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Wei, Zhou. „Analysis on the Charm of Music Appreciation“. Music Report 2, Nr. 3 (2020): 73–77. http://dx.doi.org/10.35534/mur.0203012c.
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Buel, Dona L., und Samuel C. Welch. „Improving Music Appreciation Class Using Cohort Analysis“. General Music Today 13, Nr. 3 (April 2000): 13–15. http://dx.doi.org/10.1177/104837130001300304.
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Sanitnarathorn, Pannawit. „An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry“. Journal of Education and Training Studies 6, Nr. 3a (01.04.2018): 78. http://dx.doi.org/10.11114/jets.v6i3a.3161.
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Digital music streaming are climbing but overall music revenue is declining with digital music piracy being blamed as the culprit. In a 10 year period from 2003 to 2013, global music sales dropped from $US23.3 to $US15 billion dollars with Thailand’s music industry following the trend dropping from $US 304 million in 2010 to $US 279 million in 2014. The study therefore used a structural equation model to analyze the variables affecting digital music piracy and fan music streaming's purchase intention. From the seven point Likert scale questionnaire, 350 music fans were surveyed concerning their digital music streaming activities. The qualitative research was conducted with 10 executives in music industry by the use of purposive sampling. Partial Least Square Graph software was used for model verification with the results showing that fan idolatry has the highest influence on the overall decision to stream music digitally. The results showed that the results of quantitative research is practical and acceptable hypothesis significance at p ≤ 0.05 by factors that have a direct influence positive peak and overall influence is the highest passion to affect their willingness to stream music digitally to consumers. The findings of this study concluded that the artist's passion for their music fans is the key factor in music lover’s intent to stream and pay for digital music. Fans are ultimately the most important sector of the industry and unfortunately it is one which the industry forgets about. Labels or artists who focus on only ‘looking good’ while not engaging their fan audiences are destined for a continuing decline in their sales numbers.
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Cho, Sung-gi, und YeoJin Hwang. „Status Analysis of Music Appreciation Education in the Secondary School“. Korean Society of Music Education Technology 33 (16.10.2017): 135–53. http://dx.doi.org/10.30832/jmes.2017.33.135.
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Jorgensen, Estelle R. „Percy Scholes on Music Appreciation: Another View“. British Journal of Music Education 4, Nr. 2 (Juli 1987): 139–56. http://dx.doi.org/10.1017/s0265051700005908.
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Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.
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Platz, Friedrich, und Reinhard Kopiez. „When the Eye Listens: A Meta-analysis of How Audio-visual Presentation Enhances the Appreciation of Music Performance“. Music Perception 30, Nr. 1 (01.09.2012): 71–83. http://dx.doi.org/10.1525/mp.2012.30.1.71.
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the visual component of music performance as experienced in a live concert is of central importance for the appreciation of music performance. However, up until now the influence of the visual component on the evaluation of music performance has remained unquantified in terms of effect size estimations. Based on a meta-analysis of 15 aggregated studies on audio-visual music perception (total N = 1,298), we calculated the average effect size of the visual component in music performance appreciation by subtracting ratings for the audio-only condition from those for the audio-visual condition. The outcome focus was on evaluation ratings such as liking, expressiveness, or overall quality of musical performances. For the first time, this study reveals an average medium effect size of 0.51 standard deviations — Cohen's d; 95% CI (0.42, 0.59) — for the visual component. Consequences for models of intermodal music perception and experimental planning are addressed.
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Meehan, Sarah, Elizabeth A. Hough, Gemma Crundwell, Rachel Knappett, Mark Smith und David M. Baguley. „The Impact of Single-Sided Deafness upon Music Appreciation“. Journal of the American Academy of Audiology 28, Nr. 05 (Mai 2017): 444–62. http://dx.doi.org/10.3766/jaaa.16063.
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Background: Many of the world’s population have hearing loss in one ear; current statistics indicate that up to 10% of the population may be affected. Although the detrimental impact of bilateral hearing loss, hearing aids, and cochlear implants upon music appreciation is well recognized, studies on the influence of single-sided deafness (SSD) are sparse. Purpose: We sought to investigate whether a single-sided hearing loss can cause problems with music appreciation, despite normal hearing in the other ear. Research Design: A tailored questionnaire was used to investigate music appreciation for those with SSD. Study Sample: We performed a retrospective survey of a population of 51 adults from a University Hospital Audiology Department SSD clinic. SSD was predominantly adult-onset sensorineural hearing loss, caused by a variety of etiologies. Data Analysis: Analyses were performed to assess for statistical differences between groups, for example, comparing music appreciation before and after the onset of SSD, or before and after receiving hearing aid(s). Results: Results demonstrated that a proportion of the population experienced significant changes to the way music sounded; music was found to sound more unnatural (75%), unpleasant (71%), and indistinct (81%) than before hearing loss. Music was reported to lack the perceptual qualities of stereo sound, and to be confounded by distortion effects and tinnitus. Such changes manifested in an altered music appreciation, with 44% of participants listening to music less often, 71% of participants enjoying music less, and 46% of participants reporting that music played a lesser role in their lives than pre-SSD. Negative effects surrounding social occasions with music were revealed, along with a strong preference for limiting background music. Hearing aids were not found to significantly ameliorate these effects. Conclusions: Results could be explained in part through considerations of psychoacoustic changes intrinsic to an asymmetric hearing loss and impaired auditory scene analysis. Given the prevalence of music and its capacity to influence an individual’s well-being, results here present strong indications that the potential effects of SSD on music appreciation should be considered in a clinical context; an investigation into relevant rehabilitation techniques may prove valuable.
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Osiebe, Garhe. „Electoral Music Reception“. Matatu 49, Nr. 2 (20.12.2017): 439–66. http://dx.doi.org/10.1163/18757421-04902011.
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Abstract Audiences in Africa are a grossly under-researched demographic. This paper centres on the comparative analysis of two electoral audience-based surveys conducted between April and September 2012 in the Nigerian states of Bayelsa and Lagos; following the April 2011 presidential election in Nigeria that ushered the erstwhile President Goodluck Jonathan into power. The surveys sought to know the electorates’ reaction to the electoral campaign songs that endorsed Jonathan and how these songs informed their choice of candidate. The paper’s analysis combines an appreciation of the surveys’ results and the surveys’ procedure while focusing on the middle-ground between aesthetics and politics in the context.
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Lv, Yang. „Influence of cognitive neural mechanism on music appreciation and learning“. Translational Neuroscience 10, Nr. 1 (23.04.2019): 57–63. http://dx.doi.org/10.1515/tnsci-2019-0010.
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AbstractBased on the related research results of the relationship between cognitive neural mechanism and music in recent years. In this paper, we study the relationship between the cognitive neurons and music from the overlapping and separation of brain neuro-mechanism and the significance of functional relationships between the two. Through analysis, it can be seen that the cognitive neural mechanism has a certain influence on music appreciation and learning and the studies on brain-damaged patients show that the two may have separate and independent neural bases. Finally, we find the influence of sub-consciousness on decision making through the measurement of SCRs (skin conductance responses), and thus propose a decision model modified by subconscious and make an outlook for future research trends.
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Wolf, Motje. „The Appreciation of Electroacoustic Music: The prototype of the pedagogical ElectroAcoustic Resource Site“. Organised Sound 18, Nr. 2 (11.07.2013): 124–33. http://dx.doi.org/10.1017/s1355771813000046.
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This article introduces research on the influence of teaching on the change of inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to make Key Stage 3 students (11–14 years old)1 familiar with electroacoustic music. The curriculum introduced music using concepts, such as music with real-world sounds and music with generated sounds. Presented in an online environment and accompanied with a teachers’ handbook, the curriculum can be used online or as classroom-based teaching resource.The online environment was developed with the help of user-centred design. Following this, the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester, UK. Data were collected using questionnaires, a listening response test and a summary of the teaching (letter written by participants). Qualitative content analysis was used for the data analysis.Results include the change of the participants’ appreciation of electroacoustic music during the study. Successful learning and a decrease in alienation towards electroacoustic music could be measured. The study shows that the appreciation of electroacoustic music can be enhanced through the acquirement of conceptual knowledge. Especially important was the enhancing of listening skills following a listening training as well as the broadening of the participants’ vocabulary that enabled them to describe their listening experience.
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Vinnicombe, Thea, und Pek U. Joey Sou. „Socialization or genre appreciation: the motives of music festival participants“. International Journal of Event and Festival Management 8, Nr. 3 (09.10.2017): 274–91. http://dx.doi.org/10.1108/ijefm-05-2016-0034.
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Purpose Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of motivation studies, music festivals, in order to see if this approach can elicit a consistent set of motivation dimensions for the sub-category, which can in turn be compared and contrasted with the broader literature. A new case study of motivations to attend the 28th Macau International Music Festival (MIMF) is included to complement the existing music festival sub-category by adding a classical music and music festivals in Asia. Design/methodology/approach Motivation dimensions important to music festivals are compared to dimensions across the broader festival motivation literature to find similarities and differences. Factor analysis is used to identify the motivation dimensions of attendees at the MIMF and the results are compared to those of existing music festival studies. Findings Music festival goers are shown to be primarily motivated by the core festival offering, the music, in contrast to festival attendees in general, where socialization has emerged as the primary motivating element. The results of the additional case study support these findings. Originality/value In contrast to previous research, this study examines the possibility of identifying common motivations among festival attendees through studying festivals by sub-categories.
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Robinson, Thomas O., James B. Weaver und Dolf Zillmann. „Exploring the Relation between Personality and the Appreciation of Rock Music“. Psychological Reports 78, Nr. 1 (Februar 1996): 259–69. http://dx.doi.org/10.2466/pr0.1996.78.1.259.
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Scores on five personality characteristics, extraversion, neuroticism, and psychoticism as well as reactive and proactive rebelliousness, and the appreciation of soft/nonrebellious and hard/rebellious rock-music videotapes were explored. After completing the personality tests, female and male undergraduates were exposed to rock-music videotapes and asked to rate various aspects of their enjoyment of each. Analysis indicated that psychoticism and reactive rebelliousness were associated with enjoyment in a parallel fashion. Specifically, respondents scoring high on psychoticism or high on reactive rebelliousness enjoyed hard/rebellious rock-music videotapes more than did their peers scoring low on psychoticism or low on reactive rebelliousness. The reverse was evident for the enjoyment of soft/nonrebellious rock-music videotapes. In contrast, scores on extraversion, neuroticism, and proactive rebelliousness were not associated with enjoyment. Gender differences emerged, however; women ( n = 78) enjoyed soft/nonrebellious rock music more than did men ( n = 60); and conversely, men enjoyed hard/rebellious rock music more than did women.
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Cho, Sung-gi, und Seok-il Yun. „Analysis on the Effects of Music Appreciation Teaching Methods for Improving Musical Vocabulary Ability“. Korean Society of Music Education Technology, Nr. 37 (16.10.2018): 153–73. http://dx.doi.org/10.30832/jmes.2018.37.153.
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Jeong, Jaeeun. „An Implications through the Analysis of Appreciation Sections and Activities in Secondary Music Textbooks“. Educational Research Institute 39, Nr. 2 (30.12.2019): 317–36. http://dx.doi.org/10.34245/jed.39.2.317.
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Zebua, Testi Bazarni, Julaga Situmorang und R. Mursid. „PENGARUH STRATEGI PEMBELAJARAN DAN APRESIASI TERHADAP HASIL BELAJAR SENI MUSIK SISWA“. Jurnal Teknologi Pendidikan (JTP) 11, Nr. 1 (02.11.2018): 60. http://dx.doi.org/10.24114/jtp.v11i1.11197.
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Abstrak: Tujuan penelitian ini adalah: (1) untuk mengetahui apakah belajar seni musik siswa yang diajar dengan menggunakan strategi pembelajaran discovery learning lebih tinggi dari strategi ekspositori, (2) untuk mengetahui apakah hasil belajar seni musik siswa yang memiliki tingkat apresiasi tinggi lebih tinggi dari tingkat apresiasi rendah, dan (3) Untuk mengetahui apakah ada interaksi antara strategi pembelajaran dan apresiasi dalam memberikan pengaruh terhadap hasil belajar seni musik siswa. Metode penelitian menggunakan quasi eksperimen dengan desain penelitian penelitian faktorial 2 x 2. Teknik analisis data menggunakan ANAVA dua jalur pada taraf signifikan α = 0,05. Temuan penelitian menunjukkan : (1) Hasil belajar seni musik siswa yang diajar dengan strategi pembelajaran discovery learning dari konstruktivisme (79,67) lebih tinggi dibandingkan siswa yang diajar dengan strategi pembelajaran ekspositori (76,67). (2) Hasil belajar seni musik siswa yang memiliki tingkat apresiasi tinggi (79,50) lebih tinggi dibandingkan siswa yang memiliki tingkat apresiasi rendah (74,93). (3) Terdapat interaksi antara strategi pembelajaran dan tingkat apresiasi dalam mempengaruhi hasil belajar seni musik siswa. Siswa dengan apresiasi tinggi akan memperoleh hasil belajar yang lebih tinggi jika diajar dengan strategi pembelajaran discovery learning dari konstruktivisme. Demikian pula dengan siswa yang memiliki apresiasi rendah, akan memperoleh hasil belajar yangg lebih tinggi jika diajar dengan strategi pembelajaran ekspositori. Kata Kunci: strategi pembelajaran, apresiasi, hasil belajar seni musik Abstract: The purpose of this study are: (1) to find out whether learning music art students taught by using discovery learning learning strategies is higher than expository strategies, (2) to find out whether the results of students learning music are higher than low level of appreciation, and (3) To find out if there is an interaction between learning strategies and appreciation in influencing students' learning outcomes in music. The research method uses quasi-experimental research design with 2 x 2 factorial research. Data analysis techniques using two-way ANAVA at a significant level α = 0.05. The findings of the study show: (1) The results of learning the music arts of students taught by discovery learning learning strategies of constructivism (79.67) are higher than students taught with expository learning strategies (76.67). (2) The results of learning the music arts of students who have a high level of appreciation (79.50) are higher than students who have a low appreciation level (74.93). (3) There is an interaction between learning strategies and the level of appreciation in influencing students' learning outcomes in music. Students with high appreciation will obtain higher learning outcomes if taught with discovery learning learning strategies from constructivism. Likewise with students who have low appreciation, will get higher learning outcomes if taught with an expository learning strategy. Keywords: learning strategies, appreciation, learning outcomes of music art
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Pei, Zhaoliang, und Yan Wang. „Analysis of Computer Aided Teaching Management System for Music Appreciation Course Based on Network Resources“. Computer-Aided Design and Applications 19, S1 (23.03.2021): 1–11. http://dx.doi.org/10.14733/cadaps.2022.s1.1-11.
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Cheng, Min-Yu, Jaclyn B. Spitzer, Valeriy Shafiro, Stanley Sheft und Dean Mancuso. „Reliability Measure of a Clinical Test: Appreciation of Music in Cochlear Implantees (AMICI)“. Journal of the American Academy of Audiology 24, Nr. 10 (November 2013): 969–79. http://dx.doi.org/10.3766/jaaa.24.10.8.
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Purpose: The goals of this study were (1) to investigate the reliability of a clinical music perception test, Appreciation of Music in Cochlear Implantees (AMICI), and (2) examine associations between the perception of music and speech. AMICI was developed as a clinical instrument for assessing music perception in persons with cochlear implants (CIs). The test consists of four subtests: (1) music versus environmental noise discrimination, (2) musical instrument identification (closed-set), (3) musical style identification (closed-set), and (4) identification of musical pieces (open-set). To be clinically useful, it is crucial for AMICI to demonstrate high test-retest reliability, so that CI users can be assessed and retested after changes in maps or programming strategies. Research Design: Thirteen CI subjects were tested with AMICI for the initial visit and retested again 10–14 days later. Two speech perception tests (consonant-nucleus-consonant [CNC] and Bamford-Kowal-Bench Speech-in-Noise [BKB-SIN]) were also administered. Data Analysis: Test-retest reliability and equivalence of the test's three forms were analyzed using paired t-tests and correlation coefficients, respectively. Correlation analysis was also conducted between results from the music and speech perception tests. Results: Results showed no significant difference between test and retest (p > 0.05) with adequate power (0.9) as well as high correlations between the three forms (Forms A and B, r = 0.91; Forms A and C, r = 0.91; Forms B and C, r = 0.95). Correlation analysis showed high correlation between AMICI and BKB-SIN (r = −0.71), and moderate correlation between AMICI and CNC (r = 0.4). Conclusions: The study showed AMICI is highly reliable for assessing musical perception in CI users.
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BALMER, YVES, THOMAS LACÔTE und CHRISTOPHER BRENT MURRAY. „Un cri de passion ne s'analyse pas: Olivier Messiaen's Harmonic Borrowings from Jules Massenet“. Twentieth-Century Music 13, Nr. 2 (26.07.2016): 233–60. http://dx.doi.org/10.1017/s1478572216000025.
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AbstractUntil the present article, Massenet's influence upon the music of Olivier Messiaen has remained entirely unexplored. During the 1930 and 1940s, Messiaen professed his love for the music of Massenet and regularly used Massenet as a model in his teaching materials. Several examples of the way in which Messiaen selects and transforms passages from Massenet's Werther and Manon are considered. The inclusion of a harmonic formula borrowed from Massenet, contrasted with a melodic formula borrowed from Mozart, in ‘Amen du Désir’, the fourth movement of the Visions de l'Amen, reveals the operatic characters hidden behind the programme of one of Messiaen's best-known works. These intersecting source materials in Messiaen's teaching and composition open new roads for the analysis of the composer's music and pedagogy.
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Kwon Jong Ae und MOONMIOCK. „Application and effect analysis of early childhood music appreciation education program based on oriental theory of mind“. Korean Journal of Early Childhood Education 37, Nr. 5 (Oktober 2017): 453–76. http://dx.doi.org/10.18023/kjece.2017.37.5.020.
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Lim, Youkyoung, und Joengju Kim. „An Analysis on the Status and Teacher’s Awareness of Music Appreciation Activities of Early Childhood Education Institutions“. Journal of Humanities and Social sciences 21 12, Nr. 1 (28.02.2021): 1633–46. http://dx.doi.org/10.22143/hss21.12.1.115.
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XIAO, Chang HUANG, Na. „A Trial Analysis of Teaching Strategies of Vocal Appreciation Class in Music Teaching in Colleges and Universities“. Journal of International Education and Development 5, Nr. 2 (2021): 19–23. http://dx.doi.org/10.47297/wspiedwsp2516-250004.20210502.
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Higgins, Kathleen, Robert C. Solomon und Dale Jamieson. „Language, Mind and Art: Essays in Appreciation and Analysis in Honor of Paul Ziff“. Journal of Aesthetics and Art Criticism 54, Nr. 4 (1996): 386. http://dx.doi.org/10.2307/431921.
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Erasmus, Ewie, und Liesl van der Merwe. „An interpretative phenomenological analysis of the lived musical experiences of three Williams syndrome individuals“. Psychology of Music 45, Nr. 6 (01.02.2017): 781–94. http://dx.doi.org/10.1177/0305735616689829.
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The purpose of this interpretative phenomenological analysis (IPA) is to understand the lived musical experiences of three individuals living with Williams syndrome (WS). We are interested in their lived musical experiences because the musical abilities of WS individuals are similar to those of normal control groups despite their severe cognitive impairments. Although there is literature on the medical manifestations of the syndrome, there is no research on their lived musical experiences. Their musical experiences need to be explored as a possible way to help them to cope with their unique challenges. In this IPA we used semi-structured interviews and the six steps of data analysis for IPA suggested by Smith et al. (2009). Four superordinate themes emerged from data analysis, namely, that: a) the participants have a passion for performance; b) music allows the participants to foster friendships; c) music allows them to cope with challenging situations; and d) they display musical dependency. The findings of this study can be used to advocate the importance of music in the everyday lives of individuals with WS.
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Antović, Mihailo. „Multilevel grounded semantics across cognitive modalities: Music, vision, poetry“. Language and Literature: International Journal of Stylistics 30, Nr. 2 (22.03.2021): 147–73. http://dx.doi.org/10.1177/0963947021999182.
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This article extends the author’s theory of multilevel grounding in meaning generation from its original application to music to the domains of visual cognition and poetry. Based on the notions of ground from the philosophy of language and conceptual blending from cognitive linguistics, the approach views semiosis in works of art as a series of successive mappings couched in a set of six hierarchical, recursive levels of constraint or grounding boxes: (1) perceptual, parsing the stimulus into formal gestalten; (2) cross-modal, motivating schematic correspondences between the stimulus so structured and the listener’s embodied experience; (3) affective, ascribing to this embodied appreciation dynamic sensations, as in the distinction between tense and lax parts of the perceptual flow; (4) conceptual, drawing analogies between such schematic and affective appreciation and elementary experiential imagery, resulting in outlines of narratives; (5) culturally rich, checking such a narrative outline against the recipient’s cultural knowledge; and (6) individual, adding to the levels above idiosyncratic recollections from the participant’s personal experience. The goal of the analysis is to show that the interpretation of constructs from different semiotic modes (music, vision and language) may rely on the same grounding levels as it ultimately depends on the same perceptual, embodied and contextual circumstances. Specifically, the article uses the system to analyse the possible reception of a section from the romance for violin and orchestra ‘The Lark Ascending’ by Ralph Vaughan Williams, the painting ‘The Last Supper’ by Leonardo da Vinci and the poem ‘No Man Is an Island’ by John Donne.
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Dirgualam, Oki, Dadang Suganda, Buky Wibawa und Kunto Sufianto. „ESTETIKA PERMAINAN MUSIK BARAT PADA BIG BAND SALAMANDER“. Paradigma: Jurnal Kajian Budaya 11, Nr. 1 (29.04.2021): 99. http://dx.doi.org/10.17510/paradigma.v11i1.420.
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<p>This article describes the aesthetics of the big band jazz music by Salamander Big Band. Aesthetics is a study of the processes that occur in three basic elements: aesthetic objects, aesthetic subjects, and aesthetic values related to aesthetic experiences, aesthetic properties, and attractive and unattractive parameters. This paper presents the basic elements of western music aesthetics, especially big band jazz music, and how Salamander Big Band can implement the aesthetic values of western jazz big band music in the music played. This research uses a qualitative approach with a descriptive analysis method. Through a process of appreciation, habituation, additional insight into jazz music and continuous and consistent practice, Salamander Big Band members can adapt to cultures from outside Indonesia's popular music culture, namely playing American big band music with the right aesthetic.</p>
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Omigie, Diana, Daniel Müllensiefen und Lauren Stewart. „The Experience of Music in Congenital Amusia“. Music Perception 30, Nr. 1 (01.09.2012): 1–18. http://dx.doi.org/10.1525/mp.2012.30.1.1.
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individuals with congenital amusia have difficulty recognizing and discriminating melodies. While much research has focused on the perceptual deficits of congenital amusics, the extent to which these deficits have an impact on the ability to engage with and appreciate music remains unexplored. The current study used experience sampling methodology to identify distinct patterns of music-related behavior in individuals with amusia and matched controls. Cluster analysis was used to group individuals according to the similarity of their behavior, regardless of their status as amusic or control. This yielded a two-cluster solution: one cluster comprising 59% of the amusic sample and 6% of controls and the other comprising 41% of the amusic sample and 94% of controls. Comparisons of the two clusters in terms of specific aspects of music listening behavior revealed differences in levels of music engagement and appreciation. Further comparisons provided support for the existence of amusic subgroups showing distinct attitudes toward music. The findings are discussed in relation to social, contextual, and demographic factors.
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Smialek, Thomas, und Renee Reiter Boburka. „The Effect of Cooperative Listening Exercises on the Critical Listening Skills of College Music-Appreciation Students“. Journal of Research in Music Education 54, Nr. 1 (April 2006): 57–72. http://dx.doi.org/10.1177/002242940605400105.
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The authors investigated the effectiveness of cooperative listening exercises in developing critical music-listening skills in nonmusic majors. Subjects were college freshmen and sophomores enrolled in Introduction to Western Music. Control-group subjects attended classes taught exclusively in lecture format. Two experimental groups participated in four 50-minute group-listening exercises. Experimental Group 2 engaged in five additional group-analysis exercises, comparing known and unfamiliar musical styles. The consistent use of cooperative-listening exercises proved to be more effective in developing subjects' critical listening skills than either lecture-demonstration or occasional group work. On final exams, Experimental Group 2 scored significantly better than the other groups on identifications of texture, compositional genre, and musical style. To be most effective, group work needs to be implemented on a regular basis — for both the introduction of new material and for its review or application. March 31, 2006 April 22, 2006
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Janata, Petr, und Hellmuth Petsche. „Spectral Analysis of the EEG as a Tool for Evaluating Expectancy Violations of Musical Contexts“. Music Perception 10, Nr. 3 (1993): 281–304. http://dx.doi.org/10.2307/40285571.
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The generation and updating of expectancies is a crucial process for our understanding and appreciation of music. We present evidence that the dynamic process of musical expectancy can be studied by using several electroencephalographic (EEG) parameters such as amplitude or coherence in various frequency bands between 1.5 and 31.5 Hz. At specific electrodes (amplitude parameter) or electrode pairs (coherence parameter), values of these parameters depend on how an established musical context is completed, that is, if the expectancy generated by the context is violated, the pattern of the brain's electrical activity differs significantly from when the expectancy is fulfilled. The various parameters are also sensitive to the ease with which subjects classify a musical resolution. In our study, musically trained subjects heard repeated trials consisting of cadence primes in various major keys and inversions. Each cadence resolved either to the tonic, the relative minor, or a chord based on the tonic of the most distantly related major key. The three resolutions represented the "best," an "ambiguous," and "worst" possible fulfillments of the expectancy (resolution to the tonic) generated by the priming cadence. In a "response" condition, subjects expressed a yes/no judgment of how well the resolution matched their expectancy of the best possible resolution; in a "no response" condition, subjects were asked to make the same judgment but no overt response was required. Analyses of variance snowed that reaction times, response accuracies, and some EEG parameters differed between the various resolutions. In addition to confirming that a form of expectancy operates in musical contexts, the results point towards the brain structures responsible for the processing of complex musical stimuli. In particular, EEG parameters changed not only at recording sites located above the auditory cortices, but also at sites above right frontal and parietal regions.
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ANSON-CARTWRIGHT, MARK. „SUBDOMINANT RETURNS IN THE VOCAL MUSIC OF J. S. BACH“. Eighteenth Century Music 10, Nr. 2 (01.08.2013): 253–76. http://dx.doi.org/10.1017/s1478570613000067.
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ABSTRACTBach's vocal oeuvre contains a significant number of movements (about thirty-five), including but not limited to those in modified da capo form, with a concluding reprise of opening thematic material in the subdominant key. Some of these ‘subdominant returns’ involve strict parallelism, whereby the entire A section returns at the new pitch, thus transforming the original ‘departing’ modulation from I to V into a ‘returning’ modulation from IV to I. Many subdominant returns, however, occur in a range of contexts, which resist straightforward formal categorization. One example is the opening chorus from the St Matthew Passion. While the unusual da capo in this movement has elicited provocative commentary by Karol Berger and others in recent years, the significance of the subdominant return (here and elsewhere) has not been examined in depth. This study begins with a comprehensive survey of subdominant returns in Bach's vocal oeuvre, and then examines cyclic and linear aspects of form through detailed analysis of six movements that exhibit this procedure.
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Silva, Josiane Ferreira da, Rayrinne Ferreira Miranda, Hérique Riley Duarte Costa, Clara Mariana Gonçalves Lima, Silvani Verruck, Edilene Alves Barbosa und Daniela Caetano Cardoso. „Bilayer goat’s milk yogurt with tamarind (Tamarindus indica L.) and wild passion fruit (Passiflora cincinnata Mast) jam: Characterization and acceptability“. Research, Society and Development 9, Nr. 9 (11.08.2020): e46996139. http://dx.doi.org/10.33448/rsd-v9i9.6139.
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The aim of this study was to develop a goat's milk-based yogurt with a layer of tamarind and passion fruit jelly on the bottom of the package (bilayer yogurt) as well as to carry out the physical-chemical, microbiological and sensory characterization. of product. For comparison purposes, goat's milk products were compared with the same cow's milk product. The physicochemical analyzes showed that the samples are within the standards of the legislation, both for yogurts and jams. Regarding microbiological analyzes, there was no microbial growth in any of the samples evaluated. Sensory tests were carried out with 60 tasters that were aged between 14 and 32 years. Sensory attributes related to “appearance”, “color”, “aroma”, “consistency” and “flavor” were evaluated, among them only consistency showed a significant difference due to the chemical characteristics of goat's milk, however, in percentage values goat's milk yogurt was rated with the highest grades. In the global impression and purchase intention, the analysis of the data obtained showed that the values attributed by the tasters are located in the highest scores of the hedonic scale. Thus, for bilayer goat's milk yogurts with tamarind or wild passion fruit jams, the results are favorable and highly acceptable. These results denote the possibility of insertion of these new products in the regional market in view of the acceptance of the product by the tasters as well as the intention to purchase, in addition to the appreciation of the regional fruits present in the jams elaborated.
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Frigyesi, Judit. „Who is the girl in Bartók’s The Miraculous Mandarin? a case study of Mimi’s deleted scene and its dramatic meaning“. Studia Musicologica 53, Nr. 1-3 (01.09.2012): 241–74. http://dx.doi.org/10.1556/smus.53.2012.1-3.18.
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The story of Bartók’s pantomime is usually understood as the clash between the cold-blooded brutality of the city — represented by the tramps — and the force of primeval passion — represented by the mandarin. Within these opposing forces stands the girl — whose character, however, is not obvious. In the first complete manuscript version (piano four-hand), immediately before the ending of the piece, there existed a scene depicting a confrontation between the girl and the tramps. This scene, whose main actor is the girl, is crucial for the drama and reveals Bartók’s view with regard to the girl’s character. Yet when Bartók began orchestrating the work in 1924, he deleted this scene. The present article provides, for the first time, an in-depth analysis as well as dramatic interpretation of this scene. Considering also the original text by Menyhért (Melchior) Lengyel (which contains this scene) and the totality of the final version of Bartók’s pantomime, the article proposes a characterization for the girl and offers a hypothesis for the reason for the omission of this scene from the final version.
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Paetz, Allison M. „“It Felt Like I Had Air Back in My Lungs”: Eleanor’s Journey Back From Burnout“. Journal of Music Teacher Education 30, Nr. 2 (10.01.2021): 77–92. http://dx.doi.org/10.1177/1057083720984438.
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The purpose of this narrative inquiry was to explore the story of a secondary ensemble teacher who experienced burnout and chose to remain in the profession. Eleanor and I met for three semistructured interviews and two observations. I used Clandinin and Connelly’s three-dimensional inquiry space as a framework for this study. Narrative analysis revealed that Eleanor experienced symptoms of burnout during a first teaching position that was a poor fit for her. Her passion and enthusiasm for teaching were reignited during a period of long-term music substitute teaching in a successful program surrounded by a supportive community. The importance of recognizing burnout, finding support systems, and identifying hegemonic assumptions about teaching emerged as critical points in Eleanor’s narrative. This arc became visible through narratively coding the field texts, and thoroughly reviewing data obtained from interviews and observations.
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HIGGINS, KATHLEEN, und ROBERT C. SOLOMON. „Dale Jamieson, Ed., Language, Mind and Art: Essays in Appreciation and Analysis in Honor of Paul Ziff“. Journal of Aesthetics and Art Criticism 54, Nr. 4 (01.09.1996): 386–87. http://dx.doi.org/10.1111/1540_6245.jaac54.4.0386.
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Bolívar-Chávez, Oscar-Elías, Joaquín Paredes-Labra, Yury-Vladimir Palma-García und Yessenia-Anabel Mendieta-Torres. „Educational Technologies and Their Application to Music Education: An Action-Research Study in an Ecuadorian University“. Mathematics 9, Nr. 4 (20.02.2021): 412. http://dx.doi.org/10.3390/math9040412.
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Information and Communication Technologies (ICT) are tools that are part of the process of teaching and learning music. These didactic/pedagogical resources are widely used by teachers. They strengthen, motivate, and increase the student’s interest in learning. This study is an action-research (AR). It involves 12 teachers and 68 students in the subject of music education in an Ecuadorian university. A Holistic and Technological Model of Music Education (HTMME) was generated. The performance of the plan was evaluated by means of an original questionnaire and qualitative work. The AR procedure involved an analysis of data at the end of each implementation cycle. The appreciation of the new model was very positive. With the methodology implemented, new teaching experiences and relevant learning for students were achieved. Learning music with ICT induces creative-musical processes in students.
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Jang, Ji Yoon, Byeongwon Ha und Byungjoo Lee. „Survey and Analysis of Interactive Art Documentation, 1979–2017“. Leonardo 52, Nr. 3 (Juni 2019): 284–85. http://dx.doi.org/10.1162/leon_a_01716.
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Today, documentation is becoming a major source of exposure and appreciation for artworks on the Internet, beyond the original purpose of preservation and academic archiving. This study analyzes 982 documentations of interactive digital art projects created between 1979 and 2017. Each documentation was represented as a point in a 17-dimensional vector space through binary encoding. The resulting visualization from the t-SNE algorithm shows that, compared to its phenomenological quality, most documentation of interactive art is a cinematic surrogate that follows film post-production techniques. In conclusion, this study calls for the development of documentary techniques that can provide the viewer with a quasi-authentic experience of the original work in interactive digital art.
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Lee, Yi Yeh, Aaron Raymond See, Shih Chung Chen und Chih Kuo Liang. „Effect of Music Listening on Frontal EEG Asymmetry“. Applied Mechanics and Materials 311 (Februar 2013): 502–6. http://dx.doi.org/10.4028/www.scientific.net/amm.311.502.
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Frontal EEG asymmetry has been recognized as a useful method in determining emotional states and psychophysiological conditions. For the current research, resting prefrontal EEG was measured before, during and after listening to sad music video. Data were recorded and analyzed using a wireless EEG module with digital results sent via Bluetooth to a remote computer for further analysis. The relative alpha power was utilized to determine EEG asymmetry indexes. The results indicated that even if a person had a stronger right hemisphere in the initial phase a significant shift first occurred during audio-video stimulation and was followed by a further inclination to left EEG asymmetry as measured after the stimulation. Furthermore the current research was able to use prefrontal EEG to produce results that were mostly measured at the frontal lobe. It was also able to provide significant changes in results using audio and video stimulation as to previous experiments that made use of audio stimulation. In the future, more experiments can be conducted to obtain a better understanding of a person’s appreciation or dislike toward a certain video, commercial or other multimedia contents through the aid of convenient EEG module.
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Spitzer, Jaclyn B., Dean Mancuso und Min-Yu Cheng. „Development of a Clinical Test of Musical Perception: Appreciation of Music in Cochlear Implantees (AMICI)“. Journal of the American Academy of Audiology 19, Nr. 01 (Januar 2008): 056–81. http://dx.doi.org/10.3766/jaaa.19.1.6.
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The purpose of this study was to develop a test to assess the ability of persons with cochlear implants (CIs) to interpret musical signals. Up to this time, the main direction in outcomes studies of cochlear implantation has been in relation to speech recognition abilities. With improvement in CI hardware and processing strategies, there has been a growing interest in musical perception as a dimension that could improve greatly users' quality of life. The Appreciation of Music in Cochlear Implantees (AMICI) test was designed to measure the following abilities: discrimination of music versus noise; identification of musical instruments (from a closed set); identification of musical styles (from a closed set); and recognition of individual musical pieces (open set). The first phase of the study was test development and recording. The second phase entailed presentation of a large set of stimuli to normal listeners. Based on phase 2 findings, an item analysis was performed to eliminate stimuli that were confusing or resulted in high error rates in normals. In phase 3, hearing-impaired participants, using cochlear Implants, were assessed using the beta version of the AMICI test. El propósito de este estudio fue desarrollar una prueba para evaluar la capacidad de las personas con implantes cocleares (CI) para interpretar señales musicales. Hasta ahora, el enfoque principal en estudios de desempeño de implantación coclear se ha concentrado las habilidades de reconocimiento del lenguaje. Con el mejoramiento del hardware y de las estrategias de procesamiento de los CI, ha existido un interés creciente en la percepción de la música, como una dimensión que podría incrementar importantemente la calidad de vida de los usuarios. La Prueba de Apreciación Musical en Implantados Cocleares (AMICI) fue diseñado para medir las siguientes aptitudes: discriminación de la música vs. ruido; identificación de instrumentos musicales (de un grupo cerrado); identificación de estilos musicales (de un grupo cerrado); y reconocimiento de piezas musicales independientes (grupo abierto). La primera fase de la prueba fue evaluar desarrollo y registro. La segunda fase involucró la presentación de un amplio grupo de estímulos a oyentes normales. Con base en los hallazgos de la fase 2, se realizó un análisis de ítems para eliminar estímulos que eran confusos o producían una alta tasa de errores en los normales. En la fase 3, los participantes hipoacúsicos, usando sus implantes cocleares, fueron evaluados usando la versión beta de la Prueba AMICI.
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Aghnini, Aghnini, Sunarto Sunarto und Triyanto Triyanto. „The Form and Function of Antan Delapan Music in Muara Lawai Village, Muara Enim District“. Catharsis 9, Nr. 1 (31.05.2020): 1–9. http://dx.doi.org/10.15294/catharsis.v9i1.38242.
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Antan Delapan music is one of the arts found in the district of Muara Enim, South Sumatra. Antan Delapan art is currently displaced by the development of western music, therefore the form and function of music plays an important role in maintaining the Antan Delapan music among the people of Muara Enim Regency. The purpose is to study the form and function of Antan Delapan music. The method in this study uses descriptive qualitative with an interdisciplinary approach, while the data collection technique uses observation, interviews, and document studies. The data validity technique uses source triangulation. Data analysis techniques use the concepts of Strauss and Corbic. The results of this study are the form of Antan Delapan music which is dissected through the elements of time, melody, harmony, while the function of Antan Delapan music in the community as, entertainment, aesthetic appreciation, means of communication, cultural harmony, and as an integration. And it is hoped that this research can be useful for the people of Muara Enim Regency, especially the Muare Lawai Village Community in order to know the function and form of Antan Delapan music and can maintain the Antan Delapan music among the Muare Lawai villagers, and is useful for readers who will use music theory about the form and music function.
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Jang, Sekyung. „Intergenerational Choir: A Qualitative Exploration of Lived Experiences of Older Adults and Student Music Therapists“. Journal of Music Therapy 57, Nr. 4 (01.08.2020): 406–31. http://dx.doi.org/10.1093/jmt/thaa012.
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Abstract The purpose of this phenomenological study was to explore the essence of an intergenerational choir experience for older adults and student music therapists. Data were gathered through a series of open-ended individual interviews with older adult participants (n = 10) and student participants (n = 5). Analysis of data revealed four emerging themes common to both older adults and students: mutual learning, social bonding and support, feelings of accomplishment, and appreciation and enjoyment. Emerging themes unique to the older adult community members were that (a) participation challenges came from differences in musical culture; (b) intergenerational choir promoted experience of emotional health and helped maintain an active lifestyle; and (c) community members were passionate about recruiting new members to expand the choir. Emerging themes unique to the student music therapists were that (a) intergenerational choir provided unique ensemble experiences and (b) students reported positive changes in perception of older adults. Implications of intergenerational music engagement for music therapy clinical practice, research, and education are discussed.
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Krause, Amanda E., Solange Glasser und Margaret Osborne. „Augmenting Function with Value: An Exploration of Reasons to Engage and Disengage from Music Listening“. Music & Science 4 (01.01.2021): 205920432110225. http://dx.doi.org/10.1177/20592043211022535.
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Investigations of music in everyday life are dominated by a functional perspective, drawn from work using the theory of Uses and Gratifications. In so doing, we may have neglected to fully appreciate the value people place on music listening. Therefore, the present study considered if, and why, people value music listening and probed instances when they may not want to listen to music in everyday life. A sample of 319 university students residing in Australia (76.50% female, M age = 20.64) completed an online questionnaire, on which they were asked to provide short responses to open-ended questions directly addressing two research questions. Inductive thematic analysis yielded 13 themes synthesizing how participants valued listening to music, such as appreciation, emotion, time and engagement, cognitive factors, and mood regulation. Reasons for not listening to music were summarized by eight themes dominated by interference with activities that required focus or concentration, followed by environmental context, affective responses, music engagement and inversely, a preference for silence or other auditory stimuli. Fifteen percent of participants stated there was never a time they did not want to listen to music. The findings provide a novel perspective on the value of music listening beyond that considered by uses and gratifications with regard to the function of listening to music in everyday life.
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Giannoukakis, Marinos. „Narrative in Form: A topological study of meaning in transmedial narratives“. Organised Sound 21, Nr. 3 (11.11.2016): 260–72. http://dx.doi.org/10.1017/s1355771816000236.
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This article is an attempt to demonstrate the relation between appreciation of morphology and structure in form on the one hand, with higher symbolic structures – crucial for meaning formation routines – on the other, and to evaluate their significance in transmedial narratives, primarily in the case of media-based artworks. The use of catastrophe theoretical models to classify forms, their structure and dynamics is proposed, and the question of how these models can give us insight into the meaning that is carried through transmedial narratives (referential or abstract) is examined. Finally, the value of these insights for the composition and practice-based analysis of multimedia art forms is demonstrated.
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Ma, Benjamin, Timothy Greer, Dillon Knox und Shrikanth Narayanan. „A computational lens into how music characterizes genre in film“. PLOS ONE 16, Nr. 4 (08.04.2021): e0249957. http://dx.doi.org/10.1371/journal.pone.0249957.
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Film music varies tremendously across genre in order to bring about different responses in an audience. For instance, composers may evoke passion in a romantic scene with lush string passages or inspire fear throughout horror films with inharmonious drones. This study investigates such phenomena through a quantitative evaluation of music that is associated with different film genres. We construct supervised neural network models with various pooling mechanisms to predict a film’s genre from its soundtrack. We use these models to compare handcrafted music information retrieval (MIR) features against VGGish audio embedding features, finding similar performance with the top-performing architectures. We examine the best-performing MIR feature model through permutation feature importance (PFI), determining that mel-frequency cepstral coefficient (MFCC) and tonal features are most indicative of musical differences between genres. We investigate the interaction between musical and visual features with a cross-modal analysis, and do not find compelling evidence that music characteristic of a certain genre implies low-level visual features associated with that genre. Furthermore, we provide software code to replicate this study at https://github.com/usc-sail/mica-music-in-media. This work adds to our understanding of music’s use in multi-modal contexts and offers the potential for future inquiry into human affective experiences.
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V.V., Plokhikh, und Kadukha O.S. „INTELLECTUAL ABILITIES OF STUDENTS WITH AN ADDICTIVE TENDENCY TO LISTEN TO MUSIC“. Scientic Bulletin of Kherson State University. Series Psychological Sciences, Nr. 1 (15.04.2021): 32–40. http://dx.doi.org/10.32999/ksu2312-3206/2021-1-4.
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Purpose. The purpose of the researchis to determine the features of the connection of intellectual abilities with addictive manifestations of passion for listening to music in students. Methods. The subjects were 57 students. In an empirical study, the following methods were used: “The scale of Progressive Matrices” by J. Raven; “Simple analogies”; scale “Sports and music fanaticism” from the method “Tendency to dependent behavior” by V.D. Mendelevich. Passion for listening to music was determined using a research questionnaire. We performed statistical analysis of empirical data using correlation analysis (according to Spearman), the Mann-Whitney criterion u, and the Fisher criterion φ*. Results. Analysis of the results according to the method of V.D. Mendelevich allowed us to identify a problem subgroup with an increased predisposition and a high probability of musical dependence in the group of subjects (22 people). We have found that for the studied group, the highest problems are: the frequency of listening to music at leisure (U = 235,5; p = 0,022); desired expressiveness of the musical rhythm (U = 271,5; p = 0,039); frequency of loss of time perception when listening (U = 237,0; p = 0,012); frequency of listening to works in the rock styles (φ* = 1,73; p = 0,042) and hip-hop (φ* = 1,8; p = 0,036). Manifestations of musical addiction correlate with: the use of music to raise the mood (r = 0,289; p = 0,029); the desired sound volume (r = 0,258; p = 0,053); the frequency of “immersion in yourself” when listening (r = 0,350; p = 0,008). The feedback of musical addiction with indicators of intellectual development in Series A (r = −0,280; p = 0,035) and C (r = −0,370; p = 0,005) methods of J. Raven. We have determined that the use of music for intellectual concentration correlates with the overall indicator of problem-solving, according to J. Raven (r = 0,260; p < 0,051) and with the effectiveness of searching for simple analogies (r = 0,303; p < 0,022). Conclusions. The severity of addictive manifestations among studied students about listening to music is directly related to a decrease in the effectiveness of intellectual functions. Those functions aim at determining the relationships and principles of development of the analyzed structural organization. Music contributes to students’ concentration in intellectual activities, but excessive listening to music for mental concentration contributes to the loss of a person’s sense of reality and conscious control over actions when immersed in a flowing state.Key words: thinking, memory, semantic processing of information, musical style, state of consciousness, passion for listening to music. Мета дослідження – визначення особливостей зв’язку інтелектуальних здібностей з адиктивними проявами щодо захопленості прослуховуванням музики у студентів. Методи. Досліджуваними виступили 57 студентів. В емпіричному дослідженні були використані такі методики: «Шкала прогресивних матриць» Дж. Равена; «Прості аналогії»; шкала «Спортивний та музичний фанатизм» із методики «Схильність до залежної поведінки» В.Д. Менделевича. Захопленість прослуховуванням музики визначалася за допомогою дослідницької анкети. Статистичний аналіз емпіричних даних проводився з використанням кореляційного аналізу (за Спірменом), критерію U Манна – Уітні, критерію φ* Фішера. Результати. Аналіз результатів за методикою В.Д. Менделевича дозволив виокремити у групі досліджуваних проблемну підгрупу з підвищеною схильністю та високою ймовірністю музичної залежності (22 особи). Встановлено, що для досліджуваних проблемної групи вище значення показників: частота прослуховування музики на дозвіллі (U = 235,5; p = 0,022); бажана виразність музичного ритму (U = 271,5; p = 0, 039); частота втрати відчуття плину часу у процесі прослуховування (U = 237,0; p = 0,012); частота прослуховування творів у стилях рок (φ* = 1,73; p = 0,042) і хіп-хоп (φ* = 1,8; p = 0,036). Прояви музичної адикції корелюють із: використанням музики для підняття настрою (r = 0,289; p = 0,029); бажаною гучністю звучання (r = 0,258; p = 0,053); частотою «занурення в себе» під час прослуховування (r = 0,350; p = 0,008). Встановлено зворотний зв’язок музичної адикції з показниками інтелектуального розвитку в серіях А (r = −0,280; p = 0,035) та С (r = −0,370; p = 0,005) методики Дж. Равена. Визначено, що використання музики для інтелектуальної зосере-дженості корелює із загальним показником вирішення завдань за Дж. Равеном (r = 0,260; p < 0,051) та з результативністю пошуку простих аналогій (r = 0,303; p < 0,022). Висновки. Виразність адиктивних проявів у студентів-досліджуваних щодо прослуховування музики прямо пов’язана зі зниженням ефективності інтелектуальних функцій, спрямованих на визначення взаємозв’язків та принципів розбудови аналізованої структурної організації. Музика сприяє зосередженості студентів в інтелектуальній діяльності, але надмірне прослуховування музики для розумової зосередженості сприяє втраті особою відчуття реальності та свідомого контролю над діями під час занурення в потоковий стан.Ключові слова: мислення, пам’ять, смислова переробка інформації, музичний стиль, стан свідомості, захопленість прослуховуванням музики
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Vuorinen, Mark. „Symbolic Chiasm in Arvo Pärt’s Passio (1982)“. Circuit 21, Nr. 1 (11.03.2011): 45–59. http://dx.doi.org/10.7202/1001162ar.
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Passio, is Arvo Pärt’s first large scale vocal-instrumental work in the tintinnabuli style and remains today one of his most significant compositions. In this setting of the Passion text according to St. John, Pärt codifies procedures of tintinnabuli that will remain his principle means of musical communication for years to come while implying a very important perspective of Johannine theology. His compositional design utilizes both small-scale and large-scale chiastic constructions and gives prominence to John’s observance in Chapter 18, verse 4, that Christ knows all that will occur in the events leading to his crucifixion. Seen in this light, the Passion narrative unfolds according to a pre-ordained plan; it is this subtle perspective of the Gospel that Arvo Pärt reveals musically in his Passio. This paper approaches a musical analysis of Passio in relation to John’s perspective that Christ knew all that was to follow. It illustrates that virtually every note is linked in some way to Pärt’s musical pilgrimage to the cross. With a microscopic lens, the analysis connects Pärt’s use of melody, texture, inversion and tintinnabuli to a poignant marriage of music and the biblical text. And on a macroscopic level, it is shown that musical events unfold over time to reveal the inevitability of the crucifixion. It is revealed that within the work’s tonal centres, large-scale textural procedures, pedal points and the music of the Exordium and Conclusio the path to the cross is present from beginning to end. In this way, the listener is taken through the narrative only to realize afterward that the Gospel’s outcome was present from beginning to end.
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Naples, James, und Tulio A. Valdez. „Letters to the Deaf: Present-Day Relevance of History’s Earliest Social Analysis of Deafness“. Otolaryngology–Head and Neck Surgery 162, Nr. 3 (21.01.2020): 319–21. http://dx.doi.org/10.1177/0194599819900492.
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Harriet Martineau was a 19th-century sociologist who had a progressive form of deafness. Her 1834 essay, Letters to the Deaf, was the earliest historical document depicting the social challenges of hearing loss. Martineau details complex situations that hard-of-hearing people experienced in the 19th century such as social isolation due to frustrations with communication, physician shortcomings, limited music appreciation, and the stigma of hearing amplification devices. Her descriptions of these experiences are commonly faced by hard-of-hearing people in present-day society. Advancements in technology and recognition of the negative social impact of hearing loss have improved the social experience for the hard of hearing; however, social challenges remain relevant. In this article, we review Letters to the Deaf and note the ways in which this essay provides a dual perspective regarding how much we have advanced as a society and how much we still have to overcome in addressing the social challenges of hearing loss.
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Chojnowski, Zbigniew. „Mit tristanowski“. Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 51, Nr. 2 (16.08.2021): 301–5. http://dx.doi.org/10.36770/bp.614.
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The article attempts to discuss and evaluate the book The Passion of the Tristan Myth in Modern Literature, Philosophy, and Music by Artur Żywiołek, which was published in Cracow in 2021. The reviewer starts with the legend of Tristan and Isolde, which the book explores through modernity. According to the author of the article, the book about Tristan myth combines methodologies of such fields as literary studies, musicology, history, cultural studies and philosophy in a great way. In the conclusions, the reviewer evaluates the book in a favourable light, and states that it constitutes an original analysis which will have a considerable influence on the comparative studies.
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Silva, Josiane Ferreira da, Clara Mariana Gonçalves Lima, Rayrinne Ferreira Miranda, Siluana Katia Tischer Seraglio, Edilene Alves Barbosa, Alexandre Santos de Souza und Daniela Caetano Cardoso. „Sensorial quality of sugarcane juice with the addition of fruits pulp from the semi-arid“. Research, Society and Development 9, Nr. 7 (04.05.2020): e200973745. http://dx.doi.org/10.33448/rsd-v9i7.3745.
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In natura sugarcane juice or garapa is one of the derivatives of sugarcane and is a tasty and energetic drink. The addition of acid fruits to the sugarcane juice is quite common, giving the product a refreshing flavor and softening its sweetness. The present study aimed to evaluate the sensorial quality of beverages elaborated by mixing sugarcane juice and fruits pulp, among high school students at IFNMG – campus Salinas. The samples were prepared for the flavors of passion fruit, tamarind, and caja, adding pulp in the proportions of 5, 7.5 and 10 mL per 100 mL of sugarcane juice, and a preference-ranking test was applied to 30 untrained panelists. Based on the result of this test, samples of the beverage with the preferred pulp concentration for each flavor were prepared. The acceptance test was applied to 88 panelists in the same study group. For the preference-ranking test, this analysis showed that there was no significant difference (p ≥ 0.05) between the samples in any of the three flavors and concentrations evaluated. However, the highest absolute values were obtained by the samples of passion fruit and tamarind at 5% of pulp and caja at 7.5% of pulp. Regarding the acceptance test, there was no significant difference (p ≥ 0.05) between samples. In the evaluation of the overall impression, the scores were between “like moderately” and “like extremely”, which shows a great acceptance for these products. Also, the most accepted flavor was caja at 7.5%. The purchase intention was evaluated as “probably buy” and “certainly buy” and the highest purchase intention was also for the sample of caja at 7.5%. Therefore, this study contributes to a greater appreciation of the fruits from the semi-arid and to adding value to the sugarcane juice.
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Shishkin, Andrei Gennadievich. „Opera and religion: the experience of staging the opera “The Greek Passion” by Bohuslav Martinu in the Ural Opera Ballet Theatre“. Культура и искусство, Nr. 5 (Mai 2020): 140–48. http://dx.doi.org/10.7256/2454-0625.2020.5.32932.
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Opera “The Greek Passion”, based upon Nikos Kazantzakis’ novel “Christ Recrucified”, demonstrated the Biblical story in “passions” of the XX century: in 2019 it was staged for the first time in Russia by Ural Opera Ballet Theatre. The article analyzes Martinu’s interpretation of the genre of passion, related to music and folk mistrial nature of this genre. Experience of interaction of the theatre in the course of staging the spectacle with representatives of the Russian Orthodox Church is reviewed. The research describes the transformation of conflict between true and false Christianity, the themes of inner transfiguration of a person. Analysis is conducted within the methodological framework of the modern theory and history of culture, in combination of culturological, philosophical and theatrological methods of interpretation. It is noted that the captured by stage directors idea on conversion of Christianity into a part of cultural tradition that can lead to the loss of its spiritual content. A conclusion is made that art and religion can be viewed as the equivalents ways of acquainting with the generally recognized humanistic values.
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Rahayuningsih, Bina Kiki. „BENTUK DAN PERUBAHAN FUNGSI MUSIK KONGKIL DI DESA BUNGKAL KABUPATEN PONOROGO“. Sorai: Jurnal Pengkajian dan Penciptaan Musik 13, Nr. 1 (01.07.2020): 23–35. http://dx.doi.org/10.33153/sorai.v13i1.3091.
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Kongkil music was created in 1933 by Eyang Toinangun as a means of gathering the people of Bungkal Village as an effort to resist the Dutch invaders. Kongkil music is an ensemble consisting of instruments of kongkil, kedhang, saron, kethuk, kenong, kempul and gong. In the beginning, Kongkil's music brought songs created by its members with the theme of passion-building, because there was no legacy of the old repertoire of the predecessors. There was an innovation in the form of repertoire changes since 1975, namely bringing dolanan gendhing. Around 2000, Kongkil's music was in a vacuum, then it was revived in 2012 with a new repertoire that presented lancaran and langgam gendhing. The research entitled "The Form and Change of Kongkil Music Function in Bungkal Village, Ponorogo Regency" uses the concept of Edy Sedyawati's thought that changes in social structure and values will cause physical changes and the role of art itself in society. It also causes changes in the structure of forms. These changes cannot be avoided if the art is willing to live within the society. This study uses descriptive qualitative analysis methods. From this study, it found several things related to the Kongkil Martapura music group, including: (1) History and regeneration of the Kongkil Martapura music group, (2) the forms of performances, instruments and repertoires presented, (3) the factors driving changes in function and its impact on intellectuals and contextual.
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Arbi, Bahtiar, und Richard Junior Kapoyos. „BENTUK PERTUNJUKAN DAN FUNGSI BUNDENGAN WONOSOBO“. Tonika: Jurnal Penelitian dan Pengkajian Seni 2, Nr. 2 (09.12.2019): 11–26. http://dx.doi.org/10.37368/tonika.v2i2.105.
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Bundengan is a musical instrument that is transformed from kowangan or tudhung. Kowangan is a kind of head covering made from bamboo slats, clumpring, and palm fibers that are used by duck herders to protect them from rain and sunlight. Bundengan is used as a dance accompaniment as in Lengger and Soreng. The purpose of this study is to analyze the form of performance and function of bundengan art. This study uses qualitative methods with data collection techniques interviews, observation, and study documents. Data validity techniques are based on credibility criteria, using data triangulation, while data analysis techniques are through data collection, presentation, reduction, and verification. This research approach uses an interdisciplinary qualitative approach, with intraesthetic studies on music forms and extraesthetics on music functions. The results of this study indicate that the form of the bundengan imitates the sound of gamelan (bendhe, kempul, gong, and kendang) applied to the pattern of the game to accompany the Lengger Topeng dance. While the function of bundengan music is as a dance accompaniment, emotional expression, aesthetic appreciation, entertainment, communication, related to social norms, cultural continuity, and community integration.