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Rustiyanti, Sri. "Musik Internal dan Eksternal dalam Kesenian Randai." Resital: Jurnal Seni Pertunjukan 15, no. 2 (March 15, 2015): 152–62. http://dx.doi.org/10.24821/resital.v15i2.849.
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Kehidupan musik pada masyarakat Minangkabau tidak terlepas adanya peranan serta fungsi yang melekat pada kesenian Randai. Melalui pendekatan etnomusikologi, tulisan ini menelaah peranan musik internal dan eksternal dalam kesenian Randai. Kesenian ini menggunakan medium seni ganda atau kolektif karena didukung oleh beberapa cabang seni antara lain tari, musik, teater, sastra, dan rupa. Hasil penelitian menunjukkan bahwa musik iringan dalam Randai terbagi menjadi dua, yaitu musik internal dan musik eksternal. Musik internal adalah musik atau bunyi-bunyian yang berasal dari anggota tubuh manusia (penari), misalnya tepukan tangan, petik jari, tepuk dada, siulan, hentakan kaki ke tanah dan sebagainya, sedangkan musik eksternal adalah bunyi-bunyian atau suara yang berasal dari alat musik atau instrumen seperti talempong, gandang, saluang, dan rabab. The Role of Internal and External Music in the Arts of Randai. The musical life in Minangkabau society is inseparable from its roles and functions which attach to the arts of Randai. Through the ethnomusicology approach, this paper examines the role of internal and external music in the art of Randai. Considering its sustainability and amendment, the musicality is the identity of Minangkabau society so that the sustainability of the music can be run in accordance with the dynamics of society today. Among the types of arts in Minangkabau, Randai is an art form that uses multiple or collective art medium for it is supported by several branches of the arts, including dance, music, theater arts, literary arts, and fine arts. The results of this study is more focused on the art of music. Musical accompaniment in Randai is divided into two, namely internal and external music. The internal music is the music or the sounds that come from the human body (a dancer), for example, clapping, finger picking, patting the chest, whistling, stomping on the ground, and so on, while the external music is the sounds emanating from the tools of music or instruments, such as talempong, gandang, saluang, and rabab.
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Fatmawati, Erna. "KEBIJAKAN SEKOLAH DALAM PENDIDIKAN KARAKTER DENGAN KEGIATAN SENI MUSIK ANGKLUNG DI SD ISLAM TERPADU AL – KHAIRAAT." Spektrum Analisis Kebijakan Pendidikan 9, no. 1 (January 19, 2021): 92–102. http://dx.doi.org/10.21831/sakp.v9i1.17039.
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AbstrakPenelitian ini bertujuan untuk mendeskripsikan dan mengetahui kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung di SD Islam Terpadu Al–Khairaat, yang meliputi 1) kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung 2) nilai-nilai karakter yang dihasilkan dalam kegiatan seni musik angklung 3) dampak kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung. Penelitian ini merupakan penelitian kualitatif dengan pendekatan studi kasus. Teknik analisis data menggunakan model Miles dan Huberman yaitu dengan langkah reduksi data, penyajian data, verifikasi dan penegasan kesimpulan. Uji keabsahan data pada penelitian ini menggunakan triangulasi teknik dan triangulasi sumber.. Hasil penelitian menunjukkan bahwa. (1) Kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung diimplementasikan merujuk empat aspek yaitu: komunikasi, sumberdaya, sikap dan struktur birokrasi, (2) Nilai – nilai karakter yang dihasilkan dalam kegiatan seni musik angklung ada lima nilai yaitu disiplin, bersahabat, tanggungjawab, peduli sosial, dan cinta tanah air (3) Dampak kebijakan sekolah dalam pendidikan karakter dengan kegiatan seni musik angklung yaitu berdampak pada perubahan perilaku positif pada siswa. Kata kunci: kebijakan sekolah, pendidikan karakter, seni musik, dan angklung AbstractThis research aims to describe and understand the school's policy in character education with angklung music art in the SD Islam Terpadu Al – Khairaat, which includes 1) school policies in character education with art activities angklung music 2) character values are produced in the activity of angklung music art 3) The impact of school policy in character education with angklung music art activities. This research is a qualitative study with a case study approach. Data analysis techniques using the Miles and Huberman models are data reduction steps, data presentation, verification and conclusion confirmation. Test the legality of data on this study using triangulation techniques and triangulation resources. The results showed that. (1) The policy of school in character education with the activities of Angklung music is implemented to refer to four aspects namely: communication, resources, attitudes and bureaucracy structure, (2) value-the value of the character produced in the art of music activities angklung There are five values that are discipline, friendly, responsibility, social care, and love of Homeland (3) Impact of school policy in character education with the activities of Angklung music art that affects the change of positive behaviour in students.Keywords: school policy, character education, music art, and angklung
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Erejepovna, Romanova Sanobar. "Ancient music art." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 7 (2020): 83. http://dx.doi.org/10.5958/2249-7137.2020.00860.5.
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Vieira, Nelson H., Jorge de Sena, Francisco Cota Fagundes, and James Houlihan. "Art of Music." World Literature Today 63, no. 3 (1989): 463. http://dx.doi.org/10.2307/40145356.
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Dorot, Ruth. "Music in art." Studia Europaea Gnesnensia, no. 19 (June 15, 2019): 65–96. http://dx.doi.org/10.14746/seg.2019.19.4.
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In this article I shall describe the various roles and meanings of music in selected works of different artists, styles and periods, from the basic level of imitating and portraying reality to more covert meanings. The choice of works was based on the starting point of the centrality of music or the role of the musical instrument, or both as a key to understanding and interpreting the painting.
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Texter, Merry. "Western Art Music." Music Educators Journal 81, no. 3 (November 1994): 6. http://dx.doi.org/10.2307/3398755.
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Cocq, Jonathan. "COMMERCIAL ART MUSIC." Economic Affairs 22, no. 2 (June 2002): 8–13. http://dx.doi.org/10.1111/1468-0270.00351.
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Djohan, Djohan, Asep Hidayat Wirayudha, and Aghisna Indah Mawarni. "Efek Reinstrumentasi Karya Organ Js. Bach Melalui Alih Timbre Terhadap Selera Musik." Resital:Jurnal Seni Pertunjukan 24, no. 2 (August 3, 2023): 136–45. http://dx.doi.org/10.24821/resital.v24i2.9747.
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As today teenagers have less appreciation for instrumental works from Baroque era, the objective of this research is to identify the indicators their music preference through timbre shifting of the musical instrument. In the context of the creative economy, this will open opportunities for art music to compete in the music industry. Music has been studied and observed for centuries, and even today, the works of great composers are associated with timeless creations. One factor that has contributed to the continued existence of music is its strong reliance on conductors during performances, especially when presented in orchestral format involving dozens of supporting musicians. Generally, not only do audiences watch a stage filled with musicians, but they also listen to the works of composers in various timbres. Some musics are performed in the form of solo, duet, or as ensemble. However, the challenge for musicians is that the majority of society do not understand art music well due to lack of knowledge and the prevalence of easily accepted popular music. It occurs because music education still upholds the tradition of classifying music into high and low art according to European concepts. Art music carries musicological elements rooted in mathematical discipline, which implicitly requires audiences to have a background in music knowledge, even during performances. In Indonesia, which is currently developing and strengthening its creative economy, creative breakthroughs are needed to make art music more popular and have a positive impact on musicians. In this study, the author implemented a quantitative method with a one-posttest design approach. The sample consisted of teenagers studying art music. The total sample was N=100, consisting of students in music performance vocational program who were given treatment by listening to a recorded toccata in D minor by JS Bach played on the organ and re-instrumented using the electric guitar, electric bass, and synthesizer. The results reveal that the subjects' preference for rock music is significantly influenced by personal preference with p<0.05. Particularly, the predictor of preference has a coefficient of R 0.900 with an R2 of 0.809, indicating that preference contributes 80.9% to the variability of the preferences. Therefore, it can be concluded that the renewing instrumentaion of Baroque music by shifting timbre of electric instruments with rock sensation has an influence on the musical preference of today youth. It happens especially when the ornamentation, one of the characteristic of Baroque music, is played with forte dynamic and blended technique, resulting in piercing and swinging sounds as an effect of electric guitar distortion.Tujuan penelitian ini untuk mengidentifikasi indikator selera musik remaja masa kini yang kurang menyukai karya instrumental era Barok (musik seni) melalui rekayasa warna suara (timbre) alat musiknya. Karena dalam konteks ekonomi kreatif akan membuka peluang musik seni untuk berkompetisi dalam dunia industri musik. Selama ini musik seni telah berabad lamanya dipelajari dan ditekuni hingga saat ini bahkan karya-karya para komponis besar diasosiasikan dengan karya abadi. Salah satu faktor yang menjadikan eksistensi musik seni hingga sekarang adalah karena dalam pertunjukkannya sangat dipengaruhi oleh konduktor. Terutama sekali jika karya tersebut dipertunjukkan dalam format orkestra yang melibatkan puluhan musisi pendukung. Di satu sisi secara visual selain menyaksikan panggung penuh dengan musisi juga mendengarkan karya para komponis dalam berbagai macam warna suara. Sementara di sisi lain, ada musik seni yang dimainkan secara solo, duet atau kelompok (musik kamar). Pada kenyataannya, tantangan musisi musik seni adalah karena sebagian besar masyarakat tidak paham musik seni baik karena kurangnya pengetahuan dan maraknya musik industri yang jauh lebih mudah dicerna. Hal ini terjadi karena dalam pendidikan musik seni pun masih mempertahankan tradisi seni tinggi sesuai dengan sumbernya di Eropah. Musik seni memiliki muatan musikologi yang berasal dari disiplin matematika sehingga dalam bentuk pertunjukanpun secara implisit mensyaratkan audiens memiliki latar belakang pengetahuan musik. Indonesia yang sedang mengembangkan serta memperkuat ekonomi kreatif maka diperlukan terobosan kreatif agar musik seni dapat semakin digemari sehingga membawa dampak positif bagi musisi musik seni. Penelitian ini menggunakan metode penelitian kuantitatif dengan pendekatan one posttest design only dan sampel dalam penelitian ini adalah remaja yang sedang belajar musik seni. Total sampel sebanyak N=100 terdiri dari mahasiswa program vokasi penyajian musik yang diberi intervensi dengan mendengarkan rekaman toccata in d-minor karya JS Bach untuk alat musik organ dan yang sudah direinstrumentasi menggunakan alat musik gitar, bas elektrik dan synthesizer. Hasilnya menunjukkan bahwa selera subjek terhadap musik rock secara signifikan lebih ditentukan oleh preferensi pribadi dengan p<0.05. Terutama dengan prediktor preferensi yang memiliki koefisien R 0.900 dengan R2 0.809 sehingga preferensi memberi sumbangsih sebanyak 80.9% terhadap variabilitas selera. Maka, dapat disimpulkan bahwa reinstrumentasi musik barok menggunakan warna suara instrumen elektrik dengan sensasi rock memiliki pengaruh terhadap selera musik subjek remaja. Terutama sekali ketika pada bagian ornamentasi sebagai ciri khas musik barok dibunyikan dalam dinamika forte dengan teknik blend sehingga terdengar melengking dan mengayun sebagai efek dari suara distorsi gitar elektrik.
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Yulika, Febri, Susi Fitria Dewi, Jelly Jelly, and Yetty Oktayanty. "DISFUNGSI KESENIAN GAMAD DAN BALANSE MADAM DI SUMATERA BARAT." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 23, no. 2 (December 14, 2021): 545. http://dx.doi.org/10.26887/ekspresi.v23i2.3667.
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Gamad music and Balanse Madam dance are no longer popular among the people of West Sumatra. This art was created by an art movement from Nias who lived in the city of Padang in the early 18th century. Balanse Madam art was popular in the 1960s to 1980s. The specialty of this art is that it adopted the music and dance of the Portuguese who loved to party when they traded spices on the West Sumatra coast in the 18th century. The Balanse madam dance was later imitated by Nias workers who later adapted it to the values of the people of West Sumatra. The music that accompanies the Balanse Madam dance is Gamad music (Inter-Regional Music Association) combining various musical instruments of various ethnicities living in the city of Padang such as Minangkabau, Medan and Malay regional music. However, this art, both Gamad music and Balanse Madam dance, are no longer alive in society. Various factors, both internal and external, have caused this art to be rarely performed. As for this article, it will be analyzed using the concept of dysfunction. As for this article, it will be analyzed using the concept of dysfunction. AbstrakMusik Gamad dan Tari Balanse Madam sudah tidak populer lagi di kalangan masyarakat Sumatera Barat. Kesenian ini diciptakan oleh sebuah gerakan seni dari Nias yang bermukim di kota Padang pada awal abad ke-18. Seni Balanse Madam populer pada tahun 1960 hingga 1980-an. Keistimewaan kesenian ini adalah mengadopsi musik dan tarian bangsa Portugis yang gemar berpesta saat berdagang rempah-rempah di pesisir Sumatera Barat pada abad ke-18. Tari Balanse Madam ini kemudian ditiru oleh para pekerja Nias yang kemudian disesuaikan dengan nilai-nilai masyarakat Sumatera Barat. Musik yang mengiringi tari Balanse Madam adalah musik Gamad yang memadukan berbagai alat musik dari berbagai etnis yang tinggal di kota Padang seperti musik daerah Minangkabau, Medan dan melayu. Namun kesenian ini, baik musik Gamad maupun tari Balanse Madam, sudah tidak hidup lagi di masyarakat. Berbagai faktor baik internal maupun eksternal menyebabkan kesenian ini jarang dipentaskan. Adapun artikel ini dianalisis dengan menggunakan konsep disfungsi.
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Budrianto, Budrianto Budrianto, Wilma Sriwulan, and Marta Rosa. "APROPRIASI GITAR DALAM KESENIAN REJUNG PADA MASYARAKAT SUKU BASHEMAH KABUPATEN KAUR PROVINSI BENGKULU." Gorga : Jurnal Seni Rupa 7, no. 2 (October 8, 2018): 94. http://dx.doi.org/10.24114/gr.v7i2.10915.
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AbstrakPenelitian bertujuan untuk membahas peran gitar sebagai bentuk apropriasi dalam kesenian rejung pada masyarakat suku bashemah ,sekaligus bertujuan untuk menambah wawasan,mendeskripsikan dan mencari kebenaran tentang kesenian tersebut mengapa kesenian ini memakai iringan permainan gitar konvensional barat. Rejung adalah perpaduan antara sastralisan beserta iringan musik menggunakan petikan gitar. Irama-irama rejung sangatlah beragam dan khas.Sastralisan yangterkandung dalam rejung terletak pada tembang-tembangnya, berupa pantun nasehat, pesanmoral, sindiran, kisah seseorang, sebuah ungkapan perasaan antara muda-mudi dan ucapan-ucapan yang dirasakan dalam hati seperti merintih,meratapi nasib,dan menyesali hidup dengan menggunakan bahasa daerah. Gitar dalam kesenian rejung berfungsi sebagai melodi pokok sekaligus pengatur tempo. Dalam musik konvensional gitar difungsikan sebagai iringan musik modern atau musik barat. sementara berbeda halnya dengan kesenian rejung,secara musikal gitar tunduk sebagai alat musik tradisi di dalam kesenian rejung. Metodologi yang digunakan ialah metodologikualitatif dalam lingkup musik. Dengan adanya penelitian ini untuk menambah nilai historis sebuah kesenian daerah itu sendiri dan berharap menjadi suatu referensi literasi pengetahuan bagimasyarakat kabupaten kaurdan masyarakat umum. Dalam karya tulis ini disimpulkan bahwa musik rejung memiliki gaya khas musik timur dengan memakai instrumen musik barat dan memiliki ciri khas musik tradisional Indonesia. Kata Kunci : Rejung, Gitar Konvensional, Apropriasi. AbstractThe study aims to discuss the role of the guitar as a form of appropriation in the art of rejung to bashemah tribal people, as well as aiming to broaden insight, describe and seek truth about the art, why is this art using conventional Western guitar playing. Rejung is a combination of oral literature and musical accompaniment using guitar passages. The rhythm of the rejung is very diverse and distinctive. Oral literature contained in the rejung lies in the songs, in the form of rhymes of advice, moral messages, satire, the story of a person, an expression of feelings between young people and words that are felt in the heart such as moaning, lamenting fate, and regretting life by using local language. The guitar in the rejung art serves as the main melody as well as the tempo regulator. In conventional music the guitar is functioned as an accompaniment of modern music or western music. while in contrast to the rejung art, musical guitars are subject to traditional musical instruments in the art of rejung. The methodology used is a qualitative methodology in the scope of music. With the existence of this research to add the historical value of the regional art itself and hope to become a reference of knowledge literacy for the people of the district of Kaur and the general public. In this paper it was concluded that rejung music has a distinctive style of eastern music by using western music instruments and has the characteristics of traditional Indonesia music. Keywords: Rejung, conventional guitar, appropriation.
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Stuart, Chapman Hill. "The Art of Songwriting, Andrew West (2016)." Journal of Popular Music Education 3, no. 1 (April 1, 2019): 151–54. http://dx.doi.org/10.1386/jpme.3.1.151_5.
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The author reviews The Art of Songwriting, written by veteran songwriter Andrew West, who oversees a postgraduate course at Leeds College of Music. The book benefits greatly from the author’s encyclopaedic knowledge of songs and songwriters, and a rich variety of examples permeates the book. As a result, the book is not a simple ‘how-to’ volume, but rather captures the rich diversity of approaches and techniques professional songwriters employ. A different, tighter organizational scheme might help the book’s wisdom be digestible for the reader to consolidate and retain all the knowledge the book has to offer. Still, the book is a welcome contribution to an understudied field, especially as music education scholars seek to diversify the musics that define school music teaching and learning.
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Yunita, Ayu Tresna, Ayub Prasetiyo, and Aditya Tri Anggara Astanta. "Implementasi Materi Musik Berdasarkan Kurikulum Tematik 2013 Sekolah Dasar di Kecamatan Sewon Bantul Yogyakarta." PROMUSIKA 9, no. 1 (September 7, 2021): 39–50. http://dx.doi.org/10.24821/promusika.v9i1.5774.
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Berdasarkan Peraturan Menteri Pendidikan dan Kebudayaan Republik Indonesia No. 81A Tahun 2013 tentang Implementasi Kurikulum 2013, maka sekolah dari tingkat Sekolah Dasar hingga Sekolah Menengah Tingkat Atas mulai memberlakukan kurikulum 2013. Kurikulum tematik 2013 untuk Sekolah Dasar terdiri dari kompetensi inti dan kompetensi dasar. Pembelajaran seni khususnya seni musik termasuk dalam mata pelajaran Seni Budaya dan Prakarya (SBDP). Penelitian tentang implementasi pelajaran seni musik berdasarkan kurikulum tematik 2013 di sekolah dasar yang berada di kecamatan Sewon Bantul Yogyakarta bertujuan untuk mengetahui bagaimana pelaksanaan pengajaran pendidikan SBDP khususnya seni musik dan apakah hasil kompetensinya bisa tercapai. Penelitian ini menggunakan metode penelitian kuantitatif. Tujuh Sekolah Dasar diambil sebagai sampel populasi dari total duapuluh tiga Sekolah Dasar di Kecamatan Sewon, Bantul, Yogyakarta. Informasi informasi dikumpulkan dengan menggunakan kuesioner dan wawancara. Pengajaran SBDP seni musik yang diajarkan oleh guru kelas, hasilnya belum sesuai dengan capaian kompetensi pada kurikulum 2013. Hal ini antara lain disebabkan karena kurang adanya pelatihan atau diklat tentang pengajaran seni musik sekolah dasar bagi guru kelas dan guru pengampu SBDP tidak memiliki latar belakang pendidikan seni khususnya seni musik. Kendala dan kesulitan bisa diatasi antara lain dengan membuat metode atau modul pengajaran music untuk sekolah dasar, mengadakan workshop, seminar dan pelatihan seni musik.AbstractImplementation of Music Material Teaching Based on Thematic Curriculum 2013 in Elementary School in Sewon Bantul District, Yogyakarta. Based on the Regulation of the Minister of Education and Culture of the Republic of Indonesia No. 81A of 2013 concerning the Implementation of the 2013 Curriculum, schools from Elementary to Senior High level began to apply the 2013 Curriculum. The 2013 thematic curriculum for Elementary School consists of core competencies and essential competencies. Learning art, especially music, is included in Cultural Arts and Crafts (SBDP). Research on the implementation of music lessons based on the 2013 thematic curriculum in several elementary schools in the Sewon district of Bantul Yogyakarta aimed to find out how SBDP education teaching, especially the art of music, and whether the competency result by achieved. This study used quantitative research methods. Seven out of twenty-three elementary schools were chosen as population samples in Sewon District, Bantul, Yogyakarta. Information was collected using questionnaires and interviews. The results of SBDP teaching of music art taught by classroom teachers are not following the competency achievements in the 2013 curriculum. The partly due to the lack of training or education and training on teaching music art for elementary school teachers, and SBDP teachers themselves do not have an art education background, especially music. This paper suggested solutions to overcome obstacles and difficulties by making methods or modules for teaching music at the elementary school level, holding workshops, seminars, or training in the art of musicKeywords: implementation; 2013 curriculum; music
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Schneider, Birgit. "Klangteppiche. Transmediale Verhältnisse zwischen Weberei und Musik." Zeitschrift für Medien- und Kulturforschung 6, no. 1 (2015): 133–58. http://dx.doi.org/10.28937/1000106436.
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Ausgehend von der griechischen Mythologie werden die vielfältigen Beziehungen zwischen Singen und Weben, dem Flechttanz und den strukturellen Ähnlichkeiten von Notationsformen und Steuerungsprinzipien in Musik und Weberei ausgelotet. Es zeigt sich, dass das Verhältnis der Zeitkunst Musik und der Raumkunst Weberei weit über das hinausweist, was sich im bloß metaphorischen Sprechen von >Klanggeweben< abzeichnet. Die Beziehung zwischen Kunstformen und Medien bringt vielmehr mythischspirituelle Ebenen zum Ausdruck. Die Umwandlung von Geweben in Musik respektive Musik in Weberei wiederum macht das kreative Potential der Transposition fruchtbar. </br></br>Based on Greek mythology, the multiple relationships between singing and weaving, »Flechttanz« (»weaving dance«) and the structural similarities of forms of notation and principles of control in music and weaving are explored. It is found that the relationship between music (as a temporal art) and weaving (as a spatial art) goes far beyond that which the metaphor of »sound tissues« points at. Rather, the relationship between art forms and media expresses mythical and spiritual levels. The transformation of tissues in music or, respectively, music in tissues, makes the creative potential of transposition productive.
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Afdhal, Muhammad. "“REPUBLIKEN” MENYATU DALAM PERBEDAAN." Imaji 17, no. 1 (June 27, 2019): 66–73. http://dx.doi.org/10.21831/imaji.v17i1.25736.
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Republiken adalah penganut ketatanegaraan yang berbentuk republik. Istilah Republiken menunjukkan suatu kesatuan masyarakat yang berbangsa dan berdaulat. Republiken dalam kaitannya dengan karya seni ini adalah suatu bentuk semangat berbangsa melalui seni, dalam hal ini musik, menunjukkan bahwa perbedaan ras atau suku bukanlah masalah untuk bangsa Indonesia menjadi semangat yang satu. Karya komposisi musik yang berjudul “Republiken”, diharapkan dapat menunjukkan semangat berbangsa melalui beberapa karakteristik musik-musik nusantara yang diekspresikan melalui EDM atau Elektronik Dance Music yang merupakan sebuah rumah besar untuk genre-genre musik, seperti disco, dupstep dan sebagainya, karena sebagian alat musiknya menggunakan alat-alat elektronik seperti gitar elektrik, keyboard, synthesiezer dan lauchpad yang dewasa ini menjadi alat musik yang banyak digunakan dalam penciptaan musik EDM “REPUBLIKEN” UNITES IN DIFFERENCESAbstractRepubliken are followers of republic constitutions. The term Republiken shows a united nation and sovereign community. In relation to this work of art, Republiken is a form of nationalism spirit through art—in this case music—showing that racial or ethnic differences are not a problem for Indonesian people to be one spirit. The music composition works entitled "Republiken", are expected to show the spirit of nationalism through several characteristics of archipelago music expressed through EDM or Electronic Dance Music which is a big house for music genres, such as disco, dupstep and so on, because some of the music tools uses electronic devices like electric guitars, keyboards, synthesizers and lauchpads which today are a musical instrument that is widely used in EDM music creation
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Shintani, Joyce. "Art | 40 | Basel: Media Art with Music." Computer Music Journal 34, no. 1 (March 2010): 97–100. http://dx.doi.org/10.1162/comj.2010.34.1.97.
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Moore, Ronald, and Haig Khatchadourian. "Music, Film, and Art." Journal of Aesthetics and Art Criticism 45, no. 4 (1987): 425. http://dx.doi.org/10.2307/431340.
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Duncan, Elmer H., and Haig Khatchadourian. "Music, Film, and Art." Leonardo 20, no. 3 (1987): 292. http://dx.doi.org/10.2307/1578188.
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Davies, Stephen, and Jerrold Levinson. "Music, Art, and Metaphysics." Journal of Aesthetic Education 26, no. 2 (1992): 110. http://dx.doi.org/10.2307/3332930.
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Kivy, Peter. "Is Music an Art?" Journal of Philosophy 88, no. 10 (1991): 544–54. http://dx.doi.org/10.5840/jphil1991881026.
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Currie, Gregory, and Jerrold Levinson. "Music, Art, and Metaphysics." Philosophy and Phenomenological Research 53, no. 2 (June 1993): 471. http://dx.doi.org/10.2307/2107784.
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FULKOVÁ, MARIE. "Art and Music Correlation." Journal of Art & Design Education 15, no. 2 (May 1996): 155–60. http://dx.doi.org/10.1111/j.1476-8070.1996.tb00662.x.
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Perkins, Amanda. "Music and art therapy." Nursing Made Incredibly Easy! 18, no. 3 (2020): 17–20. http://dx.doi.org/10.1097/01.nme.0000658232.41065.aa.
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Humfrey, Peter, John G. Bernasconi, John Rosselli, Zygmunt G. Barański, and Robert Gordon. "ART, MUSIC & CINEMA." Italian Studies 48, no. 1 (January 1993): 125–32. http://dx.doi.org/10.1179/its.1993.48.1.125.
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Avorgbedor, Daniel Kodzo. "Nigerian Art Music: with an Introductory Study of Ghanaian Art Music (review)." Research in African Literatures 32, no. 2 (2001): 219–22. http://dx.doi.org/10.1353/ral.2001.0043.
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Botirova, Khilola Tursunbaevna. "Performance And Art." American Journal of Social Science and Education Innovations 03, no. 05 (May 31, 2021): 465–74. http://dx.doi.org/10.37547/tajssei/volume03issue05-83.
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This article provides detailed information about the performing arts, including scientific and theoretical information about the commonality of performance and art. The scholars’ scientific approaches to music are described in detail.
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Ardipal, Ardipal. "Peran Partisipan sebagai Bagian Infrastruktur Seni di Sumatera Barat: Perkembangan Seni Musik Talempong Kreasi." Resital: Jurnal Seni Pertunjukan 16, no. 1 (February 17, 2016): 15–24. http://dx.doi.org/10.24821/resital.v16i1.1271.
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Perkembangan seni tidak lepas dari peran pelaku seni atau seniman musik. Namun peran itubukan hanya terletak pada seniman, tetapi juga berbagai unsur yang terlibat dalam kesenian dalammasyarakat atau partisipan seni, yang terlihat dalam infrastruktur seni. Penelitian ini menggunakanpendekatan deskriptif analisis, dengan maksud memberikan gambaran partisipan seni sebagai bagiandari infrastruktur seni dalam konteks kesenian Talempong Kreasi. Penelitian ini dilakukan untukmenjawab pertanyaan siapa yang berperan dan apa yang dilakukan mereka dalam musik talempongtradisi. Hasil penelitian ini menunjukkan bahwa talempong tradisi berhasil dikembangkan olehtokoh partisipan akademik. Pengembangan ini terlihat dari konsep harmoni dalam komposisi musikdan penggabungan alat musik baru dan tradisi sehingga lahirlah Talempong Kreasi. Genre musikini dapat berfungsi untuk pembentuk imaji dan identitas Minangkabau di masyarakat. Di antara permasalahan baru yang timbul, karena hasilnya masih berfokus kepada produksi musik komersial, bukan pada kualitas musik. The Participants Role as a Part of the Arts Infrastructure in West Sumatra: The Developmentof Talempong Kreasi Musical Arts. The development of art cannot be separated from the role of performersor musical artists. But the role does not merely only lie in the artists themselves, but also in the various elementsinvolved in the arts in the community or the participants of art, which are commonly visible in the artsinfrastructure. This study used a descriptive analytical approach, with the intention of giving the participantsan overview of art as a part of the infrastructure of the art in the context of Talempong Kreasi art. Thisstudy was conducted to answer the questions of who play the role, and what they have done for Talempongmusic tradition. These results indicate that the tradition of talempong has successfully been developed by theacademic participants. This development can be seen from the concept of harmony in the music compositionand the incorporation of new and traditional music instruments so that the the tradition of TalempongKreasi is emerged. This genre of music can be served for forming the image and Minangkabau identity inthe society. Among the new problems that arise, the result still focuses on the production of commercial music, not on the quality of the music.
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Gumilar, Teguh, and Rendi Alhusaini. "Kajian Musikologis Terhadap Komposisi Musik Angklung Toel dan Maqam Hijaz." PROMUSIKA 11, no. 1 (April 11, 2023): 19–29. http://dx.doi.org/10.24821/promusika.v11i1.9202.
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Studi ini bertujuan untuk menunjukan komposisi musik yang menggunakan konsep musik islam dengan kaya fungky. Maqam hijaz merupakah salah satu dari tujuh irama seni membaca Al-Qur’an yang terdapat pada sumber yang dikaji. Hijaz dalam irama memiliki makna doa, panggilan, dan mengingat-ingat sesuatu. Metode yang digunakan dalam penciptaan karya ini adalah pengembangan dasar dari tangga nada maqam hijaz ke dalam bentuk karya musik dengan penggabungan antara dua jenis musik, yaitu musik Timur Tengah, dan musik gaya funky. Karya angklung toel dan maqam hijaz, diketahui bahwa karya musik ini dapat menciptakan suatu hal baru dalam pengkolaborasian antara musik Timur Tengah dan musik gaya funky sebagai pengembangannya, dan diwarnai dengan progresi-progresi akornya yang terdapat pada karya ini. Gaya seni membaca Al-Qur’an dapat dikembangkan atau diaplikasikan ke dalam bentuk karya musik bambu.AbstractMusicological Study of Angklung Toel and Maqam Hijaz Music Composition. This study aims to show a musical composition that uses the concept of Islamic music with a funky richness. Maqam Hijaz is one of the seven rhythms of the art of reading the Qur'an found in the sources studied. Hijaz, in rhythm, has the meaning of prayer, calling, and remembering something. The method used in creating this work is the essential development of the Maqam Hijaz scales into the form of musical works by combining two types of music, namely Middle Eastern music and funky style music. The results of the musical works that have been made show that this work can create something new in the collaboration between Middle Eastern music and funky style music as its development, and is coloured by the chord progressions found in this rich. The art style of reading the Qur'an can be developed or applied as bamboo musical works.Keywords: Maqam, Hijaz, Music, Bamboo
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BARRETT, G. DOUGLAS. "Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art." Twentieth-Century Music 18, no. 2 (February 15, 2021): 223–48. http://dx.doi.org/10.1017/s1478572220000626.
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AbstractThis article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.
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Sütterlin, Christa, Wulf Schiefenhövel, Christian Lehmann, Johanna Forster, and Gerhard Apfelauer. "Art as behaviour – an ethological approach to visual and verbal art, music and architecture." Anthropologischer Anzeiger 71, no. 1-2 (March 1, 2014): 3–13. http://dx.doi.org/10.1127/0003-5548/2014/0371.
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N.T., Khamdamova. "Amir Khusrau Dehlavi And Music." American Journal of Interdisciplinary Innovations and Research 03, no. 05 (May 7, 2021): 156–60. http://dx.doi.org/10.37547/tajiir/volume03issue05-26.
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Despite being a great poet, Amir Khusrau Dehlavi is recognized as one of the representatives who made a worthy contribution to the culture and art of music. In the past, various aspects of his work have been studied separately and extensive research has been done. In the art of music, he is recognized as a composer, instrumentalist, musicologist.
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Kondakov, Igor Vadimovich. "Music versus Politics." Pan-Art 3, no. 1 (January 10, 2023): 78–82. http://dx.doi.org/10.30853/pa20230001.
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This essay presents the situation concerning the music philosophy in the XX century: the factor of politics gradually was established in the paradigm of artistic culture. It is shown that the politics became a permanent violence in relation to art as in relation to life. This permanent violence is a will for power or a clear will for dominating life and art which can move apart and then inextricably intertwine. Thus, the politics appears in her unconventional artistic and aesthetic discourse: being aesthetic in life and artistic in art. In this paper the phenomenon of the origin of the indivisibility and immeasurable formula is characterized. Since then, life and politics cannot do without art which is their mirror as well as art tries to distance itself from society and politics but cannot break free of the shackles of the socio-political context and the relevant pragmatic discourse. This discourse leaves an indelible imprint on everything connected with art and aesthetics.
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Roseth, Nicholas E. "Features of University Environments That Support Well-Being as Perceived by Lesbian, Gay, Bisexual, and Questioning Undergraduate Music and Art Students." Journal of Research in Music Education 67, no. 2 (February 4, 2019): 171–92. http://dx.doi.org/10.1177/0022429418825146.
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The purpose of this study was to explore features of university environments that support well-being as perceived by undergraduate lesbian, gay, bisexual, and questioning (LGBQ) music and art students. Data were drawn from the 2013–2015 administrations of the College Student Report (CSR) by the National Survey of Student Engagement. Responses of students who identified as music majors, music or art education majors, or as LGBQ ( n = 30,014) were extracted. CSR items regarding the students’ collegiate experiences corresponding with dimensions of Seligman’s well-being theory (i.e., positive emotions, engagement, relationships, meaning, achievement) were used to create composite variables for analysis. The data indicated similar ratings between heterosexual and LGBQ music/art students for positive emotion, engagement, and relationships. In contrast, non–music/art LGBQ students rated items pertaining to positive emotions and relationships lower than heterosexual music/art students and lower than both heterosexual students and LGBQ music/art students in engagement. Both LGBQ groups rated meaning items significantly higher than heterosexual music/art students. The data also indicated that heterosexual music/art students rated achievement items significantly higher than both LGBQ groups. These findings suggest that heterosexual and LGBQ music/art students may perceive better support for their well-being by their institutions’ environments than their non–music/art LGBQ peers.
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Xie, Xiaolan. "Cultural Aesthetic Comparison of "Three Singing Methods"." Frontiers in Business, Economics and Management 1, no. 2 (April 24, 2021): 15–17. http://dx.doi.org/10.54097/fbem.v1i2.17.
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The art of music is an important part of human culture. Vocal music art is closely related to traditional culture. Different social, historical and cultural factors of different nationalities have injected different ideological and cultural connotations into vocal music art. In their respective cultural atmosphere, vocal music art presents very different forms of expression. The traditional cultural concepts and national psychological consciousness formed under different religious backgrounds affect the traditional artistic concepts and the trend of vocal music art, and finally lead to the differences between Chinese and Western vocal music art and cultural aesthetics.
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Wolkowicz, Vera. "Incan or Not? Building Ecuador’s Musical Past in the Quest for a Nationalist Art Music, 1900–1950." Journal of Musicology 36, no. 2 (2019): 228–60. http://dx.doi.org/10.1525/jm.2019.36.2.228.
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When the development of Ecuadorian national art music began at the end of the nineteenth century, composers and music historians followed European models and studied folklore as a window onto the past. In this quest to discover and articulate what was truly “Ecuadorian,” Incan culture occupied a complex position, sometimes hailed as a primary component of Ecuador’s musical heritage and sometimes dismissed as irrelevant. This article explores the music histories written by composers Pedro Pablo Traversari, Segundo Luis Moreno, and Sixto María Durán, and investigates a selection of Traversari’s compositions and Moreno’s music analyses. It demonstrates how they either included Incan culture in or excluded it from a national music history, in dialogue with scholars outside Ecuador. Early twentieth-century musical discourse in Ecuador produced a series of conflicting and converging perspectives on national and continental music that contribute to our understanding of the global history of nationalistic art musics.
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Karan, Marija. "(Re)positioning art music in contemporary traditional and digital mass media/radio context." New Sound, no. 56-2 (2020): 49–63. http://dx.doi.org/10.5937/newso2056049k.
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This paper discusses, actualizes and problematizes the representation and treatment of art music in the context of contemporary mass media radio discourse, in its traditional and digital/internet formats. The thesis is that understanding the content of high culture and art music is key to the social and cultural progress of the audience, and that it implies the clear views of the creator of the work of art music, on the one hand, and the experience of the recipient - that is, the audience, on the other hand. In this context, traditional and digital mass media must continue to act as the main transmitters/mediators of musical creation. Through the prism of art music on the radio, the types and ways of the operation of contemporary (meta) mass media are detected, as well as the effect of the reception of elements of mass/media culture on the audience. The critical-analytical-interpretive method interprets the phenomenon of artistic music on the radio and contributes to the research of the impact on the audience with music as the key parameter of mass media discourse.
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Novandhi, Nanda Kurnia. "IMPLEMENTASI TEORI BELAJAR DALAM MATA KULIAH “ARRANGEMENT” DI S1 SENDRATASIK UNIVERSITAS NEGERI SURABAYA." Imaji 17, no. 2 (December 3, 2019): 179–84. http://dx.doi.org/10.21831/imaji.v17i2.27778.
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Arrangement merupakan salah satu ilmu yang harus dikuasai oleh seorang musisi atau orang yang berkecimpung dalam dunia seni musik. Aransemen juga merupakan salah satu yang paling penting dalam menunjang keberhasilan menciptakan sebuah komposisi musik. Pembelajaran aransemen diperlukan seorang musisi atau mahasiswa seni khususnya dalam seni musik karena, untuk membekali mereka dalam menjalani kehidupan sebagai seorang pemain musik. Jenis penelitian yang digunakan dalam penelitian ini adalah kualitatif. Metode pembelajaran yang digunakan adalah pendekatan metode belajar secara konstruktivistik dan behavioristik. Tujuan penelitian adalah untuk mengetahui metode pembelajaran apa yang cocok untuk digunakan dalam perkuliahan aransemen. Manfaat penelitian secara teoritis adalah menambah literatur tentang metode pembelajaran dalam seni musik, dan manfaat secara praktis adalah membantu dalam refensi dalam membangun pembelajaran yang baik. Kata Kunci : Arrangement, Metode Belajar, Behavior, Konstruktif IMPLEMENTATION OF LEARNING THEORY IN THE “ARRANGEMENT” COURSE IN S1 SENDRATASIK, SURABAYA STATE UNIVERSITY Abstract Arrangement is one of the sciences that must be mastered by a musician or person working in the world of music art. Arrangement is also one of the most important in supporting the success of creating a musical composition. Arrangement learning is needed by a musician or art student, especially in the art of music because, to equip them to live life as a music player. This type of research used in this study is qualitative. The learning method used is a constructivist and behavioristic approach to learning methods. The purpose of this research is to find out what learning methods are suitable for use in lecturing arrangements. The theoretical benefit of research is to add to the literature on learning methods in the art of music, and the practical benefit is to help in the refinement in building good learning. Keywords: Arrangement, Learning Method, Behavior, Constructive
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Darma Putra, Irdhan Epria. "HUMANISTIC THOUGHT IN MUSIC ARTS EDUCATION." Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni 25, no. 1 (June 20, 2023): 63. http://dx.doi.org/10.26887/ekspresi.v25i1.3261.
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Research is the foundation of music education that has a humanistic mind. This research was conducted to determine the initial study of learning that could have been more optimal. Music education has not been able to express freedom and maturity. This research is due to a need to foster students' sense of awareness and responsibility. This awareness can expand students' experiences in music in the surrounding environment. The research used literature studies from ten articles published in national journals and then abstracted to compare the findings. The results showed that music education focuses on art elements, including expressing, appreciating, creating, and creating harmony in the environment. Music arts education can motivate students to discover the character and personality of students in knowledge, potential, and positive behavior in the surrounding environment.Keywords: Musical Art; Humanistic PerspectivePEMIKIRAN HUMANISTIK DALAM PENDIDIKAN SENI MUSIKAbstrak Riset merupakan landasan pendidikan musik yang berwawasan humanistik. Penelitian ini dilakukan untuk menentukan pembelajaran pembelajaran awal yang bisa lebih optimal. Pendidikan musik belum mampu mengekspresikan kebebasan dan kedewasaan. Penelitian ini dilakukan karena adanya kebutuhan untuk menumbuhkan rasa kesadaran dan tanggung jawab siswa. Kesadaran tersebut dapat memperluas pengalaman siswa dalam bermusik di lingkungan sekitarnya. Penelitian ini menggunakan studi literatur dari sepuluh artikel yang diterbitkan di jurnal nasional dan kemudian disarikan untuk membandingkan temuan tersebut. Hasil penelitian menunjukkan bahwa pendidikan musik menitikberatkan pada unsur seni yang meliputi mengungkapkan, mengapresiasi, berkreasi, dan menciptakan keselarasan dalam lingkungan. Pendidikan seni musik dapat memotivasi siswa untuk menemukan karakter dan kepribadian siswa dalam pengetahuan, potensi, dan perilaku positif di lingkungan sekitarnyaKata Kunci: Seni Musik; Perspektif Humanistik
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Solomonova, Olga B., Galyna F. Zavgorodnia, Olha V. Muravska, Alla D. Chernoivanenko, and Oksana O. Aleksandrova. "Interconnection of linguistics and musical art." Linguistics and Culture Review 5, S4 (November 9, 2021): 700–713. http://dx.doi.org/10.21744/lingcure.v5ns4.1711.
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The terminology of music semiology, which is an academic discipline with a significant educational resonance and a necessary component of music and educational practice at its higher educational and qualification levels, lies at the intersection of the main aspects of musicology such as the history of music, the theory and analysis of musical forms, music aesthetics and the theory of music interpretation, and others. Music semiology covers the transitional methodological abilities due to its subject reference points and the wide range of the material involved in the cognitive field. Music semiology can be considered a necessary basic discipline for the professional training of musicologists and practicing musicians of any programme. There is no doubt about the importance of mastering the language system, which is fundamental in the chosen field of communication. As an academic discipline, music semiology can be presented according to the way its terminology is built, it includes three main themes among which each of the following continues the meaning of the previous one by deepening and enlarging, detailing in an analytical way. Scientific novelty is determined by the fact that unlike music semiotics and the theory of music semantics.
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Imran, Dr Marwan. "Harmonious Relationship between Art and Music Critical vision (comparison)." Indian Journal of Applied Research 1, no. 9 (October 1, 2011): 108–9. http://dx.doi.org/10.15373/2249555x/jun2012/38.
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Black, Colin. "International Perspectives on the Historic Intersections of Electroacoustic Music and the Radio Medium." Organised Sound 19, no. 2 (June 30, 2014): 182–91. http://dx.doi.org/10.1017/s1355771814000120.
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Radio studios including Club d'Essai de la Radiodiffusion–Television Française (Paris), Studio für Elektronische Musik (Cologne), BBC Radiophonic Workshop (London) and others have historically played a key role in the development of international approaches to electroacoustic music. Nevertheless few publications explore the pre-musique-concrète sound-based experimental works of the 1920s and 1930s arising from activities undertaken at radio studios, or the dimensions, properties, implications and impact of the radio medium itself. This article explores the impact of the radio medium on creative practice and argues that radio art is not inherently a subset of sonic art, as it may first appear when nuanced from electroacoustic music practice, but can be viewed as its own art form with idiosyncratic international standpoints and transdisciplinary properties. In addition to a historical discussion, this article offers an insight into the potential for radio art practice to cross-pollinate with music practice and explore new creative territory and hybrid working modalities.
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Umarova, Gulshan Omonovana. "On The Culture Of Music And Singing." American Journal of Social Science and Education Innovations 02, no. 12 (December 17, 2020): 83–87. http://dx.doi.org/10.37547/tajssei/volume02issue12-15.
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In the current era of the influence of the information flow, blindly mastering the art of others, they put Uzbek words in their music and perform melodic performances. This article discusses the development of one of the vocal genres - traditional singing, the perfect study of the status of our classical art by students and the further enrichment and preservation of the treasures of our national musical heritage to future generations. In the current era of rapid development, under the influence of music and songs coming from abroad, the minds of our young people are changing and becoming indifferent to their art. It is useful for any nation to learn the art of its own national music first and then master the art of others.
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Li, Hui. "Thoughts on the Connotative Development of Music Art Management." International Journal of Education and Humanities 12, no. 3 (February 27, 2024): 38–39. http://dx.doi.org/10.54097/kyjpcj45.
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Our country Major music (art) colleges have set up art management majors. However, at present, the development speed of art management majors in domestic music colleges is relatively slow, which cannot meet the needs of society for high-level art management talents. Therefore, it is very necessary to develop a connotation-oriented development strategy. From the perspective of music art management, this paper sorts out the constituent factors of the "connotative" development of music art management, analyzes some problems existing in the current music art management, and explores the countermeasures of "connotative" development, so as to prove the "connotative" development. It is of great significance. I hope it can provide reference for the "connotative" development of music art management in China.
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Omojola, Olabode F. "Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)." Africa 64, no. 4 (October 1994): 533–43. http://dx.doi.org/10.2307/1161372.
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The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as the nature of Bankole's musical training and experience. This provides an appropriate context for understanding and appreciating the stylistic features of Bankole's works. Drawing on examples from his works, the article establishes the eclectic nature of Bankole's style, in which European and African musical elements interact.
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Kutsyn, Erika. "Pedagogical potential of art-therapeutic influence of musical art." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 139–43. http://dx.doi.org/10.33310/2518-7813-2019-66-3-139-143.
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The article considers the problem of the introduction into the educational process of art-therapeutic technologies as a means of psychological and pedagogical adaptation of the individual in the conditions of society globalization. The role of musical art in influencing the emotional and sensual sphere of revealing and development of natural abilities, creative expression of personality is revealed, the expediency of using varieties of music therapy in music-creative activity of younger students is clarified. Music education, vocal therapy, receptive perception of music, rhythm therapy, which contribute to overcoming psychological discomfort in students' educational activities, encourage the creative expression of personality, the child's knowledge of the art world.The education system in Ukraine requires updating and enriching the content of the pedagogical process on the basis of humanization, which will contribute to the full development of the individual, the formation of vital competences for the maximum disclosure of his or her natural inclinations and creative potential. It is in the primary school that the foundations for the formation of the experience of educators (younger students), their needs, which motivate learning, knowledge and skills, which are formed in different educational environment, different social situations and condition the formation of attitude to them, are laid. The state normative document (The Law of Ukraine "On Education") emphasizes the need for students to acquire key competences that enable the development of successful learning, self-expression, self-knowledge, social adaptation and preservation of their physical and mental state. Such development of education in Ukraine makes it necessary to actively introduce into the educational process the innovative technologies and modern pedagogical approaches, among which artpedagogy is a new trend that integrates theoretical knowledge and methodological developments in psychology, art and pedagogy. With the help of music, drawing, fairy tales, theatre teachers can unite the class, identify problems of the child in time, form their life values, motivate them to study. The professional activity of a music art teacher in the context of educational reform and the introduction of inclusive education as a form of providing equal access to quality education for children with special educational needs, presupposes the need to master innovative technologies for the use of musical art as a method of comprehensive and multidimensional stimulation of personality development, child's condition, behavioural abnormalities, and also as a form of art treatment. One of the effective ways of solving the set tasks before the educational industry is the introduction of innovative, art-therapeutic – humanistic-oriented technology in the educational process, which involves the creation of a psychologically-comfortable educational environment by updating the pedagogical potential by means of art education (vocal therapy, art therapy, music therapy, (etc.)
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Milenkovic, Ivan. "Music and crisis." Muzikologija, no. 21 (2016): 15–26. http://dx.doi.org/10.2298/muz1621015m.
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In this article the author does not consider crisis a threat, but in a modern sense, an auto-motive drive of art. Therefore, crisis does not affect the art from the outside, it does not hit it as an illness or a storm, but it always produces itself, which is considered to be a condition for movement in art. First of all, the author analyzes the notion of representation and the four roots of the sufficient reason as a conservative and conserving element of art, to which he opposes crisis and its self-production as something that resists sclerotization of art forms. In music, the relation between the ossified, "naturalized" structure and that which decomposes that structure, manifests itself as the relation between harmony and disharmony. The moment when harmony shows a tendency towards naturality, understanding eternity and truth, an alarm is activated to show that music is being paralyzed and it needs a deconstructive intervention of disharmony, atonality and dissonance.
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Jang, Jennifer. "Why Art Journalism Is Important in Connecting Traditional Art and Entertainment with The Media." Proceedings of The World Conference on Social Sciences 2, no. 1 (December 26, 2023): 70–86. http://dx.doi.org/10.33422/worldcss.v2i1.103.
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Due to an increase in pop culture consumption and social media use, traditional art forms such as classical music, pottery, and painting are not covered enough in modern journalism. Today traditional art forms, such as classical music, sculpture, and painting, are still seen in a very linear way, even though there are opportunities for this medium to be represented in media. Art journalism would not only help music to be utilized in various ways but also enhance society by exposing more people to art. Art journalists act as an amplifier for many artists by giving them a platform to promote their work and also allowing them to draw connections with each other. Additionally, art journalism promotes cultural appreciation because it often covers cultural events, music, and artwork with artistic aspects. Furthermore, providing these artists with an outlet to popularize their work allows people to discover certain cultures that they might not have otherwise. In all, given that classical forms of art are declining in popularity and the younger generation is becoming increasingly less exposed to traditional art, art journalism can be an effective way to maintain traditions and ensure that art forms such as classical music do not die out completely. The purpose of this research is to study how a decline in art journalism and journalism overall will impact our society and today’s youth, as well as study the statistical trends of artistic journalism. The research design will consist of quantitative research on the exact statistics of arts journalism and qualitative research concerning the effects of these factors and will be used to present the argument that art journalism is necessary for our society. The findings from quotes, graphs, and charts will be analyzed to do so, and summarized in the conclusion.
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Fikri, Ioqo Alhamra, and Ardipal Ardipal. "PERUBAHAN STRUKTUR DAN ARRANSEMEN MUSIK GAMAD DI KOTA PADANG." Gorga : Jurnal Seni Rupa 8, no. 2 (November 16, 2019): 369. http://dx.doi.org/10.24114/gr.v8i2.15279.
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AbstrakMusik Gamad merupakan sebuah kesenian khas dari kota Padang yang mana pada dasarnya secara musikologi kesenian ini masih tergolong dalam klasifikasi musik melayu namun memiliki keunikan tersendiri dikarenakan pantun-pantun yang menjadi syair lagu dinyanyikan dalam bahasa Minangkabau dan juga bersifat spontan.kesenian ini juga merupakan sebuah bentuk akulturasi dari beberapa budaya masyarakat yang ada di kota padang pada era perkembanganya hingga pada saat ini.dilatar belakangi oleh kedatangan bangsa portugis dengan budaya musik barat dengan cepat menjadi daya tarik bagi bumi putra dalam konsep bermain musik sehingga pada sebelumnya pantun hanya dinyanyikan oleh vokal dengan iringan gendang tradisional kemudian bertambah dengan alat musik seperti akordeon,biola dan gitar.musik gamad pun dengan cepat menjadi sebuah kesenain yang populer di kota padang,namun dengan seiring perkembangan zaman dan pergeseran nilai-nilai sosial yang terjadi dalam masyarakat kota padang turut mempengaruhi kesenian ini sehingga terjadilah perubahan struktur dan bentuk dalam arransemen musik gamad di kota Padang. Kata Kunci: gamad, struktur, bentuk, arransemen.AbstractGamad music is a distinctive art from the city of Padang, which is basically a musical artistry is still classified in the Malay music classification but has its own uniqueness because the poems are poetry sung in the Minangkabau language and are also spontaneous. This art is also a form acculturation of several cultural communities in the city of Padang in the era of its development until today. The background of the arrival of the Portuguese with Western music culture quickly became an attraction for the son of the earth in the concept of playing music so that in the past pantun was only sung by vocals with accompaniment traditional drum and then increased with musical instruments such as accordions, violins and guitars. Gamad music also quickly became a popular game in the city of Padang, but with the development of the times and the shifting of social values that occur in the city of Padang society also influence to this art so that there was a change in structure and shape in the gamad music arrangement in the city of Padang.Keywords: gamad, structure, shape, arrangement.
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Sulasman and Fadlil Yani Ainusyamsi. "Islam, Seni Musik, dan Pendidikan Nilai di Pesantren." Panggung 24, no. 3 (September 1, 2014). http://dx.doi.org/10.26742/panggung.v24i3.120.
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 The purpose of this study is to give a description about how the Islam views about art, especially music art. To explain about this purpose, the documentation study is applied in this research. The de- scription is done ontologically, epistemologically, and axiological. For that reasons, we can comprehend what the music is, how characteristic features and ways of working of the music, also we can know how and what for we play music. Furthermore, there will be a new paradigm about music art in the Moslem especially in Pesantren. This research use qualitative method and the result shows that Pesantren as the educational organization of Islam has its own contribution in instilling the values of theological, juri- dical, Islamic socio-cultural, and sophistical. Sphistical value in Pesantren has been put by purpose for cleansing up the soul. To provide the passion and meaning in the context of deepening enlightenment to students performed the internalization of sophistical values in Pesantren through the music. There are differences about art especially music art in Pesantren between Ulama of Ahlussunah and Ulama of Sufi. Regardless of the controversy between the music is halal or haram, the up growing phenomenon that is there are a many Pesantren which developing the music art. Music in Pesantren is not only just an art but also as a tool of increasing and helping the private and social of Santri. Keywords: Islam, Art, Music, Ulama, Pesantren    ABSTRAK Penelitian ini bertujuan untuk memberi gambaran bagaimana pandangan Islam tentang seni,  khususnya Seni Musik. Untuk menjelaskan tujuan ini, maka digunakan studi pustaka. Penjelasan dilakukan secara ontologis, epistemologis, dan aksiologis. Oleh karena itu, kita akan paham tentang musik, bagaimana ciri-ciri dan cara kerja musik, serta tahu alasan dan tujuan kita bermusik. Dengan demikian maka akan lahir paradigma baru tentang seni musik di ka- langan umat Islam khususnya di kalangan pesantren. Metode yang digunakan adalah kualita- tif dan hasil penelitian menunjukan bahwa pesantren sebagai lembaga pendidikan Islam telah berjasa dalam menanamkan nilai-nilai teologia, yuridis, sosio kultural Islam, dan nilai sufistik. Nilai sufistik di pesantren ditanamkan dengan tujuan untuk membersihkan kalbu dari segala kotoran jiwa. Untuk memberikan gairah pendalaman serta pemaknaan dalam rangka pence- rahan jiwa bagi santri dilakukan internalisasi nilai-nilai sufistik di pesantren  melalui musik. Terdapat perbedaan pandangan mengenai seni khususnya seni musik dikalangan pesantren yaitu antara  ulama ahlusunnah dan ulama sufi. Terlepas dari kontroversi antara halal dan haram nya musik, banyak pesantren yang mengembangkan seni musik. Musik di pesantren selain untuk seni juga dijadikan alat untuk  meningkatkan dan membantu pribadi dan sosial santri. Kata kunci: Islam, Seni, Musik, Ulama, Pesantren
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"Art and music." Women Studies Abstracts 24, no. 3 (September 1995): 57–59. http://dx.doi.org/10.1007/bf02693546.
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"Art and music." Women Studies Abstracts 25, no. 2 (June 1996): 58–60. http://dx.doi.org/10.1007/bf02693577.
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