Journal articles on the topic 'Creating text and music'
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Polashek, Timothy D. "Beyond Babble: A Text-Generation Method and Computer Program for Composing Text, Music and Poetry." Leonardo Music Journal 15 (December 2005): 17–22. http://dx.doi.org/10.1162/lmj.2005.15.1.17.
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The author presents a method for creating sound poetry and text/sound music. According to his theory on the musical nature of speech and through the quantification of syllabic stress, the author presents his aesthetics of text/sound music and a detailed description of his original algorithms for manipulating characters representing phonemes. Redefining compositional techniques through his Beyond Babble computer program, The Babble Poet, he synthesizes vocalisms that sound like speech, yet are not, allowing nonsensical words to exist without semantic content and its inherent perceptual baggage. He also explores the applications of his program in composition by composing text/sound études synthesizing well-known texts with his method.
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Lopatin, Mikhail. "‘Ut cantus consonet cum verbis’: transformations of sound and sense in Paolo da Firenze’s Lena, virtù e speranza." Early Music 48, no. 1 (February 2020): 3–11. http://dx.doi.org/10.1093/em/caaa001.
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Abstract This article explores the topos of transformation/metamorphosis and its role in creating unusually fluid and ambiguous scenarios of musico-textual behaviour in Trecento and Quattrocento song. Examining Paolo da Firenze’s ballata Lena, virtù e speranza, I show how transformation spreads from the surface level of specific poetic motifs and musical gestures to the very core of music’s relation to its text and text’s relation to its music. In this analysis, my goal is to follow the trajectory of one specific word (‘mutatio’) as it passes through various theoretical filters on its way from the textual to the musical medium (or back), creating new and often unexpected meanings realized in a musical setting.
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Manggala, Bondan Aji. "“DURMA” (Model Penciptaan Pesan dan Kesan Musik Melalui Pembenturan Teks Lirik dengan Ekpresi Musik)." Acintya Jurnal Penelitian Seni Budaya 12, no. 1 (August 3, 2020): 23–32. http://dx.doi.org/10.33153/acy.v12i1.3139.
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ABSTRACT This article is part of a report on the results of artistic research (works of music) in the field of music. Briefly expresses experience and some knowledge findings related to the process of creating musical works of art. "Durma" is an editorial for this artwork, which contains three works of music with a popular music creation approach. Inspired by the anxiety of observing the infertility of creativity in the area of popular music in Indonesia, through "Durma" the thought was made to model the creativity of popular music by paying attention to the clash of lyric texts with musical expressions to produce messages and impressions of songs that are not public. In the habits of popular music, the elements of lyric text and musical expression are linear and mutually reinforcing relationships. It has never been imagined before that when a popular musical creation thinks a little freely and tries to clash ideas with an established knowledge of popular music creation, it will instead create ambiguity and the complexity of a refreshing taste. The outputs of the "Durma" artistic research include (1) art work products in the form of audio recordings of three songs entitled (a) Candles, (b) Girls, and (c) Good Night, (2) research reports, and (3) scientific publications articles that unravel the knowledge behind this work process.Keywords : Music creation, popular, clash of musical expressions and lyric texts ABSTRAK Artikel ini adalah bagian dari laporan hasil penelitian artistik (karya musik) di bidang musik. Secara singkat, ini mengungkapkan pengalaman dan beberapa temuan pengetahuan terkait dengan proses penciptaan karya seni musik. "Durma" adalah editorial untuk karya seni ini, yang berisi tiga karya musik dengan pendekatan penciptaan musik populer. Terinspirasi oleh kecemasan mengamati ketidaksuburan kreativitas di bidang musik populer di Indonesia, melalui "Durma" pemikiran dibuat untuk memodelkan kreativitas musik populer dengan memperhatikan benturan teks lirik dengan ekspresi musik untuk menghasilkan pesan dan tayangan lagu yang tidak umum. Dalam kebiasaan musik populer, unsur-unsur teks lirik dan ekspresi musik adalah hubungan linier dan saling menguatkan. Belum pernah terbayangkan sebelumnya bahwa ketika sebuah ciptaan musik populer berpikir sedikit dengan bebas dan mencoba untuk bertabrakan dengan pengetahuan mapan tentang ciptaan musik populer, ia malah akan menciptakan ambiguitas dan kompleksitas rasa yang menyegarkan. Output dari penelitian artistik "Durma" meliputi (1) produk karya seni dalam bentuk rekaman audio dari tiga lagu berjudul (a) Lilin, (b) Gadis, dan (c) Selamat Malam, (2) laporan penelitian, dan (3) artikel publikasi ilmiah yang mengungkap pengetahuan di balik proses kerja ini. Kata kunci: Penciptaan musik, populer, benturan ekspresi musik dan teks lirik
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Bogdan, Suita, Olga Bench, and Iryna Riabchun. "Nonlinearity as a strategy for creating postmodern musical texts in the 1970-1990s." Revista Amazonia Investiga 11, no. 57 (November 8, 2022): 198–204. http://dx.doi.org/10.34069/ai/2022.57.09.21.
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It is relevant in this research context to consider the ways of organizing the text, algorithms, and ideological principles of modeling the content components of a musical work. The purpose of the study is to establish strategies for the development of postmodernism in music, as well as non-linearity in music as a creative strategy of postmodernism. The study is devoted to fragmentation as perception and accumulation of information, a form of artistic experience reflected in musical creativity. Precedent phenomena that perform the function of meaning-making in the music of the last decades of the 20th century are determined by their symbolism, the possibility of mentonization and evaluation. Thus, in the musical text of postmodernism, the new work is incorporated into the figurative and expressive system in the space of fragmentary discourse, and the extratextual content of the musical text is formed. The research methodology is based on complex approaches. The main methods used in work are description, analysis, and synthesis, the method of intertextuality and the comparative-historical method were used to work with the material. The result of the work is the definition of new methods of constructing musical works of fragmented discourse, where an effective means is the selection of precedent phenomena, an individualistic vision of the audience, and intertext.
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Semyonova, Nina V. "Review on the book: Shuldishova A.A. Alexander Blok: The Musicality of the Lyrical Image: monograph. Kyiv: Publisnig House of Dmitry Burago, 2018." RUDN Journal of Studies in Literature and Journalism 24, no. 3 (December 15, 2019): 572–77. http://dx.doi.org/10.22363/2312-9220-2019-24-3-572-577.
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The interdisciplinary approach adopted by scholars in recent decades has required the adaptation of well-known methodologies used in literary studies, art studies, musicology, to the changing nature of the object of study. The productivity of the approach used in the monograph by A.A. Shuldishova is determined by the combination of philological and musicological methods. The article verifi the author's hypothesis of diff ways by which the text acquires some qualities of music, the latter including such techniques as musical quotations and allusions, verbal music and “zero degree of verbal music”. The lexical and stylistic means of creating a poetic image are considered, while the reference to the musical pretext, which helps to recreate its literary analogue, corresponds to various levels: motivational, thematic, genre. Instead of the concept of synthesis of arts we are talking about the creation of musical images and images of music through the introduction of elements that actualize the associative component of musical memory.
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Cobussen, Marcel. "In(-)formations. The Meaning of Paratextual Elements in Debussy's Syrinx." Musicological Annual 41, no. 2 (December 1, 2005): 55–70. http://dx.doi.org/10.4312/mz.41.2.55-70.
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According to Gérard Genette, paratextual elements can be defined as that what comes against, beside, and in addition to the text (a score for example) 'itself'. In that sense, they are always subordinate to 'their' text. The paratext is all material other than, though very closely connected to, the 'actual' text: the cover, the author's name, the title, preface, illustrations, notes, etc. It is therefore located in the space between inside and outside, the space between still belonging and not yet belonging to the text. This essay first of all investigates how paratextual elements (especially breath marks) are necessary to provide a musical text (in this case Debussy's Syrinx for solo flute) with a (temporary) meaning and how they direct possible interpretations. Secondly, this essay also suggests that within the musical text 'itself', paratext is always already present (for example in ornamentation). However, in Syrinx, the borders between text and paratext are remarkably porous, creating a noteworthy questioning and shifting of hierarchies.
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Mignonneau, Laurent, and Christa Sommerer. "Creating Artificial Life for Interactive Art and Entertainment." Leonardo 34, no. 4 (August 2001): 303–7. http://dx.doi.org/10.1162/00240940152549212.
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This article consists of two sections: the first provides a brief overview of artificial-life art and entertainment software, some of the main products and their peculiarities; and the second describes one of the authors' artificial-life software products, called Life Spacies II, which was created between 1997 and 1999. This system consists of a web page that allows users to create artificial-life creatures by simply typing in text characters using a web page “editor.” Written text is used as genetic code to model the creature's body. The body shape subsequently influences the creature's ability to move, which in turn determines the creature's behavior, survival and reproduction within the Life Spacies II environment. In addition, users of the system can feed the creatures with text characters and thus even more actively influence the creatures' survival and reproduction in their environment.
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Zhou, Daping. "The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 180–206. http://dx.doi.org/10.34064/khnum2-14.13.
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Introduction. The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. The general theoretic background for the vast amount of the musical artifacts studying is specified in the current section. Theoretical background. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. Schneerson, Lui Ji, Wei Tinge, Liu Fuan, Zhang Xiaohu, Zhang Qian and others. In particular, the current research is based upon the works by Bu Li, Bian Meng, Wang Ango, Wang Yuhe, Cheng Xu and other authors, devoted to the problem of the European and national music traditions interaction in the Chinese composers’ piano artifacts. The insufficient readiness of this thesis is mentioned. Namely, it is still the point of discussion and analyzing, to what extend and in what quality the genre system of European piano music is mastered by the Chinese composers. It is another point of investigation if their compositions are the result of the surface signs borrowing, taken from the most widely spread European genres or the Chinese composers were able to comprehend the genre semantics profoundly and develop some genres creatively, basing on the national musical tradition. Objectives. The main objective of the current article is the essential theoretical background specification for the Chinese composers’ piano creations genre peculiarities research; in particular, the polygenicity, the borrowed material usage principle, the composer’s genre stylization method. Methods. The task setting and developing is based upon the functional and morphological approaches to the musical genre comprehension, on the terminological analysis of the musical genres and styles understanding, on the upto-date philological and musicological conceptions of composition poetics, artistic genre and stylization method. Results and discussion. The concept of musical genre is defined as the type of the creation or the musical creative activity. Here the category of genre involves not only the formal but also the substantial musical compositions properties, their typical semantics. The musical genre genesis is specified by three factors: 1) the functional creations similarity, the identity of their assignment; 2) the similarity of the conditions of the composition creating and performing; 3) artistic and contextual affinity. The given factors specify the occurance of common musical form properties among several compositions, and these properties are defined as genre style. The composition style properties quite definitely “indicate” some kind of genre “prototype”, and in this sense they are the sign-index of the genre. The typical artisticcontent properties of musical creations and performing are also the index of the genre. These typical properties and designated as genre image (or genre semantics). The genre style and the corresponding images reflect the real type relations of the musical practice phenomena. It enables the composers to use the formal signs of a certain genre as an artistic attribute well recognized by the audience. In the musical genres system, the areas of interactive and independent music are conventionally separated. The first group includes the numerous kinds of every day musical performing, where music interacts with the riot, dance, poetic verbal speech, theatre performance and other types of a person’s artistic activity. Meanwhile, the main and specific function of the independent music is its being the object of artistic perception. The independent music artifacts don’t need any interaction with the expressive means of other arts. The piano music can belong to both spheres. A lot of independent sphere piano music compositions are bear the names of the genres belonging to the folklore, theatre music, church rituals, urban life. We mean such as piano “lullabies”, “ballads”, “minuets”, “waltzes”, “marches”, “arias”, ”love songs” etc. there is still another phenomenon: the piano music pieces, the name of which is not connected with the interactive music genres, are often profoundly connected with them on the levels of the language and artistic text. Quite often, the piano pieces are built on certain composition, borrowed from the sphere of folklore, popular or church music. In all the alike cases we can notice the artistically justified synchronous (non consequent) interaction of several musical genres signs and properties in the form of the definite composition. This phenomenon is characterized as polygenicity. Two main approaches to achieve the polygenre artistic expressive effect are defined: a) the use of the “exterior” (non native, another’s, alien) musical material; b) the genre style characteristic properties reproduction (genre stylization). The given work gives the definitions for the methods of different musical genres properties combination by means of borrowing and of the “exterior” material use in the frames of the original composition: quotations, arrangements, edited versions, fantasies and transcriptions. The genres, originated by these composing methods, are characterized. The essence of the genre stylization method in the Chinese composers’ creations is revealed. It is the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. The wide range of this method implementation is mentioned: from total style imitation to allusion. Conclusions. The existence of the great amount of the piano music compositions in the today’s Chinese musical culture motivates the overall and profound scientific analysis of this phenomenon, in particular, it stimulates the given sphere genre features revelation in both synchronous and diachronic (historic-evolutionary) aspects. The piano music genre sphere researcher needs the clearly formulated, capacious and non-contradictory categories of musical genre, genre style, genre system, genre semantics, as well as of the notions, derivative and connected with them. As it was mentioned by numerous specialists, the Chinese piano music distinctive feature consists in its lasting connection with the national music tradition. The task, set for the musicologists, is to define the nature, the principles, the variants of the interaction between the European piano music genres and styles and the traditional Chinese music genres and styles ( folklore, theatre, popular song). The given article states that the first artistic method, leading to the combination of the European and Chinese traditions in the frames of one composition consists of the composer’s borrowing and using some “alien” material, a fragment of the famous musical creation in his artifact. Thus, using serves as a general notion, embracing a number of certain musical text composing methods, which include quoting, arranging, creating versions, fantasies and transcription. The second artistic approach, leading to European piano music and the Chinese traditional music interaction, consists in the artistic method of stylization. This method implies the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. This method reveals the unlimited possibilities to create the bright vivid effects for genre dialogue, conflicts, interaction, as well as very delicate conceptual modus, allusions, hints, promoting the remarkable enrichment of the compositions genre figurativeness. Basing on the given theoretical background the author is going to analyze the genre-style contents of the seven-volume edition “A century of Piano Solo Works by Chinese Composers”. This content may serve as a working model for the studying of the whole thesaurus of piano music artifacts, created by the Chinese composers.
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Tsakher, Izolda. "On the Role of Literary Works in the Course of Music Literature (Musicology)." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 219–24. http://dx.doi.org/10.17150/2500-2759.2020.30(2).219-224.
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In the article, the author summarizes her work experience as a teacher of music literature at the theoretical department of F. Chopin College of Music. A historically continuous interaction between literature and music is doubtless. It can be seen, namely, in T. Mann’s deliberate referring to music regularities when creating a philosophical novel and in A. Deblin’s seeing music as a sort of model for literature. Understanding contacts between literature and music of the same period contributes to enlarging students' field of interests in literature. Referring to the works by the genius authors (A. Pushkin, J.W. Goethe) and to mythology determines new perception of music. In general, music is included in a broad semantic and aesthetic context. Meanwhile, perception of literary works is also enriched thanks to their correlation with the artistic personalities of J.S. Bach and W.A. Mozart. For example, one can notice how the unique personality of Mozart reveals itself in the light of the exclusively semantically concentrated Pushkin’s text. As a result, this direction contributes to achieving the goals of the musicology course at college.
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SZOCS, Botond. "Parallelism between Linguistics and Music – Noam Chomsky and Heinrich Schenker." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 287–94. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.31.
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The paper aims to compare musical language with verbal language, creating a new perspective on music and natural language. The three categories of linguistics, phonology, syntax and semantics are analyzed. Bernstein highlights the analogies between the linguistic categories and music, researching the same three components of linguistics in music. The possibility of applying the transformational grammar procedures to the musical text is studied. In the second part of the paper, the authors investigate the method of analysis based on harmony and counterpoint, differentiating several structural levels conceived by the theoretical musician H. Schenker. Schenkerian analyzes are a relatively recent appearance in the field of musical analysis, which proposes as an innovation in the field of musical analysis the structural vision of musical discourse.
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Heetderks, David. "Play with Closing Markers: Cadential Multivalence in 1960s Prechoruses and Related Schemas." Music Theory Spectrum 42, no. 1 (December 6, 2019): 1–23. http://dx.doi.org/10.1093/mts/mtz023.
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Abstract In 1960s pop/rock, the end of a prechorus often uses text, breakaway from harmonic loops, hypermeter, or a change of melody to heighten expectation for tonic harmony and create structural closure. Songs harness this heightened expectation to underscore the importance of the chorus and illustrate the singer’s lyrics. These closing markers provide a wide range of expressive and formal options by creating various cadential effects, including a closed cadence overlapping with the chorus, an open cadence before the chorus, or—in passages often depicting marked emotional states—conflicting formal cues.
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Yusupova, A. A., and N. A. Kargapolceva. "INTERPRETATION OF A MUSICAL WORK AS A MEANS OF DEVELOPING ARTISTRY IN THE PROCESS OF MUSICAL AND ARTISTIC EDUCATION OF FUTURE MUSIC TEACHERS." Vestnik Orenburgskogo gosudarstvennogo universiteta 230 (2021): 53–57. http://dx.doi.org/10.25198/1814-6457-230-53.
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Artistry plays an important role in the pedagogical activity of any teacher, but it is of particular importance in the activity of a music teacher, since it is the most important professional quality of the personality of a teacher-musician. Pedagogical artistry, as is well known, consists of an external factor (intonation, diction, expressiveness, musicality, gestures, plasticity, etc.), which is developed through vocal art, and an internal one (spirituality, creative and musical-pedagogical thinking, imagination, etc.), associated with performing skills. Work on the interpretation of the work — improving the vocal technique, competent reading of the musical text, compliance with all the author's remarks, creating a musical and artistic image as a whole, is one of the main components of the formation of artistry. The teacher's artistry presupposes his creativity, creativity, and the ability to navigate in any situation, so the actual pedagogical task is the formation of artistic singing skills in the process of musical and artistic education of future music teachers.
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Tomashevskiy, V. V. "USING MUSIC IN LESSONS FINE ARTS IN PRIMARY SCHOOL." Educational Dimension 1 (May 19, 2022): 65–72. http://dx.doi.org/10.31812/educdim.5011.
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Article is dedicated to the questions of the practical work with the music on the lessons of painting art in the beginning forms of the school. She is about the problem of the development of emotional side in the childish creativity and the role o f music, which is foundation of the formation of emotions and creating of art active the atmosphere.
This experimental method was approbated in one of schools of the town of Kryvyi Rih and he is introduced our in this article. In the text, there's thematic planning for the first form of the school in the learning of the founds of painting art, which is given for the practical work to the teachers of the beginning school.
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MAW, DAVID. "The mimetic basis of pure music in Machaut's refrain songs: part 2, musical abstraction." Plainsong and Medieval Music 29, no. 2 (September 15, 2020): 137–62. http://dx.doi.org/10.1017/s0961137120000091.
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ABSTRACTThe dualistic relationship of words and music in Machaut's refrain songs (proposed in Part 1 of this article) enables abstraction of the music from the poetic model that inspires it. This situation is at its most extreme in certain rondeaux, representatives of a genre for which a special function in Machaut's output is argued. Studies of specific groups of songs (B9–R4 and B35–R13–R21) illustrate the gradual development and detachment of material in related compositions. Through these accounts, it can be seen that the relationship of words and music proceeds on the same fundamental basis in the seemingly melismatic rondeaux as in the syllabic virelais, despite the apparently closer connection found in these latter. The technical unity at work in Machaut's song composition is constitutive of an aesthetic position. The abstracted musical text is an aspect of the multifaceted voice of Machaut's lyric œuvre and tends to subsume the poetry it sets creating an aesthetic of pure music.
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Şimşek, Peyruze Rana, and Şermin Bilen. "Creating school songs from themes of Contemporary Turkish MusicÇağdaş Türk Müziği temalarından okul şarkısı oluşturma." Journal of Human Sciences 16, no. 2 (June 10, 2019): 648–57. http://dx.doi.org/10.14687/jhs.v16i2.5731.
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Adapted, imitation, anonymous and Turkish school music songs are sources of music education repertoire. Adaptation songs are usually formed by writing lyrics to the music of foreign nations. The songs created from classical works are also categorized under this title. Contemporary Turkish music works can also take part in this extent. In the study used survey method, 25 classical music pieces have been listened to 321 students from five secondary schools in Buca/ Izmir, and it has been reached 10 most favorite works in line with “Liking Form” in 3 point likert scale. One of them is Telli Turna Suite’s third part composed by Nevit Kodallı who is one of the Contemporary Turkish Music composers. It is aimed to make formal and harmonic analysis of the suite, to write lyrics to theme of suite, and to create a school song with piano accompaniment. In the process of creating songs, it is included measurement system, tonal information, formal information, harmonic progression and modulation points categories. In the process of writing lyrics for the theme, we tried to stick to the rules of prosody as much as possible. Two different piano accompaniments are designed for the song. The first of them is designed as a studying accompaniment and the other one is designed as a concert accompaniment. It is thought this song can make an important contribution to educational music repertoire. Extended English summary is in the end of Full Text PDF (TURKISH) file.ÖzetUyarlama şarkılar, öykünme şarkılar, anonim şarkılar ve Türk okul müziği şarkıları müzik eğitimi dağarının kaynaklarıdır. Uyarlama şarkılar, genellikle yabancı ulusların müziklerine söz yazılarak oluşturulmaktadır. Klasik eserlerden oluşturulan şarkılar da bu grup altında toplanmaktadır. Çağdaş Türk müziği eserleri de bu kapsam içinde yer alabilir. Tarama yöntemi kullanılan araştırmada, İzmir’ in Buca ilçesinde bulunan beş ortaokuldan 321 öğrenciye, 25 klasik müzik eseri dinletilmiş, üçlü likert tipindeki “Beğeni Formu” doğrultusunda, en çok beğenilen 10 eser seçilmiştir. Bu eserlerden biri, Çağdaş Türk Müziği bestecilerinden Nevit Kodallı’ nın Telli Turna Süiti’ nin üçüncü bölümüdür. Bu çalışmanın amacı, süitin temasının armonik ve biçimsel analizinin yapılması ve temaya söz yazılarak piyano eşlikli bir okul şarkısı oluşturulmasıdır. Şarkıları oluşturma aşamasında, eserin biçimsel ve armonik analizi yapılmış ve ölçü sistemi, ton bilgisi, biçim bilgisi, akor kurulumları-bağlantıları ve modülasyon noktaları kategorilerine yer verilmiştir. Temaya söz yazımı sürecinde, prozodi kurallarına olabildiğince bağlı kalınmaya çalışılmıştır. Şarkı için iki farklı eşlik önerisi sunulmuş, önerilerden ilki çalışma eşliği, ikincisi konser eşliği olarak tasarlanmıştır. Bu şarkı örneğinin eğitim müziği dağarına önemli bir katkısı olabileceği düşünülmektedir.
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Ricardo, João. "Image–Music–Text: Operatic Experiments in the Age of the Audiovisual Essay." INSAM Journal of Contemporary Music, Art and Technology, no. 6 (July 15, 2021): 40–56. http://dx.doi.org/10.51191/issn.2637-1898.2021.4.6.40.
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Emerging as a new tool and form of criticism and theorizing, the audiovisual essay has stirred many different opinions within the academy, with its many different outcomes. For scholarly purposes, combining it with text, reflection and commentary seems to be the most common and most accepted form of audiovisual essay, easily found all over the internet in well-known video archives such as YouTube and Vimeo. Towards a more poetic end of the spectrum, breaking both the horizontal and vertical dimensions of any work may deepen and reveal new possibilities, often resulting in the creation of new hybrid pieces. This paper aims to demystify these new formats and concepts, focusing on its potentiality as a tool for criticism and its creative possibilities regarding music and, more specifically, opera.
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Poluwa, Mohamad Irham, and Nafilaturif'ah Nafilaturif'ah. "AUDIOVISUAL AND SONG TRANSLATION OF INDONESIAN SUBTITLE IN SHELTER MUSIC VIDEO." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 5, no. 2 (December 28, 2021): 332–39. http://dx.doi.org/10.30743/ll.v5i2.4481.
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The current study aimed to find out the translation techniques applied by the translator in creating the Indonesian subtitles for the original lyrics of Shelter – a collaboration project of music video by Porter Robinson and Madeon, A1-Pictures and Crunchyroll uploaded on YouTube in 2016. The data were analyzed based on the audiovisual translation theory, especially the linguistics of subtitling, the translation technical procedures in the compared stylistics, and the choice in song translation. The study also applied qualitative approach which enabled the researchers to emerge data in descriptive way (in the form of words or pictures instead of numbers). Furthermore, the data were also in the forms of an audiovisual content. The study indicated that most of the lyrics were translated based on literal translation that was reflected by the equivalence of the source language and the target language. The audiovisual theory, particularly reduction theory was also applied in creating the subtitles. In addition, the subtitles were created without taking the music into consideration, meaning that the subtitles were devoted as a supplement or no more than another piece of the source text.
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Thomas, Jennifer. "Reading Michele Pesenti’s Tulerunt Dominum meum." Journal of Musicology 32, no. 3 (2015): 367–409. http://dx.doi.org/10.1525/jm.2015.32.3.367.
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For his example of Phrygian mode in his 1547 Dodecachordon, Heinrich Glarean chose a motet first published in Petrucci’s 1503 Motetti B, Michele Pesenti’s Tulerunt Dominum. Glarean’s effusive response to Pesenti’s motet indicates that he had not only studied but had also heard the work; he marvels at the “great emotion and innate sweetness” that conveys so well its subject, which begins with Mary Magdalene’s lament at the empty tomb of Jesus and culminates in an expression of hope. Pesenti’s artistry lies in his ability to acknowledge, structurally and aesthetically, three distinct textual moods while creating an elegant musical structure based on motivic development, manipulation of mode and texture, rhythmic pacing, and the precise nature and placement of significant musical events. Pesenti’s large-scale planning is manifest in his versatile and carefully plotted use of a melodic paradigm that he transforms at strategic moments throughout the motet. It paints text, it carries a hidden message, and it creates musical highpoints. Finally, in a conceptual variation using all the main motives of the motet, its musical climax identifies the central message of the text. A close reading of Tulerunt Dominum reveals the artistry that caught Glarean’s ear: its composer was a thoughtful interpreter of text and a masterful handler of musical form, mode, and rhetoric—someone who could create a motet that would receive attention on its own merits.
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Tsaregradskaya, Tatiana V. "Kaija Saariaho and Her Laterna Magica." Vestnik of Saint Petersburg University. Arts 11, no. 4 (2021): 607–35. http://dx.doi.org/10.21638/spbu15.2021.403.
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Nowadays Kaija Saariaho is one of the most successful composers in the field of contemporary classical music. A former student of Tristan Murail, she works in the direction initiated by socalled spectral composition, composing extremely colourful and poetic pieces that are highly appreciated by music critics. One of her orchestra compositions, Laterna Magica, based on the memoirs by Ingmar Bergman and commissioned by the Berliner Philharmoniker Orchestra, premiered in 2009 and became a hit — it was performed more than thirty times after the premiere. This successful piece is the main object of the analysis which is performed according to ideas of Saariaho expressed in her theoretical articles. One of the most interesting ideas about music form proposed by the composer is the idea of “polyphony of processes”, which means that different parameters of composition are realized in different schemes that do not intersect but act as separate phenomena creating an impression of both independence of the parameters and their interaction at the same time. Such parameters as rhythm, melodic ideas, application of text, tempos, textures and their combinations as well as orchestration and harmony have their own profile and are constructed according to different schemes. Besides music itself, a text by Saariaho written for the premiere of the piece is analysed and interpreted as a special case of a “composer’s vision” which shows specific angles in the author’s perception.
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Leneman, Helen. "Re-visioning a Biblical Story through Libretto and Music: Debora e Jaele by Ildebrando Pizzetti." Biblical Interpretation 15, no. 4-5 (2007): 428–63. http://dx.doi.org/10.1163/156851507x216490.
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AbstractBoth music and librettos are a form of midrash (creative re-telling), because they retell all or part of a story by creating a particular mood or feeling musically. The re-telling is in both the altered text and in the language of music. Ildebrando Pizzetti (1880-1968) wrote both the libretto and music of Debora e Jaele from 1917-1921. In this libretto, motivations are completely reversed. Characters perceived in the biblical account as "good" and "bad" seem to be switched. Our previous presumptions about the story and its characters are challenged: the belief that Sisera is evil and powerful, and has no positive qualities; that Deborah and Jael never met; and that Jael and Sisera had had no prior encounters. The libretto and the music succeed in depicting three-dimensional characters with conflicting motives and feelings. The addition of dimensions to the characters amplifies the moral ambiguities found in the original narrative. Sisera becomes a dominant and central character of this opera. Pizzetti is offering a counter-reading, in which the "villain" becomes a kind of hero and the listener can understand why Jael succumbs to his charms. A recurrent theme in this work is the testing of and by God. The viewpoints of Jael and Deborah depict what Pizzetti described as "human" justice (Jael) and "divine" justice (Deborah). An encounter with this opera will alter forever our reading of this biblical story.
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Limitovskaya, A. V., and I. V. Alekseeva. "SOUND IMAGE OF A CUCKOO IN INSTRUMENTAL MUSIC BY COMPOSERS OF THE XVIITH — XIXTH CENTURIES." Arts education and science 1, no. 4 (2020): 130–38. http://dx.doi.org/10.36871/hon.202004017.
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The article presents the results of the research on musical and artistic creation of the image of one of the most striking creatures — the cuckoo. The ways to implement the peculiarities of its singing in instrumental compositions of the XVIIth – XIXth centuries are revealed and described in cultural and stylistic context. The authors analyze the role of timbre-intonational components of the bird's singing in the formation of some acoustic model, which becomes the basis for its representation by instrumental means in composer's works. The special sound pitch and rhythmic organization, together with timbre, representing the characteristics of the acoustic signal source, make it possible to recognise the cuckoo's voice in nature, while measured and repeated intonational complex becomes an absolute index-sign for perception. This research revealed that the method of artistic modeling appears to be the main one in creating the image of a cuckoo in music. A two-step falling intonational figure, which migrates in the works of composers of different styles and nationalities, becomes the invariant. Preserving its main features, it changes under the influence of the context — metrorhythmic, dynamic, agogic and other components of the text. Distinguishing the characteristic intonation in our perception, the timbre component largely determines its transformation in a musical text. The result is a wide development of timbre-intonational model.
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Siuta, Bohdan. "Status and Types of Quotations in a Musical Text." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 2 (December 22, 2022): 141–52. http://dx.doi.org/10.31866/2616-7581.5.2.2022.269640.
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The purpose of the research is to reveal the issues that highlight the status of the quotation in the musical text, as well as the problems of identification, recognition and readability of quotations of different types; to investigate the perception of the quoted material as another, alien in the flow of the author’s speech, which is the essence of the quotation. Identification of a quotation, problems of its readability and recognizability, the semantics contained in the quotation, including in the text the meanings of “others”, and “other texts” and building an intertextual strategy in the process of perceiving the text with the implementation of fragments of other texts have not been sufficiently and incompletely studied, and the results of these studies have not been properly systematized. The research methodology. Some methods are involved for the optimal solution of the tasks, among which the main ones are the source, systematic, comparative and terminological. The scientific novelty of the research. For the first time in Ukrainian musicology, the text-creating potential of quotations in a musical work is characterized, their status is determined, and the main types of quotations in music are described. Conclusions. The quotation in music is an effective means of diversifying the text of the work, enriching the meanings used, and adjusting the meanings formed. Taking into account the provisions of modern receptive poetics, we state that the quotation should be considered the textual material that is perceived by the listener as different from the main material of speech, alien in style, type of transmitted meanings or semantics, as a carrier of a different functional and stylistic code. The issues of readability of the quotation and its identification are important. Therefore, the appropriate and accurately readable form of quotation is put forward to the forefront in the perception of musical works with quotations.
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Eisner-Sagüés, Federico. "Technology-assisted close listening to sound poetry vocal practices for creative musical collaboration." Journal of Interdisciplinary Voice Studies 6, no. 2 (December 1, 2021): 181–99. http://dx.doi.org/10.1386/jivs_00046_1.
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As part of a sustained increase in interest in voice studies from all kinds of fields of knowledge and from a post-humanistic comprehension of voice as an assemblage, this investigation understands vocal practices as the pivot of artistic collaboration between music and sound poetry. It presents a method for analysing vocal practices in sound poetry in a creative context of artistic research in collaboration with electroacoustic music. The method involves a mixture of close listening, audio information retrieval, phonetics and morphology. It is based on a standard voice analysis of a sound poet (i.e. prepared samples) and a case-specific vocal practice (i.e. actual sound poem) with a creative rather than comparativist aim. After discussing the principle of differentiation between analysing and creating, the text offers two concrete artistic outputs of electroacoustic interventions over the vocal practice of the Uruguayan sound poet Luis Bravo’s sound poem ‘Descubrimiento del Fuego’. Finally, a set of compositive ideas based on this method are classified as either mimetic or metaphoric, according to their relationship with the obtained data. Both the concrete examples and the compositive ideas provoke unavoidable questions about current electroacoustic and vocal practices and point to discussions on voice studies about issues such as presence, virtuality, identification and materiality.
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Meng, Qian. "The Music Image in the Image — On the Visual Representation of the Music Image in the Painting Exhibition of Qiu Xiaofei." Arts Studies and Criticism 3, no. 2 (July 6, 2022): 217. http://dx.doi.org/10.32629/asc.v3i2.919.
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Qiu Xiaofei, an artist, is one of the most popular artists among the post-70 generation of Chinese contemporary painting. You can see from his painting creation, the subject matter of painting works and the working way of creation all start from the artistic concept similar to image text. When artists explain their paintings, the capriciousness of painting creation and the lyricism presented in the works are inseparable from the artist's infatuation with music. In this paper, from the perspective of imagology, through the analysis of the artist Qiu Xiaofei's painting creation of music images in the exhibition, it can be seen that his image text is closely related to music when transformed into visual images, and the concept of "empathy" behind the transformation of the painting form of the artist is elaborated.
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Meier, Lori T., Huili Hong, Millie Robinson, and Edward J. Dwyer. "Encouraging Awareness of Environment through Art and Print." Social Studies Research and Practice 10, no. 3 (November 1, 2015): 69–79. http://dx.doi.org/10.1108/ssrp-03-2015-b0005.
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The era of high stakes testing often puts pressure on teachers and administrators to deemphasize creative activities, especially those involving the social studies, art, and music. Teaching strategies not perceived as directly related to improving test scores are often marginalized. Environmental text is essential for encouraging overall learning competencies in general and social studies in particular. Using environmental text such as real estate booklets can be helpful in generating learning activities in the social studies. Real estate booklets are colorful, rich in content, and readily available at no expense. Methods for integrating music and art strategies are presented also.
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Shaymukhametova, Liudmila N. "The Pianist-Producer. Interpretation and Transcription in the Work with Beginning Pianists." ICONI, no. 3 (2019): 77–89. http://dx.doi.org/10.33779/2658-4824.2019.3.077-089.
Full textAbstract:
One of the main criteria of professional performance by the musician of compositions established in the repertoire is considered to be a concise interpretation of the musical text with rendering all the markings made by the editor and the composer. A steadfast tradition has been created of application in pedagogical practice of interpretation by other musicians and an authoritarian approach to learning. However, if such demands are to be considered to be admissible, they cannot be applied to all the styles and genres. The pianist’s interaction with the musical text has been historically determined by two forms which have evolved in the practice of music-making itself. For example, in Baroque music the ensemble form of music-making, which predominated in it, presumed a variant-type unfolding of the keyboard musical text in various performance versions and ensembles. The Baroque tradition is distinct for its active transformation of the musical material and its improvisatory manner in the work with the primary musical source, and it presumes an active incorporation of transcriptions, adaptations, elaborations, arrangements and variations on the original musical text. The second form, which is the soloist variety, regulated by the composer’s precise notation, is designed for interpretation of the music and its performance in concerts. It is particularly the second type, characteristic for the later Classical-Romantic tradition, which is used in teaching, hence the rules of interaction with the musical text are transferred by pedagogues to the other type of musical text, namely, the Baroque variety, as well. The primary musical source contains numerous possibilities for the variant-type replication and creation of performance scenarios both in the ensemble and solo forms. By applying both forms of performing music, transcription and interpretation, the pedagogue would enhance the revival of the traditions of a creative attitude towards the musical text. The article shows examples of work with beginning pianists in a problem-based situation which may be called the role game of “Pianist- Producer.”
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RUCSANDA, Mădălina, and Alexandra BELIBOU. "Numerological symbols in Schoenberg's creation." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 14 (63), no. 1 (2021): 75–84. http://dx.doi.org/10.31926/but.pa.2021.14.63.1.9.
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Expressionism in music was the movement that brought the contrast to previous eras promoting a tense music, exacerbation of means of expression and destruction of tonal balance. The works that belong to this innovative artistic movement involve diverse interpretations, because they capture the general tense atmosphere, from an aestheticphilosophical perspective, highlighting some text-sonority correspondences and the expressiveness of the elements of musical language. Over time, various connections have been made between music and mathematics, proving that mathematics can give a solid, deep foundation to music, without having a major impact on the rendering of feelings. This research presents some aspects of how numerology influenced and marked the creation of the expressionist composer Arnold Schoenberg. By using the symbolism of numbers, we can better understand the way the composer thought and created his music, strongly marked by the dissolution of tonality, the twelve-tone technique, and the transition from belcanto to "Sprechgesang" and “Sprechmelodie”.
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Kim, Ki-Hong, and Shin-Ichiro Iwamiya. "Formal Congruency between Telop Patterns and Sound Effects." Music Perception 25, no. 5 (June 1, 2008): 429–48. http://dx.doi.org/10.1525/mp.2008.25.5.429.
Full textAbstract:
The effects of formal congruency between Telops (animated text on a display) and sound effects on the affect of audio-visual content were investigated. Rating experiments were performed using systematic combinations of various Telops and sound patterns. As a result, formal congruency contributed to enhancing subjective congruency between Telop and sound patterns. Formal congruency also contributed to enhancing the evaluation of audio-visual productions. Two types of formal congruency were effective in creating subjective congruency: the synchronization of temporal structures and the matching of changing patterns between auditory and visual events. To create formal congruency based on synchronization between auditory and visual structures, correspondence of the onsets of sound and Telop was important. The combinations of the gradually rising loudness or pitch of sounds and the expanding (or approaching) of Telop pattern were found to create the matching of changing patterns.
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Macenka, Svitlana. "MUSICAL SONORITY AS A PERFORMATIVE QUALITY OF A LITERARY TEXT." Inozenma Philologia, no. 135 (December 15, 2022): 158–68. http://dx.doi.org/10.30970/fpl.2022.135.3815.
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The ways of recreating musical sonority in the text are studied within the theory of literary intermediality. The subject of research is the structural performability of text which helps to stage the performance of musical pieces within it. Specifi c textual strategies are discussed, which promote the perception of music in a literary text through the features of a sounding but not musical text, i.e. semantization of a musical piece. In this connection, the notion of performative writing is outlined, which can represent its mediality by showing what it talks about and, by doing so, its going beyond propositional senses. The study relies on the ideas of German mediality expert Sybille Krämer and literary mediality theorist Uwe Wirth. A short story by contemporary German writer Friedrich Christian Delius “The Future of Beauty” (2018) is analyzed. The ways in which the writer creates a free jazz concert with optimal musical sonority are studied. The famous 1966 concert of jazz saxophonist Albert Ayler is presented as an immediate musical event, with the actualization of sensory perception and interpretation of the sounding in a social and historical context. The performative dimension of the text, which highlights musical sonority, is achieved on the border of sound realization through the use of musical instruments, bodiliness of musicians, gestures, development of musical theme and assigning meaning to specifi c sound images, metaphorization of the sound, and creating images in one’s perception. The writer works within the modes of intertextuality and intermediality. He singles out solos, emphasizes the importance of communication between musical instruments and perceives the dynamics of a concert as a single event. Musical sounding is determined by the social and historical time; it is designed for an emotionally active and thoughtful recipient; its echo is vibrant for a long time and causes understanding of some regularities of human development. The study of musical sonority in literary texts highlights the process of sense creation and points to the productivity of borderline creative phenomena that a text-concert undoubtedly belongs to. Key words: intermediality, performability of text, musical sonority, free jazz, Friedrich Christian Delius.
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Anestratenko, Mikhail V. "Concertmaster’s and actor’s algorithm while working on the role-part in the tradition of Russian music theatre in the 20th century." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2022): 140–51. http://dx.doi.org/10.35852/2588-0144-2022-2-140-151.
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The author of the article takes into the account his work as a stage director with the dramaturgy of the vocal material in the Russian music theatre, as well as the analysis of the rehearsal process of the famous theatrical figures on the music and text material of the opera. He reveals the specific features of the joint creative process of both the accompanist and the actor on the part-role in the process of creating an artistic images in an opera performance. It is analyzed the situation, common in the rehearsal process, when most practitioners in the field of performing arts focus on the final process of embodying the image of the character. Thus they miss the initial stage of preparing the actor for learning the music and poetic text. In the center of the article are systematic statements and recorded experience of working with the actors and accompanists of the chamber music theatre on the part-role of the famous practitioners of the Russian music scene L. A. Mogilevskaya and B.A. Pokrovsky. It reveals the connection of their directorial rehearsal methodology with the systematic works of F.I. Shalyapin and K.S. Stanislavsky. Developing N.I. Kuznetsov’s concept about the stages of careful studying of musical and textual opera material together with the accompanist, practical recommendations are given to novice singers, mature opera actors and teachers on the details of the interaction between the actor and the coach in modern realities. In many ways, they are based on the author’s own observations of the rehearsal process of the chief guest conductor Jan Latham-Koenig (Great Britain) at The Kolobov Novaya Opera Theatre of Moscow. The results obtained allow us to judge about the full involvement of world-famous conductors in the problems of the work of an accompanist and a professional vocalist. It is proposed to systematize the main stages of the opera actort’s work on the part-role. It is important to take into account the real theatrical experience and the requirements of the conductor in the perspective of the opportunities that open up before him in the process of cooperation with the accompanist at the opera stage.
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Szymańska-Stułka, Katarzyna. "MUSIC AND ENVIRONMENT IN RESEARCH PERSPECTIVE." SWS Journal of SOCIAL SCIENCES AND ART 1, no. 2 (November 21, 2019): 81–95. http://dx.doi.org/10.35603/ssa2019/issue2.07.
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This paper is an extended version of the text Environmental Psychology as a Perspective in Musical Analysis published in 2018 [1] and presented during the SGEM Conference in March 2018 in Vienna [section 16. Performing and Visual Arts]. After the discussion during the conference about further connections between music and environment and their impact on music itself, it is obvious that the topic suggested here seems to be wider and needs more exploration. The additional material included here is based on the composers’ reflections in talks and analysis I carried out in autumn 2018 and spring 2019.
My research about music and environment started started in 2018. Then I observed that the process of composing could be treated from the perspective of influences from space surrounding the author. I was inspired by environmental psychology – human factors science - as an interdisciplinary field that focuses on the interplay between individuals and their surroundings encompassing natural environments, social settings, built environments, learning environments, and informational environments. We know today that environmental psychology expands widely in attracting other areas of knowledge in its pursuit, not only psychologists but also geographers, economists, landscape architects and anthropologists. I propose to add a voice of musical theory here in studying the background of a composer’s strategies and decisions in creating a musical work.
As the topic of a theoretical view I choose some examples from Polish modern music of leading composers such as Witold Lutosławski, Andrzej Panufnik, Aleksander Kościów and Dariusz Przybylski. I concentrate on the impulse of their output (how they find inspirations to their music) and what is their compositional process (what factors have the biggest impact on it). In the present text I would like to extend the reflection of contemporary composers about this matter to show better the fields of interaction between music and surrounding area. I add new analysis about the works of Aleksander Kościów, Dariusz Przybylski, and another young Polish composer Andrzej Karałow.
I focused both on composers' statements about their creative process as well as on how it is reflected in selected pieces. The compositional technique and inspirational ideas for compositions will be in the area of my interest. The methodological background for this paper is based on studies by E. Clarke, Music and Consciousness. Philosophical, Psychological and Cultural Perspective, Oxford 2011; R. Gifford, Environmental Psychology: Principles and Practice, New York 2014; R. Gifford, Research Methods for Environmental Psychology, New York 2016.
The composers' reflections in analysis are valuable because they reflect the style of composing and underline significant factors determining the compositional shape and composers' strategic decisions. The following publications were included as the examples, e.g. A. Kościów, Lithaniae: dzieło jako krajobraz. Autorefleksja twórcy, Warszawa 2013; A. Panufnik, Impulse and design in my music, London 1974; Ch. B. Rae, The Music of Lutosławski, London 1999. https://www.dariuszprzybylski.eu/ 2018. The results from the talks to composers in autumn 2018 and spring 2019 are a new thing I introduce here to extend the topic of my research.
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Zharkov, Oleksandr, and Iryna Kokhanyk. "The timbre composition of Claude Debussy’s “Prélude à l’Après-midi d'un faune”: stylistic aspect." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 135 (December 26, 2022): 96–111. http://dx.doi.org/10.31318/2522-4190.2022.135.271008.
Full textAbstract:
Relevance of the study. In the 20th–21st centuries art music the timbre component determines the processes of form creating, features of composition and dramaturgy, and becomes an essential component of a composer’s individual style system. This makes it necessary to distinguish and to define the concept of timbre composition, to study its functions in forming the text of a music work.
The purpose of the article is to study the timbre composition of “Prélude à l’Après-midi d’un faune” by Claude Debussy in the aspect of the composer’s individual style.
Methods. The methods of system and functional analysis are used, as well as the stylistic method, which gives possibility to determine the specific features of the timbre composition in the work.
The results and conclusions. The analysis of Debussy’s “Prélude à l’Après-midi d’un faune” score proves that the timbre composition clarifies the composer’s intention. The logic of the orchestral timbres changes is aimed at embodying the concept of dissolution, a gradual departure from the subjective through the dramaturgic idea of abandoning timbre solos (pure timbres), from the coloristics of one color to the diversity of all colors and shades, through the movement from pure timbre to doublings and mixes. The uniqueness of the composer’s timbre strategy is the chain of solos (flute — oboe — clarinet — violin — flute), which provides a colorful timbre development of the theme and the entire themes of the piece.
At the same time, the timbre composition deepens the three-part structure of the work. It is the timbre design that strengthens the gestural affinity of the themes and the gestural connections between the sections of the work. The study of the text confirms that the timbre composition–its exquisite structure, multilevel symmetry and perfection of proportions–reflects the main features of Debussy’s composing style. Even today, this work remains a source of inspiration for musicians of the 20th–21st centuries, who develop the timbral possibilities of sound, coloristic sound, and constructivism in the creating of music form. The experience of analyzing the timbre composition of “Prélude à l'Après-midi d'un faune” can be useful when studying modern art music works.
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SARKAR, KAUSTAVI, MA YOTHI, and ROHINI DANDAVATE. "Abhinaya as Practice-as-Research." International Review of Social Research 11, no. 1 (December 14, 2021): 218–38. http://dx.doi.org/10.48154/irsr.2021.0023.
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What does a collaborative process of an artistic creation entail? How does the individual components of text, music, and dance weave in a solo choreography? This article brings together the voices of the dancer (Sarkar), the choreographer (Dandavate), and the music composer (Mirle) who has also sung and is the curator of the project called Nachi Meera. This project has commissioned multiple artists working in different dance techniques to present Abhinaya-esque (meaning expressive dance works) expositions on songs by the renowned historical saint-poet Mirabai. Sarkar, Dandavate, and Mirle reflect upon their collaborative journeys in this reflective essay where the process of creating an Abhinaya is theorized as research. The dance piece itself stands by itself as a scholarly product with historical, performative, and artistic research methodologies informing the process. This article documents the collaborative process borrowing from scholar Robin Nelson’s Practice-as-Research (PaR) methodology and argues how the artistic product weaves verbal, kinesthetic, and aural communication in an iterative process of ‘doing-reflecting-reading-articulating-doing” (Nelson 32). Movement layers the intricacies of South Asian aesthetics or the Rasa theory that governs the mood of execution by the dancer. Improvisation through choreography supplements Mirabai’s lyrics and Mirle’s musical composition.
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Malecka, Teresa. "Mieczysław Tomaszewski. Muzykolog wolny, niezależny i zaangażowany." Res Facta Nova. Teksty o muzyce współczesnej, no. 20 (29) (December 15, 2019): 7–16. http://dx.doi.org/10.14746/rfn.2019.20.1.
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The article discusses the culture-creating activities of Mieczysław Tomaszewski (1921–2019) at the Polish Music Publishing House and within the context of Musical Encounters at Baranów Sando- mierski (1976–1981). The text is mainly concerned with Tomasze-wski’s publications relating to twentieth-century Polish composers: Karol Szymanowski, Witold Lutosławski, Krzysztof Penderecki and Henryk Mikołaj Górecki. The reflections of the Polish musicologist are closely entwined with the theoretical conceptions developed by himself: the conception of Wort-Ton, the method of integral interpre-tation of a musical work, the conception of nodal points in the lives of composers, or intertextuality in music. Applying these conceptions allowed him to describe Polish twentieth-century compositions at different levels and in different contexts: beginning with a synthetic periodisation of creative development, up to masterly analyses and interpretations of individual works that take into consideration their intertextual references. The Polish musicologist also paid careful at-tention to composers’ statements testifying to their original views and inner transformations. The problem of freedom was of particular im-portance to him, both in its personal, artistic aspect and in its histor-ical dimension. Tomaszewski as a person reveals himself throughout his activities as someone both free and committed.
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Krasoń, Katarzyna. "Cielesność dywergencyjna – komponent integralnej edukacji wychylonej w przyszłość." Problemy Wczesnej Edukacji 31, no. 4 (December 31, 2015): 7–22. http://dx.doi.org/10.5604/01.3001.0008.5644.
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A child is endowed with a natural inclination to manifest its feelings, to control things and ideas in the form of behaviour which could be an expression of various fine arts. Each element of art (music, dancing as a system of signs may change its code, as the same symbols may be conveyed in another semiotic code, for example: a system of sounds in kinetic-spatial exemplification. Listening to music (acoustic signs) is in this play transcoded into kinetic-bodily signs. Experiencing oneself by means of movement, creating an individual story about oneself through gesture activates the subconscious, facilitates visualizing past experiences, feeling them again, and analyzing. The present study focuses on the connection between the classes devoted to kinesthetic visualization and the motoric behaviour presented by a child displaying the level of its creativity. The text presents individualizing experimental tests carried out in a group of five-year-old children.
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Odnosum, Natalia V. "MUSICAL CONCEPT OF THE NOVEL DOCTOR ZHIVAGO BY BORIS PASTERNAK IN THE CONTEXT OF THE SPIRITUAL AUTOBIOGRAPHY GENRE." Alfred Nobel University Journal of Philology 2, no. 22 (2021): 43–56. http://dx.doi.org/10.32342/2523-4463-2021-2-22-4.
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The purpose of the article is to study the role of the musical imperative in the modernization, transformation of the spiritual autobiography genre in the novel by B.L Pasternak Doctor Zhivago. To achieve this goal, the following tasks are required: a brief overview of biographical facts of the writer’s life, illustrating the path of his aesthetic philosophy and worldview, artistic formation, in which music played a dominant role; to study the musical imperative at the ideological-philosophical, system-structural, and aesthetic-artistic levels. While researching, biographical, systemic, structural, and hermeneutic methods were used. One of the culminating pages in the biography of Pasternak, the content of which had influenced Pasternak’s creative world, would be the day when he heard the sounds of musical improvisation on the piano by Skryabin, who was creating Divine poem. The sounds of music had merged with reality, the voice of nature, becoming a single whole with it. With a transforming and creative effort of memory, impressions coming from childhood would be built into the figurative-conceptual chain of his worldview “Life − music − creativity – poetry”, in which “music and poetry speak the same language of art”. All the creative heritage of B.L. Pasternak, including the final work − the novel Doctor Zhivago, which is represented as a kind of spiritual autobiography, both personal and the entire generation, respectively, serves as a generalization of the historical, philosophical, aesthetic and artistic paths of the Silver Age, a part of which was the author himself. Merging with its voice, and at the same time absorbing it into himself, he became a generalized representation of his generation portrait. In Doctor Zhivago, music appears at the level of mentions, quotations, and various sound images throughout the text. Their main ideological and semantic content is summed up by the words of Vedenyapin, in which Music is the equivalent of Truth, a “divine voice”, “raising above the animal and carrying it upward”, giving an inner impetus to the personality to move along the path of history to eternity. Research results. The ideological and philosophical setting of the musical novel organization is the idea of Music as a metaphor of the Artist-Christ, the embodiment of eternity, the path and a new history established by the sacrifice of Christ, leading to the human spirit. Accordingly, the theme of the path in spiritual autobiography as an ascent from the carnal to the spiritual level of consciousness, the attainment of eternity is reflected in the musical key as a progress of progress towards music and “melodization” of the spiritual path. At the systemic and structural level, the musical imperative is built in the form of a counterpoint principle substantiated by B.M. Gasparov, and the complex tiered hierarchical organization of the novel, in which all levels (individual, socio-historical, eternal) gravitate towards a single value center − the Artist-Christ − and merge in symphonic polyphony in unison. At the aesthetic and artistic level, this is achieved through the lyricization of the narrative, rhythmic insertions that “illuminate” the prose part, like the “voice of eternity”, repetitions, dividing the narrative into prose and lyrics as a form of music (the earthly path and eternity as its finale and the achievement of completeness existence) and, most importantly, building an acoustic space, contributing to the creation of a suggestive effect of “audibility” of the text. The acoustic space is built thanks to the presence of numerous sound images, the melodiousness and rhythm of the prose part, inserts from sacred texts and church chants, the attraction of Chopin`s techniques and motives, as well as the motive of distant sound as a timeless messenger of apocalyptic “future”.
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Liu, Xia. "The narrative in vocal music: the genre aspect." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 230–42. http://dx.doi.org/10.34064/khnum2-18.13.
Full textAbstract:
Logical reason for research. Relevance of the presented topic is determined by the fact that with the help of knowledge gained in the field of inter-scientific interaction, it is possible to obtain new research results on both, traditional and new issues of musicology. In vocal music, which combines musical and extra-musical factors, there are a number of its own “eternal questions”, one of which is the interaction of the word and music. There is no definite answer to the question of what is the leading in the vocal art – a word or music, each time this is decided individually within the framework of a certain genre and style. But there is always a certain verbal “programming” of a vocal composition with the text. One of the serious and complex concepts associated with a textual basis is the “narrative”, and the study of the effect of the narrative in the musical art requires a special attention in both theoretical and practical directions. Innovation. The article is devoted to considering a narrative in the vocal music in the genre aspect. The narrative nature is understood as a narrative orientation associated with a certain emotional content; at the same time, the narrative is characterized, on the one hand, as a factor of the verbal text of a vocal composition (the extra-musical component), and, on the other hand, as a factor of a single whole vocal composition (the musical component). From the point of view of its implementation, the narrative in vocal music has two main functions – the composer’s one and the performer’s one, which in its own way manifests itself in various vocal genres. The most striking of the narrative vocal genres in vocal music are the opera and the ballad. In the opera, the narrative has a more complex synthetic nature in connection with the interaction of various types of art (music, literature, theatre). In the chamber-vocal genre of the ballad, the narrative side is presented more revealingly and is more closely associated with the verbal text (which is due to the literary origin of the genre). The purpose of the present study is to identify the specifics of the narrative in vocal music in the genre aspect. The main methods of the presented research are the genre one and the functional one. The genre method is necessary to characterize vocal genres in connection with the chosen perspective for studying the meaning and the effect of the narrative in vocal music. The functional method allows one to determine the peculiar features of the interaction of the extra-musical narrative and music in the conditions of various vocal genres. The research results. The directions of the interaction of words and music in the vocal art are diverse: this can be their interaction in a concrete composition through the prism of the style (of the performer, the composer, and the historical epoch); the features of the composer interpretation of the verbal text; the intonation and phonic patterns associated, for example, with a specific national source, and much more. The verbal text as a guideline, already being coloured emotionally, is representing, in fact, a kind of narration. As it is known widely in the field of philosophy and psychology, the narrative is a statement of interrelated events presented in the form of the sequence of words or images. Sometimes the meaning of the term “narrative” coincides with the words “narration”, “story”; but there are other meanings (for example, as a “psychological attitude”). In music, these two meanings, “narrative” and “psychological attitude”, interact, as a result, within the framework of certain vocal genres the individual creative decisions born. The main feature of a narrative composition is the presence of a mediator between the author and the world of narrative (Schmid, V., 2008). This is especially important for understanding the specifics of the manifestation of the narrative nature in music, where there is such a “mediator”. In vocal music there are other signs of narrative, understood as the quality of the verbal text itself, because the genres of vocal music are quite diverse in scale and objectives – from the opera to the vocal miniature. The narrative qualities are primarily possessed by those texts that describe the figurative and emotional situation from a third person, a storyteller. In vocal music, this applies primarily to genres with the leading literary and the vivid plot beginning – these are musical and theatrical compositions (an opera), as well as the chamber-vocal genre of a ballad. The narrative qualities of the musical component can manifest themselves in different ways – both, on permanent basis, to enhance the emotional effect, and in opposition, for a contrasting juxtaposition and creating a dramaturgy layering and volume. The musical accompaniment often “deciphers” for the listener that emotional, figurative, plot subtext that is partially absent in the literary text, according to the laws of the narrative nature. The tasks of the vocalist as an interpreter of compositions of the narrative genres are the ownership of the special complex of performing techniques related to the need to identify the entire figurative potential, which is embedded in the vocal composition (both in the text part and in the music one), as well as in its presentation to the listener in an individual performing version. With this, each genre possesses with its own specifics. An opera is a genre where the musical and literary art interacts with the theatrical art. The chamber-vocal genre of a ballad has its own characteristics, the main of which the narrative nature is. Conclusions. The narrative nature in the art of music is primarily associated with its extra-musical source. Both literary criticism and psychology study the narration, since the narrative as a story-telling is characterized by an emotional attitude, which is dictated from the outside to the one to whom the narrative is directed. Since the text (the word) is also used in vocal music, it is possible and necessary to talk about the existence of the narrative in music with all the specifics of its action. In vocal music, one can distinguish genres where the word text contains the narrative to a greater extent, which determines the specifics of the genre. This is the opera, but there the narrative is associated not only with the literary, but also with the theatrical factor. A more revealing vocal genre in the aspect of the narrative nature is such a genre of the chamber-vocal music as the ballad. The prospects for the study of the narration in the musical art are associated both, with the interaction of the musical and extra-musical principles and the issues of musical interpretation, which the performing musicology considers. Since the narrative prepossess a mediator between its source and the recipient, and in the musical art there is also a mediator between the author (the composer) and the listener.
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Tsvetkovskaya, Tatiana A. "Paul Hindemith’s Cantata “Frau Musica” in the Context of the Participatory Musical Art Development." Observatory of Culture 18, no. 4 (October 11, 2021): 398–408. http://dx.doi.org/10.25281/2072-3156-2021-18-4-398-408.
Full textAbstract:
The article analyses the cantata “Frau Musica” by the German composer P. Hindemith. This work has come to be widely understood as an example of Gebrauchsmusik in the works of O. Leontieva, K.-D. Krabiel, M. Breivik. Gebrauchsmusik is often identified as utility music, which means that it is created for some specific purpose; but the purpose does not have to be utilitarian. In order to assess the profoundness of the composer’s concept and to clarify specifics of the descriptive term, it is necessary to go back to the basics of the theoretical debates about the social role of art that unfolded in the 1920s. Their main participants were H. Besseler and T. Adorno. A valuable source of information is the programs of music festivals in Donaueschingen and Baden-Baden, where Gebrauchsmusik was evolving as a multi-genre artistic experiment. Hindemith played the leading role in this process. It is also important to understand the reasons that prompted the composer to use M. Luther’s text in the cantata “Frau Musica”.Today the Gebrauchsmusik’s ideas — revitalization of the audience, expanding access to musical education and practical musical activities that evolve collaborative work — have gained the most relevance. According to the author’s hypothesis, “Frau Musica” can be regarded as an illustrative example of a work that combines different views on the nature of musical participation: a spiritual act, a collective work, the highest level of musical accessibility. In this particular composition, Hindemith intuitively found the most promising ways for the development of creative interaction between the composer and the listener, which subsequently led to the creation of a whole corpus of participatory works, including Tod Makover’s “City Symphonies”, Alexander Radvilovich’s “Baltic Music”, Paul Rissman’s “Supersonic”.
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Brown, Ruth Nicole, Durell Maurice Callier, Porshe R. Garner, Dominique C. Hill, Porsha Olayiwola, and Jessica L. Robinson. "Staging Black Girl Utopias." Departures in Critical Qualitative Research 4, no. 1 (2015): 137–49. http://dx.doi.org/10.1525/dcqr.2015.4.1.137.
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This performative text places in conversation the work of Saving Our Lives Hear Our Truths (SOLHOT), a practice of black girlhood celebration, with Robin M. Boylorn's Sweetwater. Both SOLHOT's archive of original poetry, movement, and music and Boylorn's Sweetwater document the power and potential of listening to and being transformed by black women and girls' truths. Building on the legacy of black feminist writing traditions, this piece celebrates brilliant women and girls who testify to their lives, the labor of writing and creating (sometimes alone and sometimes collectively), and ourselves as critical witnesses to the people, rural spaces, and imaginations that have grown us up.
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Turintseva, А. В. ""MUSICAL READING": A PEDAGOGICAL APPROACH OF M. F. GNESIN." Arts education and science 1, no. 3 (2021): 148–56. http://dx.doi.org/10.36871/hon.202103019.
Full textAbstract:
The article investigates the approach based on "musical reading", developed by music teacher Mikhail Gnesin in the early XXth century. The paper studies the prerequisites, basic provisions and principles of "musical reading" as a highly emotional way of reading a poetic text by note, preserving the nature and specific features of human speech. The author reveals a connection between M. Gnesin's ideas and B. Asafiev's intonational concept. A step-bystep "musical reading" integration into the practical work of theatre actors is considered. The rhythmic reading approach is described and the examples of using various metrhythmic means of musical expression to convey the emotional and semantic content are given. Introduction of speech intonation into music is discussed both in terms of the fixation of the specific characteristics of speech intonation in graphic form and applying this method in practice. The article concludes the prospects of using the method of "musical reading" by the professional theatre artists and arts students (developing speech-based choirs, ensembles and dialogues according to the laws of musical harmony; creating unique speech-and-music works, where human voice with its specific timbre and accompaniment are integral parts of the artistic whole).
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Owens, Peter. "The Contemporary Composer in the Classroom." British Journal of Music Education 3, no. 3 (November 1986): 341–52. http://dx.doi.org/10.1017/s0265051700000826.
Full textAbstract:
This article is a revised version of a talk given by the author before an international symposium on music education in Hortos, Greece, in 1985. It considers the current state of modern music, suggesting that there have been some important changes in direction since the avant-garde styles of the 1950s and 1960s; and it reflects on some of the implications of these changes for secondary-school music teaching.Some proposals are made for factors likely to facilitate the success of contemporary music which children hear or perform. In the original talk these points were illustrated with recorded examples, indicated here by numbers in the text. The role of children as contemporary composers themselves is also discussed in terms of the method and motivation by which creative work may be encouraged.The educational writers on whom the author bases much of his argument are clearly acknowledged throughout the text. Otherwise, opinions derive from experience of teaching and writing music for children in England and in France.
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Kim, So-Hee. "Affordances for Multimodal Composition Using an eBook Trailer With Transmedia Storytelling." STEM Journal 23, no. 2 (May 31, 2022): 54–68. http://dx.doi.org/10.16875/stem.2022.23.2.54.
Full textAbstract:
The aim of this study is to examine how one mode can transform into different modes by reproducing the writers’ cognitive perceptions based on transmedia storytelling. This was done using a minute-long eBook trailer created through the program Animoto. This article explores affordances for four different modes—texts, images, music, and space—as well as Animoto, a digital tool, in digital multimodal composition. The participants were 136 Korean EFL students from a Korean university whose CEFR level was mostly A2-B1. The data were gathered from their eBook trailer creating process, a questionnaire, and an individual interview. This study found that images, texts, music, and space are important considerations in constructing meaning in sequence but combining more than one mode offers better learning effects for writing. The participants’ reactions were that Animoto is a good fit for digital composition and computer skills are essential in digital writing. There was a preference for digital compositions with various modes over traditional text-based writing since they deemed traditional text alone to be limited in transmission. The results suggest that implementing a digital tool with effective guidelines for various modes is a good way to compose digital eBook trailers that help EFL learners to write.
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Novák, Radomil. "Contrapuntal text and rondo (in the poetry of Desmond Egan and Jaroslav Seifert)." Acta Universitatis Lodziensis. Folia Litteraria Polonica 52, no. 1 (March 28, 2019): 345–58. http://dx.doi.org/10.18778/1505-9057.52.20.
Full textAbstract:
This paper is concerned with the complicated relationships between poetry and music. It tries to show that one of the common denominators between both arts can be the musical form in poetry, strictly speaking a method of poetry creation based on a musical principle. For this paper, two illustrations of this process are chosen: an Irish poet Desmond Egan’s contrapuntal poems (chosen from all Egan’s poetry) and a Czech poet Jaroslav Seifert’s Mozart in Prague. The conclusions concern the impact on the reader’s reception of poetic texts, which in their graphic form or theme stimulate references to music. We conclude that knowing (active and passive) the musical principles of counterpoint and ronda can help readers to better understand the structure, theme and meaning of the texts.
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Cagirgan, Gokhan, and Gun Elvan. "Creation and development process of terms used in music education in Turkey." Cypriot Journal of Educational Sciences 15, no. 4 (August 31, 2020): 667–73. http://dx.doi.org/10.18844/cjes.v15i4.5049.
Full textAbstract:
Societies have different ways of transferring the products they created within their own cultural structures by using the basic elements of music. We see that some societies use verbal transfer, some societies use written transfer, while the other societies use both means of transfer. The signs, which are the basis of music theory and the tools of written language, are called "notes", and the text created with these signs is called "musical notation". This study was conducted to examine how music education terms emerged in the historical process, the beginning of using musical notation due to the need for notes among Turkish people, and the creation and development process of terms used in music education in Turkey. For this purpose, the development and dissemination of music theory from past to present were examined by a literature review, and the different opinions and historical information found in the literature were presented together. Also, the introduction of Classical Western Music to Turkish people, their interaction processes, and the changes that occurred regarding the musical sense as a result of the Westernization movements were examined in the study. In this process, particularly the developments in European music had a worldwide influence
Keywords: Music Education, Musical Terms, Process.
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Hussain, Sharafat, and Mohammed Abdul Azeem. "Sensory Triggers to Drive Sales- Creating Competitive Advantage Through Multisensory Consumption Experience in Restaurants." Restaurant Business 118, no. 11 (November 15, 2019): 167–78. http://dx.doi.org/10.26643/rb.v118i11.9943.
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When foreign fast food restaurants enter the Indian market, their sensory marketing strategies change based on language, culture and taste preferences. Southern India is known for cultural diversity, different languages, spicy taste preferences and varied music; these components directly impact sensory strategies and consumer behaviour. The objective of this paper is to analyse the relationship between time spent in the restaurant and sensory strategies used, leading more consumption. The purpose of the study is to find out whether the sensory cues (colour, music, smell, touch and taste) have any significant role in having customers spend more time at the restaurant leading more consumption. Data was gathered from consumers of Four international fast-food chain restaurants (KFC, McDonald, Domino’s and Subway) across four cities (Mumbai, Chennai, Bangalore and Hyderabad) of India. Chi Square test rejected the null hypotheses; there was statistically significant evidence of an association between time spent in the restaurant leading to more consumption and sensory strategies (the colour used, music played and variety of cuisine offered). However, for scent and touch cues, the results were statically insignificant. This study result has important implications for the fast-food industry in understanding how to create and manage their sensory marketing strategies to attract people who love sitting and spending quality time at the restaurant which ultimately leads to more sales.
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Krupej, Mihail. "Universal skill of saxophonist as phenomenon modern of musical-creative practice." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 113–18. http://dx.doi.org/10.32461/2226-2180.39.2021.238702.
Full textAbstract:
The purpose of the article is to select practice-approved ways to the combinatorial presentation of the componentі of the musical expression, in which, on the base of the general beliefs about music-rhetorical base inventio tax ways of the joining to speech liberty of the combinatorial use the music material. The methodology consists of riverbed intonation approach that is to say by means of beliefs about the unity of process factors in music and speech, as this bequeathing in works of B.Asafiev and his followers in Ukraine, unrolled specified interdisciplinary generalization, on example text books A.Losev, R.Ingarden, E.Nazaykinkij, E.Markova and others. The scientific novelty of the work is based on original and the practically-creative approved the idea of joining in mechanism rhetorical inventio, practical persons, combinatorial collation fragment and holistic music that-image, which the sequence forms the speech continuum of the music. Conclusions. The made analysis of the theoretical life lengths from the theory of the improvisation and theoretical positions of the rhetoric has allowed formulating the concrete operations cortical music operations of inventio as a way of the semantic join generalising value that-symbol with author's and out author’s thematic acquisition in straightening of acquisition "spoken creation of the music". The last one meets the terms modern performance art with his "neo-gothic style" discharge from priority to composer activity.
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BAGRIY, T. "INTERPRETATION OF CHORAL WORK AS A CREATIVE COMPONENT IN THE SYSTEM OF FACTORS OF PERFORMANCE SKILLS OF THE FUTURE TEACHER - MUSICIAN." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 27 (December 13, 2021): 10–15. http://dx.doi.org/10.33989/2075-146x.2021.27.246975.
Full textAbstract:
The article considers the issues of training a future music teacher, substantiates the importance of musical performance in his professional development. The views of scientists on the interpretation of the concepts of "performance", "performing skills" are analyzed. The components that determine the performance skills are highlighted. The meaning of the concepts "creation" and "creativity" is specified, their differences are defined. The phenomenon of interpretation as a type of creative activity is analyzed. Different approaches of music teachers and scholars to the interpretation of the term "interpretive skills", which are manifested in analytical work with musical text, technical and performing skills, artistic taste, the performer's own attitude to the figurative content of a musical work and reflect the level of his creative abilities. The key provisions of the theory and practice of interpretive activity of the future music teacher are indicated. The stages of creation of interpretation of a choral work are singled out and the range of tasks of each stage is defined. Analysis of a musical work is considered as one of the components of interpretation. The focus is on the formation of interpretation skills during individual lessons in the class of choral conducting. Methods and forms of work are proposed to activate the creative thinking of students to expand the musical horizons. It was found that the state of creative search deepens the performer's knowledge of the musical image, forms the skills and abilities of full-fledged work on interpretation. Emphasis is placed on the peculiarities of reading the musical text, on the development of skills and abilities in the independent analysis of a musical work. The role of personal qualities of the student and own experience in creative process is defined.
The peculiarities of the formation of interpretive abilities are characterized, in particular, the sketch study of works as one of the forms of analytical-synthetic activity of the student is singled out. It was found that musical interpretation is a key aspect of the performing activity of a future musician teacher.
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Kulkarni, Shubham Ram, and Ujwala Divekar. "A COMPREHENSIVE REVIEW ON AYURVEDIC APPROACH IN PALLIATIVE CARE." International Ayurvedic Medical Journal 8, no. 10 (October 18, 2020): 4829–34. http://dx.doi.org/10.46607/iamj4208102020.
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Palliative care is a holistic approach towards individualistic health care of people suffering from life threat-ening conditions. There are many misconceptions about palliative care that needs to be resolved. In devel-oping countries like India there is a huge gap between need and availability of sources for palliative care, creating urgent need of availability of more holistic & integrated approaches of palliative care like Ayurve-da. This study aims at reviewing concepts & modalities of Ayurveda which can be integrated in palliative care. The concepts & misconceptions about palliative care are gainfully reviewed with Ayurvedic concepts of Diet, Sleep, Rasayana Therapy, Wound Care, Pain Management, Music Therapy and Yoga in the con-text of palliative care.
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Pande-Rolfsen, Marthe Sofie, and Anne-Lise Heide. "Sounding Shakespeare: An Interdisciplinary Educational Design Project in English and Music." Early Modern Culture Online 7 (January 26, 2020): 87–104. http://dx.doi.org/10.15845/emco.v7i1.2830.
Full textAbstract:
This article outlines Sounding Shakespeare, an interdisciplinary project in Music and English, carried out with student teachers in Norway. The aims of the project are to explore and develop new ways of working with Shakespeare cross-curricularly through educational design research, focusing on creative and aesthetic processes in order for student teachers to gain experience in working across subjects, and to decrease their fear factor of using Shakespeare in the classroom. The current curriculum changes in Norwegian primary and secondary education (Fagfornyelsen) focus on experimentation, exploration and creative processes, and these are guiding educational principles that also provide a foundation for the Sounding Shakespeare project. Our research into student teachers’ experiences of working with Shakespeare’s texts, constitute the starting point for this article. In the project, students worked in two different workshops with Speech and Music Composition to collaborate and devise a performance based on A Midsummer Night’s Dream as their focus text. Through voice and prosody, students explored the musicality of Shakespeare’s text, and through music composition, students experimented with soundscapes in creative processes. In the final part of the workshops, students collaborated towards performances. Based on our collected data, our main finding shows how music can become a guiding agent for a meaningful experience of literature.
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Magnusson, Thor. "Scoring with Code: Composing with algorithmic notation." Organised Sound 19, no. 3 (November 13, 2014): 268–75. http://dx.doi.org/10.1017/s1355771814000259.
Full textAbstract:
Computer code is a form of notational language. It prescribes actions to be carried out by the computer, often by systems called interpreters. When code is used to write music, we are therefore operating with programming language as a relatively new form of musical notation. Music is a time-based art form and the traditional musical score is a linear chronograph with instructions for an interpreter. Here code and traditional notation are somewhat at odds, since code is written as text, without any representational timeline. This can pose problems, for example for a composer who is working on a section in the middle of a long piece, but has to repeatedly run the code from the beginning or make temporary arrangements to solve this difficulty in the compositional process. In short: code does not come with a timeline but is rather the material used for building timelines. This article explores the context of creating linear ‘code scores’ in the area of musical notation. It presents theThrenoscopeas an example of a system that implements both representational notation and a prescriptive code score.