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1
Zolotareva, Natalia, and Maria Panchenko. "The features of the interpretation Concert e-moll for cello and orchestra by A. Khachaturyan." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 170–81. http://dx.doi.org/10.33287/222044.
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The purpose of this scientific represented publication is to reveal the peculiarities of the interpretation of the concerto in e-moll for cello and orchestra by Aram Khachaturian into representatives of different cello schools. The research methods is based on general scientific principles of research, such as analysis, synthesis, deduction, induction and special, a namely historical approach, method of interpretative analysis, comparative way, performance analysis and many others scientific manners. The scientific novelty of this submitted research article is that for the first time in domestic musicology the performing analysis of Aram Khachaturian’s cello concerto by musicians Denis Shapovalov and Jan Maksin was studied by investigators of this scientific article. The conclusions of the represented research publication to indicate that the famous cello concerto e-minor by Aram Khachaturian in the interpretation of representatives for different cello schools has a number of significant differences from the author’s musical text. The specialized performance of this concert by amazingly famous cellists concerns the tempo, strokes, dynamics, phrasing, but at the same time, both Denis Shapovalov and Jan Maksin sought in their performance interpretations to reveal the composer’s idea in accordance with Aram Khachaturian’s own sense of music. Comparing the performance interpretations of the concerto in E minor for cello with the orchestra of Aram Khachaturian, it was determined that they are due to the personal qualities of the performers. The all „borders” were opened for astonishingly famous instrumentalists Denis Shapovalov and Jan Maksin to reveal their own feelings and fantasies awakened by Aram Khachaturian’s music. Each of the well-known cellists demonstrated their own vision of the concert, and their performance interpretations revealed the composer’s idea.
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Золотарьова, Н. С., and Т. О. Оліферовська. "ВПЛИВ ВИКОНАВСЬКОЇ ШКОЛИ НА ІНТЕРПРЕТАЦІЮ ТВОРУ (на прикладі віолончельного концерту А. Дворжака)." Музикознавча думка Дніпропетровщини, no. 15 (November 4, 2019): 149–63. http://dx.doi.org/10.33287/221912.
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The purpose of this article is analysis of possible versions concerning the interpretation of the Antonin Dvorak’s concert for cello with orchestra, h-moll or. 104, their origin and influence on the manner of performance. Moscow and Leningrad schools are taken as an example. Schools of S. Kozolupov and O. Strimer represent vividly different views on means of theory and interpretation. In my opinion, the most colorful and controversial on the matter of interpretation are the following representatives of the music schools: M. Rostropovich as a representative of the S. Kozolupov views and D. Shafran for O. Strimer school. These cellists are interesting not only because of their vivid difference in the vision of theory and interpretations of music works, but also by the fact that they have made a lot of effort to popularize the cello and bring it to the level of solo instrument as high as the violin and piano. The methods of this research consist of historical, empirical, practical, interpretive-comparative approaches, which are based on examination of performance versions through the prism of the pedagogical schools influence on the aspects of the art-technological plan. The scientific novelty consists in the lack of material on the comparison of interpretative versions of the concert for cello A. Dvorak h-moll op. 104 performed by Soviet cellists Mstislav Rostropovich and Daniil Shafran, in terms of the influence of "school" on technical techniques and artistic vision of the work, which is considered as an example, in his genre, of the most striking combinations of deep lyricism, drama and the need for a masterly skills of instrument proficiency. It’s one of a few favorite concerts of the Romantic era among the soloists of cello. Thus, it contains a broad background for an interpretative analysis. Conclusions. Comparison of interpretative versions, as a method of performing analysis contributes to a vivid representation of the artistic content of the work, helps to find its own style combining already used technical and agogic techniques of the performance with new artistic views.
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Shcholokova, Olha, Natalia Mozgalova, and Iryna Baranovska. "Interpretation of musical composition: a methodical aspect." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, no. 3 (128) (October 31, 2019): 151–58. http://dx.doi.org/10.24195/2617-6688-2019-3-21.
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The article presents the issue regarding activation of artistic and interpretative activities of the students majoring in musical specialties at higher pedagogical educational institutions. The artistic-interpretative activity is considered as a factor of students’ creative development, growth and self-realization. The method of categorical analysis of the issue “interpretation” facilitated the establishment of a number of its values which were considered and implemented in the step-by-step experimental methods of training future music teachers in interpreting musical works. The course and results of the ascertaining stage of the pedagogical experiment have been presented. Based on the hermeneutical and artistic-mental approaches, the experimental methods of training students in interpreting musical works have been elaborated and presented. A wide range of methods of instrumental learning, performing exercises and independent artistic-interpretative tasks that determine the hierarchy of stages (initial-establishing, content-oriented and technological, analytical-final) of the presented methodology has been considered. The effectiveness of the text-centric paradigm of teaching in the practice of instrumental training of the future music teachers basing on a complex use of individual teaching methods alongside with dialogical methods of performing immersion, palliative and facilitation has been proved. The introduction of the lecture course “Fundamentals of Musical Interpretation”, the use of a complex of methods (analytical, practical, creative) and various artistic and interpretative tasks contributed to the increase of the respondents’ motivational orientation and activity as well as the increase of their interest in the artistic and interpretative activities. The results of the research and experimental work on the implementation of the methodology of training future music teachers in interpreting musical works testify to its expediency and effectiveness. Keywords: hermeneutical approach, interpretation, musical work, artistic and interpretive activity, teachers of Music.
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Boutard, Guillaume, and François-Xavier Féron. "Documenting acousmatic music interpretation." Journal of Documentation 75, no. 1 (January 14, 2019): 99–119. http://dx.doi.org/10.1108/jd-03-2018-0037.
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PurposeExtending documentation and analysis frameworks for acousmatic music to performance/interpretation, from an information science point of view, will benefit the transmission and preservation of a repertoire with an idiosyncratic relation to performance and technology. The purpose of this paper is to present the outcome of a qualitative research aiming at providing a conceptual model theorizing the intricate relationships between the multiple dimensions of acousmatic music interpretation.Design/methodology/approachThe methodology relies on the grounded theory. A total of 12 Interviews were conducted over a period of three years in France, Québec and Belgium, grounded in theoretical sampling.FindingsThe analysis outcome describes eight dimensions in acousmatic performance, namely, musical, technical, anthropological, psychological, social, cultural, linguistic and ontological. Discourse profiles are provided in relation to each participant. Theory development led to the distinction between documentation of interpretation as an expertise and as a profession.Research limitations/implicationsData collection is limited to French-speaking experts, for historical and methodological reasons.Practical implicationsThe model stemming from the analysis provides a framework for documentation which will benefit practitioners and organizations dedicated to the dissemination of acousmatic music. The model also provides this community with a tool for characterizing expert discourses about acousmatic performance and identifying content areas to further investigate. From a research point of view, the theorization leads to the specification of new directions and the identification of relevant epistemological frameworks.Originality/valueThis research brings a new vision of acousmatic interpretation, extending the literature on this repertoire’s performance with a more holistic perspective.
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Radiushyna, Svitlana, and Maryna Tkachenko. "Pedagogical conditions for the development of future Music teachers’ interpretative skills in the process of choral and conductorial training." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 1 (130) (February 7, 2020): 90–98. http://dx.doi.org/10.24195/2617-6688-2020-1-12.
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The article analyses the essence, content and specificity of future music teachers’ interpretive skills. The purpose of the article is to substantiate pedagogical conditions favourable for effective development of future music teachers’ interpretive skills in the process of their choral and conductorial training. These methods of theoretical research are used: analysis, generalisation, synthesis, extrapolation, deduction, systematisation. Interpretation is seen as the basis and the necessary condition for understanding a piece of music, the subjective (personal) attitude and creative imagination of a teacher of music being of great importance. The essence of interpretation in the context of the activity of the Musical Arts teacher lies in the interpretation of an artistic text which reflects the content of the author's message in key note symbols. In the activity of the Musical Arts teacher, there are two forms of interpretation: performing and verbal-pedagogical. The interpretation of the choral work is considered in the article as an artistic-performing conception of the conductor which is based on his/her artistic and imaginative ideas, knowledge; it is realised in his/her creative interaction with the choral team. The list of specific interpretive skills to be demonstrated by the future Music teachers in the context of choral and conductorial training has been clarified. A system of interrelated pedagogical conditions has been offered, it includes these constituents: increase of future specialists’ motivation for the choral and conductorial activities through realisation of the axiological potential of choral music; the implementation of the coaching pedagogical technologies into the choral and conductorial training intended for the future Music teachers; a systematic widening of future specialists’ thesaurus of artistic and imaginative ideas. Further research involves the development of a step-by-step methodology for the development of future Music teachers’ interpretative skills in the process of their choral training.
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Zhabeva-Papazova, Julijana. "Women 's voices in alternative music: Lisa Gerrard and Elizabeth Fraser." New Sound, no. 46 (2015): 76–83. http://dx.doi.org/10.5937/newso1546076z.
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This paper deals with the analysis of Lisa Gerrard's and Elizabeth Fraser's vocal styles that promoted a new way of singing on the alternative music scene. Instead o f the traditional usage of lyrics in the English language as their mother tongue, they use so called 'glossolalia', meaning wordless, or substituting language with a melodic, exploratory rapture by their vocal range alone in a couple o f octaves. The main points of analysis are the relationships between the vocal interpretation and instruments, music form, main melodic themes, rhythm, accomplished with iconography in the relationship between vocal interpretations and stage performances.
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Taryadi, Taryadi, and Bakhrudin Latif. "Interpretasi Musik Barok Pada Lagu The Trumpet Shall Shound Karya Handel." Resital: Jurnal Seni Pertunjukan 23, no. 1 (April 30, 2022): 62–73. http://dx.doi.org/10.24821/resital.v23i1.6758.
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The reason behind the research of Baroque era music interpretation analysis in The Trumpet Shall Sound by Handel is there are many trumpet players and music students who do not have deep understanding in interpreting the baroque era music correctly. The purpose of this research is to find out the music form and music structure from The Trumpet Shall Sound Song by Handel, also to find out the interpretation of trumpet music instrument in The Trumpet Shall Sound Song by Handel. The method used in this research is qualitative method research since there are no use of numbers as its data source. The research object is focused on the interpretation of the song itself by applying some theories i.e., music form, music structure, the rules of music interpretation of baroque era and the music expression of Baroque era. The data collection was done by observation, interview, and documentation. The analysis is from the interpretation which is analyzed through music interpretation rules of Baroque era which is expected to have an outcome by playing The Trumpet Shall Sound song by Handel with correct music interpretation of Baroque era.
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Taryadi, Taryadi, and Bakhrudin Latif. "Interpretasi Musik Barok Pada Lagu The Trumpet Shall Shound Karya Handel." Resital: Jurnal Seni Pertunjukan 23, no. 1 (April 30, 2022): 62–73. http://dx.doi.org/10.24821/resital.v1i1.6758.
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The reason behind the research of Baroque era music interpretation analysis in The Trumpet Shall Sound by Handel is there are many trumpet players and music students who do not have deep understanding in interpreting the baroque era music correctly. The purpose of this research is to find out the music form and music structure from The Trumpet Shall Sound Song by Handel, also to find out the interpretation of trumpet music instrument in The Trumpet Shall Sound Song by Handel. The method used in this research is qualitative method research since there are no use of numbers as its data source. The research object is focused on the interpretation of the song itself by applying some theories i.e., music form, music structure, the rules of music interpretation of baroque era and the music expression of Baroque era. The data collection was done by observation, interview, and documentation. The analysis is from the interpretation which is analyzed through music interpretation rules of Baroque era which is expected to have an outcome by playing The Trumpet Shall Sound song by Handel with correct music interpretation of Baroque era.
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Ding, Hao. "Another Approach to Musical Interpretation." Chinese Semiotic Studies 16, no. 3 (August 26, 2020): 439–58. http://dx.doi.org/10.1515/css-2020-0024.
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AbstractMusic is neither a construction of pitches nor a linear arrangement of vocal parts, but rather an energetic shaping through time that integrates articulation, harmony, melody, and rhythm. Music expresses a kind of gesture in the dimension of sounds. In most cases, musical expressions, compared to linguistic expressions, are more like a state of motion or a behavior of sounds originating from physical sensations. Musical gesture can interpret the emotional expression and meaning of music from a perspective that is closer to the nature of music. Such an interpretation is not constrained by the traditional analysis of form and content, self-discipline and heteronomy, subjectivity and objectivity. It is more about how to stimulate the sensory systems to join in and understand the behavior and contents of music expressions in order to synthesize the meaning of music in different dimensions.
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SUKMARAGA, AYYUB ANSHARI. "TINJAUAN VISUAL DESAIN KEMASAN DAN SAMPUL ALBUM BAND INDIE MOCCA PADA ALBUM BERFORMAT AUDIO CD." Serat Rupa Journal of Design 1, no. 1 (January 19, 2018): 171. http://dx.doi.org/10.28932/srjd.v1i1.448.
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For five decades, music industry has become profitable business. The big music industries then make innovation with attractive packaging design for cover album. The innovation intended to persuade people to buy the album not just listen to musics by downloaded it, although it can’t reduce music piracy that become giant problems for music industries. One of Indonesian indie band that aware for this activities is Mocca.This research is analyzing an how the visual perception of shape, structure, material, color and elements in Mocca’s CD packaging and album cover’s design, can create visual sensation to people. It is analyze people’s interpretation from the typography in Mocca’s packaging design and cover album. The aim of this research is to identify symbols, sensation, layout, and people’s interpretation from Mocca’s albums. For the result on this research, will compared by the respondents result through semantic’s theory as will be verified using the results of the analysis of rhetoric. The result from this research is shown that use of the visual system in Mocca’s packaging and design album covers can impact the visual sensation and persuade people when they see visual markings on Mocca’s packaging as well as the album covers. Mocca’s CD quality can compete with band from big music companies. This Mocca’s success from their packaging design dan cover albums art could be the example for other band or music industries to gain their value in art, so it will give better product sales. Keywords: cover; indie band; packaging; visual analysis; rhetoric analysis
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Reinhard, Johnny. "A Microtonal Analysis of Igor Stravinsky’s Concept of Pitch and Its Resulting Scale." IKONI / ICONI, no. 1 (2022): 39–58. http://dx.doi.org/10.33779/2658-4824.2022.1.039-058.
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Igor Stravinsky towers as the most prominent composer of the 20th century. When asked on a television broadcast what the Maestro believed to be the next direction in music, Stravinsky claimed that it would be microtonality. The author of the article, who is a prominent specialist in microtonality, proposes a microtonal interpretation in performances of Stravinsky’s musical compositions. He substantiates the validity of such an approach from Stravinsky’s particular spelling of certain chromatic intervals in his musical works, which clearly infer certain intervals from the overtone series, as well as the composer’s words pronounced in his written texts. What Stravinsky had in common with other musical geniuses of the 20th century and earlier times was the inner hierarchical ordering of a constellation of tonal relationships. However, each of these composers had a completely different model of idealized intonation constituted in their respective minds. The author’s additional experience with microtonality was his thorough study of historical European and non-European alternate tunings and temperaments, as the result of which he has been able to determine which of them are appropriate for being employing in performing music by composers from past epochs, such as J.S. Bach, Mozart and Beethoven. This provides additional substantiation for microtonal interpretations of performances of Stravinsky’s music. Citing the northern Lithuanian folk music tradition as expressed in the Sutartines, as being close in its essence to the microtonal interpretation of the great composer’s oeuvres, the author presents the 128-note-per-octave scale created by him for use in his own musical compositions, based on the extension of the overtone scale to the eighth octave as a viable tuning to apply to Stravinsky’s music.
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Fahmy, H., and D. Blostein. "A Graph-Rewriting Paradigm for Discrete Relaxation." International Journal of Pattern Recognition and Artificial Intelligence 12, no. 06 (September 1998): 763–99. http://dx.doi.org/10.1142/s0218001498000439.
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In image analysis, recognition of the primitives plays an important role. Subsequent analysis is used to interpret the arrangement of primitives. This subsequent analysis must make allowance for errors or ambiguities in the recognition of primitives. In this paper, we assume that the primitive recognizer produces a set of possible interpretations for each primitive. To reduce this primitive-recognition ambiguity, we use contextual information in the image, and apply constraints from the image domain. This process is variously termed constraint satisfaction, labeling or discrete relaxation. Existing methods for discrete relaxation are limited in that they assume a priori knowledge of the neighborhood model: before relaxation begins, the system is told (or can determine) which sets of primitives are related by constraints. These methods do not apply to image domains in which complex analysis is necessary to determine which primitives are related by constraints. For example, in music notation, we must recognize which notes belong to one measure, before it is possible to apply the constraint that the number of beats in the measure should match the time signature. Such constraints can be handled by our graph-rewriting paradigm for discrete relaxation: here neighborhood-construction is interleaved with constraint-application. In applying this approach to the recognition of simple music notation, we use approximately 180 graph-rewriting rules to express notational constraints and semantic-interpretation rules for music notation. The graph rewriting rules express both binary and higher-order notational constraints. As image-interpretation proceeds, increasingly abstract levels of interpretation are assigned to (groups of) primitives. This allows application of higher-level constraints, which can be formulated only after partial interpretation of the image.
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Coorevits, Esther, and Dirk Moelants. "Tempo in Baroque Music and Dance." Music Perception 33, no. 5 (June 1, 2016): 523–45. http://dx.doi.org/10.1525/mp.2016.33.5.523.
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Growing interest in studies on the relationship between music and movement has given rise to many paradigms and theories, including embodied approaches that provide interesting methodologies in studies on music and dance. Insight into the relation between dance and music is particularly important for the Baroque period, as a direct connection between music and dance was omnipresent, even if music was not used to dance to. Many types of Baroque dances existed, each of them with particular dance steps and a specific character, requiring a specific tempo. However, in music performance practice today, the link with the original dance movement is often lost and the tempo variation can be very large. The aim of this study is to compare the interpretations of dancers and musicians regarding Baroque music and dance in an experimental setting. First, we investigate the influence of dance movement on the musical interpretation of a series of Baroque dances. The pieces were recorded both with and without dance accompaniment and the tempo and timing in the different versions were compared. In the second part, dancers performed a particular choreography to music that varied in tempo. Video analysis and questionnaire data were used to evaluate the different performances. The results were compared with the tempi of music recordings of the same dance types, showing a clear difference between music and dance performance. Musicians adapt their interpretation when performing together with the dancers, and the optimal tempo range found for certain Baroque dances coincides only partly with the tempi commonly found in music recordings. The direct link between music and movement and its mutual influence illustrates the importance of an embodied approach in music performance, where in this case dance movement gives concrete information for a “historically informed” performance.
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Martyniuk, Tetiana. "Implementation of Artistic and Pedagogical Interpretation Technologies in the Content of Professional Training of Future Music Teachers in the Study of Artistic Innovations in Educational Institutions." Professional Education: Methodology, Theory and Technologies, no. 15 (November 4, 2022): 164–87. http://dx.doi.org/10.31470/2415-3729-2022-15-164-187.
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The article is devoted to the issue of the implementation of artistic and pedagogical interpretation technologies in the content of professional training of future music teachers in the study of artistic innovations in educational institutions. The purpose of the article is to consider the advantages of introducing pedagogical, artistic and pedagogical interpretation technologies into the content of professional training of future musical art teachers and to present examples of their use in the educational process of those obtaining a master's degree in the specialty «Secondary education (Musical art)». In the process of experimental work, the following research methods were used: theoretical: analysis, synthesis, comparison, systematization; empirical: observations, surveys, presentation of an artistic and pedagogical interpretation of a musical work. The results. The following methods are considered by the author to be the leading methods of interpretive music-pedagogical technologies: artistic-pedagogical analysis of a work, artistic-pedagogical narrative, pedagogical interpretive cognition, perceptive immersion into the meaningful sphere of a musical work, individual critical understanding of interpretive versions of works, artistic-interpretive activity, presentation of a psychological portrait of the composer, comprehension and modeling the musical meaning of the work. In the author’s opinion the above methods reflect the general process of interpretation activity and are related to the phenomenon of musical interpretation. To characterize the musical and pedagogical interpretation technologies and their pedagogical tools, the author has given twenty one examples of recommended creative tasks for the training of future music teachers on the practical lesson topic «Methods of training applicants for the artistic and pedagogical interpretation of vocal, choral and instrumental musical works of various genres and eras for teaching musical art in 5th grade of general secondary education establishment». Conclusions. The author has defined that the introduction of artistic and pedagogical interpretation technologies into the content of the professional training of future music teachers in the study of artistic innovations in educational institutions contributes to the development of the students' motivation to master musical and pedagogical innovations, allows to activate the development of aesthetic sense, taste, perceptive abilities, critical thinking, and the formation of the skills of creating one's own artistic and pedagogical interpretations, their substantiation from the point of view of understanding the author's idea, artistic cognitive and communicative activity. Prospects for the development of the raised problem are the study of the interrelationships of artistic-pedagogical interpretive and hermeneutic technologies in the content of professional training of future music teachers.
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GUCK, MARION A. "Analysis as Interpretation: Interaction, Intentionality, Invention." Music Theory Spectrum 28, no. 2 (October 2006): 191–209. http://dx.doi.org/10.1525/mts.2006.28.2.191.
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Whittall, Arnold. "Review: Harmonic Rhythm: Analysis and Interpretation." Music and Letters 85, no. 1 (February 1, 2004): 140–41. http://dx.doi.org/10.1093/ml/85.1.140.
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Temperley, David. "An Algorithm for Harmonic Analysis." Music Perception 15, no. 1 (1997): 31–68. http://dx.doi.org/10.2307/40285738.
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An algorithm is proposed for performing harmonic analysis of tonal music. The algorithm begins with a representation of a piece as pitches and durations; it generates a representation in which the piece is divided into segments labeled with roots. This is a project of psychological interest, because much evidence exists that harmonic analysis is performed by trained and untrained listeners during listening; however, the perspective of the current project is computational rather than psychological, simply examining what has to be done computationally to produce "correct" analyses for pieces. One of the major innovations of the project is that pitches and chords are both represented on a spatial representation known as the "line of fifths"; this is similar to the circle of fifths except that distinctions are made between different spellings of the same pitch class. The algorithm uses preference rules to evaluate different possible interpretations, selecting the interpretation that most satisfies the preference rules. The algorithm has been computationally implemented; examples of the program's output are given and discussed.
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Harriska, Harriska. "Musik Senggayung Desa Gerai Kabupaten Ketapang : Kajian Bentuk Dan Identitas Budaya." Resital: Jurnal Seni Pertunjukan 19, no. 3 (December 2, 2018): 146–56. http://dx.doi.org/10.24821/resital.v19i3.3336.
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Penelitian ini bertujuan menganalisis bentuk musik senggayung yang mencerminkan identitas budaya masyarakat desa Gerai Kabupaten Ketapang. Metode penelitian menggunakan kualitatif deskriptif dengan desain penelitian studi kasus interpretatif. Data penelitian dikumpulkan dengan teknik observasi, wawancara, dan studi dokumen. Serta menggunakan teknik triangulasi sumber dan data untuk menjaga validitasnya. Sedangkan teknik analisis data dilakukan melaui proses reduksi, penyajian, dan penarikan simpulan (verifikasi). Hasil penelitian ini menunjukkan, musik senggayung merupakan musik yang mencerminkan identitas budaya masyarakat desa Gerai Kabupaten Ketapang. Musik senggayung hanya ada di daerah gerai, musik unik yang tidak dimiliki daerah lain. Jika dilihat dari organologinya, senggayung tergolong kedalam alat musik idiophone yang terbuat dari bambu. Yang membuat menarik, penggunaan alat musik senggayung hanya bisa untuk sekali pakai pada satu upacara, tidak bisa digunakan lagi untuk upacara lainnya jika jarak waktu upacara lebih dari 3-4 hari. Hal ini berkaitan dengan timbre yang dihasilkan oleh bambu. Musik senggayung biasa digunakan untuk mengiringi proses upacara-upacara masyarakat desa Gerai. Beberapa faktor-faktor pembentuk identitas budaya yaitu (1) kepercayaan, (2) bahasa, (3) pola prilaku, sudah tercermin dalam senggayung.This study aims to analyze the shape of senggayung music that reflects the cultural identity of the village community of Ketapang regency. The research method used qualitative descriptive with interpretative case study research design. The data were collected by observation, interview, and document study. As well as using triangulation techniques of sources and data to maintain its validity. While the data analysis technique is done through the process of reduction, presentation, and withdrawal of conclusion (verification). The results of this study indicate, senggayung music is a music that reflects the cultural identity of the village community of Ketapang regency. Senggayung music only exist in the area of outlets, unique music that is not owned by other regions. When viewed from the organology, senggayung belong to idiophone musical instruments made of bamboo. What makes it interesting, the use of senggayung musical instruments can only be for one use at a ceremony, can not be used anymore for other ceremonies if the distance of ceremony time more than 3-4 days. This is related to the timbre produced by bamboo. Senggayung music is used to accompany the process of ceremonies of Gerai village community. Some of the factors that make up the cultural identity are (1) belief, (2) language, (3) behavior pattern, already reflected in senggayung.Keywords: Senggayung, Cultural Identity
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Chang-Arana, Álvaro M., Dianna T. Kenny, and Andrés A. Burga-León. "Validation of the Kenny Music Performance Anxiety Inventory (K-MPAI): A cross-cultural confirmation of its factorial structure." Psychology of Music 46, no. 4 (July 18, 2017): 551–67. http://dx.doi.org/10.1177/0305735617717618.
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This research investigated whether music performance anxiety (MPA) can be theoretically understood as a unidimensional construct, and whether the factorial structure is robust across different populations of musicians with different levels of expertise. K-MPAI scores were obtained from 455 Peruvian tertiary music students (mean age = 21.19 years, SD = 3.13, range = 18–40 years) and 368 Australian professional orchestral musicians (mean age = 42.07 years, SD = 10.21, range = 18–68 years). A high order exploratory factor analysis with the Schmid-Leiman solution was performed on the K-MPAI items. Unweighted Least Squares extraction method and optimal implementation of parallel analysis revealed one high order factor and two first order factors for both samples. High Cronbach’s and ordinal alpha levels for items belonging to each first order and high order factor in both samples were also obtained. Structural similarities between the two samples and an invariance analysis signified a comparable structure and conceptual interpretation of K-MPAI scores in both populations. The factorial structure obtained supported a unidimensional interpretation of the construct of MPA. First order level interpretations are also possible and have been demonstrated to be clinically useful.
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MEDOVA, ANASTASIA, and ANNA KIRICHENKO. "ROMAN INGARDEN’S CONTRIBUTION TO SOLVING THE ONTOLOGICAL AND METHODOLOGICAL PROBLEMS OF PHENOMENOLOGY OF MUSIC." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 9, no. 2 (2020): 662–82. http://dx.doi.org/10.21638/2226-5260-2020-9-2-662-682.
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Phenomenology of music has been a perspective trend of phenomenological aesthetics for more than a hundred years. The topic of the paper is fixation the main problems and vectors of development of phenomenology of music. The authors execute an analysis of Roman Ingarden’s position in the discussions concerning the methodological and ontological problems of phenomenology of music. The paper aims at revealing succession in Roman Ingarden’s solutions to the phenomenology of music problems. The other aim is reflection on the originality of Ingarden’s ideas in the context of phenomenological interpretations of music in 20th and 21st centuries. The solution to these tasks allows the authors to fix key problems and identify the principal positions of phenomenology of music. The main sources of the comparative and historical analysis are the studies carried out by Husserl, Sartre, Merleau-Ponty, Clifton, and Ihde. The most important ontological problems of phenomenology of music are: spatiotemporal constitution of music, reduction of a work of music to its performance, and ontological status of a work of music. The analysis of Ingarden’s position on these problems allows us to characterize it as something different from the existing versions. According to the conception, the time of music is a special type of time, that is, quasi-time. A piece of music is a purely intentional, heteronomous, and intersubjective object. There are a number of methodological specificities of Ingarden’s approach: a refusal of reduction of musical theoretical data, a tendency for independence of a piece of music from conscious and mental processes, and an interpretation of a piece of music as a non-sounding phenomenon. In conclusion, the authors demonstrate how the originality and radical nature of Ingarden’s conclusions made his position defenseless against critique and simultaneously marked the tendency in the contemporary phenomenological studies of music.
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Петрусева, Н. А., and В. И. Косырева. "The Suite “Wailing” by Igor Vorobyov: Analysis and Interpretation." Научный вестник Московской консерватории, no. 1(36) (March 27, 2019): 164–83. http://dx.doi.org/10.26176/mosconsv.2019.36.1.008.
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В первой научной публикации, посвященной сюите «Плачи» (2014) Игоря Станиславовича Воробьева, раскрываются основные содержательные и композиционно-технические аспекты произведения. Использован комплексный подход в многоаспектном рассмотрении разного рода интерпретирующих оппозиций: опус-музыка / народная музыка, политика фестивалей современной музыки (как сочетание регионального и надрегионального аспектов) и пути претворения фольклора, неофольклоризм и минимализм, трактовка формы как целого и локальные структуры (тембровые, ладовые, мелодико-ритмические, гармонические, фактурные) и т. д. Сделаны выводы о развитии в сюите традиций неофольклоризма, о взаимодействии характерных аспектов русского народного мышления и новых композиторских техник, о значимости социального ракурса в исследовании жанра плача как метафоры русского быта и одновременно русской картины мира. This article is the first publication devoted to the compositional and technical aspects of the suite “Wailing” (2014) by Igor Vorobyov. An integrated approach was used in a multi-aspect consideration of various interpretive oppositions: opus music / folk music, politics of contemporary music festivals (as a combination of regional and supra-regional aspects) and ways of implementing folklore, neofolklorizm and minimalism, interpretation of the form as a whole and local structures (timbre, modal, melodic-rhythmic, harmonic, texture), etc. Conclusions are drawn about the development in the suite of neo-folklorism traditions, about the interaction of characteristic aspects of Russian folk thinking and new composer techniques, about the significance of the social perspective in the study of the wailing genre as a metaphor for Russian life and at the same time a Russian picture of the world.
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Atkinson, Simon. "Interpretation and musical signification in acousmatic listening." Organised Sound 12, no. 2 (July 4, 2007): 113–22. http://dx.doi.org/10.1017/s1355771807001756.
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AbstractThe challenges of understanding musical meaning are considered in light of ways in which electroacoustic practice and acousmatic listening might embody yet further nuances in how music can function as a signifying system. ‘Classical’ semiotics is discussed, as well as more recent developments with post-structuralist approaches and musical semantics in other areas of music scholarship. The idea, inherited from the tradition of ‘absolute music’, that musical meaning lies exclusively in the inner operations of the musical materials and their structural organisation, is questioned. Concepts from ecologically inspired music psychology are drawn upon to highlight the importance of interpretation, as well as perception, in acousmatic listening. It is argued that if new theoretical terminologies are needed, an invaluable project would be to develop a taxonomy (and thus theoretical framework) of how sound can ‘stand for something’, i.e. function as a sign in semiotic terms. It is also argued that such terminology should not reinforce distinctions between intra- and extra-musical that feature in many theoretical constructs used in relation to this music. Consideration of the Peircean semiotic model in electroacoustic music (as well as the more widely used Saussurean one), tropology in the study of literature, and a much more widely comparative and culturally explicit approach to analysis are suggested as practical starting points. A more critical approach to the integral role of sound recording and reproduction in relation to concepts of representation is needed.
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Yelyzaveta, Chorna. "G. Cziffra in Beethovenian context of the twentieth century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 61, no. 61 (December 31, 2021): 98–110. http://dx.doi.org/10.34064/khnum1-61.05.
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The celebration of L.VanBeethoven’s 250th anniversary stimulated an already sustained interest in his creative heritage. Musicological thought has not stayed away from the figure of the outstanding Viennese classicist. Therefore, the question of the interpretation of his works again becomes relevant in this context. The name of György Cziffra, the famous twentieth-century Hungarian pianist, is closely linked in the history of European pianism with the element of virtuosity, at first, with F. List’s music presentation. The difference opinions about Cziffra’s interpretations of other composers and Beethoven among them, as well as unexplored peculiarities of the pianist’s interpretation of Beethoven’s music actualize the choice of our theme and determine the scientific novelty of the research results. The purpose of the article is to reveal the parameters of G. Cziffra’s individual performing style in historical context of the twentieth-century Beethovenian. For the first time in Ukrainian musicology, the creative principles of the Hungarian pianist as an interpreter of Beethoven’s works on the example of the composer’s “32 Variations” in C minor are analyzed; some parallels between the performance principles of Hungarian master and the composer himself are outlined. The methods of a stylistic analysis in projection to the performance art, as well as on a comparative approach, which allows to reveal the uniqueness of Cziffra’s interpretation of Beethoven’s music text, were applied. Analyzing the Hungarian pianist’s performance of the “32Variations” cycle, we heard a new interpretation of Beethoven’s ‘heroic’ character, but we did not observe any emphasis on virtuosity for the sake of itself, but rather a musical intellectuality took place. It is the subtle nuances, strokes, tempo, character and the rich palette of articulations that determine the Hungarian pianist’s performance style. Summarizing, we can observe, on the one hand, Cziffra’s own ‘romantic’ individualized interpretation of Beethoven’s music in the 20th century, and, on the other hand, some parallels, although less evident, with the specific features of Beethoven’s own performance style.
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Dogani, Konstantina, and Ourania Constandinidou-Semoglou. "Visual Messages Accompanied by Music: Preschool Children’s Interpretations." Διάλογοι! Θεωρία και πράξη στις επιστήμες αγωγής και εκπαίδευσης 1 (February 1, 2016): 15. http://dx.doi.org/10.12681/dial.7.
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Within current visual culture children are continuously exposed to varieties of visual messages accompanied by music which could contribute towards their aesthetic development. However, the interaction between music and image is not always as simple as in animation where music has direct relationship to the visual message to be easily interpreted by the preschool child. Taking a semiotic approach the current paper investigates preschool child’s reception of a more sophisticated interaction between music and visual messages, when the function of music is in mismatch to the visual message. The sample consists of 125 preschool children from Greece, divided into two groups that watched images with, and without, music. Their drawings, comments and explanations in response to our questions were presented as a form of personal interview, which provided rich material for qualitative observations, followed by statistical analysis. It appeared that, during the process of reception and within the specific context of the current investigation, it is the informative part of the visual message, and the child’s experiential relationship with it, that reinforces the receiver’s involvement more than the connotations transmitted by music.
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Lestari, Dewi Tika, and Yohanes Parihala. "Teologi, Musik, dan Perdamaian: Visi Teologi Lukas 12: 51-53 dan Analisis Musik Ode Buat Maluku." DUNAMIS: Jurnal Teologi dan Pendidikan Kristiani 5, no. 1 (September 29, 2020): 37–56. http://dx.doi.org/10.30648/dun.v5i1.318.
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Abstract. The reality of religion plurality such as in Indonesian could be an opportunity in weaving harmony to build the nation, but it could also threat the unity of the nation. The threath is when controversial religious doctrines are understood literally. Religious teachings can easily be used as instruments of conflict. This article aimed to interpret one of Jesus' controversial teachings that Jesus did not come to bring peace as found in Luke 12: 51-53. The fact of the religion that was used as conflict instrument was also criticize by music ode buat Maluku. Thus, through the interpretative analysis method in qualitative research, this article aimed to interpret and find the theological vision of Luke 12: 51-53 and to weave it with an analysis of ode buat Maluku music. The results of the analysis showed that theology and music have the same nature in speaking for peace.Abstrak. Realitas kemajemukan agama seperti yang dimiliki oleh bangsa Indonesia dapat menjadi peluang merajut kebersamaan untuk membangun kehidupan bangsa, tetapi juga dapat menjadi tantangan yang mengancam keutuhan bangsa. Tantangannya adalah ketika ajaran-ajaran agama yang kontroversial dipahami secara harfiah. Ajaran agama dengan mudah dapat dijadikan sebagai instrumen konflik. Artikel ini bertujuan untuk menafsirkan salah satu ajaran Yesus yang tampak kontroversial bahwa Yesus datang bukan untuk membawa damai melainkan pertentangan seperti yang terdapat dalam Lukas 12:51-53. Kritik terhadap realitas agama yang dijadikan instrumen konflik juga terdapat di dalam karya musik ode buat Maluku. Dengan demikian, melalui metode analisis interpretatif dalam penelitian kualitatif, artikel ini bertujuan untuk menafsirkan dan menemukan visi teologis Lukas 12:51-53 dan merajutnya dengan analisis karya musik ode buat Maluku. Hasil analisis menunjukkan bahwa teologi dan musik memiliki hakekat yang sama untuk menyuarakan perdamaian.
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Tjahyadi, Indra. "Representasi Probolinggo dalam Seni Pertunjukan Musik Patrol Kelabang Songo." PROMUSIKA 8, no. 2 (May 7, 2021): 69–89. http://dx.doi.org/10.24821/promusika.v1i2.4585.
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Sebuah karya seni tidak saja dapat dipahami sebagai hasil cipta manusia yang bernilai estetika, tetapi juga dapat dipahami sebagai dokumen kebudayaan. Sebagai dokumen kebudayaan, setiap karya seni memuat simbol-simbol atau tanda-tanda yang maknanya berelasi pada kebudayaan tempat karya seni tersebut diciptakan. Artikel ini memfokuskan kajiannya pada identitas Probolinggo yang direpresentasikan dalam karya seni pertunjukan musik patrol Kelabang Songo. Teori yang digunakan untuk mengungkap makna tanda atau makna simbol yang terdapat dalam karya seni pertunjukan musik patrol tersebut adalah teori semiotika Charles Sanders Peirce. Metode yang digunakan dalam penelitian ini adalah metode kualitatif interpretif. Faktor interpretasi atas tanda yang menjadi dasar kerja analisis merupakan faktor yang mendorong dipilihnya metode tersebut dalam artikel ini. Berdasarkan analisis yang dilakukan ditemukan bahwa dalam seni pertunjukan musik patrol Kelabang Songo merepresentasikan Probolinggo sebagai wilayah kebudayaan masyarakat Pendalungan, yakni masyarakat yang memiliki kebudayaan campuran Jawa dan Madura.AbstractProbolinggo Representation in The Performing Arts of Kelabang Songo Music Patrol. A work of art can not only be understood as a human creation with aesthetic value but can also be understood as a cultural document. As a cultural document, each work of art contains symbols or signs whose meanings relate to the culture in which the artwork was created. This article focuses its study on the identity of Probolinggo, which is represented in the artwork of the Kelabang Songo patrol music performance. The theory used to reveal the meaning of signs or symbols contained in the artwork of patrol music is Charles Sanders Peirce's theory of semiotics. The method used in this research is a qualitative interpretive method. The interpretation factor of the sign on which the analysis works is a factor that drives the choice of this method in this article. Based on the analysis conducted, it was found that the Kelabang Songo patrol music performance art represented Probolinggo as the cultural area of the Pendalungan people, namely people who had a mixture of Javanese and Madurese cultures.
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Liew, Kongmeng, Yukiko Uchida, and Igor de Almeida. "Cultural differences in music features across Taiwanese, Japanese and American markets." PeerJ Computer Science 7 (August 3, 2021): e642. http://dx.doi.org/10.7717/peerj-cs.642.
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Background Preferences for music can be represented through music features. The widespread prevalence of music streaming has allowed for music feature information to be consolidated by service providers like Spotify. In this paper, we demonstrate that machine learning classification on cultural market membership (Taiwanese, Japanese, American) by music features reveals variations in popular music across these markets. Methods We present an exploratory analysis of 1.08 million songs centred on Taiwanese, Japanese and American markets. We use both multiclass classification models (Gradient Boosted Decision Trees (GBDT) and Multilayer Perceptron (MLP)), and binary classification models, and interpret their results using variable importance measures and Partial Dependence Plots. To ensure the reliability of our interpretations, we conducted a follow-up study comparing Top-50 playlists from Taiwan, Japan, and the US on identified variables of importance. Results The multiclass models achieved moderate classification accuracy (GBDT = 0.69, MLP = 0.66). Accuracy scores for binary classification models ranged between 0.71 to 0.81. Model interpretation revealed music features of greatest importance: Overall, popular music in Taiwan was characterised by high acousticness, American music was characterised by high speechiness, and Japanese music was characterised by high energy features. A follow-up study using Top-50 charts found similarly significant differences between cultures for these three features. Conclusion We demonstrate that machine learning can reveal both the magnitude of differences in music preference across Taiwanese, Japanese, and American markets, and where these preferences are different. While this paper is limited to Spotify data, it underscores the potential contribution of machine learning in exploratory approaches to research on cultural differences.
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Гужва, О. П., and Н. В. Миколайчук. "INTERPRETATION OF BAROQUE VOCAL MUSIC AT THE CONTEMPORARY STAGE." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 151–62. http://dx.doi.org/10.33287/221931.
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The purpose of the article is to identify the specificities of teachingthe interpretation of vocal pieces of music of the Baroque era, based on therelevant literature and experience of baroque master classes ofcontemporary performers. The author focuses on the performancerequirements to vocalists, which comply with the particular interpretationfeatures of the baroque score, in terms of historically informed andtechnical performance. The methods in the proposed research is based onthe use of empirical approaches, namely observation and generalization ofvocalist's performance tasks, as well as analytical method in performanceanalysis of pieces of music (intonation and structural analysis), andrevealing the value of the baroque repertoire in the process of becoming amodern vocalist. Applied methods reveal the practical performing aspectof the study. The scientific novelty of the article is to identify andsummarize the main factors and techniques of training that becomenecessary for modern performers of baroque vocal music, influencing theformation of a vocalist and the further performance of another vocalrepertoire. This question is considered from the singer-performer’s point ofview the application of the rules and traditions of baroque performance inmodern conditions. Both the works of composers and the methodologicalliterature of the Baroque era, as well as the experience of contemporaryrecognized singers, the personal experience of the author as a singerperformerof baroque music, and pieces of music, are in the field of view.In the conclusions it is noted that the broad analysis of pieces of music,involved in performing practice, makes it possible to reveal the existenceof important requirements for vocalists in the Baroque art, from whichboth the musical aesthetics of the Baroque and the tradition of baroqueperformance gradually grew.
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BILIR EYÜPOĞLU, Emine. "IDENTIFYING THE DIFFERENCES THE HARPSICHORD AND THE PIANO INTERPRETATION OF J. S. BACH'S BWV 1056 CONCERTO IN F MINOR." SOCIAL SCIENCE DEVELOPMENT JOURNAL 7, no. 34 (November 15, 2022): 100–114. http://dx.doi.org/10.31567/ssd.770.
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The Baroque period is a period in which the form and style of the renaissance period came to an end, religious and mythological subjects were dealt with in all branches of art, and the period between renaissance and classicism in art history and described as 'ornate art style'. In this article, the differences between the harpsichord interpretation of J.S.Bach's Bwv 1056 F Minor Concerto originally written and the modern instrument piano interpretation were determined. In the first parts of the study, the general features of the Baroque period, the baroque period in music, the most important composers of the baroque period, the instruments of the baroque period and the music forms of the baroque period are mentioned. Subsequently, the focus is on the journey from the past of the harpsichord to the modern piano, J.S.Bach's style and harpsichord concertos; In the last part, with the support of the Project* recordings the analysis of BWV 1056 F Minor Concerto’s piano and harpsichord interpretations were analyzed and evaluated. It is aimed that this article will be a pre-study tutorial and contribution to many musicians and commentators.
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Kupina, Darina, and Galyna Smirnova. "Music interpretation of Shakespeare’s plays poetry in the beginning of the XX century into the solo song genre." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 46–56. http://dx.doi.org/10.33287/222033.
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The purpose of this scientific article is to prove the potential of Shakespeare’s poetry „Fear no More” for giving rise to multiple interpretations in a genre of a solo song. Methods. This study is based on a historical approach, which is used to determine the types of musical genres present in Shakespeare’s plays and trace the history of setting playwright's texts by British composers. The systems approach, comparative and analytical methods are used by investigator to determine the specifics of the form and music interpretation of texts. The scientific novelty of this investigative article is determined by the fact that the comparative analysis of the songs „Fear no more the heat o’ the sun” by British composers of the beginning of the XX century R. Quilter and G. Finzi is, for the first time, carried out and described in this publication. The main target, in this case, is to link the literary component to the music of the song and confirm the possible existence of multiple interpretations of songs from Shakespeare’s plays. Conclusions. Nearly all Shakespeare's plays call for music of some kind which often bears a direct connection to the action of the play; thus is created by the characters on stage in the form of a song. These songs often transgress the boundaries of the plays becoming independent works that are combined together and published as such in separate opuses. For instance, Shakespeare’s song „Fear no More” from the play „Cymbeline” exists in more than a hundred of music versions; the most well known of which are those by R. Qulter and G. Finzi. Comparison of these interpretations proofs the great intrinsic value of Shakespeare’s texts and potential for producing its various readings, as well as the possibility of existence of these songs beyond the narrow confines of the stage action.
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Fatrina, Novina Yeni, and Yan Stevenson. "Perubahan Dan Keberlanjutan Tari Balanse Madam Di Lingkungan Masyarakat Nias Padang." Mudra Jurnal Seni Budaya 33, no. 1 (March 6, 2018): 93. http://dx.doi.org/10.31091/mudra.v33i1.318.
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Tulisan berjudul “Perubahan dan Keberlanjutan Tari Balanse Madam di Lingkungan Masyarakat Nias Padang“ bertujuan untuk mengungkapkan perubahan tari Balanse Madam serta menganalisis keberlanjutannya. Tari Balanse Madam merupakan tarian kelompok yang terdiri dari pasangan penari laki-laki dan perempuan yang sudah menikah. Penampilannya diiringi secara live dengan alat musik barat seperti biola, gitar, tamburin, akordeon, dan set drum. Namun setelah banyak para pelaku seninya yang meninggal dunia, sehingga tari Balanse Madam mengalami perubahan. Perubahan terjadi pada penarinya, tidak harus orang yang sudah berumahtangga lagi, sedangkan musik iringannya no use life music. Analisa perubahan tari Balanse Madam diamati dari tahun 1995 sampai tahun 2017. Metode penelitian deskripsi kualitatif dengan pendekatan interaksi dan interpretasi analisis digunakan untuk mengungkapkan permasalahan tersebut. Pelacakan dilakukan dengan melihat dan menganalisa perubahan tari Balanse Madam pada perkembangan elemen pembentuk komposisi tarinya dari tahun 1995 sampai tahun 2017. Penelitian perubahan dan keberlanjutan tari Balanse Madam di lingkungan masyarakat Nias Padang dianalisis dengan menggunakan teori ketahanan budaya yang dikemukakan oleh Edi Sedyawati dan teori elemen pembentuk komposisi yang digunakan oleh R.M. Soedarsono. Hasil penelitian menunjukan bahwa seiring dengan berjalannya waktu, berbagai hal mempengaruhi kondisi tari Balanse Madam, sehingga terjadi perubahan pada beberapa elemen pembentuk tari Balanse Madam. Adapun perubahan tersebut adalah (1) penari terdiri orang-orang yang masih remaja; (2) musik iringan mengalami perubahan irama dan terkadang diiringi musik rekaman. Pemakaian penari remaja dan musik rekaman merupakan salah satu bentuk keberlanjutan tari Balanse Madam. Inilah yang membuat tari Balanse Madam masih tetap bertahan dalam kehidupan masyarakat Nias Padang.The article entitled "The Change and Sustainability of Balanse Madam Dance in the Nias Padang Community" aims to reveal Balanse Madam dance changes and to analyze its sustainability. After many of its supporting artists died, many changes occurred in Balanse Madam dance, both in terms of dancers as well as the music of the accompaniment. Qualitative description research method with the approach of interaction and interpretation analysis was used to reveal this problem. The tracking was done by way of viewing and analyzing Balanse Madam dance changes on the development of forming elements in dance compositions from 1995 to present. The study of change and sustainability of Balanse Madam dance in Nias Padang society was analyzed by using culture endurance theory proposed by Edi Sedyawati and the theory of composition forming elements used by R.M. Soedarsono. The study results showed that over time, various things affect the condition of Balanse Madam dance, resulting in changes in some elements of Balanse Madam dance formation. The changes are (1) the dancers, who used to be housewives, can now be performed by the dancers that are still teenagers; (2) music accompaniment, used to be played directly by musicians, but now can be accompanied by music recordings. The use of teen dancer and music recordings are a form of sustainability carried out in Balanse Madam dance.
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Williams, Sean. "Interpretation and Performance Practice in Realizing Stockhausen's Studie II." Journal of the Royal Musical Association 141, no. 2 (2016): 445–81. http://dx.doi.org/10.1080/02690403.2016.1216059.
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ABSTRACTIn the 1950s, using electronic devices to make music seemed a new paradigm for composers eager to remove the effects of interpretation on their relationship with their audience. The promise was that compositional ideas could be directly made into sound with the help of a technician whose task it was to carry out instructions. By making a new realization of Stockhausen's Studie II, composed in 1954, I interrogate many of the original techniques and practices, and show that there are many sites which require interpretation and raise issues of performance practice. The implication of these discoveries is that there may be advantages to an analysis of early electronic music of the 1950s and 1960s from the perspective of the practice of instrumental music, and that where there are references to ‘technicians’, great care should be taken to understand and appreciate the range of musical skills often required by such individuals. This approach to realization also raises serious questions about the ontology of electronic music.
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Abbott, Helen. "Composing Baudelaire for contemporary times." Journal of Romance Studies 21, no. 3 (December 1, 2021): 323–50. http://dx.doi.org/10.3828/jrs.2021.19.
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Sustained interactions with a poet’s work by musicians produce interpretative gaps. Through analysis of contemporary settings of five Baudelaire poems by Nicolas Chevereau, this article proposes a ‘thick method’ of song analysis which accounts for words and music as a conjoined ‘work’ and as a song ‘event’, using a systematic approach underpinned by digital tools including Excel, Sonic Visualiser, and Voyant. A consistent framework for song analysis enables us to rove around inside songs, and to draw in materials from outside the song. A highly individualized response to Baudelaire poems that are less commonly set to music, as in the case of Chevereau’s 2016 Cinq poèmes de Baudelaire, reveals significant common ground in terms of multi-perspective approaches that are now possible with intermedial works. Chevereau’s settings of Baudelaire shine important light on a series of complex sensory events which open up the poetic landscape to fresh interrogation and new interpretations.
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Utz, Christian. "Zur Poetik und Interpretation des offenen Schlusses." Die Musikforschung 73, no. 4 (September 22, 2021): 324–54. http://dx.doi.org/10.52412/mf.2020.h4.3.
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This article reviews the long historical process and changing significance of open endings in music from Haydn's mid-period symphonies of the 1760s to Helmut Lachenmann. Taking two case studies by Alban Berg (Lyric Suite, Wozzeck) as its starting point, the article demonstrates that open endings are often linked to ideas of cyclicity and the permanence of "objective time" as well as to a critique of social or political situations. Therefore, open endings challenge the aesthetic difference between the musical art-work and everyday experience, a tendency, that can be traced back to the emergence of self-reflexivity in early 19th-century music and aesthetics and even to Haydn's earlier listener-responsive musical writing. In later 19th-century and early 20th-century music, large-scale forms increasingly posed the problem of an inability to achieve closure. Further key examples elaborate the tendency of open endings toward musical self-reflexivity and the appearance of the composer-persona at the end of a cyclic work: Schubert's Der Leiermann from Winterreise, Schumann's Der Dichter spricht from Kinderszenen, Schoenberg's concluding piece from Six little Piano Pieces op. 19 as well as Lachenmann's "music with images" The Little Match-Girl. Finally, Schumann's and Schönberg's closing pieces are considered from the perspective of performance history and analysis, highlighting th performer's substantial impact on creating (or limiting) the impression of "openness".
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MUNDYE, CHARLES. "‘Motz el Son’: Pound’s musical modernism and the interpretation of medieval song." Cambridge Opera Journal 20, no. 1 (March 2008): 53–78. http://dx.doi.org/10.1017/s0954586708002401.
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ABSTRACTThe article explores an interdisciplinary conjunction of music, literature and modernism. I examine the relationship between aspects of early music scholarship and modernism, with specific reference to Ezra Pound’s critical and editorial work on medieval song, and to the composition, in the 1920s, of his modernist opera Le Testament. This analysis places Pound’s work as editor and composer not only in the context of recent critical reflections on the idea of authenticity, but also in relation to the histories and methodologies of medieval music interpretation. First, in drawing attention to Pound’s much–neglected collaborative edition of medieval songs entitled Hesternae Rosae, I contextualise his experiments in rhythmic reconstruction with reference to early and late twentieth-century musicologists working in this field. I make particular reference to the work of Pierre Aubry and rhythmic mode theory, and the later perspectives of Hendrik van der Werf. Secondly, I proceed to analyse Pound’s monophonic and dance song compositions in Le Testament, exploring the way in which serious medieval musicological scholarship prepared for, and is allied to, the development of a rhythmically and dramatically complex musical style.
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Zhang, Ling. "The genre of folk song arrangements: the synthesis of composing and performing interpretations." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 92–104. http://dx.doi.org/10.34064/khnum1-53.06.
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Logical reason for research. The current state of music science indicates that for the vocal and instrumental performing there are both, a number of general questions and problems, and many specific ones. The theme of performing in musicology has both, practical and theoretical projections, the interaction of which in a single research process gives the most valuable scientific result. A serious issue in terms of the musical interpretation for a musician-vocalist is the specificity of vocal genres. One of the most common and popular vocal genres is the folk song genre, which in all world musical cultures is a source of the development of the national component – the intonation, genre, and figurative. In turn, a folk song now exists and sounds both, in an authentic form, and in the form of the composer’s arrangement. Innovation. The article is devoted to the genre of the folk song arrangement in the aspect of the synthesis of composers’ and performing interpretation. The genre of the folk song arrangement is the result of the processing of the folklore source by a composer; hence, it is the composing interpretation that understood as a genre indicator. The performance of any musical composition as a process and as a result also is an interpretation; therefore, the mentioned genre acquires yet another interpretative level – the performing one. Thus, the genre of the arrangement of a folk song in the aspect of musical interpretation is the product of the synthesis of the composers’ and performing interpretation, and in the process of the performance is a kind of interpretation of the interpretation, which dictates new aspects of its study. Objectives. The purpose of this study is to identify the specifics of the genre nature of the folk song arrangement in the aspect of the synthesis of composers’ and performing interpretations. Methods. The main methods of the presented research are the genre and interpretological ones. The genre method is necessary to characterize the main indicators of the genre of the folk song arrangement. The interpretological method allows to identify those features of the folk song arrangement genre that are associated with its interpretative nature, and to give an idea of its multilevel structure. Results and Discussion. As for today, a lot of attention is paid to the issues of musical interpretation in both theoretical and practical terms. On the chamber-vocal stage, the arrangements of folk songs sound quite often, they are loved and in demand by the public. Folk music is a concentrated embodiment of folk images and intonations, the features of worldview, and more broadly – the national picture of the world. The external form and content of folk songs, as a rule, are accessible to the widest public. Folk songs in terms of their vocal complexity are designed for the average performer, which allows extending the life of such songs in the folk everyday life. The bright and explicit genre affiliation of folk songs also contributes to their easy perception. However, the folk song in its authentic form on the concert stage sounds extremely rare, as it is tightly connected with special conditions and manner of the performance. A modern listener is most often familiar with a folk song in the genre of its arrangement. The question of preserving the intonational and figurative content of the original source in the genre of the folk song arrangement has been raised by scientists more than once. The analytical and composing work with the genre of the arrangement of a folk song, also related to referring to an authentic source, in practice encounters several serious questions, the answers to which must be identified for any further study of this genre in both theoretical and practical areas. The arrangement of a folk song is, in its essence, a kind of interpretation. The genre of the folk song arrangement combines the both subspecies of the composing interpretation (according to the classification by Moskalenko, V., 2013), being an interesting and promising material for any analyst both, in the field of theoretical and the practical performing musicology. The synthesis of musical and non-musical factors in a folk song is also one of the types of interpretation. This is another level of interpretation in the genre of the folk song arrangement, which relates to the original source. The oral tradition of the existence of a folk song gives rise to a huge number of its variants – the performing interpretations. The genre of a folk song is characterized by qualities that give it its original interpretative freedom. This is a collective authorship of both, music and verbal text; the oral and “variation” tradition of a folk song existence is, essentially, a tradition of interpretation. The genre of the arrangement of a folk song by a composer with the appropriate musical notation is another level of interpretation. The next level of interpretation is the performing one, where the vocalist is faced with additional tasks, since he/she deals with a musical object having the special multi-level interpretative nature. Conclusions. The genre of the arrangement of a folk song is associated with several levels of interpretation, coming both, from the nature of the original source and from the existence conditions of the composer arrangement of a folk song in the conditions of the vocal performance. This plurality creates new goals and opportunities for both the researcher and the composer and the performer. The special genre nature of the arrangement of a folk song, which was established in the process of the historical development and incorporates the interpretation nature of its composers’ and performing levels as a genre indicator, allows us to talk about the need to scientifically identify its genre characteristics in a projection on the needs of the composing and performing creative art in the modern cultural conditions. Prospects for any further research in this direction are associated with the consideration of the special genre nature of the folk song arrangement. It poses a number of special tasks for the composer, the performer and the listener, which should be solved in specific conditions, while taking into account the peculiarities of the composers’ and performing interpretation of the folklore original source.
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Voinova, Daria. "A.Katz’s art of interpretation: theatre and play aspect." PHILHARMONICA. International Music Journal, no. 2 (February 2021): 59–69. http://dx.doi.org/10.7256/2453-613x.2021.2.35455.
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The research object is the performance art of a well-known Saratov musician Anatoly Katz (1936-2017), who was one of the brightest representatives of not only Saratov piano art, but the music culture of the entire region. The research subject is the theatre and play aspect of Katz’s interpretation considered through the example of R. Schumann’s “Coloured Leaves”, op.99. The purpose of the research is to define the techniques of music and play theatricalization in A. Katz’s art of interpretation. The author analyzes the role of a theatre and play component in the performance activity of the Saratov pianist, his attitude to the process of interpretation and play as a special type of creative thinking. The author uses the historical and art review methods, the culturological and comparative methods which help to detect the prerequisites of formation of Katz’s performance style, his views on interpretation and the mechanisms of cooperation of a composer and a performer. For the comparative analysis, the author uses the recordings of Schumann’s “Coloured leaves” made by other well-known pianists: V. Ashkenazy, V. Sofronitsky, S. Richter. The scientific novelty of the research consists in the fact that it is the first attempt to take a scientific approach to A. Katz’s art of interpretation using R. Schumann’s music. The research shows that the theatre and play aspect to a great extent defines the direction of Katz’ s creative process, and differs it from other similar interpretations. The characteristic feature of Katz as an interpreter is his focus on cooperation with a composer, search for an individual interpretation, rethinking of the original composition. It results in a “director’s” approach to composing the cycle, increase of contrast between the parts and within each of them, fantasy and personification of images, active use of agogics and, consequently, focused attention to particular details of the composition.
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Gorovoy, Sergiy, Julia Pisarenko, and Olga Ishchenko. "INTERACTION OF INTERPRETATION AND IMPROVISATION IN JAZZ VOCAL PERFORMANCE." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 223–28. http://dx.doi.org/10.32461/2226-3209.2.2021.240070.
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The purpose of the article is to explore the various interpretations of the concepts of "improvisation" and "interpretation" encountered in modern science, to identify the most appropriate definitions of these concepts that reveal the specificity of jazz performance and determine the relationship of these two concepts. The methodology of the article is the researches of improvisation and interpretation of various orientations. First, a scientific approach is used, which characterizes this process as a creative method. The scientific works devoted directly to improvisation in jazz are also used, which contain analysis of the improvisations of well-known performers and exercises for teaching local techniques. The scientific novelty of the work is that the term "interpretation" is considered in a broader sense in interaction with improvisation, that is, not only as an interpretation of other people's musical ideas in performing activities but also as an interpretation of personal artistic intentions in the process of musicians' activity. Conclusions. The interaction of interpretation and improvisation is clearly traced, since interpretation is an aspect of musical practice that proceeds from the differences between the recorded music notation and the live performance of the work. Consequently, this process inherent element of unpredictability. The interrelation of the interpretation of the musical text and the mastery of the improvisatory demonstration of this text by the interpreter, which is determined by his individual qualities, is traced.
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Gorbunova, Irina B., and Konstantin Yu Plotnikov. "Music Computer Technologies in Education as a Tool for Implementing the Polymodality of Musical Perception." Musical Art and Education 8, no. 1 (2020): 25–40. http://dx.doi.org/10.31862/2309-1428-2020-8-1-25-40.
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The article reveals the psychological aspects of the perception of music and interaction with it when using music computer technologies, which are a software and hardware complex (musical computer, keyboard synthesizer, DJ console, smartphone with sound programs, etc.) in conjunction with the methodology of its application in creativity and in music training. Revealing the contradictions that are typical for the educational field “Art: Music”, the authors propose and use in their research an interdisciplinary approach (psychology, neurophysiology, pedagogy, computer science and Information & Communication Technology) in a holistic consideration of the phenomenon of music in connection with the phenomenon and processes of its perception, creation, and translation. The main problem is identified as the need to identify and take into account the psychophysiological factors that affect a person when interacting with music. The goal is to study the effect of convergence of the music computer technologies, manifested through the phenomenon of polymodality of perception of an artistic image is solved through the analysis of existing interpretations of polymodality, related connotations and classifications of synesthesia, using examples of technological and cultural manifestations of the polymodal nature of perception (syncretism of arts, associativity as a method of interpretation of an artistic image). Discussed insights on the future prospects of the study of polymodality of perception and representation of the artistic image of a musical work as one of the key features actualized in music computer technologies the effect of convergence and to explore the effect of virtualization, the use of potential of these technologies and multimodal nature of human perception for the holistic understanding of works of art.
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Koslovsky, John. "Tristan und Isolde at the Margins of Music-Analytical Discourse: A Dialogic Perspective." Music Theory and Analysis (MTA) 8, no. 1 (April 30, 2021): 88–113. http://dx.doi.org/10.11116/mta.8.1.4.
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Whether or not the Prelude to Richard Wagner's 1859 music drama Tristan und Isolde is the most analyzed piece in the history of Western music, owing to its ongoing canonical status, it behooves us to consider how it has affected the field of music analysis over the past 150 years. More than any other piece, Wagner's Prelude is able to expose the many conflicts that arise between analytical approaches: while it can demonstrate the limits of one particular approach vis-à-vis another, it may also reveal new potentialities that divergent analyses offer when seen from an intertextual point of view.<br/> As a test case, this article will position three contemporaneous analyses of the opening measures of the Prelude against one another: Horst Scharschuch's post-Riemannian harmonic analysis and Jacques Chailley's style-historical analysis, both from 1963, and William Mitchell's Schenkerian analysis of 1967. Drawing on Mikhail Bakhtin's concepts of "dialogism" and "heteroglossia," I will trace a broader historiographical and intertextual network surrounding the history of analyzing Tristan, with the goal of refocusing our analytical priorities around this work and penetrating the continuities and discontinuities between competing analyses. In this way, the article aims at opening up a further dialogic space in music analysis, both in our historical considerations and in the way we approach analysis as an intertext—that is, by traversing the fissures in the reified verities of a "unified" analysis and the multiple interpretative transpositions underlying our deciphering of analytical texts. It will conclude by offering yet another interpretation of Wagner's famous chord.
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Шишлянникова, Нина Петровна. "ANALYSES AND VALUE-MEANING INTERPRETATION OF A MUSICAL WORK AS PEDAGOGICAL PROBLEM." Pedagogical Review, no. 6(40) (December 8, 2021): 38–44. http://dx.doi.org/10.23951/2307-6127-2021-6-38-44.
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Рассмотрена проблема анализа и интерпретации музыкального произведения с точки зрения теоретиков музыки и педагогов-музыкантов. Обоснована вариативность подходов к анализу, обусловленная категорией слушателей музыки, жанром произведения, неповторимостью, уровнем сложности и продолжительностью звучания, уникальностью мировоззрения композитора. Охарактеризованы отдельные виды анализа в зависимости от целевой направленности, указаны трудности и пути их преодоления. Анализ инструментальных произведений с позиций интонационной теории (интонационно-образный анализ) – своего рода социальное, историческое, художественное исследование, при котором необходима организация общения детей с автором и исполнителями сочинения в форме живого диалога, направленного на погружение в художественно-образный мир произведения, выявление смысла и эмоционально-ценностных отношений, воплощенных в образах-интонациях, формирование к нему собственного отношения (В. В. Медушевский). Представленные виды музыковедческого анализа применяются в практике музыкального образования школьников в зависимости от особенностей произведения и предпочтений педагога. Показан пример музыкально-педагогического анализа инструментальной пьесы студентами как один из возможных вариантов для использования в педагогической практике с учащимися общеобразовательной школы. The article observes the problem of analyses and interpretation of a piece of music from the point of view of music theorists and music teachers. The variability of approaches to the analysis is substantiated due to the category of the listeners, the genre of a piece of music, the uniqueness, the level of complexity and duration of the sound, the uniqueness of the composer’s worldview. Certain types of analysis, depending on the target orientation, are characterized, difficulties and ways of overcoming them are indicated. Analysis of an instrumental works from the point of view of intonation theory (intonation-figurative analysis) is a kind of social, historical, artistic research, in which it is necessary to organize communication between children and the author and performers of the composition in the form of a live dialogue aimed at immersion in the artistic-figurative world of the work, identifying meaning and emotional-value relations, embodied in images-intonations, the formation of one’s own attitude towards him (V. V. Medushevsky). The presented types of music studying analyses are used in the practice of music education of schoolchildren, depending on the characteristics of the work and the preferences of the teacher. An example of musical and pedagogical analysis of an instrumental piece by students is shown as one of the possible options for using in pedagogical practice with secondary school students.
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Marchenko, M. A. "INTERPRETATIONAL MODEL OF PARTES COMPOSITIONS AS A TOOL FOR REPRODUCING THE PARTES HERITAGE IN THE REALITIES OF MODERN CULTURE." Innovative Solution in Modern Science 6, no. 42 (February 28, 2021): 188. http://dx.doi.org/10.26886/2414-634x.6(42)2020.11.
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The subject of the research is the interpretative model of a partes work in the context of modern performing practice. The aim of the research is to form the style-defining components of a performance of a partes work, based on the principles of historically informed performance and practical experience of modern choirmasters, as well as the formation of a holistic model of interpretation – a tool for creating and analyzing individual performance versions. The research methodology is based on a combination of analysis and synthesis methods, the discovery of style-defining components of performance is carried out through comparative analysis, the statistical method is used when working with individual interpretative models of domestic choirmasters. The result of the study is an interpretative model of the partes work presented in the form of a cyclic matrix. The results of this study can be used in modern performing practices, in training courses on early music in specialized educational institutions, and in modern art to deepen knowledge in the field of Ukrainian baroque music. In conclusion, it was found that the main style-defining components of the model are an affect, lyrics, vocal style, and the performers. Each of the components of the model determines the embodiment of the next one and can be realized only within the aesthetic and stylistic category of "high style".Keywords: partes works, partes style, historically informed performance, interpretive model, Ukrainian performing culture at the turn of the XX–XXI centuries.
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Nursyirwan, Nursyirwan, Delfi Enida, and Alfalah Alfalah. "KEANEKARAGAMAN BUDAYA SEBAGAI JATI DIRI KOMUNITAS TUALANG SIAK TERHADAP PERTUNJUKAN MUSIK KOMPANG." Gorga : Jurnal Seni Rupa 10, no. 1 (May 10, 2021): 107. http://dx.doi.org/10.24114/gr.v10i1.24873.
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Research on cultural diversity as the identity of Tualang people in playing kompang music, is the development of previous kompang music research. In finding the identity of tualang people must start things for themselves, certainly not easy in the discovery of that identity, as a characteristic of heterogeneous areas. The purpose of maintaining the existence of kompang music for the Tualang community as a binding solidarity of the community area. Data is collected through observation, field research, interviews, and documentation. Analyzed with qualitative descriptive techniques, interpretative analysis. Interviews were conducted by purposive sampling. The result of the study : the context of kompang music in Tualang community, namely at wedding celebrations, aqiqah, welcoming party for important guest, festival events and religious celebrations. Its exixtence is seen inthe development of kompang music area in Tualang area. The concept of kompang music is inseperable from the philosopihical background of various cultures, religions, and creativity of the community over the development of market taste. Creativity is not only the birth of music as an expression but is the result of the interaction of the players in it which gives bitrh to a variety of creativity in performance.Keywords: music, kompang, identity, multiculture.AbstrakPenelitian keanekaragaman budaya sebagai jati diri orang-orang Tualang dalam memainkan musik kompang, adalah pengembangan penelitian musik kompang sebelumnya. Dalam menemukan jati diri masyarakat Tualang harus memulai hal-hal untuk diri sendiri, tentu tidak mudah dalam penemuan jati diri itu, sebagai penciri khas daerah yang heterogen. Tujuan tetap mempertahankan keberadaan musik kompang bagi masyarakat Tualang sebagai pengikat solidaritas kedaerahan komunitas. Data dikumpulkan melalui observasi, penelitian lapangan, wawancara, dan dokumentasi. Dianalisis dengan teknik deskriptif kualitatif, analisis interpretatif. Wawancara dilakukan dengan cara purposive sampling. Hasil penelitian: konteks musik Kompang dalam masyarakat Tualang, yakni pada perayaan pernikahan, khitanan, aqikahan, penyambutan tamu penting, acara festival, perayaan agama. Eksistensinya terlihat pada perkembangan wilayah musik kompang di daerah Tualang. Konsep musik kompang tidak terlepas dari latar belakang filosofi bermacam budaya, agama, dan kreativitas masyarakat atas perkembangan selera pasar. Kreativitas tidak hanya pada pelahiran musik sebagai ekspresi akan tetapi merupakan hasil dari adanya interaksi pemain di dalamnya yang melahirkan variasi kreativitas dalam sebuah pertunjukan.Kata Kunci: musik, kompang, jati diri, multiculture.Authors:Nursyirwan : Institut Seni Indonesia PadangpanjangDelfi Enida : Institut Seni Indonesia PadangpanjangAlfalah : Institut Seni Indonesia PadangpanjangReferences:Armes, Hengki. (2015). Interaksi Sosial Dalam Kesenian Kompang Di Masyarakat Dusun Delik Kecamatan Bantan Kabupaten Bengkalis. Tesis tidak diterbitkan. Padangpanjang: Program Pascasarjana ISI Padangpanjang.Brannen, Julia. (2005). Memandu Metode Penelitian Kualitatif dan Kuantitatif. Samarinda: Pustaka Pelajar.Depdiknas. (2008). Kamus Besar Bahasa Indonesia. Jakarta: Gramedia Pustaka Utama.Enida, Delfi. (2019). “Notasi Pukulan Kompang”. Hasil Dokumentasi Pribadi: 7 Maret 2019, Kecamatan Tualang.Hadi, Y. Sumandiyo. (2012). Seni Pertunjukan dan Masyarakat Penonton. Yogyakarta: BP ISI Yogyakarta.Hatley, Barbara. (2014). Seni Pertunjukan Kontemporer di Jawa Tengah: Memanggungkan Identitas, Membangun Komunitas dalam Seni Pertunjukan Indonesia Pasca Orde Baru. Yogyakarta: Univ. Sanata Dharma.Hauser, Arnold. (1982). The Sosiology of Art. Terj. Kenneth J. Northcoot. Chicago and London: The University of Chicago Press.McHale, John. (1969). The Future of the Future. New York: George Braziller.Nettl, Bruno. (1964). Theory and Method in Ethnomusicology. London: The Free Press of Glencoe.Nursyirwan. (2019). “Bunyi Pukulan Kompang”. Hasil Dokumentasi Pribadi: 7 Maret 2019, Kecamatan Tualang.Nursyirwan. (2000). Paradima Musikologis Musik Kompang Di Kelakap Tujuh Dumai Barat. Laporan penelitian tidak diterbitkan. Padangpanjang: STSI Padangpanjang.Sari, Fani Dila, Haria Nanda Pratama, Indra Setiawan. (2020). Identifikasi Umah Adat Pitu Ruang sebagai Produk Kebudayaan Gayo. Studi Kasus: Umah Reje Baluntara Di Aceh Tengah. Gorga: Jurnal Seni Rupa, 09(2), 451-454. https://doi.org/10.24114/gr.v9i2.22116.Simatupang, Lono. (2013). Pergelaran sebuah Mozaik Penelitian Seni-Budaya. Yogyakarta: Jalasutra.Steijlen, Fridus. (2014). Pasar Malam Indo-Eropa: Identitas dan Pertunjukan Kebudayaan Di Belanda”, dalam Seni Pertunjukan Indonesia Pasca Orde Baru. Yogyakarta: Univ. Sanata Dharma. Suwardi MS. (2014). Dari Melayu ke Indonenesia. Yogyakarta: Pustaka Pelajar.Whitehead, Alfred North. (1929). Process and Reality. New York: Free Press.Wolf. R, Eric. (1983). Petani suatu Tinjauan Antropologis. Terjemahan TIM Yayasan Ilmu-Ilmu Sosial. Bandung: Rajawali.
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Abdokov, Yuri B. "“Music for Strings” by Revol Bunin: Style, Timbral Poetics and Interpretation." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2022): 91–108. http://dx.doi.org/10.35852/2588-0144-2022-1-91-108.
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The article examines the timbral poetics of “Music for Strings” by Revol Samuilovich Bunin (1924–1976). This score captures the most important features of the composer’s instrumental style. There feels a lack in serious systematic research of Bunin’s life and legacy. Thus it is required the coordination of historical and biographical information. For the first time, the memoirs and analytical opinions of famous contemporaries who closely communicated with the composer are introduced into scientific circulation. This largely clarifies his personality in life and music. The detailed analysis of textural plasticity, timbral dramaturgy, “tonal-light”, coloristic, articulatory-agogic, spatial-perspective properties of “Music for Strings” reflects an attempt of the first morphological study of the score. But which is more important – the practical results of its concert “revival” and premiere digital recording. An extraordinary type of timbral continuation is considered as a defining phenomenological aspect distinguishing Bunin’s orchestral style. In “Music for Strings” this orchestral feature is embodying the image of a peculiarly condensed chronos of the composition. A detailed examination of the most important elements of timbral poetics and stylistic means of expression allowed us to determine the basic principles of studying and conducting interpretation of “Music for Strings” and other works of the artist.
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Vasic, Aleksandar. "Engagement in musical criticism: Pavle Stefanovic’s texts in The Music Herald (1938-1940)." Muzikologija, no. 27 (2019): 203–20. http://dx.doi.org/10.2298/muz1927203v.
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Pavle Stefanovic (1901-1985) is one of the most prominent Serbian music critics and essayists. He created extensive musicographic work, largely scattered in periodicals. A philosopher by education, he had an excellent knowledge of music and its history. His style was marked by eloquence, associativity and plasticity of expression. Between 1938 and 1940 he published eighteen music reviews in The Music Herald, the longest-running Belgrade music magazine in the interwar period (1928-1941, with interruption from 1934 to 1938). Stefanovic wrote about concerts, opera and ballet performances in Belgrade, performances by local and eminent foreign artists. His reviews include Magda Tagliaferro, Nathan Milstein, Jacques Thibaud, Enrico Mainardi, Bronis?aw Huberman, Alexander Uninsky, Alexaner Borovsky, Ignaz Friedman, Nikita Magaloff and many other eminent musicians. Th is study is devoted to the analysis of the Stefanovic?s procedure. Pavle Stefanovic was an anti-fascist and left ist. He believed that the task of a music critic was not merely to analyze and evaluate musical works and musical interpretations. He argued that the critic should engage in important social issues that concerned music and music life. That is why he wrote articles on the occasion of German artists visiting Belgrade, about the persecution of musicians of Jewish descent and the cultural situation in the Third Reich. On the other hand, Stefanovic was an aesthetic hedonist who expressed a great sense of the beauty of musical works. Th at duality - a socially engaged intellectual and a subtle ?enjoyer? of the art - remained undisturbed. In these articles he did not go into a deterministic interpretation of the structure of musical composition and the history of music. And he did not accept the larpurlartistic views.
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Kubíček, Jiří. "From Kerman to Merzbow: Notes on the metamorphoses of music analysis at the turn of the millennium." New Sound, no. 56-2 (2020): 23–46. http://dx.doi.org/10.5937/newso2055023k.
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This paper aims to delineate changes in the approach to music analysis over the last decades of the nineteenth century and to examine different possibilities in analysing works which have a characteristic that virtually excludes the use of traditional methods. The starting point is Joseph Kerman's criticism of music analysis, formulated in the 1980s, which - together with successive discussions - reflects a tendency towards abandoning the excessively academic and formalizing approach to analysis, moving from an attempt at an objective analysis of a work towards an interpretation that also focuses on the listener. Since the mid-twentieth century, electroacoustic music has been one of the areas where the use of traditional analysis was inconvenient. Since electroacoustic music began to lose its exclusive, academic character in the 1990s in relation with the development of computer technologies, the question of its interpretation and finding suitable listener strategies has kept coming to the fore. This paper shows the possibilities of approach to this music in relation to its specificities. The last part of the paper focuses on a specific example from one fringe genre: noise music, specifically the subgenre japanoise. In its peak period in the 1990s, this sound production was probably the furthest away from what is usually associated with the term music. Based on an analysis of a selected composition, the inadequacy of the traditional approach and certain alternatives to grasping such music will be demonstrated. The very end of the paper features some current results which relate to, or result from, the study's conclusions.
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Arthur, Claire, and David Huron. "The direct octaves rule: Testing a scene-analysis interpretation." Musicae Scientiae 20, no. 4 (August 1, 2016): 495–511. http://dx.doi.org/10.1177/1029864915623093.
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A venerable rule of traditional Western part writing is the so-called Direct Octaves Rule (also known as Hidden or Exposed octaves), whereby similar pitch motion (i.e., two or more voices moving in the same direction) to a perfect octave should be avoided unless step motion is used. A number of interpretations have been offered as to why musicians might follow this rule. A traditional account (Fux, 1725/1966) exhibits several inconsistencies. A modern interpretation based on auditory scene analysis appears to have merit. However, this interpretation has yet to be tested empirically. Three experiments test the scene-analysis account using numerosity judgments for complex chords as the dependent measure. In Experiment 1, musician listeners show decreasing accuracy in numerosity judgments when an octave is present in the sonority – as predicted. In experiments 2 and 3, chords were preceded by a single neighboring or distant tone. It was hypothesized that neighboring primes would increase the accuracy of numerosity judgments for octave-containing chords more than distant primes – consistent with the Direct Octaves rule. However, no such facilitation was observed. Nevertheless, a post-hoc test showed improved accuracy when the octave was approached by step motion in highest voice compared with step-approach to the lowest voice. This latter finding is consistent with the most restrictive formulations of the direct octaves rule.
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Rudolph, Pascal, and Mats B. Küssner. "Visual figures of musical form between musicological examination and auditory perception based on Morgan’s analysis of the “Tristan” Prelude." Music & Science 1 (January 1, 2018): 205920431879436. http://dx.doi.org/10.1177/2059204318794364.
Full textAbstract:
While Wagner and his music have been studied extensively from musicological and music-theoretical perspectives, recent scientific approaches shed light on perceptual processes implicated in the experience of Wagner’s music, yielding important insights into the (re)cognition of musical form. Since findings from such studies are mainly discussed within the realm of music psychology and rarely find their way (back) into musicological discourses, the starting point of the present study is a specific interpretation of form in the “Tristan” Prelude (Prelude to Tristan und Isolde) with a view to engaging in an exchange between music-theoretical and cognitive approaches (such as the theory of conceptual metaphor and image schema theory) to Wagner’s music. In his article “Circular form in the ‘Tristan’ Prelude”, Robert P. Morgan developed a new music-analytical approach to studying form in Wagner’s music, proposing that the musical form of the Prelude can be understood as a circle. Morgan provides an empirically-tractable hypothesis which was tested in a listening study with 45 participants to investigate the extent to which Morgan’s analytical shape is audibly perceived. Contrary to Morgan’s circular interpretation of form in the “Tristan” Prelude, the findings of our study suggest the primacy of a different visual figure, the spiral. However, recourse to the analytic discourse suggests that the spiral can be understood as a further development of Morgan’s figure of thought, synthesizing representations of the Prelude's repetition and development by capturing its unique coincidence of both linearity and circularity. This approach to understanding the “Tristan” Prelude demonstrates how applying music-theoretical and cognitive science approaches gives rise to a fruitful dialogue for both disciplines.
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Holmgren, Carl. "The conditions for learning musical interpretation in one-to-one piano tuition in higher music education." Nordic Research in Music Education 1, no. 1 (November 17, 2020): 103–31. http://dx.doi.org/10.23865/nrme.v1.2635.
Full textAbstract:
Research has indicated that one-to-one teaching in higher music education in Western classical music typically favours technical over interpretive aspects of musicianship, and imitation of the teacher’s rather than the student’s explorative interpretation. The aim of the present study is to investigate students’ and teachers’ understandings of how musical interpretation of Western classical music is learned in this context. Semi-structured qualitative interviews with six piano students and four teachers in Sweden were conducted and hermeneutically analysed using haiku poems and poetical condensations. The analysis found that the conditions for learning musical interpretation centred upon students achieving a high level of autonomy, as affected by three key aspects of teaching and learning: (1) the student’s and the teacher’s understandings of what musical interpretation is, (2) the student’s experience of freedom of interpretation as acknowledged by the teacher, and (3) (expectations of) the student’s explorative approach. As none of these aspects were reported as being explicitly addressed during lessons, there might be a need for both teachers and students to verbalise them more clearly to support piano students’ development.
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Ma, Erhong. "Research on the teaching innovation model of the integration of information technology and music education." MATEC Web of Conferences 365 (2022): 01054. http://dx.doi.org/10.1051/matecconf/202236501054.
Full textAbstract:
In the environment of intelligent education, in order to comprehensively improve the quality of music education, we should adhere to the application advantages of information technology as the basis, by reconstructing the form of music education, optimizing the music teaching process, and enriching the music teaching materials, so that students can better understand music Teaching content, to achieve the essential innovation of music education model. Through the analysis of the current problems in music education, combined with the interpretation of the advantages of the integration of information technology and music education, a teaching innovation model of the integration of information technology and music education is proposed.