Journal articles on the topic 'Music I.C.T'

We examined two models that quantified the effects of tonality on accuracy and reaction time in an intervening-tone pitch-comparison task. In each of 16 task conditions (standard tone-interpolated sequence-test tone, abbreviated as S-seq-T), the S and T tones, C₄ and/or C#₄, were separated by a three-tone sequence that was a random arrangement of one of the four triads, ${\rm{C}}_{{\rm{4Major}}} ,{\rm{C}}_{{\rm{4Minor}}} ,{\rm{C\# }}_{\rm{4}} _{{\rm{Major}}} $ or ${\rm{C\# }}_{{\rm{4Minor}}} $ . Both models were based on the tonal hierarchy (Krumhansl, 1990a; Krumhansl & Shepard, 1979) and the key-finding algorithm (Krumhansl & Schmuckler, cited in Krumhansl, 1990a); the key- finding algorithm was used to determine the best-fitting key for the first four notes of the condition (i.e., the S-seq combination). Model 1 (S-Tone Stability) determined the stability of the S tone given that key. Model 2 (T-Tone Expectancy) determined the expectancy for the T tone given that key. Over the 16 conditions, for three groups of 12 subjects, differing by level of training, mean proportion correct discrimination ranged from .53 to .95 and increased significantly across levels of musical experience. For the musically trained subjects, both models predicted performance well but neither model was dramatically more effective than the other; the combination of both models did produce an increase in predictability. For untrained subjects, tonality, as assessed by the key-finding algorithm in either model, was not significantly correlated with performance.

The authors describe the scientific background and technical details of the visualization of the mathematics underlying genetic codes applied to musical scales. “Genetic Music” provides audible access to genetic structures that become visible based on the fundamental level of nature as permutations of space itself. The carriers of genetic information characteristically possess hydrogen bonds in quantities 2 and 3 in complementary pairs of nitrogenous bases [GACT] in DNA and [GACU] in RNA. Since hydrogen is observed to expose the symmetries of the Penrose Patterns, visual access is achieved by means of a 3D representation of Penrose kites and darts named “epitahedron.” Those pyramid-shaped polyhedra represent the numbers of hydrogen bonds (C=G=3, A=T=2) that generate musical equivalence between the genetic alphabet and the 7 notes of the Pythagorean scale, as well as further and distinct correlations with “Fibonacci stage” “Genetic Music” scales. The visualization must be played synchronously with the musical performance.

Listeners are sensitive to pitch distributional information in music (N. Oram & L. L. Cuddy, 1995; C. L. Krumhansl, J. Louhivuori, P.Toiviainen, T. Jäärvinen, & T. Eerola, 1999). However, it is uncertain whether frequency-based musical features are sufficient to explain the similarity judgments that underlie listeners' classification processes. A similarity rating experiment was designed to determine the effectiveness of these features in predicting listeners' similarity ratings. The material consisted of 15 melodies representing five folk music styles. A multiple regression analysis showed that the similarity of frequency-based musical properties could account for a moderate amount (40%%) of listeners' similarity ratings. A slightly better predictive rate (55%%) was achieved by using descriptive variables such as number of tones, rhythmic variability, and melodic predictability. The results suggest that both measures were able to capture some aspects of the structures that portray common salient dimensions to which listeners pay attention while categorizing melodies. Aikaisemmissa tutkimuksissa on osoitettu, ettää musiikin tilastollisilla tapahtumilla, kuten säävelten määäärillää ja tyypillisillää intervalleilla, on merkitystää, kun kuulijat muodostavat kääsityksiääään musiikin rakenteesta (N. Oram & L. L. Cuddy, 1995; C. L. Krumhansl, J. Louhivuori, P. Toiviainen, T. Jäärvinen, & T. Eerola, 1999). Nääiden piirteiden voidaan olettaa olevan täärkeitää myöös musiikin luokittelussa. Toistaiseksi ei kuitenkaan tiedetää, miten hyvin tilastollisilla piirteillää voitaisiin musiikin luokittelua selittääää. Täätää testattiin kuulijoille jäärjestetyn samanlaisuusarviointitehtäävään avulla. Tutkimuksen materiaali koostui 15 melodiasta, jotka edustivat viittää eri kansanmusiikkityyliää. Regressioanalyysi paljasti, ettää musiikin tilastollisten piirteiden samanlaisuus pystyi selittäämääään kohtuullisen määäärään (40%%) kuulijoiden antamista samanlaisuusarvioista. Hieman parempi selitysaste (55%%) saavutettiin kuvaavilla muuttujilla, joita olivat melodian laajuus ja ennakoitavuus sekää rytmin vaihtelevuus. Nääin ollen tulokset antavat aiheen olettaa, ettää musiikin tilastolliset piirteet ja kuvailevat muuttujat vaikuttavat kuulijoiden luokittelupäääätööksiin.

Na osnovi nekaterih v zadnjih dveh desetletjih objavljenih razprav o glasbenem interpretiranju (T. C. Mark, G. Tomlinson, P. Kivy, R. Scruton) so izpeljane in obrazložene tri teze: 1. Razlika med glasbo in neinterpretativnimi umetnostmi (literatura, slikarstvo itd.) ni tako velika, kot se navadno misli. Interpretiranje je umetnosti neodtujljivo in razloček med literaturo in drugimi neinterpretativnimi umetnostmi na eni strani in glasbo na drugi je, da je ob literarnem delu bralec tudi svoj lastni interpret, medtem ko je v glasbi interpretacija zaupana profesionalnim izvajalcem. 2. Izvajalsko gibanje "zgodnje glasbe" je odkrilo izvajalske prakse in vzpostavilo standarde brez katerih si danes ni mogoče predstavljati interpretiranja glasbe izpred druge polovice 18. stol. A kot meni P. Kivy, iskanje avtentičnega pomena glasbenega dela ni zamenljivo z rekonstruiranjem domnevne historično avtentične izvedbe. Z ozirom na naravo glasbenega dela je njegov notranji smisel onstran njegove historične zvočne podobe. 3. T. C. Mark ugotavlja, da je izvedba intencionalni akt. Kot taka ni niti predvidljiva niti ponovljiva. Ob neodtujljivi inspiracijski svobodi pri interpretiranju umetnosti zgodovina izvedb danega dela ni nujno pot k pomenu, ki ga je videl skladatelj; enako lahko vodi tudi stran od skladateljeve resnice, v še neizkušena in neznana področja. Takšno gledanje ni združljivo s platonističnim pojmovanjem izvedb kot instanc, primerkov glasbenega dela, obstajajočega kot ideja.

The article’s purpose is to define the cognitive determination of musical thinking and musical self-concept of students and musicians, considering the cognitive style of the individual, analytical-holistic thinking, and individual psychological abilities. The study applies the diagnostic technique for the cognitive style of individuality (T. Dudnikova, O. Volkova), analysis-holism scale (Choi, Koo, and Choi), Cattell test (16PF - C), musical thinking questionnaire developed by authors (I. Mazur, T. Нrinchenko, O. Teplova, L. Onofrichuk, O. Priadko). The study presents the first approbation of the musical thinking questionnaire developed by the authors, the integral indicator of which is measured on the following scales: emotional response to music, emotional-intonational (melodic) ear, harmonic ear for music, perceptual ear for music, musical-rhythmic sense, musical memory, performing emotionality, musical-creative imagination – insight into the essence of the musical image, musical-creative imagination – interpretation of the musical image, sense of the whole – sense of tempo-rhythm, sense of the whole – a sense of shape, sense of the whole – sense of style, sense of the whole – the sense of the logical development of the piece of music, cognitive activity, self-regulation, ability to work. The authors empirically determine that the musical thinking of students is based on advanced abilities in terms of the sense of the whole – the sense of shape, emotional response to music, and the sense of the logical development of the piece of music. Dominants in musicians’ musical thinking are the emotional response to music, musical-creative imagination – insight into the essence of the musical image, and high cognitive activity.

Narcissus L. `Music Hall', N. `Tahiti', Tulipa L. `Couleur Cardinal', and T. `White Emperor' bulbs were precooled at 5 °C for 0 or 5 weeks and planted 15, 30, or 45 cm deep (from bulb base) into raised ground beds under 0%, 30%, or 60% shade. Plant growth was monitored for two consecutive years after planting. Precooling reduced the percentage of T. `White Emperor' that flowered but did not affect flowering percentage of the other cultivars. Precooling delayed anthesis in one or both years for all cultivars. The greatest percentage of bulbs flowered when planted 15 cm deep and the 45-cm planting depth reduced flowering percentage. Increasing planting depth delayed anthesis for all cultivars. Increasing shade increased stem lengths in one or both years for all cultivars, but did not influence flowering percentage. Perennialization was low for all cultivars regardless of treatment. Cultivar differences in perennialization occurred; in year 2 up to 30% of N. `Tahiti' bulbs flowered vs. 32% for `Music Hall' and up to 30% of T. `White Emperor' bulbs flowered vs. only 22% of `Couleur Cardinal'.

Purpose: The goals of this study were (1) to investigate the reliability of a clinical music perception test, Appreciation of Music in Cochlear Implantees (AMICI), and (2) examine associations between the perception of music and speech. AMICI was developed as a clinical instrument for assessing music perception in persons with cochlear implants (CIs). The test consists of four subtests: (1) music versus environmental noise discrimination, (2) musical instrument identification (closed-set), (3) musical style identification (closed-set), and (4) identification of musical pieces (open-set). To be clinically useful, it is crucial for AMICI to demonstrate high test-retest reliability, so that CI users can be assessed and retested after changes in maps or programming strategies. Research Design: Thirteen CI subjects were tested with AMICI for the initial visit and retested again 10–14 days later. Two speech perception tests (consonant-nucleus-consonant [CNC] and Bamford-Kowal-Bench Speech-in-Noise [BKB-SIN]) were also administered. Data Analysis: Test-retest reliability and equivalence of the test's three forms were analyzed using paired t-tests and correlation coefficients, respectively. Correlation analysis was also conducted between results from the music and speech perception tests. Results: Results showed no significant difference between test and retest (p > 0.05) with adequate power (0.9) as well as high correlations between the three forms (Forms A and B, r = 0.91; Forms A and C, r = 0.91; Forms B and C, r = 0.95). Correlation analysis showed high correlation between AMICI and BKB-SIN (r = −0.71), and moderate correlation between AMICI and CNC (r = 0.4). Conclusions: The study showed AMICI is highly reliable for assessing musical perception in CI users.

Many studies have shown a link between being competent in early mathematics and achievement in school. Early math skills have the potential to be the best predictors of later performance in reading and mathematics. Movement and songs are activities that children like, making it easier for teachers to apply mathematical concepts through this method. This study aims to develop audio-visual learning media in the form of songs with a mixture of western and traditional musical idioms, accompanied by movements that represent some of the teaching of early mathematics concepts. The stages of developing the ADDIE model are the basis for launching new learning media products related to math and art, and also planting the nation's cultural arts from an early age. These instructional media products were analyzed by experts and tested for their effectiveness through experiments on five children aged 3-4 years. The qualitative data were analyzed using transcripts of field notes and observations and interpreted in a descriptive narrative. The quantitative data were analyzed using gain score statistics. The results showed that there was a significant increase in value for early mathematical understanding of the concepts of geometry, numbers and measurement through this learning medium. The results of the effectiveness test become the final basis of reference for revision and complement the shortcomings of this learning medium. Further research can be carried out to develop other mathematical concepts through motion and song learning media, and to create experiments with a wider sample. Keywords: Early Mathematical Skills, Movement and Song Idiom Traditional, Audio-visual Learning Media References An, S. A., & Tillman, D. A. (2015). Music activities as a meaningful context for teaching elementary students mathematics: a quasi-experiment time series design with random assigned control group. 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The author of the article presents three different trajectories in the development of Wittgenstein's philosophical thinking about musical depth and knowledge about humanity. The author presents the philosophical views of J. G. herder, W. G. Wackenroder, E. T. A. Hoffmann, A. Schopenhauer, O. Spengler, G. Schenker, and C. Taylor on the interpenetration of the question of language and mind, on the romantic philosophical depth of music as the quintessence of the romantic challenge of metaphors of depth, the truth of nature, and the sensual world. In revealing the essential potential of musical language, we formulate succinct and precise theses that confirm the essential nature of music, which, according to Schopenhauer, is the "inner nature" of human emotion, or the "secret history" of human will. The article provides an in-depth analysis of theoretical and methodological approaches of foreign philosophers to the essence of musical language, in which music differs from language and visual ways of expression by its ability to influence the spiritual world of a person with a special force. The article formulates theoretical theses about the values of music, which lies in its unique relationship with the phenomenological dynamics of human emotions, feelings and moods, with a kind of "feeling" of the degree of their impact, surge, increase and decrease. According to the author, a full-fledged philosophy of music is characterized by an uncanny correspondence between the inner space of music and the inner space of the listening subject.

The London Sinfonietta’s reputation as a contemporary music ensemble comes from the continuing commitment by its players and artistic directors to its quality of performance. The ensemble also developed a sense of its musical identity by generating a repertoire of commissioned works. This article looks at some of the ways that the Sinfonietta defined its musical ideology and has functioned as a performance-centred art world in which composers are invited to collaborate but are not there by right. It examines the Sinfonietta’s strategies for audience building, the ensemble’s contribution to the development of London’s concert life since its foundation in 1968, and looks at the ways that it has sought to renew itself in response to the different funding and aesthetic environments it has encountered in its history. The Sinfonietta’s venture into Broadway repertoire is discussed in terms of social identity. The article argues, after Jürgen Habermas and T. W. C. Blanning, that one of the most significant contributions of the Sinfonietta has been its continued commitment to the concert event as a forum for critical engagement and cultural debate.

IntroductionMusic therapy aligns to the holistic approach to palliative and end-of-life care (PEOLC) with increased prevalence in PEOLC settings (Graham-Wisener et al. 2018). Despite this there is a dearth of high-quality evidence examining the impact of music therapy towards end of life on quality of life (McConnell et al. 2016).AimsThe aim of this pilot and feasibility study was to: test procedures; outcomes and validated tools; estimate recruitment and attrition rates; and calculate the sample size required for a phase III randomised controlled trial.MethodsA single-centre pilot and feasibility trial with patients admitted to a specialist palliative care inpatient unit within the United Kingdom. Participants were randomised (1:1) to either a music therapy intervention of two 30–45 min sessions of music therapy per week for three consecutive weeks or usual care. The primary outcome measure was to evaualte the feasibility of administering the McGill Quality of Life Questionnaire (MQoL) baseline with follow-up measures at one, three and five weeks.Results51 participants were recruited to the trial over a 12 month period. Feasibility of administering music therapy intervention and attrition rates identified one-week follow-up as an appropriate primary outcome. Results suggest a likely effect on MQoL total score between intervention and control arms in particular the existential subscale.ConclusionThe current study resolved a number of issues towards informing robust procedures for a phase III RCT. This data is urgently needed to ensure an evidence-based decision on inclusion of music therapy in palliative care services.References. Graham-Wisener L, Watts G, Kirkwood J, Harrison C, McEwan J, Porter S, Reid J, McConnell TH. Music therapy in UK palliative and end-of-life care: A service evaluation. BMJ supportive & palliative care2018.. McConnell T, Scott D, Porter S. Music therapy for end-of-life care: An updated systematic review. Palliative Medicine2016;30(9):877–883.

The author analyzes the experience of transcription of the compositions of J. Bull, C. Monteverdi, J. Bach, C. Debussy and S. Prokofiev for a synth keyboard Synthi 100 done by the Russian composers A. Artemiev, V. Martynov, Yu. Bogdanov in 1980, and released on the disc “Metamorphoses”. The author also considers the composers’ range of artistic tasks and sound solutions and the variants of work with the texture of the original compositions. The electronic interpretations, contained in the “Metamorphoses”, not only demonstrate the examples of transcribing the original text for a synth keyboard, but also illustrate the 4 criteria of electronic music formulated by K. Stockhausen: unified temporal structuring (a common temporal field), the disintegration of sound, a multidimensional spatial composition, and the equality of the tone and the noise.  In spite of the fact that the transcription of classical music pieces for a synth keyboard was carried out by the Russian composers several decades ago, this experience hasn’t been studied yet. Probably, it is explained by the fact that the analysis and description of electronic music using traditional means is complicated, since the material under study is not noted: all transformations carried out by the interpreter are fixed only in the audiorecord.  The analysis of transcriptions is complicated by the fact that electronic instruments are regularly upgraded and transformed, and therefore their artistic capacity is increased. The change of instruments caused the transformation of approach to music art. The article analyzes the transformation of the author’s text, the transformation of a piano texture into the electronic score, and the role of the arranger as a co-author of the composition.  

Self-regulation in children is an important thing that needs to be prepared from an early age. Besides affecting children's school readiness, this also makes it easier for children to have good academic achievements. This study aims to determine the influence of moving to the beat of early childhood self-regulation. This research was conducted on kindergarten group B students in East Jakarta. The research method used is a quasi-experiment method with a sample of 20 students. The data collection technique uses observations by analysing paired t-test statistical data. The results of the study explained that there was a significant effect of moving to the beat of early childhood self-regulation. The significance level is 0.000 < 0.05, which means that H0 is rejected and H1 is accepted, this indicates a significant difference between the pre-test and post-test. For further research, it is recommended to look at the influence of other factors on early childhood self-regulation. Keywords: Beats, Early childhood, Moving, Self-Regulation References: Baltazar, M., Västfjäll, D., Asutay, E., Koppel, L., & Saarikallio, S. (2019). Is it me or the music? Stress reduction and the role of regulation strategies and music. Music & Science, 2, 205920431984416. https://doi.org/10.1177/2059204319844161 Blair, C., & Raver, C. C. (2012). Individual development and evolution: Experiential canalization of self-regulation. Developmental Psychology, 48(3), 647–657. https://doi.org/10.1037/a0026472 Blair, C., & Raver, C. C. (2015). School Readiness and Psychobiological Approach. August 2014, 1–21. https://doi.org/10.1146/annurev-psych-010814-015221 Blair, C., & Razza, R. P. (2007). Relating Effortful Control, Executive Function, and False Belief Understand... Child Development, 78(2), 647–663. https://doi.org/10.2307/4139250 Booth, A., O’Farrelly, C., Hennessy, E., & Doyle, O. (2019). ‘Be good, know the rules’: Children’s perspectives on starting school and self-regulation. 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(2013). Functions, Executive. Annual Reviews Psychology, 29(146), 13–15. https://doi.org/10.1146/annurev-psych-113011-143750 Diamond, A. (2016). Why improving and assessing executive functions early in life is critical. In Executive function in preschool-age children: Integrating measurement, neurodevelopment, and translational research. (pp. 11–43). American Psychological Association. https://doi.org/10.1037/14797-002 Duckworth, A. L., Quinn, P. D., & Tsukayama, E. (2012). What No Child Left Behind Leaves Behind: The Roles of IQ and Self-Control in Predicting Standardized Achievement Test Scores and Report Card Grades. Journal Education Psycology, 104(2), 439–451. https://doi.org/10.1037/a0026280.What Edossa, A. K., Schroeders, U., Weinert, S., & Artelt, C. (2018). The development of emotional and behavioral self-regulation and their effects on academic achievement in childhood. International Journal of Behavioral Development, 42(2), 192–202. https://doi.org/10.1177/0165025416687412 Eunhye, H., Cynthia, K. B., & Jeon, L. (2015). The Association Between Teachers’ Child-Centered Beliefs and Children’s Academic Achievement: The Indirect Effect of Children’s Behavioral Self-regulation. Developmental Psychology, 44, 309–325. https://doi.org/DOI 10.1007/s10566-014-9283-9 Flook, L., Smalley, S. L., Kitil, M. J., Galla, B. M., Kaiser-Greenland, S., Locke, J., Ishijima, E., & Kasari, C. (2010). Effects of mindful awareness practices on executive functions in elementary school children. Journal of Applied School Psychology, 26(1), 70–95. https://doi.org/10.1080/15377900903379125 Fujii, S., & Schlaug, G. (2013). The Harvard Beat Assessment Test (H-BAT): a battery for assessing beat perception and production and their dissociation. Frontiers in Human Neuroscience, 7(November), 1–16. https://doi.org/10.3389/fnhum.2013.00771 Gammage, P. (2019). Early childhood education and care in context. In Early Years Education and Care. https://doi.org/10.4324/9781315768700-2 George, E. M., & Coch, D. (2011). Music training and working memory: An ERP study. Neuropsychologia, 49(5), 1083–1094. https://doi.org/10.1016/j.neuropsychologia.2011.02.001 Hallam, S. (2010). The power of music : Its impact on the intellectual , social and personal development of children and young people. https://doi.org/10.1177/0255761410370658 Howes, C., Burchinal, M., Pianta, R., Bryant, D., Early, D., Clifford, R., & Barbarin, O. (2008). Ready to learn? Children’s pre-academic achievement in pre-Kindergarten programs. Early Childhood Research Quarterly, 23(1), 27–50. https://doi.org/10.1016/j.ecresq.2007.05.002 Jacobson-Chernoff, J., Flanagan, K. D., McPhee, C., & Park, J. (2007). Preschool: First findings from the preschool follow-up of the Early Childhood Longitudinal Study, Birth Cohort (ECLS-B). In National Center for Education Statistics. NCES Publication No. 2008-025. Lobo, Y. B., & Winsler, A. (2006). The effects of a creative dance and movement program on the social competence of head start preschoolers. Social Development, 15(3), 501–519. https://doi.org/10.1111/j.1467-9507.2006.00353.x Marsden, E., & Torgerson, C. J. (2012). Article in Oxford Review of Education ·. May 2016. https://doi.org/10.2307/41702779 McClelland, M. M., & Cameron, C. E. (2012). Self-Regulation Early Childhood: Improving Conceptual Clarity and Developing Ecologically Valid Measures. Child Development Perspectives, 6(2), 136–142. https://doi.org/10.1111/j.1750-8606.2011.00191.x OCDE. (2013). Education at a Glance 2013. https://doi.org/10.1787/gov_glance-2011-en Pianta, R., Howes, C., Burchinal, M., Bryant, D., Clifford, R., Early, D., & Barbarin, O. (2005). Features of Pre-Kindergarten Programs, Classrooms, and Teachers: Do They Predict Observed Classroom Quality and Child-Teacher Interactions? Applied Developmental Science, 9(3), 144–159. https://doi.org/10.1207/s1532480xads0903_2 Ponitz, C. C., McClelland, M. M., Matthews, J. S., & Morrison, F. J. (2009). A Structured Observation of Behavioral Self-Regulation and Its Contribution to Kindergarten Outcomes. Developmental Psychology, 45(3), 605–619. https://doi.org/10.1037/a0015365 Putkinen, V., Tervaniemi, M., & Huotilainen, M. (2013). Informal musical activities are linked to auditory discrimination and attention in 2-3-year-old children: an event-related potential study. European Journal of Neuroscience, 37(4), 654–661. https://doi.org/10.1111/ejn.12049 Putkinen, Vesa, Tervaniemi, M., Saarikivi, K., & Huotilainen, M. (2015). Promises of formal and informal musical activities in advancing neurocognitive development throughout childhood. Annals of the New York Academy of Sciences, 1337(1), 153–162. https://doi.org/10.1111/nyas.12656 Salisch, M. Von, Haenel, M., & Denham, S. A. (2015). Early Education and Development Self-Regulation , Language Skills , and Emotion Knowledge in Young Children From Northern Germany. July 2015. https://doi.org/10.1080/10409289.2015.994465 Schibli, K., Van Roon, P., MacDougall, K., & D’Angiulli, A. (2015). Practicing self-regulation through music: An ERP study comparing child musicians and nonmusicians. International Journal of Developmental Neuroscience, 47(2015), 97. https://doi.org/10.1016/j.ijdevneu.2015.04.265 Thomason, A. C., & La Paro, K. M. (2009). Measuring the Quality of Teacher–Child Interactions in Toddler Child Care. Early Education and Development, 20(2), 285–304. https://doi.org/10.1080/10409280902773351 Varela, W., & Abrami, P. C. (2014). Self-regulation and music learning : A systematic review. https://doi.org/10.1177/0305735614554639 Wiebe, S. A., Espy, K. A., & Charak, D. (2008). Using Confirmatory Factor Analysis to Understand Executive Control in Preschool Children: I. Latent Structure. Developmental Psychology, 44(2), 575–587. https://doi.org/10.1037/0012-1649.44.2.575 Williams, K. E. (2018). Moving to the Beat: Using Music, Rhythm, and Movement to Enhance Self-Regulation in Early Childhood Classrooms. International Journal of Early Childhood, 50(1), 85–100. https://doi.org/10.1007/s13158-018-0215-y Williams, K. E., Barrett, M. S., Welch, G. F., Abad, V., & Broughton, M. (2015a). Associations between early shared music activities in the home and later child outcomes: Findings from the Longitudinal Study of Australian Children. Early Childhood Research Quarterly, 31, 113–124. https://doi.org/10.1016/j.ecresq.2015.01.004 Williams, K. E., Barrett, M. S., Welch, G. F., Abad, V., & Broughton, M. (2015b). Associations between early shared music activities in the home and later child outcomes: Findings from the Longitudinal Study of Australian Children. Early Childhood Research Quarterly, 31, 113–124. https://doi.org/10.1016/j.ecresq.2015.01.004 Williams, K. E., & Berthelsen, D. (2019). Implementation of a rhythm and movement intervention to support self-regulation skills of preschool-aged children in disadvantaged communities. Psychology of Music, 47(6), 800–820. https://doi.org/10.1177/0305735619861433 Williford, A. P., Whittaker, J. E. V., Virginia, E., Downer, J. T., Williford, A. P., Whittaker, J. E. V., & Vitiello, V. E. (2013). Early Education and Development Children ’ s Engagement Within the Preschool Classroom and Their Development of Self-Regulation Children ’ s Engagement Within the Preschool Classroom and Their Development of Self-Regulation. Early Education and Development, 24, 162–187. https://doi.org/10.1080/10409289.2011.628270 Zachariou, A., & Whitebread, D. (2016). Musical play and self-regulation : does musical play allow for the emergence of self-regulatory behaviours ? 4937(February). https://doi.org/10.1080/21594937.2015.1060572 Zimmerman, B. J. (2010). Self-Regulated Learning and Academic Achievement: An Overview. 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<p><em>The use of digital music platforms can become effective media in ethnic music especially Betawi music, Pop music , RnB and Jazz genre. This digital music Platform can be used to preserve Indonesian ethnic songs.</em><em> </em><em>The purpose of this research is to find out the motives for the preservation of </em><em>B</em><em>etawi </em><em>M</em><em>usic in the </em><em>utilization</em><em> of digital music platforms in Gambang Kromong Community. The study of the theory used uses and gratification and new media. In addition, the study of concepts used derivatives of the </em><em>uses </em><em>and grat</em><em>ification</em><em>, digital music platforms used and the distribution of Musi</em><em>c. </em><em>This research is different from previous research existing to utilize digital music platform as an effective medium to preserve ethnic music, previous research utilizing digital music platform for promotional media. This research methodology uses a post-positivism paradigm with a qualitative approach and the type of this descriptive research, the analytical unit used by the organization, the research data collection techniques through interviews and documentation studies. This research Instrument researchers themselves, the data analysis techniques in the study of data collection, data reduction, data presentation and withdrawal of conclusions. Furthermore,</em><em> validity of data used by the source of the sources by interviewing 5 informant</em><em>. Based on the results of the study found that the utilization of digital music platform that is found by the work of </em><em>Setia Muda</em><em> foundations managed by G</em><em>ema Nada Pertiwi </em><em>tself become effective and preserve Betawi music in a digital way without using CDS and tapes </em><em>t</em><em>o</em><em> </em><em>m</em><em>aintain its existence in the Betawi Music Foundation with a touch of Gambang Kromong on digital music platform. </em></p><p><strong><em>Keywords: </em></strong><em> </em>Betawi music, Community media, Digital music platform, and Gambang Kromong.<em></em></p>

What is a ‘hook’? Delson's Dictionary defines it as ‘[t]hat part of a song, sometimes the title or key lyric line, that keeps recurring’ (Hurst and Delson 1980, p. 58). According to songwriters Al Kasha and Joel Hirschhorn, hooks are ‘the foundation of commercial songwriting, particularly hit-single writing’. Hooks may involve repetition of ‘one note or a series of notes … [or of] a lyric phrase, full lines or an entire verse’. The hook is ‘what you're selling’. Though a hook can be something as insubstantial as a ‘sound’ (such as da doo ron ron), ‘[i]deally [it] should contain one or more of the following: (a) a driving, danceable rhythm; (b) a melody that stays in people's minds; (c) a lyric that furthers the dramatic action, or defines a person or place’ (Kasha and Hirschhorn 1979, pp. 28, 29).

Aims. The glycosphingolipidβ-galactosylceramide-3-O-sulfate (sulfatide) is present in the secretory granules of the insulin producingβ-cells and may act as a molecular chaperone of insulin. The final step in sulfatide synthesis is performed by cerebroside sulfotransferase (CST) (EC 2.8.2.11). The aim of this study was to investigate whether two single nucleotide polymorphisms (SNP), rs2267161 located in an exon or rs42929 located in an intron, in the gene encoding CST are linked to type 2 diabetes (T2D).Methods. As a population survey, 265 male and female patients suffering from T2D and 291 gender matched controls were examined.Results. A higher proportion of T2D patients were heterozygous at SNP rs2267161 with both T (methionine) and C (valine) alleles present (49.8% versus 41.3%,P=.04). The calculated odd risk for T2D was 1.47 (1.01–2.15,P=.047). Among female controls, the homozygous CC individuals displayed lower insulin resistance measured by HOMA-IR (P=.05) than the C/T or TT persons; this was particularly prevalent in individuals who exercise (P=.03).Conclusion. Heterozygosity at SNP rs2267161 in the gene encoding the CST enzyme confers increased risk of T2D. Females with the CC allele showed lower insulin resistance.

The purpose of this research was to examine effects of two listening strategies on melodic dictation scores. Fifty-four undergraduate music majors completed short tonal melodic dictations in a within-subjects design with three conditions: (a) no specified strategy in the instructions, (b) required listening before writing, and (c) required writing while listening. The purpose of the first condition was to determine subjects’ preference for listening before writing or writing while listening prior to requiring each. Two repeated measures t tests revealed no significant difference in test scores between the second and third conditions and no significant difference in test scores between subjects’ demonstrated preferred strategy and nonpreferred strategy. Results corroborate prior research suggesting that both may be viable strategies for melodic dictation, each offering unique benefits to aural memory and musical comprehension. Implications for high school and college aural skills instructors include the need to offer students options for dictation strategies and help them choose when and how to use them. Students who have tried multiple strategies in practice and considered their relative benefits might be better prepared to make wise decisions during dictation.

The purpose of this study was to investigate the effects of two listening strategies on rhythmic dictation scores. In a within-subjects design, 54 undergraduate music majors completed two-measure rhythmic dictations under each of three conditions: (a) no prescribed approach, (b) required listening before writing, and (c) required writing while listening. The first condition gauged participants’ baseline preference for the approach of the second or third condition. Repeated-measures t tests revealed a significant difference in test scores between the second and third conditions but no significant difference as a function of participants’ preferred strategy. Results suggest that some amount of simultaneous sketching may be helpful to students as they take dictation of rhythms, a common task in aural skills development both in and of itself and as a first phase of melodic dictation. Aural skills instructors should consider the potential benefits of sketching as an anchoring activity during dictation and discuss strategies explicitly with students. Helping high school and college students see how and why various strategies for dictation may be appropriate for particular task parameters can help them integrate component skills of listening, comprehension, and notation most effectively.

In November 1874, the Melbourne Philharmonic Society (MPS) premiered a new sacred cantata, Adoration, as part of their subscription concert series at Melbourne's Town Hall. The composer, Austin T. Turner, lived in Ballarat, Victoria, and had come to Melbourne to conduct the premiere of his work, using the Melbourne Philharmonic's available force of three hundred performers. Turner was well qualified for the task, being known within the musical community as an organist, singing instructor and conductor of Ballarat's Philharmonic and Harmonic societies since 1864. Programmed for the second half of the concert, and following on from Beethoven's First Symphony and Mass in C, Adoration was certainly an ambitious project, consisting of thirty numbers divided into two broad sections. The text was based on the Psalms with some original words by Turner himself and some borrowed from the Hallelujah chorus in Beethoven's Mount of Olives. The music was described, with some commendation, as having a ‘kind of power about it’, although not being particularly individual or showing ‘a new turn of thought, either in the invention of his melodies, or the construction of his harmonies’. Turner demonstrated an ‘affluent mind in music’, as evidenced by his ability to keep his parts moving; perhaps a little too much according to the Argus critic, who found one or two simpler numbers ‘a great relief in the midst of the kaleidoscope combinations of sound in which in this composition he has revelled’. References in the style of known composers gave the work merit, the music partly reminiscent of ‘Haydn, of Beethoven, of Handel, of Mendelssohn, Arne, Purcell, and others … and in so far as it does this it is a worthy composition’. The Melbourne Age reviewer also assured readers that the work contained many genuine moments that ‘even the greatest composer need not be ashamed’, again citing the works of Beethoven and Mendelssohn as principal models for inspiration.

The research subject is Beethoven&rsquo;s view of life of the late period - the topical issue for a performing musician: without understanding of the fundamental changes in his style, it is impossible to adequately interpret the late piano sonatas. The last of them - Sonata op.111 - has been an object of discussion not only among musicians, but also among writers for almost two centuries. The author detects the following types of dialogue in Sonate op.111: a) a dialogue with Beethoven&rsquo;s previous compositions; b) a dialogue - within the latest period - with Ninth Symphony op.25 and Missa Solemnis op.123; c) a dialogue with the music of predecessors; d) an imaginary dialogue of Beethoven and Goethe (of the period of &ldquo;Faust&rdquo; completion); e) a dialogue op.111 with the world culture. The author arrives at the following conclusions: whilst the formation of the concept of interpretation is usually related to the performance activities of romanticists - Paganini and List, the prerequisites of the phenomenon of interpretation can be found already in the works and ideas of Beethoven - he is a precursor of romanticists of the 19th century. Each of his works is individualized, and doesn&rsquo;t contain patterns or cliches. To play his compositions outside of the concept means to be not able to adequately convey the spirit of Beethoven&rsquo;s music. With all their strict architectonics, Beethoven&rsquo;s works appeal to spontaneity of self-expression - a pianist, as an actor, should experience this music &ldquo;in the here and now&rdquo;.&nbsp; &nbsp;

Hyacinthoides hispanica (Mill.) Roth., Hyacinthus orientalis L. `Gypsy Queen', Narcissus pseudonarcissus L. `Music Hall', N. pseudonarcissus `Tahiti', Tulipa gesneriana L. `Couleur Cardinal', and T. gesneriana `White Emperor' bulbs were given 0 or 6 weeks of preplant 5 °C cold treatment and planted 15, 30, or 45 cm deep into raised ground beds under 0%, 30%, or 60% shade. Plant growth was monitored for 2 years after planting. Preplant 5 °C cold pretreatment reduced percentage of Tulipa `White Emperor' bulbs that flowered but did not affect the percentage of bulbs that flowered for the other species. Cold pretreatment also delayed anthesis in one or both years for all cultivars except Hyacinthoides hispanica. The greatest percentage of bulbs flowered when planted 15 cm deep. The 45-cm planting depth reduced bulb flowering percentage or eliminated plant emergence. Increasing planting depth increased days to anthesis for all cultivars in both years. Increasing shade increased stem lengths in year 2 for all cultivars except Hyacinthoides hispanica, but did not influence percentage of bulbs flowering for any cultivars. For all cultivars perennialization was low regardless of treatment as less than 30% of bulbs survived to the 2nd year.

<p>Utilization of Biochar of Cocoa Shell and Rice Husk to Increase Rice Productivity in Ultisol Lampung. Biochar application as soil amendment is technology for soil and crop productivity improvement in acid soil. The main problem of acid soil including in paddy field is high concentration of Al3+ that inhibit crops growth causing low crop production. The objective of this study was to evaluate the effects of cocoa shell and rice husk biochar on paddy<br />field productivity and soil chemical properties. The study was conducted at Agricultural Research Station of Tamanbogo, East Lampung on June-September 2012 (planting season 1), January-April 2013 (planting season 2) and December 2013-March 2014 (planting season 3). The experimental design was split plot design, which the main plots<br />were two types of biochar (cacao shell and rice husk), the sub plots were biochar rates 0.5 t/ha (control), 5 t/ha and 15 t/ha with five replications. The parameters measured were paddy growth, yield and soil chemical properties (soil pH,C organic, N total, available P, K total, and Al3+ ). The result showed that biochar could affect weight of rice straw and<br />rice yield at the second and third planting season, while biochar rates could affect crop growth and yield of rice at three planting. The effect of cacao shell and rice husk biochar application with the rate of 15 t/ha could up to three planting seasons without any biochar addition in following two consecutives year, whereas addition biochar 5 t/ha was<br />less effective. The cacao shell biochar was more effective in increasing crop growth and yield than rice husk biochar,as seen on dry grain rice yield, i.e. 3.58 t/ha (PS1) and 5.06 t/ha (PS III). During two planting seasons, both biochar at the rate of 15 t/ha were sufficient to improve soil chemical properties. Cacao shell biochar with the rate of 15 t/ha had better effect in improving soil chemical properties significantly in term of soil pH, available P, and total K content and decreasing aluminum content than rice husk biochar especially at second planting season. </p><p>Keywords: lowland, biochar, rice, Ultisol, Lampung</p><p>ABSTRAK</p><p>Aplikasi biochar sebagai pembenah tanah merupakan salah satu teknologi untuk memperbaiki produktivitas tanah dan tanaman pada lahan masam. Permasalahan utama pada lahan masam adalah tingginya konsentrasi Fe3+ yang dapat menghambat pertumbuhan tanaman sehingga menyebabkan rendahnya produksi. Tujuan penelitian ini adalah untuk mempelajari pengaruh pemberian biochar kulit buah kakao dan sekam padi serta takarannya terhadap peningkatan sifat kimia tanah dan produktivitas padi sawah di Ultisol Lampung. Penelitian dilaksanakan pada lahan sawah di Kebun Percobaan Taman Bogo, Lampung selama tiga musim tanam yaitu bulan Juni-September 2012 (musim tanam pertama), bulan Januari-April 2013 (musim tanam kedua) dan Desember 2013 - Maret 2014 (musim tanam ketiga). Percobaan disusun dalam rancangan kelompok petak terpisah, sebagai petak utama terdiri dari biochar kulit buah kakao dan biochar sekam padi, sedangkan sebagai anak petak adalah takaran biochar yaitu tanpa biochar (kontrol 0 t/ha), 5 t/ha dan 15 t/ha, dengan 5 kali ulangan. Parameter yang diamati meliputi pertumbuhan dan hasil padi, sifat kimia tanah (pH, C-organik, N-total, P-tersedia, K-total dan Al3+ ). Hasil penelitian menunjukkan bahwa jenis biochar hanya berpengaruh nyata terhadap berat jerami kering dan hasil gabah pada musim tanaman kedua dan ketiga, sedangkan takaran biochar berpengaruh nyata terhadap pertumbuhan dan hasil padi pada ke tiga musim tanam. Pengaruh pemberian biochar kulit buah kakao dan sekam padi 15 t/ha mampu bertahan sampai tiga musim tanam dilihat dari pertumbuhan dan hasil padi sawah, sedangkan pemberian biochar 5 t/ha bertahan satu musim saja. Efektivitas biochar kulit buah kakao dalam mendukung pertumbuhan dan hasil tanaman lebih tinggi dibandingkan sekam padi terlihat dari hasil gabah kering panen sebesar 3,58 t/ha (MT II) dan 5,06 t/ha (MT III). Selama dua musim tanam pemberian biochar kulit buah kakao sebanyak 15 t/ha juga mampu meningkatkan pH tanah, P tersedia, dan kandungan K tetapi menurunkan kandungan aluminium melebihi biochar sekam padi terutama pada musim tanam kedua.</p><p>Kata kunci: produktivitas, padi sawah, biochar, Ultisol</p>

Character education in early childhood is not new, and character education is also not just a transfer of knowledge, but something that needs to be built early on through various stimula- tions. This study aims to develop the character of early childhood through audio-visual media with traditional Javanese songs. Using educational design-based research to develop audio-visual media from traditional songs, this media was tested in the field with an experimental design with a control group. Respondents involved 71 kindergarten students from one experimental class in one control class. The data revealed that character education in children shows the average value of the experi- mental class is higher than the control group, this means character education in children can be built through traditional songs. Further research can be done to improve the character of early childhood through a variety of media that interests children. 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The purpose of this study was to describe how Black adolescent males understand “second-line” (musical processions) and “regular”/traditional funeral rituals in New Orleans following the violent deaths of significant persons in their lives. In-depth interviews were conducted with 10 Black males between the ages of 12 and 15 using descriptive phenomenology methodology. Findings revealed that these participants understood death as a cause for celebration, remembrance, and unity related to their experiences with the second-line ritual. Three elements of the life world of Black teenage males were descriptive of second lines, including: a) observed locations of second lines; b) dancing to good music; and c) observed messages conveyed through t-shirts. Participants provided gender-based descriptions of perceived spoken and unspoken rights in grieving at the two distinct rituals. Related to their second-line experience, the teens reflect on ways in which they wish to have their deaths ritualized.

<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span>Penelitian bertujuan memperoleh teknologi pola tanam berbasis kedelai dan jagung yang dapat meningkatkan produktivitas lahan dan pendapatan usahatani di lahan kering. Penelitian dilaksanakan di Kecamatan Arjasa, Kabupaten Situbondo dan di Kecamatan Manding, Kabupaten Sumenep pada musim kemarau (MK 1 dan MK 2 tahun 2018) dengan luasan 1 ha. Di masing-masing lokasi, penelitian dimulai dengan melakukan pengamatan pada pertanaman petani yang ditanam pada awal musim hujan (MH), dilanjutkan dengan menanam jagung dan kedelai sesuai penelitian pola tanam yang dirancang. Di Situbondo, pada awal MH petani menanam padi tanam pindah (tapin) varietas Ciherang, dan di Sumenep petani menanam jagung varietas BISI 18. Setelah tanaman di MH dipanen di masing-masing lokasi, penelitian dilaksanakan mengikuti pola tanam jagung dan kedelai menggunakan rancangan acak kelompok, 4 perlakuan diulang 6 kali. Pola tanam yang diteliti terdiri atas : a) jagung (75 cm x 20 cm) / / jagung (75 cm x 20 cm), b) jagung </span><span>double row </span><span>(100 cmx50cmx20cm)//kedelai(40cmx15cm),c) jagung (160 cm x 40 cm) / kedelai (40 cm x 15 cm), dand)kedelai(40cmx15cm)–jagung(75cmx20 cm). Hasil penelitian menunjukkan bahwa di Situbondo pola tanam padi tapin-jagung//jagung mampu memberikan hasil tertinggi, yakni setara dengan hasil kedelai 12,7 t/ha dengan nilai IIT 0,82. Pada MK 1, sistem tanam jagung </span><span>double row </span><span>memperoleh hasil 7,542 t/ha pipilan dan pangkasan daun jagung 7,894 t/ha dengan pendapatan Rp27.581.100/ha dan R/C 2,97. Di Sumenep hasil terbaik diperoleh pada pola tanam jagung-kedelai-jagung, yakni setara dengan hasil kedelai 9,3 t/ha dengan nilai IIT 0,76. Pada MK I sistem tanam tumpangsari kedelai (2,385 t/ha biji) dan jagung (2,775 t/ha pipilan), ditambah hasil pangkasan daun jagung (2,025 t/ha) menghasilkan pendapatan Rp24.326.200 dengan nilai R/C 2,06. </span></p></div></div></div>

Perairan Barat Sumatera dan sekitarnya mendapatkan pengaruh signifikan dari massa air Samudera Hindia, massa air tersebut memberikan perubahan terhadap kondisi oseanografi seperti temperatur dan salinitas. Fenomena IOD (Indian Ocean Dipole) merupakan fenomena antara lautan-atmosfer yang terjadi di daerah ekuator Samudera Hindia, yang memberikan dampak kekeringan ataupun peningkatan intensitas curah hujan. Penelitian ini bertujuan untuk menganalisis pengaruh fenomena IOD terhadap perubahan nilai temperatur dan salinitas, secara vetikal maupun horizontal yang dapat digunakan untuk mengidentifikasikan karakteristik massa air dengan melakukan perhitungan diagram T-S. Penelitian ini menggunakan metode kuantitatif dan deskriptif. Data temperatur, salinitas, dan kedalaman didapat dari instrumen Argo Float tahun 2014 – 2020. Kemudian untuk mendapatkan sebaran vertikal, horizontal, dan Diagram T-S menggunakan software Ocean Data View (ODV). Beradasarkan hasil olahan tersebut didapatkan sebaran temperatur secara vertikal menunjukkan temperatur di lapisan Mixed Layer (0-25 m) yaitu 27,86-31,4 ̊C, lapisan termoklin (26-180 m) yaitu 14,78-26,05 ̊C, dan lapisan dalam (181-2000 m) 2,63-13,03 ̊C. Sebaran salinitas secara verikal di lapisan Mixed Layer (0-24 m) yaitu 32,5-33,62 psu, lapisan haloklin (25-123 m) 33,7-34,63 psu, lapisan dalam (125-2000 m) 34,8-35,2 psu. Sebaran temperatur dan salinitas secara horizontal dipengaruhi oleh musim, dimana temperatur permukaan tertinggi (31,39 ̊C) terjadi pada musim Peralihan I, sedangkan salinitas permukaan tertinggi (35,6 psu) terjadi pada Peralihan II. Berdasarkan Diagram T-S massa air yang teridentifikasi pada Perairan Barat Sumatera yaitu massa air BBW (Bengal Bay Water), SLW (Subtropical Lower Water), SICW (South Indian Central Water), IEW (Indian Equatorial Water), NSM (Northern Salinity Minimum), dan ASW (Arabian Sea Water). Pada saat IOD positif tertinggi (2019) mengakibatkan penurunan temperatur dan kenaikan rerata salinitas, ketika IOD negatif (2016) mengakibatkan kenaikan temperatur dan penurunan rerata salinitas.

Introduction. Apart from classical academic musicology, sociology, social anthropology and related disciplines such as sociolinguistics, philology, and cultural studies contributed to the development of research of music and its role in social, interpersonal relations, and individual experiences. The aim of this research is to investigate musical and singing traditions within the context of social relations, historical challenges, and sub-cultures by sociological and social anthropological approaches. In the last decades these research is of relevance for scholars interested in creativity and creative individuals whose impact effect is ambient in current social and political processes. The main tradition can be approached as a socio-cultural phenomenon emerging in the form of sub-culture.Methodology and sources. Methodological b ackground o f t his r esearch i s o f s tructuralfunctional character. Within this framework art and creativity can be approached by various sets of research techniques. Culture of music can be studies both as an object and as a text; hence, textual and contextual approaches are of significance. In result, we can discover reasons motivating people to influence social relations and preconceptions within certain groups and societies. This approach allows the analysis the connections between individual and collective perceptions of people regarding their identities and place in a society. Finally, not only music shapes the context of sociolultural phenomena, but it is the context itself per se. For this paper I used texts and bibliographic data of singers such as follows: Son House, Robert Johnson, Skip James, William Samuel McTell, Edward W. Clayborn.Results and discussion. The analysis of social history of blues in the end of the nineteenth and in the beginning of the twentieth centuries as well as biographies of bluesmen along with the texts of their songs clearly demonstrates poetic motifs, individual and social reflections of different communities. The images such as love and flirt, manqué love, rest from hard work, roads, railways, trains, abandoned home with simultaneous lack of home, prison, illness, death and cemetery as well as the demonstration of all the listed images by socially oriented creativity in music, represents deep forms of marginality of those who sing it out in front of respected citizens living normal lives.Conclusion. The material scrutinized in this paper clearly shoes that blues as a genre of music along with bluesmen who are representatives of a certain sub-culture, constitute a coherent social system which can be characterized a s a c ounter-culture. This social and cultural phenomenon in a way we encounter it derived from marginal status of its representatives. This marginal status becomes visible in blues as emotion and soulreflection to a large degree contradictory to the idea of respectable citizens and so-called “right way of life”.

The study used the descriptive-survey method of research because it was most appropriate to use in determining the status of the MAPEH program in terms of its implementation and challenges. It used a survey-questionnaire as the main instrument to gather the data needed in the study. It involved 22 school administrators and 70 MAPEH teachers sourced from nine public junior high schools who served as respondents in the study. The data gathered were statistically treated using weighted mean, t-test, frequency count and ranking. The study generated the following findings: (1). The MAPEH program was implemented to a high extent in terms of the program’s objectives, curriculum, learning resources, teachers’ qualification, and competency, administrative support, funding, and community partnership. (2). There was no significant difference between the assessment of the two groups of respondents in the implementation of MAPEH program in terms of the aforementioned aspects. (3) The top five challenges encountered by the two groups of respondents in the implementation of the MAPEH program were: a) Fund for MAPEH program is not enough to finance its needs, b) Facilities for Music, Arts, P.E. and Health Education are not adequate c) Not all MAPEH teachers are competent in teaching all the components of the subject, d) Students’ engagement in MAPEH activities was limited in this pandemic time and e) Online instruction for MAPEH activities was difficult to carry out. (4) An action plan was proposed based on the result of the study.

Good acoustic quality is essential to consider in designing a multipurpose room. Unfortunately, school halls usually have poor room acoustics. Lack of funds and lack of knowledge about acoustics cause the acoustic quality of the room to be very poor. The purpose of this research is to design a simple acoustic material application concept for a high school hall based on the Ministry of Education and Culture manual to meet the requirements for speech, music, and sports functions. Simple acoustic materials exist in everyday life, such as corrugated cardboard, cork, multiplex boards, newspapers, egg racks, and cloth. The research applied a simulation method using CATT v8 software. The parameters used to measure room acoustic quality were RT60, C-80, D-50, STI, EDT, and LF The simulation compared the hall's acoustic performance without and with the simple sound absorbers. The absorbers were applied to 39% of the walls and 55% ceilings. The absorbers reduced T-30 (500Hz) from 3.8 seconds to 1.5 seconds with an omni sound source and 1.3 seconds with speakers. The averaged Speech Transmission Index (STI) was improved from 38% to 60% with the omni sound source and from 43% to 65% with speakers.

Kekurangan air pada saat musim kemarau menyebabkan tanaman karet menggugurkan daunnya sebagai upaya adaptasi untuk mengurangi kebutuhan air. Tujuan penelitian adalah diperoleh sistem pengaturan jarak tanam yang paling efisien dalam hubungannya dengan ekstraksi air tanah, sehingga pada saat musim kemarau kompetisi air tanah dapat dikurangi. Perlakuan dalam penelitian ini ialah monokultur dengan jarak tanam normal (A), monokultur dengan jarak tanam ganda (B), dan tumpangsari (jarak tanam ganda + klon RRIC 100) (C). Perlakuan tersebut disusun dalam rancangan acak kelompok dengan 4 ulangan. Pengamatan dilakukan terhadap parameter kadar air tanah, produksi karet, waktu terjadinya gugur daun, luas daun spesifik, dan indeks luas daun. Pengamatan terhadap kadar air tanah menunjukkan bahwa tidak terdapat beda nyata antara kadar air tanah pada semua perlakuan karena curah hujan total yang tinggi, namun pada musim kemarau terjadi perbedaan pola ekstraksi air yaitu perlakuan C mengkonsumsi air lebih cepat karena ILD yang tinggi. Produksi karet kering perlakuan C nyata lebih rendah daripada perlakuan yang lain, sedangkan perlakuan A adalah yang tertinggi. Rendahnya produksi karet kering perlakuan C disebabkan karena luas daun per pohon perlakuan C hanya sekitar 50% dari luas daun perlakuan yang lainnya. Rendahnya luas daun per pohon untuk perlakuan C ini diduga disebabkan karena terlalu tingginya kerapatan tanam perlakuan C yang mencapai lebih dari dua kali kerapatan tanam perlakuan A dan B. Diterima : 24 Agustus 2011; Disetujui : 29 November 2011How to Cite : Cahyo, A.N., Ardika, R., & Wijaya, T. (2011). Konsumsi air dan produksi karet pada berbagai sistem pengaturan jarak tanam dalam kaitannya dengan kandungan air tanah. Jurnal Penelitian Karet, 29(2), 110-117. Retrieved from http://ejournal.puslitkaret.co.id/index.php/jpk/article/view/243

<p>Laut Halmahera merupakan salah satu perairan yang memiliki peranan penting bagi perkembangan iklim Indonesia. Wilayah perairan Laut Halmahera merupakan jalur ARLINDO yang menjadi bagian dari sirkulasi arus global. Penelitian ini bertujuan untuk mengkaji profil suhu, salinitas densitas dan diagram T-S di Laut Halmahera secara horizontal dan vertikal. Hasil penelitian menunjukkan bahwa profil horizontal dan vertikal di kedua musim tidak memberikan pengaruh yang signifikan, hal tersebut dapat disebabkan oleh pergerakan massa air <em>New Guinea</em> yang menyusur sepanjang pantai Papua Utara, kemudian masuk ke Laut Halmahera. Diagram T-Smenunjukkan arus yang bergerak di Laut Halmahera secara vertikal termasuk kategori SPSW atau <em>South Pacific Subtropical Water</em>, dibuktikan dengan nilai salinitas 34.7 PSU dan nilai suhu 14^oC pada kedalaman 500 m.</p>

<p>The major problem rejuvenation on smallholder oil palm plantation is approximately three years loss of income, since the plants have not yet produced,. Loss of income for big companies does not affect of their survival, on the other hand, for smallholders (farmers,) it threatens the survival of the farmers’ family. This study was aimed to analyze the income of intercropping system on smallholder oil palm replanting, carried out in Bukit Jaya Village Ukui Sub-District, Pelalawan Regency, Riau Province, on a replanted 28-year-old oil palm plantation. The experiment was arranged in a Split Plot Design with main plot is three farmer’s units and subplot is four intercropped treatments (corn, soybeans, legume cover crops and natural vegetation) and three replications. The results showed that corn productivities of planting season 1-3 consecutively were 5,01 t ha^-1; 7,51 t ha^-1and 6,57 t ha^-1. Soybean were 1,60 t ha^-1; 1,28 t ha^-1 and 2,19 t ha^-1. Production costs per ha were IDR. 11.550.000 for corn and IDR 9.955.000 for soybean. Farmer's income with local selling prices of corn, on average, was IDR. 3.280.623 per month per unit and soybean was IDR 636.518 per month per unit. The average R/C value of corn was 2,66 and soybean was 1,33. There was no significant effect of intercropping farming system treatments on the growth of oil palms trees for all of three farmers. The use of corn as intercropping provides benefits by obtaining the economic value of their crop yields, since corn was more profitable than soybean.</p><p align="center"><strong>ABSTRAK</strong></p><p>Permasalahan peremajaan kebun kelapa sawit adalah hilangnya pendapatan selama tanaman belum menghasilkan, kurang lebih tiga tahun. Kehilangan pendapatan bagi perusahaan besar tidak banyak berpengaruh pada perusahaan, namun bagi petani mengancam kelangsungan hidup keluarganya. Penelitian ini bertujuan menganalisis pendapatan usaha tani tumpangsari dan pertumbuhan tanaman pokok, dilaksanakan di Desa Bukit Jaya Kecamatan Ukui Kabupaten Pelalawan Provinsi Riau, pada kebun kelapa sawit 28 tahun yang diremajakan. Penelitian menggunakan Rancangan Petak Terbagi dengan petak utamanya kapling petani sebanyak tiga, anak petaknya perlakuan empat tanaman sela (jagung, kedelai, kacangan dan vegetasi alami), diulang tiga kali. Peubah amatan adalah pertumbuhan dan produk-tivitas jagung dan kedelai, biaya produksi, serta pertumbuhan tanaman pokok kelapa sawit. Data dianalisis meng-gunakan SAS versi 9,4 dan analisis kelayakan R/C rasio. Hasil penelitian menunjukkan produktivitas jagung musim tanam satu sampai tiga berturut-turut 5,01 t ha^-1; 7,51 t ha^-1dan 6,57 t ha^-1, atau rata-rata 6,36 t ha^-1; kedelai 1,60 t ha^-1; 1,28 t ha^-1 dan 2,19 t ha^-1 atau rata-rata 1,69 t ha^-1.<em> </em>Biaya produksi jagung Rp. 11.550.000 per ha dan kedelai Rp. 9.955.000 per ha. Pendapatan petani rata-rata per bulan per kapling dengan harga jual jagung Rp. 4.350 per kg dan kedelai Rp. 7.000 per kg adalah jagung sebesar Rp. 3.280.623 dan kedelai Rp. 636.518. Rata-rata nilai R/C jagung 2,66 dan kedelai 1,33. Dibandingkan dengan praktek baku dengan tanaman kacangan, tidak ada pengaruh perlakuan tanaman sela terhadap pertumbuhan tanaman pokok kelapa sawit pada semua petani. Penanaman tanaman sela jagung pada lahan peremajaan kelapa sawit memberikan pendapatan yang lebih tinggi dibanding kedelai.</p><p> </p><p align="center"><strong>ABSTRAK</strong><strong></strong></p><p>Salah satu permasalahan peremajaan kebun kelapa sawit rakyat adalah hilangnya pendapatan pekebun selama tanaman kelapa sawit belum menghasilkan, paling kurang tiga tahun. Penelitian ini menganalisis pendapatan usaha tani tumpangsari pada peremajaan kebun kelapa sawit rakyat. Penelitian dilaksanakan di Desa Bukit Jaya Kecamatan Ukui Kabupaten Pelalawan Provinsi Riau, pada kebun kelapa sawit rakyat umur 28 tahun yang diremajakan. Penelitian menggunakan rancangan Split-Plot dengan petak utamanya kapling petani sebanyak tiga kapling, sebagai anak petaknya empat perlakuan tanaman tumpangsari yaitu jagung, kedelai, kacangan dan vegetasi alami, dan ulangan tiga kali. Peubah amatan adalah pertumbuhan dan produktivitas tanaman jagung dan kedelai, biaya produksi, serta pertumbuhan tanaman pokok kelapa sawit. Data dianalisis menggunakan SAS versi 9.4 dan analisis kelayakan R/C rasio. Hasil penelitian menunjukkan produktivitas jagung musim tanam satu sampai tiga berturut-turut 4,850 t ha^-1; 7,503 t ha^-1dan 6,578 t ha^-1, atau rata-rata 6,31 t ha^-1; kedelai 1,603 t ha^-1, 1,275 t ha^-1 dan 2,193 t ha^-1 atau rata-rata 1,69 t ha^-1.<em> </em>Biaya produksi jagung Rp. 10.250.000,- per ha dan kedelai Rp 7.850.000,- per ha. Pendapatan petani rata-rata per ha per musim tanam dengan harga jual jagung Rp. 4.350,- per kg dan kedelai Rp. 7.000,- per kg adalah jagung sebesar Rp. 17.424.950,- dan kedelai Rp. 3.982.333,-. Rata-rata nilai R/C jagung 2,73 dan kedelai 1,51. Dibandingkan dengan praktek baku dengan tanaman kacangan, tidak ada pengaruh perlakuan tanaman sela pada pertumbuhan tanaman pokok kelapa sawit pada semua petani. Penanaman tanaman sela jagung pada lahan peremajaan kelapa sawit memberikan pendapatan yang lebih tinggi dibanding kedelai.</p>

Tujuan penelitian adalah untuk mengetahui pengaruh penambahan pupuk hayati dan mencari jenis pupuk hayati yang efektif untuk tanaman kedelai di lahan rawa pasang surut. Pengkajian dilaksanakan di Kelurahan Simpang, Kecamatan Berbak, Kabupaten Tanjung Jabung Timur, Provinsi Jambi pada musim kemarau (Mei-Agustus) 2016 seluas 10 ha, dengan tipologi lahan sulfat masam potensial dan tipe luapan air C. Rancangan percobaan menggunakan Rancangan Acak Kelompok (RAK), perlakuan empat pupuk hayati (Agrimeth, Provibio, Kedelai Plus, Agrisoy) dan kontrol tanpa pupuk hayati (cara petani) dengan 5 ulangan. Hasil pengkajian menunjukkan bahwa pemberian pupuk hayati memperbaiki pertumbuhan dan hasil kedelai pada lahan rawa pasang surut sebesar 0,25 – 0,70 t/ha atau 15,15 % – 33,33 % dibanding tanpa pupuk hayati. Pupuk hayati yang paling efektif adalah Provibio yang diindikasikan oleh hasil kedelai tertinggi 2,10 t/ha.

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Sorgum merupakan salah satu jenis tanaman serelia penghasil karbohidrat. Sorgum mempunyai potensi besar untuk dikembangkan di Indonesia. Tanaman sorgum dapat dimanfaatkan sebagai bahan pangan alternatif, pakan ternak dan bahan baku bioethanol. Penyediaan benih bermutu serta memiliki masa simpan panjang merupakan upaya untuk mendukung diversifikasi pangan guna menyediakan benih di musim tanam berikutnya. Tujuan penelitian ini adalah mengetahui pengaruh suhu ruang simpan dan genotipe terhadap viabilitas benih sorgum pasca simpan 12 bulan. Penelitian ini dilaksanakan di Laboratorium Benih dan Pemuliaan Tanaman, Fakultas Pertanian, Universitas Lampung, Bandar Lampung yang berlangsung dari bulan Februari 2017 sampai dengan Februari 2018. Penelitian ini menggunakan rancangan petak terbagi dengan 3 kelompok sebagai ulangan. Petak utama berupa suhu ruang simpan (T) yang terdiri atas suhu rendah/18±1,58°C (T1) dan suhu kamar/26±1,08°C (T2). Anak petak adalah genotipe (G), yang terdiri dari Super-1 (G1), Talaga Bodas (G2), GH-3 (G3), dan GH-13(G4). Hasil penelitian menunjukkan bahwa benih sorgum yang disimpan selama 12 bulan masih memiliki viabilitas yang cukup baik. Benih yang disimpan pada suhu rendah (18±1,58°C) dapat dipertahankan viabilitas 16% lebih tinggi dari pada benih yang disimpan pada suhu kamar (26±1,08°C). Perbedaan genotipe berpengaruh pada viabilitas benih sorgum. Viabilitas benih sorgum yang terbaik setelah disimpan selama 12 bulan ditunjukkan oleh genotipe Super-1. Keunggulan genotipe Super-1 tersebut memungkinkan dapat disimpan dan digunakan untuk musim pertanamaan berikutnya.

Michał Bristiger took a fragment from the book La musique et la vie interieure by L. Bourguès and A. Denéréaz published in 1921, translated it under the title Chopin, and published it in “De musica” vol. I–III in 2006. The authors, who represented energo-psychological research approach, a theory that was being promoted at that time (H. Mersman, Angewandte Musikaesthetik, 1926 and E. Kurth, Musikpsychologie), provided a psychological and musical interpretation of Chopin’s melodics (linked to harmony and texture), and their significance in the integration of form. They distinguish such categories as c o n t i n u i t y and p e n d u l u m m o t i o n, or undulating, wave-like movements that expand and lead to a culmination, the outflow from which takes the form of, for example, a gliding flight, “plané”. They describe Chopin’s imagination as ballistic. Previous research had focused exclusively on the microstructures of melody, on characteristic intervals, typical phrases, expressive gestures, and not on the flow, on the impulses in the creation of contrast, on the rising and falling of the melodic line, and for this reason the Chopin chapter in this book remains a source of inspiration to this day.

Peningkatan produktivitas tanaman pangan khususnya padi yang diikuti aspek kelestarian lingkungan merupakan prinsip penerapan pertanian ramah lingkungan. Pertanian organik merupakan salah satu sistem usahatani yang ramah lingkungan, produk pangan organik mempunyai pangsa pasar yang khusus. Berbagai sistem penerapan pertanian ramah lingkungan berpedoman pada sistem budidaya pertanian yang benar melalui sinergi antar komponen teknologi antara lain pengelolaan tanaman terpadu (PTT), Jajar legowo super dan pengendalian organisme pengganggu tanaman (OPT) secara terpadu. Penerapan PTT Ramah lingkungan yang terdiri atas komponen teknologi terpilih dapat meningkatkan produktivitas tanaman pangan (padi) dan menurunkan emisi gas rumah kaca (GRK). Beberapa komponen teknologi yang dapat meningkatkan produktivitas tanaman padi dan menurunkan emisi GRK meliputi penggunaan inokulan sebagai perlakuan benih, cara tanam jajar legowo, irigasi berselang (intermittent irigation), penggunaan bahan organik (C/N rendah), dengan bantuan bio-dekomposer dan pemupukan berimbang, pengendalian hama terpadu dengan memanfaatkan pestisida nabati dan aplikasi pestisida setelah mencapai ambang kendali. Penerapan PTTPetro padi sawah ramah lingkungan dapat memberikan hasil tertinggi (5.390 t gkg/ha) atau meningkatkan hasil padi sebesar 30 persen diatas kontrol (hasil 3.620 t gkg/ha) dan menurunkan emisi gas methan (CH4) sebesar 13,6% dibawah kontrol (emisi gas methan sebesar: 76,05 kg CH4/ha/musim) menjadi 65.69 kg CH4/ha/musim.

<p>Lahan pasang surut merupakan kawasan potensial untuk perluasan areal tanam kedelai namun kemasaman dan kejenuhan Al tanah yang tinggi, serta ketersediaan unsur hara yang rendah merupakan masalah yang harus dihadapi. Oleh karena itu perlu pengelolaan kesuburan tanah yang memadukan ameliorasi, pemupukan, pemanfaatan mikroorganisme, dan varietas yang adaptif. Tujuan penelitian adalah menguji kesesuaian varietas, pupuk organik, dan pupuk hayati untuk peningkatan produktivitas kedelai di lahan pasang surut. Penelitian dilaksanakan di lahan pasang surut tipe C di Jambi pada musim kemarau (Juni-Oktober) 2017 seluas 5 ha. Penelitian menggunakan rancangan percobaan petak terbagi, empat ulangan (petani kooperator sebagai ulangan). Petak utama adalah empat varietas kedelai (Anjasmoro, Dena 1, Deja 2, dan Devon 1), dan anak petak adalah tiga kombinasi pupuk organik dengan pupuk hayati Agrisoy (1.500 kg/ha pupuk kandang, 1.500 kg/ha pupuk kandang + Agrisoy, dan 1.500 kg/ha pupuk organik Santap M + Agrisoy). Pupuk dasar 200 kg/ha Phonska dan 100 kg/ha SP36 diaplikasikan pada semua perlakuan. Hasil penelitian menunjukkan bahwa kedelai varietas Anjasmoro, Dena 1, Deja 2, dan Devon 1 dapat dikembangkan dengan baik pada lahan pasang surut tipe C dengan pH tanah 4,5 dan kejenuhan Al 32,35%, dengan menggunakan amelioran dolomit 1,5 t/ha dan pupuk kandang 1,5 t/ha. Empat varietas tersebut mampu menghasilkan biji kedelai &gt;2 t/ha dengan penambahan 200 kg Phonska + 100 kg SP36/ha. Pada lahan pasang surut yang sudah biasa ditanami kedelai, tidak diperlukan tambahan pupuk hayati berbahan baku rhizobium. Penggunaan pupuk kandang untuk budi daya kedelai di lahan pasang surut, dari aspek ekonomi dan teknis (kemudahan mendapatkannya) lebih layak daripada penggunaan pupuk organik Santap M.</p>

At the present stage of development, the musical society has the centuries-long artistic experience. The evolution of educating professionals in the performing sphere has contributed to the creation of musical masterpieces in different genres. The birth and decline of numerous musical styles and trends has led to new requirements for trumpeters and their capabilities. Of course, the development of trumpet playing has always been accompanied by the new techniques and methods aimed at implementing the composer tasks. However, we can often observe the use and borrowing of the same performance techniques and methods aimed at overcoming common difficulties, for example, in academic or jazz music. Modern Ukrainian primary and secondary educational institutions maintain their position to educate narrow specialized trumpeters, while European countries are increasingly frequently raising universal performers. The trumpeters having one-vector performance skills, for example, academic or solely jazz ones, narrow own performance capabilities. It limits their professional performance in their subsequent solo and orchestral practices. This suggests the need to create the methods for training special universal skills for trumpeters, which will expand their capabilities and ensure the ability to play different music. The article explores the universal performances abilities of a modern trumpeter. The capabilities and skills are singled out, combinations of which allow the trumpeter to master the professional performance of both academic and pop-jazz works. The classification of techniques and skills laying the foundation for broad specialization and professional experience of a trumpeter is proposed. The characteristic of the technological component of the universal trumpet skills is provided. Based on the research of scientific explorations and practical achievements of modern trumpeters, a list of the masters is specified, who are the bearers of universal abilities, the names and achievements of these professionals are presented in the article. Background. By analyzing and comparing the researches and publications of some authors, we distinguish the components that can provide the trumpeter with a universal ability to work with academic and pop-jazz material. The education of modern trumpeter specialists is based on the scientific and methodological works of the leading specialists: J. Arban, E. Bolvin, S. Watterman, I. Gishka, K. Gordon, T. Dokschitzer, K. Caruso, G. Clarke, Ch. Colin, D. Muedinov, H. Orvid, J. O’Neill, O. Stepurko, etc. Each author uses his own methods aimed at gaining or developing some particular practical skills of the trumpeter. However, such works are characterized by a clear orientation, which is projected solely on academic or pop-jazz specifics. The works of J. Arban, G. Clarke, T. Dokschitzer are devoted to the development of solely academic features of the performing musician, while S. Watterman, E. Bolvin, J. O’Neill and O. Stepurko take care of the jazz image of their fans. Thus, a completely newest step in the trumpet art would be a creation of a fundamentally new methodological concept in formation of specialists that would be based on production of symbiosis patterns and combination of universal skills in playing the academic and pop-jazz music. Objectives. The purpose of the paper is to distinguish and study the universal performer skills of the trumpeter, which will allow using the experience of a specialist in academic and pop-jazz art work in many various aspects. Methods. The following methods of research have been used in the paper: historical – when reviewing the methods and algorithm of training trumpeters in Ukraine and in the world; comparative – when analyzing and comparing the well-known theoretical works on the method of teaching playing the trumpet; empirical – when analyzing the thoughts expressed by prominent performing trumpeters and educators having the universal capabilities of academic and pop-jazz performances; inductive and deductive – when studying the issue on acquiring universal performance skills that will expand the specialization of the trumpeter and promote mastering the skill of performing academic and pop-jazz works. Results. At the beginning of the paper, we have considered the concepts of universal skills and performances of trumpeters. The achievements of the most prominent performing musicians having the universal capabilities of playing academic and pop-jazz music have been distinguished. The main part of the paper studies the process of acquiring universal skills by the trumpeter, which is defined as: 1) experience, and 2) technology. In our opinion, the basis of professional experience of the trumpeter’s universal art is: a) fluency in traditional and non-traditional techniques of playing the trumpet; b) practicing the different styles of music and performance; c) experience in improvisation and arrangement. The final part of the paper provides a list of universal skills of the trumpeter: a) the endurance of the lips muscles; b) the knowledge of the articulation and fingering combination theory; c) the use of high-tone sound focus and epithelium muscles flexibility control; d) the manipulation of the sound tone; e) the technique of playing the extreme limits of the range; e) the skill of long-term playing in the extreme limits of the high pitch sound-dynamic zone. Conclusions. Musicians-trumpeters, working in a narrow specialization, understand well that the level of performance technology has grown so fast in the recent years that performers should seek alternative methods to master it. Nowadays, the trumpet performing art needs new ideas for its improvement and development. Therefore, when educators-trumpeters base their school on the narrow specialization skills, i.e. performance in academic or pop-jazz manner, the music industry lacks valuable professionals. Thus, we have outlined the need to expand the mastering of the trumpeter’s special skills, which will allow performers acquiring a wide range of skills, achieving mastery and showing themselves in a wide range of orchestral and ensemble groups. The universal skills, considered herein, should be recommended for the trumpeters to introduce into their own system of personal training. Skilfully mastering them, the trumpeter will open the world of new performance opportunities.

Introduction. By Nazaikynskyi’s (2003) definition, genres are “relatively stable types, classes, kinds and sorts of music works that have been formed historically; they could be сlassified according to the following basic criteria: a) specific function (social, domestic or artistic); b) conditions and means of performing; c) the character of the content and the forms of its embodiment” (94). Besides, genre has a memory concerning its origin and existence, it absorbs whole traditions of realisation of genre types that existed during certain historical periods. In such a way it forms the field of meaning around genre concept itself. We have chosen three pieces of L. Shukailo for our analysis. They have been written in Scherzo, Toccata and Rhapsody genres, tightly linked with different historical traditions, and also with the works of the greatest composers. That’s why we concider the analysis of Shukailo’s music in the context of genre tradition as an interesting and fertile perspective. Theoretical Background. There are no studies, dedicated to L. Shukailo’s works nowadays. So, this one has inevitably been a pioneering work in the sphere. At the same time, a considerable amount of literature is available about different explanations of the conception of genre. Notwithstanding these multiple treatises, we prefer to base our research on Nazaikynskyi’s genre definition. The latest studies, concerning the specificity of some music genres also serve for us as valuable sources of information. These are: the thesis and the papers of E. Belash, where Scherzo is characterized as a genre; the thesis of T. Prodma and O. Bondarenko about Toccata; the article of G. Bazyken, dedicated to Rhapsody genre. The objective of the article is to identify the characteristic features of L. Shukailo’s piano pieces (“Scherzo” (1992), “Toccata-Campana” (1994), and “Rhapsody” (1996)) in the context of the genre paradigm and also – to reveal the specific nature of “the image of the genre” in the composer’s music. Methods. The article explores three concert pieces for piano by contemporary Ukrainian composer L. Shukailo in the context of the genre paradigm. The general genre specificity of the works conerning “the image of the genre”, as well as the characteristic style traits of L. Shukailo’s music, has been revealed. The peculiarities of the texture of each of the pieces regarding the “piano image” are analyzed. The reasons why L. Shukaylo’s works in the genres of Scherzo, Toccata and Rhapsody have been selected for analysis are: their connection with the broad historical context, European and national piano tradition, abundant allusions to the music of the predecessors. The expressions “the image of the piano” and “the image of the genre” need some additional explanation. The concept “the image of the piano” had been used for the first time by L. Gakkel in his book “The 20th Century Piano Music” (1990). Then it was further developed by other scholars (for instance, by E. Belash (2015). It means the specificity and the timbre of the instrument that is an integral part of the stylistic complex of the piece of music, created by a composer and represented by a performer. We are convinced that the images of the genres emerged simultaneously with the image of the piano, especially if these genres had a marked piano specificity. It can be fully applied to Scherzo and Toccata genres, and partly – to Rhapsody. The image of the genre is tightly linked to the image of the piano when it сomes to piano music. Results and Discussion. Scherzo is the most versatile genre among others because of its wide range of expressive opportunities. Thus, E. Belash considers Scherzo as a genre, related to the image of the piano, and also to the conception of virtuosity. She assumes that the desire to demonstrate mastery of the piano different explanations of the conception of genre. Notwithstanding these multiple treatises, we prefer to base our research on Nazaikynskyi’s genre definition. The latest studies, concerning the specificity of some music genres also serve for us as valuable sources of information. These are: the thesis and the papers of E. Belash, where Scherzo is characterized as a genre; the thesis of T. Prodma and O. Bondarenko about Toccata; the article of G. Bazyken, dedicated to Rhapsody genre. The objective of the article is to identify the characteristic features of L. Shukailo’s piano pieces (“Scherzo” (1992), “Toccata-Campana” (1994), and “Rhapsody” (1996)) in the context of the genre paradigm and also – to reveal the specific nature of “the image of the genre” in the composer’s music. Methods. The article explores three concert pieces for piano by contemporary Ukrainian composer L. Shukailo in the context of the genre paradigm. The general genre specificity of the works conerning “the image of the genre”, as well as the characteristic style traits of L. Shukailo’s music, has been revealed. The peculiarities of the texture of each of the pieces regarding the “piano image” are analyzed. The reasons why L. Shukaylo’s works in the genres of Scherzo, Toccata and Rhapsody have been selected for analysis are: their connection with the broad historical context, European and national piano tradition, abundant allusions to the music of the predecessors. The expressions “the image of the piano” and “the image of the genre” need some additional explanation. The concept “the image of the piano” had been used for the first time by L. Gakkel in his book “The 20th Century Piano Music” (1990). Then it was further developed by other scholars (for instance, by E. Belash (2015). It means the specificity and the timbre of the instrument that is an integral part of the stylistic complex of the piece of music, created by a composer and represented by a performer. We are convinced that the images of the genres emerged simultaneously with the image of the piano, especially if these genres had a marked piano specificity. It can be fully applied to Scherzo and Toccata genres, and partly – to Rhapsody. The image of the genre is tightly linked to the image of the piano when it сomes to piano music. Results and Discussion. Scherzo is the most versatile genre among others because of its wide range of expressive opportunities. Thus, E. Belash considers Scherzo as a genre, related to the image of the piano, and also to the conception of virtuosity. She assumes that the desire to demonstrate mastery of the piano technique is inherent in the nature of the genre. Quick tempo, passages, shifting of the sounds from one extreme register to another – all these virtuoso techniques of playing are characteristic of the piano Scherzo. Almost the entire arsenal of virtuoso techniques could be found in L. Shukailo’s “Scherzo”. The piece has a traditional, historically-formed, threepart recurring structure, where the contrast is not on the verge of the parts but in the very process of music development. The great potential of the instrument unfolds itself in the Scherzo. Almost the whole diapason of the piano is covered. The composer uses melodious interweaving as well as the “bell” of chords. The instrument reveals both hammering and singing nature of its sound. L. Shukailo employs rather chamber and playful type of Scherzo, characteristic of Chopin, than concert and symphonic one, typical of Liszt. Although the name of L. Shukailo’s piece is of a genre-generalizing character, the Scherzo has a striking imagery. On creating this music, the author might have been referring to some concrete content or image, but it seems she rather gave the audience complete freedom to interpret the music. The Toccata genre tightly relates to the Scherzo genre. Both genres are based on the principles of the Etude, that is, on the same vigorous movement. It is combined with hammering key-touch in Toccata. The unique feature of the “Toccata-Campana” is that, in addition to all conventional traits of the genre such as hammering key-touch, the way of the unfolding of musical material, and virtuosity, the imitation of the bell takes place here. The name of the piece itself tells us about it. The Italian word “Campana” stands for “the bell”. In its turn, it reminds the listeners of “Campanella”, the piece where the sound of the bells is imitated. The idea of the piano as of a percussion is realized in the piece in a very interesting way. It alludes to the percussion of another kind – the sound of the bell. Naturally the sound of the piano and that of the bells are different, but the piano here not only imitates the timbre of another instrument but it expresses those strong emotions the sound of bells usually evokes. Unlike the previous two genres, the Rhapsody genre is associated not with vigorous movement, typical for the Etude, but with folk music and singing. As a rule, quotations of folk music or its stylization have been used in Rhapsody. It usually consists of several contrasting episodes. Rhapsody, with its narrative character, is a detailed story, told by the singerrhapsod. We can see that the idea of instrumental mastery, virtuosity is also characteristic of this genre. Rhapsody is based on the folk songs. L. Shukayilo’s “Rhapsody” has folk components, too, but its genre affiliation can be defined rather as that of a dance. Characteristic repetitions of the same sound are associated with the percussion instrument that accompanies oriental dance. These three concert pieces for piano were created especially for V. Krainev contest. On the one hand, L. Shukailo continues the traditions of piano music, and on the other – creates its own, recognizable piano style, characterized by deep insight into the specificity of the instrument. Obviously, this explains in a great measure the repeated appeals of the organizers of the music contests to the composer for writing the pieces especially for the contests. Conclusions.The analysis of the three L. Shukailo&#700;s piano works, made in the article, enables us to do the following conclusions: – the pieces analyzed entirely correspond to their genre specificity that has been marked by the composer in the titles; – each of the genres has been interpreted in specific way that tells us of the author’s ingenious view of the genre; thus, in the “Scherzo” the idea of playing is embodied as a symbol of virtuosity; imitation of bell sound has been used in the “Toccata-Campana” with the purpose of emphasizing of the strike effect; and the “Rhapsody” has absorbed a lot of oriental folk dance style; – creating the sound image of piano, the composer in the same time also creates the sound image of genre in all the pieces analyzed.

The article presents practicing pianists and teachers` recommendations and advice on how to form the process of the conceptual foundation of students of higher education institutions. Scherzo No. 1 in B minor op. 20 F. Chopin is one of the brightest masterpieces of the romantic piano repertoire was chosen as an example. In the tradition of Russian music pedagogy, the authors encourage the young pianist to work on the Scherzo from the idea of composing it to details and nuances connected with professional aspects of the artistic conception; they want to encourage the constant striving for thoughtful, comprehensive rich content and perfect form of the performed opus. Thus, to actualize students' personal, cognitive and creative potential, the teacher facilitates the process of acquiring their unique interpretations of a given musical opus. Such a method of facilitation is in demand in Western pedagogy; it was actively developed by such scientists as C. Rogers, J. Freiberg, F. Flemming, T. Kaiser, and others. The main ideas of facilitation are reflected in the pages of their works “Freedom to Learn” [1], “Transformative Dialogues” [2], ” Mining Group Gold: How to Cash in on the Collaborative Brain Power of a Team for Innovation and Results ” [3] and many others. The “Methods” section presents a detailed model to analyze the musical form of the Scherzo, the problems on the content and artistic image that is based on a thorough study of the musical text and its sound embodiment through.

The research relevance. Unfortunately, in our days we have no fundamental works that would explore the socio-communicative nature of art as a separate scientific problem. In this context, the communication between the composer and the performer has an extremely important, multilevel and responsible mission. Because the co-creation of two artists should be aimed not only at embodying the composer's idea and revealing the individuality of the performer but focused on the listener's perception (of course if two participants in musical communication expect the success of their work among the audience). Analysis of recent research and publications. Many scientists have addressed the problem of communication in various fields, in particular: Y. Habermas, V. Kashkin, A. Sokolov, F. Sharkov C. Kuli, Y. Kosenko, V. Vladimirov, V. Shirokov, M. Tarasova, O. Berehova, I. Savransky, N. Saprygina, T. Goncharenko, T. Traverse, L. Voevodina and many others. During the writing of the article were used the printed memoirs of prominent violinists and composers, in particular: L. Kogan, D. Oistrakh, J. Sigheti, G. Rozhdestvensky, S. Prokofiev, M. Skoryk, V. Runchak, etc., fragments from the exclusive interview of the modern Ukrainian violinist B. Pivnenko, which she gave to the author of the article. The scientific novelty. The scientific novelty is that in the article for the first time in Ukrainian musicology composer and performer co-creation in violin art appears as a communicative system in which both participants of communication equally influence the process of creating a musical composition. In this article you can find the materials that have not been published anywhere before – fragments of interviews with the famous modern Ukrainian violinist, the first performer of many compositions of modern composers Bohdana Pivnenko, about the communication of the composer and performer. The purpose of the article is to determine the composer's idea about the idea of a musical composition, its embodiment, sound and performance approach to the realization of the composer's idea, the disclosure of the content of the composition and the character of its images; to focus on the communicative side of composition and performance co-creation which is required by modern Ukrainian violin music. The methodology based on a set of complementary methods: theoretical, method of holistic analysis and comparative. Conclusions. The complication of the language of modern music today poses the new tasks for performers, requiring new expressiveness. In addition, this is where a special role given to the performer – to make clear the complex work for the listener. In this point of view, the relationship and interdependence between the composer and the performer becomes even more relevant. Further research of the communicative nature of composition and performance will provide a better understanding of its patterns and transformation in the contemporary art space.

Upaya khusus pada produksi padi adalah upaya yang telah diusulkan oleh kementerian pertanian untuk meningkatkan produktivitas beras, jagung dan kedelai. Penelitian ini bertujuan untuk mengetahui kinerja usaha Khusus pada program produksi padi, untuk mengetahui dampak dari upaya Khusus pada program produksi padi terhadap produktivitas paddy di Subak Sangeh, kecamatan Abiansemal, Kabupaten Badung. Metode penelitian menggunakan metode kuantitatif berdasarkan analisis bisnis pertanian dan uji t. Data primer dikumpulkan dengan menggunakan metode wawancara kepada 78 petani dengan pengumpulan data dalam bentuk biaya produksi dan area produksi. Hasil penelitian menunjukkan bahwa biaya usaha usahatani padi di Subak Sangeh dalam melaksanakan usaha Khusus pada program produksi beras sebesar Rp 7,229 .116 / hektar per musim tanam. Pendapatan petani di Subak Sangeh adalah Rp 30.970.000 / hektar per musim tanam. Jadi penghasilan petani padi di Subak Sangeh dalam menerapkan Program Upsus Rp 23.740.884 / ha / mt, dan R / C Ratio 4,28. Upaya khusus pada program produksi padi juga dapat meningkatkan produktivitas padi, dari 6,19 ton / hektar hingga 8,15 ton / hektar meningkat 24,05%. Analisis uji t menunjukkan nilai signifikan 0,000 yang lebih kecil dari 0,01 menunjukkan ada perbedaan produktivitas padi yang signifikan di Subak Sangeh. Ini juga berarti bahwa pelaksanaan upaya Khusus pada program produksi padi sangat berpengaruh untuk meningkatkan produktivitas usahatani padi di Subak Sangeh. Oleh karena itu, upaya Khusus Program Produksi Padi lebih baik untuk dioptimalkan guna meningkatkan produktivitas padi.

<p><strong>Abstrak</strong>. Beras merupakan makanan pokok bagi bangsa Indonesia dan strategis bagi keamanan pangan nasional. Produksi beras dapat ditingkatkan melalui ektensifikasi lahan, peningkatan mutu intensifikasi dan indeks pertanaman padi. Lahan sawah tadah hujan berpotensi besar untuk menjadi lahan pertanian produktif jika tingkat kesuburan tanahnya ditingkatkan melalui penerapkan pemupukan berimbang sesuai karakteristik tanahnya. Lahan sawah non irigasi seluas 3,30 juta ha, salah satunya adalah sawah tadah hujan. Pengembangan lahan sawah tadah hujan menjadi sangat relavan dengan peningkatan kebutuhan pangan nasional. Makalah ini bertujuan untuk menelaah pengelolaan lahan sawah tadah hujan untuk meningkatkan produksi padi nasional. Faktor pembatas yang sering dihadapi antara lain ketersediaan air hujan yang sulit diprediksi serta kesuburan tanah yang rendah akibat kandungan C-organik dan N-total yang rendah. Kegagalan panen dapat terjadi akibat akibat kekurangan air pada awal tanam musim hujan maupun saat menjelang panen pada musim kedua. Perbaikannya dapat dilakukan dengan tanam gogo rancah pada musim tanam pertama, dan sistem culik pada musim tanam ke dua. Pemberian bahan pembenah tanah seperti kompos jerami, pupuk kandang, <em>biochar</em> dan kapur pertanian/dolomit terutama untuk tanah yang bereaksi masam ditujukan untuk meningkatkan kesuburan tanah sebelum dilakukan pemupukan. Teknologi pemupukan berimbang yang dapat diterapkan pada lahan sawah tadah hujan, antara lain Urea 250-300 kg ha^-1, SP-36 50-75 kg ha^-1, dan KCl 50 kg ha^-1, pemberian bahan organik minimal 2 t ha^-1, serta pengembalian jerami sisa hasil panen ke dalam tanah. Pemupukan berimbang dapat meningkatkan hasil padi dari 1,8-3,5 t ha^-1menjadi 5,0-5,8 t ha^-1.</p><p> </p><p><strong>Abstract</strong>. Rice is a staple food for the Indonesian people and a strategic comodity for national food security. Rice production can be increased through land extensification, improved quality of intensification and rice cropping index. Rainfed lowland rice fields could be very potentially productive for agriculture when the level of soil fertility is improved by applying balanced fertilization that based on the soil characteristics. Non-irrigated rice field area is 3.30 million ha, including the rainfed rice fields. The development of rainfed rice fields is very relevant to the increasing national food needs. The goal of this paper is to examine the management of rainfed lowland rice fields to increase the national rice production. Some of the limiting factors are the unpredictable rainwater availability and low soil fertility due to low C-organic and N-total content. Harvesting failures could be caused by water stress at the beginning of the planting stage in the rainy season or just before harvesting in the second season. This could be prevented by planting upland scaffolding in the first planting season, and the kidnap system in the second growing season. The application of soil enhancers is intended to increase soil fertility before fertilizer application, such as straw compost, manure, biochar and agricultural lime or dolomite especially for acidic soils. Balanced fertilization technology that can be applied to rainfed lowland rice fields are Urea 250-300 kg ha^-1, SP-36 50-75 kg ha^-1, and KCl 50 kg ha^-1, providing organic material at least 2 t ha^-1, and the return of the remaining crop straw to the ground. Balanced fertilization can increase rice yield from 1.8-3.5 t ha^-1 to 5.0-5.8 t ha^-1.</p>

Background. The work focuses on studying gender peculiarities of interpretations of the Second Piano Concerto by F. Chopin. Presenting the results of the scientific works that concern the issue of gender peculiarities of performing music, the author comes to the conclusion about lack of research of this question in the field of piano art. While the contemporary social and psychological works of the domain of gender turn to the primary signs of gender differences, embodied still at the point of the earliest stage of personality formation, starting with the very birth of a child (Bendas, T., 2006 et alt.). For instance, still in their childhood girls develop such features as a higher intensity emotionality, subtleness of feelings, whereas boys tend to be more rational while thinking over life situations or works of art. Such psychological peculiarities are revealed for various life periods and get more distinct in the process of age advancement. Research methodology. In this article the gender approach is combined with the comparative method while considering key features of different performance versions of the Second Piano Concerto by F. Chopin. Appealing to the performance versions of E. Kissin, С. Arrau, Lang Lang, M. Argerich, B. Davidovich, we emphasize their uniqueness with a simultaneous focus on performance tools used by these prominent musicians to reveal the essence of this masterpiece of the Romantic era. The purpose of this article is to generalize the tendencies of the performing concepts of Chopin’s Second Concerto by the famous masters of piano art of the XX – early XXI century in the light of gender approach. Research results. The Second piano concerto, created by F. Chopin at the turn of the 20s–30s of the XIX century, has become a model of the innovative approach both to interpreting the genre in general and to piano virtuosity. Firstly, it is expressed through the dominance of the pianoforte over the orchestra, while the former being characterized by the total melodization of the texture. Researchers of F. Chopin’s creativity point out the fact that in his concertos there are influence traces of W. Mozart, C. Weber, J. Hummel; however, despite the belonging of the concertos to early stage of creative activity, Chopin achieves unique artistic results. Maintaining, just like Mozart’s, the classical structured transparent form, enriching musical textures with passages, just like Hummel, Chopin, nevertheless, presents deeply individual images. If in the First part of the Second Concerto the dependence on classical traditions is still obvious, the Second part and the Final demonstrate broad horizons for the lyric component of the composer’s music. Before we turn to a number of outstanding samples of the Second Concerto performance, we recall the opinion of one of the best pianist-interpreters, E. Fisher, that the sound embodiment of a musical work consists of three elements: musical text, instrument and artist (Fisher, E. 1977: 201). He noted that the musical text is an unshakable material basis for the performer. Interpretation is possible only under the condition of accurate transmission of what is stated in the author’s text reflecting both the development of the playing technique and the improvement of musical instruments. At the same time, the end result – the sound image of the work – arises under the influence of the artist’s personality, reflecting its qualities, such as “the degree of development of intelligence, worldview, especially emotional life, belonging to one or another artistic type” (ibid.). So, performers who turn to the Second Concert, can accent certain elements, lines, forming its rich semantic complex. If we classify performing versions of the Chopin Concert by gender qualities, we can come to certain conclusions. In the male versions studied we have clearly revealed the constructivism in musical arrangements, an intellectual structure, rational forethought concerning all the stages of musical development. A special emphasis is laid on caesuras and differentiation between various types of musical material, clearly bespeaks pianists’ intention to reflect more comprehensively a philosophical content of the work. The peculiar predominant feature as for E. Kissin’s performance is his lyric-psychological interpretation of the image palette of the Concerto. Kissin’s main way of realizing the corresponding tasks is articulation that emphasizes the uniqueness of each episode. In the performance of С. Arrau we notice a characteristic brightness, emotionality, contrasting effect, thanks to the intensive exploitation of agogics; at the same time, the unity of the music form is reached through the exactness of the meter and rhythmic pulsation. Lang Lang’s version is a model of a supreme sound lyricism. The pianist plays in the style of Mozart with a clear texture, rationed pedalizing and agogics. At the same time, in his performance there is a philosophical generalization that can be perceived. In comparison with the male versions, the female ones, on the whole, are peculiar in terms of their subtler sound richness, touch&#233; softness. In the interpretation of the drama lines of the Concerto it is the image-emotional component that prevails but, together with this, a special emphasis is laid on lyric and psychological details. The analyzed interpretation by B. Davidovich is characterized by a specific style of its own as, while building up the performance dramaturgy of the Concerto, she prefers a through theme development, without dividing the sound stream into separate fragments the way many performers prefer to do. M. Argerich understands this music by F. Chopin in a different way. Her performance style is unique due to its high drama intensity, emotionality, passion, introducing elements of rationalism into the drama line of the Concerto.

Ch.-M. Widor (1844–1937) inscribed his name in the history of French music primarily as an author of organ works (10 Organ Symphonies, 1872–1900, in particular). But other genre branches of his creativity (symphonic, chamber-instrumental, chamber-vocal, operatic, choral) remains less famous for wide public. This quite vast layer is mostly not studied in musical science. However, at the recent time the interest is somewhat growing both among musicologists (A. Thomson, E. Krivitskaya, M. R. Bundy), and among the performers, which confi rms the relevance of this article. The objectives of this study are to consider compositions by Ch.-M. Widor (Piano Concerto No.1, Fantasy, Piano Concerto No.2) both in terms of features of individual creator style and context of concert branch history in France. Information about works is supplemented by the analysis of the basic musical text parameters. Ch.-M. Widor graduated the Brussels Conservatory, where he was studied from 1859 to 1863 – in classes of organ (J.-N. Lemmens) and composition (F.-J. Fetis). At 1860s, the young man was visiting Paris. Soon he was acquainted with C. Saint-Saens, which infl uenced Ch.-M. Widor not only in terms of his executive career turn, but also was etalon of instrumental writing. It seems that the writing of instrumental Concertos for violin (ор. 26, 1877), cello (ор. 41, 1877), and piano (ор. 39, 1876) in many ways is owed by C.Saint-Saens and the impulse to French music of the 1870s given by him. Piano Concerto No.1 f-moll by Ch.-M.Widor was well appreciated by the contemporaries of the composer. In fi rst movement (Allegro con fuoco) the active narrative is combining with predominantly lyrical mood. It passes in constant pulsation without any whimsical tempo deviations, as well as without cadenza using. Contemplative and philosophical meditations are concentrated at the second movement (Andante religioso). The exposition of ideas is embodied in oppositions of characters, concentrated and depth in front of light and joyous. By the way, a little similar can be found in Andante sostenuto quasi adagio of Piano Concerto No.1 (published in 1875) by C. Saint-Saens. The cycle is crowned with a lively scherzo fi nal with elegant dotted rhythm using. On the whole we can say that the Piano Сoncerto No.1 by Ch.-M. Widor purposefully continues the traditions of C. Saint-Saens. This is noticeable in the clarity of the structure, emphatic melody, and also in some specifi c features – the avoidance of long-term solo cadenzas and the absence of expanded orchestra tutti’s, as well as the laconicism of development section at the fi rst movement. Echoes of F. Liszt and C. Franck can be heard in Fantasy As-dur op. 62 for piano and orchestra (1889, dedicated to I. Philipp). Ch.-M. Widor shows interest in this genre type as many other French authors at 1880–1890s. In work there are many counterpoint and variation elements, which is due to author’s mastery of organ-polifonic writing. In our opinion, eclectic combinations of the main subject in the spirit of F. Liszt – R. Wagner with oriental saucy theme at the end of composition are quite in the style of C. Saint-Saens. Piano Concerto No.2 c-moll (1905) is standing out with its clear attachment to the late-romantic line. It is somewhat out of the general context of genre existence in France, especially when comparing with signifi cantly more traditional Piano Concertos by B. Godard (No.2, 1894), C. Saint-Saens (No.5, 1896), T. Dubois (No.2, 1897), A. Gedalge (1899), J. Massenet (1902). This manifests itself in appeal to fateful gloomy spirit, abundance of dark paints in the sound, the complication of the tonal-harmonic language, increased expressivity, psychologization. Here are found more fi ne-tooth application of timbre orchestral potential (in comparison with the Piano Concerto No.1), as well as increasing of orchestra importance upon the whole. This is paradoxical, but its performing tradition has developed not in the best way, so that nowadays this remarkable work is very rarely heard at concert halls. In our time, the author’s creativity is a real terra incognita that encompasses a lot of hidden masterpieces. Results of the research bring to light that examined works by composer are outstanding illustrations of French romantic music. Ch.-M. Widor is an example of original talent that continues the late Romanticism line in France at the end of 19th and fi rst third of the 20th century, together with other authors – L. Vierne, V. d’Indy, A. Magnard, F. Schmitt. His works for piano and orchestra quite deserve to become on a par with recognized masterpieces, included in the concert repertoire of pianists and orchestras by different countries of the world. The perspectives of the further research are defi ned in more detailed analytical labors, including the extension of analysis over Violin Concerto op. 26 and Cello Concerto op. 41 by author. The learning of these works will allow to complement the history of the concert genre of French Romanticism with new details, that will enable to see the evidence of succession and the vitality of traditions.

Introduction. The attitude to Venice as one of the most poetic and picturesque cities in the world is firmly established in artistic practice. The city appears multifaceted and contradictory in numerous literary works. It appears as a space of eternal carnival and an education center (C. Gozzi, C. Goldoni), a place of secret conspiracies, gloomy massacres (“Angelo, Tyrant of Padua” by V. Hugo), a dream, an earthly paradise (I. Kozlov, “Eugene Onegin” by A. Pushkin). But always Venice is a special place where antiquity is closely intertwined with youth (G. Byron, J. W. von Goethe, A. Ch&#233;nier, A. de Musset, A. Apukhtin, A. Maykov, F. Tyutchev, J. Brodsky, and others). Literary and poetic Venetian cultural stratum was supplemented by artistic journalism – essays, sketches, travel notes of prominent representatives of Romanticism. Such a variety of material contributed to the formation of the image, the topos of Venice, myth of the city in artistic and creative practice. Numerous interpretations of the chosen theme in works of art form the “Venetian text” of art. This topic has not been fully embodied in the form of independent musicological research, despite the large number of works in European music that glorify Venice and need to be included in scientific and performing practice. Theoretical and methodology background. The theme of the city, urban text, urbanism in general is a very developed concept in various fields of modern science. The concept of “St. Petersburg text” has been affirmed in literary studies since the 1980s (V. Toporov, 1995). Such an artistic text (Y. Lotman, 1998) is not just a mirror of a real city, but a device that realizes the transition from visible reality to the inner meaning of things. Real objects, such as squares, waters, islands, gardens, buildings, monuments, people, history, ideas, are the “language” of the city. They act in the form of toponymical, landscape, historical and cultural, personal and biographical elements of urban space. On the one hand, they create the text of the city, on the other hand, they become a well-known code of the city, and generate artistic images. By analogy with the “St. Petersburg text” on the basis of the proposed methodology, in literary studies there were a number of works on “local” texts, including Venetian (N. Mednis, 1999, O. Soboleva, 2010, K. Sivkov, 2015, N. Ilchenko & I. Marinina, 2015 and others). The concept of the image of the city (V. Li, 1914, N. Antsiferov, 1991) is inextricably linked with the text in its semiotic meaning as a structured sign system. Due to the universality and comprehensiveness, concept “topos” in music can be used instead of “image”, “sphere”, and other musicological concepts (L. Kirillina, 2007). In modern musicology, there are very few systematic studies in this area. Apart from research on the topic of musical urbanism (L. Serebryakov, 1994. I. Barsova, 2000, L. Gakkel, 2006, I. Yakovleva, 2014, T. Bilalova, 2005, G. Zharova, 2009), there are almost no works on the topic of Venetia in music. Therefore, this area of research is relevant. Objective of the researching is to determine the features of the “Venetian text” in the chamber-vocal music by Ch. Gounod on the example of his romance “Venice” (on the poem by A. de Musset). Research results and conclusions. Ch. F. Gounod (1818–1893) became one of the first French composers to draw attention to the theme of the city of Venice in his chamber and vocal music. The romance “Venice” (1842) was written by him at the age of 24. At that time, the young author had been in Italy for two years as a scholarship holder of the prestigious Prix de Rome. Ch. Gounod documented his impressions of the trip in an autobiographical book – “M&#233;moires d’un Artiste” (1896). The romance is based on the poem by A. de Musset “Dans Venise la Rouge…” (1828). The artistic space of Venice is constructed due to a number of constant images, such as sea lagoon, gondola, bronze lion, old doge, mask, carnival, ladies, mirror, night date. Clearly read signs of the city are metaphors for certain emotional states, often binary, which are strongly associated in most art sources with Venice: anxiety, loneliness, senility, death and sensuality, eroticism, youth, carnival of life. A. de Musset’s text is transferred to the conditions of the chamber-vocal genre and undergoes radical changes. When comparing the two options – the poetic original and the text of the romance, it becomes clear their inconsistency from about the middle of the poem. The composer’s simplification of the textual side of the romance was caused by the refusal to mention the sculptural and architectural dominants of the city, color and chronological contrasts that are inherent in the topos of Venice. This softened the overall emotional mood, virtually freeing the text from the dominance of loneliness, emptiness, anxiety. In the text of “Venice” by Ch. Gounod’s, the topos of the city is revealed as a space of mystery and dreams, a fusion of divine nature and man-made beauty, the triumph of earthly love. The representative of the contrast is the music side of this romance. It brings that note of excitement, anxiety, which seems to clear the musical image of Venice from the excessive gloss of the poetic text. It makes him alive, trembling, proving, on the one hand, the inseparable connection of words and music in chamber-vocal genres; on the other hand, characterizing Ch. Gounod as the greatest master who possessed not only an exceptional melodic gift, but also a rare sense of musical harmony. The composer seems to be going from the opposite: wrapping the text, “major” in mood, in the frame of the minor key; using capricious harmonic juxtapositions, he makes the intonation of the romance take on different colors, like the playing of moon reflections on the water. And in this balancing on the verge of “majorminor”, “enlightenment-sadness”, the precariousness, fragility and paradoxicality of the Venetia city image are revealed. Thus, the music of the Ch. Gounod’s romance that appeals to the barcarole genre attributes, in the same time, is lyrical and disturbing. It perfectly reproduces the melancholy state that was familiar to young authors, both, the poet and the composer.

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