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Journal articles on the topic 'Musical analysis'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Yanuar, Dani. "Interaksi musikal dalam pertunjukan Kesenian Topeng Betawi." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (July 17, 2019): 10–18. http://dx.doi.org/10.33153/dewaruci.v14i1.2532.

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Penelitian ini membahas mengenai interaksi musikal dalam pertunjukan kesenian Topeng Betawi. Fokus permasalahan menitikberatkan tentang bagaimana jalinan interaksi musikal yang terjadi di antara para pemain musik dalam sajian gending pokok pertujukan kesenian Topeng Betawi. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis yakni metode dengan cara menggambarkan atau melukiskan objek yang dikaji berdasarkan data-data yang diperoleh, yang kemudian dilakukan analisis terhadap data tersebut. Penelitian ini menerapkan teori interaksi musikal yang dirumuskan oleh Benjamin Brinner. Teknik pengumpulan data diperoleh melalui studi lapangan, perekaman audio-visual, dan studi pustaka. Hasil analisis dari penelitian ini dapat disimpulkan (1) Pemain rebab sebagai pimpinan yang memiliki kewajiban untuk mengkoordinasi jalannya pertunjukan. (2) Tata letak instrumen musik dari masing-masing penyaji didasarkan atas pertimbangan kelancaran pesan musikal. (3) Pesan musikal merupakan tanda yang kemudian mendapat respon dari pemain musik yang lain. (4) Struktur gending dipengaruhi jenis irama yang dimainkan. (5) Respon musikal merupakan wujud dari motivasi masing-masing pemain musik. ABSTRACTThis study discusses the musical interaction in Topeng Betawi art performances. The focus of the problem focuses on how the fabric of musical interaction that occurs between the musicians in the musical staple grain Performace Topeng Betawi arts. The method used in this research is a descriptive analysis of the methods by describing or depicting an object under study based on the data obtained, which then conducted an analysis of the data. This research applies the theory of musical interaction formulated by Benjamin Brinner. Data collection techniques gained through fieldworks, audio-visual recording, and literature. Analytical results from this study can be concluded (1) Player fiddle as a leader who has the obligation to coordinate the course of the show. (2) The layout of musical instruments from each presenter is based on the consideration of the smoothness of the musical message. (3) Book musicals is a sign that later received a response from the other music players. (4) The structure of the musical influenced the type of rhythm being played. (5) Response musical is a form of motivation for each music player.

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Vukićević, Nataša M. "НАСТАВА МУЗИЧКЕ КУЛТУРЕ И ПОЗИТИВНО ОБРАЗОВАЊЕ – ОД ДОЖИВЉАЈА ДО ИСХОДА У ОБЛАСТИ МУЗИЧКОГ СТВАРАЛАШТВА И СЛУШАЊА МУЗИКЕ." Узданица XX, no. 3 (2023): 241–56. http://dx.doi.org/10.46793/uzdanica20.s.241v.

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This paper analyses experiential aspects of teaching music in the context of the well-being education and creating a stimulating environment for learning, development and psychological well-being of lower-grade pupils. The analysis involves music classes held with fourth-graders who were expected to connect a literary text with a corresponding musical composition they listened to. The research was conducted in the primary school “17. Oktobarˮ in Jagodina in September 2023. In accordance with the research topic which encompasses pupils’ achievement in two areas, musical creativity and listening to music, the content analysis was applied. The research results were analysed in relation to the choice of musical composition which pupils considered appropriate for the poem “Three Blind Miceˮ by Peđa Trajković. The qualitative analysis dealt with pupils’ choice of the musical characteristics based on which they connected the given composition with the poem. It can be concluded that pupils’ creative activities, a positive pedagogical atmosphere, open approach and constructive feedback contribute to the development of a pupil’s musical perception and better achievements in the area of listening to music.

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Kharlov, Andrei Vladimirovich. "INCANTATIONS: MUSICAL APPROACH TO NON-MUSICAL GENRES ANALYSIS." Manuscript, no. 4 (April 2019): 141–45. http://dx.doi.org/10.30853/manuscript.2019.4.29.

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4

Xu, Yexiaxin. "Social Media Marketing Strategy in Chinese Musical Theatre Industry." Communication, Society and Media 6, no. 4 (October 21, 2023): p15. http://dx.doi.org/10.22158/csm.v6n4p15.

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The usage of social media in the context of musical theatre marketing continues to grow. More and more musical theatre production companies in China are using social media tools such as Weibo to provide various services and interact with customers. In an effort to help understand how the current musical theatre industry conducts social media marketing and the future development direction, this paper describes a case study which applies content analysis to examined posts on Weibo sites of five top musical theatre production companies: Seven Ages, Shanghai Culture Square, Musicals, Focustage, and Amazing Musicals. The results provide insights into the characteristics of social media marketing strategies of musical theatre production companies and changes after covid-19 pandemic. The study results add to the rapidly evolving field of social media within the musical theatre industry marketing context. Moreover, it advocates for an active role for the musical companies to explore and actively participate in the customer and musical fan communities on social media.

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Das, Joanna Dee, and Ryan Donovan. "Special Issue: Dance in musical theatre." Studies in Musical Theatre 13, no. 1 (March 1, 2019): 3–7. http://dx.doi.org/10.1386/smt.13.1.3_2.

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This special issue of Studies in Musical Theatre examines the role of dance in musical theatre from a variety of perspectives. Given the scholarly turn from textual analysis to performance analysis, even studying musicals without extensive dance per se can benefit from understanding how movement shapes meaning. The introduction below explains some key themes that have emerged in the six articles that follow. One is the question of genre: what exactly is musical theatre dance? Another is auteurship: what is the role of the choreographer in shaping musicals? A third is technology, which reminds readers that choreography extends beyond human bodies. Finally, the articles all consider questions of methodology and history – how do we best study musical theatre? While there are several other areas of potential inquiry not covered in these six articles, this special issue, the first in the field to focus on dance in musical theatre, aims to help define and cohere an important subfield.

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6

Edgar, Andrew. "Adorno and Musical Analysis." Journal of Aesthetics and Art Criticism 57, no. 4 (1999): 439. http://dx.doi.org/10.2307/432150.

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EDGAR, ANDREW. "Adorno and Musical Analysis." Journal of Aesthetics and Art Criticism 57, no. 4 (September 1, 1999): 439–50. http://dx.doi.org/10.1111/1540_6245.jaac57.4.0439.

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8

DeBellis, Mark. "Musical Analysis as Articulation." Journal of Aesthetics and Art Criticism 60, no. 2 (May 2002): 119–35. http://dx.doi.org/10.1111/1540-6245.00060.

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9

Jenkins, J. Daniel. "The Early Years of the American Musical in Vienna." Journal of Austrian-American History 6, no. 1 (May 18, 2022): 89–103. http://dx.doi.org/10.5325/jaustamerhist.6.1.0089.

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Abstract The individual most responsible for bringing the American musical to the Viennese stage was Marcel Prawy (1911–2003). Born into a Jewish Austro-Hungarian noble family, Prawy moved to the US in the late 1930s. While his first love was opera, he also developed an appreciation for the Broadway musical. He returned to Vienna after World War II and produced musical revues in local theaters that included showtunes. Upon becoming a dramaturge at the Vienna Volksoper in 1955, he began overseeing productions of American musical theater, which were among some of the earliest productions of American musicals on the European continent. The article reviews archival documents at the Prawy archive, housed at the Wienbibliothek, to better understand Prawy’s early efforts to bring American musical theater to the Viennese stage. The focus will be on the two earliest musicals Prawy produced, Kiss Me, Kate and Wonderful Town. The analysis will consider how Prawy packaged, promoted, and “sold” the American musical to his Viennese audience. A close reading of some of Prawy’s translations of libretti will be part of the analysis, revealing interesting insights into how Americans and American culture may have been viewed by the Viennese audience.

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Rigopoulou, Faye. "Still Here? Aging Female Vocalities in Musical Theatre." IASPM Journal 14, no. 1 (March 18, 2024): 113–33. http://dx.doi.org/10.5429/2079-3871(2024)v14i1.8en.

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Musical theatre has a complex relationship with ageing (and especially female ageing). As youth has always been at the forefront of musicals, essentialist approaches to ageing in articulation and enactment of ageing musical characters often lead to aesthetic peripheries and creative stagnation. Aiming for a deeper understanding of how female ageing vocalities are perceived, dramaturged and performed in musical theatre, the article takes under consideration viewpoints from ‘outsiders’/ageing performers who work ‘at the centre’ of the musical theatre industry (West End and Broadway).Through a close analysis of two ageing female characters (Madame Armfeldt and Grandma) in the musicals A Little Night Music and Billy Elliot, this article discusses and critiques preconceptions of ageing in the dramaturgy and performance of these roles, and it argues that musicals frequently fail to give agency to the voice of their ageing women.

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Firdhani, Aldhila Mifta. "Peningkatan Kemampuan Musikal Peserta Didik Melalui Aktivitas Musik Kreatif." Indonesian Journal Of Performing Arts Education 1, no. 1 (January 31, 2021): 11–17. http://dx.doi.org/10.24821/ijopaed.v1i1.4915.

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AbstractThis study aims to determine the effectiveness of creative music to improve students' musical abilities in learning music. The research method uses this type of classroom action research conducted in 2 cycles. The research was conducted at SMP Sunan Averroes Sleman Yogyakarta for three months. The object of the study was 13 students of class VIII. Sources of data used in this study are the results of observations and test results of musical abilities. Data analysis techniques were carried out qualitatively, which were identified to see the achievement and improvement results in each cycle. The results showed that creative music activity could improve students' musical abilities in learning music based on the analysis. This increase was evidenced by observations and the acquisition of students' musical abilities in cycle I to cycle II. Based on the observations' results, it can be seen that the average score of students' musical ability in cycle I was 29.5, while in cycle II was 40.1. Based on this average value, it is known that the increase in students' musical abilities is 10.6. So based on this data analysis, it can be said that creative music activities in learning music can improve students' musical abilities. AbstrakPenelitian ini bertujuan untuk mengetahui keefektifan musik kreatif untuk meningkatkan kemampuan musikal peserta didik dalam pembelajaran musik. Metode penelitian menggunakan jenis penelitian tindakan kelas yang dilakukan dalam 2 siklus. Penelitian dilakukan di SMP Sunan Averroes Sleman Yogyakarta selama 3 bulan. Objek penelitian adalah peserta didik kelas VIII yang berjumlah 13 anak. Sumber data yang digunakan dalam penelitian ini adalah hasil observasi dan hasil tes kemampuan musikal. Taknik analisis data dilakukan secara kualitatif yang diidentifikasi untuk melihat hasil pencapaian dan menyempurnakan di setiap siklusnya. Berdasarkan analisis, hasil penelitian menunjukkan bahwa aktivitas musik kreatif dapat meningkatkan kemampuan musikal peserta didik dalam pembelajaran musik. Peningkatan ini dibuktikan berdasarkan hasil observasi dan perolehan skor kemampuan musikal peserta didik pada siklus I ke siklus II. Berdasarkan hasil observasi dapat diketahui bahwa nilai rata-rata kelas kemampuan musikal peserta didik pada siklus I sebesar 29,5, sedangkan pada siklus II sebesar 40,1. Sehingga berdasarkan nilai rata-rata tersebut diketahui peningkatan kemampuan musikal peserta didik sebesar 10,6. Sehingga berdasarkan analisis data tersebut dapat dikatakan bahwa aktivitas musik kreatif dalam pembelajaran musik dapat meningkatkan kemampuan musikal

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12

Roa-García, Denis Manuel, Mario Enrique Uribe-Macías, and Juan José Forero-Ortíz. "Prospective analysis in the music industry under the artistic context in music project management." DYNA 90, no. 228 (August 29, 2023): 66–73. http://dx.doi.org/10.15446/dyna.v90n228.108610.

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En la industria musical, en lo que respecta a la gerencia de proyectos, cuenta con poca información que valide la aplicación de las buenas prácticas en la gestión; motivo por el cual, se realizó un análisis prospectivo en la industria musical bajo el contexto artístico en la gestión de proyectos musicales en Ibagué. La metodología de estudio se trabajó bajo una perspectiva cualitativa, con enfoque exploratorio y descriptivo, con un diseño conceptual, visión estratégica y construcción de escenarios. Los resultados de la investigación contribuyeron a que los artistas consideren la importancia de adquirir habilidades gerenciales para fortalecer la industria musical en la gestión de proyectos, al nivel de llegar a obtener una oficina de gestión de proyectos musicales, además de otros alcances en los próximos 10 años (2022 al 2032). Es de vital importancia que los actores sociales generen el cambio y puedan seguir las estrategias planteadas en esta investigación.

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13

Двоскина, Е. М. "Between “Musical Form” and “Analysis of Musical Works”. Georgy Catoire’s Doctrine of Musical Form." Научный вестник Московской консерватории, no. 1(36) (March 27, 2019): 148–63. http://dx.doi.org/10.26176/mosconsv.2019.36.1.007.

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Последняя, неоконченная книга Г. Л. Катуара— «Музыкальная форма»— была завершена и выпущена в свет его учениками. Один из них, Л. А. Мазель, стал основоположником нового курса— «Анализ музыкальных произведений»,— который заменил в советских консерваториях прежнюю «Музыкальную форму». Однако этот курс в известной степени восходит к идеям Катуара, которые получили в концепции Мазеля своеобразное преломление. Катуар, в отличие от своих предшественников А. Б. Маркса и Х. Римана, писал не учебник практической композиции, а теоретическое исследование. «Строение музыкальных произведений» Мазеля также не ставит себе практических композиционных задач. В книге Мазеля влияние Катуара прослеживается прежде всего в принципах систематики форм. Как и Катуар, во главу угла он ставит структурный принцип, в котором, однако, не так последовательно, как у Катуара, понимается ведущее начало фактора метрической симметрии. Если Катуар ставит своей задачей найти законы строения музыкальной композиции, то Мазель— описать и перечислить наиболее часто встречающиеся ее свойства. The last, unfinished book of Georgy Catoire— “Musical Form”— was completed and published by his students. One of them, Lev Mazel, became the founder of the new course— “Analysis of Musical Works”, which replaced the former “Musical Form” in Soviet conservatories. However, to a certain extent, this course goes back to the ideas of Catoire, which received a peculiar refraction in the concept of Mazel. The Catoire, unlike his predecessors Marx and Riemann, wrote not a textbook of practical composition, but a theoretical study. “The Structure of Musical Works” by Mazel does not set a practical compositional exercises as well. The influence of the Catoire can be seen in Mazel’s book as the principle of forms systematics. Like Catoire, he puts the structural principle at the head, in which, however, the leading principle of the metric symmetry is understood not so consistently as in Catoire’s work. If the main task for Catoire is finding the laws of the structure of a musical composition, then for Mazel it is describing and listing the most frequently encountered properties of it.

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Aleshinskaya, Evgeniya. "Key Components of Musical Discourse Analysis." Research in Language 11, no. 4 (December 1, 2013): 423–44. http://dx.doi.org/10.2478/rela-2013-0007.

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Abstract Musical discourse analysis is an interdisciplinary study which is incomplete without consideration of relevant social, linguistic, psychological, visual, gestural, ritual, technical, historical and musicological aspects. In the framework of Critical Discourse Analysis, musical discourse can be interpreted as social practice: it refers to specific means of representing specific aspects of the social (musical) sphere. The article introduces a general view of contemporary musical discourse, and analyses genres from the point of ‘semiosis’, ‘social agents’, ‘social relations’, ‘social context’, and ‘text’. These components of musical discourse analysis, in their various aspects and combinations, should help thoroughly examine the context of contemporary musical art, and determine linguistic features specific to different genres of musical discourse.

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Strutynskyi, Bogdan. "Some aspects of stage performances of musicals at Kyiv National Operetta Theatre in 2005-2021." CONTEMPORARY ART, no. 18 (November 29, 2022): 189–200. http://dx.doi.org/10.31500/2309-8813.18.2022.269728.

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The article is devoted to the peculiarities of staging musicals in the Ukrainian musical theatre of the beginning of the 21st century. Using the example of Kyiv National Operetta Theatre, the author analyses the problems faced by the theatre while staging a musical, investigates practical ways to solve problematic issues, and considers the prospects for further presentation of musicals to the audience. The author pays attention to the motivation of the theatre and production groups during the selection of material for the stage performance: the creative ability of the team, the relevance of the subject, etc. The article examines a creative potential of the theatre, in particular a special cast of a team necessary for the realization of the musical: qualification requirements for soloists, choir, ballet and orchestra. The author draws a special attention to differences between staging a musical and an operetta, focusing on the peculiarities of working with a team who is engaged in both of these genres. The article examines the issue of copyright protection, difficulties faced by Ukrainian theatres working with foreign rights holders. One of the key aspects of the article is the analysis of the experience of cooperation with foreign directors and creation of co-productions. The author also touches the issue of a technical support of the stage as an important condition for creating a high-quality stage product in the musical genre. The conclusion of the study was resulted in generalization of outputs of the conducted analysis.

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Lima, Miguel F. M., J. A. Tenreiro Machado, and António C. Costa. "A Multidimensional Scaling Analysis of Musical Sounds Based on Pseudo Phase Plane." Abstract and Applied Analysis 2012 (2012): 1–14. http://dx.doi.org/10.1155/2012/436108.

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This paper studies musical opus from the point of view of three mathematical tools: entropy, pseudo phase plane (PPP), and multidimensional scaling (MDS). The experiments analyze ten sets of different musical styles. First, for each musical composition, the PPP is produced using the time series lags captured by the average mutual information. Second, to unravel hidden relationships between the musical styles the MDS technique is used. The MDS is calculated based on two alternative metrics obtained from the PPP, namely, the average mutual information and the fractal dimension. The results reveal significant differences in the musical styles, demonstrating the feasibility of the proposed strategy and motivating further developments towards a dynamical analysis of musical sounds.

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Zagozdzon, Agnieszka. "Backstage am Broadway: das Filmmusical 42ND STREET (USA 1933, Lloyd Bacon) zwischen musikpraktischem Realismus und choreografischen Fantasien." Kieler Beiträge zur Filmmusikforschung 14 (July 3, 2023): 72–89. http://dx.doi.org/10.59056/kbzf.2019.14.p72-89.

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The 1933 movie musical 42ND STREET is considered as a prototype of the so- called »Backstage Musicals« – a genre which puts the developmental process of a musical at the heart of the story. Due to the realistic portrayal of this process, 42ND STREET is seen as one of the most prominent and influential works in the history not only of movie musicals, but of staged musicals as well. One of the most decisive parts in this realistic portrayal is the almost entirely diegetical use of music within the movie, resulting from rehearsals or performances shown on the screen. Additionally, the songs within the fictional musical Pretty Lady strictly follow the musical and formal standards at that time. Last but not least, the orchestrations of these songs adhere to the rules of Broadway back then – as an analysis of the orchestrated partiturs with regard to its musical, theoretical, and dramaturgical structure shows. However, certain significant differences in the style of these orchestrations, which resulted from specific circumstances on a movie set, can be seen there, too. Unlike that musically realistic approach, the visually spectacular choreographies by Busby Berkeley, which contained (at that time) up-to-date technical possibilities like tracking shots and overhead shots, were only practicable by means of the cinematic genre. However, during the performance of Pretty Lady, the spectators are often pulled out of these choreographic fantasies, when cuts from close-ups all of a sudden show the entire theatre stage as well as the conductor and the orchestra, thereby transferring the audience in the reality of a staged musical performance. This essay examines the means and reasons of the musical realism of 42ND STREET, its connection to the way the songs were choreographed and how this movie has shaped movie musicals and stage musicals to this day.

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Мукманова and A. Mukmanova. "Communication Barriers in the Russian Market of Musicals." Modern Communication Studies 5, no. 2 (April 18, 2016): 79–84. http://dx.doi.org/10.12737/18974.

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The article addresses the problem of adaptation of musical as a genre in the context of Russian musical theatre market. The study investigates the obstacles the genre faces, and focuses on finding efficient communication solutions for making musicals more accepted by the Russian audience. The author uses literature review combined with historical analysis and quantitative research in form of a poll to conceptualize Russian market of commercial musical theatre and understand how the audience perceives the genre and what expectations it has about it.

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Lee, Kihwan, and Inho Lee. "Analysis of Jukebox musical pattern." Korean Society of Culture and Convergence 43, no. 1 (January 31, 2021): 225–46. http://dx.doi.org/10.33645/cnc.2021.01.43.1.225.

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Agawu, Kofi. "Music Analysis Versus Musical Hermeneutics." American Journal of Semiotics 13, no. 1 (1996): 9–24. http://dx.doi.org/10.5840/ajs1996131/42.

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Fine, Philip A., and Brian C. J. Moore. "Frequency Analysis and Musical Ability." Music Perception 11, no. 1 (1993): 39–53. http://dx.doi.org/10.2307/40285598.

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Soderquist (Psychonomic Science, 1970, 21,117–119) found that musicians were better than nonmusicians at separating out ("hearing out") partials from complex tones and proposed that this might be explained by the musicians having sharper auditory filters. In Experiment 1, the auditory filters of two groups, musicians and nonmusicians, were measured at three center frequencies by using a notched-noise masker. The filters were found not to differ in bandwidth between the two groups. However, the efficiency of the detection process after auditory filtering was significantly different between the two groups: the musicians were more efficient. In Experiment 2, the ability to hear out partials in a complex inharmonic tone was measured for the same two groups, using a tone produced by "stretching" the spacing between partials in a harmonic complex tone. Unfortunately, most of the nonmusicians were unable to perform this task. The ability of the musicians to hear out partials was not significantly correlated with the auditory filter bandwidths measured in Experiment 1. The musicians were also tested on the original harmonic complex tone (before "stretching"). For some partials, their performance was better for the inharmonic tone, reflecting the fact that the separation of the partials in frequency was greater for that tone. However, it was also found that those partials that were octaves of the fundamental in the harmonic series were identified better than corresponding partials in the inharmonic tone.

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22

Brown, Matthew G., Douglas J. Dempster, and Nicholas Cook. "A Guide to Musical Analysis." Journal of Music Theory 32, no. 1 (1988): 148. http://dx.doi.org/10.2307/843388.

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Smoliar, Stephen W., M. Baroni, and L. Callegari. "Musical Grammars and Computer Analysis." Journal of Music Theory 30, no. 1 (1986): 130. http://dx.doi.org/10.2307/843413.

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London, Justin, and Ronald Rodman. "Musical Genre and Schenkerian Analysis." Journal of Music Theory 42, no. 1 (1998): 101. http://dx.doi.org/10.2307/843854.

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Jordan, Stephanie. "Agon: A Musical/Choreographic Analysis." Dance Research Journal 25, no. 2 (1993): 1. http://dx.doi.org/10.2307/1478549.

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Janson, Thomas. "A Guide to Musical Analysis." Music Educators Journal 74, no. 1 (September 1987): 13–14. http://dx.doi.org/10.2307/3401230.

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Cope, David. "Computer Analysis of Musical Allusions." Computer Music Journal 27, no. 1 (March 2003): 11–28. http://dx.doi.org/10.1162/01489260360613317.

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Rossing, Thomas. "Modal analysis of musical instruments." Journal of the Acoustical Society of America 124, no. 4 (October 2008): 2509. http://dx.doi.org/10.1121/1.4782897.

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Howell, Tim. "Musical Analysis: Back to Basics?" British Journal of Music Education 13, no. 02 (July 1996): 123. http://dx.doi.org/10.1017/s0265051700003090.

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Rossing, Thomas D. "Holographic analysis of musical instruments." Journal of the Acoustical Society of America 107, no. 5 (May 2000): 2842. http://dx.doi.org/10.1121/1.429182.

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Adorno, Theodor W. "I. Pedagogical and MUsical Analysis." Musical Quarterly 78, no. 2 (1994): 327–35. http://dx.doi.org/10.1093/mq/78.2.327.

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Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 329–35. http://dx.doi.org/10.1093/mq/78.2.329.

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Adorno, Theodor W. "I. Pedagogical and MUsical Analysis." Musical Quarterly 78, no. 2 (1994): 335–39. http://dx.doi.org/10.1093/mq/78.2.335.

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Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 339–40. http://dx.doi.org/10.1093/mq/78.2.339.

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Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 340–44. http://dx.doi.org/10.1093/mq/78.2.340.

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Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 344–50. http://dx.doi.org/10.1093/mq/78.2.344.

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Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 350–52. http://dx.doi.org/10.1093/mq/78.2.350.

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LoPresto, Michael C. "Fourier Analysis of Musical Intervals." Physics Teacher 46, no. 8 (November 2008): 486–89. http://dx.doi.org/10.1119/1.2999065.

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DeBellis, Mark. "The Paradox of Musical Analysis." Journal of Music Theory 43, no. 1 (1999): 83. http://dx.doi.org/10.2307/3090690.

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Ayari, Mondher. "Performance and Musical Perception Analysis." Intellectica. Revue de l'Association pour la Recherche Cognitive 48, no. 1 (2008): 51–80. http://dx.doi.org/10.3406/intel.2008.1240.

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Roozendaal, Ron. "Psychological analysis of musical composition." Contemporary Music Review 9, no. 1-2 (January 1993): 311–24. http://dx.doi.org/10.1080/07494469300640531.

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Gang, Yi, and Bi Zhang. "A Study of Choreography Courses for Musical Theater Majors." Studies in Art and Architecture 1, no. 1 (December 2022): 8–13. http://dx.doi.org/10.56397/saa.2022.12.02.

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Musical theater education in Chinese universities is generally focused on training musical performance talents, and the dance courses involved are also set up to enhance dance performance. The dance styles learned are mainly ballet, modern dance, jazz dance and tap dance, which are common in European and American musicals. However, in the actual musical rehearsal process, the use of dance to create dramatic characters, develop dramatic events, and show dramatic emotions and conflicts requires the skilled creative ability of the musical choreographer. The educational process of musical choreography is a multi-faceted process, which requires the choreographer to have a solid theoretical basis and flexible creative skills. By comparing with universities in Europe, America and South Korea that have musical theater major, this paper studies the advantages and disadvantages of musical theater major courses in Chinese universities in terms of choreography training. Based on the actual situation of China, this study finds the curriculum that conforms to musical choreography through multi-angle analysis of practice, creation, and theory.

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Qureshi, Regula Burckhardt. "Musical sound and Contextual Input: A Performance Model for Musical Analysis." Ethnomusicology 31, no. 1 (1987): 56. http://dx.doi.org/10.2307/852291.

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YAMAMOTO, Tomohito, and Yoshihiro MIYAKE. "Analysis of Musical Communication between Players in a Musical Cooperative Performance." Transactions of the Society of Instrument and Control Engineers 40, no. 5 (2004): 563–72. http://dx.doi.org/10.9746/sicetr1965.40.563.

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Earle, Ben. "Modernism and Reification in the Music of Frank Bridge." Journal of the Royal Musical Association 141, no. 2 (2016): 335–402. http://dx.doi.org/10.1080/02690403.2016.1216045.

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ABSTRACTDrawing on the tradition of Formenlehre, this article puts forward a methodological historicism as a means of mediating between the disciplinary expectations of musical analysis, on the one hand, and philosophical aesthetics, on the other. Stylistic developments in the later music of Frank Bridge, perhaps British music's best claim to a high modernist of the generation of Schoenberg and Stravinsky, are illuminated by means of Theodor W. Adorno's notion of musical ‘reification’. A comparative analysis of the complementary modernism of Bridge's contemporary Ralph Vaughan Williams is also put forward, and a critical light shone on recent writing on British musical modernism in general.

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Plemenitaš, Katja. "Songs as Elements in the Generic Structure of Film Musicals." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (June 20, 2016): 31–38. http://dx.doi.org/10.4312/elope.13.1.31-38.

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The paper focuses on the description of film musicals as a subgenre of the genre family of musicals. Their dramatic structure is examined in terms of the generic elements that constitute the progression of a story expressed through the combination of spoken dialogue, songs and dance. The function of songs in the generic structure of film musicals is examined in the framework of the systemic-functional theory of register and genre. Special attention is given to the role of songs in the unfolding of the narrative. The theoretical observations about the role of songs in the register and genre of film musicals are then illustrated with an analysis of the use of songs in the TV musical High School Musical 2.

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Bralović, Miloš. "Listening to the worlds far away: Josip Slavenski and the music of India." Kultura, no. 181 (2023): 59–70. http://dx.doi.org/10.5937/kultura2381059b.

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Josip Slavenski's opus displays the composer's infatuation with musical folklore, starting from his own folklore of Međimurje, and expanding to other nonEuropean (mostly Asian) folklore. In this paper I particularly studied the biographical background of Slavenski, which had led him to a meticulous research of musical folklore, via field recordings, in his mature years. It is worth noting that the folklore of Međimurje provided a basis for his musical language i.e. his musical mother tongue (while he later also studied the folklore of non-European peoples). Thus, for Slavenski, folklore became a means for creating a new vital music, and that vitality was something that the western music of the 20th century often lacked. Geographically, Slavenski "has travelled" the farthest while studying musical folklore of India, China and Japan. Results of his research were manifested in the Buddhists movement of the Symphony of the Orient, 1934, which was analysed in this paper. The analysis has unveiled a complex musical construction, constructed music, or musical building of orchestral layers, hence the subtitle of the movement, Musica architectonica.

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Fu, Linzi, and Kyunghoon Han. "A Study of Localization in the Stage Art of the Chinese Reimagined Musical <Fan Letter>." Korean Society of Culture and Convergence 45, no. 8 (August 31, 2023): 1197–210. http://dx.doi.org/10.33645/cnc.2023.08.45.08.1197.

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The purpose of this study is to select “Fan Letter” as a representative work of the localization process of Chinese musicals; to identify the localization situation and success factors of the work from three aspects of stage design, costume design, and lighting design by referring to articles, monographs, musical videos, stage design manuscripts, costume design manuscripts, and other materials related to Chinese localized musicals; to analyze the impact of the integration of localized aesthetics and stage art on the overall performance of the musical; and to draw implications for the stage art production of Chinese localized re-created musicals in the future. The analysis shows that the stage design of the Chinese version of the musical Fan Letter deconstructed and utilized Shanghai architectural elements, the costume design referenced Chinese history and used traditional colors and local materials, and the lighting design used colors that are easy for Chinese to understand to highlight the characters' inner emotions. This shows that the production is innovative in its combination with Chinese culture in the localized re-creation of stage art. The clever fusion of Chinese elements and musicals can be a great expressive tool in the localization of musicals.

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Born, Georgina. "Listening, Mediation, Event: Anthropological and Sociological Perspectives." Journal of the Royal Musical Association 135, S1 (2010): 79–89. http://dx.doi.org/10.1080/02690400903414855.

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ABSTRACTThis paper outlines an approach to listening drawn from the anthropology and sociology of music, arguing that there is a pressing need for comparative empirical studies of listening. I suggest that the terms of the discussion should shift from listening to the broader category of musical experience, in this way allowing questions of the encultured, affective, corporeal and located nature of musical experience to arise in a stronger way than hitherto. I propose a focus on the relations between musical object and listening subject, where this entails analysis of the social and historical conditions that bear on listening, and of the changing types of subjectivity brought to music. The point is that neither these conditions, nor the forms of music's mediation, nor the relations between musical object and subject can be fully known in advance. I sketch three perspectives from anthropology and sociology that indicate the kinds of insight offered by empirical research which takes listening-as-musical-experience, and the situated, relational analysis of musical subjects and objects, as its focus.

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Bazir, Rizkyatul, Robby Hidayat, and Tutut Pristiati. "PILU MEMBIRU MUSICAL FORM ANALYSIS BY KUNTO AJI." JADECS (Journal of Art, Design, Art Education & Cultural Studies) 7, no. 2 (November 30, 2022): 205. http://dx.doi.org/10.17977/um037v7i22022p205-217.

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Musical form is the composition of music in a composition of motifs, themes, and phrases. Musical forms according to the number of sentences is divided into three types, namely one-part musical form, two-part musical form, and three-part musical form. This study aims to describe the musical form of the song "Pilu Membiru" by Kunto Aji. This research uses a qualitative descriptive research method. The data in the research were obtained using observation, interviews, and documentation by testing the validity of the data using triangulation. The results of this research indicate that the song "Pilu Membiru" by Kunto Aji has a complex three-part musical form. In the A complex section, there are 2 main themes and 1 transition theme. In part B complex there are 2 main themes with new themes that are played over and over again. Part C complex is a series of parts A complex and is played with increased dynamics to emphasize the part of the song. The complex three-part form of the song "Pilu Membiru" can be written in the musical form Ak (A, AI, B, BI, C ) - Bk (AII, D, D, D, D, D, D) - Ck (B, BI, C).The complex three-part form of the song "Pilu Membiru" can be written in the musical form Ak (A, AI, B, BI, C ) - Bk (AII, D, D, D, D, D, D) - Ck (B, BI, C).

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