Academic literature on the topic 'Musical practices'
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Journal articles on the topic "Musical practices"
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Ng'andu, Joseph, and Anri Herbst. "Lukwesa ne Ciwa – The story of Lukwesa and Iciwa: musical storytelling of the Bemba of Zambia." British Journal of Music Education 21, no. 1 (March 2004): 41–61. http://dx.doi.org/10.1017/s0265051703005576.
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This article describes inshimi – a musical storytelling practice of the Bemba people in Zambia. It gives a general perspective on the whole practice and some details on the ‘MUSIC’ as contained in the practice. The article further encourages the idea that inshimi represents a nucleus of the ‘MUSIC’ practices of the Bemba people and therefore plays a vital role in the transmission of musical arts practices. Embedded in musical storytelling are educational principles that could and should guide musical arts education in Africa and the rest of the world.
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MEDEIROS, ALAN RAFAEL DE, and ÁLVARO LUIZ RIBEIRO DA SILVA CARLINI. "A modernidade em questão: música de concerto em Curitiba – coexistência e especificidades entre a "SCABI" e "SPMC" * Modernity in question: concert music in Curitiba - coexistence and specificity between "SCABI" and "SPMC"." História e Cultura 2, no. 1 (August 19, 2013): 44. http://dx.doi.org/10.18223/hiscult.v2i1.939.
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<p><strong>Resumo:</strong> O presente trabalho tem como objetivo a análise da mudança de enfoque estético das entidades musicais civis em relação ao público curitibano no tocante às práticas musicais, em especial durante o período de coexistência de duas destas entidades, representativas no cenário local: a SCABI (Sociedade de Cultura Artística Brasílio Itiberê) e SPMC (Sociedade Pró Musica de Curitiba).</p><p><strong>Palavras-chave:</strong> Entidades musicais civis – Curitiba/PR - SCABI (Sociedade de Cultura Artística Brasílio Itiberê) e SPMC (Sociedade Pró Musica de Curitiba) - Música de concerto: dicotomia entre o repertório tradicional e contemporâneo.</p><p> </p><p><strong>Abstract:</strong> This work aims to analyze the change of an esthetical focus of civilian musical entities in relation to the public from Curitiba in regard of musical practices, particularly during the period of coexistence of these two entities, both representative of the local scene: the SCABI (Society for Artistic Culture Brasílio Itiberê – "Sociedade de Cultura Artística Brasílio Itiberê") and SPMC (Pro-Music Society of Curitiba – "Sociedade Pró Musica de Curitiba").</p><p><strong>Keywords:</strong> Civilian Musical Entities – Curitiba/PR - SCABI (Society for Artistic Culture Brasílio Itiberê) and SPMC (Pro-Music Society of Curitiba) - Concert Music: dichotomy between traditional and contemporary repertoire.</p>
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Karl, Brian. "Technology in Modern Moroccan Musical Practices." International Journal of Middle East Studies 44, no. 4 (October 12, 2012): 790–93. http://dx.doi.org/10.1017/s0020743812000918.
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The proliferation of technologies in use for popular music in Morocco points to cultural interactions beyond the most local or national influences that inform musical practices there. Examining the integration of technologies from outside Morocco—including musical instruments, recording media, and distribution systems—sheds light on negotiations of novelty and difference in contemporary Moroccan social and political life and thus on multiple facets of how late modernity has played out there. Among other broad areas of significance that musical practices help illuminate are the social and economic effects of colonial and postcolonial interactions, including the development of cash economies, globalized exchange, and cultural tourism; nationalist initiatives to define culture; and large-scale migration to Europe and elsewhere in recent decades, following a longer population shift in 20th-century Morocco from primarily rural locales to burgeoning urban centers.
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Fogarty, Mary. "Musical Tastes in Popular Dance Practices." Congress on Research in Dance Conference Proceedings 2012 (2012): 70–75. http://dx.doi.org/10.1017/cor.2012.7.
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This paper explores the relationship between musical tastes and dance practices in popular dance practices. It is based on ideas that emerged from a multisited ethnography involving the participation in and observation of the practices of breaking, as well as interviews with individual b-boys and b-girls, who often traveled between cities as part of their practices. Although there were many interesting and contradictory observations and participant responses provided by this multigenerational, multicultural scene, one theme emerged as central.
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Charles, Brigitte. "Boys' and girls' constructions of gender through musical composition in the primary school." British Journal of Music Education 21, no. 3 (November 2004): 265–77. http://dx.doi.org/10.1017/s0265051704005820.
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The purpose of the study is to examine, through interviews and observations, the extent to which 8–10 year old children in a London primary school replicate gendered musical practices and experience gendered musical meanings, and how these may affect their expectations and the specific practices and products of their composition. I also consider how primary school teachers participate in the overarching discourse on gender and music education, by examining their expectations about the nature of girls' and boys' compositions. I analyse my findings in relation to Lucy Green's model of gendered musical meaning and experience. One outcome of the analysis is the development of a concept of ‘female musical subculture’ to interpret girls' and women's participation in the compositional world. Secondly, the findings strongly suggest that in their musical practice, the children in the research are not reproducing ideological assumptions about gendered musical practices, which contradicts how they operate discursively, for their discourse lies within the bounds of gendered musical ideology. Thirdly, the findings also indicate that the teachers are strongly affected by gendered musical ideologies, and have concomitant expectations about the music girls and boys produce.
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Veblen, Nora Bryant, Olivia Swedberg Yinger, and Martina Vasil. "Musical Authenticity: Music Therapists’ Perceptions and Practices." Music Therapy Perspectives 39, no. 1 (March 1, 2021): 51–60. http://dx.doi.org/10.1093/mtp/miaa028.
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Abstract Board-certified music therapists (MT-BCs) are expected to provide live music in numerous client-preferred genres, yet often face barriers that prevent them from recreating this music with musical authenticity, defined here as adhering to the expectations of the genre. The purpose of this survey was to investigate the perceptions and practices of MT-BCs (n = 904, 12%) regarding musical authenticity in their own practice. We collected quantitative and qualitative survey data on the importance of musical authenticity, barriers to and strategies for providing music authentically, and the use of electronic technology and the iPad. Descriptive and thematic analyses revealed that MT-BCs value musical authenticity but balance its importance with therapeutic needs and other types of authenticity that are deemed more important. Participants reported that they lacked knowledge of popular genres, functional musicianship, and electronic technology, which created major barriers to providing musical authenticity. Additionally, we found trends related to gender identity and the use of electronic technology in that significantly more male MT-BCs reported using electronic technology compared with female MT-BCs. Overall, however, less than half of the participants reported using either electronic technology or the iPad to increase musical authenticity. With these results in mind, and building on the results of Schippers and Fetterley, we created a model of recontextualization for music therapy practice. This practical tool is intended to guide music therapists to consider multiple issues of authenticity when learning music for clients.
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Povedak, Kinga. "Rockin' the Church: Vernacular Catholic Musical Practices." Journal of Global Catholicism 4, no. 1 (March 6, 2020): 42–63. http://dx.doi.org/10.32436/2475-6423.1066.
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Powell, John S. "Musical Practices in the Theater of Molière." Revue de musicologie 82, no. 1 (1996): 5. http://dx.doi.org/10.2307/947203.
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Knudsen, Jan Sverre, Gry Sagmo Aglen, Ingrid Danbolt, and Nina Engesnes. "Musical pathfinders of the kindergarten." Contemporary Issues in Early Childhood 20, no. 2 (February 12, 2018): 163–76. http://dx.doi.org/10.1177/1463949118756369.
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Based on an empirical study in selected Norwegian kindergartens, this article investigates the practice of musically active employees, with or without professional training. The overarching aim is to develop an understanding of early childhood music practitioners that may challenge dominant views of professional identity and provide some new images of what it means to work musically in a kindergarten. Departing from a sociological approach, five different ‘musical pathfinders’ are identified: the disc jockey, the facilitator, the choir leader, the caregiver and the performer. These ‘ideal types’ are discussed in the light of issues concerning cultural diversity, negotiations of professionalism, repertoire selection, the use of music technology, children’s participation, and the relationship between formal and informal learning. The discussion raises critical questions concerning music activity in early childhood institutions, highlighting professionals’ personal cultural experiences, preferences and practices as legitimate points of reference in the development of professional identity.
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Novembre, Giacomo, Manuel Varlet, Shujau Muawiyath, Catherine J. Stevens, and Peter E. Keller. "The E-music box: an empirical method for exploring the universal capacity for musical production and for social interaction through music." Royal Society Open Science 2, no. 11 (November 2015): 150286. http://dx.doi.org/10.1098/rsos.150286.
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Humans are assumed to have a natural—universal—predisposition for making music and for musical interaction. Research in this domain is, however, typically conducted with musically trained individuals, and therefore confounded with expertise. Here, we present a rediscovered and updated invention—the E-music box—that we establish as an empirical method to investigate musical production and interaction in everyone. The E-music box transforms rotatory cyclical movements into pre-programmable digital musical output, with tempo varying according to rotation speed. The user’s movements are coded as continuous oscillatory data, which can be analysed using linear or nonlinear analytical tools. We conducted a proof-of-principle experiment to demonstrate that, using this method, pairs of non-musically trained individuals can interact according to conventional musical practices (leader/follower roles and lower-pitch dominance). The results suggest that the E-music box brings ‘active’ and ‘interactive’ musical capacities within everyone’s reach. We discuss the potential of this method for exploring the universal predisposition for music making and interaction in developmental and cross-cultural contexts, and for neurologic musical therapy and rehabilitation.
Dissertations / Theses on the topic "Musical practices"
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Veblen, Nora Bryant. "MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/129.
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Music therapists are expected to provide live music for clients with diverse preferences, yet these therapists face many barriers preventing them from recreating client-preferred music in a way that adheres to the expectations of the genre, or with “musical authenticity.” The purpose of this study was to investigate music therapists’ perceptions and practices regarding musical authenticity. Survey responses (n = 904) indicated that music therapists highly value musical authenticity, but a major theme in the qualitative data revealed they often balance its importance with other factors. Descriptive survey data and qualitative themes revealed lack of training in functional musicianship and electronic technology as major barriers to musical authenticity. A major qualitative theme regarding therapists’ practices was the use of collaboration with clients and creative solutions. Most participants indicated use of non-electronic strategies and reported they had not used electronic technology to increase musical authenticity. Descriptive survey data and qualitative themes revealed frequent and effective use of recorded music. Finally, chi-square analyses revealed significant relationships between age and use of technology and iPad and between gender and use of technology. Music therapists would benefit from additional training, more research on authenticity, and music therapy specific guidelines for using music authentically.
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Wells, Robert. "Musical composition : creative social and educational practices." Thesis, University of Southampton, 2014. https://eprints.soton.ac.uk/371692/.
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This commentary documents the changes in my compositional practice. It explores the rationale for my move towards collaborative compositional approaches, and the variety of processes that I have used. The work occurs in a range of environments, and involves diverse participants, highlighting the relevance of this work for people of all backgrounds, ages and skill levels. By altering the nature of the composition process and its context new arenas for educational and social practices have emerged. This commentary describes some of the benefits and challenges that arise from working in these new ways.
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Davhula, Mudzunga Junniah. "Malombo Musical Art in VhaVenda Indigenous Healing Practices." Thesis, University of Pretoria, 2016. http://hdl.handle.net/2263/64353.
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The traditional healing practices of the Vhavenda people include one very important
component, the malombo ritual healing practice.
This healing practice has been conducted for centuries. It involves the use of music
(including singing and the use of drums and shakers for rhythm), dance and elements
of theatre performed by the person to be healed, the healer, invited malombe
(community members who have been through the same ritual), as well as family
members and supporters.
The importance of this ritual as a healing process has long been acknowledged. Of
interest in this study, however, is the role-played by the music itself in facilitating the
healing process. The ritual cannot take place without the music; neither is the music
used outside this specific ritual.
Seven representative malombo songs have been partially notated by John Blacking
and N. J. van Warmelo also as recorded texts. However, since this ritual is closed and
seldom open to strangers, their research was, of necessity, limited. Through long-term
fieldwork, and from an insider perspective, this thesis is based on participation in
more than fifteen malombo rituals during the field research period (2005-2014).
Songs and performances were recorded as possible and some are included on the
accompanying CD. In addition, transcription was utilized as a tool to demonstrate the
core melody of selected songs, with the acknowledgement that transcription in
Western notation limits the demonstration of the creative mato1 process that is
fundamental to the malombo ritual.
This thesis argues that that music plays a vital role in this healing ceremony, and it is
through the mato process that the ancestors are called to heal. The texts of the songs at
times include words of the Tshikalanga language that is spoken by the Vhakalanga of
Zimbabwe. Most significantly, music is seen as the bridge between the ancestral
spirits and the patient and participants in the ceremony, thus underscoring its
fundamental importance in Vhavenda culture.Thesis (DMus)--University of Pretoria, 2017.
SAMRO
Music
DMus
Unrestricted
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Santos, Catherine Furtado dos. "Casa Caiada: process human and musical practices in collaborative percussive." Universidade Federal do CearÃ, 2013. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=9747.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorEsta pesquisa tem como tema central o processo contÃnuo de formaÃÃo humana e musical dos integrantes do Grupo de MÃsica Percussiva AcadÃmicos da Casa Caiada (GMPACC) da Universidade Federal do Cearà (UFC). O interesse por esse aspecto veio da minha prÃpria experiÃncia com atividades de percussÃo dentro da Universidade Federal do Cearà - UFC, em organizaÃÃes nÃo governamentais (ONGs) e em grupos de maracatus, na cidade de Fortaleza. Pude observar que a partir de 2006 houve um aumento significativo do surgimento de grupos percussivos voltados para atividades no perÃodo carnavalesco e tambÃm a grande procura de pessoas em participar destes agrupamentos na cidade. Na UFC, criou-se em 2008 um projeto de extensÃo do curso de licenciatura em mÃsica da UFC denominado pela sigla GMPACC, tendo a coordenaÃÃo do Prof. Dr. Erwin Schrader e sob minha regÃncia a partir de 2009. O grupo possui como proposta oferecer uma formaÃÃo humana e musical atravÃs das prÃticas percussivas em contexto colaborativo, principalmente, para jovens das escolas pÃblicas do bairro de Messejana. Desde o ano de 2009 atà 2012, certifiquei que alguns integrantes fazem parte do projeto desde o inÃcio das atividades e vale reforÃar que o grupo nÃo à voltado apenas para atividades carnavalescas como se apresenta, normalmente, no cenÃrio percussivo em Fortaleza. A partir dessa permanÃncia dos ritmistas no grupo pude indagar sobre o que caracteriza e como acontece o processo contÃnuo de formaÃÃo humana e musical dos integrantes permanentes no GMPACC (UFC) sob uma perspectiva de EducaÃÃo Musical no perÃodo dos anos de 2009 a 2012. Para realizaÃÃo desta pesquisa tÃm-se como suporte teÃrico autores como Ribeiro (1996) e Miranda (2009) sobre a temÃtica dos contextos percussivos no Brasil; Prass (2004) e Schrader (2011), com pesquisas sobre percussÃo e educaÃÃo musical; e Matos (2008) e Freire (1996), trazendo uma perspectiva sobre processos formativos e prÃticas colabortivas. A metodologia serà de abordagem qualitativa e com o delineamento de estudo de caso. Os instrumentos de coleta dos dados serÃo o levantamento bibliogrÃfico, acesso a documentos e aplicaÃÃo de entrevistas, tendo como mÃtodo de anÃlise as fundamentaÃÃes teÃricas iluminando os dados levantados a partir das entrevistas. Assim, esta pesquisa teve por objetivo analisar o processo contÃnuo de formaÃÃo humana e musical dos integrantes permanentes no GMPACC (UFC) sob uma perspectiva de EducaÃÃo Musical no perÃodo dos anos de 2009 a 2012, esperando contribuir para uma melhor compreensÃo do espaÃo formativo educacional atravÃs da percussÃo na UFC, os aspectos formativos na educaÃÃo e o fazer musical criativo que a prÃtica percussiva em contexto colaborativo poderà propiciar ao campo da EducaÃÃo Musical.
This research has as its central theme the continuous process of the human and musical education of the members of âGrupo de MÃsica Percussiva AcadÃmicos da Casa Caiada (GMPACC)â {Academics of the Whitewashed House Percussion Music Group [AWHPMG]}. The interest in this aspect arose from my own experience with percussion activities at the university, in non-goverment organisations (NGOs) and âMaracatuâ groups, in the city of Fortaleza. I was able to observe that from 2006 there has been a significant increase in the appearance of percussion groups focussed upon activities in the carnival period as well as a great demand for people to participate in these groups in the city. At CFU (Cearà Federal University) an extension project was created in 2008 to the CFU\'s Music HND Course known by the initials AWHPMG, under the co-ordenation of Prof. Dr. Erwin Schrader and conducted by me since 2009. The group has as its objective to offer a human, musical and artistic education through percussion activities in a collaborative context, especially for young people of the state schools of the Messejana neighbourhood. Since 2009 and until 2012, I confirmed that some members have been part of the project since it began its activities and it is fitting to stress that the group in not focused only upon carnival activities as it is usually presented in Fortaleza\'s percussion scene. From this constancy of group\'s rhythm section I was able to ascertain what characterises the continuous process of human and musical education and how it occurs with the permanent members of the AWHPMG (CFU) through the perspective of Musical Education in the period of the years 2009 to 2012. In order to carry out this research there were in the role of technical support authors such as Ribeiro (1996) and Miranda (2009) with regard to the theme of percussive contexts in Brazil; Prass (2004) and Schrader (2011), with research on percussion and musical education; and Matos(2008) and Freire (1996), bringing together a perspective of formative and educational processes. The methodology will be by way of a qualitative approach and with the guidelines of case studies. The instruments of data collection will be a bibliographical survey, access to documentation and the application of interviews, having as analytical method the theoretical fundaments linked to the discourse of the interviewees. Thus, the objective of the research aims analyse the continuous process of the human and musical education of the âpermanent membersâ of the AWHPMG (CFU) under a perspective of Musical Education in the period between 2009 and 2012, aiming to contribute towards a better understanding of the formative educational environment through percussion at CFU, of the formative aspects of education and creative musical practice which percussion activities in a collaborative context may provide the the field of Musical Education.
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Ong, Min Yen. "Kunqu in 21st century China : musical change and amateur practices." Thesis, SOAS, University of London, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.649379.
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Kunnuji, Joseph. "A chronicle of cultural transformation: ethnography of Badagry Ogu musical practices." Doctoral thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32279.
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This thesis examines the musical practices of Badagry Ogu people from both historical and contemporary perspectives and provides strategies for their further integration into the changing social and economic landscape characteristic of 21st-century Lagos. Badagry emerged as a Nigerian town bordering the Republic of Benin in the 19th-century colonial delineation processes, which neglected ethnic frontiers. Consequently, Badagry Ogu people, being a minority ethnic group and geographically peripheral in Nigeria, have been politically, economically and socially marginalized for generations. Using ethnographic methods in studying selected indigenous musical bands (Gogoke, Gigoyoyo, Kristitin and Akran Ajogan), a biographical sketch of master drummer Hunpe Hunga, and an applied ethnomusicology method of collaborative music composition and arrangement, I chronicle the musical heritage of Badagry Ogu people. In addition, I suggest an approach for its recontextualisation into different creative economies. I engage Thomas Turino's framework for identity and social analysis, including the concepts of cultural cohorts and cultural formations, in exploring the different attitudes, among Badagry Ogu people, towards indigenous music. I advocate for and outline a contemporary approach for musical recontextualisation as a means of inclusivity and economically empowering performers of indigenous Ogu music in Badagry. This thesis includes my additional arrangements to the studio recordings of Gogoke. The recontextualisation process, which commenced with Gogoke's recording of indigenous instruments and vocals in Badagry Lagos Nigeria, reached its full fruition in the overdubs of Western musical instruments in Cape Town, South Africa. To further explore the theme of inclusivity, I examine current gender practices in Ogu communities evident in the gendered musical practices of contemporary Badagry. With its indepth analysis of Ogu genres, musical instruments, gender issues and a framework for recontextualising African indigenous musics, this thesis, while filling the gap in the study of ethnic minorities in Nigeria, is a significant contribution of the nuanced artistic practices of Badagry Ogu people to African music scholarship.
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Leite, Matheus de Carvalho. "Música, comunidade e escola : relações vividas por professores não-especialistas em música." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/97690.
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O objetivo da pesquisa foi desvelar práticas musicais dos professores na comunidade e na escola, focando as relações entre a música, a escola e a comunidade. A metodologia adotada foi o estudo de caso, tomando como aportes teóricos reflexões de Setton (2010), Forquin (1993), Bozon (2000) e Souza (2012). As práticas musicais dos professores incluem o ato da escuta musical, as preferências musicais, a prática do canto, as experiências com aulas de Música, a prática de tocar ou não um instrumento musical, a participação em atividades musicais, interações com as bandas e conjuntos em atividade na comunidade, a percepção e a inserção em relação aos diferentes espaços onde a música está presente nas comunidades, os profissionais que trabalham com música em sala de aula, o quanto são contextualizadas em sua prática docente em sala de aula as experiências musicais dos alunos e dos professores. Os resultados contribuem para as atuais discussões no Brasil relativas ao contexto da Lei Federal no 11.769, de 2008, a respeito de práticas musicais e pedagógicas de professores nãoespecialistas em Música.The objective of this research was to unveil the musical practices of teachers in the community and at school discussing the relationship between music, school and community. The methodology adopted was the case study, taking as theoretical support reflections upon Setton (2010), Forquin (1994), Bozon (2000) and Souza (2012). The musical practices of teachers include the act of music listening, musical preferences, the practice of singing, experiments with music lessons, practice playing a musical instrument or not, participation in musical activities, interactions with bands and ensembles active in community, awareness and inclusion in relation to the different spaces where music is present in communities, professionals who work with music in the classroom, how that in their teaching practice in the classroom musical experiences of students and teachers are contextualized. The results contributes to current discussions in Brazil relating to the context of Federal Law. º to 11.769/08 regarding the musical and pedagogical practices of teachers non-specialist in music.
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Rodríguez, Suárez Roberto Alexis. "Gusto musical y espacio social juvenil. Prácticas musicales en Barcelona y Trójmiasto." Doctoral thesis, Universitat Rovira i Virgili, 2014. http://hdl.handle.net/10803/461979.
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La tesi té com a objectiu general estudiar les pràctiques musicals de joves habitants o en trànsit a les ciutats de Barcelona i Trójmiasto. La intenció és poder desvetllar lògiques de sentit i identitat cultural que es generen a través d'aquestes. L'aproximació a l'estudi del gust i l'espai social juvenil intenta participar en els debats actuals en aquestes àrees, desenvolupant una aproximació teòric-metodològica a través d'un estudi sobre les pràctiques musicals vistes des de les trajectòries biogràfiques. Buscant contribuir en la comprensió del procés de socialització, les divisions i distincions socials que constitueixen la cultura popular contemporània.
Aquesta recerca es basa en l'anàlisi qualitativa de dades etnogràfiques recollits a Barcelona i en Trójmiasto. Les entrevistes en profunditat han estat el principal instrument per a l'obtenció de dades per a aquest estudi. Però també es va recórrer a l'observació participant, a fonts secundàries i una combinació d'acostaments i tècniques d'anàlisis.Els principals resultats de la recerca van revelar com el gust musical és un punt d'ancoratge l'anàlisi del qual ens va permetre aportar comprensió i triangular els processos de mediació entre les diferents instàncies socials en els quals es creen estratègies quotidianes per a la conformació del gust musical. La tesi en el seu conjunt va demostrar la utilitat de posar en el centre de l'anàlisi a observar què classe de coses fan les persones en relació a la música i quina classe de discursos creen les persones en relació a la música. I d'aquesta manera hem pogut pensar al gust musical com un procés i no com un objecte. Ho vam poder presentar en aquesta tesi des de les seves vinculacions a través de les biografies des d'una aproximació en la qual el gust constitueix una pràctica corporal, col·lectiva i instrumentada.La tesis tiene como objetivo general estudiar las prácticas musicales de jóvenes habitantes o en tránsito en las ciudades de Barcelona y Trójmiasto. La intención es poder desvelar lógicas de sentido e identidad cultural que se generan a través de éstas. La aproximación al estudio del gusto y el espacio social juvenil intenta participar en los debates actuales en estas áreas, desarrollando una aproximación teórico-metodológica a través de un estudio sobre las prácticas musicales vistas desde las trayectorias biográficas. Buscando contribuir en la comprensión del proceso de socialización, las divisiones y distinciones sociales que constituyen la cultura popular contemporánea. Esta investigación se basa en el análisis cualitativo de datos etnográficos recogidos en Barcelona y en Trójmiasto. Las entrevistas en profundidad han sido el principal instrumento para la obtención de datos para este estudio. Pero también se recurrió a la observación participante, a fuentes secundarias y una combinación de acercamientos y técnicas de análisis. Los principales resultados de la investigación revelaron como el gusto musical es un punto de anclaje cuyo análisis nos permitió aportar comprensión y triangular los procesos de mediación entre las diferentes instancias sociales en los que se crean estrategias cotidianas para la conformación del gusto musical. La tesis en su conjunto demostró la utilidad de poner en el centro del análisis en observar qué clase de cosas hacen las personas en relación a la música y qué clase de discursos crean las personas en relación a la música. Y de esa manera hemos podido pensar al gusto musical como un proceso y no como un objeto. Lo pudimos presentar en esta tesis desde sus vinculaciones a través de las biografías desde una aproximación en la que el gusto constituye una práctica corporal, colectiva e instrumentada.
The thesis has the overall aim to study the musical practices of young people in the cities of Barcelona and Trójmiasto. The intention is to analyse meaning-making and cultural identity that are generated through them. The approach to the study of taste and youth social space seeks to participate in current debates in these areas, developing a theoretical-methodological approach through a study of musical practices from the biographical trajectories. We are seeking understanding the process of socialization, social divisions and distinctions that constitute contemporary popular culture. This research is based on qualitative analysis of ethnographic data collected in Barcelona and Trójmiasto. In-depth interviews have been the main instrument for data collection for this study. But participant observation, secondary sources and a combination of approaches and analytical techniques were also used. The main results of the research revealed musical taste is an anchor point whose analysis allowed us to bring understanding and perspective to study mediation processes between different social instances in which everyday strategies are set to shape musical tastes. The thesis as a whole demonstrates the usefulness of putting at the center of analysis a scope at what kinds of things people do in relation to music and what kind of discourses people create in relation to music. Thus we presented musical taste as a process rather than an object. In this thesis musical taste is understood from its links through the biographies from an approach in which the taste is an embodied, instrumented and collective practice.
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Stevens, Melissa A. "Marcel Tabuteau : pedagogical concepts and practices for teaching musical expressiveness : an oral history /." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225392470.
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Malley, Nicole Edwards. "The sound that sells: the musical and improvisatory practices of the American auctioneer." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2936.
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The American auctioneer is an improvising musician whose practice both directs and is shaped by the actions of the bidding audience in a participatory musical performance. The rapid, often unintelligible chant of the auctioneer represents a sophisticated set of musical skills employed for the purpose of economic transaction. This dissertation examines the musical and improvisatory practices of the auction chant, or bid-call, through analysis of pitch, melodic structures, rhythm, and meter as functions of an oral formulaic and creative process. The study draws upon ethnographic, archival, linguistic, and cultural studies in order to assess the extent to which discrete musical characteristics of the chant serve the socio-economic purposes of the auction. Auctioneers' embedded musical and linguistic patterns are acquired through a practice-based pedagogical method and are treated flexibly such that the chant remains unpredictable and exciting to the listener. While the monotone chant serves as the foundation of the bid-call, auxiliary pitches (most often pentatonic or major scale subsets) offer melodic variety and function in a fulcrum relationship to the "hum." Likewise, auctioneers establish a "referential" meter wherein a single metrical organization of the pulse returns repeatedly, alternating with expansions or contractions of that fundamental meter. Listeners are entrained to expect musical consistency, but through disruptions of familiar musical patterns, the auctioneer focuses bidder attention on the chant rather than the realities of the economic transaction in progress. Ethnographic research with auctioneers throughout the United States and archival recordings of live auctions dating back to the 1940s reveal that many characteristics of chant practice are shared among auctioneers; however, stylistic practices vary based on sales type (livestock, real estate, agricultural equipment, estate, etc.). In all auction types, the bid-call offers a heightened emotional experience for the attendees and an opportunity for audience participation and musical agency.
Books on the topic "Musical practices"
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Going for jazz: Musical practices and American ideology. Chicago: University of Chicago Press, 2001.
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MENC, the National Association for Music Education (U.S.), ed. Engaging musical practices: A sourcebook for middle school general music. Lanham, Md: Rowman & Littlefield Education, 2012.
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The indispensable harp: Historical development, modern roles, configurations, and performance practices in Ecuador and Latin America. Kent, Ohio: Kent State University Press, 1992.
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Ibn al-Nadīm al-Mawṣilī, Isḥāq ibn Ibrāhīm, 771 or 2-849 or 50, Abū al-Faraj al-Iṣbahānī, 897 or 8-967, Ibn Khurradādhbih, ʻUbayd Allāh ibn ʻAbd Allāh, ca. 820-ca. 912, Baṭalyawsī, ʻAbd Allāh ibn Muḥammad, 1052 or 3-1127, Kindī d. ca 873, and Fārābī, eds. Rhythmic theories and practices in Arabic writings to 339 AH/950 CE: Annotated translations and commentaries. Ottawa: Institute of Mediaeval Music, 2009.
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Ssanggyesa ŭmak kihaeng. Kyonggi-do P'aju-si: T'aehaksa, 2005.
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T, Smith Carl. Nothin' left to lose. Columbia, S.C: Summerhouse Press, 1999.
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Sŏnamsa ŭmak kihaeng. Kyŏnggi-do P'aju-si: T'aehaksa, 2005.
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Musical creativities in practice. Oxford: Oxford University Press, 2012.
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1978-, Gibson Kirsten, ed. Masculinity and western musical practice. Burlington, VT: Ashgate, 2008.
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The practice of practice. [Chicago, Illinois]: Sol UT Press, 2014.
Find full textBook chapters on the topic "Musical practices"
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Racy, A. J. "Improvisation in Arab Musical Practices." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 462–72. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-36.
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Noone, Michael. "An Early Seventeenth-Century Source for Performing Practices at Toledo Cathedral." In Epitome musical, 155–67. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.em-eb.3.2688.
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Marsh, Kathryn. "Sounding Children’s (Inter-)Cultural Practices Through Musical Play." In Teaching Music Creatively, 12–25. Second edition. | Abingdon, Oxon ; New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315643298-2.
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Targa, Marco. "Improvisation practices in Beethoven’s Kleinere Stücke." In Musical Improvisation and Open Forms in the Age of Beethoven, 178–92. Milton Park, Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315406381-11.
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Schei, Tiri Bergesen, and Elin Eriksen Ødegaard. "Musical Exploration in Everyday Practices – Identifying Transition Points in Musicking." In International Perspectives on Early Childhood Education and Development, 159–72. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36271-3_10.
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Yardley, Anne Bagnall. "Everyday Musical Practices: Psalters, Hours, and the Office of the Dead." In Performing Piety, 95–111. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-05733-4_5.
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Weber, Ryan R. "Cosmopolitan Practices: Grieg, Grainger, and the Search for a Musical Analogue." In Cosmopolitanism and Transatlantic Circles in Music and Literature, 113–50. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01860-3_4.
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Masago, Koji, Mizuho Amo, Shun Nishide, Xin Kang, and Fuji Ren. "Generation of Musical Scores from Chord Sequences Using Neurodynamic Model." In Trends in Artificial Intelligence Theory and Applications. Artificial Intelligence Practices, 638–48. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55789-8_55.
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Hildebrand Marques Lopes, Dominik, Hannes Hoelzl, and Alberto de Campo. "Three Flavors of Post-Instrumentalities: The Musical Practices of, and a Many-Festo by Trio Brachiale." In Musical Instruments in the 21st Century, 335–60. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-2951-6_22.
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Leonard, Kendra Preston. "Cue Sheets, Musical Suggestions, and Performance Practices for Hollywood Films, 1908–1927." In Music and Sound in Silent Film, 45–60. New York : Routledge, 2019. | Series: Routledge music and screen media series: Routledge, 2018. http://dx.doi.org/10.4324/9781315276274-3.
Full textConference papers on the topic "Musical practices"
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E Silva, Gabriel, and Clayton Mamedes. "Reflection and practice on generative music structuring: the formal problem of ergodicity." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10428.
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This article approaches the subject of musical form from the standpoint of an algorithmic composition practice. It introduces the problem of ergodicity in music, a formal situation at which music development is perceived as static. The concepts of General Periodicity by Henri Pousseur and Temporal Gestalt by James Tenney gave support to a reflection on the nature of the problem, as well as to formulate a twofold structuring procedure based on ideas of continuity and segmentation of the musical course. The devised method was implemented as a computer program to produce entire pieces of music.
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.
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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Vidulin, Sabina. "MUSIC TEACHING AND LISTENING TO ART MUSIC IN THE FUNCTION OF STUDENTS’ HOLISTIC DEVELOPMENT." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.391v.
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Music is a part of a child’s everyday life. In family and in preschool institutions, its function is different from the one in school. Music teaching influences the overall students’ development, which can be seen from a pedagogical and artistic perspective. It is aimed at acquiring knowledge and developing students’ skills in the field of art; it encourages aesthetic education, but also the preservation of historical and cultural heritage. The domain in which this is mostly realized is listening to music and music understanding. With the intention of bringing art music closer to children and young people, its more intense experiencing and understanding, the paper points to the necessity for an interdisciplinary and correlative relationship of music with other subjects, but also musical activities with each other. Since the author intends to indicate the importance of creating new didactical strategies for music teaching lessons, the Stage-English-Music concepts, the Listening to Music-Music Making model and the Cognitive-emotional approach to listening to music are briefly described. These strategies for the improvement of music listening are based on an interdisciplinary and intradisciplinary approach, depending on whether they include extracurricular activities in the work (e.g. English and drama education), or the work is carried out within musical activities such as singing, playing, or dancing with musicologically, but also humanistically oriented outcomes. Practice and research indicate that in addition to acquiring musical knowledge and developing musical skills, multimodal approaches affect students’ holistic development.
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Monnazzi, João, and Regis Faria. "Body Building Music: The Kinase Instalation." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10458.
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Thinking on the congruencies between music and sports, we propose with this art installation some novel paths and connections for music production in a little explored field, in the interdisciplinarity with sports. Some similarities in the acting of musicians and athletes, such as the need of technical domain through discipline and practice. A musician who wants to develop her/his technical skills needs to follow a hard routine of practical studies, focusing in improving motor abilities with the proposing to play the piece in the better way possible. This process has a close proximity with the athlete’s during their preparation. Hours of intense practice to improve some motor skills that can enable them to improve their performance. The disciplines can be interpolated in a way that we can argue: there is always something physical on a music interpretation, as well as there is always something artistic in a sport competition. In the inner area between art/music and sports some modalities are easier to verify this symbiosis, as in the choreographic sports. These modalities are evaluated by both physical and artistic parameters. Our work focus in a particular sport modality that has a part of scoring which is evaluated through a choreographic routine: The Bodybuilding.
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Макашева, М. С., and А. Б. Палымбетова. "ИСПОЛЬЗОВАНИЕ ИНФОРМАЦИОННО- КОММУНИКАЦИОННЫХ ТЕХНОЛОГИЙ НА ОСНОВЕ ДИСТАНЦИОННОГО ОБУЧЕНИЯ В ПРОЦЕССЕ ПОДГОТОВКИ БУДУЩИХ УЧИТЕЛЕЙ МУЗЫКИ." In Proceedings of the XXVI International Scientific and Practical Conference. RS Global Sp. z O.O., 2021. http://dx.doi.org/10.31435/rsglobal_conf/25022021/7423.
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The article deals with the use of information and communication technologies in the process of instrumental training of music teachers based on distance learning. The analysis of comparing and matching different viewpoints of modern teachers from the USA, Russia and Kazakhstan, who explore the issues regarding the use of information and communication technologies in the process of individual music lessons in the context of distance learning, was carried out. The practical guidelines for the use of information and communication technologies in the process of distance learning were developed to improve the performing skills of the future music teacher. Based on the applied research on the use of distance learning in the process of training specialists and practical work in the field of musical and performing pedagogy, the pedagogical terms for the use of information and communication technologies were determined. The analysis of the application possibilities was carried out and the pedagogical terms for the use of information and communication technologies in the training of future music teachers were suggested in this article.
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Kogut, Anna Aleksandrovna. "Musical and Rhythmical Activities in in Kindergarten and School Music Education." In International Scientific and Practical Conference. TSNS Interaktiv Plus, 2020. http://dx.doi.org/10.21661/r-541389.
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Neuwirth, Markus, Johannes Hentschel, and Martin Rohrmeier. "Perspectives of Musical Corpus Studies: The Annotated Mozart Sonatas." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.96.
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This paper discusses the potential of musical corpus studies, taking research on common-practice tonal harmony as a case in point. Based on a brief depiction of a project carried out at the École polytechnique fédérale de Lausanne (EPFL) and two novel datasets of harmonic analyses of music in the classical style, we elaborate on research questions, applications, and the need of extending the annotation standard used.
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Петренко, Татьяна. "ЭСТЕТИКА Б. БАРТОКА И ЕЕ ЗНАЧЕНИЕ ДЛЯ КОМПОЗИТОРСКОЙ ШКОЛЫ УЗБЕКИСТАНА." In Proceedings of the XXIX International Scientific and Practical Conference. RS Global Sp. z O.O., 2021. http://dx.doi.org/10.31435/rsglobal_conf/25052021/7566.
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The ingenious Hungarian composer-innovator B. Bartok in his work solved the super task – the creation of a national musical art based on the active interaction of composer creativity and folk music. This is consistent with the goals of young national composer schools. That is why the work of B. Bartok has such a great influence. In the Central Asian region, interest in the work of the composer appeared in the 1970-1980s. Bartok’s influence is observed in two main aspects – the level of ideas and the use of specific techniques. Moreover, it is especially valuable that Uzbek composers rethink Bartok's innovations in a national spirit.
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Patka, Kiron. "»Ich wollte eigentlich Sängerin werden.« Berufsselbstbilder von Tontechniker*innen im Radio." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.68.
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This article explores a previously understudied field of musical practice: the use and treatment of music in radio journalism. It takes a look at a profession that particularly deals with music on a material level: the sound technicians working at radio stations. By analyzing qualitative interviews this text seeks to gain insight into self-concepts of sound technicians. The results show that the interviewees tend to rate questions of auditory aesthetics more important for their work than technical craft. At the same time, there is evidence that this self-concept only partially coincides with ideas that other authorities have about this profession.
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"The Practice of Postmodern Musical Culture in Chinese Vocal Music." In 2018 International Conference on Arts, Linguistics, Literature and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icallh.2018.79.
Full textReports on the topic "Musical practices"
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Kvalbein, Astrid. Wood or blood? Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481278.
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Wood or Blood? New scores and new sounds for voice and clarinet Astrid Kvalbein and Gjertrud Pedersen, Norwegian Academy of Music What is this thing called a score, and how do we relate to it as performers, in order to realize a musical work? This is the fundamental question of this exposition. As a duo we have related to scores in a variety of ways over the years: from the traditional reading and interpreting of sheet music of works by distant (some dead) composers, to learning new works in dialogue with living composers and to taking part in the creative processes from the commissioning of a work to its premiere and beyond. This reflective practice has triggered many questions: could the score for instance be conceptualized as a contract, in which some elements are negotiable and others are not? Where two equal parts, the performer(s) and the composer might have qualitatively different assignments on how to realize the music? Finally: might reflecting on such questions influence our interpretative practices? To shed light on these issues, we take as examples three works from our recent repertoire: Ragnhild Berstad’s Vevtråd (Weaving thread, 2010), Jan Martin Smørdal’s The Lesser Nighthawk (2012) and Lene Grenager’s Tre eller blod (Wood or blood, 2005). We will share – attempt to unfold – some of the experiences gained from working with this music, in close collaboration and dialogue with the composers. Observing the processes from a certain temporal distance, we see how our attitudes as a duo has developed over a longer span of time, into a more confident 'we'.
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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.
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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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Crispin, Darla. Artistic Research as a Process of Unfolding. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.503395.
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As artistic research work in various disciplines and national contexts continues to develop, the diversity of approaches to the field becomes ever more apparent. This is to be welcomed, because it keeps alive ideas of plurality and complexity at a particular time in history when the gross oversimplifications and obfuscations of political discourses are compromising the nature of language itself, leading to what several commentators have already called ‘a post-truth’ world. In this brutal environment where ‘information’ is uncoupled from reality and validated only by how loudly and often it is voiced, the artist researcher has a responsibility that goes beyond the confines of our discipline to articulate the truth-content of his or her artistic practice. To do this, they must embrace daring and risk-taking, finding ways of communicating that flow against the current norms. In artistic research, the empathic communication of information and experience – and not merely the ‘verbally empathic’ – is a sign of research transferability, a marker for research content. But this, in some circles, is still a heretical point of view. Research, in its more traditional manifestations mistrusts empathy and individually-incarnated human experience; the researcher, although a sentient being in the world, is expected to behave dispassionately in their professional discourse, and with a distrust for insights that come primarily from instinct. For the construction of empathic systems in which to study and research, our structures still need to change. So, we need to work toward a new world (one that is still not our idea), a world that is symptomatic of what we might like artistic research to be. Risk is one of the elements that helps us to make the conceptual twist that turns subjective, reflexive experience into transpersonal, empathic communication and/or scientifically-viable modes of exchange. It gives us something to work with in engaging with debates because it means that something is at stake. To propose a space where such risks may be taken, I shall revisit Gillian Rose’s metaphor of ‘the fold’ that I analysed in the first Symposium presented by the Arne Nordheim Centre for Artistic Research (NordART) at the Norwegian Academy of Music in November 2015. I shall deepen the exploration of the process of ‘unfolding’, elaborating on my belief in its appropriateness for artistic research work; I shall further suggest that Rose’s metaphor provides a way to bridge some of the gaps of understanding that have already developed between those undertaking artistic research and those working in the more established music disciplines.
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.