Review / Revista de Música Latinoamericana 8, Nr. 2 (1987): 292. http://dx.doi.org/10.2307/780105.

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40

Matthew D. Thibeault. „Sound Studies and Music Education“. Journal of Aesthetic Education 51, Nr. 1 (2017): 69. http://dx.doi.org/10.5406/jaesteduc.51.1.0069.

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41

Green, Edward. „Analytical Studies in World Music“. Ethnomusicology 51, Nr. 2 (01.04.2007): 345–47. http://dx.doi.org/10.2307/20174529.

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42

Medić, Ivana. „Making a Case for Balkan Music Studies“. Arts 9, Nr. 4 (25.09.2020): 99. http://dx.doi.org/10.3390/arts9040099.

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In his seminal comprehensive history of music(s) in the Balkan region, Jim Samson avoided the term “Balkan music” in favor of the less-binding title Music in the Balkans (Leiden: Brill, 2013). This, however, should not hinder us from probing the term “Balkan music” and its many connotations. In this editorial article for the Special Issue Balkan Music: Past, Present, Future, I aim to dissect the umbrella term “Balkan music” and its actual and presumed meanings and implications, while overviewing many different music traditions and styles that this term encompasses. I will also make a case for the establishment of Balkan Music Studies as a discipline and attempt to outline its scope and outreach.

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Vantomme, Jason D., Peter Desain und Henkjan Honing. „Music, Mind and Machine: Studies in Computer Music, Music Cognition and Artificial Intelligence“. Computer Music Journal 19, Nr. 2 (1995): 107. http://dx.doi.org/10.2307/3680605.

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44

Smoliar, Stephen W. „Music, mind and machine: Studies in computer music, music cognition and artificial intelligence“. Artificial Intelligence 79, Nr. 2 (Dezember 1995): 361–71. http://dx.doi.org/10.1016/0004-3702(95)90013-6.

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45

Gut, Serge, Franz Liszt, Imre Mezö und Imre Mezo. „Technische Studien für Klavier. Technical Studies for Piano“. Revue de musicologie 73, Nr. 1 (1987): 149. http://dx.doi.org/10.2307/928935.

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Kaparang, Grace Fresania, und Mega Gayo. „PREFERENSI MUSIK DAN KECERDASAN EMOSI MAHASISWA PROFESI NERS UNIVERSITAS KLABAT“. Nutrix Journal 4, Nr. 1 (28.04.2020): 48. http://dx.doi.org/10.37771/nj.vol4.iss1.422.

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Emotional intelligence is crucial in life; thus, proper stimulations, including music, were necessary. The study aimed to identify the relationship between music preference and emotional intelligence and also to find if there is any significant difference in emotional intelligence among music preference groups. Descriptive correlational method with cross-sectional approach and purposive sampling technique were employed. Most of the students prefer unpretentious music genres and having "moderate" emotional intelligence (M=121.85, SD=11.3). No significant difference in emotional intelligence between music preference groups from Kruskal-Wallis analysis; however, Spearman's analysis shown that “sophisticated” music genre was positively weak correlated with emotional intelligence (p=.028<.05; r=.218). Furthermore, the music type of Gospel, New Age, Pop, Religious and Soundtracks type of music were positively weak correlated with emotional intelligence, while Punk was negatively weak correlated. It is recommended that profesi ners students be wise in music selection since music may have a significant impact on emotional intelligence, and for further studies should ensure that the participants are familiar with the STOMP that they may understand the genre. Furthermore, future studies also may use direct observatory analysis for emotional intelligence by giving situational experiment to the participant rather than just using a self-rated questionnaire. Keywords: emotional, intelligence, music, student, nurse Kecerdasan emosi memiliki peran yang sangat penting untuk kehidupan karena itu perlu adanya stimulus yang tepat, salah satunya dengan menggunakan musik. Tujuan penelitian ini adalah untuk mengetahui gambaran preferensi musik serta kecerdasan emosi pada mahasiswa profesi ners Universitas Klabat serta mengidentifikasi perbedaan kecerdasan emosi berdasarkan preferensi musik dan juga untuk mengidentifikasi hubungan preferensi musik dengan kecerdasan emosional. Metode yang digunakan dalam penelitian ini adalah observasional analitik deskriptif korelatif dengan pendekatan cross sectional dengan teknik purposive sampling. Hasil penelitian ini menunjukkan paling banyak mahasiswa menyukai musik dengan genre unpretentious dan memiliki kecerdasan emosi “sedang”. Ditemukan juga bahwa tidak ada perbedaan dalam kecerdasan emosional berdasarkan preferensi musik berdasarkan uji Kruskal-Wallis, namun dari uji Spearman menunjukkan bahwa Gospel, New Age, Pop, Religious dan Soundtracks memiliki hubungan positif dengan kecerdasan emosi, sedangkan musik Punk memiliki hubungan yang negatif. Rekomendasi bagi mahasiswa profesi ners agar bijaksana memilih jenis aliran musik yang tepat guna meningkatkan kecerdasan emosional dan bagi peneliti selanjutnya yang ingin mengadopsi dan menggunakan Tes Preferensi Musik (STOMP) harus memastikan bahwa mereka mendengarkan setidaknya satu dari lagu-lagu tersebut, agar peserta tahu jenis musik yang dimaksud. Penelitian selanjutnya juga dapat melakukan pengukuran observasi perilaku langsung dengan memberikan ujian situasional untuk menguji kecerdasan emosi kepada partisipan gantinya menggunakan kuesioner “self-rated”. Kata kunci : kecerdasan emosional, musik, mahasiswa profesi ners, preferensi

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Savigny, Heather, und Julian Schaap. „Putting the ‘studies’ back into metal music studies“. Metal Music Studies 4, Nr. 3 (01.09.2018): 549–57. http://dx.doi.org/10.1386/mms.4.3.549_1.

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KÄRJÄ, ANTTI-VILLE. „A prescribed alternative mainstream: popular music and canon formation“. Popular Music 25, Nr. 1 (Januar 2006): 3–19. http://dx.doi.org/10.1017/s0261143005000711.

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This article applies the processes of canon formation suggested by Philip V. Bohlman in The Study of Folk Music in the Modern World to the historiography of popular music. Bohlman distinguishes between at least three different types of folk music canon: a small group canon, a mediated canon and an imagined canon. Adjusting Bohlman's ideas to the case of popular music, a reformulation is proposed in the form of an alternative canon, a mainstream canon, and a prescribed canon. The unstable power relations implied by the juxtaposition of different canons are considered, as well as the cumulative aspect of canon formation. The article also looks for each type of canon in the media through which historical knowledge is transmitted, and considers the tendency to narrate the historiography of marginal musics with more ephemeral media than the printed word.

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Lancashire, Terence. „World music or Japanese - the gagaku of Tôgi Hideki“. Popular Music 22, Nr. 1 (Januar 2003): 21–39. http://dx.doi.org/10.1017/s0261143003003027.

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The term ‘world music’ usually conjures up images of musics from ‘remote’ corners of the world. However, that remoteness is not always geographical and can, for example, be chronological. Tôgi Hideki, a former musician from the Imperial court in Japan, has sought to introduce court music - gagaku - to a wider audience through the reworking of traditional gagaku pieces and new compositions for gagaku instruments. Gagaku boasts a history of over 1,200 years and its esoteric nature inhibits popular interest. Tôgi Hideki’s popularised gagaku, on the other hand, has found a new audience for gagaku, and his music serves as a bridge introducing Japanese back to a remote part of Japanese musical culture.

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Solomonova, Olga. „INTERTEXTUAL ROUTES OF CONTEMPORARY MUSIC: ASSOCIATIVE MUSIC TEXT ISSUE“. CULTURE AND ARTS IN THE MODERN WORLD, Nr. 23 (30.06.2022): 145–54. http://dx.doi.org/10.31866/2410-1915.23.2022.261009.

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The purpose of the article is to present the concept of associative musical text (definition, typology, methodology) and analytically prove the viability of associative musical text as an effective technique of modern text forming. Research methodology. The author has applied the method of generalisation, which allowed us to review the intertextuality issue in humanitarianism and systematise observations on associative musical texts; a methodological definition procedure has allowed determining the category of associative musical text; a typological approach has provided the possibility of differentiating associative musical text; methods hermeneuticalsemantic, intonation and comparative analysis, which have become the basis for identifying the intonation and dramatic specifics of the works reviewing. Scientific novelty. The author has proposed the concept of an associative musical text, representing three scientific positions: definition, typology (10 types), and research methodology. Conclusions. The article proves the associative musical text concept as a categorically independent, functional, or contemporary composer’s thinking. It is found that associative musical text, as one of the basic, technologically developed mechanisms of text formation in modern music, is the sphere of activation of meanings that is always different, aimed at dialogue or counterdialogy with the primary source, author, era and its socio-cultural priorities. The theory reasoning for the concept is carried out based on “Сarpe Diem” by the Ukrainian composer A. Bezborodko and “Biber. Battalia a 10 (with pieces by PatKop from “Ghiribizzi”) by Moldovan and Swiss artist P. Kopachynska. Various trends in the work of a modern composer with intertext are studied: from Game modelling of “fragments” of old texts with the discovery of their unexpected figurative and semantic resources (“Сarpe Diem” by A. Bezborodko) to adaptation in a new artefact of a complete composition of the past (“Bieber. Battalia” by P. Kopachynska). The article has proven the significance of the associative musical text as a perfect heuristic mechanism of modern text formating, thanks to which there is the reconstruction and updating of “old” text phenomena and an alternative reputation of the modern author as a co-creator of a corporate artefact in the article.

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