Journal articles on the topic 'Guitar; musical performance; expressivity'
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Brenner, Brenda, and Katherine Strand. "A Case Study of Teaching Musical Expression to Young Performers." Journal of Research in Music Education 61, no. 1 (March 7, 2013): 80–96. http://dx.doi.org/10.1177/0022429412474826.
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What does it mean to teach musical expression to child performers? Is it teaching how to interpret a piece of music “correctly,” or is there more involved? In this case study, we explored the beliefs and practices of five teachers who specialized in teaching children to perform in a variety of musical performance areas, including violin, cello, piano, guitar, voice, and musical theater. To discover their pedagogy for teaching musical expressivity, we asked the initial questions, “How do these teachers define musical expression?” “What are the characteristics of an expressive performance for children?” and “Can musical expression be taught to children?” Data were collected through interviews with teachers and students, observations of lessons with children, and archival materials about each teacher’s studio practice. Transcripts of interviews, artifacts, and observed lessons were analyzed through emergent category coding and axial coding, using member checking and negative case analysis. Findings are discussed in relation to extant literature. Implications for teacher training and future research are explored.
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Blazhevych, Vasyl. "EVOLUTION OF GUITAR ART PERFORMANCE TRADITIONS IN THE NATIONAL CULTURAL AND EDUCATIONAL DIMENSION." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 107–15. http://dx.doi.org/10.33989/2226-4051.2017.15.175896.
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The essence and the content of “performing tradition” and “cultural and educational dimension” have been explained in the article. The author examines the history of the emergence and development guitar art in Ukraine as a whole, and specifically performance traditions of the guitarists. Practical educational and performing experience of a lot of prominent guitarists of national cultural and educational dimension, their performing concepts, techniques and methods, has been described; the author gives a complete description of the evolution of guitar art in Ukraine.An objective study of the historical development of national musical culture in today's extremely topical issue in the context of scientific understanding, particularly by disclosing distinctive features of the national musical performance and in particular instrument. Currently growing interest in issues of history, theory and techniques of instrumental performance has been considered, and study of the evolution of performance traditions due to the diversity of the world's musical instruments has been conducted.The XX century has started a process of recognition of the guitar as a professional instrument and it has integrated into the system of specialized music education. As a result of significantly increased quality guitar performance is becoming more popular palette of guitar music; multidisciplinary academic chamber and instrumental direction began to be classical and jazz guitar techniques.Principles and methods of forming performance skills that have been elaborated by practice of Ukrainian and foreign guitarists can be used for further development of musical training and education of talented youth.
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Parrott, Mackenzie L., and John Nix. "Listener ratings of singer expressivity in musical performance." Journal of the Acoustical Society of America 139, no. 4 (April 2016): 2035. http://dx.doi.org/10.1121/1.4950015.
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Supriando, Supriando. "PERTUNJUKAN MUSIK GRANDE OUVERTURE, ASTURIAS, DAN KARAK LILISAN DALAM SOLO GITAR." Puitika 12, no. 2 (September 18, 2016): 160. http://dx.doi.org/10.25077/puitika.12.2.160--175.2016.
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Musical performances Grande Ouverture, Asturias, and Karak Lilisan in a guitar solo is instrumental performances by classical guitar performer who puts as the sole major player in a musical performance. A performances that shows the maturity of the skill of a player on the composition of the music being played. Mechanical performances that have a distinctive character of a soloist who gives a new feel without forgetting the values desired musical composers to a composition played. Keywords: Grande Ouverture, Asturias, Karak Lilisan, guitar
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Torge Claussen, Jan. "Gaming Musical Instruments." Digital Culture & Society 5, no. 2 (December 1, 2019): 121–30. http://dx.doi.org/10.14361/dcs-2019-0208.
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Abstract This article addresses the relationship between labour and learning a popular musical instrument like the guitar in the specific context of a video game. Most gamification theories promise that using a video game makes it easy to learn (Kapp 2012; Deterding et al. 2011). Even if this holds true, I argue that this kind of playfulness causes some backlash, which I observed during an experiment in which students played the music video game Rocksmith 2014. Learning and playing the guitar through the medium of a video game comes with diverse experiences as well as expectations that are closely related to the dichotomies between play and work, often discussed in game studies based on the famous texts by Johann Huizinga (2004) and Roger Caillois (1960). Learning any traditional music instrument requires much effort in several skill areas, for example, dexterity, hearing, sight-reading, and performance. In other words, it seems to be hard work and not at all playful like a video game. In this article, the various aspects of playful work and labourious play, found in both music education and guitar games, will be discussed against the backdrop of empirical findings including data from online interviews, research diaries and video recordings.
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Ivannikov, Tymur, and Tetiana Filatova. "Specific Sound Production Techniques in Academic Guitar Music." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 111–25. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.08.
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"The article is focused on the problematic research area in the borderline between performance, musical and composer’s interests in academic guitar music. Modern growth trends have been identified in the sound production experimental reserves being not typical for the classical guitar performance stroke in concert practice until the early 20th century. A specific method typology of sound production has been proposed: using the technical performance parameters, phonic and visual sound effects, the origin, and primary, authentic realms of life. The connections with similar processes in other instrumental areas have been traced. The light has been thrown on technical and aesthetic facets. The specific methods in sound production stroke, the tone quality and acoustic characteristics varying in range, the expanded visual noise sound effects, and graphic images in the score have been examined. The artistic music samples of the whole generation of experimental composers, namely the French ones: Maurice Ohana, Roland Dyens, Francis Kleynjans and the Chilean ones: Juan Antonio Sánchez, Gustavo Becerra Schmidt analyzed through specific methods of guitar sound extraction have resulted in marked imaginative connections and associations with the content core of musical works. Keywords: guitar music, specific methods of sound extraction, modern guitar concert practice "
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Vuoskoski, Jonna K., Marc R. Thompson, Eric F. Clarke, and Charles Spence. "Crossmodal interactions in the perception of expressivity in musical performance." Attention, Perception, & Psychophysics 76, no. 2 (November 15, 2013): 591–604. http://dx.doi.org/10.3758/s13414-013-0582-2.
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Zorzal, Ricieri, and Oswaldo Lorenzo. "Teacher–student physical contact as an approach for teaching guitar in the master class context." Psychology of Music 47, no. 1 (November 3, 2017): 69–82. http://dx.doi.org/10.1177/0305735617737154.
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In this study, the role of physical contact between teachers and students in the process of teaching guitar was investigated in the master class context. Thirty-five videotaped guitar master classes were classified into five groups according to student performance level. The musical topics studied in these classes were categorised, and all moments of physical contact between teachers and students were identified. Analyses of variance and non-parametric tests were used to determine the relationship between use of physical contact as a teaching approach and student gender, student performance level, the teacher giving the lesson, and topic presented by the teacher. The results indicated that physical contact was significantly related to the teacher giving the lesson and to guitar performance topics of “nails”, “muscle relaxation”, and “body posture”. However, of these three topics, only “body posture” was significantly related to students’ performance level. Ultimately, the results suggest that the topic presented by the teacher is helpful in determining the gestural behaviour of teachers in a musical instrument class.
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Castro, Renato Moreira Varoni de. "Performance and Autoethnography in Historical Ethnomusicology: Differentiating the Viola and the Violão." Per Musi, no. 34 (August 2016): 35–61. http://dx.doi.org/10.1590/permusi20163402.
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Abstract This article proposes the combination of performance and autoethnography as alternative methods to make use of musical scores concerning the viola (five-course guitar) and the violão (six-course guitar) in historical ethnomusicology. The author performs and records the same set of songs on the viola and the violão, and based on the multidimensionality of the interaction performer/instrument, writes an autoethnography differentiating his experiences in playing at both chordophones. This approach strives for overcoming the duality body/mind in academic musical research and comprises the embodied knowledge that arises from experience as a complementary epistemology to the corpus of knowledge about these instruments. Moreover, it is added the professional viewpoint of the virtuoso viola player Ivan Vilela who, interviewed by the author, gives his impressions about the differences in ergonomics and playing technics between those chordophones.
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Indrawan, Andre, Noer Iskandar Albarsani, Kustap Kustap, and Suryati Suryati. "Ryuji Kunimatsu Guitar Arrangement on the Oblivion by Astor Piazzolla: A Critical Analysis." Harmonia: Journal of Arts Research and Education 21, no. 2 (January 1, 2022): 204–20. http://dx.doi.org/10.15294/harmonia.v21i2.31750.
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This study examined the characteristics of Kunimatsu’s guitar arrangements in Astor Piazzolla’s Oblivion by comparing aspects of musical form, melody, and harmony. As with other arrangements’ performances, the primary motif of Astor Piazzola’sOblivion melodic theme in Kunimatsu guitar arrangement has always been played differently from the original version. This performance phenomenon could responsibly risk blurring the identification of structural boundaries within its musical form. The purpose of this study is to prove the basic construction of Oblivion melody, including its form structure and rhythmic characteristics, by comparing Kunimatsu’s arrangements against the composer’s original score. This study uses musicological research methods. The approaches applied in studying this work are analytical, theoretical, and comparative. This study compares the two data to reveal the musical forms and the differences in the primary motive rhythmic characteristics. The results of this study are findings of the Oblivion musical forms in both publications and the differences in primary motives rhythmic patterns in both sources. The difference in musical form is impressive, possibly caused by the insertion of auxiliary members. As a result, Kunamitsu arrangement includes using the two-part song form, originally a three-part song form. With the revelation of the original melodic structure that is clear from the results of this study, the musicians who will present the Oblivion will at least have the essential reference in their interpretation. This research contributes to expanding studies in classical guitar performance and musical forms and new approaches in textual musicological analysis that are still infrequent.
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Geringer, John M., and Justine K. Sasanfar. "Listener Perception of Expressivity in Collaborative Performances Containing Expressive and Unexpressive Playing by the Pianist." Journal of Research in Music Education 61, no. 2 (June 13, 2013): 160–74. http://dx.doi.org/10.1177/0022429413485246.
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Listener perception of musical expression in collaborative performance was explored in this study. Performances of two duos (a violinist and pianist, and a vocalist and pianist) were recorded. The level of expressivity of the violinist and vocalist remained stylistically appropriate during pieces; however, the pianist alternated between very expressive and unexpressive playing during each performance. The piece performed by each duo contained approximately equal sections of expressive and unexpressive playing by the pianist, and listeners heard each piece twice with the sections juxtaposed. Sixty-six undergraduate and graduate music students turned a Continuous Response Digital Interface dial to indicate their ongoing perception of expressivity as they listened throughout each performance. Graphic analysis of listeners’ responses for both pieces illustrated that they differentiated between sections with expressive and unexpressive playing by the pianist. Statistical analysis revealed that sections in which the pianist played expressively were perceived with significantly higher levels of expressivity than unexpressive sections. We found no significant differences in perceived expressivity between performance experience groups, gender, graduates versus undergraduates, or orders. Thus, in collaborative performances of a vocalist or instrumentalist with a pianist, pianist expressiveness appears to influence perception of overall expressivity.
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., Paryono, Sarana ., and Suharto . "GUITAR SIDE BODY MAKING TECHNIQUE USING SCREW PRESS AND HEATER." International Journal of Innovative Research in Advanced Engineering 8, no. 7 (July 30, 2021): 161–66. http://dx.doi.org/10.26562/ijirae.2021.v0807.004.
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The guitar musical instrument industry located in Baki District, Sukoharjo, Central Java, Indonesia, is still using the manual method of guitar manufacturing process currently. The problem is that the guitar production time is not only 2 hours and is considered a long time and non-uniformity of the quality. A better Technology is needed to help improve the quality and quantity of guitar production. The purpose of this research is to design and manufacture a guitar side body press with a heater using an electric element and a gas stove. The benefit of this tool is that it speeds up the process of forming the side body of the guitar. The research method begins with a preliminary study, design, manufacture, assembly, and testing the performance of the guitar side body-forming machine. The research resulted in a unit of guitar side body pressing machine with a length of 1200 (mm) Width 520 (mm) Height 1000 (mm). 2000 (watt) electric heater. The pressing process uses a manual screw press. Testing showed that the best performance of the guitar side body press machine is at a temperature of 75℃ with 5 minutes pressing time. The machine produced by this research can be used by guitar SMEs to improve quality, productivity, and competitiveness.
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Suroso, Panji, Adina Sastra Sembiring, Uyuni Widiastuti, Muklis Hasbulah, and Bakhrul Khair Amal. "Performance Model of Kulcapi (Karo Musical Instrument) as a Teaching Material in Guitar Learning." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 1, no. 4 (December 22, 2018): 136–43. http://dx.doi.org/10.33258/birci.v1i4.102.
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This study examines performance model of Kulcapi Karo as a teaching material in guitar learning classes at Music Art Study Program in Unimed. To obtain maximum learning outcomes in the learning process, creative strategies and methods are created in utilizing local music culture as a capital in improving music playing skills. Efforts are made in various ways to maximize learning by reviewing and analyzing matters related to the learning process such as; analyze learning objectives, teaching material, strategies or learning methods, including local cultural material as a learning resource that can be adapted to the development and needs of the community in the world of education that continues to grow. Based on this, it is very important if Kulcapi's musical instrument culture as local culture can be packaged and used as teaching material in learning guitar music instruments. This is intended to further enrich students' understanding of theoretical concepts and the practice of playing stringed musical instruments is not only limited to popular knowledge, but also on things that are more specifically including traditional ones. With the effort to study and understand the Kulcapi instrument as teaching material, students must absolutely understand the organology structure and the technique of playing Kulcapi to be able to be developed to the level of being able to play better musical instruments. The technique of playing Kulcapi instrument as a capital in developing students' abilities in guitar courses seems to be more able to improve the achievement of better quality learning outcomes
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Vuoskoski, Jonna K., Marc R. Thompson, Charles Spence, and Eric F. Clarke. "Interaction of Sight and Sound in the Perception and Experience of Musical Performance." Music Perception 33, no. 4 (April 1, 2016): 457–71. http://dx.doi.org/10.1525/mp.2016.33.4.457.
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Recently, Vuoskoski, Thompson, Clarke, and Spence (2014) demonstrated that visual kinematic performance cues may be more important than auditory performance cues in terms of observers’ ratings of expressivity perceived in audiovisual excerpts of piano playing, and that visual kinematic performance cues had crossmodal effects on the perception of auditory expressivity. The present study was designed to extend these findings, and to provide additional information about the roles of sight and sound in the perception and experience of musical performance. Experiment 1 investigated the relative contributions of auditory and visual kinematic performance features to participants’ subjective emotional reactions evoked by piano performances, while Experiment 2 was designed to explore the effect of visual kinematic cues on the perception of loudness and tempo variability. Experiment 1 revealed that visual performance cues seem to be just as important as auditory performance cues in terms of the subjective emotional reaction of the observer, thus highlighting the importance of non-auditory cues for music-induced emotions. The results of Experiment 2 revealed that visual kinematic cues only affected ratings of loudness variability, but not ratings of tempo variability.
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Sulistiono, Sulistiono, Bambang Suhardi, F. Ishartomo, and I. Nugraha. "PRELIMINARY REVIEW OF MULTISCALE FRET AS INNOVATION OF ERGONOMIC GUITAR." Journal of Technology and Operations Management 16, Number 1 (July 29, 2021): 81–90. http://dx.doi.org/10.32890/jtom2021.16.1.7.
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The development of multiscale fret as innovation of ergonomic guitar concept aims to make this innovation applied more by guitar luthiers in designing a guitar signature that is modern and ergonomic. This concept has its own advantages, not only producing specific and organic tones, but also has benefits that can minimize the risk of repetitive strain injuries that are often experienced by guitar players. Therefore, multiscale fret has begun to be widely developed and has become one of the alternative innovations that can be applied by guitar luthiers that still adopt conventional fret concept. This paper conducts an preliminary information of the innovation of multiscale fret in a guitar that is associated with aspects of ergonomic comfort. In further research, this is expected to be a reference to understand the basic of multiscale fret and a stepping stone in conducting more systematic review regarding the effectiveness of the performance of human-centered musical instruments.
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VARWIG, BETTINA. "MUSICAL EXPRESSION: LESSONS FROM THE EIGHTEENTH CENTURY?" Eighteenth Century Music 17, no. 1 (February 12, 2020): 53–72. http://dx.doi.org/10.1017/s1478570619000447.
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ABSTRACTThis article outlines a number of potential contributions that a consideration of early eighteenth-century conceptions of musical expressivity might make to certain present-day philosophical and psychological accounts of musical emotions and their expression. Taking as its central case study a performance by Christian Gerhaher in Peter Sellars's 2014 staging of J. S. Bach's St John Passion, the article calls for closer attention to both the historical specifics of music's expressive capacities and the corporeal dimension of performance (past and present). It argues that a more sustained engagement with these domains can productively complicate some fundamental assumptions that underpin current approaches to musical expression.
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Estrada Yarce, Emanuel. "ARTICULANDO CON TRASTES. ACERCA DE LA ARTICULACIÓN COMO ELEMENTO ESTRUCTURADOR DE LA EJECUCIÓN MUSICAL EN LA GUITARRA." Ricercare 2018, no. 10 (March 5, 2019): 6–36. http://dx.doi.org/10.17230/ricercare.2018.10.1.
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This article approaches the articulation in music as a structuring element to perform the universal repertoire for solo guitar. For that purpose, we start from the conception of music as a language and musical pieces as discourses for which technique has to be at service. The goal is then structuring the fingering process for the performance of the pieces, both those that were conceived for the guitar as well as those that are adaptations of pieces written for other instruments.
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Castro-Magas, Diego. "GESTURE, MIMESIS AND IMAGE: ADORNO, BENJAMIN AND THE GUITAR MUSIC OF BRIAN FERNEYHOUGH." Tempo 70, no. 278 (September 28, 2016): 16–28. http://dx.doi.org/10.1017/s0040298216000310.
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AbstractOne important stimulus in attempting to apply Adorno's constellation of concepts on performance to Brian Ferneyhough's guitar music is that both display the influence of Walter Benjamin's thought. Benjamin's concept of mimesis influenced Adorno's theory of musical reproduction, however much Adorno may have reformulated it, and various Benjaminian topics are traceable in Ferneyhough's guitar music, especially Kurze Schatten II (1983–89) for solo guitar. Adorno claims that true reproduction is the X-ray image of the work of music, a rendition of all the aspects that lie hidden beneath the surface. By exploring the conceptual traces of Benjamin's thought in Kurze Schatten II, this article examines how performer's interpretative choices are likely to render the X-ray image of this music in performance, as seen through a gesture-based approach.
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Walker, Timothy M. "Instrument‐specific constraints on musical performance: Playing the piano and the guitar." Journal of the Acoustical Society of America 99, no. 4 (April 1996): 2481–500. http://dx.doi.org/10.1121/1.415577.
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Sloboda, John A., and Andreas C. Lehmann. "Tracking Performance Correlates of Changes in Perceived Intensity of Emotion During Different Interpretations of a Chopin Piano Prelude." Music Perception 19, no. 1 (2001): 87–120. http://dx.doi.org/10.1525/mp.2001.19.1.87.
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This study demonstrates a comprehensive method for linking expert musicians' interpretive choices and associated performances to listeners' perceptions of emotionality. In Phase 1 of the study, 10 expert pianists recorded their prepared interpretations of a highly emotional piece of music (F. Chopin's Prelude op. 28, no. 4). They were also interviewed about their deliberate interpretive choices. In Phase 2, 28 musicians listened to the interpretations and provided postperformance ratings of expressivity and other performance aspects. During listening, subjects moved a mouse pointer on a continuous response computer interface, rating the moment-to-moment (concurrent) level of perceived emotionality. The correlation between postperformance ratings of expressivity and mean concurrent ratings was moderate (.50). In general, musical structure and the trajectory (trace) of concurrent emotionality ratings corresponded strongly. Statistically reliable trace divergences between individual performances and the grand mean performance demonstrated systematic relationships between emotionality ratings and performance data (loudness, timing). Increases in emotionality appear to be caused by specific local deviations from the performance characteristics of an average performance. Interpretive choices clustered at musical phrase boundaries. Many of the analyzed divergences were reflected in performers' interpretive intentions as revealed in interview data.
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Miteva-Dinkova, Stela. "THE ARPEGGIO IN DIDACTIC LITERATURE FOR CLASSICAL GUITAR." Knowledge International Journal 28, no. 3 (December 10, 2018): 1069–74. http://dx.doi.org/10.35120/kij28031069s.
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The art of instrumental performance has a specific purpose - to present a musical work (author's product) to a wide public auditorium - an audience. In order to accomplish this practical activity, the performer is necessary to adopt and master certain instrumental skills. Some of them are universal, others are "tied to" the specifics of the instrument itself, and others refer to certain elements of the musical language. By their nature, the techniques are skills created by the both hands finger movements. Fully studied and perfected, they are part of the instrumental technique, which is a tool of clear, convincing and "picturesque" representation of the artistic content of the musical works. In the process of classical guitar education, techniques are mastered step by step in accordance with their complexity, using didactic approaches outlined/exposed in the books. The review of such editions, which are created in a different period of time, illustrates the development of different pedagogical views in the classical guitar training. This provides practical and applied knowledge to the instructor of a musical instrument as an irreplaceable assistant in the teaching practice. This argues the consideration of arpeggio - a major technique skill in the context of its widespread application in the didactic instrumental literature and its fundamental importance for the development of instrumental technique in classical guitar. Expanded exposure with detailed organization of activities and modern manners of mastering the arpeggio technique, the author presents in the article ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education’ (Miteva-Dinkova, S. ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education, Collection of papers from International Scientific Conference ‘Science, Education and Innovations in the Arts’, Plovdiv, 2018). This text clarifies the origin, development and achievement of the most efficient ways of work that provide rapid and positive results in the pedagogical practice based on a review of basic didactic books (Mauro Giuliani – 120 Right Hand Studies, Francisco Tàrrega – Complete Technical Studies, Emilio Pujol – Escuela razonada de la guitarra, Abel Carlevaro – Seria Didactica para Guitarra, part 3 – Right Hand Technique).
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Dewi, Christine, and Rung-Ching Chen. "Combination of Resnet and Spatial Pyramid Pooling for Musical Instrument Identification." Cybernetics and Information Technologies 22, no. 1 (March 1, 2022): 104–16. http://dx.doi.org/10.2478/cait-2022-0007.
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Abstract Identifying similar objects is one of the most challenging tasks in computer vision image recognition. The following musical instruments will be recognized in this study: French horn, harp, recorder, bassoon, cello, clarinet, erhu, guitar saxophone, trumpet, and violin. Numerous musical instruments are identical in size, form, and sound. Further, our works combine Resnet 50 with Spatial Pyramid Pooling (SPP) to identify musical instruments that are similar to one another. Next, the Resnet 50 and Resnet 50 SPP model evaluation performance includes the Floating-Point Operations (FLOPS), detection time, mAP, and IoU. Our work can increase the detection performance of musical instruments similar to one another. The method we propose, Resnet 50 SPP, shows the highest average accuracy of 84.64% compared to the results of previous studies.
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Okhotnikov, Vladimir E. "The Semantic Explicitization of the Musical Text in Work with Beginner Guitarists." ICONI, no. 3 (2020): 107–20. http://dx.doi.org/10.33779/2658-4824.2020.3.107-120.
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The procedure of interpreting the content of the musical composition studied in a performance class is often reduced to reconstituting the version created by the instructor. The foundation of the joint interpretation with the pupil of the compositions may be served by the process of functioning of semantic fi gures in the context of the musical theme. Its semantic organization is impossible without turning to the foundational concept of semantic analysis — the intonational lexis, which summate the perceptions of the intonational vocabulary of the composer and the musical work he created. Thereby, the semantic explicitization must be the basis for objective analysis of the musical composition’s fi gurative-content aspect. The article examines the performers’ interpretations of musical compositions in beginners’ guitar classes on the basis of analyzing the musical text’s semantic structures in classical and contemporary music. For the beginner musician application of technique of semantic analysis will become a reliable source for a joint search for performance solution together with the instructor.
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Overholt, Dan, Edgar Berdahl, and Robert Hamilton. "Advancements in Actuated Musical Instruments." Organised Sound 16, no. 2 (June 28, 2011): 154–65. http://dx.doi.org/10.1017/s1355771811000100.
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This article presents recent developments in actuated musical instruments created by the authors, who also describe an ecosystemic model of actuated performance activities that blur traditional boundaries between the physical and virtual elements of musical interfaces. Actuated musical instruments are physical instruments that have been endowed with virtual qualities controlled by a computer in real-time but which are nevertheless tangible. These instruments provide intuitive and engaging new forms of interaction. They are different from traditional (acoustic) and fully automated (robotic) instruments in that they produce sound via vibrating element(s) that are co-manipulated by humans and electromechanical systems. We examine the possibilities that arise when such instruments are played in different performative environments and music-making scenarios, and we postulate that such designs may give rise to new methods of musical performance. The Haptic Drum, the Feedback Resonance Guitar, the Electromagnetically Prepared Piano, the Overtone Fiddle and Teleoperation with Robothands are described, along with musical examples and reflections on the emergent properties of the performance ecologies that these instruments enable. We look at some of the conceptual and perceptual issues introduced by actuated musical instruments, and finally we propose some directions in which such research may be headed in the future.
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Woody, Robert H. "The Effect of Various Instructional Conditions on Expressive Music Performance." Journal of Research in Music Education 54, no. 1 (April 2006): 21–36. http://dx.doi.org/10.1177/002242940605400103.
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This study is a comparison of the effectiveness of three approaches used to elicit expressivity in music students' performances: (a) aural modeling, (b) verbal instruction addressing concrete musical properties, and (c) verbal instruction using imagery and metaphor. Thirty-six college pianists worked with three melodies, one in each instructional condition. With each, subjects first gave a baseline performance, then received instruction for performing more expressively, and then gave a final performance. Subjects also verbally reported their thoughts during the process. Results confirmed that musicians can accommodate all three types of instruction used in the study and that each has strengths and weaknesses related to the characteristics of the music being performed and the musicians themselves. Additionally, analysis of the verbal reports suggested that musicians may use a cognitive translation process whereby they convert metaphor/imagery information into more explicit plans for changing the expressive musical properties of their performance (e.g., loudness, tempo, articulation). August 22, 2005 January 30, 2006
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Düvel, Nina, Reinhard Kopiez, Anna Wolf, and Peter Weihe. "Confusingly Similar: Discerning between Hardware Guitar Amplifier Sounds and Simulations with the Kemper Profiling Amp." Music & Science 3 (January 1, 2020): 205920432090195. http://dx.doi.org/10.1177/2059204320901952.
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Over the last decades, the simulation of musical instruments by digital means has become an important part of modern music production and live performance. Since the first release of the Kemper Profiling Amplifier (KPA) in 2011, guitarists have been able to create and store a nearly unlimited number of “digital fingerprints” of amplifier and cabinet setups for live performances and studio productions. However, whether listeners can discriminate between the sounds of the KPA and the original amplifier remains unclear. Thus, we constructed a listening test based on musical examples from both sound sources. In a first approach, the psychoacoustic analysis using mel-frequency cepstrum coefficients (MFCCs) revealed a high degree of timbre similarity between the two sound sources. In a second step, a listening test with N = 177 showed that the overall discrimination performance was d’ = .34, which was a rather small difference (0.0 ≤ d’ ≤ 0.74). A weak relationship between the degree of general musical sophistication and discrimination performance was found. Overall, we suggest that listeners are rarely able to assign audio examples to the correct condition. We conclude that, at least on a perceptual level, our results give no support for a commonly accepted pessimistic attitude toward digital simulations of hardware sounds.
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Tudor, Brînduşa. "The Piano, A Perfect Musical Instrument – Beginnings and Evolution (18th – 19th Centuries)." Review of Artistic Education 17, no. 1 (March 1, 2019): 100–105. http://dx.doi.org/10.2478/rae-2019-0010.
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Abstract The 18th century and the beginning of the 19th century mark the emergence, development and affirmation of the piano as a complex instrument that shall take, in turns, the role of soloist instrument, claiming and being able to reach the sound variety of the orchestra, that of partner in chamber music assemblies or that of orchestra member. The emergence, improvement and qualitative performance acquisition adventure of the piano represents a fascinating history about human creativity and ingenuity serving art, beauty, sound expressivity refinement and improvement.
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Sokolskaya, Anna. "“Obedient bodies”: Space, time and sound in the operas by Christoph Marthaler." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 34–49. http://dx.doi.org/10.18522/2415-8852-2020-1-34-49.
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The article discusses the relationships between musical performance, theatrical space and gesturality in Christoph Marthaler’s operatic productions. The stage design, the types of actor’s physical and vocal expressivity in “Le Nozze di Figaro”, “La Grande Duchesse de Gérolstein”, “Kát’a Kabanová”, “Věc Makropulos”, “Les Contes d’Hoffmann” and “Tristan und Isolde” are studied. Gesture, vocalisation and text in Marthaler’s productions are discussed and interpreted by considering the mismatching of dance and musical rhythm, the contrast of academical and non-academical singing manners or soundless articulation, as well as emphasizing the visual side of musical performance. Ensemble music-making and figurative gestures are the metaphors of power relations, total control and the collapse of social structures. It is concluded that the ways of vocalization and the types of gestures embody the system of power. The society in Marthaler’s operatic stage productions appears as an ensemble of the discursive practices.
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Dotsenko, Volodymyr, and Viktoria Tkachenko. "CREATIVE STRATEGIES FOR THE GUITAR CLASS AT I. P. KOTLYAREVSKY KHNUA." Aspects of Historical Musicology 22, no. 22 (March 2, 2021): 72–85. http://dx.doi.org/10.34064/khnum2-22.04.
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Introduction. The guitar class, opened by V. Dotsenko in 1989, recently celebrated its 30th anniversary and presented the university with many winners of international competitions, ensemble groups and new scholarly discourses. Together with the constant changes in society’s requirements for academic education and musician’s activities, this encourages us to estimate its achievements and prospects at the present stage. The aim of the article is to identify the key vectors of the guitar class of Kharkiv National University of Arts at the present stage. In accordance with the goal, such methods are chosen as historical, which allows to reveal the dynamics of development of the Kharkiv guitar school in the period of its formation to the present; typological – to identify key areas of activity of the guitar class at the present stage. Results and Discussion. The study of the Kharkiv guitar school and guitar class of KhNUA from its formation to the present day allows us to identify the leading vectors and key features of their activities, among which it is proposed to distinguish two main ones: innovation and multivectority. Already at the stage of formation, the Kharkiv guitar school proved to be innovative – it was in Kharkiv where the first guitar club in Ukraine and the USSR was opened, within which the first guitar quartet in the USSR soon appeared, the first in Ukraine scholarly conference dedicated to guitar art, it was one of the first to join the digitalization process, conducting online performances and successfully presenting the guitar orchestra at the international level, resulting in two Grand Prix in 2020. Already within the activities of the guitar club, another leading feature of the Kharkiv guitar school – multivectority – has declared itself. Gathering like-minded people to share experiences and get acquainted with samples of modern guitar art, the club “nurtured” teachers, masters of instruments, and musicians-ensembles. All the directions initiated in the last century deepen and continue to branch out in the XXI century in the activities of the guitar class KhNUA: educational one is supplemented by scientific (conferences, defense of PhD theses), pedagogical one – by methodical complex (methodical works of V. Dotsenko), solo and ensemble performance – by the orchestra. Conclusions. Innovativeness and multivectority become leading features of the guitar class of KhNUA at the present stage. In recent years, the school’s activities are supplemented by such vectors as the formation of a guitar orchestra (2016), cooperation with European institutions of higher music education (Erasmus), active immersion in the digitalization process, in particular, online competitions and online broadcasts of the concerts, which fit its activity into the latest trends in the development of musical performance and education and shows the involvement in the European standards of artistic activity.
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Tyas, Danang Sandy. "Rosette Guitar Quartet : Proses Kreatif Melalui “Youtube” Sebagai Pasar Industri Musik Digital." JMD : Jurnal Riset Manajemen & Bisnis Dewantara 4, no. 1 (March 24, 2021): 1–8. http://dx.doi.org/10.26533/jmd.v4i1.763.
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The existence of YouTube as a promotional medium is utilized by the Rosette guitar quartet in presenting a musical performance presented with the creation and production in the form of audio-visual uploaded via YouTube social media. With the growing need and dependence of the public on YouTube channels, YouTube's function has begun to grow no longer as a medium of entertainment alone, YouTube has also begun to function as a reference, promotion, and even existence for certain groups such as artists, musicians and indie artists who are not exposed to television media. and those that already exist in the entertainment world. The purpose of this study is to describe the creative process of the Rosette Guitar Quartet in facing the digital music market. This research uses a qualitative approach. Qualitative research focuses on data not numbers, and seeks to answer questions rather than test hypotheses. The result of this research is the creative process of the Rosette Guitar Quartet in utilizing YouTube as a digital music industry market through the presentation of music in audio-visual form.
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Ardila Wahyuni, Lusi Selvia Fitri, and Rekaza Akbar. "ANALISIS KREATIVITAS MUSIKALISASI PUISI MELALUI MODEL COOPERATIVE LEARNING OLEH SISWA KELAS XI DI SMA NEGERI 1 DARUL HASANAH." Tuwah Pande: Jurnal Ilmu Pendidikan dan Pengajaran 1, no. 1 (June 30, 2022): 185–99. http://dx.doi.org/10.55606/tuwahpande.v1i1.20.
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The purpose of this study was to describe the results of poetry musical creativity through the STAD (Student Team Achievement Divisions) cooperative learning model at SMA Negeri 1 Darul Hasanah. The method used is descriptive method taken from the type of qualitative research. The population in this study was the entire class XI totaling 35 students, while the sample in this study was class XI IPS which amounted to 10 students at SMA Negeri 1 Darul Hasanah. Data collection techniques include primary data consisting of performance, interviews, and observations, while secondary data is only documentation. The data analysis technique uses the arithmetic average formula to calculate the results of the performance and uses an assessment rubric, while the observation uses the percentage formula. The results of the research found in the field that the application of the cooperative learning model can provide quite good cooperation results even though some students are less willing to follow the directions of the teacher so that the results of their work are classified as poor. The results of the poetry musicalization which started with the preparations made by the students were good by preparing chord accompaniment instruments such as guitar and percussion including: two buckets and one aqua bottle filled with sand. Then the preparation of poetry readers is read by two people in turn and has prepared four singers to bring up the musicalization of their poetry which is sung in certain parts. The incubation process or the designing process is good because they have compiled the poem in advance along with the selection of the right song according to the title of the poem and the guitar music accompaniment is good, but the percussion pattern is still lacking but is covered by the ability of singers, poetry readers, and guitar players who are good at it. good. The process of special illumination for percussion is still lacking because their practice is not too serious so that the results shown from the journey of musical poetry are not good. However, the vocal players, both poetry readers and singers, still maintain their tune or pitch well so that they are slightly covered from mistakes made by percussionists. The verification stage that has been described previously can be concluded that the performance of the poetry musical has a poor tempo while the guitar accompaniment is quite good, but the vocals are good in conveying the interpretation so that holistically the work is quite good for a beginner.
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Amundsen, Michael. "Out in the cold: Busking Copenhagen’s Nørreport Station and the urban affects of music." Journal of Urban Cultural Studies 6, no. 1 (March 1, 2019): 113–22. http://dx.doi.org/10.1386/jucs_00006_1.
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This article is drawn for my experience busking at Nørreport Station, a busy transit hub in the centre of Copenhagen, for one afternoon in the spring of 2016. I use narrative and descriptive writing to express the relationship between myself and the environment as a performative milieu. The article looks at theories of affect, atmospheres, and the influence of sound in the busking pitch. It considers the discourse surrounding busking and how my performance experience contributed to appreciations of its meanings. It has been said that street music performance can create emotions, atmospheres and encounters in unlikely and forbidding urban settings. My experience at Nørreport Station challenged these notions. This article avers that new ways of assessing the success of musical interventions in the city should be considered alongside with appreciating how music can be a subtle and meaningful atmospheric and affective influence on urban space. A link to samples of my guitar playing can be found here: https://soundcloud.com/michael-amundsen-guitar.
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Stachó, László. "Mental virtuosity: A new theory of performers’ attentional processes and strategies." Musicae Scientiae 22, no. 4 (November 13, 2018): 539–57. http://dx.doi.org/10.1177/1029864918798415.
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In contrast to the widespread approach of the notion of “virtuosity” highlighting mechanical dexterity, I advance the view that a crucial feature of both technical virtuosity and musical expressivity is a specific ability to readily and quickly adapt the attention to various constantly changing aspects of the musical process while performing. In this sense, virtuosity can be likened to general mental capabilities such as intelligence. Based on concepts taken from performance analysis, pedagogical practice and sports science (especially from recent research of attentional control in sports), I attempt to define and discuss key features of performance virtuosity as “mental dexterity”. This includes the ability to quickly position oneself into different temporal perspectives in real time during performance; the ability to quickly shift the attentional focus, as well as to quickly modulate the depth of attention; furthermore, to promptly position oneself into different empathic perspectives, similarly to projecting oneself into another person’s position.
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이계창. "A study on actors' applying the methodology of lyric analysis for musical performance -Focusing on 'the Guitar man' in Korea Musical -." Journal of Korean drama and theatre ll, no. 41 (September 2013): 211–52. http://dx.doi.org/10.17938/tjkdat.2013..41.211.
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Meals, Cory D., Steven J. Morrison, and Deborah A. Confredo. "The Effects of Temporal Action-Sound Congruence on Evaluations of Conductor Quality." Music & Science 2 (January 1, 2019): 205920431989196. http://dx.doi.org/10.1177/2059204319891968.
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Vision serves a fundamental role in the human experience of musical performance. In conducting, this particular heuristic influences both expressive and coordinative aspects of musical activity. Ensemble conductors present a special case of musical gesture, as their activities are coordinative rather than directly sound-producing. While the influence of vision on evaluations of musical expressivity has been well studied, less attention has been paid to the temporal aspect of conductors’ gestures. Given anecdotal observations of a flexibly congruent relationship between conductor gesture and ensemble response and the ability of entrainment to promote preference, we theorize that alterations to natural action-sound congruence in conductor-to-ensemble settings may influence evaluations of conductor quality. Naturalistic performance video of five conductors was left intact or adjusted to an audio- or video-lead condition by a percentage of each excerpt tempo (intact, ±15%, ±30%) and fully crossed into stimuli orders. Participants were asked to rate the quality of the conductor, the ensemble, and the performance overall using a Likert-type scale bound by “ poor” and “ excellent.” Our results indicate that any offset, whether audio- or video-led, resulted in a lower level of conductor quality than intact, unaltered performance. While our effect size was small (η p2 = .02), participant ratings reinforce the role of action-sound congruence on observers’ perceptions and overall evaluation of conductors’ activities.
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Odoyevsky, Victor A., and Nataliya V. Korchagina. "Performing on Acoustic Guitar in the Fingerstyle Technique: Historical and Methodical Aspects." Musical Art and Education 8, no. 2 (2020): 124–39. http://dx.doi.org/10.31862//2309-1428-2020-8-2-124-139.
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The article analyzes the theory and practice of acoustic guitar performing in the fingerstyle – a special technique of playing simultaneously conducting several parts (solo, rhythm and bass). This style, turning the guitar into a kind of “orchestra in miniature”, significantly expands the range of expressive possibilities of the musician-guitarist, allowing him to fully reveal the content of the performed works. Along with a discussion of the prerequisites to the emergence of an acoustic guitar as a musical instrument and show its evolution in the development process, authors provide a brief historical background on the origins and causes of fingerstyle, characteristics of sound and sound production methods, activities of its developers and popularizers, the content of the tutorial for the fingerstyle guitarist. Special attention is paid to the characteristics of the original author’s methods of performing this style. Among them: a complex reception from a pinch and a slap and a “phantom pick” for the thumb (without using the “claw”). The necessity of their application is justified, the technique of performance and the achieved results of these methods of sound extraction are described in detail. The article describes the possibilities of using electric sound amplification in the performance of fingerstyle on an acoustic guitar, analyzes the advantages and disadvantages of using various types of sound amplification equipment in a concert performance. Authors emphasize that the connection of these devices when performing fingerstyle creates a number of additional opportunities for enriching the sound, allowing to increase the artistic level of interpretation. The conclusion is made about the prospects for the development of this style. Recommendations are given for solving specific technological problems for guitarists who use fingerstyle in concert practice, both with and without sound amplification equipment.
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Finan, Donald, and Deanna Meinke. "A Novel Interdisciplinary Course: Musical Acoustics and Health Issues." Perspectives of the ASHA Special Interest Groups 1, no. 19 (March 31, 2016): 15–25. http://dx.doi.org/10.1044/persp1.sig19.15.
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In response to a college call for new interdisciplinary coursework in the Natural and Health Sciences, an undergraduate level course was created with focus on the physics and biophysics of sound. The physics of sound production in musical instruments is used as a model for understanding vocal production and sound reception, with emphasis on relevant issues of vocal and hearing health promotion. This project-based course, titled “Musical Acoustics and Health Issues,” was designed in collaboration with faculty from Audiology, Speech Science, Public Health, Music, Physics, Music Technology, and Science Education. Student performance is assessed through a series of eight hands-on projects designed to maximize active learning strategies. Course projects center on the concept of “sound as energy” and include the construction of string-based (cigar box guitar) and tube-based (PVC pipe didgeridoo) instruments. Course design, project details, and course outcomes are presented.
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Hnativ, Nataliya. "“Tollers Zelle” by Anna Korsun: at intersection of Musical Interpretations." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 131 (June 30, 2021): 51–62. http://dx.doi.org/10.31318/2522-4190.2021.131.243212.
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Relevance of the study. Exploring the music of Anna Korsun, who at the moment is one of the most famous, titled and most promising young composers in Europe, the author of the article emphasizes that this allows to learn about the latest processes in European academic music. Considering A. Korsun’s Ukrainian origin, this kind of research is especially important for Ukrainian musicology. The small number of publications, the almost complete absence of scientific works about the composer’s creativity in general or about her specific composition determine the novelty of this article, devoted to a detailed analysis of the “Tollers Zelle” for electric guitar and soprano. This is one of the last vocal works of A. Korsun. The main objective of the study is to identify the musical interpretive potential of the vocal piece “Tollers Zelle”. The methodology in the article is based on methods of structural, linguistic and comparative analysis. Results. The vocal piece “Tollers Zelle” was written by A. Korsun as an assignment with the obligatory condition of using the text based on some specific poem. The composer placed the text of the selected poem by E. Toller at the end of the work immediately after music and chose the life and creativity of the poet in general as the basis of the image system of the piece. According to the mind of author of this article, the content palette of the work consists of images of stupor, pain, solitude, disorder of consciousness, that are realized through dissonant verticals, glissando technique, expressive character of performance, transformation of electric guitar sound into a voluminous, rattling, and cold one with elements of playfulness using a glass and a toy musical box, making a voice close to the sound of an electric guitar. Versions of almost all performers of “Tollers Zelle” differ in some more loose aspects (the pitch and rhythm lines are non-fixed precisely, tempo “ad libitum”) and are close in basic elements — manner of playing and singing, dynamics. Conclusions. The vocal piece “Tollers Zelle” can be analyzed in aspects of composer’s, musicological and performer’s interpretation. The composer’s interpretation demonstrates an original solution of the assignment condition, that indicates the non-standard thinking of A. Korsun within her aesthetic principles. Musicological interpretation by author of this article finds the main images and musical technical aspects of the piece “Tollers Zelle”, its inclusion in the A. Korsun’s individual style and also the closeness of almost all performer’s versions of the piece.
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Jin, Cong, Tao Wang, Shouxun Liu, Yun Tie, Jianguang Li, Xiaobing Li, and Simon Lui. "A Transformer-Based Model for Multi-Track Music Generation." International Journal of Multimedia Data Engineering and Management 11, no. 3 (July 2020): 36–54. http://dx.doi.org/10.4018/ijmdem.2020070103.
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Most of the current works are still limited to dealing with the melody generation containing pitch, rhythm, duration of each note, and pause between notes. This paper proposes a transformer-based model to generate multi-track music including tracks of piano, guitar, and drum, which is abbreviated as MTMG model. The proposed MTMG model is mainly innovated and improved on the basis of transformer. Firstly, the model obtains three target sequences after pairwise learning through learning network. Then, according to these three target sequences, GPT is applied to predict and generate three closely related sequences of instrument tracks. Finally, the three generated instrument tracks are fused to obtain multi-track music pieces containing piano, guitar, and drum. To verify the effectiveness of the proposed model, related experiments are conducted on a pair of comparative subjective and objective evaluation. The encouraging performance of the proposed model over other state-of-the-art models demonstrates its superiority in musical representation.
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Guerrero-Turrubiates, Jesus, Sergio Ledesma, Sheila Gonzalez-Reyna, and Gabriel Avina-Cervantes. "Guitar Chords Classification Using Uncertainty Measurements of Frequency Bins." Mathematical Problems in Engineering 2015 (2015): 1–9. http://dx.doi.org/10.1155/2015/205369.
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This paper presents a method to perform chord classification from recorded audio. The signal harmonics are obtained by using the Fast Fourier Transform, and timbral information is suppressed by spectral whitening. A multiple fundamental frequency estimation of whitened data is achieved by adding attenuated harmonics by a weighting function. This paper proposes a method that performs feature selection by using a thresholding of the uncertainty of all frequency bins. Those measurements under the threshold are removed from the signal in the frequency domain. This allows a reduction of 95.53% of the signal characteristics, and the other 4.47% of frequency bins are used as enhanced information for the classifier. An Artificial Neural Network was utilized to classify four types of chords: major, minor, major 7th, and minor 7th. Those, played in the twelve musical notes, give a total of 48 different chords. Two reference methods (based on Hidden Markov Models) were compared with the method proposed in this paper by having the same database for the evaluation test. In most of the performed tests, the proposed method achieved a reasonably high performance, with an accuracy of 93%.
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Nusseck, Manfred, and Marcelo M. Wanderley. "Music and Motion——How Music-Related Ancillary Body Movements Contribute to the Experience of Music." Music Perception 26, no. 4 (April 1, 2009): 335–53. http://dx.doi.org/10.1525/mp.2009.26.4.335.
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EXPRESSIVE PERFORMER MOVEMENTS IN MUSICAL performances represent implied levels of communication and can contain certain characteristics and meanings of embodied human expressivity. This study investigated the contribution of ancillary body movements on the perception of musical performances. Using kinematic displays of four clarinetists, perceptual experiments were conducted in which participants were asked to rate specific music-related dimensions of the performance and the performer. Additionally, motions of particular body parts, such as movements of the arms and torso, as well as motion amplitudes of the whole body were manipulated in the kinematic display. It was found that manipulations of arm and torso movements have fewer effects on the observers' ratings of the musicians than manipulations concerning the movement of the whole body. The results suggest that the multimodal experience of musicians is less dependent on the players' particular body motion behaviors than it is on the players' overall relative motion characteristics.
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Okhotnikov, Vladimir E. "About the Development of Artistry in Elementary School Pupils in a Guitar Class." ICONI, no. 3 (2021): 173–81. http://dx.doi.org/10.33779/2658-4824.2021.3.173-181.
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The article dwells upon the necessity of forming artistic qualities in elementary school pupils during the process of teaching performance mastery. The preparation of future performing musicians must be carried out in the context of a theatrical rendition of the performing profession, with the inclusion of elements of vocational psychology. The artistry of the pupils of children’s music schools must be developed inseparably from the process itself of development of performance skills and the skills of reading the musical text and performance technique, otherwise the development artistry acquires an accidental character and is subordinated, albeit, being an inseparable part of a successful concert performance. An analysis of performance working programs in children’s music schools for pupils with a professional inclination shows a lack of a goal-directed systematic work with the pupil in forming artistry as a professionally significant quality, whereas the brightest indicator of creative development is particularly artistry. The discipline of pedagogy recognizes this necessity, but the latter is not realized in the conditions of teaching practice. The overcoming of this contradiction is possible by means of the pupils’ familiarization with artistic techniques and stage organization. The article proposes examples of special exercises directed at the development of artistry and creative imagination of elementary level guitarists.
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Reily, Suzel Ana. "Música sertaneja and migrant identity: the stylistic development of a Brazilian genre." Popular Music 11, no. 3 (October 1992): 337–58. http://dx.doi.org/10.1017/s0261143000005183.
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Música sertaneja could be considered the Brazilian counterpart to American ‘country’ music. What defines the genre is not its rhythmic patterns, which vary considerably, but a performance style involving duplas (duos) singing in parallel thirds to the accompaniment of a guitar and a viola. Having developed out of southeastern traditional genres, it is the popular musical style that most appeals to migrants from these regions now living in the industrial centres of Greater São Paulo. Although today música sertaneja is primarily an urban phenomenon, the style also reaches audiences throughout the rural areas of central and southeastern Brazil.
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Furdui, Yulia, and Оlena Yehorova. "GENRE CHARACTERISTICS OF ROMANTIC FANTASY FOR THE GUITAR ON A BORROWED THEME BY F. TARREGA." Музикознавча думка Дніпропетровщини, no. 18 (November 13, 2020): 115–24. http://dx.doi.org/10.33287/222022.
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The purpose of this article is to identify the individual-style features and genre characteristics of romantic fantasy for the academic professional guitar. The methods of the research are based by investigator on the application of a comprehensive approach, namely: evolutionary and historical methods – in the disclosure of the processes of formation and subsequent evolution of the genre under study; analytical – in the study of different genre literature, concerning the chosen problem and others. The scientific novelty lies in the fact that fantasies for F. Tarrega’s guitar is analyzed by researcher for the first time. On their example, the individual-style features of the fantasy genre are revealed by scholar. Conclusions. In the course of the work, the genre characteristics of F. Tarrega’s romantic fantasy were analyzed, and it was discovered that virtuosity comes to the forefront as a mandatory quality of fantasy, which was associated with the emergence of virtuosos of composers and performers Napoleon Costa and Francisco Tarrega. Thanks to them, the guitar falls a focus of attention of famous virtuosos who study its chamber and orchestral capabilities. Fantasies for the guitar are improved in form and thematism, using as exclusively original thematism, and borrowed. In the era of romanticism, fantasies on a borrowed topic get the most development, a prerequisite for which was the growth of a virtuoso style of performance, which undoubtedly led to revolutionary achievements in the field of expressive means. One of the main features of guitar fantasies on a borrowed topic was the superiority not of composing, but of performing means of expression: agogics, dynamics, intonation and others. Fantasies for the guitar are extremely virtuosic and require considerable performing skills. However, virtuoso techniques are only of a subordinate nature, and borrowed themes become only an impulse for creating a new artistic integrity. From the point of view of the actual musical structure, such works are characterized by a combination of the form of fantasy with the variational principle of material development.
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Darussalam, Najwa Leonita, and Joko Wiyoso. "Creating Process of Composition Of The “Kulino” Musical Drama At Theater Aura Indonesia." Jurnal Seni Musik 10, no. 2 (December 31, 2021): 150–59. http://dx.doi.org/10.15294/jsm.v10i2.45925.
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Music for the Aura Theater is not only a supporter of the presentation of the show, but also as a medium for conveying the core story in a performance that is packaged in the form of songs and becomes part of the storyline. This makes researchers interested in the process of creating songs in their musical dramas. This study aims to identify and describe the process of creating compositions for musical drama songs in Kulino scripts at the Aura Indonesia Theater performance. This study uses a qualitative descriptive method that produces descriptive data. The research location is in the center of theatrical activities of Theater Aura Indonesia with data sources from the chairman as well as the director of Kulino performances and composers. Data were collected by using observation, interview, and documentation techniques. The data analysis technique used in this study is an interactive model whose elements include data reduction, data presentation, and conclusions. The results showed that in the process of creating the composition of the Kulino musical drama song through stages (1) script review, namely the activities of appreciating, reviewing, discussing, or reviewing all the elements contained in the script to be worked on (2) observation, namely the stages carried out by the composer. to get musical inspiration which is then illustrated in the form of rough notes (3) pouring, namely pouring rough notes from observations into the form of musical compositions (4) embodiment, namely redeveloping the finished song by adding other musical instruments, namely keyboard, guitar melody, violin, cello, drum, bass, flute, and saxophone (5) presentation, in which the composer presents the finished song to the director and assistant director.
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Ван, Ч. "Performance and pedagogy of an ensemble of woodwind instruments." Management of Education, no. 2(48) (April 14, 2022): 37–43. http://dx.doi.org/10.25726/t5807-7274-9656-f.
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Кларнет – относительно молодой музыкальный духовой инструмент, который стал продолжателем исторического развития и начал активно использоваться в композиторском творчестве, а значит и в исполнительстве (создан этот музыкальный инструмент в середине XIX века). Для нашего исследования особенно интересным и значительным смысловым фактом является то, что использование этого колоритного по звучанию музыкального инструмента началось с ансамблевого исполнения, в группе духовых инструментов духового и оперного, а позже – симфонического оркестрах. Отечественная музыкально-исполнительская культура развивалась параллельно с мировыми жанрами, поэтому использование кларнета было естественным в ее исполнительской культуре, а с начала ХХ в. кларнет использовался в исполнении джазовой музыки, эстрадной и поп-музыки. В 20-е годы появляется промежуточный стиль между традиционным джазом и свингом, так называемый Чикагский стиль, в котором в оркестрах (этого музыкального направления) появляется (среди контрабаса, фортепиано, гитары) флейта. Выдающимся исполнителем стиля “free jass” (50-е – начало 60-х годов) был известный кларнетист Лео Райт, игра которого имела большое влияние на отечественных музыкантов. С целью реализации методики обучения игры на кларнете начинающих учеников было разработано компонентную структуру данного вида обучения, которое имело такие составляющие, а именно: познавательный ( что отражает потребность в коллективном исполнении музыкальных произведений и уровень овладения музыкально-историческими и музыкально-теоретическими знаниями), операционнотехнологический (овладение исполнительско-двигательными умениями и навыками, что отражает процесс "перекодировки звуковых образов в моторные", которые обеспечивают способность для создания условий для совместной ансамблевой деятельности; регулятивно-оценочный (отражает уровень сформированности способности к адекватной оценки результатов собственной деятельности ученика-кларнетиста, направленной на исполнение музыкальных произведений). The clarinet is a relatively young musical wind instrument, which became the successor of historical development and began to be actively used in composing, and therefore in performance (this musical instrument was created in the middle of the XIX century). For our research, a particularly interesting and significant semantic fact is that the use of this colorful-sounding musical instrument began with an ensemble performance, in a group of wind instruments of brass and opera, and later – symphony orchestras. The Russian musical and performing culture developed in parallel with the world genres, so the use of the clarinet was natural in its performing culture, and since the beginning of the twentieth century the clarinet has been used in the performance of jazz music, pop and pop music. In the 20s, an intermediate style appeared between traditional jazz and swing, the so-called Chicago style, in which the flute appears in orchestras (of this musical direction) (among the double bass, piano, guitar). An outstanding performer of the “free jass” style (the 50s - early 60s) was the famous clarinetist Leo Wright, whose playing had a great influence on Russian musicians. In order to implement the methodology of teaching clarinet playing to novice students, a component structure of this type of training was developed, which had such components, namely: cognitive (which reflects the need for collective performance of musical works and the level of mastery of musical-historical and musical-theoretical knowledge), operational-technological (mastery of performance-motor skills and skills, which reflects the process of "transcoding sound images into motor images", which provide the ability to create conditions for joint ensemble activity; regulatory and evaluative (reflects the level of formation of the ability to adequately assess the results of a clarinetist student's own activity aimed at performing musical works).
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Gavito, Cory M. "The Guitar in Stuart England: A Social and Musical History. Christopher Page. Musical Performance and Reception. Cambridge: Cambridge University Press, 2019. xx + 288 pp. $29.99." Renaissance Quarterly 74, no. 2 (2021): 681–82. http://dx.doi.org/10.1017/rqx.2021.73.
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Marsh, Christopher. "The Guitar in Tudor England: A Social and Musical History. Christopher Page. Musical Performance and Reception. Cambridge: Cambridge University Press, 2015. xx + 248 pp. $99.99." Renaissance Quarterly 71, no. 4 (2018): 1552–54. http://dx.doi.org/10.1086/702118.
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Bolshakova, T. V. "Formation of performance on string-plucked instruments in Kharkiv (based on periodicals of the mid-XIX — early XX centuries)." Culture of Ukraine, no. 76 (June 29, 2022): 126–38. http://dx.doi.org/10.31516/2410-5325.076.14.
Full textAbstract:
The purpose of this article is to learn the chronology of introduction in the musical-cultural way of life of Kharkiv of Western European and the Eastern European stringed instruments (zither, guitar, mandolin, balalaika, domra). The study of chronology is aimed at a more active introduction of the facts of use of string-plucked instruments in Kharkiv into the scientific circulation.
The methodology for writing this article is the combination of comparative, cultural and historical, musicological approaches and methods.
The result of scientific research of this article is demonstration of chronology of activities in Kharkiv of musicians-tourers, who were performers and teachers of play on the string-plucked instruments. The concert activity of amateur Kharkiv bands was analyzed. The mass implementation of ensembles and orchestras of guitarists — mandolinists — balalaika players in the early XX century is noted. Affinity of formation of such ensembles and orchestras in Kharkiv with Western European ensembles and orchestras is emphasized. The evolution of the development of amateur performance on string-plucked instruments in the largest cultural center of Slobozhanshchyna is traced. The number of names of musicians — tourers and local performers, teachers, heads of visiting professional and Kharkiv amateur groups of the late XIX and early XX centuries is entered into scientific circulation. The combination of Western European and local factors in the distribution and popularization of ensembles and orchestras of guitarists — mandolinists — balalaika players on the territory of Kharkiv was emphasized. Influence of Western European bands and tourers — performers on zither, guitar, mandolin on instillation and consolidation of local amateurs and, subsequently, the first professionals’ interest to the national folk string-plucked instruments is revealed. The increase in the popularity of string-plucked ensembles and orchestras among various social strata of Kharkiv society — apprenticeships, students, workers of various industries, Kharkiv intelligent environment is indicated. The mainly charitable activities of such string-plucked is emphasized. The repertoire of such groups is highlighted.
The scientific novelty. For the first time, a chronology of the activities of touring musicians — performers on zither, guitar, mandolin and teachers playing these and similar instruments is traced. The concert activity of amateur Kharkiv bands was highlighted and analyzed according to chronology, the mass implementation of ensembles and orchestras of guitarists — mandolinists — balalaika players in the early XX century is noted. The affinity of principles in the compositions of such collectives in Kharkiv with Western European ones is defined.
The practical significance of the article. The results of the study can be used in lecture courses on the history of folk instrumental performance, the history of the development of folk instruments in Slobozhanshchyna, the history of intercultural relations in the field of musical art.
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Kjus, Yngvar, and Anne Danielsen. "Live mediation: performing concerts using studio technology." Popular Music 35, no. 3 (September 14, 2016): 320–37. http://dx.doi.org/10.1017/s0261143016000568.
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AbstractThe use of computers is continuously changing the sound of records but also increasingly challenging established forms of live concert aesthetics. So what becomes of creativity and expressivity in the live performance? In this study, we present an artist-oriented approach to this question through interviews with artists invested in performing studio works on stage, as well as improvising musicians using studio technology in their concerts. We find that challenges to creative authorship and expressive agency are constantly negotiated through evolving practices of up- and down-scaling particular aspects of studio works on stage, as well as designing technological setups tailored to individual forms of improvisation. While these practices challenge deep-rooted notions of the ‘right’ or appropriate bond between musician and music, the appropriation of studio technology in live performance has clearly become an integral part of many artists’ continual exploration of their musical agency.