Journal articles on the topic 'Polyphoic music'
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1
Pivtoratska, Lesia. "Verbal-textual polyphonic technique in the Ukrainian choral music (on the example of music on Taras Shevchenko’s poetry)." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 132 (November 29, 2021): 152–65. http://dx.doi.org/10.31318/2522-4190.2021.132.249998.
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Relevance of the study. In the 20th–21st centuries, searches in the field of sonoristics led to an unconventional interpretation of the sound of musical instruments and the human voice. As a result, contemporary composers are actively experimenting with vocal performance techniques. The timbresonorous quality of speech contributes to the emergence of new polyphonic techniques. The use of verbal-textual polyphonic techniques in the music of modern Ukrainian composers is becoming more and more widespread. This explains the relevance of this study. The scientific basis of the article is the insufficiently studied concept of verbal-textual polyphony by I. B. Pyaskovsky.
Main objective of the study. The objective of this study is to examine the existing manifestations of verbal-textual polyphonic technique in Ukrainian choral music a cappella on the example of works based on the texts of the poetic cycle “Psalms of David” by T. Shevchenko. The scientific novelty lies in the fact that the work is the first to consider verbal-textual polyphonic techniques in the works of Ukrainian composers on the texts of “Psalms of David” by T. Shevchenko.
Methodology. The following methods of research are used: versioning (analysis of the versification features of the original poetic source), semantic (interpretation of the semantic content of the musical expressiveness means, their correlation with the text), typological (based on classification of the varieties of the studied technique).
Results and conclusions. The main feature of verbal textual polyphony is the phonic interpretation of speech. This type of polyphonic technique is manifested in the work with text phonemes and syntagmas, which, as a rule, have intonation-rhythmic design. The prerequisites for this type of polyphony in musical works based on the texts of T. Shevchenko are the musicality of his poetry, as well as a specific rhythmic organization — the so-called 14-syllabic kolomijka verse. All examples of this writing technique can be divided into two groups, depending on the compositional work at the phonemic or syntagmatic levels. Phonemic compositional work is carried out by segmentation, vocal accentuation and temporal extension of the sound of the syllable. Work at the syntagmatic level is embodied using the following techniques: simultaneous multi-rhythmic presentation of the same text, text imitation, ostinato, polyphonic techniques of vocal intonation on a verbal and extra-musical basis. The analysis carried out indicates that the polyphonic technique in the studied works of Ukrainian composers is formed taking into account the versification features of the Shevchenko's poetry. The results of these observations can be used in the study of the manifestations of verbal textual polyphony in vocal-choral works on a different text basis
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Krasovskaya, Elena P., and Ho Da. "Pedagogical Approaches to Mastering Polyphonic Cycles by J. S. Bach and D. D. Shostakovich in the Piano Class by Students of the People’s Republic of China." Musical Art and Education 7, no. 3 (2019): 105–25. http://dx.doi.org/10.31862/2309-1428-2019-7-3-105-125.
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In the article the problems of mastering the binary cycles by J. S. Bach and D. D. Shostakovich included in large-scale polyphonic collections of the composers (“Well-Tempered Clavier” and “Twenty-Four Preludes and Fugues”, opus 87) by the Chinese piano students are considered. It is shown that these problems are caused by the features of the Chinese system of music education based on the characteristic features of national culture (monodiality, the dominant role of the pentatonic-modal system, the intonation dictionary and the logic of the deployment of content, fundamentally different from the European interpretation) and also by a low level of theoretical knowledge of students about polyphonic music and the traditions of its interpretation. According to the authors, an important step to understanding and professional interpreting the polyphonic heritage of the composers by Chinese students may be the intonation, civilized and paradigm-pedagogical approaches. The consistent transition from national patterns of polyphony to European polyphonic works, their study through the prism of the proposed pedagogical approaches allowed students to understand the phenomenon of polyphony in the musical art, to trace traditions and innovations in it. This has a positive effect on mastering polyphonic opuses by students.
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Chunghsin Yeh, Axel Roebel, and Xavier Rodet. "Multiple Fundamental Frequency Estimation and Polyphony Inference of Polyphonic Music Signals." IEEE Transactions on Audio, Speech, and Language Processing 18, no. 6 (August 2010): 1116–26. http://dx.doi.org/10.1109/tasl.2009.2030006.
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Luyken, Lorenz. "Ende von Anfang an Wege zu György Ligetis San Francisco Polyphony." Studia Musicologica 57, no. 1-2 (June 2016): 91–104. http://dx.doi.org/10.1556/6.2016.57.1-2.7.
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György Ligeti’s comments on his last large orchestral piece San Francisco Polyphony show a remarkable understatement, if not neglect, of this work. This paper intends to find reasons for this attitude. It analyzes the correlation between title and substance, in particular the description of the work as being polyphonic, showing that the piece is less polyphonic than it is melodic or even thematic, resulting from coherent stylistic development as well as from an innate spatial conception rather than from a switchback to 19th-century procedures. At the end, San Francisco Polyphony proves to be a very personal comment on the state of the post-war musical avant-garde and the discussion about postmodernism in music.
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Koshkareva, Natalya Vladimirovna. "Choral polyphony in M. Mussorgsky 's operas." Человек и культура, no. 4 (April 2022): 1–11. http://dx.doi.org/10.25136/2409-8744.2022.4.38588.
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The purpose of this article is to study polyphonic techniques in the opera choirs of M. Mussorgsky. The question is raised about the identity of M. Mussorgsky's polyphonic thinking from the point of view of the free refraction of the forms and techniques of writing Western European polyphony in it. The subject of the study are choirs from the operas "Boris Godunov" and "Khovanshchina". Through the synthesis of research methods, including musicology and choral studies, the specific features of M. Mussorgsky's polyphony are revealed. Attention is drawn to the fact that polyphony in M. Mussorgsky's operas is an extremely broad concept, consisting in the author's specificity of the manifestation of counterpoint as a general polyphonic state of all elements of figurative and musical dramaturgy. Attention is focused on the emergence of an organic trinity of sub-vocal, imitation and contrast polyphony. Based on the analysis of choral scenes, it is concluded that M. Mussorgsky's polyphonic thinking, having developed outside the mainstream of polyphonic classics and classical voice studies, significantly influenced the formation of the individual compositional style of Russian composers of subsequent centuries. The novelty of the research lies in the fact that for the first time a separate study is devoted to the choral polyphony of M. Mussorgsky, presented from the standpoint of musicology and choral studies. The author's special contribution to the disclosure of the topic is the study of choral polyphony as the main creative method of M. Mussorgsky, which is the object of special research and consists in the free refraction of forms and techniques of writing Western European polyphony in Russian music of the second half of the XIX century.
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Klempe, Sven Hroar. "Implicit polyphony: A framework for understanding cultural complexity." Culture & Psychology 24, no. 1 (July 3, 2017): 60–79. http://dx.doi.org/10.1177/1354067x17716390.
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Musical terms like ‘polyphony’ are often applied in psychology and other disciplines in a more or less metaphorical way. However, this article investigates how polyphony can be applied in a non-metaphorical manner, i.e. in the same way, as it is understood in musicology. The fundamental hypothesis is that music represents a basic capacity of the human mind, and that this has impact on other human capacities, like language. If so, this should be traceable in different ways in different cultures. To investigate this, ‘implicit polyphony’ is launched as a term that refers to music, which is melodic, but at the same time reveals a more or less hidden polyphonic structure. This musical phenomenon is demonstrated by examples from Bach and Ravel. It is demonstrated that polyphony is at the core of music, not only in Western classical music, but also African and other ethnical music. Implicit polyphony defined as two voices condensed into one is also found in Norwegian Sámi music. The latter leads to a conclusion, which says that continuity in music is related to verticality. Investigations in linguistics show that the oral use of language is highly comparable with implicit polyphony in music. The same is modernistic literature where the aim has been to turn language into music, as in parts of James Joyce’s novel Ulysses. By bringing in examples of lexical and conceptual blending, the final conclusion is that ‘implicit polyphony’ may serve as a tool for understanding the complexity in human thinking and culture.
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Song, Xiao-Yi, and Dong-Run Huang. "A Study on Digital Analysis of Bach’s “Two-Part Inventions”." Mathematical Problems in Engineering 2015 (2015): 1–6. http://dx.doi.org/10.1155/2015/560926.
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In the field of music composition, creating polyphony is relatively one of the most difficult parts. Among them, the basis of multivoice polyphonic composition is two-part counterpoint. The main purpose of this paper is, through the computer technology, conducting a series of studies on “Two-Part Inventions” of Bach, a Baroque polyphony master. Based on digitalization, visualization and mathematical methods, data mining algorithm has been applied to identify bipartite characteristics and rules of counterpoint polyphony. We hope that the conclusions drawn from the article could be applied to the digital creation of polyphony.
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Zhang, Mengzhe. "POLYPHONIC GENRES IN PIANO CREATIVITY OF CHINESE COMPOSERS." Aspects of Historical Musicology 24, no. 24 (October 13, 2021): 148–65. http://dx.doi.org/10.34064/khnum2-24.08.
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Statement of the problem. The twentieth century marked an increased interest in polyphonic music. The geography of polyphonic works for piano expanded significantly and a creative development of many Chinese composers, writing polyphonic piano pieces, took place. Today, polyphonic pieces make up a significant part of the piano repertoire in China, but they are little studied by musicologists and performers. The objective of this study – to reveal the contribution of Chinese composers to the creation of polyphonic piano repertoire of the XX – early XXI century. Analysis of the research and publications on the theme. А large number of modern authors study polyphony from the point of physical and mathematical research methods (Igarashi, Yu. & Ito, Masashi & Ito, Akinori, 2013; Weiwei, Zhang & Zhe, Chen, & Fuliang, Yin, 2016; Li, Xiaoquan et al. others, 2018). This approach does not reveal the factual musical component of polyphonic genres. In the 20th century, musicologists explored polyphony in musical folklore (Wiant, 1936; Fan Zuyin, 2004; Li Hong, 2015) and in professional Chinese composing (Sun Wei-bo, 2006, Winzenburg, 2018). The scientific novelty. This article studies the role of Chinese composers in the development of the world polyphonic piano repertoire of the XX – early XXI century. The methodological basis for the analysis of polyphonic works was the theoretical concepts of P. Hindemith, Peng Cheng, Fang Zuin, Li Hong, Sun Wei-bo. The results of the study. The research outcomes demonstrate the evolutionary development of the genre diversity of Chinese piano polyphony as well as those composers who created magnificent musical pieces. Conclusions. Chinese composers have fully mastered the art of modern counterpoint, represented by the genres of polyphonic program pieces (He Lu Ting), invention (Xiao Shu Xian, Du Qian, Sun Yun Yin, Chen Chen Quang), polyphonic suite (Ma Gui), large polyphonic cycle ( He Shao, Chen Hua Do, Xiao Shu Xian), fugue (Li Jun Yong, Yu Su Yan, Chen Gang, Tian Lei Lei, Duan Ping Tai, Zheng Zhong, Xiao Shu Xian) and small cycle “Prelude and Fugue” (Ding Shan Te, Chen Zhi Ming, Wang Li Shan). Creatively assimilating and rethinking the experience of Western polyphonists, Chinese composers have filled their polyphonic works with national features, firmly linking them with the origins of Chinese traditional and folk music. The polyphonic way of transmitting musical material becomes the most expressive at the moments of profound creativity and musical dramatization.
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Zhang, Mengzhe. "Rao Yuyan’s polyphonic works for piano in terms of performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 61, no. 61 (December 31, 2021): 201–23. http://dx.doi.org/10.34064/khnum1-61.11.
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Statement of the problem. Rao Yuyan (1933–2010) is one of the most famous Chinese composers, who created many polyphonic works. His creative and research practices have profoundly influenced on the development of polyphony in China. Some aspects Rao Yuyan’s polyphonic thinking have been examined in the studies by Chen Yiwen (2015) and PanJia (2018). Innone of the researches the piano polyphonic works of the composer are studied from the standpoint of performance issues, definition of piano tasks in the process of their interpretation. In this study for the first time the piano polyphonic works of the composer are considered in the aspect of performance realization. The purpose of the study is to determine the most important performance principles and set of performance tasks in Rao Yuyan’s polyphonic works for piano. The article bases on Rao Yuyan’s piano works “Introduction and Fugue” (1956), the suite “Sketch of Life in Yan’an” (1963), “Prelude, Fugue and Chorale” (1964) and “Three Polyphonic Pieces on the Ancient Music of Chang An” (1992). The article uses historicaltypological, structural-functional, comparative, intonation and interpretative methods as necessary for performance analysis. The fundamental theoretical positions of Chinese polyphonic musicians (Su Xia, Ding Shande, Chen Mingzhi, Duan Pintai and others) uses, and Rao Yuyan’s theoretical works devoted to polyphony has particular importance. The issues of pianistic realization takes in account the polyphonic principles considered by Ying Jiang, Bai E. Results and conclusions of the research. RaoYuyan’s beautiful piano works have a great art value, they became a significant contribution to Chinese art of the 20 century. We can even define Rao Yuyan’s role as a creator of national polyphony who modernized the ancient national musical legacy. Rao Yuyan’s piano works discussed in this article use almost all known types of polyphonic techniques of Western music. The vividly example of it is the double fugue from the cycle “Prelude, Fugue and Chorale” or the last number “Weeping Willow” from the series “Three Polyphonic Pieces on the Themes of Chang An Ancient Music”, where the sort of “cantus firmus” technique – “basso ostinato” is used. In the piece “Sunrise” from the piano suite “Sketch of the Life of Yan’an” the polyphonic texture becomes almost like to consonant sonority. At the same time, the laconic themes used in the Suite call upon the thought that J. S. Bach was a spiritual teacher of the composer. However, the composer borrows his main ideas from the Chinese folk musical tradition. Rao Yuyan was well versed in traditional fugue techniques, however, in the cycles “Introduction and Fugue” and “Prelude, Fugue and Chorale” he included the local national musical elements to emphasize their cultural identity. Among the main pianistic tasks facing the performer of polyphonic works of Rao Yuyan – the development of clear auditory attention, the idea of the general form of the work. The auditory sense of the work controls the sound, covers both the whole and individual details of the polyphonic form. It not only controls the performance, but also takes an active part in the birth of the artistic way of playing polyphony. Breathing emphasizes the essence of polyphonic development, which consists in the continuity and fluidity of melodic lines through the relief introduction and plastic completion of individual polyphonic voices.
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Markschies, Christoph. "Polyphonic Theology of the Fathers/polyphone Theologie der Kirchenväter. Bemerkungen zu einem Konzept und seiner Brauchbarkeit." Evangelische Theologie 79, no. 5 (September 1, 2019): 329–42. http://dx.doi.org/10.14315/evth-2019-790504.
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AbstractThe contribution is presenting a new focus on the development of Christian theology in Antiquity: the idea of a polyphonic theology of the Fathers. This idea uses the term ›polyphony‹, well established in music theory and in certain forms of Literary criticism and Biblical theology, to describe a certain structured plurality in the concepts of certain individual ancient theologians and in the overall design of Christian theology in Antiquity. The first part gives certain details about the term ›polyphony‹ used to describe forms of thinking, like polyphony in music consists of two or more lines of melody of certain independence (opposed to homophony), the second part asks which new insights one can get using the new idea to analyze ancient Christian literature and the third part deals with certain problems of the approach.
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Bradley, Catherine A. "Choosing a Thirteenth-Century Motet Tenor: From the Magnus liber organi to Adam de la Halle." Journal of the American Musicological Society 72, no. 2 (2019): 431–92. http://dx.doi.org/10.1525/jams.2019.72.2.431.
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This article explores trends and motivations in the selection of plainchant and vernacular song quotations as the foundations of thirteenth-century motets. I argue that particular tenor melodies that received only cursory treatment in the liturgical polyphony of the Magnus liber organi were adopted in motets on account of their brevity and simplicity, characteristics that enabled their combination with upper-voice song forms and refrain quotations. Demonstrating a preference for short and simple tenors within the earliest layers of the motet repertoire, I trace the polyphonic heritage of the tenor omnes, whose simple melody enabled its combination with another more obscure plainchant quotation, aptatur, in a unique double tenor motet. I propose that motet creators—while sensitive to the semantic connotations of tenor texts—exploited the musical ability of tenor quotations to be combined with or stand in for other musical quotations. Newly identifying a plainchant tenor source in a motet by Adam de la Halle, I show that Adam's polyphonic motet quotations of his own three-voice polyphonic rondeaux were achieved by the careful selection of motet tenors to replicate the freely conceived lowest voices of these preexisting rondeaux. The article further reveals profound modal and melodic similarities between the quotations chosen as thirteenth-century motet tenors and the newly composed lowest voices of polyphonic rondeaux and English pes motets. It offers new perspectives on the relationship between the “elite” genre of the motet and types of polyphony that are less well attested in written sources, often considered to inhabit a more “popular” realm of musical practice.
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Welch, Ellen R. "The Confusion of Diverse Voices: Musical and Social Polyphony in Seventeenth-Century French Opera." Renaissance Quarterly 73, no. 2 (2020): 567–94. http://dx.doi.org/10.1017/rqx.2020.5.
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This essay explores how two early modern French writers considered choral music in opera as a figure for society. Pierre Corneille, in his musical tragedy “Andromède,” and scientist and critic Claude Perrault, in several texts about music and acoustics, made subtle apologies for the polyphonic choral song condemned by many contemporaries as unintelligible. Beyond defending the aesthetic value of choral music, Corneille and Perrault associated multi-part song with collective vocalizations offstage, in the real world. Their instructions on how to appreciate choral interludes in opera also served, therefore, to train listeners to attend to the polyphony of society.
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Schuback, Marcia Sá Cavalcante. "In-between Painting and Music—or, Thinking with Paul Klee and Anton Webern." Research in Phenomenology 43, no. 3 (2013): 419–42. http://dx.doi.org/10.1163/15691640-12341268.
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Abstract The present article discusses the relation between painting and music in the work by Paul Klee, bringing it into conversation with the music by Anton Webern. It assumes, as a starting point, that the main question is not about relating painting and music but rather about the relation between moving towards painting and moving towards music, hence the relation between forming forces and not between formed forms. Since for Klee the musical structure of the pictorial is understood as “active linear polyphony,” the article develops this notion in conversation with Webern’s thoughts on the polyphonic structure of twelve-tone music. The general purpose of the article is to determine what kind of thoughts emerge from the in-between of painting and music.
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Keyl, Stephen. "Tenorlied, Discantlied, Polyphonic lied: Voices and instruments in German secular polyphony of the Renaissance." Early Music XX, no. 3 (August 1992): 434–46. http://dx.doi.org/10.1093/earlyj/xx.3.434.
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Forney, Kristine K. "Music, ritual and patronage at the Church of Our Lady, Antwerp." Early Music History 7 (October 1987): 1–57. http://dx.doi.org/10.1017/s026112790000053x.
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The development of fourteenth- and fifteenth-century sacred polyphony is linked closely not only to the Mass and divine services of the Roman Catholic Church, but equally to the rise of lay devotional congregations who sponsored their own services, often musically elaborate, at private chapels and altars. Within this popular phenomenon of lay devotion in the Low Countries, several northern confraternities can be cited for their very early regular use of polyphony. A polyphonic Salve service was established in 1362 by the Marian confraternity at St Goedele in Brussels, and Reinhard Strohm has shown that, by 1396, the Marian Guild of the Dry Tree (Ghilde vanden droghen Boome) in Bruges sponsored weekly masses sung in polyphony by its guild members. That polyphony was central to some fourteenth-century confraternity services is confirmed by the records of the Illustrious Confraternity of Our Lady in 's-Hertogenbosch, founded in 1318 in St John's Church.
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Chernova, Elena. "The All-Night Vigil in Early Russian Demestvenny Polyphony (Add. MS 30063 of the British Library)." Journal of the International Society for Orthodox Music 6, no. 1 (November 29, 2022): 149–60. http://dx.doi.org/10.57050/jisocm.113326.
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In modern musicology, which studies various polyphonic traditions intensively, it would appear that there are no longer any unknown types of polyphony and undiscovered forms of notating music. The most exotic musical phenomena have been researched and transcribed, and a good many of them have been digitized. Still, one must recognize that the focus of these studies up until now has been predominantly on Western and Central European polyphonic schools, while one significant polyphonic tradition, namely, early Russian polyphony, which, moreover, occupied a fairly extensive historical period, is only now beginning to be investigated systematically. The purpose of this article is to introduce my project involving a critical edition of Russian neumatic polyphony. This edition is the culmination of my work on deciphering neumatic scores of the most festive type of early Russian polyphony—four-part Demestvenny singing (or Demestvo). The object of the present study is the Demestvenny All-Night Vigil recorded in a unique source—a ceremonial illuminated codex belonging to the 17th-century Choir of the Tsar’s and Patriarchal Singing Clerics, which is now kept in the British Library—Add. MS 30063. The edition is planned as part of the dissertation project “The All-Night Vigil in early Russian polyphony,” which I am preparing under the guidance of Professor Dr Christoph Flamm at the Musicology Seminar of the University of Heidelberg. Within its scope, the dissertation examines three types of early Russian polyphony using examples from the All-Night Vigil office. A comprehensive analysis of the hymns themselves will be included in the dissertation but remains outside the scope of this publication.
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Tiwari, Vineet. "Polyphonic Music Generation." International Journal for Research in Applied Science and Engineering Technology 8, no. 4 (April 30, 2020): 49–53. http://dx.doi.org/10.22214/ijraset.2020.4008.
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Doraisamy, Shyamala. "Polyphonic music retrieval." ACM SIGIR Forum 39, no. 1 (June 2005): 58. http://dx.doi.org/10.1145/1067268.1067289.
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Leverett, Adelyn Peck. "Song masses in the Trent Codices: the Austrian connection." Early Music History 14 (October 1995): 205–56. http://dx.doi.org/10.1017/s0261127900001479.
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The seven Trent Codices preserve much of the sacred vocal polyphony that has survived from the middle decades of the fifteenth century. With some 1500 individual pieces, the collection is a rich compendium of liturgical and paraliturgical genres, large and small. The codices are perhaps most valuable, however, as sources for the cyclic mass Ordinary, the most ambitious of fifteenth-century polyphonic forms.
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Busch, Regina. "On the Horizontal and Vertical Presentation of Musical Ideas and on Musical Space (III)." Tempo, no. 157 (June 1986): 21–26. http://dx.doi.org/10.1017/s0040298200022312.
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An important factor in understanding the two kinds of presentation is that – seen historically – one or other has at different times moved into the foreground; moreover, that in connexion with the development of music and as a consequence of the continually progressing ‘conquest of the pitch-domain’, a mixing of the two kinds of presentation was arrived at. Here Webern above all follows Adler, who speaks in his book Der Stil in der Musik (1911) of ‘immensely multifarious intermediate and transitional stages from homophonic to polyphonic voice-leading’, of their mixing, of a ‘to and fro rich in variety, … continual exchange of the two basic kinds, homo – and polyphony’ (p. 246). As has already been said, Webern, going beyond this, assumes that the mixing up is caused by a tendency, on the part of the two kinds of presentation, ‘mutually (to) permeate each other more and more’ (Lecture IV).
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Bevilacqua, Gregorio, David Catalunya, and Nuria Torres. "THE PRODUCTION OF POLYPHONIC MANUSCRIPTS IN THIRTEENTH-CENTURY PARIS: NEW EVIDENCE FOR STANDARDISED PROCEDURES." Early Music History 37 (October 2018): 91–139. http://dx.doi.org/10.1017/s0261127918000049.
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Modern understanding of the production and dissemination of thirteenth-century polyphony is constrained by the paucity of manuscript sources that have been preserved in their entirety; the panorama of sources of medieval polyphony is essentially fragmentary. Some of the surviving fragments, however, were torn from lost books of polyphony that were to some extent comparable to well-known extant codices. The fragment of polyphony preserved in the binding of manuscript 6528 of the Biblioteca Nacional de Madrid is illustrative in this respect. This fragment displays a number of codicological and musical features that are strikingly similar to those of the Florence manuscript (F). Both sources share format and mise-en-page, make use of similar styles of script, notation and pen-work decoration, transmit the pieces in the same order, and present virtually identical musical readings. The Madrid fragment thus provides new evidence for a standardised production of polyphonic books in thirteenth-century Paris. The study provides a detailed account of the fragment’s codicological and philological features, and explores the hypothesis that it originated in the same Parisian workshop that produced F.
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Greavu, Elena-Laura, and Roxana Pepelea. "Polyphony in the Choral Creation for Equal Voices Signed by Dan Voiculescu." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 143–58. http://dx.doi.org/10.24193/subbmusica.2021.1.10.
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"This paper represents a more detailed research of one of the defining stylistic aspects for equal voices choral creation composed by Dan Voiculescu. The composer managed to enrich the children's repertoire with important works, starting from the premise that it must be close to the contemporary musical language. Polyphony, in its various forms, gives this type of repertoire stylistic unity and offers many possibilities for modernizing the choral language. Dan Voiculescu uses poliphony to exploit and materialize it in a multitude of compositional devices. The most used polyphonic process in Voiculescu's choral creation is imitative polyphony. It is materialized in various forms, being connected mainly by the tradition of its application from ancient times (Renaissance, Baroque) to the present day. Keywords: polyphony, Composer Dan Voiculescu, choral music. "
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Everist, Mark. "‘SOUSPIRANT EN TERRE ESTRAINGE’: THE POLYPHONIC RONDEAU FROM ADAM DE LA HALLE TO GUILLAUME DE MACHAUT." Early Music History 26 (October 2007): 1–42. http://dx.doi.org/10.1017/s0261127907000265.
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The appearance of a consistent repertory of polyphonic settings of single vernacular texts, governed by a coherent set of conventions and a shared understanding of compositional ambition, was one of the lasting achievements of the composers of the fourteenth century. Although fully formed products of this accomplishment did not emerge until the century’s fourth decade, the concept of the marriage of a single vernacular poem to the type of polyphonic music previously associated with the caudae of conducti, clausulae and polytextual motets had by then been a topic for exploration for at least fifty years. It is not too much to claim that the period from Adam de la Halle to Guillaume de Machaut saw a series of changes in the relationship between vernacular poetry and polyphony that had consequences for the history of music at least up to and probably beyond Le nuove musiche (1601).
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Everist, Mark. "From Paris to St. Andrews: The Origins of W1." Journal of the American Musicological Society 43, no. 1 (1990): 1–42. http://dx.doi.org/10.2307/831405.
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Recent research has suggested that W1 may have been copied in St. Andrews in the 1240s. Very little attempt has been made to understand why or how the virtuoso polyphony associated with the cathedral of Notre-Dame in Paris came to be cultivated so far from home. The article argues for a redating of the manuscript in the 1230s and therefore rejects the suggestion that the interest in polyphonic music was generated by Bishop David Bernham (in office from 1239-1253) and points to his predecessor, Guillaume Mauvoisin (1202-1238) as the agency by which Parisian music was transmitted from Paris to St. Andrews. Mauvoisin's career is reconstructed with particular attention to his contacts with France and his exposure to the music of the so-called Notre-Dame school. It is concluded that a member of Mauvoisin's familia, perhaps Mauvoisin himself, provided the driving force for the promotion of Parisian polyphony at St. Andrews as a result of the discovery of that repertory during travels in France in the first quarter of the thirteenth century.
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Ishchenko, Katerina. "To the problem of "polyphony of consciousness" in the context of the aesthetics of constructivism." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 229–33. http://dx.doi.org/10.32461/2226-3209.2.2021.240071.
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The purpose of the article is to trace the peculiarities of the phenomenon of "polyphony of consciousness" as one of the main patterns of artistic thinking of the early twentieth century, which became widespread in various arts and reflected artistic and aesthetic trends of such a bright movement of the first avant-garde as constructivism. On the examples of music, literature, theater, cinema, fine art to reveal this phenomenon as an important manifestation of the aesthetics of constructivism. In selected works of art, to identify and consider characteristics of the musical text polyphonic techniques, which in turn have been widely used and reflected the individual stylistic features of representatives of different spheres of creativity of the period. The methodological basis of this study is a comprehensive approach, which contains historical and cultural, stylistic, and holistic methods of analysis. The theoretical method acquires special significance among them, as it is aimed at identifying the principles of writing in various fields of art. The scientific novelty of this work is based on the originality of the generalized study of the phenomenon of "polyphony of consciousness". This phenomenon is being considered as an important manifestation of the aesthetics of constructivism, based on the examples of music, literature, theater, cinema, and fine arts. Such an understanding of the implementation of the polyphonic principles of writing in the context of such an artistic movement as constructivism is undertaken for the first time in Ukrainian musicology. Conclusions. Experiments and searches of the artists of the early twentieth century in the fields of expression, content, composition, and language that "provoked" the development of stylistic pluralism in all spheres of art, strengthened the role of polyphonic principles of writing, and, more broadly, artistic thinking. Polyphonic techniques find their place in the trends of the aesthetics of constructivism, going beyond the musical texture and penetrating into all kinds of art. Polyphony and its principle of combining self-developing lines, voices, and layers, was perhaps the most important means of artistic reflection of the contradictions of the world, as well as the direction of the search in the field of content and means of expression.
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Xu, Nuo. "Polyphonic Theory in the Perspective of Intersexuality—The Relationship Between Bakhtin’s Polyphonic Novel and Polyphonic Music." Asian Journal of Social Science Studies 7, no. 6 (June 1, 2022): 82. http://dx.doi.org/10.20849/ajsss.v7i6.1212.
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The “polyphonic novel”, as defined by Mikhail Bakhtin, has a limited connection, commonality and a great difference with the “polyphonic music” in the history of Western music. The “interartistry (a concept derived from intersexuality, meaning intersexuality between two categories of art)” between the two can be examined in two ways: the intertextuality of the two theories themselves, and the profound artistic dialogue between Bakhtin and the composer Mikhail Glinka on an intellectual level that is not separated from the “intersubjectivity”. The heterogeneity between the two is mainly manifested in the dichotomous characteristics of “opposition and imitation” and “contradiction and harmony”. The “interartistry” of polyphonic novel and polyphonic music is examined from the perspective of “intersextuality”, which helps to fully understand the connection and difference between them and reduce the interdisciplinary misuse and abuse of related terms.
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Gregory, Andrew H. "Listening to Polyphonic Music." Psychology of Music 18, no. 2 (October 1990): 163–70. http://dx.doi.org/10.1177/0305735690182005.
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Richter, Pál. "The Harmonization of Folk Songs in Kodály’s Workshop." Studia Musicologica 60, no. 1-4 (October 21, 2020): 265–79. http://dx.doi.org/10.1556/6.2019.00013.
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When Béla Bartók and Zoltán Kodály began systematically collecting folk songs, they almost exclusively encountered monophony, which subsequently featured as their compositional inspiration. As a musical phenomenon, monophony differed sharply from the harmonically based, often overharmonized, polyphonic universe of Western music. However, they also encountered coordinated folk polyphony, in the context of instrumental folk harmonizations. Taking into account the instrumental folk music both Kodály and Bartók collected, this study compares the two main types of folk harmonizations with folk song harmonizations in the works of Kodály, whose related theoretical statements are also considered. This study offers an in-depth analysis of six fragments from Kodály’s major folk-song arrangements to highlight the features of Kodály’s folk song harmonizations.
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ANDERSON, MICHAEL ALAN. "Enhancing the Ave Maria in the Ars Antiqua." Plainsong and Medieval Music 19, no. 1 (March 11, 2010): 35–65. http://dx.doi.org/10.1017/s0961137109990143.
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ABSTRACTThe Ave Maria remains the most widely repeated prayer in Christian devotional life, and music has played a critical role in its formation and propagation. This article reviews the essential contribution of music in the dissemination of texts based on the original verses from the gospel of Luke, with new evidence concerning the tradition of affixing a petition to the core devotion. While the Ave Maria remained unfixed in form and function until the sixteenth century, this article presents three significant examples from the corpus of Ars Antiqua polyphony in which versions of the text that include both the biblical verses and a supplicatory conclusion are not only used, but are also emphasised through polyphonic techniques.
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Kovalevskaya, Tatyana V. "Charles Gounod’s Faust and Dostoevsky Artistic Principles." Dostoevsky and world culture. Philological journal, no. 2 (2021): 89–115. http://dx.doi.org/10.22455/2541-7894-2021-2-89-115.
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The article considers the “Faustian” scene in Fyodor Dostoevsky’s The Adolescent as the musical embodiment of Dostoevsky’s central poetic device: statements with maximum formal similarity and maximum semantic divergence. This device is contextualized within Mikhail Bakhtin’s polyphonic novel concept and within the context of the history of polyphony as a musical phenomenon starting with its origins in the Western European music. We follow Larisa Gogotishvili’s suggestion that Mikhail Bakhtin’s polyphony is not the polyphony of the 18th-19th century (Johann Sebastian Bach, for instance) but the 20th-century polyphony (Arnold Schoenberg) and propose that Bakhtin’s and Dostoevsky’s concepts of polyphony have different origins (relativist in Bakhtin and epistemological in Dostoevsky) and consequently serve different purposes: Bakhtin affirms a multiplicity of voices as a matter of principle, while Dostoevsky strives to ultimately overcome this multiplicity by covering as many concepts of reality as possible. The breadth of Dostoevsky’s conceptual range is intended to overcome humans’ epistemological limitations and avoid dangerous cognitive traps that lie in statements that are formally close, but semantically different.
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Kovalevskaya, Tatyana V. "Charles Gounod’s Faust and Dostoevsky Artistic Principles." Dostoevsky and world culture. Philological journal, no. 2 (2021): 89–115. http://dx.doi.org/10.22455/2619-0311-2021-2-89-115.
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The article considers the “Faustian” scene in Fyodor Dostoevsky’s The Adolescent as the musical embodiment of Dostoevsky’s central poetic device: statements with maximum formal similarity and maximum semantic divergence. This device is contextualized within Mikhail Bakhtin’s polyphonic novel concept and within the context of the history of polyphony as a musical phenomenon starting with its origins in the Western European music. We follow Larisa Gogotishvili’s suggestion that Mikhail Bakhtin’s polyphony is not the polyphony of the 18th-19th century (Johann Sebastian Bach, for instance) but the 20th-century polyphony (Arnold Schoenberg) and propose that Bakhtin’s and Dostoevsky’s concepts of polyphony have different origins (relativist in Bakhtin and epistemological in Dostoevsky) and consequently serve different purposes: Bakhtin affirms a multiplicity of voices as a matter of principle, while Dostoevsky strives to ultimately overcome this multiplicity by covering as many concepts of reality as possible. The breadth of Dostoevsky’s conceptual range is intended to overcome humans’ epistemological limitations and avoid dangerous cognitive traps that lie in statements that are formally close, but semantically different.
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Everist, Mark. "The polyphonic rondeau c. 1300: Repertory and context." Early Music History 15 (October 1996): 59–96. http://dx.doi.org/10.1017/s0261127900001522.
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Any explanation of the emerging polyphonic chanson in the years before 1330 must negotiate varied repertories and compositions. One of the central genres in such a study would be the polyphonic rondeau. It is characterised by a musico-poetic structure more or less analogous to the rondeau of the later fourteenth century, but also by three-part music – mostly syllabic, note-against-note – that is copied in score. Our view of these sorts of compositions is dominated by the works of Adam de la Halle, whose sixteen score-notated polyphonic settings of vernacular lyrics are preserved in a manuscript now in the Bibliothèque Nationale (F-Pn), MS fr. 25566.
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Saint-Cricq, Gaël. "GENRE, ATTRIBUTION AND AUTHORSHIP IN THE THIRTEENTH CENTURY: ROBERT DE REIMS VS ‘ROBERT DE RAINS’." Early Music History 38 (September 11, 2019): 141–213. http://dx.doi.org/10.1017/s0261127919000044.
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This article presents a textbook case for the examination of generic interplay in the thirteenth century, investigating four works that offer transgeneric reworkings relating polyphony to trouvère song. These works are found as anonymous motets and clausulae in polyphonic gatherings, but their upper voices are also copied as multi-strophic songs in songbooks, where they are attributed to the trouvère Robert de Reims. This case therefore touches on the issues of generic borders and mixing, on trouvère involvement in this generic interplay, and on the relationships between attribution and authorship in the Middle Ages. The investigation has important outcomes for the reconstruction of the genetic map of the motet, revealing works playing havoc with the vectors of transmission customarily established in the interplay of motet, chanson and clausula, and revealing early trouvère involvement in the repertoire as an essential key to the comprehension of cross-over activity between song and polyphony.
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Varelli, Giovanni. "TWO NEWLY DISCOVERED TENTH-CENTURY ORGANA." Early Music History 32 (2013): 277–315. http://dx.doi.org/10.1017/s0261127913000053.
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In the tenth century, when the earliest chant books were being compiled in the heart of the Carolingian Empire and polyphonic music was entering the realm of theoretical speculation in the anonymous writings of Musica enchiriadis and Scolica enchiriadis, organa were also being notated for performance outside music treatises. We would not know this, were it not for a two-voice organum on an antiphon for Saint Boniface written in the first decades of the tenth century on the last page of a long-neglected manuscript, now in the British Library. A second notated antiphon, Rex caelestium terrestrium, provides elements for a reconstruction of a further, ‘hidden’, organum. These newly identified organa shed light on a significant phase in Western music history, being the sole evidence from the tenth century of a polyphonic practice before the great eleventh-century collection of organa from Winchester.
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Desmond, Karen. "W. de Wicumbe's Rolls and Singing the Alleluya ca. 1250." Journal of the American Musicological Society 73, no. 3 (2020): 639–709. http://dx.doi.org/10.1525/jams.2020.73.3.639.
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Abstract A set of thirteenth-century parchment fragments, including the remnants of two rolls and one manuscript codex, preserves a largely unstudied repertoire unique to medieval England. In addition to a single motet and a setting of a responsory verse, the Rawlinson Fragments preserve twelve three-voice Alleluya settings. While polyphonic Alleluyas are well known from the continental Magnus liber repertoire, these insular Alleluya settings are quite different. Most significantly, while composed on the text and pitches of plainchant, they include newly composed texts in at least one voice—that is, they are polytextual chant settings. Aspects of their musical style certainly draw on other polyphonic genres—organum, conductus, and motet. This article presents the paleographical and codicological evidence that corroborates an early date for these fragments (in the 1240s), confirms their connection to Reading Abbey, and situates their repertoire within a broader context. My analysis points to intriguing points of overlap with both the plainchant prosula tradition and the Magnus liber organa and motets. It reopens broader questions about the copying and performance practices of liturgical polyphony, including previous suggestions that motet texts may have been sung within the performance of the Magnus liber organa, regardless of the scribal copying conventions that separated organum and motet in the surviving Magnus liber manuscripts. The article also considers the role of the Rawlinson Fragments’ main scribe, Benedictine monk W. de Wicumbe, who was active within the monastic communities of Leominster and Reading as a composer of plainchant and polyphony, and as precentor, most likely in charge of his community's musical life.
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Bajon, Szymon. "Gregorian Chant Ordinary Rediscovered – Examples of Using Gregorian Melodies of the Ordinary of the Mass in the 20thand 21st-Century Liturgical Compositions." Pro Musica Sacra 20 (November 23, 2022): 29–48. http://dx.doi.org/10.15633/pms.2002.
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Official documents referring to laws and principles of music in the liturgy of the Roman Catholic Church in Roman Rite remind that the Church acknowledges primacy of Gregorian chant but also allows other forms of singing, especially polyphony. It is, however, recommended that people’s participation in the singing of Ordinarium Missae should not be completely excluded. It can be slightly problematic to put those guidelines into practice. Certain suggestions of how to engage both people and a polyphonic choir may be found in selected compositions by Wolfram Menschick, Rev. Zdzisław Bernat and Katarzyna Danel.
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WEBER, JEROME F. "Recent releases of plainchant." Plainsong and Medieval Music 10, no. 1 (April 2001): 81–90. http://dx.doi.org/10.1017/s0961137101000067.
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The most impressive recent recording is undoubtedly ‘Codex Calixtinus’ (no. 1 in the list below), a boxed set of four discs that presents virtually the complete music of the manuscript entitled ‘Jacobus’, still preserved at the cathedral of Santiago de Compostela. To be sure, though it has not drawn any comment in this department, the twenty polyphonic pieces that form the appendix to this collection of music have been recorded complete in recent years (Sequentia and Ensemble Venance Fortunat have each devoted a disc to the collection), and the fourth disc of this set duplicates them. Some of these pieces have long been known on records, for they rank with the St Martial sources as the most important examples of polyphony before the Notre Dame period.
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Hanna, Levchenko. "The interaction of tonal and modal principles of mode organization in the polyphonic cycle “34 Preludes and Fugues” by V. Bibik (based on Book III)." Aspects of Historical Musicology 24, no. 24 (October 13, 2021): 166–83. http://dx.doi.org/10.34064/khnum2-24.09.
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Statement of the problem. The article examines mode organization in the polyphonic cycle “34 Preludes and Fugues” by Ukrainian composer Valentin Bibik. The scientific novelty. The article explores modality and tonality as modeorganazing constituents in the polyphonic piano piece “34 Preludes and Fugues” by V. Bibik. The aim of the article is to indicate mode organization on the example of tonality and modality in polyphonic development of “The Third Notebook” (from the cycle “34 Preludes and Fugues”) by V. Bibik. The research methodology consists of integrated approaches to polyphonic music of the 20th century, including comparative and system-structural analyzes of musical works. Analysis of recent publications. The theoretical basis of the article is the latest publications by T. Bershadskaya (2008), N. Gulyanitskaya (1984), Yu. Kholopov (1972), M. Heinemann (2001), F. Hentschel (2006), I. Pustijanac (2016) and others. These studies investigate the compositional techniques of the twentieth century and their individual implementation into polyphonic works. When studying scientific sources, attention is focused on the interaction of polyphony and harmony since V. Bibik’s polyphonic cycle was chosen as the research material, in which polyphonic and harmonic patterns are closely intertwined, however, modal principles become the connecting factors, which is proved in the work. The presentation of the main material. The article investigates modern trends in the development of polyphonic music of the XX–XXI centuries, as well as the composer’s intention to create a mode organization in the cycle “34 Preludes and Fugues”. The article defines commonly used terms from the modern theory of musical modes regarding such phenomena as modality, tonality and their interconnection. The work presents the historiography of V. Bibik’s creative heritage in the context of the poliphony development. The work highlights the interaction of tonal and modal patterns in “The Third Notebook” (from the cycle “34 Preludes and Fugues”) by V. Bibik. Conclusions. The article argues the dominance of modality in structural organization of the cycle “34 Preludes and Fugues”. It is noted that the cycle accumulates a huge number of composer’s ideas regarding the interpretation of modern musical modes and tonal system. V. Bibik is not recognized as the author of the theoretical concepts of the mode organization in music, but the cycle itself is considered as a kind of composer’s creative manifesto, a vivid reflection of his conception of musical modes.
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Fallows, David. "Polyphonic piety." Early Music 47, no. 2 (April 9, 2019): 264. http://dx.doi.org/10.1093/em/caz036.
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Plumbley, Mark D., Samer A. Abdallah, Thomas Blumensath, and Michael E. Davies. "Sparse representations of polyphonic music." Signal Processing 86, no. 3 (March 2006): 417–31. http://dx.doi.org/10.1016/j.sigpro.2005.06.007.
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Zhang, Shuang. "Feasibility of Music Composition Using Deep Learning-Based Quality Classification Models." Wireless Communications and Mobile Computing 2022 (May 26, 2022): 1–9. http://dx.doi.org/10.1155/2022/8123671.
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Polyphonic music technique is the foundation of students’ understanding of musical works. The mastery of polyphonic music techniques enables students to better understand the meaning of musical works and get in touch with the soul of music. Hence, teaching polyphonic music is a compulsory course for composition theory. In the past, all the concepts taught in the composition theory class included the use of the main key, and the minimal amount of polyphonic music works was covered. Also, even if students encountered polyphonic music, a brief inclusion of the same would be included in teaching, creating difficulties for the students to understand polyphonic music well. Intelligent music composition, however, refers to a formalized process that allows the composer to create music with the help of a computer, ensuring minimal human intervention. With the popularity of the Internet and the rapid development of multimedia technology, the majority of the users now use online music applications. Therefore, the need to automatically organize and manage the huge amount of music data effectively has evolved. Studying intelligent music composition helps to understand and simulate the way of thinking of composers in making compositions. It also helps to assist composers in making music, in addition to entertaining people. Considering the aforementioned, the present paper uses a deep learning-based quality classification model for music composition feasibility. The experimental results show that the algorithm has the advantages of fast detection speed and high quality. It helps composers to compose music, greatly reduces the workload, and also ensures certain promotion value.
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Nelson, Kathleen E. "A fragment of medieval polyphony in the Archivo Histórico Provincial of Zamora." Plainsong and Medieval Music 2, no. 2 (October 1993): 141–51. http://dx.doi.org/10.1017/s0961137100000498.
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The source to be discussed here is one of a collection of about 288 fragments of liturgical manuscripts. These form the section entitled Pergaminos musicales in the Archivo Histórico Provincial of Zamora in western Spain. Most of the fragments contain notated chant while a few give texts without music. Whilst studying the collection I found that one, Pergamino musical 184, contains polyphony. The significance of this new source probably lies principally in its relationship to the great polyphonic manuscript of Las Huelgas (Burgos, Monasterio de Las Huelgas) from late thirteenth- or early fourteenth-century Spain. Pergamino musical 184 (hereafter referred to as Z 184) probably dates from between the middle of the thirteenth century and the beginning of the fourteenth century, and therefore may pre-date Las Huelgas. The collection of Pergaminos musicales including Z 184 was recently taken from the binding of books of legal documents (protocolos) dating from the sixteenth, seventeenth and eighteenth centuries. Many more fragments of liturgical manuscripts are to be found still in the binding of books in the archive but an extensive search of these has yielded no further examples of polyphony
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Dang, Christine Thu Nhi. "Deep Polyphony in the Hymns of Julien Jouga." Ethnomusicology 65, no. 3 (October 1, 2021): 574–604. http://dx.doi.org/10.5406/ethnomusicology.65.3.0574.
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Abstract Arguably the foremost pioneer of indigenized hymnody in Senegal, Julien Jouga composed hymns that achieved remarkable popularity beyond the Catholic Church, beloved by Muslims and Christians alike. In his compositions, Jouga did not limit himself to conventional Catholic materials but drew extensively upon the practices of mystical Islam and African traditional religions. Amalgamating divergent musical, cultural, and spiritual sources, Jouga entered into dialogue with the voices of religious others, voices whom he confronted as equals within the polyphonic lines of his hymns. Through this radically dialogic approach, Jouga’s compositions became performances of deep polyphony: of inclusive hymnody that recognizes the truths of others and celebrates the simultaneity of moral and spiritual paths in the midst of religious difference. Sans doute le plus grand pionnier de l’hymnodie au Sénégal, Julien Jouga a composé des hymnes qui ont acquis une popularité remarquable, audelà même de l‘Église catholique, aimés des musulmans comme des chrétiens. Dans ses compositions, Jouga ne s’est pas limité aux matériaux catholiques conventionnels et s’est largement inspiré des pratiques de l’Islam mystique et des religions traditionnelles africaines. Amalgamant des éléments musicaux, culturels et spirituels distincts, Jouga est entré en dialogue au sein de la pluralité religieuse, voix qu’il a traitées d‘égal à égal dans les lignes polyphoniques de ses hymnes. Par cette approche radicalement dialogique, les compositions de Jouga sont devenues des performances de polyphonie profonde, d’hymnodie inclusive qui reconnaît les vérités d’autrui et célèbre la simultanéité des chemins moraux et spirituels au coeur de la différence religieuse.
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Makin, Al. "NADA POLIFONIK TEKS MARXIST ALA KUNTOWIJOYO: PENCARIAN JATI DIRI DARI MARXISME KE ISLAM." Jurnal Sosiologi Reflektif 13, no. 2 (June 19, 2019): 189. http://dx.doi.org/10.14421/jsr.v13i12.1613.
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This paper presents the way in which Kuntowijoyo searches for an epestimological formulation and critical thinking from Marxits to Islamic tendencies. This effort fills the gap left by some Indonesian readers of Kuntowijoyo’s works who only highlight his Islamic ideas in literature, culture, history, and sociology from which Kuntowijoyo unleashes the idea of prophetic paradigmn to differentiate his thought from secular Western mode of thinking. This paper also compares Kuntowijoyo’s text to the performance dangdut music of Rhoma Irama to discover the tone and rhytm of polyphone, by which I mean complexity of the text in combining Western and Eastern thoughts. This writing sheds light on the polyphonic tone of Kuntowijoyo’s text and the shifting paradigm of his thought from Marxist to Islamic tendencies.Tulisan ini membahas pergulatan pemikiran Kuntowijoyo dari aliran Marxist menuju arah Islamis. Dalam tulisan ini menyoroti para pembahas di Indonesia yang sering menekankan gagasan islami Kuntowijoyo dalam sastra, budaya, pemikiran sejarah dan sosiologi, terutama gagasan tentang profetiknya dalam bidang-bidang tersebut. Tulisan ini sekaligus membandingkan teks polifonik Kuntowijoyo yang meramu tradisi Marxisme Barat dengan musik dangdut Rhoma Irama sebagai tolak ukur nada dan irama polifonik. Baik musik dangdut ataupun teks Kuntowijoyo menghadirkan berbagai unsur perpaduan Barat dan Timur dan sekaligus mengarah pada pencarian identitas keislaman Kuntowijoyo dan Rhoma Irama. Tulisan ini sekaligus memberi sumbangan baru pada pembacaan teks polifonik dan pergeseran gagasan Kuntowijoyo dari Marxist ke Islami yang tidak mendapatkan porsi cukup dari para pembahas di Indonesia.
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Dodds, Michael R. "Plainchant at Florence's Cathedral in the Late Seicento: Matteo Coferati and Shifting Concepts of Tonal Space." Journal of Musicology 20, no. 4 (2003): 526–55. http://dx.doi.org/10.1525/jm.2003.20.4.526.
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While accounts of modal change in Baroque music have often focused on progressive genres such as opera, more conservative repertories may also reveal important shifts in the conceptualization of tonal space. The presence of "new" elements in a conservative context can provide an index of how deeply new ways of thinking have penetrated. For this reason, the plainchant treatises of Matteo Coferati (1638- 1708), a singer and chaplain at Florence cathedral for nearly 45 years, merit special scrutiny. Coferati's unprecedentedly detailed instructions on the use of unwritten sharps in plainchant present new solutions to old problems while implicitly reflecting the influence of polyphony in general and the alternating organ in particular. The relationship between plainchant and polyphony thus emerges as a reciprocal one. Moreover, the distance between monophonic and polyphonic modal norms turns out to be less than one might conclude by examining notated chants without considering unwritten performance practices. That Coferati's teachings represent practice at the Florence duomo is supported by a contemporaneous manuscript choir book from the cathedral's archives, containing the very sharps he advocates. In addition, new archival findings revise Coferati's long-accepted birth and death dates and provide specific information about his service as a cappellano of Florence's cathedral.
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Lefferts, Peter M. "Facsimiles of Fourteenth-Century English Polyphony." Royal Musical Association Research Chronicle 21 (1988): 83–95. http://dx.doi.org/10.1080/14723808.1988.10540930.
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With the proliferation of comprehensive commercial microfilming of major music collections, careful consideration needs to be given to the production of hard-cover books of facsimiles that traverse the same ground. Of course, a book is still a convenient way of storing and handling certain kinds of material. In compensation for its bulk it is tangible, accessible and portable, not to mention the fact that it can be annotated. And certain kinds of facsimile volume are obviously still going to be desirable: those reproducing single sources of great importance; those containing the contents of smaller libraries and obscure or less accessible collections; and those that comprise within a single volume an important cross-section of some scattered repertory or corpus of sources. In the light of those considerations, the publication of these two volumes of facsimiles of late-medieval English polyphony is most welcome. They make widely available at reasonable quality and price a vast amount of buried treasure found up to now only in the file drawers of a few specialists. The hoard consists of a large proportion of the surviving English polyphony from the era between the Worcester fragments and the Old Hall manuscript. This is an important and little-known repertory, spanning the entire fourteenth century but dispersed among numerous fragmentary sources. Both volumes will be necessary and welcome additions to public collections as well as to the private libraries of specialists in medieval music. They are also an essential complement to the four-volume edition of this same repertory recently published by Editions de L'Oiseau Lyre in the series Polyphonic Music of the Fourteenth Century, and they will surely prove invaluable for the teaching of surveys and seminars on early English polyphony.
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McLeod, Andrew, Rodrigo Schramm, Mark Steedman, and Emmanouil Benetos. "Automatic Transcription of Polyphonic Vocal Music." Applied Sciences 7, no. 12 (December 11, 2017): 1285. http://dx.doi.org/10.3390/app7121285.
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Sioros, George, Guy Madison, Diogo Cocharro, Anne Danielsen, and Fabien Gouyon. "Syncopation and Groove in Polyphonic Music." Music Perception 39, no. 5 (June 1, 2022): 503–31. http://dx.doi.org/10.1525/mp.2022.39.5.503.
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Music often evokes a regular beat and a pleasurable sensation of wanting to move to that beat called groove. Recent studies show that a rhythmic pattern’s ability to evoke groove increases at moderate levels of syncopation, essentially, when some notes occur earlier than expected. We present two studies that investigate that effect of syncopation in more realistic polyphonic music examples. First, listeners rated their urge to move to music excerpts transcribed from funk and rock songs, and to algorithmically transformed versions of these excerpts: 1) with the original syncopation removed, and 2) with various levels of pseudorandom syncopation introduced. While the original excerpts were rated higher than the de-syncopated, the algorithmic syncopation was not as successful in evoking groove. Consequently, a moderate level of syncopation increases groove, but only for certain syncopation patterns. The second study provides detailed comparisons of the original and transformed rhythmic structures that revealed key differences between them in: 1) the distribution of syncopation across instruments and metrical positions, 2) the counter-meter figures formed by the syncopating notes, and 3) the number of pickup notes. On this basis, we form four concrete hypotheses about the function of syncopation in groove, to be tested in future experiments.
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Paja, Jadwiga. "The Polyphonic Aspect of Lutosławski's Music." Acta Musicologica 62, no. 2/3 (May 1990): 183. http://dx.doi.org/10.2307/932632.
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Danielson, Janet. "Polyphonic Minds: Music of the Hemispheres." Journal for the History of Astronomy 50, no. 1 (February 2019): 103–5. http://dx.doi.org/10.1177/0021828618817136.
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