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Journal articles on the topic 'Musical prescription'
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1
Whittaker, Adam. "Investigating the canon in A-Level music: Musical prescription in A-level music syllabuses (for first examination in 2018)." British Journal of Music Education 37, no. 1 (November 16, 2018): 17–27. http://dx.doi.org/10.1017/s0265051718000256.
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AbstractThe canon forming the backbone of most conceptions of Western music has been a feature of musical culture for decades, exerting an influence upon musical study in educational settings. In English school contexts, the once perceived superiority of classical music in educational terms has been substantially revised and reconsidered, opening up school curricula to other musical traditions and styles on an increasingly equal basis. However, reforms to GCSE and A-levels (examinations taken aged 16 and 18 respectively), which have taken place from 2010 onwards, have refocused attention on canonic knowledge rather than skills-based learning. In musical terms, this has reinforced the value of ‘prescribed works’ in A-level music specifications.Thus far, little attention has been paid to the extent to which a kind of scholastic canon is maintained in the Western European Art Music section of the listening and appraising units in current A-level music specifications. Though directed in part by guidance from Ofqual (Office of Qualifications and Examinations Regulation, the regulatory body for qualifications in England), there is evidence of a broader cultural trend at work. The present article seeks to compare the historical evidence presented in Robert Legg's 2012 article with current A-level specifications. Such a comparison establishes points of change and similarity in the canon of composers selected for close study in current A-levels, raising questions about the purpose and function of such qualifications.
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Lorenzoni, Valerio, Tijl De Bie, Thierry Marchant, Edith Van Dyck, and Marc Leman. "The effect of (a)synchronous music on runners’ lower leg impact loading." Musicae Scientiae 23, no. 3 (July 20, 2019): 332–47. http://dx.doi.org/10.1177/1029864919847496.
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Running with musical accompaniment is becoming increasingly popular and several pieces of software have been developed that match the music tempo to the exerciser’s running cadence, that is, foot strikes per minute. Synchronizing music with running cadence has been shown to affect several aspects of performance output and perception. The purpose of this study was to investigate the effect of synchronous music on runners’ foot impact loading. This represents the ground reaction force on the runner’s lower leg when the foot impacts the ground and is an important parameter for the prevention of tibial fracture injuries. Twenty-eight participants ran five times for three minutes and 30 seconds with a short break between each run. During the first 30 seconds of each running sequence, participants ran at a self-paced tempo without musical accompaniment, and running speed and cadence were measured. Subsequently, they were requested to keep their reference speed constant for the following three minutes, with the help of three monitoring screens placed along the track. During this part of the experiment, the music was either absent ( No Music), matched to the runner’s cadence ( Tempo-entrained Sync), phase-locked with foot strikes ( Phase-locked Sync), or played at a tempo 30% slower ( Minus 30%) or faster ( Plus 30%) than the initially measured running cadence. No significant differences between synchronous and asynchronous music were retrieved for impact loading. However, a non-negligible average increase of impact level could be observed for running sessions with music compared to running in silence. These findings might be especially relevant for treatment purposes, such as exercise prescription and gait retraining, and should be taken into account when designing musical (re-)training programmes.
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Gilbert, Joel, Sylvain Maugeais, and Christophe Vergez. "Minimal blowing pressure allowing periodic oscillations in a simplified reed musical instrument model: Bouasse-Benade prescription assessed through numerical continuation." Acta Acustica 4, no. 6 (2020): 27. http://dx.doi.org/10.1051/aacus/2020026.
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A reed instrument model with N acoustical modes can be described as a 2N dimensional autonomous nonlinear dynamical system. Here, a simplified model of a reed-like instrument having two quasi-harmonic resonances, represented by a four dimensional dynamical system, is studied using the continuation and bifurcation software AUTO. Bifurcation diagrams of equilibria and periodic solutions are explored with respect to the blowing mouth pressure, with focus on amplitude and frequency evolutions along the different solution branches. Equilibria and periodic regimes are connected through Hopf bifurcations, which are found to be direct or inverse depending on the physical parameters values. Emerging periodic regimes mainly supported by either the first acoustic resonance (first register) or the second acoustic resonance (second register) are successfully identified by the model. An additional periodic branch is also found to emerge from the branch of the second register through a period-doubling bifurcation. The evolution of the oscillation frequency along each branch of the periodic regimes is also predicted by the continuation method. Stability along each branch is computed as well. Some of the results are interpreted in terms of the ease of playing of the reed instrument. The effect of the inharmonicity between the first two impedance peaks is observed both when the amplitude of the first is greater than the second, as well as the inverse case. In both cases, the blowing pressure that results in periodic oscillations has a lowest value when the two resonances are harmonic, a theoretical illustration of the Bouasse-Benade prescription.
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Helitzer, E., and H. Moss. "Group singing for health and wellbeing in the Republic of Ireland: the first national map." Perspectives in Public Health 142, no. 2 (March 2022): 102–16. http://dx.doi.org/10.1177/17579139221081400.
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Aims: (1) To catalogue and map all singing for health and wellbeing groups in the Republic of Ireland (ROI); (2) determine how they prioritise health outcomes; (3) understand what they consider success; and (4) identify gaps in provision. Methods: A novel mixed-methods survey was distributed electronically through SING Ireland (the Choir Association of Ireland), artsandhealth.ie, and to 2736 potential stakeholders with links to singing for health and wellbeing and singing on social prescription (SSP) from October 2020 to April 2021. Thematic analysis was used to analyse four open-ended survey questions. Results: A total of 185 singing for health and wellbeing groups were identified, with varied representation in each of the ROI’s 26 counties. 35 groups were noted to have links to SSP. Gaps in provision for clinical and individual populations and for SSP were identified. Six themes related to the success of group singing for health and wellbeing programmes were determined: fostering and funding social and community connections; the people and the approach; enjoyment and atmosphere; musical and personal growth, programmatic structure and musical content; and the impact of Covid. Conclusion: The first-ever national mapping of group singing for health and wellbeing in the ROI, and one of few internationally, this study may serve as a roadmap for gathering information about existing singing for health and wellbeing provision and identifying geographical and clinical gaps internationally. Recommendations are included for future research to address gaps in provision, explore the feasibility of integrating SSP more widely and for further public health investment.
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Kovtoniuk, Valeriya. "A performing musician’s oeuvre through the prism of phenomenology." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 8–16. http://dx.doi.org/10.34064/khnum1-50.01.
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Background. Continuing trends dated back in the second part of XIX century music culture concentrate on a figure of performing musician. Commercialization an academic art: popularity of performance awards, media supporting for new formats of concert performance, etc. facilitates this largely. Objectives. Public interest conditioned an appearance a lot of scientific research inscribed to problems of musical interpretation. However, a performing oeuvre learning the product, fixation of which even taking to account modern recording capabilities are relative, warrants specific methods. In particular, engaging the conception of values for settlement of a question why performing art products are different with their significance: something becomes a culture phenomenon but something stays at self-actualization level. Methods. For comprehensive study the performing as separate kind of activity it is necessary to involve adjacent humanitaristics areas – psychology and philosophy, which problems of art and it’s osmosis are considered in. In particular, in philosophy art is understood as a kind of human activity aimed at creating new-look material and culture valuables. However, in our perspective more interesting and capacious definition is seem N. Berdyaev’s one: «Art is a human ability to create a new reality from valid material». That picturesque vision of the author’s work, which springs up during an interpretation, often has a wide public interest that let assign to interpretator a status of the creator. Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Sukhlenko). Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Suchlenko). Results. E. Husserl’s phenomenological conception had a great impact not only on XX th century philosophy but on many humanities science especially art history. It led to the fact that there are many definitions of phenomenon concept, which is interpreted as a reflection of world of ideas, an object that is accessible to the senses, a basic holistic unit of what can be isolated from consciousness, external properties and subject concern revealing its essence, etc. A unite part all of definitions is a sensorial perception as a base of human knowledge based on individual experience and ability of consciousness to self observation and reflection. Stickling example of this is a field of artistry, which individual sensorial perception takes such a big part in that identity of the creator, his feelings often become the centerpiece of work. In musical oeuvre, an outward subjectivization is an acoustic convergent thinking. However, musical thesaurus is enough for power of imagining wakening enabling reproducing and combination the phenomenal stored in composer-performer-hearer’s memory. Performing art based on searching the new acoustic and dramatic source material characteristics. Thereat performer’s work algorithm depends largely on personal intention based on world and mental outlook. The scale of performer identity, his internal conviction power whereby he creates the new acoustic reality is able to notably change all the elements of composer’s intention and affect our perception of musical composition. In that understanding, the special aspects of composer’s activities, its interconnection and correlation with his oeuvre are opened in other view. Brilliant performance reformatting an art space composer’s work frequently appropriates him «double authorship». As a result is a phenomenon of identification with the name of great composer: L. Beethoven’s 5th Symphony – G. Von Karajan / L. Stokowski; J. S. Bach’s Goldberg Variations – G. Gould / R. Tureck; F. Сhopin’s works – V. Sofronitsky / V. Horowitz; P. Tchaikovsky – M. Pletnev. Exactly this influence aspect of performing art on the musical culture interested B. Croce who confirmed that musical composition only exists at the time of execution. However, choice the pair «composer-performer» depends up our perception, our readiness to acceptance an alternative artistic concept. Herewith prescription, forming «set» of value orientation of some shared identity: from group of like-minded persons to mass convictions, has a great impact here. The latter’s impact differs under studying a creativity of famous musicians and soi-disant «second place» musicians who fall under external influence easier than others do. Even in the light of constant changes of public conscience, one can highlight some hard values in it that characterize certain social stratums. However, and these value systems undergo a review for a time and modern society reject what was topically a couple decades ago. The result is that fashion phenomenon on performers or performing style appears. Accordingly, to continue to be relevant performing musician needs to have a gust of latest tendencies in art and to able to save value bases of personal mental outlook. Conclusions. The phenomenological approach to the study of the creative activity of a musician-performer allows one to go beyond the theoretic analysis that is traditional for musicology. Acceptance that the product of performing creativity can be defined as a phenomenon, reflecting several vectors of personal communication (dialogue with oneself, with a composer, public, historical epoch), can help not only in understanding the “musical work of the performer”, but also in understanding the phenomenal significance of performers in modern musical culture.
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Chernysheva, Ekaterina N., and Svetlana A. Tyaglova. "FORMATION OF CULTURAL VALUES OF STUDENTS IN THE PROCESSING OF RUSSIAN FOLK SONGS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 223–30. http://dx.doi.org/10.17223/22220836/42/19.
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The article proposes the author's version of the in-depth work with the folk original source, which contributes to the formation of cultural values of students in the course of the Arrangement course of the teaching course Academic Choir at the Tyumen State Institute of Culture. A distinctive feature of the course is the regional component – Russian folk songs of the Tyumen region and the region are used as musical material for student work. As part of the study, we identified the following contradictions: – between the prescription of the State educational standards on interdisciplinary disciplines, the student's ability to navigate in the diversity of culture and the competences offered by the curriculum for the discipline “Arrangement”, which are focused on creating a new creative product; – between the student’s constant need for creative self-realization and the insufficiently high level of his creative skills; – between installations of legislation in the field of education for the education of the individual with a high level of education, morality, and value installations that are incorrectly laid down by the mass culture. Therefore, we position the processing of a folk song not as an end in itself, but as a means of personal involvement of the student in the culture of his people, the transmission of sociocultural experience between generations. The goal of the “Arrangement” course is to create a value attitude of students to Russian culture in the process of creative work with a folk original source (Russian folk song) by expanding the course’s objectives to interdisciplinary and research (problem-searching, creative, heuristic, etc.), activating cognitive and creative activity of students. Formation of students' value attitude to the Russian folk musical culture in the process of creative work with a folk song, we propose to carry out at the following stages: search, motivational-incentive, research, analytical, creative, performing. Through contact with the sample of Russian song and its transformation, a student's interest in his origins, his pedigree, and cultural norms in the way of life and art is awakened. The effectiveness of the formation of cultural values of students through the Russian folk song is determined under the condition of positive motivation and initiative of students to learn cultural values, subject-subject interaction between the teacher and the student, enhancing independent cognitive activity, introducing the student to artistic creativity, creating conditions for self-discovery.
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Garrido, Sandra, Emery Schubert, and Daniel Bangert. "Musical prescriptions for mood improvement: An experimental study." Arts in Psychotherapy 51 (November 2016): 46–53. http://dx.doi.org/10.1016/j.aip.2016.09.002.
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Aguirre Dergal, Alfonso. "Enfoque prescriptivo de la educación musical instrumental." Epistemus. Revista de Estudios en Música, Cognición y Cultura 10, no. 2 (December 14, 2022): 045. http://dx.doi.org/10.24215/18530494e045.
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Si bien en el papel los modelos de enseñanza instrumental han ido migrando paulatinamente hacia una perspectiva de corte constructivista y ecológica, la pedagogía tradicional de enfoque prescriptivo permanece vigente en las aulas de música. En esta, conceptos, teorías y procedimientos tienden a tratarse como normas universales o verdades absolutas. Teniendo como referente las ideas de Michael Polanyi sobre conocimiento tácito, en este artículo se analizan y discuten críticamente implicaciones del enfoque prescriptivo característico del modelo tradicional de enseñanza musical.
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Fiorussi, André. "La diéresis silenciada de Julio Herrera y Reissig." Rhythmica. Revista Española de Métrica Comparada, no. 17 (January 9, 2020): 35. http://dx.doi.org/10.5944/rhythmica.26314.
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Julio Herrera y Reissig (1875-1910) defiende el uso de la “diéresis silenciada” en unas notas que escribió para explicar soluciones adoptadas en la traducción de dos poemas franceses. El concepto de “diéresis silenciada” es el punto de partida para una amplia exposición de la nueva música del verso, constituida por una serie de recursos capaces de promover, en su conjunto, una nueva música para la poesía en lengua española. Este artículo plantea que las notas de Herrera y Reissig sobre el tema cumplen una función táctica que sobrepasa la discusión técnica y normativa y pueden ser interpretadas como una preceptiva y una descripción poética y musical del modernismo hispanoamericano. Las notas evidencian que el ritmo poético no está plenamente inscrito en el texto y que tampoco es independiente de él, sino que se produce históricamente en construcciones complejas, en las que intervienen los diversos miembros de una comunidad siempre dinámica que incluye, entre otros, a poetas, lectores,editores o estudiosos.In his explanatory notes regarding the solutions he adopted for the translation of two French poems, the Uruguayan poet Julio Herrera y Reissig (1875- 1910) defends the use of the “silenced diaeresis”, taking it as the starting point of a large proposition in favor of a new music of verses. Through the concurrent employment of a series of specifi c resources, it would enable the promotion of a new music for poetry in Spanish. This essay argues that Herrera y Reissig’s notes on this subject have a tactical function that goes far beyond technical and normative discussions, and may be interpreted as a prescription for and a description of the music of the so-called Modernist Hispanic-American poetry. His notes lead to the perception that the poetic rhythm is not wholly inscribed in the text, but not altogether independent of the text: it is produced historically, in complex constructs, with the intervention of various members of a constantly dynamic community including poets, readers, editors, scholars.
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Doerksen, Paul F. "Aural-Diagnostic and Prescriptive Skills of Preservice and Expert Instrumental Music Teachers." Journal of Research in Music Education 47, no. 1 (April 1999): 78–88. http://dx.doi.org/10.2307/3345830.
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This study is an investigation of the aural-diagnostic and prescriptive skills of preservice and expert instrumental music teachers. Specifically, the researcher sought to determine how the two groups compared with respect to evaluations for band performances of different music-difficulty and performance-quality levels. Subjects listened to an audiotape recording that comprised four types of performances: Difficult Music and Excellent Performance, Difficult Music and Average Performance, Moderate Music and Excellent Performance, and Moderate Music and Average Performance. For each performance type, subjects responded to four evaluative areas in the investigator-designed Aural-Diagnostic and Prescriptive Skills Test: performance-quality ratings of nine select music elements, rankings of the nine elements, diagnoses of performance problems associated with the weakest-ranked elements, and prescriptions of rehearsal solutions for the diagnosed performance problems. Results indicate that (a) regardless of performance types, preservice teachers rated Intonation lower than did expert teachers; (b) interactions exist among the four performance types for subjects' ratings of Tone Quality, Intonation, Articulation, and Dynamics; and (c) compared to preservice teachers, a higher proportion of expert teachers ranked Blend/Balance and Musical Interpretation as the weakest- performed music elements.
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Bresler, Liora. "Research education shaped by musical sensibilities." British Journal of Music Education 26, no. 1 (March 2009): 7–25. http://dx.doi.org/10.1017/s0265051708008243.
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Based on my own research education courses for doctoral students, I examine the ways in which music provides powerful and rich models for perception, conceptualisation and engagement for both listeners and performers, to cultivate the processes and products of qualitative research in the social science in general, and in music education in particular. I discuss temporality and fluidity, listening and improvisation, originally terms associated with music, and their ramifications for qualitative inquiry. I then present some concrete examples from my research course, not as prescriptions to follow but as invitations for readers to generate their own activities and experiences.
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Lam, Nathan L. "Tonalité grégorienne: Musica recta as Prescriptive Harmony." Music Theory and Analysis (MTA) 7, no. 2 (October 31, 2020): 320–50. http://dx.doi.org/10.11116/mta.7.2.2.
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Late nineteenth-century organist-composers wrote liturgical music dans la tonalité grégorienne based on Niedermeyer and d'Ortigue's chant-accompaniment treatise Traité théorique et pratique de l'accompagnement du plain-chant (1857). The resulting music contained no musica ficta —, especially not raised leading tones in minor—a watershed moment in the nineteenth-century re-emergence of diatonic modality. Focusing on modes 1 and 2 (the Dorian modes) as a case study, part 1 of the essay discusses the historical background of Niedermeyer's treatise, part 2 examines features and theoretical implications therein, part 3 details large modal collections such as Guilmant's Soixante interludes dans la tonalité grégorienne, and part 4 analyses two Dorian marches: one from Guilmant's L'Organiste pratique and one from Gigout's Cent pièces brèves dans la tonalité du plain-chant.
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Agawu, Kofi. "Schubert's Sexuality: A Prescription for Analysis?" 19th-Century Music 17, no. 1 (1993): 79–82. http://dx.doi.org/10.2307/746782.
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Agawu, Kofi. "Schubert's Sexuality: A Prescription for Analysis?" 19th-Century Music 17, no. 1 (July 1993): 79–82. http://dx.doi.org/10.1525/ncm.1993.17.1.02a00060.
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Magnusson, Thor. "Scoring with Code: Composing with algorithmic notation." Organised Sound 19, no. 3 (November 13, 2014): 268–75. http://dx.doi.org/10.1017/s1355771814000259.
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Computer code is a form of notational language. It prescribes actions to be carried out by the computer, often by systems called interpreters. When code is used to write music, we are therefore operating with programming language as a relatively new form of musical notation. Music is a time-based art form and the traditional musical score is a linear chronograph with instructions for an interpreter. Here code and traditional notation are somewhat at odds, since code is written as text, without any representational timeline. This can pose problems, for example for a composer who is working on a section in the middle of a long piece, but has to repeatedly run the code from the beginning or make temporary arrangements to solve this difficulty in the compositional process. In short: code does not come with a timeline but is rather the material used for building timelines. This article explores the context of creating linear ‘code scores’ in the area of musical notation. It presents theThrenoscopeas an example of a system that implements both representational notation and a prescriptive code score.
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Fox, Christopher. "OPENING OFFER OR CONTRACTUAL OBLIGATION? ON THE PRESCRIPTIVE FUNCTION OF NOTATION IN MUSIC TODAY." Tempo 68, no. 269 (June 16, 2014): 6–19. http://dx.doi.org/10.1017/s0040298214000023.
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AbstractThis article explores some of the diverse forms that musical notation has assumed in the early twenty-first century and discusses its use along a broad spectrum of creative intention, which includes visual representation of sounds, verbal lists of instructions or provocations, and much else. Drawing upon his own experience as a composer, and on studies of the work of composers both older and younger (Stockhausen, Lucier, Wolff; Molitor, Lely), the author examines the changing meanings of notes, staves and clefs, and the possibilities of graphic scores, text scores, and hybrid forms of notation.
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Pramudyo, Gani Nur, and Tamara Adriani Salim. "Tinjauan sistematis tentang preservasi warisan musik." Berkala Ilmu Perpustakaan dan Informasi 17, no. 1 (June 8, 2021): 40–55. http://dx.doi.org/10.22146/bip.v17i1.1266.
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Introduction. The awareness of musical heritage shows an effort of preservation that performed by composers, musicians, performers, archivists, conservators, local society, community archivists, and government.
Data Collection Methods. The paper used a systematic review method with a qualitative approach represented by literature from Taylor & Francis database.
Data Analysis. A multi-stage exclusion process showed nine articles for further review. An analytical grid/chart was used to systematize the most relevant information of the selected articles. A tree illustration (including roots, trunk, and leaves) was used to represent the main idea of each article.
Results and Discussion. The raised awareness of the importance of preservation can be supported by creating the music projects, promoting music for tourism, and music repackaging. We categorize seveal aspects of preserving heritage music such as 1) understanding the integrity of the original trace and media, 2) combining prescriptive & descriptive documentation 3) musical repackaging method, and 4) using Art Glove device.
Conclusion. A synthesis of proposals was developed to illustrate the musical heritage preservation that represents ideas of selected articles that have been reviewed. In addition, this study also allows the researchers to identify gaps in the literature and research directions.
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Helitzer, Elizabeth, Amy Clements-Cortes, and Hilary Moss. "Group singing on social prescription: A scoping review." Music and Medicine 14, no. 4 (October 30, 2022): 226–37. http://dx.doi.org/10.47513/mmd.v14i4.849.
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The aim of this international scoping review was to assess the evidence of group singing as a form of social prescription. While efforts have grown over the last two decades to catalogue and evaluate the health benefits of arts and cultural activities as part of social prescribing, there has been limited exploration into group singing on social prescription, specifically. Given the growing body of research supporting the health and wellbeing gains of both group singing and social prescribing, this first scoping review is needed and timely. Published evidence is very limited at the moment, and only nine studies met the eligibility requirements. Identified barriers to wider integration of singing on prescription included lack of formalization of the social prescribing process, challenges solidifying buy-in from general practitioners and other healthcare professionals, difficulties sustaining funding, and shifts to organizational structure resulting in staff changeover and loss of institutional knowledge. Recommendations for future research, wider implementation of singing on social prescription and standardization of evaluation methods are included.
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Reyner, Igor R. "Listening Through Language: Jean-Luc Nancy and Pierre Schaeffer." Paragraph 44, no. 2 (July 2021): 176–91. http://dx.doi.org/10.3366/para.2021.0364.
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This article addresses the role of auditory-related verbs in the work of Jean-Luc Nancy and Pierre Schaeffer in order to shed light on a broader tendency in French thought. Through a comparative reading of the ways in which Nancy, in Listening, and Schaeffer, in Treatise on Musical Objects, mobilize verbs such as écouter and entendre, I connect the issue of language to debates about descriptive and prescriptive approaches towards listening. Drawing on the Dictionary of Untranslatables, I argue that Nancy's and Schaeffer's engagements with listening can be mapped onto historical modes of framing politics and ethics, which are also characterized by descriptive and prescriptive approaches. By showing how theories of listening connect to political and ethical debates, this study discusses the ideological instrumentalization of listening as opposed to more descriptive and exploratory forms of engagement in the auditory and the faculty of the ear.
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Kanno, Mieko. "Prescriptive notation: Limits and challenges." Contemporary Music Review 26, no. 2 (April 2007): 231–54. http://dx.doi.org/10.1080/07494460701250890.
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Vives, Jean-Michel. "Protéger contre quoi ? Prescriptions musicales et jouissance lyrique au sein de l’église catholique." Topique 145, no. 1 (2019): 39. http://dx.doi.org/10.3917/top.145.0039.
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Austern, Linda Phyllis. "“Sing Againe Syren“: The Female Musician and Sexual Enchantment in Elizabethan Life and Literature*." Renaissance Quarterly 42, no. 3 (1989): 420–48. http://dx.doi.org/10.2307/2862078.
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To Elizabethan observers in many disciplines, feminine beauty and music offered parallel benefits and dangers that influenced prescriptions for the actual musical behavior of contemporary Englishwomen and also the development of stock literary situations in which female musicians either caused spiritual fulfillment or physical destruction. Conflicting ideologies, based on the most respected ancient authorities and contemporary observers, attributed similarly opposite aspects to women and music, which had both come to be regarded as earthly embodiments of the divine and the damning by the final part of the sixteenth century. Women, who possessed the natures of both Mary and Eve, were regarded as agents alternately of salvation and destruction even as music was perceived as an inspiration to both heavenly rapture and carnal lust.
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Head, Matthew. ""If the Pretty Little Hand Won't Stretch": Music for the Fair Sex in Eighteenth-Century Germany." Journal of the American Musicological Society 52, no. 2 (1999): 203–54. http://dx.doi.org/10.2307/831998.
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The image of the young lady at music is part of the mythology of the eighteenth century, nostalgically summoning a bygone era in European manners. How should such images be read, and to what uses are they put in the construction of the past and the present? Richard Leppert appeals to eighteenth-century iconography to argue the disciplinary function of music on women. This article extends Leppert's arguments in a newly uncovered repertory of songs and keyboard works published in eighteenth-century Germany "for the fair sex." Moving between prescriptions about musical practice specifically and women's character and place in the world more broadly, this music evinces cautionary and disciplinary rhetorics that accord with Leppert's readings. But whereas Leppert deals with paintings-more or less official representations-musical performance and reception complicate the picture. In performance, music offers possibilities for negotiation. On closer examination, instrumental music for the fair sex reveals a complex web of generic and stylistic motifs that undermine the manifest rhetoric of easiness and simplicity in the repertory and invoke the professional and public spheres. Questioning as well as espousing virtue, and haunted by the figure of the rake, songs for ladies reflect the instability in the emergent discourses of bourgeois femininity and the private sphere.
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Lee-De Amici, Beth Anne. "“Et le moyen plain de paine et tristesse”: Solution, Symbology, and Context in Ockeghem's “Prenez sur moi”." Journal of Musicology 28, no. 4 (2011): 369–417. http://dx.doi.org/10.1525/jm.2011.28.4.369.
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For five hundred years, scholars, theorists, and performers have searched for solutions to the puzzles encoded in Ockeghem's “Prenez sur moi.” Most of the literature to date has concentrated on the opening pitches and matters of mode. Much less attention has been paid either to the text or to the illumination found in the sole surviving contemporary source, the Copenhagen Chansonnier. This article explores connections among text, music, and illumination in an attempt to go beyond prescriptions for performance and instead to explain what the canon might have meant to Ockeghem and his contemporaries. In particular, Ockeghem seems to have drawn on the line “et le moyen plain de paine et tristesse” (and the middle full of pain and sorrow) as inspiration for a series of complex references to center, symmetry, and mirror image in the canon’s musical structure and solmization. The illumination in the Copenhagen Chansonnier also appears to participate in these references, as well as to demonstrate connections to other aspects of medieval French court culture, in particular the Roman de la rose and astrology/astronomy. Further, Ockeghem's explorations of center, symmetry, and mirror image allow us to posit that “Prenez sur moi” may be construed as a musical labyrinth.
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Kim-Boyle, David. "REFRAMING THE LISTENING EXPERIENCE THROUGH THE PROJECTED SCORE." Tempo 72, no. 284 (March 20, 2018): 37–50. http://dx.doi.org/10.1017/s0040298217001243.
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ABSTRACTOver the past ten years, performance scores have been radically foregrounded in a variety of performance practices. Whether such notations assume a prescriptive function, visually projected for musicians to interpret, or a descriptive one, unfolding as a documentation of a live coding performance, how might such a foregrounding reframe the listening process for an audience? Does a notational schema help promote a deeper, structural level understanding of a musical work? This article will consider these various questions, exploring how principles of graphic design and the transparency of notation contribute to the listening experience. It will suggest that works featuring projected scores find aesthetic value in the juxtaposition of notation's traditionally mnemonic function and the unique temporal modalities that projected scores establish.
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MacDonald, Calum. "‘Tutt' ora vivente’: Petrassi and the concerto principle." Tempo, no. 194 (October 1995): 2–11. http://dx.doi.org/10.1017/s0040298200004472.
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Italian masters seem habitually to survive to a ripe old age. The proverbial example is Verdi, dying at 87, but Gianfrancesco Malipiero had turned 91 by his death in 1973, and his longevity has now been equalled, and seems likely to be surpassed, by Goffredo Petrassi. Long an eminent and respected figure in Italian musical life, and routinely named in the reference books as a significant 20th-century composer, Petrassi has never been well known in this country. His international reputation was at its height in the 1950s and 60s, and probably reached its apogee here with the London premiere, in 1957, of his Sixth Concerto for Orchestra, commissioned by the BBC for the 10th anniversary of the Third Programme. During those decades he travelled, conducted and adjudicated widely; he was closely associated with the ISCM (and was its President in the years 1954–56); as Professor of Composition at the Conservatorio di Santa Cecilia in Rome, he exercised a powerful influence on his country's musical life. He is especially celebrated as a teacher: his Italian pupils have included Aldo Clementi, Riccardo Malipiero, the film composer Enrico Morricone and the conductor Zoltán Pesko, but composers of many nations have studied with him. Among his British pupils, one need only instance Peter Maxwell Davies, Cornelius Cardew, and the late Kenneth Leighton to see that his teaching was never stylistically prescriptive.
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Stuart, Susan A. J., and Chris Dobbyn. "A Kantian Prescription for Artificial Conscious Experience." Leonardo 35, no. 4 (August 2002): 407–11. http://dx.doi.org/10.1162/002409402760181213.
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Research in artificial intelli-gence, artificial life and cogni-tive science has not yet provided answers to any of the most perplexing questions about the mind, such as the nature of consciousness or of the self; in this article the authors make a suggestion for a new approach. They begin by setting their project in the broader cognitive science context and argue that little recent research adequately addresses the question of what are the necessary requirements for conscious experience to be possible. Kant addresses this question in his transcendental psychology, and although Kant's work is now over 200 years old the authors believe his approach is worthy of re-examination in the current debate about the mind.
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Berry, David. "The Meaning[s] of "Without": An Exploration of Liszt's Bagatelle ohne Tonart." 19th-Century Music 27, no. 3 (2004): 230–62. http://dx.doi.org/10.1525/ncm.2004.27.3.230.
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In this essay, I explore historical and theoretical issues germane to an understanding of an 1885 piano composition with an intriguing title: LisztÕs Bagatelle ohne Tonart--a bagatelle "without tonality" or "without a key." After briefly describing the workÕs history and musical associations with other compositions by Liszt, I survey two present-day approaches that reveal ways in which the work defies tonality: octatonic interpretations via set-class examinations, and Schenker-influenced prolongational models. I then turn to focus instead on how the Bagatelle fit within the framework of nineteenth-century musical thought; how its processes were supported by contemporaneously evolving theories of chromaticism. Partly through an analysis based on the practice of Gottfried Weber (1779-1839), I demonstrate that the Bagatelle is not a piece "without tonality" as much as it is one "without the fulfillment of the tonic." It maintains harmonic tension by avoiding anticipated resolutions, as well as by preserving a sense of ambiguity as to what the actual "missing" key is. Next, I consider why Liszt was prompted to write a piece in such a manner. We know that he was a proponent of musical progress--of Zukunftsmusik ("music of the future")--but for this fact to be relevant we must confirm, first, that Liszt had definite ideas about a Zukunftsharmoniesystem; and second, that such a system is reflected in the processes exhibited by the Bagatelle. I argue that the BagatelleÕs traits are indeed in accordance with theoretical views about musicÕs future direction, to which Liszt subscribed. Relevant theories of Karl Friedrich Weitzmann (1808-80) and Franois-Joseph FŽtis (1784-1871) are assessed. Lastly, in a "Schoenbergian epilogue" I explore connections between LisztÕs operations and SchoenbergÕs ideas, addressing historical associations that conjoin their views of composing "ohne Tonart."I conclude that the 1885 BagatelleÕs attenuation of tonality was part of a tradition that extended from the mid-nineteenth into the early twentieth century--one that stretched from Liszt and his contemporaries through Schoenberg and his pupils and beyond, embracing along the way the theoretical prescriptions of Weitzmann, FŽtis, and Schoenberg himself. The various threads of theory and analysis explored in this article contribute to an understanding of the same strand of musical evolution: the increasing circumvention of tonality to the point that a piece could be written "ohne Tonart."
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Chiu, Remi. "MUSIC, PESTILENCE AND TWO SETTINGS OF O BEATE SEBASTIANE." Early Music History 31 (2012): 153–88. http://dx.doi.org/10.1017/s0261127912000022.
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This essay examines the role of music in the late-medieval and Renaissance response to plague. According to doctors, the mere thought of plague could bring on the disease; they therefore prescribed joyful music to distract the mind from insidious imaginings and to counteract the harmful effects of fear. The prescription for music, however, was not unequivocal. Some spiritual authorities looked suspiciously upon music's role as anti-pestilential remedy. These competing discourses inform a reading of Johannes Martini's and Gaspar van Weerbeke's settings of O beate Sebastiane, motets that petition St Sebastian, the premier plague saint of the Renaissance, for divine intervention against pestilence.
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Redhead, Lauren, Alistair Zaldua, Steve Gisby, and Sophie Stone. "Performing temporal processes." New Sound, no. 50-2 (2017): 113–27. http://dx.doi.org/10.5937/newso1750113r.
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This article explores the way that the performance of temporal processes in recent contemporary music reveals something about the nature of musical time. Process music deals with time as a part of its material, offering the opportunity to experience time as time: the expression and experience of units of time that are defined by, and enclose, processes, in works whose forms are defined by their durations. This experience of musical time has been described by Kramer as 'vertical time' (1981/1988): the extended perception of a single moment. Such an experience can be identified in Gisby's Iterative Music (2012-) and Zaldua's Foreign Languages (2013-17). The moment-to-moment sonic details of the works are undefined and are discoverable only as they unfold, highlighting the unpredictability of sometimes highly prescriptive music. Bergson's (1889;1910) Time and Free Will outlines the distinction between time as units of duration and 'real duration', which is the experience of time passing in the present. In the latter case, "several conscious states are organized into a whole, permeate one another, gradually gain a richer content" (1910, 122). The duration of Spahlinger's Eigenzeit from Vorslage (1992-93) is determined by its processes, which are undetermined until they are enacted. Stone furthers this in As sure as time... (2016-) by imagining each performance as a unit of duration in a theoretical meta-performance. These pieces show how the performance of the temporal process makes concrete the quantitative nature of duration and shifts the focus of the listener to vertical time.
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O'Neill, Susan A. "Commentary: Considering Assumptions in Associations Between Music Preferences and Empathy-Related Responding." Empirical Musicology Review 10, no. 1-2 (April 8, 2015): 71. http://dx.doi.org/10.18061/emr.v10i1-2.4571.
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<p>This commentary considers some of the assumptions underpinning the study by Clark and Giacomantonio (2015). Their exploratory study examined relationships between young people’s music preferences and their cognitive and affective empathy-related responses. First, the prescriptive assumption that music preferences can be measured according to how often an individual listens to a particular music genre is considered within axiology or value theory as a multidimensional construct (general, specific, and functional values). This is followed by a consideration of the causal assumption that if we increase young people’s empathy through exposure to prosocial song lyrics this will increase their prosocial behavior. It is suggested that the predictive power of musical preferences on empathy-related responding might benefit from a consideration of the larger pattern of psychological and subjective wellbeing within the context of developmental regulation across ontogeny that involves mutually influential individual–context relations.</p>
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Kim, David Hyun-Su. "The Brahmsian Hairpin." 19th-Century Music 36, no. 1 (2012): 46–57. http://dx.doi.org/10.1525/ncm.2012.36.1.046.
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Abstract Hairpins, the notation symbols < and >, are today universally accepted as equivalent to the markings crescendo and diminuendo, calling for an increase or decrease in volume. This view is irreconcilable with the scores of the core German repertoire of the nineteenth century. This article offers a new understanding of hairpins based on careful examination of the scores of Brahms and of early-twentieth-century recordings by artists close to him. In Brahms's milieu hairpins did not prescribe sounds, but rather described meanings. The difference between prescription and description is central, suggesting that instead of “growing louder/quieter,” hairpins are better understood as “becoming more/less.” The means by which “more/less” was realized by nineteenth-century musicians included many techniques beyond dynamics, most notably agogic inflection.
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Saupic, T., C. Beitz, E. Meunier, and C. Duclos. "Le soin Berceuses : dynamiques d’un dispositif de soin psychocorporel mère-bébé." European Psychiatry 30, S2 (November 2015): S71. http://dx.doi.org/10.1016/j.eurpsy.2015.09.336.
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Le soin Berceuses fait partie des soins psychocorporels proposés à l’unité Parents-Bébé de l’hôpital de Montfavet (qui associe une offre des soins ambulatoires et une capacité d’hospitalisation conjointe de jour), où sont présentes des parents en difficulté dans leur rencontre avec leur bébé, présentant des troubles psychiques. L’ambition du soin Berceuses est de contribuer à favoriser l’établissement des premiers liens. Les dyades/triades participent au soin Berceuses selon la prescription médicale (six séances renouvelables) ; les indications et les évaluations sont discutées en réunion clinique avant l’entretien médical. Deux groupes de soin Berceuses hebdomadaire, avec un maximum de cinq dyades sont proposés, d’une durée d’une heure. Ce soin qui partage à l’amélioration de l’ajustage et de l’accordage dans la relation précoce, est assuré par 2 soignantes et une intervenante musicale, et se déroule en six phases (accueil, éveil corporel, chant de berceuses, verbalisation, départ, reprise). Les soins psychocorporels sont accompagnés d’entretiens par les psychologues de l’unité. Le soin Berceuses est en permanente évolution en lien avec un travail de réflexion d’équipe selon la méthode d’observation d’Esther Bick. Cela afin de permettre la transformation du vécu émotionnel.
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Filocamo, Gioia. "Bolognese ‘Orations’ between Song and Silence: The <i>Laude</i> of the Confraternity of Santa Maria della Morte." Confraternitas 26, no. 2 (November 24, 2016): 3–17. http://dx.doi.org/10.33137/confrat.v26i2.27242.
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The flagellant confraternity of “Santa Maria della Morte” (Saint Mary of Death) in Bologna, established in 1336, was the first institution to systematically take care of the spiritual needs of those sentenced to death. This charitable activity, highly professionalized, followed a set of prescriptive procedures described in the confraternity’s manual, which has come down to us in several manuscript copies. In twelve of these copies, compiled between the late fourteenth and early sixteenth centuries, the manual is accompanied by “orations” or lauds (laude), giving us a body of 211 poems traditionally sung on specific occasions as indicated in the confraternity’s ancient statutes, including when accompanying the condemned to the gallows. The lack of documented musical references on the alleged performance of these laude leads us to alternative considerations: perhaps the lauds were also used as “orations” for silent prayer, especially formative and helpful for the very pragmatic comforters who were members of the city’s various trade guilds (Arti), active arbiters of civic welfare—at least until the second half of the sixteenth century, when the social composition of the confraternity became an agent and expression of the city’s oligarchy.
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Zaldua, Alistair. "NOTATION AND IMPROVISATION: NOTATIONAL PRAXIS IN THE WORK OF THE ICP, SARAH BRAND AND MOSS FREED." Tempo 78, no. 308 (April 2024): 24–37. http://dx.doi.org/10.1017/s0040298223000931.
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AbstractThis article examines the relationship between notation and improvisation and the ways in which notational representation and prescription are extended by para-notation in the work and practice of the improvisers Sarah Brand and Moss Freed and in the work of ethnomusicologist Floris Schuiling, in particular through his research into the Dutch collective, the Instant Composers Pool (ICP). Sarah Brand analyses her own improvisation transcriptions using concepts derived from music therapy to help sharpen awareness for future improvisation. Moss Freed's Micromotives features his own variant of conduction, developed through reflexive and cyclic processes of notation, rehearsals and discussion. Floris Schuiling's ethnomusicological research into the ICP reveals how notation can be used to generate creative challenges, not only for the members of the collective but for musicians in general. A series of interviews reveals that these musicians use notation to render processes visible and to build and develop communities and cultures.
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Bujić, Bojan. "A Sacred Bridge or an Unsteady Pontoon? – Some Communication Problems Between Philosophers and Musicians." Musicological Annual 43, no. 1 (December 1, 2007): 11–19. http://dx.doi.org/10.4312/mz.43.1.11-19.
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Philosophical discussion of music based on the principle that music is a form of language, encounters difficulties. Some aspects of music do tend towards language-like structures, while others pull away from them. If only the language model is upheld, then philosophical theories assume a prescriptive character, aiming to establish in an a priori manner which music has meaning (hence value) and which not. This problem is particularly acute in the Anglo-American tradition of anaytical philosophy.
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Dupuy-Salle, Manuel, Camille Jutant, and William Spano. "La musique dont vous êtes le héros. Quelques nouvelles formes de prescription culturelle à travers l’étude des plateformes musicales sur le web." Les Enjeux de l'information et de la communication N° 17/3A, S1 (September 2, 2017): 99–113. http://dx.doi.org/10.3917/enic.hs3.0099.
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Панов, А. А., and И. В. Розанов. "On the Term con discrezione and Its Derivates in Baroque Music." Научный вестник Московской консерватории, no. 1(44) (March 23, 2021): 48–63. http://dx.doi.org/10.26176/mosconsv.2021.44.1.003.
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В статье рассматриваются музыкально-исполнительские термины discrezione (discretion), con discrezione, à la discretion и avec discretion в процессе эволюции и в диахронической перспективе. Особый акцент сделан на клавирном творчестве И. Я. Фробергера. Приведены материалы из трудов С. де Броссара, И. Г. Вальтера, Дж. Грассино, И. Маттезона и др., а также из старинных словарей общей лексики. Выполнена критическая ревизия современных научных публикаций по теме исследования. Выявлены многочисленные неточности, ошибки и противоречия в интерпретации терминологии, допущенные учеными и редакторами нотных изданий XX–XXI веков. В результате авторы статьи приходят к выводу, что значение термина discrezione (discretion) и его производных на протяжении полутора столетий радикально изменилось, а сам этот термин стал полисемичным. Трактовка предписаний старинных музыкантов discrezione (discretion), con discrezione, à la discretion, avec discretion и проч. всякий раз должна быть индивидуальной и зависит от ряда факторов— жанра и типа музыкальной композиции, стиля композиторского письма, времени и места создания произведения, профессионального бэкграунда композитора и др. The article examines the terms of musical performance, such as discrezione (discretion), con discrezione, à la discretion and avec discretion in their process of evolution and in a diachronic perspective. Special emphasis is placed on the keyboard work of J. J. Froberger. Materials from the works of S. de Brossard, J. G. Walther, J. Grassineau, J. Mattheson, &c. are examined, as well as explanations from early general vocabulary dictionaries. A critical revision of modern scientific publications on the topic presented in this paper was carried out. Numerous inaccuracies, errors and contradictions in the interpretation of terminology made by scholars and editors of music publications of the 20th— 21th century are revealed. As a result, the authors of the article came to the conclusion that the meaning of the term discrezione (discretion) and its derivatives has radically changed over the course of a century and a half, and the term itself has become polysemic. Interpretation of the prescriptions of early musicians discrezione (discretion), con discrezione, à la discretion, avec discretion, &c. each time should be individual and depending on a number of factors of the genre and type of musical composition, the style of the composer’s writing, the time and place of creation of the work, the professional background of the composer, &c.
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Safariants, Rita. "From Pugacheva to Pussy Riot." Canadian-American Slavic Studies 56, no. 2 (May 10, 2022): 200–230. http://dx.doi.org/10.30965/22102396-05602012.
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Abstract The officially sanctioned popular music genre of Soviet estrada has traditionally been an industry where both male and female performers have been able to achieve high levels of success and public exposure. Meanwhile, within the genres of underground and unofficial popular music – rock, punk, and rap – the male-dominated gender disparity has been much more pronounced. This article investigates the reasons behind this dynamic within a Russo-Soviet context. In dialogue with Judith Butler’s notion of gender performativity as well as recent scholarship on gender in Western rock and punk movements, the present essay considers the evolution of performative strategies of female artists in Russo-Soviet popular culture. The discussion spans the Soviet, late-Soviet, and post-Soviet historical periods, focusing on the gendered performative dimensions in the musical careers of Alla Pugacheva, Yanka Diagileva, and the art-punk collective Pussy Riot, in an effort to account for the glaring dearth of female performers in traditionally “transgressive” popular genres. I present the argument that Russian and Soviet women performers working in rock, punk, and rap, or when forging new directions in estrada, have evolved to mitigate the genres’ prescriptive masculinity by relying on performing “otherness” as a conduit to mass appeal, celebrity status, and acclaim for artistic individuality.
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Thomas, Niall. "Innovation and tradition in metal music production." Metal Music Studies 7, no. 3 (September 1, 2021): 423–43. http://dx.doi.org/10.1386/mms_00058_1.
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Contemporary music technology affords limitless potential and has changed the way record producers need to work with metal music, often employing a far more fragmented approach. This article explores technology’s influence on producing metal records through the lived experiences of seven renowned metal music producers, and it is argued that what can be perceived as traditional production processes are production processes that favour capturing performances, embracing the potential of technology. In contrast, the construction of recorded performances through anticipated uses of technology often embodies innovative production methodologies. There are tensions caused by the anticipated use of technology and the participants highlight that commercial and artistic pressures have informed prescriptive and homogenous production methodologies under the guise of innovation.
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Carter-Ényì, Aaron, and Quintina Carter-Ényì. "“Bold and Ragged”: A Cross-Cultural Case for the Aesthetics of Melodic Angularity." Music & Science 3 (January 1, 2020): 205920432094906. http://dx.doi.org/10.1177/2059204320949065.
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Smaller corpora and individual pieces are compared to a large corpus of 2,447 hymns using two measures of melodic angularity: mean interval size and pivot frequency. European art music and West African melodies may exhibit extreme angularity. We argue in the latter that angularity is motivated by linguistic features of tone-level languages. We also found the mean interval sizes of African-American Spirituals and Southern Harmony exceed contemporary hymnody of the 19th century, with levels similar to Nigerian traditional music (Yorùbá oríkì and story songs from eastern Nigeria). This is consistent with the account of W. E. B. Du Bois, who argued that African melody was a primary source for the development of American music. The development of the American spiritual coincides with increasing interval size in 19th-century American hymnody at large, surpassing the same measure applied to earlier European hymns. Based on these findings, we recommend techniques of melodic construction taught by music theorists, especially preference rules for step-wise motion and gap-fill after leaps, be tempered with counterexamples that reflect broader musical aesthetics. This may be achieved by introducing popular music, African and African Diaspora music, and other non-Western music that may or may not be consistent with voice leading principles. There are also many examples from the European canon that are highly angular, like Händel’s “Hallelujah” and Schönberg’s Pierrot Lunaire. Although the tendency of textbooks is to reinforce melodic and part-writing prescriptions with conducive examples from the literature, new perspectives will better equip performers and educators for current music practice.
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Docherty, Barbara. "‘We know for whom we mourn’: Britten, Auden and the politics of 1936." Tempo, no. 192 (April 1995): 22–28. http://dx.doi.org/10.1017/s0040298200004083.
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On 25 September 1936 Benjamin Britten's Our Hunting Fathers, his first adult song cycle, first score for full orchestra and self-confessed ‘real op.l’, had its Norwich première. Its public agenda, both political and social, was set by W.H. Auden's 1930 Poems, and its aggressive technical and moral exhortation desired to épater les ancêetres much as Berg's Wozzeck had sought to do. Its private agenda is, however, of far greater interest. In 1930 it had seemed that the detached, self-conscious Künstlerarzt could take the knife to the social gangrene of the prewar generation and its political prescriptions; by 1936 such detachment yielded neither public nor private satisfaction. Political despair now had three names: German, Jew, and Spain; personal despair derived from the realization that ‘love without love's proper object' led only to love's privation and defeat. The texts Auden assembled for Our Hunting Fathers acted (as many of the choruses in the Auden/Isherwood play The Dog Beneath the Skin had done) as an examen de conscience, both confession and homily, with a Prologue and Epilogue in particular addressed to a composer increasingly aware of an imprisoning emotional isolation.
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Leonard, Hakeem. "A Problematic Conflation of Justice and Equality: The Case for Equity in Music Therapy." Music Therapy Perspectives 38, no. 2 (2020): 102–11. http://dx.doi.org/10.1093/mtp/miaa012.
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Abstract A historical basis and a therapeutic foundation are given for understanding the importance of equity when considering contexts of race in music therapy, specifically with African-American or Black clients. Those contexts are broad, including, but not limited to Black clients, Black music, diversity and inclusion, safe spaces, multiculturalism, access to music therapy education, access to services. Examples are given of the Black experience in the United States related to self-definition, self-sufficiency, growth, and resiliency. Both cultural and musical aesthetic contextualization are pointed to, and connections are drawn between the navigation of Black people through different types of oppressive systems, and the negotiation of double-bind dilemmas that try to force Black disembodiment when trying to live authentic personhood in the face of proscriptive and prescriptive forces. Despite this systemic oppression, Black people continue to show a resilience in society as well as therapeutic and health settings, which is seen more readily when therapists and professionals can center in the margins the lived experience of Black clients, decenter themselves where appropriate, and practice a critical consciousness that actively uses counterhegemonic and antiracist practices. As music therapists have begun to understand joining ethics and evidence together through the self-advocacy of some populations, we must do the same while explicitly centering equity in our work with Black clients. If music therapists truly espouse justice, then there should be a critical examination of this in the profession-- in ourselves, our work, our relationship to music, our organizations, and in our education and training.
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Armstrong (book author), Lawrin, and Wim Decock (review author). "The Idea of a Moral Economy: Gerard of Siena on Usury, Restitution, and Prescription." Renaissance and Reformation 40, no. 2 (October 5, 2017): 166–68. http://dx.doi.org/10.33137/rr.v40i2.28508.
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Rosand, Ellen. "Monteverdi's mimetic art: L'incoronazione di Poppea." Cambridge Opera Journal 1, no. 2 (July 1989): 113–37. http://dx.doi.org/10.1017/s0954586700002925.
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Claudio Monteverdi may not have been ‘the creator of modern music’, as Leo Schrade has styled him, but he did play the leading role in the creation of opera. Lacking illustrious predecessors and pre-existent generic prescriptions, he moved confidently as an innovator: the first great opera composer. But he was also a madrigalist, the last great contributor to a genre that was clearly on the wane by 1600. Here he was a follower. Numerous composers had defined and developed the madrigal before him: Rore, Marenzio, Wert, Luzzaschi, Pallavicino. His contribution lay not in creating the genre but in stretching it to its limits.
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Redhead, Lauren. "MUSIC COMPOSITION AND EPISTEMIC INJUSTICE." Tempo 76, no. 302 (September 29, 2022): 32–41. http://dx.doi.org/10.1017/s0040298222000328.
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AbstractThis article considers the implications of the consideration of epistemic justice within modes of composition pedagogy in higher education and is in part a manifesto, in part a reflection on my experiences of teaching composition in this setting. I ask how composition education can become, as described in 2015 by the North Macedonian dramatist and creative educator Goran Stefanovski, ‘the politics of the impossible’. I question how composition education could function without a canon of examples or assumed master–apprentice hierarchies and frame this as a question of epistemic justice, one that considers the composers themselves as individuals prior to the technical exercises that they may undertake. I describe why I believe that epistemic justice is a concept that is worthy of consideration in creative education in composition alongside the ways that current models of composition pedagogy might unintentionally cause students to experience epistemic injustice within their education experiences. Rather than a prescriptive model, I propose challenges that I hope can influence my educational approach now and in the future and conclude with some suggestions about what a model of hermeneutic epistemic justice might look like as a pedagogic model for music composition.
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Zayaruznaya, Anna. "Hockets as Compositional and Scribal Practice in the ars nova Motet—A Letter from Lady Music." Journal of Musicology 30, no. 4 (2013): 461–501. http://dx.doi.org/10.1525/jm.2013.30.4.461.
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The whimsical upper-voice texts of the anonymous fourteenth-century motet Musicalis/Sciencie stage an epistolary exchange between Rhetoric, Music, and a long list of French composers and singers. The letters complain that these musicians, whose ranks include Guillaume de Machaut and Philippe de Vitry, split words with rests when they write hockets. The critical tone of Musicalis/Sciencie implies that some ars nova composers must have regularly split words with hockets, while others—the motet’s composer, for one—held this to be bad practice. But since modern editions and medieval scribes alike are imprecise in the placement of text around hockets, the existence of such opposing camps seems difficult to substantiate. An analysis of text-note alignment in four sources for Apta/Flos reveals that some scribes were prescriptive in their texting of hockets, while others, like the scribe of the important Ivrea codex, were pragmatic. An awareness of these differences can lead to alternate modes of interpreting ambiguous text underlay. In the case of Philippe de Vitry’s Petre/Lugentium, shifting syllables adjacent to hockets can transform the work, highlighting carefully differentiated textural zones that are key to its structure. Such editorial intervention can in turn yield fresh insight into competing compositional approaches.
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Katta, A., D. L. Preston, S. K. Karkala, S. Asano, S. Meduru, S. P. Mupparaju, E. Yokochi, Kevin M. Rice, D. H. Desai, and E. R. Blough. "Diabetes Alters Contraction-Induced Mitogen Activated Protein Kinase Activation in the Rat Soleus and Plantaris." Experimental Diabetes Research 2008 (2008): 1–10. http://dx.doi.org/10.1155/2008/738101.
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The prescription of anaerobic exercise has recently been advocated for the management of diabetes; however exercise-induced signaling in diabetic muscle remains largely unexplored. Evidence from exercise studies in nondiabetics suggests that the extracellular-signal-regulated kinases (Erk1/2), p38, and c-JUN NH2-terminal kinase (Jnk) mitogen-activated protein kinases (MAPKs) are important regulators of muscle adaptation. Here, we compare the basal and the in situ contraction-induced phosphorylation of Erk1/2- p38- and Jnk-MAPK and their downstream targets (p90rsk and MAPKAP-K2) in the plantaris and soleus muscles of normal and obese (fa/fa) Zucker rats. Compared to lean animals, the time course and magnitude of Erk1/2, p90rsk and p38 phosphorylation to a single bout of contractile stimuli were greater in the plantaris of obese animals. Jnk phosphorylation in response to contractile stimuli was muscle-type dependent with greater increases in the plantaris than the soleus. These results suggest that diabetes alters intramuscular signaling processes in response to a contractile stimulus.
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Власова, Е. С. "Soviet Сlassical Opera: Ideas and Realities." Научный вестник Московской консерватории, no. 4(43) (December 24, 2020): 102–31. http://dx.doi.org/10.26176/mosconsv.2020.43.4.006.
Full textAbstract:
Задача создания советской классической оперы в сталинский период была в музыке приоритетной. Она определялась директивными документами — постановлениями ЦК ВКП(б) и редакционными статьями в газете «Правда». Рождение советской оперы должно было стать показателем эффективности государственной политики в области музыки. Государство не жалело для осуществления этой задачи ни организационных сил, ни материальных средств, сконцентрированных по преимуществу в главном театрально-музыкальном институте страны — Большом театре, который курировал Сталин. На основании архивных документов рассматриваются осуществленные и неосуществленные оперные проекты Большого театра; анализируются редакционные статьи газеты «Правда» 1951 года, посвященные советской опере; выявляются стереотипные признаки советского оперного жанра сталинского времени. Делается вывод о том, что проект создания «советской классической оперы» потерпел крах прежде всего из-за преобладания в государственном оперном заказе идеологических мотиваций, тяготевших над художественными критериями, которые диктовали оперная традиция и современная творческая жизнь. The task of creating the Soviet classical opera had the highest priority in music in Stalin’s period. It was determined by prescriptive documents — acts of Central Committee of Russian national Bolshevist’s Communist Party and leading articles in the newspaper “Pravda”. The birth of the Soviet opera was supposed to become the indicator of efficiency of the national policy concerning music. Therefore, the Soviet government did everything for the fulfillment of this task including organization and financial support, which was permanently concentrated in the main theatrical and musical institute of the country — the Bolshoi Theater. The accomplished and non-accomplished opera projects and leading articles in the newspaper “Pravda”, which were dedicated to Soviet operas, are examined; the stereotypical signs of the Soviet opera genre in Stalin’s era are discovered. The conclusion is that the collapse of the project of “Soviet classical opera” resulted primarily in the fact that ideological motivations in the “Government opera order” finally dominated over the artistic criteria.
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Melnikova, Anna A. "Can Orchestration Teaching be improved?" Vestnik of Saint Petersburg University. Arts 13, no. 4 (2023): 600–620. http://dx.doi.org/10.21638/spbu15.2023.401.
Full textAbstract:
The fundamentals of mastering orchestration are a well-grounded knowledge of the instruments, their mechanics, techniques, and their phenomenology. To succeed in instrumentation and orchestration praxis, students must commonly 1) massively memorize examples of successful orchestration available in treatises on orchestration; 2) analyze as many as possible orchestral scores, and 3) orchestrate excerpts proposed by their instrumentation teachers. We aimed to conduct an exploratory study to detect possible voids in orchestration teaching. For this purpose we recruited 16 participants for this aim. Eight were Music Pedagogy students in their senior academic year, and the other eight were Composition undergraduates. The participants of the Pedagogy group completed one course in instrumentology, while the composers-students had a background of at least one course in instrumentation. Due to the differences in training, Pedagogy students instrumented an excerpt from a song by Ibert, and Composition students orchestrated an excerpt transcribed for piano from “Romeo and Juliet” (overture-fantasia) composed by Tchaikovsky. Also, we asked the participants to write down all their decisions and choice-making during the task to obtain more information for a deeper insight. As a result, we observed that the participants of both groups showed poor performance and low-quality products, except for those who conducted large ensembles. Both groups presented relevant similarities concerning orchestration-related concepts and procedures. Therefore, we can conclude that the general trend of the handbooks on instrumentation and orchestration is to work from a prescriptive model. We attribute the low-quality results of the composers’ group (comparable to non-composers) to the quantity of information to be integrated into the frame of such a model. Rimsky-Korsakov inaugurated the transition to a nomothetic model concerning the tembrotechnonic musical structure. But still, major understanding must be achieved regarding the timbre.