Journal articles on the topic 'Musicano'
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1
Weijkamp, Janne, and Makiko Sadakata. "Attention to affective audio-visual information: Comparison between musicians and non-musicians." Psychology of Music 45, no. 2 (July 7, 2016): 204–15. http://dx.doi.org/10.1177/0305735616654216.
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Individuals with more musical training repeatedly demonstrate enhanced auditory perception abilities. The current study examined how these enhanced auditory skills interact with attention to affective audio-visual stimuli. A total of 16 participants with more than 5 years of musical training (musician group) and 16 participants with less than 2 years of musical training (non-musician group) took part in a version of the audio-visual emotional Stroop test, using happy, neutral, and sad emotions. Participants were presented with congruent and incongruent combinations of face and voice stimuli while judging the emotion of either the face or the voice. As predicted, musicians were less susceptible to interference from visual information on auditory emotion judgments than non-musicians, as evidenced by musicians being more accurate when judging auditory emotions when presented with congruent and incongruent visual information. Musicians were also more accurate than non-musicians at identifying visual emotions when presented with concurrent auditory information. Thus, musicians were less influenced by congruent/incongruent information in a non-target modality compared to non-musicians. The results suggest that musical training influences audio-visual information processing.
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Wöllner, Clemens. "Call and response: Musical and bodily interactions in jazz improvisation duos." Musicae Scientiae 24, no. 1 (May 8, 2018): 44–59. http://dx.doi.org/10.1177/1029864918772004.
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When individuals coordinate their behaviour, they need to both anticipate actions and respond to each other in meaningful ways. Jazz musicians often encounter situations in jam sessions in which they interact with previously unknown musicians, allowing insights into spontaneous collaboration. The current study investigated call and response patterns in free jazz improvisations by analysing movement and musical characteristics of duos. Twelve jazz musicians were paired into six duos of an e-guitar and a saxophone. Balanced across duos, one musician was asked to play a series of improvisations expressing the emotions happy, sad or neutral. The second musician responded to each improvisation without knowing the emotional intention of the first musician. Call and response roles were then exchanged. While musicians improvised or listened to their duo partner, they were both recorded with an optical motion capture system. Results indicate correspondences between call and response musicians in movement variability and cumulative distance of head motion. There were marked differences between happy and sad emotional expressions both in movement parameters and musical features including mean intensity, mode, and, albeit to a lesser extent, tempo. Retrospective verbal decoding of the call musicians’ emotional intentions was correct in 76.5% of all cases. Independently of explicit decoding success and even for the first encounters, musicians spontaneously tuned into each other’s performances by means of their body movements and the musical characteristics of the improvisations.
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Zhang, J. Diana, Marco Susino, Gary E. McPherson, and Emery Schubert. "The definition of a musician in music psychology: A literature review and the six-year rule." Psychology of Music 48, no. 3 (October 22, 2018): 389–409. http://dx.doi.org/10.1177/0305735618804038.
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The aim of this paper was to investigate if a general consensus could be established for the term “musician.” Research papers ( N = 730) published between 2011 and 2017 were searched. Of these, 95 papers were identified as investigating relationships of any sort connected with a musician-like category ( e.g., comparison of musically trained vs. non-musically trained people), of which 39 papers detailing comparative studies exclusively between musicians and non-musicians were analyzed. Within this literature, a variety of musical expertise criteria were used to define musicians, with years of music training (51% of papers) and years of music lessons (13% of papers) being the most commonly used criteria. Findings confirm a general consensus in the literature, namely, that a musician, whether or not selected a priori, has at least six years of musical expertise (IQR = 4.0–10.0 years). Other factors such as practice time and recruiting location of musicians were also analyzed, as well as the implications of how this definition fits in relation to the complexities surrounding the construct of the musician. The “six-year rule,” however, was robust overall.
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Koniari, Dimitra, Sandrine Predazzer, and Marc Méélen. "Categorization and Schematization Processes Used in Music Perception by 10- to 11-Year-Old Children." Music Perception 18, no. 3 (2001): 297–324. http://dx.doi.org/10.1525/mp.2001.18.3.297.
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This study investigates the role of the cue abstraction mechanism within the framework of cognitive processes underlying listening to a piece of music by 10- to 11-year-old children. Four experiments used different procedures to address three main processes: (a) the categorization of musical features, (b) the segmentation of the musical discourse, and (c) the elaboration of a mental schema of the piece. Two short tonal pieces from the classical piano repertoire were used as experimental material. Experiments 1 and 2 assessed children's capacity to classify segments from the same musical piece into the appropriate category and to evaluate the segments' degree of similarity. Experiment 3 investigated the segmentation process, which underlies the organization of musical events into groups. Experiment 4 explored children's ability to reconstruct a piece of music after hearing it. The influence of musical training is investigated by comparing musician and nonmusician children. In addition, the effects of different musical features are explored. La préésente éétude porte sur le méécanisme d'extraction d'indices dans le cadre des processus cognitifs sous-tendant l'éécoute d'un morceau de musique chez des enfants de 10-11 ans. Les diverses procéédures utiliséées dans les quatre expéériences portent sur trois processus: a) la catéégorisation de caractééristiques musicales, b) la segmentation du discours musical et c) l'éélaboration d'un schééma mental de la pièèce. Deux courtes pièèces du réépertoire classique pour piano ont servi de matéériel expéérimental. Les expéériences 1 et 2 éévaluent la capacitéé des enfants àà classer des segments issus d'un mêême pièèce musicale dans leur catéégorie respective et àà appréécier leur degréé de similaritéé. L'expéérience 3 éétudie le processus de segmentation qui sous-tend l'organisation des éévéénements musicaux en groupes. L'expéérience 4 explore l'aptitude des enfants àà reconstruire la pièèce aprèès l'avoir entendue. L'influence de la formation musicale est prise en compte àà travers une comparaison d'enfants musiciens et non-musiciens. De plus, l'effet de difféérents traits musicaux est exploréé.
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Grašytė, Toma. "Traditional Musician in the Nowadays Lithuanian Village or Small Town’s Community." Tautosakos darbai 52 (December 30, 2016): 213–30. http://dx.doi.org/10.51554/td.2016.28874.
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Folk musicians belonging to the older generations and playing various instruments have been subject to rather exhaustive research in Lithuania since the end of the 20th century until the present. Various aspects of their music making, including the repertoire, changes in the style of their performance, the musician’s image, role and place in the community have also received considerable attention. However, traditional musicians belonging to the younger generation and their music making have scarcely fallen into the focus of study so far. The modern ethnomusicologists researching and appreciating the traditional music making devote considerable attention to the perspectives of the musicians and their surrounding community. Such a two-fold research, taking into consideration both the musician’s and the community’s approach, enables evaluating the general situation of the traditional instrumental and vocal instrumental music making in the community. By comparing the expressed views of the Lithuanian traditional musicians belonging to the younger generation and the perspectives of the surrounding community, the author of the article attempts establishing the kind of musicians that is in demand in the Lithuanian villages and small towns of the end of the 20th – beginning of the 21st century. The author of the article combines qualitative research (the in-depth partly structured multiple interviews) with documentary and biographical methods.According to the analysis, not only the roles of the traditional musician and the community, but also their mutual relationship has suffered considerable shifts in the nowadays culture. The functions of the musician as bearer, promoter and reviver of the tradition have become much more prominent. By adapting to the altering wedding traditions, the musician does not decline performing not only the functions of the former main participants of the wedding, but also those of the presenter of the whole event. The individual musical faculties and skills do not bear such importance in the eyes of the community members, as they do to the musicians themselves. The community mostly appreciates the universal capacities of the traditional musician, also ascribing importance to his tight relationship with the local traditions. The latter quality is important to the musicians as well; it includes the inherent feeling of the local music and its appreciation (from instrumentation and familiarity with the traditional local repertoire, to the live music making, and to the knowledge of customs and rituals, which are particularly important during various festive events and weddings). Since the tradition of the ritual communal singing is increasingly in decline, the capacity of the musicians to sing well and to start the appropriate songs as means of preserving and supporting this tradition is especially meaningful. It is safe to maintain that traditional musicians are currently people sensitively reacting to the changes in the traditional musical culture and actively participating in the local musical life until nowadays. To the contrary, rejection of the musical innovations renders the traditional musician incapable of competing with the requirements of the modern musical market. In such case, the musician may even have to stop playing and surrender his place to the professional or semi-professional wedding musicians with virtually no knowledge of the local musical customs, or even to the sound recordings.
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Holtz, Peter. "What's your music? Subjective theories of music-creating artists." Musicae Scientiae 13, no. 2 (September 2009): 207–30. http://dx.doi.org/10.1177/102986490901300202.
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In an interview study with 17 music-creating artists (composers of contemporary “classical” music, electronic music, musicals, movie scores, and jazz musicians) from Southern Germany, three types of music-creating artists could be discerned: the avant-gardists, the neo-romantics, and the self-disclosing artists. These types represent social groups that are prone to typical intergroup conflicts. The different types of music-creating artists adhere to different aesthetic ideals: the avant-gardists emphasize the abstract beauty of musical structures and try to develop their music from within the music itself, the neo-romantics view music as the true language of the heart and try to express something through their music, and the self-disclosing artists feel the drive to express their feelings and sensations by means of music. As a consequence, different dimensions of musical communication are pivotal: formal aspects, the relationship between the musician and the listener, and self-disclosure. The three types of music-creating artists resemble the types of composers analyzed by Julius Bahle in the 1930s ( e.g. Bahle, 1930). Regarding their modus operandi, the musicians differ on a continuum between a purely rational creative work and the creation of music in an unconscious outburst of inspiration. Nevertheless, most musicians experience an alternation between phases of intuitive inspiration and phases of deliberate rational construction during the creative process. Therefore, a typology of musicians based on their modus operandi seems unhelpful.
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Rohwer, Debbie. "A narrative investigation of adult music engagement." International Journal of Music Education 35, no. 3 (September 19, 2016): 369–80. http://dx.doi.org/10.1177/0255761416667466.
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The purpose of the current study was to describe the musical life experiences of an active, adult community musician through a narrative investigation. Jon is a musically-engaged retired instrumentalist who shares a trust and respect relationship with the researcher. Through data sources of observations, interviews, emails, journals, and pictures, the story of Jon’s musical past and present was portrayed. Jon has a past as a developing musician who had an extensive family background and support system in music; his present represents a dedicated musician who takes on varied roles across ensembles, and who collaborates with others in musical relationships. This story of an engaged musician in the community may have implications for community musicians and teachers.
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Kappen, P. R., J. van den Brink, J. Jeekel, C. M. F. Dirven, M. Klimek, M. Kamphuis, C. S. Docter-Kerkhof, et al. "P01.13.A The effect of musicality on language recovery after awake glioma surgery." Neuro-Oncology 24, Supplement_2 (September 1, 2022): ii26. http://dx.doi.org/10.1093/neuonc/noac174.085.
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Abstract Background Awake craniotomy is used to resect tumor while preserving language. However, differences between patients in post-operative speech/language outcome are observed despite careful intra-operative monitoring. Literature describes improved performance in language tasks during cognitive tests in musicians. Moreover increased white matter connectivity properties in the corpus callosum are described in musicians compared to non-musicians. We hypothesize better recovery of language in musical patients after awake glioma surgery, caused by higher connectivity properties from the corpus callosum. Material and Methods Adult patients undergoing resection for glioma with an awake resection procedure at two neurosurgical centers were prospectively included. Patients without standardized language tests at pre- and post-operative level, with a glioblastoma multiforme (WHO grade 4) or undergoing re-resection were excluded. Language was assessed with the Diagnostic Instrument for Mild Aphasia (DIMA) and corrected for age and education years from a healthy population. The patients’ musical skill was assessed through questionnaires, and divided in groups based on the Musical Expertise Criterion (MEC) which defines musicality based the duration and intensity of musical training. Volumetric measures of the corpus callosum, corrected for total brain volumes, was calculated of each included patient based on the pre-operative structural MRI. Results Forty-six patients, enrolled between June 2015 and September 2019, were followed-up (mean/SD; 240/174 days after craniotomy) and divided in: non-musician (41.3%, n = 19), amateur-musician (34.8%, n=16) and trained-musician (23.9%, n = 11). Overall a decrease in language was observed after craniotomy (mean/SD) of -0.361/0.771. Musical abilities correlated with less decrease in language (mean/SD) when comparing non-musicians (-0.543/0.683) to amateur (-0.272/0.910) and trained (-0.176/0.693) musicians. An increased but non-significant trend (p=0.28) between musicality and corpus callosum / brain ratio (mean/SD) was observed in non-musicians (0.763, 0.718;0.808), amateur musicians (0.792, 0.745;0.838) and trained musicians (0.835, 0.778;0.891). Conclusion Musicality seemed to improve language outcome after awake glioma surgery, possibly attributed due to a higher white matter connectivity in the corpus callosum. Future studies with larger sample sizes are needed to confirm our findings.
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Ivaldi, Antonia, and Susan O'Neill. "Talking ‘Privilege’: barriers to musical attainment in adolescents’ talk of musical role models." British Journal of Music Education 26, no. 1 (March 2009): 43–56. http://dx.doi.org/10.1017/s0265051708008267.
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Using a discursive approach, this study explores the ways that adolescents construct the notion of social status and ‘being privileged’ through their talk about musician role models. Drawing on social identity theory (see Tajfel, 1978), we examined how adolescents moved between the relational ‘in’ and ‘out’ groups of being privileged versus being disadvantaged as a framework for discussing classical and popular musician role models. Seven focus groups were conducted, each composed of male and female adolescent musicians and non-musicians aged 14–15 years. Participants were asked to discuss 19 pictures of famous classical and popular musicians, commenting on whether they were familiar or unfamiliar figures, and whether they were liked or disliked and the reasons why. Through their talk, the adolescents constructed and negotiated a complex understanding of musical subcultures, whereby high levels of expertise and success were perceived within the notion of privilege. Findings suggest that adolescents' perceptions of privilege may act as a barrier or constraint to their exploration of alternative conceptualisations of musical expertise and success, thereby limiting their own musical aspirations.
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Bianchi, Eric. "Scholars, Friends, Plagiarists: The Musician as Author in the Seventeenth Century." Journal of the American Musicological Society 70, no. 1 (2017): 61–128. http://dx.doi.org/10.1525/jams.2017.70.1.61.
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This paper treats plagiarism as performance and Angelo Berardi as a virtuoso. Berardi (1636–94), an active composer and musician, is remembered for his half dozen musical writings. Beginning with a discussion of previously lost or unknown writings by Berardi and his mentor Marco Scacchi, I demonstrate that Berardi composed his prose works through a highly self-conscious process of borrowing. More broadly, Berardi's case opens a window onto the construction of musical texts and simultaneously complicates them as straightforward sources of musical information. Musicians used—and appropriated—the written word to craft and project personae in response to epistemological and social disadvantages: theory outranked practice and theorists outranked practitioners. In style, technique, and content Berardi is representative of musician-authors who presented themselves as gentlemen rather than musicians, adopted the style and tone of Italian academies and erudites, and favored more speculative matters (musical science, antiquarianism, friendship, combinatorics), sometimes at the expense of practical ones. They pursued metaphysical and quadrivial questions now disregarded as irrelevant. I argue that, on the contrary, such writings reveal most precisely, at their most “irrelevant” and derivative, a musical and even mental world not quite congruent with current interest in its musical artifacts.
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Ramírez-Moreno, Mauricio A., Jesús G. Cruz-Garza, Akanksha Acharya, Girija Chatufale, Woody Witt, Dan Gelok, Guillermo Reza, and José L. Contreras-Vidal. "Brain-to-brain communication during musical improvisation: a performance case study." F1000Research 11 (September 1, 2022): 989. http://dx.doi.org/10.12688/f1000research.123515.1.
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Understanding and predicting others' actions in ecological settings is an important research goal in social neuroscience. Here, we deployed a mobile brain-body imaging (MoBI) methodology to analyze inter-brain communication between professional musicians during a live jazz performance. Specifically, bispectral analysis was conducted to assess the synchronization of scalp electroencephalographic (EEG) signals from three expert musicians during a three-part 45 minute jazz performance, during which a new musician joined every five minutes. The bispectrum was estimated for all musician dyads, electrode combinations, and five frequency bands. The results showed higher bispectrum in the beta and gamma frequency bands (13-50 Hz) when more musicians performed together, and when they played a musical phrase synchronously. Positive bispectrum amplitude changes were found approximately three seconds prior to the identified synchronized performance events suggesting preparatory cortical activity predictive of concerted behavioral action. Moreover, a higher amount of synchronized EEG activity, across electrode regions, was observed as more musicians performed, with inter-brain synchronization between the temporal, parietal, and occipital regions the most frequent. Increased synchrony between the musicians' brain activity reflects shared multi-sensory processing and movement intention in a musical improvisation task.
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Bellows, Samuel D., and Timothy W. Leishman. "Modeling musician diffraction for artificially excited clarinet directivity measurements." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A157. http://dx.doi.org/10.1121/10.0010960.
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Directivity measurements of musical instruments have many applications in musical, audio, and architectural acoustics. Typical measurement methods include artificially excited instruments and instruments played by live musicians. While recent advances in directivity measurement techniques enable higher resolutions for played instruments, the results are still limited in bandwidth and repeatability compared with directivity results from artificially excited instruments. However, artificially excited instruments typically neglect musician diffraction and absorption. This work compares possible approaches for representing musician diffraction in artificially excited clarinet measurements to improve their directivity results for room simulations or auralizations.
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Nielson, Lisa. "GENDER AND THE POLITICS OF MUSIC IN THE EARLY ISLAMIC COURTS." Early Music History 31 (2012): 235–61. http://dx.doi.org/10.1017/s0261127912000010.
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Until the ninth century, the role of the professional musician in pre-Islamic Arabia and Mesopotamia was primarily fulfilled by women. Men were socially prohibited from working as musicians, though some transgressed gender and social boundaries by adopting feminine dress and playing ‘women's’ instruments. With the advent of Islam, patronage of qiyān (singing girls), mukhannathūn (effeminates) and later, male musicians, did not substantially change. During the early Abbasid era (750–950 ce), however, their collective visibility in court entertainments was among several factors leading to debates regarding the legal position of music in Islam. The arguments for and against took place in the realm of politics and interpretation of religious law yet the influence of traditional expectations for gendered musical performance that had existed on the cultural landscape for millennia also contributed to the formation of a musical semiotics used by both sides.In this article, I examine the representation of musicians in the early Islamic court in Baghdad from the perspective of select ninth-century Arabic texts. First, I begin with a summary of the gender roles and performance expectations for pre-Islamic court musicians and point to their continuation into the early Islamic courts. Then, I suggest how the figure of the musician became a key referent in the development of a musical semiotics used in medieval Islamic music discourse.
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Endo, Nozomi, Takayuki Ito, Katsumi Watanabe, and Kimitaka Nakazawa. "Enhancement of loudness discrimination acuity for self-generated sound is independent of musical experience." PLOS ONE 16, no. 12 (December 7, 2021): e0260859. http://dx.doi.org/10.1371/journal.pone.0260859.
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Musicians tend to have better auditory and motor performance than non-musicians because of their extensive musical experience. In a previous study, we established that loudness discrimination acuity is enhanced when sound is produced by a precise force generation task. In this study, we compared the enhancement effect between experienced pianists and non-musicians. Without the force generation task, loudness discrimination acuity was better in pianists than non-musicians in the condition. However, the force generation task enhanced loudness discrimination acuity similarly in both pianists and non-musicians. The reaction time was also reduced with the force control task, but only in the non-musician group. The results suggest that the enhancement of loudness discrimination acuity with the precise force generation task is independent of musical experience and is, therefore, a fundamental function in auditory-motor interaction.
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King, Caleb J., Anya E. Shorey, Kelly L. Whiteford, and Christian E. Stilp. "Testing the role of primary musical instrument on context effects in music perception." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A132. http://dx.doi.org/10.1121/10.0015790.
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Musicians display numerous perceptual benefits versus nonmusicians, such as better pitch and melody perception (the “musician advantage”). Recently, Shorey et al. (2021 ASA) investigated whether this musician advantage extended to spectral contrast effects (SCEs; categorization shifts produced by acoustic properties of surrounding sounds) in musical instrument recognition. Musicians and nonmusicians listened to a context sound (filtered string quartet passage highlighting frequencies of the horn or saxophone), then categorized a target sound (tone from a six-step series varying from horn to saxophone). Although musicians displayed superior pitch discrimination, their SCEs did not differ from those of nonmusicians. Importantly, separate research has reported that a musician’s instrument of training heavily influences musical perception, potentially improving frequency discrimination and rhythm perception/production. However, in the Shorey et al. study, musicians were recruited without respect to their primary instrument. This follow-up study uses the same methodology as Shorey et al. but recruits only musicians who play horn or saxophone (the instruments used as target sounds) as their primary instrument. It is predicted that horn and saxophone players will display larger SCEs than nonmusicians due to their intimate familiarity with the instrument timbres. Preliminary data are trending in the predicted direction; full results will be discussed.
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Nogaj, Anna Antonina, Izabela Czarnecka, and Roman Ossowski. "Differences in the stress coping styles and social skills between classical and jazz musicians." Roczniki Psychologiczne 22, no. 4 (June 29, 2020): 337–52. http://dx.doi.org/10.18290/rpsych.2019.22.4-3.
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The musical milieu raises a number of challenges for artists. Coping with these depends not only on the level of musical abilities but also on a number of personal skills. The diverse styles of music education and the expectations set for musicians performing various music genres have inspired research exploring the differences between classical and jazz musicians. Of the psychological areas important for functioning effectively as a musician, stress management styles and social skills have been examined in this study. It was assumed that the genre of publicly performed music, and thus the different modes of music education in the field of classical and jazz music performance, can cause significant differences in the psychological functioning of musicians. Of the 73 musicians who participated in the study, 38 were classical musicians and 35 were jazz musicians. The jazz musicians revealed a significantly higher level of social competence in terms of social exposure compared to the classical musicians. There were no differences in the style of coping with stress between the two groups. The results of the study might inspire psychologists working with musicians to plan therapeutic programs aimed at psychological preparation for public performances, with the specificity of musical genres taken into account. Future research may investigate the extent temperament and personality of musicians representing different specialties influence their stress coping strategies and social skills.
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Marcoux-Gendron, Caroline. "« Panel sur la critique musicale », dans le cadre du colloque international Qu’en est-il du goût musical dans le monde au XXIe siècle ?, 28 février 2013, Faculté de musique, Université de Montréal, salle Serge-Garant." Revue musicale OICRM 3, no. 1 (June 6, 2019): 137–46. http://dx.doi.org/10.7202/1060125ar.
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Dans le cadre du colloque Qu’en est-il du goût musical dans le monde au XXIe siècle ? présenté à la Faculté de musique de l’Université de Montréal du 28 février au 2 mars 2013, un panel a réuni les critiques musicaux Renaud Machart (France), Anne Midgette (É.-U.) et André Péloquin (Québec, Canada) autour de la question « En quoi l’exercice de la critique musicale participe-t-il à l’édification du goût musical des lecteurs-auditeurs ? ». Une série d’enjeux a été abordée au cours de cet échange, dont les objectifs de la critique musicale, son influence sur les lecteurs-auditeurs, mais aussi les obligations éthiques du critique et l’avenir de cette pratique. Les points de vue des trois participants se sont révélés différents à bien des égards, à l’image de la diversité des genres musicaux dont ils traitent, de leurs parcours professionnels respectifs ainsi que des contextes géographiques au sein desquels ils œuvrent.
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Yuanzheng, Yang. "Jindou: A Musical Form Found in Southern Song Lyric Songs." T’oung Pao 101, no. 1-3 (August 28, 2015): 98–129. http://dx.doi.org/10.1163/15685322-10113p03.
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By introducing a newly-discovered manuscript copy of the lyric song anthology of the poet-musician Jiang Kui (1155–1221), this article aims to elucidate a hitherto unnoticed musical form of the genre: the jindou form. A comparison between the manuscript and all the early modern editions reveals discrepancies in the stanzaic divisions of four of Jiang’s seventeen songs for which he provided notation. Through musical analysis it is argued that the opening line of the second stanza in all the early modern editions may have been intentionally placed at the end of the first in the newly-discovered manuscript in order to remind the singer of the jindou form, in which the cadential notes of the first stanza immediately repeat at the beginning of the second. Therefore, these “unusual” stanzaic divisions are not mistakes, but indications of conventional performance practice in the Southern Song dynasty as dictated by musical factors. S’appuyant sur une copie manuscrite récemment découverte de l’anthologie de poèmes chantés du poète et musicien Jiang Kui (1155–1221), cet article s’attache à élucider une forme musicale propre à ce genre et à laquelle on n’a jamais prêté attention : la forme jindou. La comparaison entre ce manuscrit et l’ensemble des éditions de la fin de la période impériale révèle des différences dans la division strophique de quatre poèmes de Jiang sur les dix-sept pour lesquels la notation musicale est fournie. L’analyse musicale permet d’établir que le premier vers de la seconde strophe dans toutes les éditions de la fin de l’empire a été délibérément placé à la fin de la première strophe dans le nouveau manuscrit, ce afin de rappeler au chanteur la forme jindou, dans laquelle les notes cadentielles de la première strophe sont immédiatement répétées au début de la seconde. Cette division inhabituelle entre strophes n’est donc pas le résultat d’une erreur: elle signale ce qui était le mode d’exécution conventionnel, basé sur des facteurs purement musicaux, à l’époque des Song du Sud.
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Dalladay, Christopher. "Growing Musicians in English secondary schools at Key Stage 3 (age 11–14)." British Journal of Music Education 34, no. 3 (September 7, 2017): 321–35. http://dx.doi.org/10.1017/s0265051717000110.
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The National Curriculum for Music in England at Key Stage 3 (KS3; age 11–14) declares its purpose that pupils should be inspired to ‘develop a love of music and their talent as musicians’ (DfE, 2013: KS3 Music). The Office for Standards in Education (Ofsted) have criticised secondary schools for a lack of progress in the musical development of pupils (e.g. Ofsted, 2012). This paper reports on an exploratory study into how far class music lessons at KS3 provide for the development of the musician and the relationship between the musical values of music teachers and classroom practice. The research centres on an investigation into the place of musical competencies in music learning and the contexts within which musicianship can develop. It concludes that classroom music lessons have a tendency to focus more on presenting pupils with a range of ‘taster’ musical experiences than in the development of musicians.
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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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Poluboyarina, I. "Integration processes in the professional training of musicians as the basis of their spiritual development." Musical art in the educological discourse, no. 3 (2018): 97–102. http://dx.doi.org/10.28925/2518-766x.2018.3.97102.
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The article substantiates the relevance of the introduction into the professional training of students of musicians on the principle of integration. The philosophical and pedagogical definition of such concepts as “spirituality”, “spiritual values” of a student-musician is given. The purpose of the article is to introduce the principle of integration into professional training, the impact of integration processes on the development of the spirituality of students-musicians. The goal and advantages of integration training as the basis for the spiritual development of a student-musician are determined.The humanistic paradigm of education (V. P. Andrushchenko, I. A. Zyazyun, A. M. Stepashko) is the methodological basis for solving the problems of the article. A synergetic approach to the processes of development and self-development of spirituality, the thinking of the student, his creative “Self” (V. G. Budanov, V. V. Vasilkov). One of the areas of development of the conceptual foundations of the moral development of student-musician is the introduction into the educational process of the principle of integration of knowledge about the spiritual sphere of man, spiritual values, as the foundations of human culture.It is impossible to give education on the principles of a particular science, regardless of other sciences. This integration is an organic combination of the information of other educational disciplines around the topic of music, musical interpretation, is one of the most promising innovations that imposes new conditions for the activities of teachers and students, has a great influence on the effectiveness of the perception of young musicians learning material. Integration processes in the professional training of young musicians have become more and more important in recent years as they are aimed at implementing new educational ideals — the formation of a holistic knowledge system about musical art and performing skills, the development of students’ creative musical abilities and spirituality. The essence of the principle of integration is based on scientifically grounded, organic interpenetration of different areas of knowledge: in the form of a set of associations, symbols, categories, etc., taking into account the psychological and pedagogical features of the personality of student-musician in order to optimize and increase the effectiveness of forming a coherent picture of the world, value orientations and phenomena of art within the same subject. Thus, the use of the principle of integration in educational activities (in reliance on the widespread use of subject relations) contributes to developing, humanistic learning, in turn, stimulating the spiritual development of a student-musician.
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WITKOWSKA-ZAREMBA, ELŻBIETA. "Johannes de Muris's Musica speculativa cited by Jacobus de Ispania." Plainsong and Medieval Music 31, no. 1 (April 2022): 37–63. http://dx.doi.org/10.1017/s0961137122000031.
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ABSTRACTIt is known that the seventh book of Jacobus's Speculum musicae contains, alongside other quotations from Ars Nova treatises, the earliest extant transmission of the salient passage of Johannes de Muris's Musica speculativa, Conclusio XVIII, where Muris questions the nature of the fourth as a perfect consonance. However, the relevant passages of Musica speculativa cited and discussed by Jacobus have not yet been analysed in the context of the rich manuscript tradition of the Musica speculativa, which served the needs of musical education throughout Latin Europe for at least two hundred years. In order to position Jacobus's citations of Muris within the framework of the Musica speculativa tradition, I examine several significant variant readings contained in Speculum musicae, comparing them to two French, most probably Parisian, manuscripts transmitting versions A (A-SPL Cod. 264/4) and B (BnF lat. 7378A) of Musica speculativa. Both A and B versions are provided with colophons dated 1323 and 1325, respectively. Establishing which version of Musica speculativa was the source of Jacobus's citations provides a new basis for the dating of two other treatises by Muris to which Jacobus refers, namely Notitia artis musicae and Compendium musicae practicae, and, more generally, for the date of the seventh book of Speculum musicae.
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Plumley, Yolanda. "Musicians at Laon cathedral in the early fifteenth century." Urban History 29, no. 1 (May 2002): 19–34. http://dx.doi.org/10.1017/s0963926802001037.
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The city of Laon was a significant commercial and administrative centre in late medieval northern France. Laon's rich and powerful cathedral attracted many to its chapter, which was the largest in the country. In the years circa 1400 its ranks included a number of leading musicians. An investigation into their musical and non-musical duties sheds fascinating light on to the daily life of the cathedral musician and his position in the local urban and rural context.
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Korlyakova, S. G. "Psychophysiological Mechanisms of Coordination Component of Psychomotor Abilities of the Musicians." Psychological-Educational Studies 9, no. 1 (2017): 115–24. http://dx.doi.org/10.17759/psyedu.2017090112.
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Psychomotor abilities of the musician are implemented in performing technique and include muscle strength, endurance, speed of movements, coordination, motor memory. The article presents the materials of a theoretical study aimed to identify the level character of the coordination component of psychomotor abilities of musicians formation, to define the psychophysiological mechanisms that contribute to the effective development of musical-performing technique. The process of coordination component of psychomotor abilities of musicians formation reviewed in the light of N.. Bernstein theory on construction of movements, which most fully represents the interrelation of physiological and psychological mechanisms of a man motor activity. On the example of musical- performing activity of trained pianists the processes of intermuscular, spatial, sensory-motor (visual-motor, auditory-motor, tactile-motor) coordination formation are reviewed and in general – psychomotor coordination processes involved in musicians performing technique development.
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Santucci, Michael. "Protecting Musicians from Hearing Damage: A Review of Evidence-based Research." Medical Problems of Performing Artists 24, no. 3 (September 1, 2009): 103–7. http://dx.doi.org/10.21091/mppa.2009.3023.
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The great irony of being a musician is that the sound produced—the very essence of the musical experience—represents a long-term health risk to the artist. This overview examines the lack of sufficient evidence-based studies on this at-risk population, which is particularly important in light of the low level of compliance to hearing-loss prevention programs among musicians. The review explores the number of musicians at risk, the five most common types of hearing loss affecting them, and the necessary components of a hearing-loss prevention program, including measurement, education, and acoustic modifications to the work environment. Hearing protection devices designed specifically for performing musicians are explored in depth, including the proper use of spectrum-neutral high-fidelity earplugs with in-ear monitoring systems as tools to control sound levels without detracting from the quality of musical performance.
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Ramadhan, Andi Muhammad Fauzi, Sudirman Karnay, and Andi Subhan Amir. "333 SOUNDCLOUD SEBAGAI MEDIA ALTERNATIF DISTRIBUSI KARYA MUSIK MUSISI INDIE KOTA MAKASSAR." KAREBA : Jurnal Ilmu Komunikasi 6, no. 2 (December 25, 2017): 333. http://dx.doi.org/10.31947/kjik.v6i2.5337.
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ABSTRACT The purpose of this research is: (1) To find motive of indie musicians on using Soundcloud as an alternative media distribution for musical pieces. (2) To find effort of indie musicians on using Soundcloud as an alternative media distribution for musical pieces. This research is in Makassar, on indie musicians who using Soundcloud. As for the method of this research used Descriptive Qualitative. The result of this research shows that indie musicians in Makassar have different motives on using Soundcloud as an alternative media distribution. The first, musicians used soundcloud to promote their works. The second, as an effort to distribute their works through the download feature. The third, Soundcloud is unsophisticated and very friendly media. The fourth, Soundcloud is utilized by musicians for the sake of protection feature for their uploaded works. The fifth, musicians used Soundcloud as a means of documentation for their works. The variety of Soundcloud uses been applied by indie musicians. The musician effort to utilize the feature not just confined by uploaded the works. Makassar indie musicians also integrated their Soundcloud account to another social media. Furthermore, they are providing download feature for their listeners, so they can download it for free. However, no musicians yet utilized description feature to describe the music context of their works.
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Yunyu, Kang. "Methodical Expediency of Enrichment of Repertoire of the Beginning Pianist in Educational Institutions of the People’s Republic of China." Musical Art and Education 7, no. 3 (2019): 126–37. http://dx.doi.org/10.31862/2309-1428-2019-7-3-126-137.
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The article deals with the activity of the teacher-musician on the choice of educational piano repertoire. Currently, in China, this practice is based almost exclusively on the empirical experience of teachers and is largely random, does not have sufficient methodical support. They use rather standard, so-called basic musical repertoire, especially at the initial level of piano training in the genre of a program play. At the same time, the individuality of the student, his personal qualities, promising musical development, genre and style diversity of works, certain methodological indications for study, motivational readiness are not adequately taken into account. There is an urgent need to expand the children’s piano repertoire in China, primarily through the musical works of composers from other countries, for example, the easy plays of Russian composers of the Soviet and post-Soviet periods. The article shows a specific example of the educational repertoire in children’s educational programs with effective performance of young musicians at concerts. Actions of the teacher-musician at the choice of this or that musical work inevitably actualize personal-creative and reflexive qualities, skills of the methodological analysis. The introduction of young musicians to the performance of music from other eras and national schools, familiarity with different compositional techniques and directions, painstaking individual selection of each play has a pronounced methodological, educational and motivational effect.
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Zhang, J. Diana, and Emery Schubert. "A Single Item Measure for Identifying Musician and Nonmusician Categories Based on Measures of Musical Sophistication." Music Perception 36, no. 5 (June 1, 2019): 457–67. http://dx.doi.org/10.1525/mp.2019.36.5.457.
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Musicians are typically identified in research papers by some single item measure (SIM) that focuses on just one component of musicality, such as expertise. Recently, musical sophistication has emerged as a more comprehensive approach by incorporating various components using multiple question items. However, the practice of SIM continues. The aim of this paper was to investigate which SIM in musical sophistication indexes best estimates musical sophistication. The Ollen Musical Sophistication Index (OMSI) and the Goldsmiths Musical Sophistication Index (Gold-MSI) were analyzed. The OMSI musician rank item (“Which title best describes you?”) was observed to be the best SIM for predicting OMSI and Gold-MSI scores. Analysis of the OMSI item indicated three parsimonious musical identity categories (MIC); namely, no musical identity (NMI), musical identity (MI), and strong musical identity (SMI). Further analyses of MIC against common SIMs used in literature showed characteristic profiles. For example, MIC membership according to years of private lessons are: NMI is < 6 years; MI is 6–10 years; and SMI is > 10 years. The finding of the study is that the SIM of musician rank should be used because of its face validity, correlation with musical sophistication, and plausible demarcation into the three MIC levels.
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ORUJOV, İgbal, and Taravat ORUJOVA. "ORTA ÇAĞ DÖNEMİ’NDE NEFESLİ ENSTRÜMANLAR SANATI." JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 7, no. 26 (February 20, 2021): 85–95. http://dx.doi.org/10.31623/iksad072607.
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Medieval musical instruments are closely related to the types of palace and city culture that were active at that time. Church rituals, music, song, and dance styles of the urban settlements were based on the vocal and instrumental skills of the musicians. The emergence of new instrument types compared to the heritage of antiquity was due to several factors. The most important change in the social status of the musician: the traveling artists are replaced by an instrumentalist striving for "establishedness". This trend led to the formation of professional-musicians working in the service of the city magicians and performing their duties in terms of "music economy". The oldest medieval musical instrument was the human voice. The spread of Christianity in the Dark Ages and early Middle Ages led to the popularity of hymns and secular songs. Many musical instruments of the Middle Ages were the predecessors of modern musical instruments. Wind instruments are the oldest type of musical instruments from the Ancient Ages to the Middle Ages. However, in the process of development and formation of medieval Western civilization, the scope of application of wind instruments greatly expanded: for example, some instruments such as the olifant belonged to the palaces of the nobility, others - the flutes - were used both in the folk setting and among professional musicians, while others such as trumpets were only become military musical instruments.
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Ciptaningsih, Utami, and Zulkarnain Mistortoify. "SAPTONO DALAM MELESTARIKAN DAN MENGEMBANGAN KARAWITAN TRADISI SURAKARTA." Sorai: Jurnal Pengkajian dan Penciptaan Musik 14, no. 1 (July 10, 2022): 57–70. http://dx.doi.org/10.33153/sorai.v14i1.3826.
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This qualitative research is about the figure of Saptono in the world of classical Surakarta-style karawitan. Saptono is a skilled musician in mastering the repertoire of gendhing and ricikan in all types of Javanese Surakarta-style gamelan. Apart from being a former lecturer at ISI Yogyakarta, he also serves as a gamelan musician at the Surakarta Kasunanan Palace. High loyalty and musical virtuosity made Saptono appointed Kanjeng Raden Riyo Aryo (K.R.R.A) Saptonodiningrat and given a special task as tindhih of gamelan musicians at the Surakarta Kasunanan Palace. Two basic questions arise about how Saptono creative activities maintain the continuity of the Surakarta style musical and what reasons encourage him to do these activities. Based on these two questions, it is known that all forms of loyalty to the Surakarta Kasunanan Palace are shown by Saptono by utilizing all of his musical potential in creating classical Surakarta style gendhing, which is specifically dedicated to King Paku Buwana XIII. Saptono dedication to the development of karawitan to the wider community is shown through his willingness to become a music teacher at home and abroad, become a courtier of musicians at the Kasunanan Surakarta Palace, and become a driving force for the Muryoraras art community as a meditation association with Javanese gamelan instruments.
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Mankel, Kelsey, and Gavin M. Bidelman. "Inherent auditory skills rather than formal music training shape the neural encoding of speech." Proceedings of the National Academy of Sciences 115, no. 51 (December 3, 2018): 13129–34. http://dx.doi.org/10.1073/pnas.1811793115.
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Musical training is associated with a myriad of neuroplastic changes in the brain, including more robust and efficient neural processing of clean and degraded speech signals at brainstem and cortical levels. These assumptions stem largely from cross-sectional studies between musicians and nonmusicians which cannot address whether training itself is sufficient to induce physiological changes or whether preexisting superiority in auditory function before training predisposes individuals to pursue musical interests and appear to have similar neuroplastic benefits as musicians. Here, we recorded neuroelectric brain activity to clear and noise-degraded speech sounds in individuals without formal music training but who differed in their receptive musical perceptual abilities as assessed objectively via the Profile of Music Perception Skills. We found that listeners with naturally more adept listening skills (“musical sleepers”) had enhanced frequency-following responses to speech that were also more resilient to the detrimental effects of noise, consistent with the increased fidelity of speech encoding and speech-in-noise benefits observed previously in highly trained musicians. Further comparisons between these musical sleepers and actual trained musicians suggested that experience provides an additional boost to the neural encoding and perception of speech. Collectively, our findings suggest that the auditory neuroplasticity of music engagement likely involves a layering of both preexisting (nature) and experience-driven (nurture) factors in complex sound processing. In the absence of formal training, individuals with intrinsically proficient auditory systems can exhibit musician-like auditory function that can be further shaped in an experience-dependent manner.
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Pinto, Giovanna Cardoso, Clayton Henrique Rocha, Carla Gentile Matas, and Alessandra Giannella Samelli. "Effects of Conventional and Musician-Specific Hearing Protection Devices on Speech Intelligibility." Acoustics 5, no. 1 (February 27, 2023): 242–53. http://dx.doi.org/10.3390/acoustics5010014.
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(1) Background: To assess and compare speech intelligibility with conventional and universal musician-specific hearing protection devices (HPD); (2) Methods: The sample comprised 15 normal-hearing musicians of both sexes who had been professionals for more than 5 years. They underwent thorough audiological assessment and free-field audiometry to measure the attenuation levels of three HPD models (musician-specific, silicone, and foam devices). The sentence recognition thresholds in quiet (SRTQ) and noise (SRTN) were assessed with the Lists of Sentences in Portuguese. User satisfaction with musician HPD was assessed after 2 months; (3) Results: Conventional HPD had higher pure-tone mean attenuation levels than musician HPD. No statistically significant differences were found in SRTQ and SRTN between the three HPD types. However, the musician HPD had higher mean signal-to-noise ratios and percentages of correct words from sentences presented in noise than the other HPD. The answers also indicated a positive trend toward satisfaction with the musician-specific HPD; (4) Conclusions: Despite the lack of significant differences in speech intelligibility while wearing the three HPD models in either quiet or noise, the musician-specific HPD provided greater musical sound quality. This reinforces the possibility of an effective and adequate use of protection to preserve musicians’ hearing.
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Du, Yi, and Robert J. Zatorre. "Musical training sharpens and bonds ears and tongue to hear speech better." Proceedings of the National Academy of Sciences 114, no. 51 (December 4, 2017): 13579–84. http://dx.doi.org/10.1073/pnas.1712223114.
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The idea that musical training improves speech perception in challenging listening environments is appealing and of clinical importance, yet the mechanisms of any such musician advantage are not well specified. Here, using functional magnetic resonance imaging (fMRI), we found that musicians outperformed nonmusicians in identifying syllables at varying signal-to-noise ratios (SNRs), which was associated with stronger activation of the left inferior frontal and right auditory regions in musicians compared with nonmusicians. Moreover, musicians showed greater specificity of phoneme representations in bilateral auditory and speech motor regions (e.g., premotor cortex) at higher SNRs and in the left speech motor regions at lower SNRs, as determined by multivoxel pattern analysis. Musical training also enhanced the intrahemispheric and interhemispheric functional connectivity between auditory and speech motor regions. Our findings suggest that improved speech in noise perception in musicians relies on stronger recruitment of, finer phonological representations in, and stronger functional connectivity between auditory and frontal speech motor cortices in both hemispheres, regions involved in bottom-up spectrotemporal analyses and top-down articulatory prediction and sensorimotor integration, respectively.
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HOLLERBACH, PETER. "(Re)voicing tradition: improvising aesthetics and identity on local jazz scenes." Popular Music 23, no. 2 (May 2004): 155–71. http://dx.doi.org/10.1017/s0261143004000121.
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Historically, the field of ethnomusicology has tended to neglect the lives and work of individual musicians in favour of a view of music as culture, a disciplinary perspective that has assumed the homogeneity of the world's cultures. Contesting this erasure of the musical subject, biographical micro-histories situate the individual at the centre of music studies. Accordingly, the subject of this article is a self-identified ‘local’ jazz musician, whose narrative elucidates the exigencies of his musical and social life. One of the music's ‘lesser lives’, ‘LC’ is typical of those players who negotiate the contested terrain of jazz scenes peripheral to the jazz world's centre, New York City. The explication of his musical aesthetic and its influence upon his self-image as a jazz musician is directed toward a more representative view of jazz than that of institutionalised histories, which promulgate a ‘Great Man’ narrative. Incorporating contemporary discourse and critical race theories as alternatives to traditional modes of aesthetic inquiry, this study unpacks issues related to musical and social dialogism and signification, ‘voice’ and identity, and race and masculinity as a means of illuminating those criteria deemed crucial by a particular musician in his search for existential meaning and a jazz truth.
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Massetti, Gemma, Carlotta Lega, Zaira Cattaneo, Alberto Gallace, and Giuseppe Vallar. "Exploring the Effects of Brain Stimulation on Musical Taste: tDCS on the Left Dorso-Lateral Prefrontal Cortex—A Null Result." Brain Sciences 12, no. 4 (March 31, 2022): 467. http://dx.doi.org/10.3390/brainsci12040467.
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Humans are the only species capable of experiencing pleasure from esthetic stimuli, such as art and music. Neuroimaging evidence suggests that the left dorsolateral prefrontal cortex (DLPFC) plays a critical role in esthetic judgments, both in music and in visual art. In the last decade, non-invasive brain stimulation (NIBS) has been increasingly employed to shed light on the causal role of different brain regions contributing to esthetic appreciation. In Experiment #1, musician (N = 20) and non-musician (N = 20) participants were required to judge musical stimuli in terms of “liking” and “emotions”. No significant differences between groups were found, although musicians were slower than non-musicians in both tasks, likely indicating a more analytic judgment, due to musical expertise. Experiment #2 investigated the putative causal role of the left dorsolateral pre-frontal cortex (DLPFC) in the esthetic appreciation of music, by means of transcranial direct current stimulation (tDCS). Unlike previous findings in visual art, no significant effects of tDCS were found, suggesting that stimulating the left DLPFC is not enough to affect the esthetic appreciation of music, although this conclusion is based on negative evidence,.
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Colombo, Barbara, Giuseppe Passalacqua, Chiara Di Nuzzo, and Guglielmo Puglisi. "Il cervello visuomusicale: uno studio pilota sul rapporto tra corteccia visiva primaria, visualizzazione mentale ed esperienze sinestetiche." RICERCHE DI PSICOLOGIA, no. 3 (February 2013): 361–86. http://dx.doi.org/10.3280/rip2011-003003.
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Questo studio pilota si propone di indagare il rapporto tra sinestesia e immaginazione mentale nell'ascolto musicale, partendo dall'ipotesi che il legame tra musica e immagini possa essere spiegato dai processi intermodali che coinvolgono aree diverse del cervello, in particolare l'area uditiva e quella visiva. Con l'utilizzo della tDCS (stimolazione elettrica transcranica a correnti dirette), e stata inibita la corteccia visiva primaria (V1), in un campione di musicisti e di non musicisti, per indagare il ruolo che puo assumere durante l'ascolto di brani musicali, valutando contemporaneamente la tendenza alla visualizzazione e la capacita sinestesica. Infine, e stato usato l'Eye Tracker per registrare gli indici comportamentali di esplorazione visiva, che possono essere ricondotti alla visualizzazione mentale durante la fruizione degli stimoli musicali. I risultati hanno mostrato che l'expertise musicale e l'inibizione di V1 incidono sull'esperienza sinestesica e di visualizzazione mentale durante la fruizione di stimoli musicali complessi. Inoltre, le analisi hanno permesso di evidenziare il ruolo di specifiche differenze individuali (in particolare la tendenza all'uso spontaneo delle immagini mentali e il tratto di personalita legato all'immaginazione) durante l'elaborazione cognitiva e sinestetica di stimoli musicali complessi.
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Nagorna, Galyna. "THEORETICAL AND METHODOLOGICAL FOUNDATIONS OF A HOLISTIC PROCESS OF MUSICAL RESEARCH AS A CONDITION OF DEVELOPMENT PERSONALITY’S MUSICAL THINKING." Visnyk Taras Shevchenko National University of Kyiv. Pedagogy, no. 1 (7) (2018): 46–49. http://dx.doi.org/10.17721/2415-3699.2018.7.12.
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The article presents the theoretical and methodological foundations of a holistic process of musical research, providing the development of musical thinking of masters. In this regard, strategic and tactical approaches to the research of musical thinking of the individual were developed. At the same time the rational-creative research approach was the leading methodological foundation of the holistic process of the emergence and formation of musical thinking among masters. In other words, the research became a methodology of musical education, since on its basis and in its process the development of musical thinking of music teachers has occurred. In the course of this research, future musicians in their professional activities achieved rational creativity. With the help of the system approach, the structural basis was provided both for studying the musical thinking of the individual and for the holistic musical process. The theoretical basis was the criterial-value approach to the assessment of the musical thinking of masters, as well as to a holistic research of their musical art. These theoretical preconditions have been practically realized with the help of a personality-activity approach to future musicians in the process of their interaction with subjects, phenomena of musical art. Consequently, the system of relations between informing and stimulating situations of interactions with subjects, phenomena of musical art was the object of the research of masters. This system was developed on the basis of the unity of the systemic, criterial-value and personality-activity approaches presented under the aegis of the rational-creative approach. The generalized mental actions mastered by the masters in the process of a holistic of musical research were: the skill to select the goal of musical research; the skill to find or creatively build up tactics of relations that arise in the process of interaction with the subjects of musical research; the skill to elaborate a value-methodological strategy; the skill to assess, self-evaluate the relevance, reliability, strength of the developed strategy and tactics of the relationship of the holistic process of musical research. The factors determining the development of the musical thinking of the masters were identified such as: interest in activity of musical research; the need to engage in it and the vocation for it; qualities of personality, necessary to musician-teacher-performer; knowledge of peculiarities of the development of musical art; skills: constructive, organizational, communicative, gnostic. Thus, on the one hand, the achievement of the professional reasonableness of the musician in the process of research the holistic musical process is ensured. On the other hand, the basic ideas of the concept of the formation of the musical thinking of the personality are realized, which consist in the fact that the formation of the designated thinking is determined by the dialectical unity of generalized mental actions that constitute the essence and content of this thinking, the factors that influence its development, and the system of strategic and tactical approaches necessary for its implementation. As a result, the system of professional university training has been transformed taking into account approaches to: musical education as a research of the holistic musical process; researching as the self-critical activity of a future musician; a musician as a special person who takes a subjective position, and creates polysubject (dialogical) relations in the course of mutual communication.
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Filimon, Eliza Claudia. "A Blend of Sound and Image- the Music Video." Romanian Journal of English Studies 10, no. 1 (March 1, 2013): 18–26. http://dx.doi.org/10.2478/rjes-2013-0002.
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Abstract The focus of this paper is first of all the issue of authorship in music videos, with reference to the division of tasks between the musician and the director. Secondly, a non-narrative musical piece in analysed - The Chemical Brothers’ Star Guitar - in relation to the narrative video created by Michel Gondry to enrich its meanings and better convey the intended message of the musicians.
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Lynch, Michael P., and Rebecca E. Eilers. "Children's Perception of Native and Nonnative Musical Scales." Music Perception 9, no. 1 (1991): 121–31. http://dx.doi.org/10.2307/40286162.
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The influence of musical experience on children's perception of culturally familiar (native) and culturally unfamiliar (nonnative) musical scales was studied. Western musician and nonmusician 10- to 13-year olds were tested in detection of mistunings in a melody based on either the Western major, Western minor, or Javanese pelog scales. In the Javanese scale context, the performance of the musicians was not different from that of the nonmusicians, and neither group detected mistunings in this context significantly better than chance. The child musicians' performance in the Western contexts, however, was better than in the Javanese context and also was better than that of the child nonmusicians. In contrast, the child nonmusicians' performance in the Western contexts was significantly better than chance, but these children did not have significantly greater success at detecting mistunings in the Western than Javanese contexts. These findings suggest that informal musical acculturation results in somewhat better perception of native than nonnative scales by 10-13 years of age but that formal musical experience can facilitate the acculturation process. These results are compared with other published data on infants and adults tested with the same stimuli.
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Keller, Damián. "Challenges for a second decade of ubimus research: knowledge transfer in ubimus activities." Revista Música Hodie 18, no. 1 (June 19, 2018): 148–65. http://dx.doi.org/10.5216/mh.v18i1.53578.
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This is the second part of a discussion on the challenges of a second decade of ubimus research. I discuss the issues involved in supporting knowledge transfer in musical activities. I lay out and exemplify the concept of metaphor for creative action. I summarize the results of three studies employing the time tagging metaphor, configuring an effective strategy for supporting everyday musical creativity. Then I report results of a study employing the stripe meta- phor – an extension of time tagging devised for usage of a large number of resources. Twelve subjects, encompassing musicians and casual participants, realized improvisatory sessions in a non-standard setting – an audio and musical equipment store. The results indicated a promising new avenue of research targeting lay-musician interaction. The results also raised new questions regarding the strategies adopted for knowledge transfer support. The last section of the paper places these results within the context of the ongoing ubimus efforts, highlighting four issues that have emerged as viable research avenues: everyday musical creativity, lay-musician interaction, design for sustainability and design for distributed creativity.
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Arestov, Sergey S. "Jazz composition in the modern educational process." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 140–44. http://dx.doi.org/10.30725/2619-0303-2021-1-140-144.
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The teaching system is periodically updated and improved. The article outlines the perspective of using jazz composition in the system of musical education. Its expediency is emphasized, and its conditionality is shown by several interacting factors that contribute to the formation of professional skills of a musician-performer and teacher. In addition, the characteristic features that distinguish it from other musical disciplines are identified. At the same time, jazz composition as a technique for creating works is the basis for the formation and development of a musical style that involves the search for an individual performing style. Jazz composition is considered as a sphere of modern musical culture that meets the needs of musicians and listeners. The article shows the importance of jazz composition in the realities of the development of musical styles, emphasizes its importance in the system of values of musical culture, the objective meaning of which is determined by its inherent nature in several components of the modern creative process.
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Park, Hye Young. "Finding meaning through musical growth: Life histories of visually impaired musicians." Musicae Scientiae 21, no. 4 (July 21, 2017): 405–17. http://dx.doi.org/10.1177/1029864917722385.
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The purpose of this study is to examine in depth the lives of visually impaired professional musicians via the life history method. The researcher conducted in-depth interviews with eight visually impaired professional musicians. The data analysis considered three facets of life history proposed by Mandelbaum: dimensions, turning points, and adaptations. The dimensions of life (families, schools, private music teachers, and performance groups) were analysed first. The turning points of life involve accepting and overcoming an impairment and choosing to major in music. Adaptations to life involve persevering in a harsh social environment, living as an impaired musician, aspiring to a successful career as a professional musician, and learning from vigorous musical activities. Most participants suggested that families and performance groups are the most important dimensions of their lives. With respect to turning points, choosing to major in music has enabled the participants to accept and overcome the difficulties associated with being visually impaired. Through adaptation, the participants appear to have found their value, role, and meaning both as members of society and as professional musicians. This implies both the importance of expanding performing opportunities for visually impaired musicians and the importance of acknowledging their professional activities, affording visually impaired musicians better livelihoods by offering them more fulfilling roles in the field of music along with significant, long-term public support.
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BOMBOLA, GINA. "FromThere's Magic in MusictoThe Hard-Boiled Canary: Promoting “Good Music” in Prewar Musical Films." Journal of the Society for American Music 12, no. 2 (April 5, 2018): 151–78. http://dx.doi.org/10.1017/s1752196318000068.
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AbstractIn 1941, Paramount releasedThere's Magic in Music, a film about a soprano who sings opera in burlesque and wins a scholarship to attend Interlochen. The movie's utopian view of art music, however, caused difficulties for the studio in regard to marketing, leading to a studio-wide debate over the film's title. Archival documents positionThere's Magic in Musicas a valuable case study for investigating the transitional period of musical film production between the Great Depression and the onset of World War II, particularly with respect to operatic musicals. Just prior to the United States’ entry into the war, Hollywood moved away from the escapist fantasy of 1930s cinema toward the realism that would mark the 1940s. To reboot fading interest in musicals, studios toyed with the formula of the backstage musical to focus more on dramatic narratives and star power.There's Magic in Musicthus serves as a lens through which we might examine changes both in musical film production and in notions of “good music” at the eve of World War II.
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Landry, Simon P., and François Champoux. "Long-Term Musical Training Alters Tactile Temporal-Order Judgment." Multisensory Research 31, no. 5 (2018): 373–89. http://dx.doi.org/10.1163/22134808-00002575.
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Long-term musical training is an enriched multisensory training environment that can alter uni- and multisensory substrates and abilities. Amongst these altered abilities are faster reaction times for simple and complex sensory tasks. The crossed arm temporal-order judgement (TOJ) task is a complex tactile task in which TOJ error rate increases when arms are crossed. Reaction times (RTs) for this task are typically proportionate to the difficulty of the stimulus onset asynchrony (SOA) and increase more when the arms are crossed than when uncrossed. The objective of this study was to study the impact of musical training on RTs and accuracy for the crossed arm TOJ task. Seventeen musicians and 20 controls were tested. Musicians had significantly faster RTs for all crossed arm conditions and half of the uncrossed conditions. However, musicians had significantly more TOJ errors for the crossed posture. We speculate that faster musician TOJ RTs leave little time to consolidate conflicting internal and external task-related information when crossing the arms, leading to increased incorrect responses. These results provide novel insights on the potential mechanisms underlying the increased TOJ error rates when arms are crossed. Moreover, they add to the growing literature of altered sensory ability in musicians and propose an unexpected consequence of faster reaction times.
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Nagorna, G. "RESEARCH ACTIVITIES AS FORMATION FACTOR OF MUSICAL THINKING OF PERSONALITY." Pedagogical education: theory and practice. Psychology. Pedagogy, no. 30 (2018): 46–52. http://dx.doi.org/10.28925/2311-2409.2018.30.4652.
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The article reveals the problem of organizing research activities of students of musical universities as the main factor influencing the formation of their musical thinking. To achieve this goal, music education is transformed as a holistic process of musical research based on reflexive modeling, and musical research as a musician’s self-critical research activity. It is found that only in a systematic study by future musicians of facts, phenomena, circumstances of the musical process, it is possible to develop generalized skills to determine and achieve the goal of musical research, develop value-methodological strategy and tactics of relations in the process of interaction with the subjects of this research, self-assess the results of their research activities. In addition, development of musical thinking of personality is aimed at achieving its professional reasonableness as a universal quality, providing understanding and comprehension of the holistic process of musical research and determining mastering the value-methodological culture. In the process of the research, the following is undertaken: the methodology of the criterion-value approach is substantiated as the leading strategy of the personality-activity approach to students of music universities in the process of development of their musical thinking; the types of research activities (reasonable, organizational-informational, creatively transformative, evaluating) and their interrelation on the basis of the principles of unity of the universal and particular, simple and complex are revealed; the research self-critical activity of the future musician is revealed as a criterion of the truth of his musical thinking, aimed at mastering the professional reasonableness of the individual; analysed the role of the reflexive control of the formation of musical thinking of the individual and the holistic process of musical research. The involvement of future musicians in research self-critical activity, as well as the implementation of the reflexive control of the process of development of musical thinking, provided significant positive changes in the levels of development of this thinking. If reflexive management of the process of development of musical thinking contributed to the development of rational and creative individuality, then reflexive modeling of the holistic process of musical research made it possible to achieve self-management of the student’s personality, which led to the development of dialogical thinking, actualization of the independence of professional ideas, judgments, inferences, activation of self-criticism, priority to solving complex problems . As a result of the study, the appropriateness of the realization of the personality-activity approach to students of musical universities in the process of development of their musical thinking are derived: the increase in the effectiveness of the implementation of the personal-activity approach to students during the formation of their musical thinking depends on the degree of implementation of the reflexive management of the integral process of musical research; the achievement of the goal and result of the development of musical thinking — mastering professional reasonableness of a musician — is determined by the degree of effectiveness of the implementation of the personality-activity approach in the process of formation of the specified thinking with future musicians.
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Lyon, Elizabeth L. "‘Magis corde quam organo’: Agazzari, Amadino, and the hidden meanings of Eumelio." Early Music 48, no. 2 (May 2020): 157–76. http://dx.doi.org/10.1093/em/caaa025.
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Abstract Some time after Christmas 1605, Agostino Agazzari (1578–1640) was asked to provide music for a pastoral drama, Eumelio; it was performed a month later during Carnival at the Jesuit-run Seminario Romano. In the preface to the subsequently published score (Venice: Amadino, 1606), Agazzari tells his readers that he agreed to the commission ‘because of the beautiful and useful allegory that I saw in [the libretto]’. What this beautiful and useful allegory was, however, has not been apparent to modern scholars. Margaret Johnson goes so far as to write that ‘It is perhaps unfortunate that Agazzari even mentioned the presence of a moral; it might otherwise have been overlooked, since its presence is obtrusive only in the composer’s preface’. This article offers an interpretation of the allegory of Eumelio by reading the opera as a commentary on the musical and spiritual teachings of Council of Trent, to which the printer’s mark of Agazzari’s publisher, Ricciardo Amadino, paratextually alludes. Although Amadino was the printer of some of the most famous prints of the Seicento (including Monteverdi’s Orfeo and Fifth Book of Madrigals), his printer’s mark and motto, ‘more with the heart than with the organ’, has not been commented upon in modern scholarship. The motto’s possible sources and its contemporary resonances and meanings point to an understanding of Eumelio as an allegory of Christian soteriology and the Christian musician. The opera externalizes and dramatizes the kinds of inner examination that many believed were incumbent on musicians in a post-Trent musico-religious culture. As a performed and printed work, then, Eumelio gave musicians pause to reflect on their inner lives, the purpose of their musical activities, and the kinds of motivations they acted upon in performance.
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Paipare, Mirdza. "Musical experience from psychological and therapeutic perspective." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 9, 2015): 154. http://dx.doi.org/10.17770/sie2012vol2.130.
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The author of the paper is a musician, educator and certified music/art therapist. This enables her to view this particular issue both from musicians, teachers and music/art therapist’s view. Within a three-year period research was conducted and the research data on the role of musical emotions in human life were summarised. The research results allow to draw meaningful conclusions on the role of musical emotional experience not only in a person’s life, but also to identify the musical emotions impact on vital areas of human life, concerning the senses, emotions, perception, behaviour, culture, identity. Findings of the study show that scientific application of music provides not only aesthetic, but also educational and even therapeutic effect. Interpretation of the obtained results shows their applicability in pedagogy, psychology, music science, and health care.
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Bozkurt, Barış. "A System for Tuning Instruments Using Recorded Music Instead of Theory-Based Frequency Presets." Computer Music Journal 36, no. 3 (September 2012): 43–56. http://dx.doi.org/10.1162/comj_a_00128.
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Musical instrument tuners are devices that help musicians to adjust their instruments such that the played notes have the desired fundamental frequencies. In a conventional tuner, the reference tuning frequencies are preset, where the presets are obtained from tuning (musical scale) theory, such as twelve-tone equal temperament, or are user-specified temperaments. For many kinds of music in oral traditions, especially nonwestern music, widely accepted theoretical presets for tuning frequencies are not available because of the use of non-standard tunings. For such contexts, the “reference” is a master musician or a recording of a master musician. In this article, a tuning method and technology are presented that help the musician to tune the instrument according to a given (user-provided) recording. The method makes use of simultaneous audio and visual feedback during the tuning process, in which novel approaches are used for both modalities. For audio feedback, loopable stable frames, obtained automatically from the recording, are looped and played continuously. For visual feedback, a superimposed plot of the auto-difference functions is displayed instead of the conventional tuner's approach of detecting frequencies and displaying the amount of frequency difference between the input and the reference.
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Schroeder, Scott R., Viorica Marian, Anthony Shook, and James Bartolotti. "Bilingualism and Musicianship Enhance Cognitive Control." Neural Plasticity 2016 (2016): 1–11. http://dx.doi.org/10.1155/2016/4058620.
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Learning how to speak a second language (i.e., becoming a bilingual) and learning how to play a musical instrument (i.e., becoming a musician) are both thought to increase executive control through experience-dependent plasticity. However, evidence supporting this effect is mixed for bilingualism and limited for musicianship. In addition, the combined effects of bilingualism and musicianship on executive control are unknown. To determine whether bilingualism, musicianship, and combined bilingualism and musicianship improve executive control, we tested 219 young adults belonging to one of four groups (bilinguals, musicians, bilingual musicians, and controls) on a nonlinguistic, nonmusical, visual-spatial Simon task that measured the ability to ignore an irrelevant and misinformative cue. Results revealed that bilinguals, musicians, and bilingual musicians showed an enhanced ability to ignore a distracting cue relative to controls, with similar levels of superior performance among bilinguals, musicians, and bilingual musicians. These results indicate that bilingualism and musicianship improve executive control and have implications for educational and rehabilitation programs that use music and foreign language instruction to boost cognitive performance.
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Lee, SG. "Size Matters: A Consideration of the Canadian “Shoebox Musical"." Brock Review 12, no. 2 (February 16, 2012): 49–61. http://dx.doi.org/10.26522/br.v12i2.357.
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Is the Canadian "shoebox musical" best seen as Broadway's poor country cousin or as Canadian drama's illegitimate sibling? This paper will consider the place of the "shoebox musical" with its small cast, few musicians and modest production requirements as a Canadian sub-genre in the larger tradition of the musical theatre. Beginning with an overview of the historical economic, artistic and social conditions that have encouraged, or perhaps forced, Canadian musical theatre artists to produce musicals on a scale almost unimaginable to the Broadway sensibility, the paper goes on to examine the ways in which working within that box has shaped the plays created. From Billy Bishop Goes to War to My Mother’s Lesbian Jewish Wiccan Wedding, a great many Canadian musicals have been made with a simplicity of style and absence of conspicuous consumption that may be merely a result of the material constraints under which they were created, a diminution of the creators' grand artistic visions, or may in fact be a theatrical reflection of a Canadian ethos or perhaps an uncomfortable balance of the tension between the two forces. Drawing on personal experience as a playwright and artistic director and interviews with other playwrights and producers, along with popular and critical writing, the author makes a case for the “shoebox musical” as a distinctly Canadian contribution to the world of musical theatre as well as a legitimate contribution to Canadian drama.