Journal articles: 'Minimal music'

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Leitner, Birgit Maria. "Minimal Media Art – Minimal Music (Steve Reich)." Kieler Beiträge zur Filmmusikforschung 3 (July 27, 2023): 69–83. http://dx.doi.org/10.59056/kbzf.2009.3.p69-83.

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Der Text befasst sich mit vier minimalistischen Produktionen aus der aktuellen Medienkunst (Themen: Schwarmbewegungen, Tanz, moderne Kunst u. a.). In ihnen korreliert das phase shifting der Musik von Steve Reich von 1967 mit neuartigen Visualisierungsformen und –technologien. Das Zusammenspiel von digitaler Identität und analoger Differenz mit ihren klanglichen und visuellen Polyrhythmiken und patterns führt zu „entropischen Verschiebungen“, die ungewöhnliche „psycho-physische Effekte“ bewirken. Die mit den prozessualen Systemen einhergehende ästhetische Erfahrung wird in eine „Architektonik des Sinns“ der Moderne des 21. Jahrhunderts eingebettet. The paper deals with four minimalist productions on the field of actual media art (themes: covey movements, dance, modern art etc.). With them the phase shifting of Steve Reich’s music from 1967 correlates with novel visualisations and technologies. The interplay of digital identity and analogue difference with its acoustic and visual polyrhythms and patterns leads to “entropic shiftings”, which cause unusual “psycho-physical effects”. The aesthetical experience of the process-related systems is embedded into an architecture of sense of modernity in the 21st century.

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Swingle, Paul G. "A Minimal Negotiation Situation." Psychological Reports 60, no. 3 (June 1987): 831–34. http://dx.doi.org/10.2466/pr0.1987.60.3.831.

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Pairs of unacquainted male subjects listened to music via headsets controlled by a single loudness control. Post-session measures of first impressions of the other person indicated that interpersonal liking was influenced by minimal communication and curvilinearly related to the magnitude of the difference between the level of individual preference and dyadic loudness. Loudness preference was stable over a one-week period, and the preparation appears useful for studying minimal negotiations.

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Nye, Sean. "Minimal Understandings: The Berlin Decade, The Minimal Continuum, and Debates on the Legacy of German Techno." Journal of Popular Music Studies 25, no. 2 (June 2013): 154–84. http://dx.doi.org/10.1111/jpms.12032.

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Dalmonte, Rossana. "Signification in the minimal units of musical discourse." Contemporary Music Review 17, no. 2 (January 1998): 1–10. http://dx.doi.org/10.1080/07494469800640041.

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Vieru, Anatol. "Generating Modal Sequences (A Remote Approach to Minimal Music)." Perspectives of New Music 30, no. 2 (1992): 178. http://dx.doi.org/10.2307/3090632.

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Putra, Cepri Zulda, Asep Saepul Haris, and Wilma Sriwulan. "The Central Processing Music Of Bacalempong : Komposisi Musik Minimalis dalam Ansambel Campuran." GESTUS JOURNAL : PENCIPTAAN DAN PENGKAJIAN SENI 2, no. 2 (November 26, 2022): 41. http://dx.doi.org/10.24114/gsts.v2i2.40397.

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The Central Processing Music Of Bacalempong merupakan komposisi musik yang berangkat dari peristiwa simulasi pada tahap intrumentasi antara calempong kayu dan calempong perunggu sebagai kesenian tradisi asli masyarakat Sumpur Kudus yang kemudian digarap berdasarkan idiom musik Barat. Konsep garapan karya The Central Processing Music of Bacalempong adalah representasi antara material komposisi musik didalam calempong kayu dan calempong perunggu dijadikan hierarki musikal dengan menggunakan pendekatan sistem musik minimalis yang direalisasikan dalam formasi Ansambel Campuran. Secara keseluruhan, komposisi ini menawarkan gaya musik abad 20 berkenaan dengan pentahapan dalam sebuah proses pelahiran sebuah peristiwa musikal, proses tersebut menekankan pada siklus pusat yang dijadikan konstruksi struktur untuk menggiring analisis pada setiap dimensi musikal yang menunjukkan bagaimana sebuah penciptaan musik dihasilkan sacara sistematis. Metode penciptaan karya terbagi menjadi tiga tahap. Tahap pertama menentukan siklus pusat dalam setiap proses Komposisi. Kedua, penempatan simulasi timbre (intrumen). Ketiga, menentukan deskripsi struktural karya. Terdapat sepuluh proses struktur yang terdiri dari I (restricted pitch and rhythm materials), II (pitch-centrycity), III (use of repetition), IV (steady pulse), V (phasing), VI (drone or ostinatos), VII (static harmony), VIII (pandiatonicism), IX (indeterminacy), dan X (long duration). Kesimpulan yang menghasilkan penggunakan pola-pola minimal kemudian perubahan-perubahan secara sedikit-demi sedikit dan bertahap hingga didapatkan komposisi musik secara utuhKata Kunci: Calempong Kayu, Calempong Perunggu, Musik Minimalis, Ansambel Campuran

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Delaere, Mark. "Karel Goeyvaerts: a Belgian Pioneer of Serial, Electronic and Minimal Music." Tempo, no. 195 (January 1996): 2–5. http://dx.doi.org/10.1017/s0040298200004708.

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‘From now on, I will accept only Karel Goeyvaerts as my teacher in composition’ exclaimed the young Karlheinz Stockhausen during the famous New Music Summer Courses at Darmstadt in 1951. Goeyvaerts had just explained the very principles of serial organization for which Stockhausen had been searching for some time. In the following years Goeyvaerts 1923–1993) developed those basic principles into variety of composition techniques, and into a stylistic diversity not often encountered in serious music. After having applied serialism to tapegenerated music in the early 1950s and to experimental and aleatoric procedures in the 1960s, Goeyvaerts developed the repetitive element, already couched in some of his serial works, during the 70s and 80s. In his last period, the Belgian composer did not eschew a return to tonality, without however foresaking the core of serial thinking of which he had been the founding father. For many of these tendencies Goeyvaerts was the forerunner; to others he added valuable contributions. Therefore, his artistic legacy should be evaluated against the work of other European avantgarde composers such as Stockhausen or Boulez, or put into perspective by comparing it with the work of his American colleagues such as Babbitt, Carter, Riley or Glass.

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Zhang, Shuang. "Feasibility of Music Composition Using Deep Learning-Based Quality Classification Models." Wireless Communications and Mobile Computing 2022 (May 26, 2022): 1–9. http://dx.doi.org/10.1155/2022/8123671.

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Polyphonic music technique is the foundation of students’ understanding of musical works. The mastery of polyphonic music techniques enables students to better understand the meaning of musical works and get in touch with the soul of music. Hence, teaching polyphonic music is a compulsory course for composition theory. In the past, all the concepts taught in the composition theory class included the use of the main key, and the minimal amount of polyphonic music works was covered. Also, even if students encountered polyphonic music, a brief inclusion of the same would be included in teaching, creating difficulties for the students to understand polyphonic music well. Intelligent music composition, however, refers to a formalized process that allows the composer to create music with the help of a computer, ensuring minimal human intervention. With the popularity of the Internet and the rapid development of multimedia technology, the majority of the users now use online music applications. Therefore, the need to automatically organize and manage the huge amount of music data effectively has evolved. Studying intelligent music composition helps to understand and simulate the way of thinking of composers in making compositions. It also helps to assist composers in making music, in addition to entertaining people. Considering the aforementioned, the present paper uses a deep learning-based quality classification model for music composition feasibility. The experimental results show that the algorithm has the advantages of fast detection speed and high quality. It helps composers to compose music, greatly reduces the workload, and also ensures certain promotion value.

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Quinn, Ian. "Minimal Challenges: Process Music and the Uses of Formalist Analysis." Contemporary Music Review 25, no. 3 (June 2006): 283–94. http://dx.doi.org/10.1080/07494460600726537.

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Tambouratzis, Tatiana. "The Digital Music Stand as a Minimal Processing Custom-Made Optical Music Recognition System, Part 1: Key Music Symbol Recognition." International Journal of Intelligent Systems 28, no. 5 (March 8, 2013): 474–504. http://dx.doi.org/10.1002/int.21586.

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Welch, Allison. "Meetings along the Edge: Svara and Tala in American Minimal Music." American Music 17, no. 2 (1999): 179. http://dx.doi.org/10.2307/3052713.

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Skipp, B. "Repeating Ourselves: American Minimal Music as Cultural Practice. By Robert Fink." Music and Letters 89, no. 1 (February 1, 2008): 109–12. http://dx.doi.org/10.1093/ml/gcm026.

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Hidayatullah, Riyan. "MERLOT: Belajar Musik di Era Digital." Journal of Music Science, Technology, and Industry 3, no. 1 (January 31, 2020): 75–90. http://dx.doi.org/10.31091/jomsti.v3i1.965.

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This article is a literature review on MERLOT (Multimedia Education Resources for Online Learning and Teaching), an open-source multimedia-based learning resource for asynchronous music learning needs. Conventional music learning methods that deal with practical activities and theory classes. This activity is usually done in a classical or private class. In addition to general problems in music pedagogy and psychology, access to music materials in the form of music theory, music forms, and music literature is a problem that is specifically for music teachers in Indonesia. Access and publishing of music books are still minimal. These kinds of stuff carry out music teachers with non-music educational backgrounds to arrange music materials systematically, find out credible music learning resources, the latest issues about music learning and digital tools that can be used for online music courses. Various pieces of literature show that MERLOT is contributing to information literacy, digital, and supporting the learning of music nowadays.

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Brown, Máirín, and Ann Schofield. "Music groups for psychiatric patients." Psychiatric Bulletin 15, no. 6 (June 1991): 349–50. http://dx.doi.org/10.1192/pb.15.6.349.

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Music therapy is a non-analytic therapy concerned with the creative process in which an attempt is made to reach the emotions of the patient without recourse to verbal means. It should in theory be suitable for chronic psychotic patients and all whose verbal ability is minimal. The ability to appreciate music may persist despite psychotic disintegration and provides one way, maybe the only way, into a patient's inner life. Music is one aspect of the aesthetic or creative experience that neurotic patients often lack and for this group music may provide a broader view of emotional life than their own more narrow previous experience.

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Potter, Caroline. "Louth Contemporary Music Society, ‘We Sing for the Future’, 14–18 April 2021, online." Tempo 75, no. 298 (October 2021): 88–90. http://dx.doi.org/10.1017/s0040298221000449.

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The Louth Contemporary Music Society festival, based in Dundalk, only six miles from the border with Northern Ireland, is now an established presence on the contemporary music scene. Thanks to its founder, Eamonn Quinn, it attracts both local musicians and major international figures and also issues CDs. This year, the programme featured a strong Irish connection and a lot of music that is quiet, meditative and minimal. Music for guitar formed another theme, with new work by the Norwegian guitarist/composer Fredrik Rasten and the Cuban Leo Brouwer.

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Filipović, Andrija. "'Human, all to human': Bare repetition and organism in minimal music." New Sound, no. 44-2 (2014): 156–68. http://dx.doi.org/10.5937/newso1444156f.

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The main thesis in this work is that minimalism produces neutral sensory perception and is thereby complicit not only in the production of the body qua organism, but also in the wider socio-politico-economic environment that such a conception of the body entails. Minimalism produces neutral sensory perception by insisting on "bare repetition", the literal, direct, and immediate materiality of the work of art; in other words, it insists on a specific ontological relation between difference and the same, whereby the same, singular, and identical, predicated on representational thought, replace the different, which is expressed in becoming. Minimalism, neutral perception, the relative immanence of capitalism, and the body qua organism constitute a sort of chain, which should be subjected to critical analysis and a critique based on the concepts of difference, event, and encounter.

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Kroeger, Karl, Wim Mertens, J. Hautekiet, and Michael Nyman. "American Minimal Music: La Monte Young, Terry Riley, Steve Reich, Philip Glass." American Music 6, no. 2 (1988): 241. http://dx.doi.org/10.2307/3051553.

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Frey, Aline, Cééline Marie, Lucie Prod'Homme, Martine Timsit-Berthier, Daniele Schöön, and Mireille Besson. "Temporal Semiotic Units as Minimal Meaningful Units in Music? An Electrophysiological Approach." Music Perception 26, no. 3 (February 1, 2009): 247–56. http://dx.doi.org/10.1525/mp.2009.26.3.247.

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THE AIM OF THIS STUDY WAS TO DETERMINE WHETHER conceptual priming occurs between successively presented short musical pieces called Temporal Semantic Units (TSUs). Behavioral and ERP data were recorded while participants, experts and nonexperts in TSUs, were listening to pairs of TSUs and were asked to determine whether the target TSU evoked the same or a different concept than the prime TSU. Target TSUs were either congruous (i.e., they developed the same musical concept as the prime TSUs) or incongruous (i.e., they started as congruous TSUs but shifted midstream into a different concept). Results showed that, whereas P3a components were elicited in both groups by the shifting into incongruous TSUs, thereby reflecting an automatic shift of attention when the changes occurred, P3b components were elicited in experts and N400-like components were found in nonexperts. The functional significance of these results is discussed in regard of previous results with environmental sounds.

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Isnanto, Isnanto, and Rizaldi Pinzon. "PENGARUH TERAPI MUSIK DAN MASASE PUNGGUNG TERHADAP NYERI KALA I FASE AKTIF PADA NULIPARA DI RUMAH SAKIT BETHESDA YOGYAKARTA." Jurnal Kesehatan 5, no. 2 (January 12, 2018): 11–20. http://dx.doi.org/10.35913/jk.v5i2.91.

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Latar Belakang : Persalinan merupakan peristiwa fsiologis yang dalam prosesnya menimbulkan rasa nyeri hebat. Berbagai upaya telah dilakukan untuk menurunkan nyeri pada persalinan, baik secara farmakologi maupun nonfarmakologi. Terapi farmakologi cenderung lebih mahal dibandingkan terapi non farmakologi. Metode nonfarmakologi dapat meningkatkan kepuasan selama persalinan jika ibu dapat mengontrol perasaan dan ketakutannya. Musik terapi dan masase punggung adalah teknik nonfarmakologi yang dapat meningkatkan kenyamanan ibu saat bersalin dan mempunyai pengaruh yang efektif terhadap pengalaman persalinan. Tujuan : Penelitian ini dilakukan untuk mengetahui pengaruh terapi musik dan masase punggung terhadap intensitas nyeri kala I fase aktif pada nulipara yang mengalami persalinan di ruang bersalin rumah sakit Bethesda Yogyakarta. Metode : Prosedur dan teknik pengambilan sampel yang dilakukan adalah dengan menggunakan consecutive sampling. Minimal jumlah sampel dalam penelitian kuantitaif adalah 30 responden atau 15 responden pada kelompok music terapi dan 15 responden padakelompok masase punggung. Penelitian ini merupakan penelitian quasi-eksperiment (eksperimen semu). Rancangan penelitian yang digunakan adalah two groups comparrison pretest-posttest design. Di dalamdesain ini observasi dilakukan sebanyak 2 kali yaitu sebelum dilakukan perlakuan dan sesudah dilakukan perlakuan. Data dianalisis menggunakan uji paired t test. Hasil : Penelitian ini menunjukkan musik terapi danmasase punggung sama- sama memiliki pengaruh yang baik dalam menurunkan nyeri saat persalinan pada ibu nuli para khususnya saat memasuku kala 1 fase aktif persalinan di ruang bersalin Rumah Sakit Bethesda Yogyakarta Juli-September 2017. Hal ini dibuktikan dengan nilai signifcancy (Sig. (2-tailed) adalah 0,000 atau (p<0,05) yang artinya terdapat pengaruh dari kedua intervensi (Music Therapy & Massage Punggung) terhadap Nyeri nyeri kala 1 fase aktif pada nulipara. Namun demikian mean skala nyeri pre dan post terapi pada kelompok ibu nuli para yang mendapatkan therapy music lebih besar dibandingkan kelompok yang mendapatkan masase punggung yaitu 3.267 untuk kelompok music terapi dan 2.000 untuk kelompok yang mendapatkan massage punggung. Demikia juga dengan nilai t kelompok yang mendapatkan music terapi lebih besar 17.978 jika dibandingkan dengan kelompok yang mendapatkan masase punggung dengan nilai t 8.367. Kesimpulan : Dengan demikian bahwa music terapi lebih memiliki pengaruh dalam menurunkan nyeri dibandingkan massage punggung pada kala 1 fase aktif ibu nuli para yang sedang menjalani persalinan di ruang bersalin Rumah Sakit Bethesda Yogyakarta Juli-September 2017.Kata kunci : Persalinan - Nyeri - Music terapi - Masase pada Punggung.

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Beirens, Maarten. "QUOTATION AS A STRUCTURAL ELEMENT IN MUSIC BY MICHAEL NYMAN." Tempo 61, no. 242 (October 2007): 25–38. http://dx.doi.org/10.1017/s0040298200000280.

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One of the most striking features in the music of the British composer Michael Nyman (born 1944) is the emphatic presence of musical quotations. This may be all the more remarkable because the main influence on Nyman's compositional style is minimal music. Generally, American minimal music is characterized by a large degree of abstraction, focussing on absolute music, clear abstract structures and the gradual unfolding of systematic musical processes. The almost provocatively objective appearance of the titles of works by Steve Reich (Violin Phase, Four Organs, Music for 18 Musicians) may be seen as emblematic for a music in which the transparent, process-like transformation of limited musical material calls for an equally objective type of material. Although American minimalists such as Steve Reich, Terry Riley and Philip Glass take recourse to diatonic material and tonal or modal harmonies, any reference to specific historical models is almost unconceivable in their early work, as the associations that come with the quoted material would only distract the listener from the systematic processes that the material is being subjected to, which forms the essence of this style. In that respect, Michael Nyman's fusion of minimalist strictness with openly acknowledged borrowings of pre-existing music sets him apart from his American contemporaries. This article investigates how Nyman applies different aspects of his quotation technique, how he incorporates the musical and extra-musical characteristics and associations that come with the quoted material into a solid musical statement, and how all this is combined with the strictness of his minimalism-related composition technique.

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Beirens, Maarten. "QUOTATION AS A STRUCTURAL ELEMENT IN MUSIC BY MICHAEL NYMAN." Tempo 61, no. 242 (October 2007): 25–38. http://dx.doi.org/10.1017/s0040298207000289.

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One of the most striking features in the music of the British composer Michael Nyman (born 1944) is the emphatic presence of musical quotations. This may be all the more remarkable because the main influence on Nyman's compositional style is minimal music. Generally, American minimal music is characterized by a large degree of abstraction, focussing on absolute music, clear abstract structures and the gradual unfolding of systematic musical processes. The almost provocatively objective appearance of the titles of works by Steve Reich (Violin Phase, Four Organs, Music for 18 Musicians) may be seen as emblematic for a music in which the transparent, process-like transformation of limited musical material calls for an equally objective type of material. Although American minimalists such as Steve Reich, Terry Riley and Philip Glass take recourse to diatonic material and tonal or modal harmonies, any reference to specific historical models is almost unconceivable in their early work, as the associations that come with the quoted material would only distract the listener from the systematic processes that the material is being subjected to, which forms the essence of this style. In that respect, Michael Nyman's fusion of minimalist strictness with openly acknowledged borrowings of pre-existing music sets him apart from his American contemporaries. This article investigates how Nyman applies different aspects of his quotation technique, how he incorporates the musical and extra-musical characteristics and associations that come with the quoted material into a solid musical statement, and how all this is combined with the strictness of his minimalism-related composition technique.

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Ferraguto, Mark. "Haydn as ‘minimalist’: Rethinking exoticism in the trios of the 1760s and 1770s." Studia Musicologica 51, no. 1-2 (March 1, 2010): 61–77. http://dx.doi.org/10.1556/smus.51.2010.1-2.5.

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A number of Haydn’s minuet movements from the 1760s and 1770s contain sparsely scored trio sections in which a single musical idea is repeated continuously, even obsessively. In these trios — of which the most distinctive are in Symphonies Nos. 21, 28, 29, 30, 43, 46, and 58 — Haydn developed and cultivated an aesthetic of the minimal. While they conjure a range of moods, these trios share several features that mark them as a distinct type. These include circular harmonic motion, schematic melodies, and the use of certain characteristic intervals. Although modern critics consistently ascribe ‘Balkan’, ‘Gypsy’, ‘Slavonic’, or ‘Eastern European’ qualities to these trios, the evidence for these claims is scanty. The exotic quality of the trios is best viewed in light of Haydn’s minimization of particular compositional parameters, such as dynamics, scoring, and motivic and textural variance. At the same time, it is precisely the minimal quality of these trios that allows Haydn to explore in dramatic fashion the mechanics of contrast in the da capo form. While Haydn’s minimal style appears most consistently in trios of the 1760s and 1770s, it also informs his later trio writing.

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UTARI, TRI, and Tulus Handra Kadir. "PELAKSANAAN KURSUS BIOLA DI YAMAHA MUSIC SCHOOL PADANG." Jurnal Sendratasik 10, no. 2 (December 5, 2020): 82. http://dx.doi.org/10.24036/jsu.v9i2.110669.

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This study aims to determine the implementation of violin courses at Yamaha Music School Padang. The data were obtained during the learning process. Interviews were conducted to violin instructors at Yamaha Music School Padang. In addition, photos during the violin learning process at Yamaha Music School Padang were documented. Based on the research results, the implementation of music courses at Yamaha Music School Padang, especially the violin course, "seems not guided" by the concepts and principles of the Yamaha method. In fact, the materials contained in the Yamaha Music Examination Syllabus as an evaluation of learning outcomes based on YMES clearly describes the achievement of students’ learning outcomes based on YMES. The materials contained in the Yamaha Music Examination Syllabus also evaluate the “readiness” of students towards creative abilities. Likewise, the principle of Emphasis on creativity is increasingly not being noticed in music courses at Yamaha Music School Padang if it is viewed from the 'minimal' 'activity' carried out by Yamaha Music School Padang.Keywords: Implementation, Violin Course, Yamaha Music School Padang

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Meyer, James. "The Minimal Unconscious." October 130 (October 2009): 141–76. http://dx.doi.org/10.1162/octo.2009.130.1.141.

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Godfrey, John. "London, Queen Elizabeth Hall and Brighton Dome: Big Noise Tour." Tempo 58, no. 228 (April 2004): 61–62. http://dx.doi.org/10.1017/s0040298204240153.

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Big Noise – heard in London on 21 November and repeated at the Dome (Corn Exchange) in Brighton on the 22nd – was a collaboration between the highly idiosyncratic New Music ensembles Orkest de Volharding (Holland) and Icebreaker (UK). The former was established by the amazingly influential Dutch composer Louis Andriessen: reacting against the elitist music of his youth, he saw the need for a new type of Art-music ensemble which could travel into the streets and play music with a broad appeal. Borrowing from the model of Dutch street bands (the equivalent, perhaps, of the UK's brass bands), jazz of the 1920s, Minimal music coming out of America and the European avant-garde, Andriessen created an ensemble and a language with an overt non-elitist agenda.

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Jones, Ellis, and Jeremy Morris. "Competing sounds? Podcasting and popular music." Radio Journal:International Studies in Broadcast & Audio Media 20, no. 1 (April 1, 2022): 3–15. http://dx.doi.org/10.1386/rjao_00052_2.

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Podcasts and popular music are different kinds of sonic media, but they are increasingly in direct competition for our listening time within the ‘audio market’. Audio platforms like Spotify, Apple and Google host both podcasts and music (and other audio media) so their distribution decisions and infrastructure have a significant impact on musicians, podcasters, record labels, podcast networks and other industrial entities. Despite this convergence, podcasting studies and popular music studies have not regularly been put in conversation; podcast studies has drawn primarily on radio studies, and overlap between this work and popular music studies has to date been minimal. Our introduction to this Special Issue on popular music and podcasts suggests that framing music and podcasts as ‘competing sounds’ permits new contributions to several important areas of media study, including platformization, creative labour, media representation and the role of sonic media in everyday life.

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D'AUTILIA, ROBERTO. "PROSODY AND THE MUSIC OF THE HUMAN SPEECH." International Journal of Modern Physics B 18, no. 13 (May 20, 2004): 1919–29. http://dx.doi.org/10.1142/s0217979204025063.

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We propose the use of a self-oscillating dynamical system — the pre-Galileian clock equation — for modeling the laryngeal tone. The parameters are shown to be the minimal control needed for generating the prosody of the human speech. Based on this model, we outline a peak delay detection algorithm for extracting the prosody of the real speech.

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Carroll-Phelan, Berenice, and Peter J. Hampson. "Multiple Components of the Perception of Musical Sequences: A Cognitive Neuroscience Analysis and Some Implications for Auditory Imagery." Music Perception 13, no. 4 (1996): 517–61. http://dx.doi.org/10.2307/40285701.

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A neurologically plausible model of the auditory perception of musical sequences is proposed, and some implications are derived for auditory imagery. In line with a cognitive neuroscience approach, a componential analysis of the major functions required of auditory perception and imagery for musical sequences is first carried out, and a minimal model of auditory imagery and perception is outlined. The minimal model makes a clear distinction between the processing subsystems required for analyzing pitch and rhythm. It also incorporates an auditory buffer for the brief retention of relatively unprocessed auditory input, an attention subsystem that permits selective intake of relevant auditory information, a memory subsystem for melodic strings that combines the outputs of pitch and rhythmic analyses into a long-term, flexible representation of the musical sequence, and an associative memory system that links the results of perceptual analyses of music with extraperceptual (semantic and episodic) information about the musical string. The present theory builds on a recent model of music perception proposed by Peretz (1993) and also accounts for data from studies of patients with disorders of rhythmic processing, thus indicating the close relationship between auditory perception and imagery for rhythmic sequences, timing, and motor processes. Recent data are used to refine and extend the minimal model and provide an organizing framework for current laboratory work.

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Lee, Byungjoo. "Sound Pointage: Creation of Music by Accumulating Minimal Elements of Digital Information." Leonardo 49, no. 2 (April 2016): 164–66. http://dx.doi.org/10.1162/leon_a_01200.

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Sound Pointage is type of artwork that demonstrates a new method of creating digital sound. It compiles minimal elements of digital information to build sound. In this approach, artists can control all aspects of sound rather than simply allocating abstract musical concepts such as notes. Sound Pointage was implemented with a high-performance computer mouse and was open to the public for two weeks. Visitors freely interacted with the work, and their actions were accumulated as a seamless waveform, eventually being converted into a hi-fi sound.

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Lind, Richard. "Why Isn't Minimal Art Boring?" Journal of Aesthetics and Art Criticism 45, no. 2 (1986): 195. http://dx.doi.org/10.2307/430561.

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LIND, RICHARD. "Why Isn't Minimal Art Boring?" Journal of Aesthetics and Art Criticism 45, no. 2 (December 1, 1986): 195–98. http://dx.doi.org/10.1111/1540_6245.jaac45.2.0195.

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Van Vreden, Mignon. "Maestro for a moment: A conceptual framework for music integration in Grade R." South African Journal of Childhood Education 6, no. 1 (June 21, 2016): 10. http://dx.doi.org/10.4102/sajce.v6i1.373.

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In South Africa, possibilities to utilise music to contribute to the holistic development of preschool learners are under continuous investigation. However, music education in the Grade R classroom is limited due to insufficient time in the daily programme and a lack of sufficient musical training amongst generalist educators. The urgent need to equip these educators with the necessary competencies is critical. Therefore, in this article the practicability of integrating music into the daily programme in Grade R is explored by means of a conceptual framework. This conceptual framework was generated from the literature review and data analysis, describing six aspects of integrating music into Grade R teaching and learning: about music, from music, on music, with music, in music and through music. Within this framework, every aspect of integration is connected with music activities in accordance with the Grade R learning principles of play, exploration and practical experiences. In this article, the author argues that music can be successfully integrated into the Grade R daily programme by music specialists as well as generalist teachers with no or minimal musical training.

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Margulis, Elizabeth Hellmuth. "An Exploratory Study of Narrative Experiences of Music." Music Perception 35, no. 2 (December 1, 2017): 235–48. http://dx.doi.org/10.1525/mp.2017.35.2.235.

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Listeners frequently talk about music in terms of imagined stories, but little empirical research has investigated this tendency. In this study, 47 participants listened to eight 90-second musical excerpts—four of which featured programmatic music composed between 1857-1935 and were selected by music theorists to feature high contrast, and four of which featured Baroque and minimal music and were selected by music theorists to feature low contrast. After each one, they answered a variety of questions intended to assess their narrative engagement with the music. Brief assessments of personality and general listening tendencies were administered at the end of the session. Results showed qualified support for the notion that contrast makes people likelier to hear music in terms of narrative, with stylistic familiarity and enjoyment seeming to play a greater role. The most striking aspect of the results was the emergence of broad areas of consensus among the free descriptions of imagined narratives. People with high AIMS scores also tended to experience more narrative engagement with the music, as did people low in Extraversion and Conscientiousness.

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Tran, Jordaine, and Laura Marie Getz. "Attention Required for Advertisement Pitch, Tempo, and Timbre to Influence the Perception of Product Features." Music Perception: An Interdisciplinary Journal 41, no. 1 (September 1, 2023): 59–73. http://dx.doi.org/10.1525/mp.2023.41.1.59.

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In three studies, we investigated how the pitch, tempo, and timbre of music can influence perception of an advertised product’s features. To do so, we created radio advertisements where either the pitch, tempo, or timbre of the music was manipulated. Participants were then asked several questions regarding their perception of the advertised products. Across all three studies, changing the pitch of the music did not change perceptions of an advertised sandwich’s size. However, by drawing participants’ attention specifically to the music (either by asking questions about the musical features in the ads or by playing both versions of the music with the ads for comparison), we found that faster tempo music led to the perception that sneakers would help the wearer run faster and that a trombone (as opposed to flute) timbre led to the perception of a more durable laptop. Together these results show that although features of music can influence product perceptions, the influence is minimal without emphasizing the music or ensuring participants’ attention to the relevant features.

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Pareniuk, Dmytro. "Method of evaluation of the minimal sample size for acoustical signal therapy monitored via electroencephalographic activity of human brain." ScienceRise, no. 2 (April 30, 2021): 75–82. http://dx.doi.org/10.21303/2313-8416.2021.001736.

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The aim of the study. Improvement of the preparation to the acoustical signal therapy test or experiment of electroencephalographic activity of human brain and validation of the specified test results. The problem to be solved. Estimation of the minimal possible sample size for maintaining needed research accuracy in the research field of the electroencephalographic activity of human brain via monitoring of the brainwave patterns during exposure to the musical signal. Main scientific results. New method for selection minimal passable sample size for brainwave pattern studies is presented. Example of application of method for one rhythm of the brainwaves (delta-rhythm) is shown. Perspective way of obtaining clinically valuable differences between test group results was acquired. Differences between mean values for groups of results of different types of music and stress factor exposure are presented. The area of practical use of the research results. Research facilities dedicated to the study of electroencephalographic activity of human brain and medical facilities and institutions, dedicated to the treatment of pathologies of the central nervous system, brain damage, stress, and progressive post-stress action psychological state restoration. An innovative technological product. Dedicated method for quick estimation of minimal passable sample size for brainwave pattern studies, which is recommended for usage in the studies of the implementation of music therapy. The area of application of an innovative technological product. Electroencephalographic activity of human brain study via brainwave pattern research. Clinical practice of application of a music therapy.

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Gani, Asrul Abd, Agustina Ratri Probosini, and Dilla Octavianingrum. "Pembelajaran Seni Musik Berbasis Microsoft Teams: Studi Kasus Sekolah Menengah Pertama." Indonesian Journal of Performing Arts Education 2, no. 1 (January 31, 2022): 27–33. http://dx.doi.org/10.24821/ijopaed.v2i1.5603.

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AbstrakPembelajaran daring tentunya memerlukan alat pembelajaran yang sesuai dengan kebutuhan mata pelajaran. Proses belajar mengajar seni musik tentu harus tetap difasilitasi meskipun dalam situasi pandemi COVID-19. Penggunaan aplikasi Microsoft Teams pada pembelajaran seni musik dapat membantu guru untuk tetap melaksanakan kegiatan belajar mengajar dengan baik. Penelitian ini bertujuan untuk mendeskripsikan pembelajaran seni musik berbasis Microsoft Teams di SMP Negeri 12 Yogyakarta. Metode penelitian yang digunakan adalah deskriptif kualitatif. Teknik pengumpulan data yang digunakan yaitu wawancara, observasi, dan dokumentasi. Teknik validasi data yang digunakan yaitu triangulasi sumber, sedangkan analisis datanya meliputi reduksi data, penyajian data, dan verifikasi data. Hasil penelitian menunjukkan bahwa penggunaan aplikasi Microsoft Teams pada pembelajaran seni musik dapat membantu guru untuk mengajarkan teori serta praktik yang baik meskipun tidak di dalam kelas. Aplikasi Microsoft Teams mempermudah peserta didik dalam mengikuti proses pembelajaran secara daring, mengumpulkan tugas, dan memperoleh materi. Fitur yang disediakan oleh aplikasi Microsoft Teams membantu proses pembelajaran online seni musik pada materi bernyanyi secara unisono dan hasil belajar yang didapatkan di atas rata-rata kriteria ketuntasan minimal. AbstractOnline learning certainly requires learning tools that follow the subject's needs. Of course, music's teaching and learning process must still be facilitated even in the COVID-19 pandemic situation. The use of the Microsoft Teams application in music learning can help teachers continue carrying out teaching and learning activities well. This study describes music learning based on Microsoft Teams at SMP Negeri 12 Yogyakarta. The research method used is descriptive qualitative. Data collection techniques used are interviews, observation, and documentation. The data validation technique used is source triangulation, while the data analysis includes data reduction, presentation, and verification. The results showed that using the Microsoft Teams application in music learning could help teachers teach good theory and practice even though it was not in the classroom. The Microsoft Teams application makes it easier for students to follow the online learning process, collect assignments, and obtain materials. The features provided by the Microsoft Teams application help the online learning process of music on unison' singing material, and the learning outcomes obtained are above the average minimum criteria.

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Andrew Toe, Yuan Loong. "SHANGHAI JAZZ MUSIC FROM 1930 TO 1949." International Journal of Applied and Creative Arts 1, no. 1 (June 29, 2018): 1–12. http://dx.doi.org/10.33736/ijaca.833.2018.

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Jazz music emerged in Shanghai, China between the late 1920s and early 1930s. This paper documented and analysed Shanghai jazz music that was recorded from 1930 to 1949. Shanghai jazz music recorded and performed within this period was selected through stratified random sampling technique. All samples were analysed in terms of melody, harmony, rhythm and form. The results showed that Western diatonic scale was apparent in the melodies, instead of the usual Chinese pentatonic scale; primary chords were prevalent with minimal use of secondary chords in the harmony; the “oom-pah” rhythm in duple meter was most widely utilized; and the musical form has evolved from the earlier through-composed song form to the later “AABA” form. In conclusion, this research characterised Shanghai jazz music that were recorded between 1930 to 1949. It served to elevate the identity of this music and to prompt further research into Shanghai jazz music spanning from 1950s until present time.

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Gabana, Nicole, Jasmin Hutchinson, James Beauchemin, Matthew Powless, Julia Cawthra, Aaron Halterman, and Jesse Steinfeldt. "A Qualitative Investigation of Music Use among Amateur and Semi-Professional Golfers." Sports 7, no. 3 (March 5, 2019): 60. http://dx.doi.org/10.3390/sports7030060.

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Music use in golf receives minimal attention from both applied and empirical perspectives. Golfers, coaches, and sport psychology practitioners alike may benefit from understanding and utilizing music within their work. Since music use in golf has become an increasingly common practice, the purpose of the current study was to investigate current music use among golfers using a qualitative approach. Researchers aimed to identify potential psychological and physiological effects derived from music use during golf practice and pre-performance, given the limited empirical research in this area to date. Semi-structured interviews were conducted with ten amateur and semi-professional golfers (five male, five female, Mage = 22.9 years, SD = 5.04 years). Consensual qualitative research (CQR) methodology was used to analyze the interview data. Six domains emerged from the CQR analysis regarding participants’ self-reported music use in golf: tempo, attention, physiological regulation, psychological regulation, effects of music on performance perceptions, and context (to use or not to use). Given the capacity of carefully selected music to elicit profound affective, neurophysiological, and behavioral responses, there is clear potential for mental performance consultants to utilize music in working with golfers in training contexts. Implications, caveats, and future research recommendations are provided.

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Brett, Thomas. "Polyrhythms, negative space, circuits of meaning: making sense through Dawn of Midi'sDysnomia." Popular Music 36, no. 1 (December 13, 2016): 75–85. http://dx.doi.org/10.1017/s0261143016000684.

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AbstractDysnomiais a 2013 recording by the jazz trio Dawn of Midi scored for acoustic piano, bass and drums. Eschewing jazz chords, improvisation, swing rhythms and theme and variations, the music is instead organised around repeating rhythmic loops and interlocking melo-harmonic fragments, as one groove assemblage segues into the next like an evolving DJ set. The music sounds equal parts minimal process, electronically sequenced and traditional African. This article engages the musical and philosophical concepts at play inDysnomiato think through writing about music via three paths of speculative inquiry. The first part of the article considers works by Kodwo Eshun, Paul Morley and David Sudnow, idiosyncratic thinkers outside of the mainstream of academic music discourse who vividly approach writing about music through defamiliarising language and inventing concepts, generating associations based on comparative listening and describing the dynamics of musical process. In the second part of the article I draw on these writing techniques to direct my repeated listening encounters withDysnomiaand construct a prose interpretation modelled on the polyrhythms of the music. I conclude with a brief discussion of the phenomenological perspective on musical essences and suggest that music is a model for thinking through writing about music.

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McCaffrey, Tríona, Katrina McFerran, Gustavo Gattino, and Sumathy Sundar. "The Global Music Therapy Educators Network." British Journal of Music Therapy 34, no. 2 (November 2020): 80–81. http://dx.doi.org/10.1177/1359457520969322.

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Music therapy educators around the globe are united in their commitment to the development of the profession through the education of new professionals. Although different university programmes emphasise diverse approaches and are representative of their surrounding cultures, there is much that is shared between different programmes and educators. However, prior to the COVID-19 pandemic, there was minimal interaction between educators as a group, possibly due to time pressures and a lack of need to unite and celebrate our diversities. With the onset of the pandemic and the rapid transition to online learning, an unexpected space emerged for collective dialogue among the music therapy educator community. Brought together by the challenges imposed on professional training due to a global pandemic, a number of global educators united in discussion to seek a way forward.

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Warren, Rebecca L., Sripriya Ramamoorthy, Nikola Ciganović, Yuan Zhang, Teresa M. Wilson, Tracy Petrie, Ruikang K. Wang, et al. "Minimal basilar membrane motion in low-frequency hearing." Proceedings of the National Academy of Sciences 113, no. 30 (July 12, 2016): E4304—E4310. http://dx.doi.org/10.1073/pnas.1606317113.

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Low-frequency hearing is critically important for speech and music perception, but no mechanical measurements have previously been available from inner ears with intact low-frequency parts. These regions of the cochlea may function in ways different from the extensively studied high-frequency regions, where the sensory outer hair cells produce force that greatly increases the sound-evoked vibrations of the basilar membrane. We used laser interferometry in vitro and optical coherence tomography in vivo to study the low-frequency part of the guinea pig cochlea, and found that sound stimulation caused motion of a minimal portion of the basilar membrane. Outside the region of peak movement, an exponential decline in motion amplitude occurred across the basilar membrane. The moving region had different dependence on stimulus frequency than the vibrations measured near the mechanosensitive stereocilia. This behavior differs substantially from the behavior found in the extensively studied high-frequency regions of the cochlea.

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Escoffier, Georges. "La maîtrise de la collégiale de Beaujeu au XVIIIe siècle: un dispositif musical et institutionnel minimal..." Revue de musicologie 78, no. 1 (1992): 150. http://dx.doi.org/10.2307/947244.

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Hunter, Amy Rose, Annie Heiderscheit, Megan Galbally, Davide Gravina, Hiba Mutwalli, and Hubertus Himmerich. "The Effects of Music-Based Interventions for Pain and Anxiety Management during Vaginal Labour and Caesarean Delivery: A Systematic Review and Narrative Synthesis of Randomised Controlled Trials." International Journal of Environmental Research and Public Health 20, no. 23 (November 29, 2023): 7120. http://dx.doi.org/10.3390/ijerph20237120.

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Music-based interventions are not physically invasive, they usually have minimal side effects, and they are increasingly being implemented during the birthing process for pain and anxiety relief. The aim of this systematic review is to summarise and evaluate published, randomised controlled trials (RCTs) assessing the effects of music-based interventions for pain and anxiety management during vaginal labour and caesarean delivery. Following the PRISMA guidelines, a systematic search of the literature was conducted using: PsychInfo (Ovid), PubMed, and Web of Science. Studies were included in the review if they were RCTs that assessed the effects of music on pain and anxiety during vaginal and caesarean delivery by human mothers. A narrative synthesis was conducted on 28 identified studies with a total of 2835 participants. Most, but not all, of the included studies assessing music-based interventions resulted in reduced anxiety and pain during vaginal and caesarean delivery. Music as part of a comprehensive treatment strategy, participant-selected music, music coupled with another therapy, and relaxing/instrumental music was specifically useful for reducing light to moderate pain and anxiety. Music-based interventions show promising effects in mitigating pain and anxiety in women during labour. However, the long-term effects of these interventions are unclear.

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Brun, Chantale R., J. Kevin Shoemaker, Alan Bocking, Jo-Anne Hammond, Monica Poole, and Michelle F. Mottola. "Bed-rest exercise, activity restriction, and high-risk pregnancies: a feasibility study." Applied Physiology, Nutrition, and Metabolism 36, no. 4 (August 2011): 577–82. http://dx.doi.org/10.1139/h11-036.

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This feasibility study investigated the response of maternal heart rate, blood pressure, and uterine contractions to a 30-min bed-rest exercise session (while listening to music) in hospitalized women with varying diagnoses of high-risk pregnancy. Eleven antenatal women who were hospitalized for activity restriction were assigned randomly to either a bed-rest exercise and music group (n = 6) or a bed-rest and music group (n = 5) that involved no exercise. The key findings were that there were no changes in maternal blood pressure or in the number of uterine contractions following the exercise intervention. A supervised bed-rest exercise intervention may, therefore, provide minimal risks and help alleviate the physiological effects of hospital activity restriction.

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Bennett, S. L., and F. Maas. "The Effect of Music-Based Life Review on the Life Satisfaction and Ego Integrity of Elderly People." British Journal of Occupational Therapy 51, no. 12 (December 1988): 433–36. http://dx.doi.org/10.1177/030802268805101208.

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Although music-based life review has frequently been used to facilitate personal adjustment in elderly people, minimal empirical evidence exists as to its effectiveness. An experiment was designed to evaluate the effectiveness of music-based life review. It was hypothesized that a programme of music-based life review would more effectively promote life satisfaction and ego integrity than a programme of verbal life review. Twenty-six elderly female patients residing in nursing homes or hostel accommodation were selected, matched and randomly assigned to either a treatment group (music-based life review) or a control group (verbal life review). Following a 6-week intervention period, all subjects completed the Ego Integrity Subscale (EIS) and the Life Satisfaction Index A (LSIA) and indicated on a linear scale the degree to which they enjoyed the treatment or found it helpful. Results provided support for the use of music-based life review by health care professionals aiming to improve the elderly person's personal adjustment.

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Sznajder, Patrycja. "Music for Nine Post Cards jako przykład kankyo ongaku, czyli „muzyki unoszącej się w powietrzu jak dym”." Kwartalnik Młodych Muzykologów UJ, no. 53 (2) (September 19, 2022): 73–91. http://dx.doi.org/10.4467/23537094kmmuj.22.010.16247.

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Music for Nine Post Cards as an Example of Kankyo Ongaku i.e ‘Music that Floats in the Air Like a Smoke’ The aim of the article is an attempt to present the genesis and describe the first compositions that formulated the Japanese ambient trend, i.e. kankyo ongaku. The subject of the research is both the history of the creation of the series by Hiroshi Yoshimura, Music for Nine Post Cards, which became the cornerstone of later albums from the ambient and minimal music trend in Japan, as well as individual works included in the cycle under study. Based on the results of the automated and auditory analysis of Music for Nine Post Cards, the structure of musical works and their stylistic features are determined. For automated analysis, Sonic Visualiser was used—an application used to create a graphical visualisation of the music content of audio files. As a result of the research, the answer was obtained as to how Hiroshi Yoshimura and Satoshi Ashikawa realised the original assumptions of kankyo ongaku.

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Browne, Jade. "New Zealand’s refreshed curriculum: Another promise unfulfilled?" Teachers and Curriculum 22, no. 1 (August 3, 2022): 21–25. http://dx.doi.org/10.15663/tandc.v22i1.390.

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Art disciplines such as music have continued to be marginalised in the curriculum, due to educational policies such as National Standards that have focused solely on numeracy and literacy. With growing concerns of a narrowing curriculum, there have been several developments in education, including the removal of National Standards in 2017, the introduction of the Creatives in Schools programme and a refresh of New Zealand’s national curriculum. Despite this, minimal resources continue to be allocated to primary music education, with the subject remaining underfunded and under resourced.

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Eaton. "Marking Minimalism: Minimal Music as a Sign of Machines and Mathematics in Multimedia." Music and the Moving Image 7, no. 1 (2014): 3. http://dx.doi.org/10.5406/musimoviimag.7.1.0003.

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Yuliasih, Yuliasih, Sri Yona, and Agung Waluyo. "Terapi Musik sebagai Terapi Komplementer untuk Menurunkan Kecemasan Pasien." Journal of Telenursing (JOTING) 5, no. 1 (June 30, 2023): 1337–45. http://dx.doi.org/10.31539/joting.v5i1.5641.

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This study aims to analyze the effectiveness of music therapy in reducing anxiety in patients in the intensive care unit. The research method uses article searches conducted on four databases, namely Science Direct, Embase, Pubmed, and Proquest, with the keywords "Anxiety," "therapy music," and "Intensive Care Unit." Articles are limited to the last ten years, English, free full text, RCT, or clinical trial designs. Of the 500 articles obtained, after screening, eight articles were subjected to further analysis. The study results show that music therapy positively impacts the physical and psychological aspects of patients in the intensive care unit. The positive impact from a biological perspective includes lowering the respiratory and heart rates, while the positive effects from a psychological perspective are reducing anxiety. The effective duration of music therapy in reducing stress after analysis is 25-90 minutes. In addition, there is no significant difference in the type of music in reducing anxiety. In conclusion, music therapy can be used as a complementary therapy in reducing patient anxiety in the intensive care unit because it is proven to reduce stress, has minimal side effects, and is inexpensive. Keywords: Anxiety, Intensive Care Unit, Music Therapy

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Potter, Lois. "The Lord Mayor's Show for 1621 and 2021: Reconstructing a Triumph." Cahiers Élisabéthains: A Journal of English Renaissance Studies 107, no. 1 (February 8, 2022): 82–88. http://dx.doi.org/10.1177/01847678221074893.

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In October 2021, the Beyond Shakespeare group performed the text of Thomas Middleton's Lord Mayor's Show of 1621, The Sun in Aries, at Bow Church in London's Cheapside. Lasting about half an hour, as opposed to the original all-day event, it featured music, child and adult performers, and minimal visual effects. The experiment showed that actors’ voices can be effective even in outdoor spaces (though less effective than music), but also that much of their language is unintelligible without its context. This, then, is what future experiments should attempt to provide.

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Journal articles on the topic 'Minimal music'

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