Journal articles on the topic 'Emphase musicale'
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Bonikowski, Tomasz. "Tęsknota za człowieczeństwem. Dehumanizacja w muzyce gry Cyberpunk 2077." Przestrzenie Teorii, no. 39 (January 5, 2024): 121–39. http://dx.doi.org/10.14746/pt.2023.39.6.
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Video games are often analysed as textual objects. This default literary point of view, while providing valuable conclusions, fails to observe some essential points that are realised in different modes of narration. Here I will analyse the Cyberpunk 2077 video game from a musical perspective. I will be “listening to” the game rather than “reading” it. This kind of hermeneutical approach will highlight certain ideas of CP2077. I will focus on the issue of dehumanisation, and show that musically the game places special emphasis on this. I will point out the musical characteristics that can affect players and interpret the rationale behind it.
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Epstein, Shulamit, Cochavit Elefant, and Grace Thompson. "Music Therapists’ Perceptions of the Therapeutic Potentials Using Music When Working With Verbal Children on the Autism Spectrum: A Qualitative Analysis." Journal of Music Therapy 57, no. 1 (December 9, 2019): 66–90. http://dx.doi.org/10.1093/jmt/thz017.
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Abstract While there are numerous descriptions of the use of music and its therapeutic potential by music therapists working with nonverbal children on the autism spectrum, only limited literature focuses on exploring how music therapists use music and perceive its therapeutic potential when working with children on the spectrum who have verbal skills. This qualitative study aimed to explore music therapists’ descriptions of the use of music and its therapeutic potential in their work with children on the autism spectrum who have verbal skills. Semi-structured interviews were conducted with six qualified music therapists from Israel and then analyzed according to the principles of interpretative phenomenological analysis (IPA). Three main themes were identified: (a) musical infrastructure, which describes how the music therapists facilitated musical experiences to support the children’s ability to regulate their arousal, attention and emotions; (b) the meeting point between musical and verbal playfulness, which reflects the music therapists’ beliefs about how musical experiences add vitality and support the development of both verbal and nonverbal imaginative play; and (c) musical responses, which describes the different ways music therapists use their voice and songs to interact musically with verbal children. The experiences described by the participants emphasize the importance of the therapist musically attuning to the child’s emotional, physiological, creative, and playful qualities, even when the child has verbal skills. These musical interactions help to create a shared experience between the child and therapist that are perceived to help the child’s different forms of regulation, continuity, and vitality within the play.
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Carrico, Alexandria. "From Craic to Communitas: Furthering disability activism through traditional Irish song." Journal of Interdisciplinary Voice Studies 4, no. 2 (October 1, 2019): 257–63. http://dx.doi.org/10.1386/jivs_00009_1.
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Abstract This piece offers an ethnographic account of work undertaken to bridge neurotypical and neurodivergent communities in Limerick, Ireland, through music-making workshops. By harnessing a common musical heritage in traditional Irish folk music, specifically its participatory dynamics, and its emphasis on story-telling, dialogue and inclusion, participants were able to musicalize their identities in ways that resonated with the integrative spirit of neurodiversity, against the logics of neurotypical, able-bodied assimilation.
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Wachi, Masatada. "Emphasize system for electronic musical instrument." Journal of the Acoustical Society of America 98, no. 4 (October 1995): 1837. http://dx.doi.org/10.1121/1.413366.
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Rašković, Božana, and Daliborka Popović. "Determinants of music development and the influence of music education on overall personal development." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 4 (2021): 367–86. http://dx.doi.org/10.5937/zrffp51-32598.
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The development of musical abilities and the space given to music education is determined by various factors. Disagreement in opinions about the role of some factors carries the danger of neglecting some activities that would contribute to the development of musical talent. In that sense, the aim of the paper is pointed at understanding the importance of hereditary and environmental factors for the development of musical abilities, with special emphasis on determining the activities of adults in the function of music education and achievement, but also overall development. Applying the method of theoretical analysis, a comparison of different conceptual approaches was performed, as well as of the results of the conducted research and the conclusions of the authors. After considering these issues, it is concluded that although debates about giving preference to certain factors still exist, there is no dilemma that innate and environmental factors are both important, but not in themselves without the activities of an individual. Accordingly, the role of parents, educators, and teachers in motivating and provoking children's musical development with adequate musical content, overall communication, and atmosphere was emphasized. The pedagogical implications are contained in the above recommendations for the correct approach in creating musical content and a stimulating environment. Future research should be focused on examining and possibly improving the competencies of professionals-educators and teachers-to discover and support musically gifted children
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Hidayatullah, Riyan. "Pendidikan Musik dalam Bingkai Pengalaman Estetis dan Kultural." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 4, no. 1 (June 25, 2022): 18–25. http://dx.doi.org/10.24036/musikolastika.v4i1.81.
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Music education can be seen from two dimensions. First, as a contagion concept whose output is musical skills inherent in a person. Second, music education is a means to achieve certain learning goals. For example, music is used to teach children about the environment. At this level, music education is used as a tool to introduce someone to musical experiences. Musical experience can be done with an emphasis on aesthetic and cultural values. This notion is done by providing insight that develops learning to apply the values of creation and appreciation. This conceptual article attempts to generate ideas and justifications for the concepts of music education in order to make an original contribution in the form of key and logical arguments that are communicated effectively. Learning experiences that are supported by these aspects make a person educated musically. Aesthetics relates to the values of goodness and beauty that can be transmitted. Meanwhile, culture is a means of introducing and strengthening identity. These strategies are concepts embodied in music education.
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Wollman, Elizabeth L. "How to Dismantle a [Theatric] Bomb: Broadway Flops, Broadway Money, and Musical Theater Historiography." Arts 9, no. 2 (May 29, 2020): 66. http://dx.doi.org/10.3390/arts9020066.
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The Broadway musical, balancing as it does artistic expression and commerce, is regularly said to reflect its sociocultural surroundings. Its historiography, however, tends for the most part to emphasize art over commerce, and exceptional productions over all else. Broadway histories tend to prioritize the most artistically valued musicals; occasional lip service, too, is paid to extraordinary commercial successes on the one hand, and lesser productions by creators who are collectively deemed great artists on the other. However, such a historiography provides less a reflection of reality than an idealized and thus somewhat warped portrait of the ways the commercial theater, its gatekeepers, and its chroniclers prioritize certain works and artists over others. Using as examples Ain’t Supposed to Die a Natural Death (1971), Merrily We Roll Along (1981), Carrie (1988), and Spider-Man: Turn Off the Dark (2011), I will suggest that a money-minded approach to the study of musicals may help paint a clearer picture of what kinds of shows have been collectively deemed successful enough to remember, and what gets dismissed as worthy of forgetting.
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Кривошея, Ігор. "Етноісторичні мотиви (сюжети) в музичному мистецтві України другої половини 18 – початку 19 століття." Scientific Papers of the Vinnytsia Mykhailo Kotsyiubynskyi State Pedagogical University Series History, no. 47 (March 19, 2024): 35–44. http://dx.doi.org/10.31652/2411-2143-2024-47-35-44.
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The purpose of the article is to study ethno-historical motifs in the musical art of Ukraine in the second half of the eighteenth and early nineteenth centuries, with a special emphasis on folk art and its influence on the development of orchestral, choral and individual musical performances. The article examines the cultural and social changes of this era and their impact on the evolution of kobza and bandura art, which served not only as a means of musical expression but also as an important element of preserving national identity and historical memory. The article describes in detail the ethno-historical motifs that were manifested through musical art, reflecting social moods, historical events and the heroic past of the nation. Considerable attention is paid to the analysis of the interaction of folk traditions with professional art forms, revealing the richness and diversity of folk art of that time. The research methodology is based on an integrated approach to the study of historical, musical and cultural aspects, using archival documents and scientific sources, which allows a comprehensive assessment of the influence of ethno-historical motifs on the formation of the cultural landscape of Ukraine in the period under study. Particular attention is paid to the role of kobzars and bandura players, who, by performing historical and contemporary themes, contributed to the preservation of national identity and the reproduction of cultural heritage. The scientific novelty of the study lies in an in-depth analysis of the contribution of musical groups and individual performers to the development of the region’s art, with an emphasis on their interaction with folk traditions and professional music in the context of historical and cultural processes. Conclusions. The emphasise the importance of studying ethno-historical motifs in the musical art of the late eighteenth and early nineteenth centuries as key elements in the formation of Ukraine’s cultural identity, pointing to the need for further research in this area to better understand the role of musical art in the contemporary cultural context.
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Schleuse, Paul. "“A Tale Completed in the Mind”: Genre and Imitation in L'Amfiparnaso (1597)." Journal of Musicology 29, no. 2 (2012): 101–53. http://dx.doi.org/10.1525/jm.2012.29.2.101.
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Musical histories before the twentieth century consistently described Orazio Vecchi's L'Amfiparnaso (published in 1597) as an early or nascent form of opera, despite the composer's explanation that the work is an aural spectacle, not a visual one. Later scholars have persisted in viewing L'Amfiparnaso as a fundamentally theatrical work (in a notional genre called madrigal comedy), designed for quasi-dramatic performance before a listening audience. A close reading of this historiography, along with a partial reconstruction of the membership and movements of the Gelosi and Uniti theater companies in the 1590s, disproves the widely held assumption that L'Amfiparnaso was composed and performed in 1594, and suggests that its characters' names refer to specific actors who performed with the Uniti in Bologna in 1595 and 1596. This new account of the book's origin opens it up to interpretation as a recreational collection of musical imitations of theatre, rather than as an incomplete “script” for a novel kind of dramatic performance. Through its diverse musical styles and poetic registers (Vecchi penned both the poems and the music), as well as its unusual custom-made woodcut illustrations, L'Amfiparnaso presents scenes whose range defies cinquecento theatrical convention. Urban comic dialogues share the imagined stage with tragicomic monologues, idiosyncratic musical dialogues are found alongside serious madrigals, and the woodcuts depict both characteristic comic and pastoral stage settings. As a whole, then, L'Amfiparnaso represents—in Vecchi's words—“almost all the actions of the private man.” This emphasis on variety locates the book firmly within the poetic sphere of Vecchi's other large-scale collections, Selva di varia ricreatione (1590) and Convito musicale (1597), and adds special resonance to his claim that those seeking “a complete tale” in L'Amfiparnaso will find it only “in the mind.”
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Dakon, Jacob M., and Elene Cloete. "The Violet experience: Social interaction through eclectic music learning practices." British Journal of Music Education 35, no. 1 (September 7, 2017): 57–72. http://dx.doi.org/10.1017/s0265051717000122.
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In this qualitative case study, we used participant observation and interviews to examine Violet, a Flemish string youth orchestra. In doing so, we identify the qualities that constitute an ‘eclectic’ ensemble space, herein defined as a musical environment that uses a blend of informal and formal learning practices. Moreover, we emphasize how members benefit musically, socially, and personally from such spaces. Our findings suggest that a blend of eclectic practices create a music space that promotes social engagement, social interaction, and peer learning among members. Additionally, eclectic music spaces allow for personal development and nurture self-appreciation. An eclectic ensemble space thus provides a rich alternative to more traditional forms of music ensemble instruction.
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PETERSEN, NILS HOLGER. "Theological construction in the offices in honour of St Knud Lavard." Plainsong and Medieval Music 23, no. 1 (February 26, 2014): 71–96. http://dx.doi.org/10.1017/s0961137113000107.
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ABSTRACTThis article discusses the theology of the late twelfth-century offices in honour of the Danish patron saint Knud Lavard, asking to what extent this theology can be seen to have been underlined in musical representations. Altogether, there is surprisingly little war imagery in the offices. Although Knud Lavard was a military leader, a dux, and is presented in the offices as a miles Christi, and although some formulations in the office can be read to construct him as a crusader, his mildness and his passive suffering are much more emphasized. Indeed, the theological tenor is that of a Christ-like martyr being slaughtered without resistance. The emphasis is thus on suffering as a consequence of evil and unprovoked aggression, verbally as well as musically. This will be underscored by textual as well as musical analysis of central parts of the offices, focusing on the relationship between the responsories and the homiletic readings of the last Nocturns of Matins, which so far have not been much discussed in scholarship, taking also the sequence for the Translation Mass, Diem festum veneremur, into consideration.
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Myrovskyi, Oleksii. "Life and Creative Work of Myroslav Skoryk: Figurative and Thematic Emphasis." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 6, no. 2 (November 20, 2023): 188–98. http://dx.doi.org/10.31866/2616-7581.6.2.2023.291091.
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The purpose of the research is to comprehensively highlight the life and musical heritage of the Ukrainian composer Myroslav Skoryk; to trace his life and main activities; and to show the artist's contribution to the development of Ukrainian musical art. Research Methodology. To achieve this goal, the research methods used in this work are those that meet the fundamental principles of historicism, scientific objectivity and logic. In some parts of the work, various general scientific and special historical methods were used, including comprehensive analysis, synthesis and chronology, prosopographic, historical and comparative, typological, and others. Scientific novelty. The article analyses the life and creative path of M. Skoryk, which is the scientific originality of the study – a comprehensive generalization and connection of M. Skoryk’s musical heritage with the composer’s biography. Conclusions. M. Skoryk established himself as an extraordinary personality, a talented musician and composer, conductor and teacher. He created interesting academic musical works, as well as pop songs and jazz compositions, and wrote chamber and symphonic music, and film scores. His work introduced new figurative, thematic and genre-stylistic accents to Ukrainian music, embodying the sophistication and scale of the musical language. This is a man who was destined to bring Ukrainian music to a qualitatively new level. He was able not only to preserve but also to significantly increase the cultural heritage of the Ukrainian people.
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Rogers, Bradley. "Lawrence Welk." Journal of Popular Music Studies 34, no. 1 (March 1, 2022): 141–66. http://dx.doi.org/10.1525/jpms.2022.34.1.141.
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This essay explores the musical politics of Lawrence Welk, the bandleader whose television show was a mainstay of American popular culture from 1955 through 1982. I argue that Welk’s interests in gender, family, and work—both philosophically and musically—reveal the maestro as a harbinger of late twentieth-century political and cultural discourse. I focus on Welk’s transition (around 1970–1973) from his trademark champagne sound—which featured woodwinds and ornamentation—to a “Big Band Sound,” which emphasized the unison open brass. Around the same time, he stopped referring to his ensemble as “The Champagne Music Makers” and began calling them his “Musical Family.” I argue that his “Big Band Sound” was in fact a musical articulation of his “Musical Family”—and that Welk instituted both of these changes in response to what he perceived as the decline of American work ethic and sexual morality. I suggest that Welk’s champagne sound, which once signified whiteness, was now feminized and seen as emblematic of indolent hedonism. He sought to purge this feminization—and this aversion to work—precisely by adopting the more “masculine” brassy sound. I also show how he deployed family acts—and his managerial scheme of a “Family Plan”—to promote his conservative ideals about work and the family. In this way, Welk provided the sound of the Nixonian “silent majority.” I conclude by noting how three elements of Welk’s show—his fondness for mistakes, the emphasis on visual spectacle, and the erratic temporality of syndication—provide the potential for a counter-reading of his efforts.
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Tammen, Björn R. "A FEAST OF THE ARTS: JOANNA OF CASTILE IN BRUSSELS, 1496." Early Music History 30 (September 8, 2011): 213–48. http://dx.doi.org/10.1017/s0261127911000015.
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As the only late fifteenth-century picture book devoted to a ‘joyous entry’, inv. 78.D.5 of the Staatliche Museen zu Berlin – Kupferstichkabinett is a source of singular importance, conveying a total of twenty-seventableaux vivantsstaged for Joanna of Castile (‘the Mad’) on the occasion of her entry into Brussels, 15 December 1496, as duchess of Brabant. The present contribution focuses on two tableaux with musical subject matter, consciously displayed at the very beginning and at the very end: Jubal and Tubalcain, the biblical inventors of music, on the one hand, and St Luke portraying the Virgin Mary with Child, enriched by the means of angelic musicians, on the other. Besides iconographic issues, special emphasis is placed on Joanna, her musical inclinations, and the respective institutional background: whereas the St Luke tableau contributes to the corporate identity of Brussels's painters' guild, the biblical inventor of music allows for the self-presentation of the rhetoricians, who were in charge of ‘programming’ the joyous entry and its festive apparatus. In sum, political messages have been musically disguised; uncommon biblical or even extra-biblical subjects become vehicles for a complex layer of meaning that permeates the public space.
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Fedenko, A. "The specifics of female characters embodiment in contemporary Ukrainian musicals and rock operas (on the example of Nataliya Sumska’s creativity)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 90–102. http://dx.doi.org/10.34064/khnum2-17.06.
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Background. The creative mastery process of the musical and rock opera genres has become one of the urgent vocational training problems today considering the growing popularity of these genres both in the world and in Ukrainian musical culture. There is a need to investigate the methodological aspect of professional activity in this direction like a set of requirements for the modern actor working in the music-dramatic genre. The lack of specialized literature and scientific works which investigates the embodiment phenomenon of vocal and stage images by actors in contemporary Ukrainian musicals and rock operas raises an urgent need for its consideration. Phenomenological analysis of the vocal and stage creativity of the actress Nataliya Sumska, namely, her stage works in rock operas “Eneida by Serhii Bedusenko based on the poem-burlesque by I. Kotliarevsky, “Bila Vorona” “(The White Crow”) by Genadii Tatarchenko and Yurii Rybchynskyi and “Nezrivnianna” (“The Incomparable”) Musical, based on the famous play by Peter Quilter (the composer Ivan Nebesnyi) are the material of this study. Objectives. The purpose of the article is to investigate the performing principles and vocal techniques that contribute to the embodiment of contentemotional female images characteristics in contemporary musicals and rock operas on the example of Nataliya Sumska’s acting creativity. The results of the study. The success of the Nataliya Sumska stage activity is closely related to the actress’ high level of vocal skills. Didona’s role in the rock opera “Eneida” has required from the performer a whole range of professional skills, first of all, vocal – that is, acting universalism. The vocal and stage image created by Nataliya Sumska is realized through singing, which organically combines the traditions of folk-song performance with the best achievements of the national academic and variety performing arts. The dominance of “folk” color in the sound of the voice is one of the creative tasks that the author of the rock opera sets before the actress. The bright individual “synthesizing” vocal and performing style is the original combination of ethnic origin with jazz and pop rhythms and harmonies offered by the composer, made the unique image of Didona by N. Sumska’s performance. Thus, a perfect actress’s mastery of different singing styles and the ability to use her own voice to achieve high artistic output is of great value, as composers in rock operas and musicals are constantly performing acts of styling. In the role of Jeanne d’Arc from the Ukrainian rock opera by Genadii Tatarchenko and Yurii Rybchynskyi’s “Bila Vorona” (“The White Crow”) the main features of N. Sumska’s art were clearly revealed, such as: great tragedy, heroic pathos and pathetics combined with lyric scourge and poetic sorrow. The stage techniques, by which N. Sumska created the image of Jeanne, were: enhanced sound supply and high dynamic tone of performance, expedient use of registers, expanded palette of sound dynamics and its filing (“filer un son”); going beyond the range of sound characteristic of academic vocal performance, the use of different singing styles and techniques; skillful presentation of intonation recitation gradations (from whisper to cry); possession of sound amplification equipment; maintaining a vocal line, subject to any nature of sound production; finally, acting is the ability to convey the character of the heroine through the voice, facial expressions, gestures, to make the viewer feel the pain and joy of her soul. Thus, Nataliya Sumska is fully capable of using the necessary means of artistic expression, various methods of performance, revealing the semantic and emotional content of the stage image and the work as a whole. In the “Nezrivnianna” (“The Incomparable”) Musical Nataliya Sumska embodied the comedic image of an American pianist who believed in her talent as an opera singer and one of the earliest representatives of “outsider music”. The actress brilliantly demonstrated that she was able to sing both “strictly past the notes” and only in “disgusting” voice, as her role required. She did not only change her voice for the horrific performance of operatic classics, but she was able to convey faith and belief in her own success to her Florence heroine. The actress was able to achieve great artistic power in the embodiment of the image, first of all, thanks to the mastery of vocal technique, as different modes of the larynx, specific techniques: conscious oscillation of sound, different attack power, accentuation of individual sounds, etc. Conclusions. Considered the creating specifics of vocal and stage image in contemporary rock operas and musicals by actress Nataliya Sumska, we came to the conclusion that vocal performance in modern rock operas and musicals poses special requirements for actresses. Modern musicals and rock opera demonstrate all possible polystylistic and polygenre syntheses, including the incorporation of folk and academic elements, and some genres of light music. The vocal part is complicated by changes in priorities in harmony, which is represented mainly by dissonant sounds. Accordingly, the melody of rock operas and musicals today is filled with unconventional unexpected intonations and lines, characteristic of metrorhythmic constructions. Conversational intonations, variety of singing manners and vocal techniques that form the basis of modern musical performances help to emphasize the emotional lines of the work. The presence of conversational dialogues, dance episodes with specific plasticity, the use of elements of the musical language of other cultures, a wide style range (from folklore to avant-garde, from Baroque stylings to jazz and smash hit), features of singing with a microphone – all this requires knowledge of specific acting and choreographic techniques, a good mastery of vocal technique, that is, all that constitutes professional acting universalism.
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López de Mántaras, Ramon. "Playing with Cases: Rendering Expressive Music with Case-Based Reasoning." AI Magazine 33, no. 4 (December 21, 2012): 22. http://dx.doi.org/10.1609/aimag.v33i4.2405.
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This paper surveys significant research on the problem of rendering expressive music by means of AI techniques with an emphasis on Case-Based Reasoning. Following a brief overview discussing why we prefer listening to expressive music instead of lifeless synthesized music, we examine a representative selection of well-known approaches to expressive computer music performance with an emphasis on AI-related approaches. In the main part of the paper we focus on the existing CBR approaches to the problem of synthesizing expressive music, and particularly on TempoExpress, a case-based reasoning system developed at our Institute, for applying musically acceptable tempo transformations to monophonic audio recordings of musical performances. Finally we briefly describe an ongoing extension of our previous work consisting on complementing audio information with information of the gestures of the musician. Music is played through our bodies, therefore capturing the gesture of the performer is a fundamental aspect that has to be taken into account in future expressive music renderings. This paper is based on the “2011 Robert S. Engelmore Memorial Lecture” given by the first author at AAAI/IAAI 2011.
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Steinholt, Yngvar B. "You can't rid a song of its words: notes on the hegemony of lyrics in Russian rock songs." Popular Music 22, no. 1 (January 2003): 89–108. http://dx.doi.org/10.1017/s0261143003003064.
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From the mid-1980s, rock music emerged as the leading musical culture in the major cities of the Soviet Union. In writings and research on this ‘Soundtrack of Perestroika’, attention has been primarily paid to the words rather than the sounds. Russian rock critics and academics, as well as those who participate in Russian rock culture, persistently emphasise the literary qualities of Russian rock music and most still prefer to approach rock as a form of musical poetry - ‘Rok poèziya’. This seems out of step with the growing emphasis on an interdisciplinary approach within popular music studies. The aim of this article is to investigate and discuss some of the core arguments that underpin notions of Russian rock music's literary qualities. This may help to uncover some specific national characteristics of rock in Russia, whilst at the same time questioning the need for, and value of, a literary approach to the study of Russian rock.
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Hromchenko, Valerii. "The compositions of wind solo by E.V. Denisov in the context of the contemporary educational process." Музикознавча думка Дніпропетровщини, no. 18 (November 16, 2020): 133–46. http://dx.doi.org/10.33287/222024.
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The purpose of this submitted scientific article is disclosing the musically pedagogical distinctiveness, the series of crucial and the most significant training educational criterions of compositions for wind instruments solo by E.V. Denisov. The row of methods for this scientifically investigative process is formed by applying the axiological, comparative as well as functional approaches concerning the studying research theme. The using of methods such as musically performing analysis and synthesis are specifically important in the development of delineated question. Researcher for structuring of scientifically investigative material as well as for analytical handing information and making general conclusions utilizes structurally functional method. Scientific newness of the represented article is stipulated by revealing the most characteristic, value-productive, musically pedagogical criterions of masterpieces for wind professional instruments solo by E.V. Denisov, which were written by celebrated composer as for wood and for brass academic wind instruments. Conclusions. There are the next essential indications, maximally significant training-educational criterions of musically instructional particularity concerning the compositions for wind academic instruments solo by E.V. Denisova. These are the formation of holistic, complete instructive process, the modernization of traditional artistically expressive means in relation to wind professional instrumentations, the utilization contemporary nontraditional musically performing language (performing manners, effects and composer technics). We also emphasize the accentuation of understanding the specialized process by student for the communicative essence of musical art (outside, inside dialogism). We also underline the activation of artistically imaginative thinking of student as into the vector of discovering the characterization one or another wind composition solo and into the direction for comprehension of an imagination, artistic content touching to E.V. Denisovʼs works for stage-single performing.
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Mitić, Marjan. "Musical discourse in the theory of musical semiotics." Sinteze, no. 19 (2021): 37–48. http://dx.doi.org/10.5937/sinteze10-34232.
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Music is an abstract language that is constantly evolving, and in this connection, one of the possible approaches to the interpretation of music as a discourse concerns the issues of the relatedness of music and speech, that is, the language of music and language of speech. In this way, the relationship between musical discourse and the musical thought of the composer and speech as a product arising from the opinions of the speaker is established. In this paper, through the examination of discourses on music as a product of human activity, which are recognized in different cultures in different ways, one considers the way in which individual works, the phenomenon of music and the forms of human behaviour caused by music can be interpreted. The aim of the paper is to emphasize the importance of a generative approach to the understanding of tonality through a critical consideration of the semiological approach for understanding the language of music, and to provide an insight into the similarities between music and language.
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Fântână, Cristina Simionescu. "An Analysis of the Voice Assemblies from the Opera La Cenerentola by Gioachino Rossini." Review of Artistic Education 21, no. 1 (June 1, 2021): 56–70. http://dx.doi.org/10.2478/rae-2021-0008.
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Abstract A musical inspiration, the opera La Cenerentola by Gioachino Rossini offers a wealth of examples of how to capitalize on the vocal and musical potential offered by the opera show. We aim to analyze vocal ensembles and to emphasize their musical and dramaturgical. realization.
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Leow, Abigail. "The importance of musical awareness." Early Years Educator 23, no. 15 (October 2, 2022): 36–37. http://dx.doi.org/10.12968/eyed.2022.23.15.36.
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This article will be exploring the importance of musical awareness and some links between music and child development. Particular emphasis will be placed on the importance of music and emotion, music and the EYFS (DfE, 2021), music and communication, and lastly the link between music, creativity and play.
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Simionescu, Cristina. "Arias, Recitatives, Duets and Vocal Ensembles in The Opera Don Pasquale by Gaetano Donizetti." Review of Artistic Education 17, no. 1 (March 1, 2019): 77–99. http://dx.doi.org/10.2478/rae-2019-0009.
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Abstract A musical inspiration, Don Pasqule by Gaetano Donizetti offers a wealth of examples of how to capitalize on the vocal and musical potential offered by the opera show. We aim to analyze vocal scores - areas, duets, recitatives and vocal ensembles and to emphasize their musical achievement.
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Hromchenko, Valerii V. "Distance learning for specialized musical disciplines: problems and the ways of solution." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 114–23. http://dx.doi.org/10.17223/22220836/45/11.
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The scientific article is devoted the investigation of the most actual questions concerning distance educational form into the light of the specialized training disciplines a namely „Ensemble” and „Special class”. The author has approved that the problem of distance educational form in relation to underlined musical subjects is maximally indicated their practical nature, what have had presentation in the professional communicative sensation of general (simultaneous) performing act, in the process for development and correlation of musician's performing apparatus, in detail-hearing comprehension of particularity for artistic musically-expressive means a namely timbre and attack of sound, traits and articulation, strong and dynamic of instrument (vocal) sounding. The importance of introduction to the contemporary educational process the mixed thematic-integrated learning, specifically the synthesis of distance and full-time educational forms. This interaction must be in the presence of academic musical compositions solo at the training repertoires, specialized musical pieces that were written by vocational composer for playing only one performer-soloist (instrumentalist, vocalist). It is necessary to emphasize that maximally active, result way for keep qualitative high level of creatively artistic practice, musical lessons into the special class (wind wood and brass, drums, vocal, string-bowed, string-plucked specializations) is creative appeal of contemporary pedagogue-musicians to the academic compositions, that were written by authors in to performing form solo, namely the address to masterpieces for performing only one artist-soloist. These academic stagesingle musical pieces are artistically self-sufficient, at the same time, this kind compositions are performed by musician without fortepiano. The pieces of music solo absorb by the power of composer's talent, artistic thoughts the excellently most potential of artistically expressive possibilities, intonation sounding means one or another instrument (voice) - chord sounding (monophonic instruments), microinterval (microchromatics), sound oscillation, playing with four mallets, hidden polyphony and others. This type of compositions (music solo) will be giving the distance professional development of artistically expressive means for student's practice, the formation of independence concerning artistically imaginative thinking of pupils, as well as the upbringing of academic ensemble performing skills among contemporary students.
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Holtz, Peter. "What's your music? Subjective theories of music-creating artists." Musicae Scientiae 13, no. 2 (September 2009): 207–30. http://dx.doi.org/10.1177/102986490901300202.
Full textAbstract:
In an interview study with 17 music-creating artists (composers of contemporary “classical” music, electronic music, musicals, movie scores, and jazz musicians) from Southern Germany, three types of music-creating artists could be discerned: the avant-gardists, the neo-romantics, and the self-disclosing artists. These types represent social groups that are prone to typical intergroup conflicts. The different types of music-creating artists adhere to different aesthetic ideals: the avant-gardists emphasize the abstract beauty of musical structures and try to develop their music from within the music itself, the neo-romantics view music as the true language of the heart and try to express something through their music, and the self-disclosing artists feel the drive to express their feelings and sensations by means of music. As a consequence, different dimensions of musical communication are pivotal: formal aspects, the relationship between the musician and the listener, and self-disclosure. The three types of music-creating artists resemble the types of composers analyzed by Julius Bahle in the 1930s ( e.g. Bahle, 1930). Regarding their modus operandi, the musicians differ on a continuum between a purely rational creative work and the creation of music in an unconscious outburst of inspiration. Nevertheless, most musicians experience an alternation between phases of intuitive inspiration and phases of deliberate rational construction during the creative process. Therefore, a typology of musicians based on their modus operandi seems unhelpful.
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Ricciardi, Emiliano. "Torquato Tasso and Lighter Musical Genres: Canzonetta Settings of the Rime." Journal of Musicology 29, no. 4 (2012): 385–421. http://dx.doi.org/10.1525/jm.2012.29.4.385.
Full textAbstract:
Scholars of the madrigal have often emphasized Torquato Tasso’s role in the emergence of a serious musical manner that differed sharply from the widespread canzonetta style of the late sixteenth and early seventeenth centuries. This emphasis is grounded in Tasso’s endorsement of musical gravitas in the dialogue La Cavaletta from the mid-1580s, as well as in some settings of Gerusalemme liberata, the musical style of which matched the heroic tone of the poetry. Tasso, however, produced many poems that were suitable to lighter musical styles. In particular, he wrote several short strophic compositions of light tone, that is, canzonetta poems. Numerous composers set these as such or as canzonetta madrigals, the hybrid genre that became popular in the late sixteenth century. This poetic-musical repertoire counters Tasso’s and scholars’ emphasis on gravitas and prompts a reconsideration of his impact on music that takes into greater account his substantial contribution to lighter genres.
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PATKUL, ANDREI. "ANASTASIYA MEDOVA PHENOMENOLOGY OF MUSICAL EXPERIENCE Krasnoyarsk, Reshetnev Siberian State University of Science & Technology; Krasnoyarsk State Pedagogical University named after V.P.Astafiev, 2021. ISBN 978-5-86433-873-5 ISBN 978-5-00102-500-9." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 11, no. 2 (2022): 735–42. http://dx.doi.org/10.21638/2226-5260-2022-11-2-735-742.
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In my review, I analyze the main theses of Anastasiya Medova’s monograph entitled Phenomenology of Musical Experience (2021). The author of the book raises the issue of what it is that we generally hear as music, as well as many directly or indirectly related other issues with regard to both the essence and the ontological status of music. According to her, it is only the phenomenological methodology that can provide an answer to these questions, which deals with the specifics of a musical object always in the context of the specifics of musical experience. Particular emphasis in the review is placed on the concept of reduction, as it is used in relation to music. It is designed to clear the experience of all elements not related to music as such, including sensitive shape-associations that often arise while listening to music. Another important point in the study of A. A. Medova is her posing of the question as to the regional nature of music and its possible correlation with the sphere of aesthetic in general. In this regard, I point out that the author of the monograph seeks to justify the irreducibility of music to the aesthetic sphere and that her solution of the problem of the possible regionality of music remains insufficiently determined. I also emphasize that one of the points of interest in the book is that Medova works with specific material, notably with the interpretation of significant works of musical art and the analysis of important theoretical statements about the essence of music.
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Paschoal, Stéfano. "Anáfora ou repetição em Música: figura e recurso expressivo." ouvirOUver 13, no. 1 (May 25, 2017): 216. http://dx.doi.org/10.14393/ouv20-v13n1a2017-16.
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A base do trabalho que ora se apresenta é a Retórica clássica latina, tal qual apresentada na obra “Rhetorica ad Herennium”, cuja autoria se atribui, ainda que de forma polêmica, a M.T. Cícero. A Retórica clássica latina exerceu grande influência na produção literária e retórica dos séculos posteriores, mais expressivamente durante a Renascença e o século XVII. É interessante notar que não apenas o âmbito literário recebe influências da Retórica, mas também outro, a saber, possuidor de linguagem própria, distinta e autônoma: a música. São profícuos os tratados que buscam demonstrar as relações entre Retórica e Música, afirmando ser a música, mesmo, passível de uma análise retórica. Isto criou o que se pode chamar de “retórica musical”. Apresentaremos aqui um breve panorama sobre Retórica e Música no século XVII alemão e enfatizaremos como se evidenciam em textos musicais diversos a anáfora.
PALAVRAS-CHAVE
Retórica, música, figuras de linguagem.
ABSTRACT
This paper relies on Latin Rhetoric as presented in the book “Rhetorica ad Herennium”. It is interesting to observe that not only literature becomes influenced from Rhetoric, but also another area, which consists itself in a specific and independent language: Music. German 17th century doesn’t receive Rhetoric influences only in the literature, intending – through imitation and emulation in a language policy programme – the formation of a national language and literature, but also in the Music. We will briefly present a panorama about assimilation of rhetoric means in Music during Renaissance and 17th century and emphasize how an important part of elocution – the figures of speech – becomes clear in the “musical” text. In this paper we show how one can find examples of anaphor in two different musical examples.
KEYWORDS
Rhetoric, music, figures of speech.
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Simić, Uroš. "Curriculum: Starting point in music culture integrative teaching approach." Metodicka praksa 19, no. 2 (2019): 265–78. http://dx.doi.org/10.5937/metpra1902265s.
Full textAbstract:
In this paper, we highlight the benefits of an integrative approach to teaching, with particular emphasis on teaching music culture. We emphasize the importance of the curriculum, and especially its teaching goals in designing lessons that integrate music culture teaching with other subjects. As one of the main differences of real integration of teaching with the connection to other subjects, commonly referred to as correlation in teaching, we find the importance of achieving goals of all teaching subjects that are linked in this process. Therefore, we underline the importance of emphasizing common teaching goals of all subjects taught, as well as the content that achieves the different objectives of all subjects. The song - main tool in music culture teaching, is the content that has great integrative potential due to the fact that, in addition to the musical components, it contains poetic ones as well. Integrative teaching with song at its core uses this characteristic of the song by analyzing its musical aspect to accomplish tasks of teaching music culture, while analyzing its lyrics accomplishes the tasks of other teaching subjects. Finally, we emphasize the methodical importance of the school stage and the performance of music on the stage in the integrative teaching, which is derived from the history of music. The integration of arts on the stage through syncretism is noticeable in the early periods of civilization. It is this connection of art that we carry into teaching process today and highlight the potential of stage performance in the integrative teaching of music culture.
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BENSA, ELISA, and GIANNI ZANARINI. "LA FISICA DELLA MUSICA." Nuncius 14, no. 1 (1999): 69–111. http://dx.doi.org/10.1163/182539199x00760.
Full textAbstract:
Abstracttitle SUMMARY /title The scientific revolution of XVII century concerned also the domain of music theory, deeply investigating the nature of musical sounds and the physics of their production. Also the classical explanations of musical consonance were questioned, looking for its hidden causes through physics experiments and mathematical models. The passionating history of musical acoustics from Galileo to the end of XVIII century is revisited, with a particular emphasis on consonance theories.
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Spiegel, Laurie. "Music as mirror of mind." Organised Sound 4, no. 3 (November 16, 2000): 151–52. http://dx.doi.org/10.1017/s1355771800003046.
Full textAbstract:
Hierarchical and other historically dominant models of perceived musical organisation are increasingly inapplicable to new musical processes and repertoire. The next major paradigm shift for music models, structures and concepts, perhaps comparable in importance to that in which polyphony gave way to homophony, may be a shift of emphasis from means of acoustic production and the nature of sound per se to new musical models based on psychoacoustics, cognitive studies and subjective auditory experience.
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Kramer, Lawrence. "Running the Gamut: Music, the Aesthetic, and Wittgenstein's Ladder." Konturen 2, no. 1 (October 11, 2010): 151. http://dx.doi.org/10.5399/uo/konturen.2.1.1351.
Full textAbstract:
Ludwig Wittgenstein’s thinking about musical aesthetics (a small but persistent strain in his writings) focused primarily on questions of demonstration and proper performance: how should this waltz or march sound? These emphases were part of a modernist-inspired effort to move aesthetics down from the heights of Kantian contemplation onto the plain of quotidian practice. But Wittgenstein does not so much escape Kant’s formulations as he extends them. The result opens the possibility of elaborating ordinary, even banal, comments about music into complex accounts of musical meaning.
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Marsh, Clive. "Preparing for Worship." Ecclesial Practices 1, no. 2 (October 10, 2014): 192–206. http://dx.doi.org/10.1163/22144471-00102003.
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This article uses insights from an empirical study of music-users to explore the assumptions and expectations which everyday music is likely to create within a Western Christian congregation. It identifies the desire to be happy, the search for a safe space, a concern about personal identity and a willingness to use music to acknowledge negative emotions as four key emphases of the practice of contemporary listening. These four emphases are explored in relation to the practice of contemporary worship. It is shown that whilst it could be argued that everyday music dulls the expectations of the non-musical – for the musical may gain much through performance and participation in music-making – it is nevertheless vital that theological attention is paid to what is happening to congregation-members. The potentially salvific work to which music contributes is in need of further exploration and articulation in contemporary theology.
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Palmer, Caroline. "Anatomy of a Performance: Sources of Musical Expression." Music Perception 13, no. 3 (1996): 433–53. http://dx.doi.org/10.2307/40286178.
Full textAbstract:
Research on music performance often assumes that a performer's intention to emphasize musical structure as specified in a score accounts for most musical expression. Relatively unstudied sources of expression in performance include notational variants of compositional scores, performer-specific aspects, and the cultural norms of a particular idiom, including both stylistic patterns that exist across musical works and expectations that arise from a particular musical context. A case study of an expert performance of a Mozart piano sonata is presented in which influences of historical interpretations of scores, performer-specific treatments of ornamentation and pedaling, and music- theoretic notions of melodic expectancy and tension-relaxation are revealed. Patterns of organization internal to the performance expression transcended the coarsegrained information given in scores, suggesting that performance is a better starting point than a musical score for testing theories of many musical behaviors.
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Hallam, Susan, Andrea Creech, and Hilary McQueen. "Can the adoption of informal approaches to learning music in school music lessons promote musical progression?" British Journal of Music Education 34, no. 2 (March 28, 2017): 127–51. http://dx.doi.org/10.1017/s0265051716000486.
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The aim of this research was to explore the impact of the adoption of the Musical Futures approach on the musical progression of students in Musical Futures’ Champion schools. The research took place over three years in three phases with 733 students and 28 music teachers completing questionnaires. Data from the interviews with 39 staff and focus groups of 325 students provided greater insights into the questionnaire responses. Overall, teachers reported that Musical Futures had enhanced the musical progression of their students and increased take up at Key Stage 4. In some cases this had led to changes in the qualifications on offer with an emphasis on those which were vocational rather than academic. This created some tensions in catering for the needs of different groups of students who had a range of different musical skills.
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Калицкий, V. Kalitskiy, Диденко, and N. Didenko. "Musical Communication: Problems of Theory and Practice." Modern Communication Studies 3, no. 4 (August 15, 2014): 10–16. http://dx.doi.org/10.12737/5396.
Full textAbstract:
The article considers the concept of musical communication as the content
of music and performing practice. Phenomenon of existence of a musical
work in miscommunication relationships. Reveals the importance of
an integrated approach for the most successful performance of a musical
work. The need detailed consideration of the phenomenon of musical communication
serves to update through a review and analysis as a means
of Humanities and art history. The essence and specific features of the
phenomenon are projected on specific examples of music: in the process
of composing musical works of the composer, his artistic interpretation by
the contractor and multifaceted perception of the recipient. The authors of
this article, with special emphasis on musical practice of the twentieth century
(especially in the field of writing and interpretation of piano works by
russian and western european composers and performers), allowing most
adequately and fully disclose material provisions of musical communication.
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Shevchenko, E. "MUSICAL TECHNIQUES IN OUR MUTUAL FRIEND BY CHARLES DICKENS." Voprosy literatury, no. 1 (September 30, 2018): 225–46. http://dx.doi.org/10.31425/0042-8795-2018-1-225-246.
Full textAbstract:
The article is concerned with the musical speech techniques used by Charles Dickens, particularly in Our Mutual Friend, and brings up the problem of Dickens’ unique sense of language in the fragments where speech reveals musical qualities, or a focus on how it would be heard. Based on Sher’s intermediality theory, the analysis takes into consideration the sounds of words, rhythm, ‘volume’, length, and the pace of sentences. Special attention is given to the technique of repetition and accompaniment, used to intensify the musical effect of speech. The findings reveal new aspects of the correlation between speech structure and semantics, their union a proof of the writer’s sensitive ear. The article points out the significance of the musical, i. e. ‘non-semantic’ elements in the creation of the book’s atmosphere and semantic emphases. The paper goes on to give a new interpretation to speech intonation, suggesting it should be treated as a musical concept. Finally, the author argues that, rather than ‘imitating’ languages (according to M. Bakhtin), Dickens invents new ones through his masterful use of various techniques.
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de Sousa, Elisabete M. "Richard Wagner: Leitmotiv e Música Dramática." Philosophica: International Journal for the History of Philosophy 18, no. 36 (2010): 25–44. http://dx.doi.org/10.5840/philosophica2010183620.
Full textAbstract:
The present essay presents the content of the landmarks that punctuate the long dialogue between verbal language and musical language during the 19th Century, by means of examples taken from the critical and theoretical writings of Hector Berlioz, Robert Schumann and Richard Wagner. In the search for the dramatic essence of music, such dialogue took different forms: the possibility of verbal language being translated by musical language, the pre-existence of a musical-poetic idea in any musical composition, eventually contributing to the appearance of program music, and finally, the principles presiding over Wagner’s Gesamtkunstwerk. Special emphasis is given to Richard Wagner’s Parisian article De l'Ouverture (1841), as well as to the impact on Soren Kierkegaard.
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Shen, Chen. "The Feldman-ness in Rothko Chapel: Context, Emphasis, and Meaning." BCP Education & Psychology 7 (November 7, 2022): 261–71. http://dx.doi.org/10.54691/bcpep.v7i.2644.
Full textAbstract:
Rothko Chapel is Morton Feldman's most distinctive piece. The processes of musical development in this work also deviate from traditional Feldman. Contrary to the emphasis on the uniqueness of Rothko Chapel that several scholars have explored. Firstly, this paper provides a detailed account of Feldman’s oeuvre and its analytical difficulties, followed by an overview of existing approaches to the analysis of Rothko Chapel. And finally, this paper selected fragments from Rothko Chapel and analyzed the compositional techniques of Rothko Chapel and its Feldman-ness.
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Calcagno, Mauro. "“Imitar col canto chi parla”: Monteverdi and the Creation of a Language for Musical Theater." Journal of the American Musicological Society 55, no. 3 (2002): 383–431. http://dx.doi.org/10.1525/jams.2002.55.3.383.
Full textAbstract:
Abstract Conventional views of text/music relationships in early Italian opera focus on the imitation of affections. But by dealing exclusively with the referential meanings of texts (e.g., emotions, images, and concepts) these views overlook an important aspect of music's interaction with language. In opera, music also imitates language's contextual and communicative functions—i.e., discourse, as studied today by the subfield of linguistics called pragmatics. In his operas Monteverdi fully realized Peri's ideal of “imitating in song a person speaking” (“imitar col canto chi parla”) by musically emphasizing those context-dependent meanings that emerge especially in ordinary language and that are prominent in dramatic texts, as opposed to poetry and prose. Such meanings are manifest whenever words such as “I,” “here,” and “now” appear— words called “deictics”—with the function of situating the speaker/singer's utterances in a specific time and place. Monteverdi highlights deictics through melodic and rhythmic emphases, repetition, shifts of meter, style, and harmony, as part of a strategy to create a musical language suited to opera as a genre and to singers as actors. In Il ritorno d'Ulisse in patria and L'incoronazione di Poppea, this strategy serves large-scale dramaturgical aims with respect to the relationships among space, time, and character identity, highlighting issues also discussed within the contemporary intellectual context.
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Green, Lucy. "The Assessment of Composition: Style and Experience." British Journal of Music Education 7, no. 3 (November 1990): 191–96. http://dx.doi.org/10.1017/s0265051700007774.
Full textAbstract:
This article compares two very different GCSE compositions, and various ways to assess them. The type of emphasis which examination boards, teachers and moderators place upon different musical styles, and different musical skills, has radical consequences for the type of marks we are likely to allot; and the system of music education itself throws up some significant ironies concerning the future opportunities of candidates.
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Zhichuang, Gao, and Zhang Junyuan. "Historical ways of the intersection of the folk musical memory of USSR and China: social, political and cultural perspectives." OOO "Zhurnal "Voprosy Istorii" 2023, no. 12-1 (December 1, 2023): 228–35. http://dx.doi.org/10.31166/voprosyistorii202312statyi07.
Full textAbstract:
Of all the cultural intersections of the Celestial Empire with other countries, Chinese-Russian interaction has a special historical context and a national social path. This article aims to study the historical ways of the intersection of the folk musical memory of Chinese and Soviet society. Emphasis is placed on the social, political, and cultural paths and prospects for bilateral musical cooperation between the two states.
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Christiner, Markus, and Susanne Reiterer. "Early Influence of Musical Abilities and Working Memory on Speech Imitation Abilities: Study with Pre-School Children." Brain Sciences 8, no. 9 (September 1, 2018): 169. http://dx.doi.org/10.3390/brainsci8090169.
Full textAbstract:
Musical aptitude and language talent are highly intertwined when it comes to phonetic language ability. Research on pre-school children’s musical abilities and foreign language abilities are rare but give further insights into the relationship between language and musical aptitude. We tested pre-school children’s abilities to imitate unknown languages, to remember strings of digits, to sing, to discriminate musical statements and their intrinsic (spontaneous) singing behavior (“singing-lovers versus singing nerds”). The findings revealed that having an ear for music is linked to phonetic language abilities. The results of this investigation show that a working memory capacity and phonetic aptitude are linked to high musical perception and production ability already at around the age of 5. This suggests that music and (foreign) language learning capacity may be linked from childhood on. Furthermore, the findings put emphasis on the possibility that early developed abilities may be responsible for individual differences in both linguistic and musical performances.
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Tanay, Dorit. "The Image of Music and the Bodies of Knowledge in the Late Middle Ages: Rhythmic Procedures as Cultural Representations." Science in Context 9, no. 2 (1996): 121–36. http://dx.doi.org/10.1017/s0269889700002374.
Full textAbstract:
The ArgumentThe paper argues that the distinction between modernism and postmodernism can be applied metaphorically to clarify the changing image of music during the late Middle Ages. The paper discusses the scientific and rational strategies that thirteenth century musical theorists applied to revise earlier musical conceptualization. It highlights the thirteenth-century innovative affiliation of music with Aristotelian physics and argues that in a very subtle and seemingly contradictory way music theorists expressed the nascent awareness, if not tacit acknowledgment, of the mundane nature of music. It argues further that in the fourteenth century the issue of representing musical-rhythmical variability by means of a suitable language shifted to the forefront of musical theory and practice. The unprecedented emphasis on musical signs and their semantic behavior as well as the demand to demystify the discourse about rhythmical concepts — so as to question the necessity of metacategories — all point to an affinity between fourteenth century musical thought and postmodern sensibilities.
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Held, Marcus, and Clive Brown. "Early Music, Notation and Performance." Per Musi, no. 42 (October 20, 2022): 1–10. http://dx.doi.org/10.35699/2317-6377.2022.39099.
Full textAbstract:
In this interview granted to Marcus Held, Clive Brown discourses about his career dedicated to the historical investigations related to the 18th and 19th centuries music, with emphasis on past performance practices. Brown, who witnessed the consolidation of the Early Music in England, recalls the processes of (re)discovery not only of the past repertoire, but also of the musical thought. With particular interest in musical notation and its intellectual processes, the researcher points that the approach to the score has definitely changed throughout the centuries and, from that, many challenges are posed for the activity of contemporary musical editing.
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Nurmanova, Zhanna. "KAZAKH CHILDREN’S LITERATURE IN THE FIELD OF INTERMEDIAL STUDIES." Odessa National University Herald. Series: Philology 27, no. 1(25) (April 23, 2023): 38–43. http://dx.doi.org/10.18524/2307-8332.2022.1(25).283272.
Full textAbstract:
The article deals with the problems of intermedial interaction of different types of arts – music and literature, painting and literature based on the stories of M. Kabanbaev. The emphasis in the article is on the compositional structure and images of the characters. As a result of the study, the musical repertoire was identified, the correspondence between the musical form and composition of a prose work was determined, verbal music in prose was analyzed, which helps to recreate the specifics of musical experience. The importance of different types of arts in the life and work of Kazakh writers of the twentieth century is emphasized.
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Swebodziński, Bartłomiej, Łukasz Brzezina, Krzysztof Cybulski, and Aleksandra Meisner. "Sources of individual differences in human musical activity: selected neurophysiological and developmental aspects." Kwartalnik Naukowy Fides et Ratio 55, no. 3 (September 22, 2023): 148–55. http://dx.doi.org/10.34766/fetr.v55i3.1171.
Full textAbstract:
The article is devoted to individual differences in the field of human musical activity. Musical abilities were taken into account in terms of development, emphasizing the prenatal period of a man. The attention was paid to important aspects in further human development, taking into account heritability and the influence of the environment. They used neurophysiological indicators of changes in development that define neuroplasticity. The importance of characteristics relating to perception, musical intelligence and manual skills was also noted. It is also associated with individual differences in physical activity as a response to music or support in musical performance. The importance of own work in the development of musical abilities was also taken into account. It turns out to be equally important to emphasize the development of musical abilities within the recalling game as opposed to the improvisational one, which is correlated with the variable activation of the neurophysiological task-positive and task-negative networks. The cross-sectional approach to the problem shows the complexity of the musical activity itself which justifies the wide variance of musical abilities analyzed in terms of individual differences which underlie the neurophysiological mechanisms conditioning developmental changes and resulting from own work.
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Honeycutt, Kevin S. "The Musical Philosophy of Bertrand de Jouvenel." Review of Politics 79, no. 3 (2017): 389–412. http://dx.doi.org/10.1017/s0034670517000250.
Full textAbstract:
AbstractIn this essay I set forth the musical philosophy of Bertrand de Jouvenel, a topic that has not been previously explored. I focus on Jouvenel's literary background; his emphasis on the imagination; his insistence that metaphor is the basis of all thought; and his critique of the “amousia” of modern philosophy, that is, its lack of music. Jouvenel believes that this amousia has led to dangerous political consequences in the twentieth century, such as the aesthetic and psychological promotion of violence. After setting forth Jouvenel's account, I explore these consequences.
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Perman, Tony. "Musical meaning and indexicality in the analysis of ceremonial mbira music." Semiotica 2020, no. 236-237 (December 16, 2020): 55–83. http://dx.doi.org/10.1515/sem-2018-0057.
Full textAbstract:
AbstractIn this essay I examine three different indexical processes that inform meaning during a mbira performance in Zimbabwe in order to clarify the nature of meaning in musical practice. I continue others’ efforts to provincialize language and correct the damage done by “symbolocentrism’s” continued reliance on post-Saussurian models of signification and structure by addressing processes of purpose, effect, and agency in meaning. Emphases on language and/or structure mislead explanations of musical meaning and compromise the understanding of meaning itself. By foregrounding the unique properties of indexicality in musical practice, and highlighting three distinct indexical processes that drive music’s meaning (deictic, metonym, and replica), I help free meaning from language and offer an ethnomusicological counterpoint to multidisciplinary efforts that define meaning within linguistic and physiological paradigms. Indexical meaning is direct but unpredictable, rooted in experience, embodied habits, and the here and now.
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Drake, Carolyn, and Caroline Palmer. "Accent Structures in Music Performance." Music Perception 10, no. 3 (1993): 343–78. http://dx.doi.org/10.2307/40285574.
Full textAbstract:
Perceptual studies suggest that the segmentation of a musical sequence is influenced by three accent structures: rhythmic grouping, melodic, and metric accent structures. We investigate whether performers emphasize these types of accents with systematic performance variations (intensity, interonset timing, and articulation). In three experiments, skilled pianists performed sequences of various musical complexities: simple sequences containing only one accent structure (Experiment 1), more complex sequences containing coinciding or conflicting accent structures (Experiment 2), and a concert pianist's performance of a sonata containing coinciding and conflicting accent structures (Experiment 3). In all three musical contexts, similar systematic performance variations were observed in relation to each type of accent. Variations corresponding to rhythmic grouping accents were most consistent across musical contexts and dominated when the accent structures conflicted. These findings suggest perceptual correlates for the accent structures in music performance that may facilitate listeners' segmentation of musical sequences.
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Angelov, Marian. "EDUCATIONAL ASPECTS OF THE MUSICAL METRUM." Education and Technologies Journal 12, no. 2 (August 1, 2021): 324–29. http://dx.doi.org/10.26883/2010.212.3420.
Full textAbstract:
The key verbal characteristic that reveals the essence of the term „meter“ in music is „musical pulsation“ – correlation and periodicity in the alternation of individual times (parts) in the bars of a piece of music. The relevance of the present study is determined by the role that music education has in relation to the awareness and interpretation of the metric pulsations studied in primary school and the manifestations related to them. Emphasis in the research is the metric models and forms of work included in the curriculum for activating the sense of meter in the trainees. Possibilities for more rational comprehension and assimilation of the metric pulsations and activities represented in the music education process are presented. Phenomena related to the musical meter in education are considered and clarified.