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Journal articles on the topic 'Reflection (Musical group)'
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1
Barrachina, Solange, and Dominique Saint Martin. "The GRM ‘beyond the walls’?" Organised Sound 12, no. 3 (November 30, 2007): 233–39. http://dx.doi.org/10.1017/s1355771807001896.
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AbstractThe technological changes of the twentieth century obliged research institutes to rethink their role in society. A place for invention and reflection, and a centre for the preservation of our musical heritage, the Groupe de Recherches Musicales must open its doors from now on and increase its collaboration with other bodies in an enlarged form: an extended ‘group’, extramural, which shares its tools and thoughts with others.
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Lampasiak, Aurelia, and Andrea Welte. "Embodied musical improvisation: How the body fosters improvising groups." Journal de recherche en éducations artistiques (JREA), no. 2 (February 6, 2024): 41–52. http://dx.doi.org/10.26034/vd.jrea.2024.4720.
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This article explores the question of how the body is involved when improvising together in a group. Focusing on improvisational pedagogical practices, our interest lies particularly in the question in what ways the body empowers participation. With “Embodied participation in musical group improvisation” we are introducing a new model which allows for reflection on musical group improvisation. It also encourages a body-based perspective on improvisation in relation to the facilitation of participation. We illustrate our reasoning with examples from the ImproKultur project. In particular, we take a closer look at two approaches to musical group improvisation : body conducting and improvising with a chair, both as an object and as a musical instrument. Using these two quite different approaches to improvising in a group, we emphasise their specific aspects of embodiment.
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Have, Iben. "Attitudes towards documentary soundstracks - Between emotional immersion and critical reflection." MedieKultur: Journal of media and communication research 26, no. 48 (May 17, 2010): 13. http://dx.doi.org/10.7146/mediekultur.v26i48.2133.
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Musical experience is often related to an emotional and imaginative engagement of the listener. Discourses of journalistic documentaries relate primarily to inferential knowledge systems in which the uses of background music as a communicative device become an object of epistemological critique. By listening to different voices – primarily from four focus group interviews – the article will discuss attitudes towards musical soundtracks in documentaries, attitudes being negotiated between emotional immersion and critical reflection, with the concept of manipulation as an underlying theme. In the end, the article will argue for the need for an acoustemological approach (Feld, 1996) to study the epistemological potential of sound in audiovisual media.
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Kyratsou, Chrysi. "Musical citizenship as a means to disrupt exclusions: Potentials and limitations as understood in times of a pandemic." Citizenship Teaching & Learning 17, no. 1 (February 1, 2022): 145–54. http://dx.doi.org/10.1386/ctl_00086_1.
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This article focuses on the potential of in-group music lessons to foster musical citizenship. It further discusses the relation between musical citizenship and conventional citizenship and shows how musical citizenship reorientates our thoughts towards citizenship, particularly in the light of the recent pandemic. The discussion is based upon reflection on semi-structured interviews conducted during my ethnographic fieldwork research on musicking among refugees sheltering in reception centres. The discussion is framed with approaches to citizenship and musical citizenship. The discussion is structured in three parts. First, I conceptualize my interlocutors’ current ‘in limbo’ status. Second, I show how music learning in-group fosters musical citizenship and helps navigate exclusions. Third, the attention shifts on how music learning was impacted by the way that the lockdown was implemented as a measure to limit the spread of the pandemic, highlighting the inclusivity of ‘musical citizenship’ undermined by (conventional) citizenship and the relevant exclusionary policies.
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Muhammad Syafe’i. "Upaya Mengembangkan Kecerdasan Musikal Melalui Permainan Persepsi Bentuk Musikal Pada Anak Kelomok B di TK Pertiwi Tanjung Juwiring Klaten." SALIHA: Jurnal Pendidikan & Agama Islam 1, no. 2 (July 16, 2018): 71–85. http://dx.doi.org/10.54396/saliha.v1i2.14.
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This study aims to develop musical intelligence group B children in TK Pertiwi Desa Tanjung District Juwiring Klaten Lesson Year 2012/2013 through the game of musical form perception. This research is a classroom action research (PTK). In this research, the students are group B in TK Pertiwi Desa Tanjung Kecamatan Juwiring Klaten District Lessons Year 2012/2013 as many as 18 children, consist of 12 men and 6 women. This research was conducted in two cycles each cycle consisting of planning stage, action stage, observation, reflection. Children's musical intelligence data was collected through observation methods, and documentation. Data analysis technique used is descriptive qualitative with interactive analysis consisting of data reduction, datapresentation, and conclusion of analysis result. Research results before the implementation of the cycle obtained results of 41.9%, the first cycle reached 56.4%, and the second cycle reached 80.1%. based on research that has been done can be concluded that through the game perception of musical form can improve the musical intelligence of children in kindergarten Pertiwi Village Cape District Juwiring Klaten Lesson Year 2012/2013.
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Kashina, Natalya I., and Natalia G. Tagiltseva. "Musical culture in the development of the cultural identity of the individual." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 45 (2022): 32–40. http://dx.doi.org/10.17223/22220836/45/4.
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One of the fundamental problems of the development of modern society is the formation of a genuine cultural identity of man. The formed cultural identity of a person is a condition of its entry into a multicultural environment, as positive attitude towards another culture is not possible without awareness of its culture. The article reveals the thesis that musical culture, as a kind of artistic culture and part of spiritual culture, has enormous potential in the formation of cultural identity of the individual. The authors of the article prove that the identification function of musical culture is realized in connection with a number of its other functions. Cumulative function of musical culture is realized in accumulation, storage, generalization in their individual images of value-cognitive outlook of culture. The communicative function of musical culture is manifested in the fact that it is a universal system of communication of people at all levels, from the interindividual to the level of generations. As a result, there is a process of comparing the individual with the “other” (hero of the musical work), identification or vice versa, isolation from him. The communicative function comes close to the consolidating function. In the process of perception of musical work or its performance in the consciousness of the individual, a sense of belonging to the culture of his ethnic group, affinity with his culture is formed. The function of reflecting reality shows itself in reflecting in artistic images ideas, emotions and the subject world. Identifying with them, a person has individually colored associations, and emotional resonance is carried out. This emotional empathy, manifested in identifying the emotional mood of the recipient with the meaningful deployment of the musical work, is a way of ethical influence on the person and causes his cultural selfidentification. Here, the reality reflection function is connected to the emotional function of the music culture. The function of reflection of validity is also related to the cognitive function of musical culture. In modern historical conditions, when the “connection of times and generations” has been interrupted for a long period, musical culture is one of the sources of modern man‘s knowledge of the moral traditions of mankind. Without the knowledge of culture, the formation and formation of cultural identity is impossible. The ethical function shows itself in that it contains cultural specimens of ethnos. Musical culture provides individuals with basic cultural landmarks, distinctive images of cultural identity. Art provides individuals with a set of symbols with which it can associate itself (a set of potential positive and negative identities). The authors also define psychological mechanisms for the formation of cultural identity in the process of musical activity - identification and isolation.
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Yang, Fuyin. "The Canzone Napoletana Phenomenon in the reflection of scientific critical thought." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 98–112. http://dx.doi.org/10.34064/khnum2-21.06.
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Introduction. The Neapolitan song is a phenomenon associated with stable patterns of perception. This was a consequence of the popularity of the genre in the field of “light music”, when from the end of the 19th century to the 1970s, other non-pop forms of Canzone Napoletana were ousted from the musical context and the minds of listeners. The transfer of interest from authenticity to the field of musical “pop culture” naturally provoked a certain mode of silence in the research environment. Little interest in the study of the genre indicated a lag in scientific and analytical processes in comparison with practical results. Background. The active studying phase of the South of Italy song tradition falls on the middle of the 20th century and is associated with the activities of a music critic, professor of ethnomusicology Diego Carpitella (1924−1990). This defender of Italian folklore took an active part in ethnographic expeditions and the 1950s discussions, collected more than 5,000 songs, and paid special attention to the music of southern Italy. An important contribution was also made by Roberto De Simone (born 1933) – Italian theater director, composer and ethnomusicologist, founder of Nuova Compagnia di Canto Popolare (from 1967 to the present). Today, the fate of the historical past of Canzone Napoletana appears to be the object of close attention in Italy. This is evidenced by regularly held international conferences dedicated to the stylistics and poetics of Neapolitan song, its historical past, personalities who made a significant contribution to the formation of the genre, as well as monographs of various topics. Objective of the researching. In Ukrainian and Chinese musicology, the state of elaboration of the information field on the issue of Canzone Napoletana is extremely weak. Therefore, it seems relevant to refer to the review of foreign scientific sources. Thus, the subject of research in this article is the tradition of scientific and critical understanding of the phenomenon of Neapolitan song, formed at the crossroads of different areas of modern Italian art history. The identification of the leading issues in the coverage of the phenomenon of Canzone Napoletana in the works of modern scientists is the subject of this article. The research material, on the one hand, is a song “Te vogliо Bene assaje” as an example of commercialization of the genre, on the other hand – a monograph “La canzone napoletana. Tra memoria e innovazione” (2013). Results. The prerequisites for modern scientific thought aimed at studying the musical folklore of the South of Italy first arose in the 19th century. In the context of Romanticism’s interest in folk culture, musicological search was more of a practical nature: collection and recording of the texts of Neapolitan songs, musical notation of samples of spoken creativity. The origin of these processes is investigated in the collective monograph “La canzone napoletana. Tra memoria e innovazione” (2013) prepared by historians, sociologists, anthropologists, musicians. They entered a group for the study of Neapolitan song on the initiative by Institute for Studies on the Mediterranean (ISSM, Italy). Paola Avallone points to the ability of Neapolitan music to sublimate the musical traditions of various Mediterranean peoples, due to contact with the southern regions through geographic, commercial interaction. In Italy itself, the Neapolitan song is already recognized as a cultural phenomenon, the uniqueness of which is surprising against the background of the region’s economic problems, the depletion of its natural resources, and weak state financial support. The study of Neapolitan song at an interdisciplinary level dictates the development of such directions as: historical, methodological, scientific-analytical, morphological. The Neapolitan song is inextricably linked with the cultural environment of the southerners, their special “lifestyle”, mythological and religious ideas. Marialuisa Stazio characterizes the Neapolitan song of the late 19th century as unique because of its strong connection to collective memory. The attitude to the Canzone Napoletana as a certain musical archetype reveals the insufficiency of methods and imperfection of the tools of analysis due to the archaic nature of the origins of the Canzone Napoletana, as well as because of the incompleteness of its evolution from 1824 to 1970. Many of the samples created during this period have many similarities. At the same time, the forms of communication changed: from “flying” leaflets to “compilations” – collections of Neapolitan songs, like “Passatempi musicali” by G. Cottrau; from author’s songs to the involvement of the media in the 20th century, “television festivals of the Neapolitan song”. In the last decade, the Internet resources YouTube, Spotify, Pandora have played a decisive role in promoting the musical product Musica Napoletana. Conclusions. The Neapolitan song is of interest as a cultural and economic phenomenon. It has turned into a “tourist” product, a souvenir, which fully represents the cultural originality of the southern region, acts as a carrier of the cultural code of the nation and the Mediterranean as a whole. The problem of its preservation, as well as of bringing the existing developments in the field of ethnomusicology to a common denominator, giving them a certain integrity, remains urgent.
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Archibald, Paul. "Finding the drummer: A reflection during isolation." Journal of Popular Music Education 5, no. 2 (July 1, 2021): 171–86. http://dx.doi.org/10.1386/jpme_00056_1.
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Drummers, in providing a cohesive role in a group setting, are generally valued by other instrumentalists depending on their ability to accompany sensitively and supportively; while important to all forms of popular music in which the drum kit features, the part itself is usually not created to exist independently. In recent times of lockdown and enforced isolation during the first half of 2020, drummers have found themselves deprived of the ability to make music with other people in a traditional live setting. This article examines the drummer’s reliance on the group, the value that this gives the drum kit, and the implications for identity and purpose of the drummer. In reflecting on the author’s own situation of musical ‘standstill’, and in conversation with other drummers, this article discusses the consequences this has for the drum kit (creative autonomy as an instrument) and for the drummer (implications for drummer’s self-identity), in how it may be taught, learned and viewed in the wider context of music making.
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Tawlai, Galina. "The principle of laughter in Byelorussian vocal culture as a form of reflection on images of the world." Muzikologija, no. 17 (2014): 107–27. http://dx.doi.org/10.2298/muz1417107t.
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This paper considers particular ways of organizing musical material in songs connected with the culture of laughter, as well as the coordination and interaction of different artistic spheres in this group of traditional Belarus song forms. Our long standing, complex ethno-musicological research, constant documentations of our own field work, comparison of ritual songs? stylistics with their respective cognitive methods, together with observations and generalizations made by the real exponents of traditional Belarus song have given us the possibility to hear and recognize this strict, logically-adjusted selection of forms of musical expressiveness among folk melodies.
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Toropova, Alla V. "Musical-Psychological Anthropology as an Interdisciplinary Field of Scientific Knowledge." Musical Art and Education 7, no. 2 (2019): 24–40. http://dx.doi.org/10.31862/2309-1428-2019-7-2-24-40.
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The article presents the conceptual positions of the interdisciplinary field of knowledge “Musical-Psychological Anthropology” as a scientific field that allows comprehending the history of musical art and ethno-cultural variations of musical traditions, historical and modern musical styles as a representation of the experience of developing consciousness and expressing the key experiences of humanity that form the mentality, psychological needs and values of a particular social or ethnic group. The development of the methodology of Music and Psychological Anthropology makes it possible to study such phenomena as: psychological identity of a certain culture or subculture, psychological roots of musical preferences and inclinations, musical style as the presentation of a “modal personality” of a certain social group or subculture, etc. The article contains a description of the procedure and the main results of the study of value orientations of lovers of different musical styles from the perspective of musical and psychological anthropology. The data obtained made it possible to make a generalization that the differentiation of society according to the types of musical preferences manifests deeper psychological complexes of life positions and anthropological images of virtual communities of people with different ideas about the main values of life and the meaning of life. Pedagogical feasibility of developing a university course Music-Psychological Anthropology is due to the search for a new productive synthesis of knowledge, which gives impetus for the development of the professional-personal reflection of future teachers-musicians, the conscious attitude to “their” and “other” as version of life and cultural practices, tolerance to uncertainty and to the dissimilarity of generational self-presentations with a common denominator – the value of the statement of life itself.
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Septian, Dandi Adhi, Syahrul Syah Sinaga, and Widodo Widodo. "Reflection of Creative Values and Attitudes in The Surosowan Drum Corps Banten." Ideas: Jurnal Pendidikan, Sosial, dan Budaya 9, no. 4 (November 14, 2023): 1051. http://dx.doi.org/10.32884/ideas.v9i4.1507.
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Character development is the main and crucial thing in the implementation of the formation of every culture and habit that is carried out in a group and environment seeing the activities of adolescents that need to be directed so as not to lead to negative actions. The purpose of this research is to provide an understanding of character values in the development of musical activities as a guideline that supports the development of the creative process in a group or individual. This research is supported by the qualitative method and uses a psychological approach as an analysis of the creativity of students. The findings in this study are about the values contained in Surosowan Drum Corps Banten as a support for the creativity of members and the community, as well as a reflection of that value which is poured through creative attitudes and behaviors.
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Mamona, Anhelina. "Four Songs op. 41 to Rabindranath Tagore’s poems in musicological reflection: aspects of exploring Karol Szymanowski’s Oriental visions." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 69, no. 69 (December 28, 2023): 40–55. http://dx.doi.org/10.34064/khnum1-69.02.
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Statement of the problem. Karol Szymanowski’s vocal works have repeatedly drawn the attention of researchers particularly from the perspective of embodying an oriental colour. In the majority of such studies one of the composer’s cycles, which should clearly be included in the group of his oriental works, is interestingly omitted. Four Songs op. 41 to the poems by Rabindranath Tagore seem to fall out of the context of the composer’s work, since they lack the traditional complex of musical idioms associated with Eastern exoticism, which was typical for K. Szymanovsky in the 1910s and early 1920s, as well as for the Western European tradition of that time in general. However, this cycle, as argued in this article, is an example of Orientalism, although unusual. Objectives, methods, and novelty of the research. The purpose of the study is to reflect on this cycle from the perspective of the composer’s creative search and testing of alternative to European musical Orientalism artistic solutions. To achieve this objective, the following research methods were chosen: source-critical, comparative-historiographical, genre and stylistic, and semantic. In the musicological works dedicated to Szymanowski’s vocal music and oriental aspect of it the Four Songs to Tagore’s texts are often neglected or characterised as those that lack of significant artistic value. The cycle is usually not considered as a part of composer’s oriental “visions”, which determines the original contribution of the proposed article to researching K. Szymanovski’s work. Results and conclusion. Answering the question whether Szymanowski’s Four songs op. 41 are an extra cycle or a technical exercise, we note that both answers may be correct, but with the negative connotation being excluded. In a group of oriental works, this cycle can really seem odd due to the lack of exoticism in its sound. In a certain sense, the writing of this cycle can be understood as a technical exercise, being perceived as K. Szymanowskis attempt to master the potential of Orientalism beyond exoticism. The composer probably did not set himself the goal of completely moving away from the very idea of Orientalism in the music of the cycle, but he clearly avoided the use of stereotyped signifiers of musical exotics. Apparently, Tagore’s poetry prompted him to try to embody its images on a more personal expressive level. The result of the “technical exercise” was the realisation of the possibility of creating an artistic vision of oriental imagery beyond the clichés of musical exoticism practiced in European art. However, as it can be seen from K. Szymanowski’s subsequent works, this approach, caused by the peculiarities of the poetic source, did not become the leading one in the composer’s work. Four songs op. 41 to the texts by R. Tagore arose at the intersection of two creative interests of the composer: the world of the East and modern musical language. And in this case, the creative decision of the artist was to level in the cycle of signs of musical Orientalism; instead, K. Szymanovsky focuses attention on the deeper, psychological side of R. Tagore’s poems.
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Pavlov, Denis N. "Methods for development of creative expression of college students in music composition." Bulletin of Nizhnevartovsk State University, no. 1 (53) (March 20, 2021): 66–73. http://dx.doi.org/10.36906/2311-4444/21-1/09.
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The development of a person's creative self-realization is one of the main guidelines for the modernization of the modern Russian education system. However, an analysis of the content of curricula, programs, the state of the modern practice of teaching students of colleges of culture and arts enrolled in specialties related to musical art, indicates a lack of attention of teachers to the problem of creative self-realization of students. Mastering by students of musical and compositional activity can contribute to their successful mastery of the means of musical expression, finding their own methods of creative self-realization. The author of the article concludes that the process of development of creative self-realization among students of colleges of culture and arts in musical-compositional activity is a gradual transition from self-knowledge and self-assessment by students of their capabilities in the implementation of this activity, through the formation of their skills and abilities of musical improvisation, composing music, developing motivation for self-development, developing creativity, for self-assertion of students and self-assessment of the results of musical and compositional activity. The article presents a methodology for the development of creative self-realization of students of colleges of culture and arts in musical and compositional activities, including: forms of education - small-group, individual and practical classes; forms of extracurricular activities - a music room, a music lecture hall, a creative workshop; teaching methods - observation of music, research, brainstorming, author's introspection, associative, portfolio; techniques - explanations of one's own actions, feedback, reflection; methods and techniques of creative work - combination, transformation, sketch work.
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Moura, Nádia, and Sofia Serra. "Saxophone Players’ Self-Perceptions About Body Movement in Music Performing and Learning." Music Perception: An Interdisciplinary Journal 41, no. 3 (February 1, 2024): 199–216. http://dx.doi.org/10.1525/mp.2024.41.3.199.
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Quantitative studies demonstrate that performers’ gestures reflect technical, communicative, and expressive aspects of musical works in solo and group performances. However, musicians’ perspectives and experiences toward body movement are little understood. To address this gap, we interviewed 20 professional and pre-professional saxophone players with the aims of: (1) identifying factors influencing body movement; (2) understanding how body movement is approached in instrumental pedagogy contexts; and (3) collecting ideas about the impact of movements on performance quality. The qualitative thematic analysis revealed that musical features (i.e., musical character, dynamics) constitute a preponderant influencing factor in musicians’ body behavior, followed by previous experiences and physical and psychological characteristics. In the pedagogical dimension, participants presented an increased awareness of the importance of body movement compared to their former tutors, describing in-class implementation exercises and promoting reflection with their students. Still, a lack of saxophone-specific scientific knowledge was highlighted. Regarding performance quality, participants discussed the role of movement in facilitating performers’ execution (i.e., sound emission, rhythmical perception) and enhancing the audience’s experience. We provide insights into how professionals conceive, practice, and teach motor and expressive skills, which can inspire movement science and instrumental embodied pedagogy research.
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Adzkia, Sagaf. "Orientasi Pendidikan Musik dalam Teori Multiple Intelligences." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 6, no. 1 (June 23, 2024): 1–12. http://dx.doi.org/10.24036/musikolastika.v6i1.143.
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Purpose: This article aims to offer a comprehensive approach to understanding and developing students' potential in music education learning at school, oriented around Howard Gardner's Multiple Intelligences theory. By considering the diversity of individual intelligences, this approach creates an inclusive music learning environment. Verbal-linguistic, logical-mathematical, visual-spatial, kinesthetic, musical, interpersonal, and intrapersonal intelligences are each accommodated through various activities such as songwriting, lyric analysis, exploration of mathematical structures in music, creation of musical visualizations, musical gestures, and group work. Methods: This article uses a qualitative approach with conceptual understanding that presents ideas and justifications for music education concepts in order to provide original contributions in the form of key and logical arguments that are communicated effectively. Results and Discussion: The outcome of this article is a rationale that emphasizes the development of social skills, self-reflection, and active participation in various aspects of music education. Conclusion: Music education in the lens of Multiple Intelligences engages students holistically, creating learning experiences that blend artistic and cognitive elements, aligning music teaching and individual intelligences that foster students' comprehensive development in the context of music education in schools.
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Starnawski, Marcin. ""Któż tam będzie wisiał?" – Bunt chłopski w miejskiej wyobraźni." Studia Litteraria et Historica, no. 1 (December 31, 2012): 1–52. http://dx.doi.org/10.11649/slh.2012.003.
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“Who’s going to dangle there?” – Peasant revolt in urban imagination. On the Gore album by R.U.T.A. and on its receptionThe author presents a review of a recent album “Gore: Songs of Rebellion and Misery from 16th to 20th Century” by a Polish punk rock / hardcore group R.U.T.A. The album, which combines traditional peasant lyrics with modern arrangements and folk instruments, has received acclaim from both fans and critics, while the band declared their commitment to struggles of contemporary progressive social movements. The author analyses the lyrics situating his reflection in sociological-historical framework to discuss realities of peasants’ lives and revolts during the second serfdom in early modern Poland. The author interprets the musical form of the songs as “punk-rock assimilation” of folklore themes. The final section contains critical reflection on the album’s marketing strategy and reception with the key dissected categories being “rebellion” and “authenticity.”
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Hughes, Ed, Alice Eldridge, and Chris Kiefer. "Syncphonia: Understanding the value of participatory design in developing music technology to support musical ensembles that use notation." Journal of Music Technology & Education 13, no. 1 (August 1, 2020): 57–77. http://dx.doi.org/10.1386/jmte_00016_1.
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The benefits of ensemble performance are well recognized; notation supports group performance, but cuts in music education and changing musical cultures mean that notation is increasingly perceived as a barrier to entry. In an extended participatory design (PD) project, we co-designed and developed a software system for networked notation called Syncphonia with the aim of enhancing access to and experience of notation-based ensemble performance. In previous work, our formal evaluation and informal observations and feedback revealed a wide range of benefits. In this article, we are concerned with articulating the knowledge generated and insights gained through this extended PD process. To do so, we employ a framework for systematic reflection that has been designed to support investigation into the tacit knowledge generated in participatory design. Through this method, we focus inward and share three insights into the value of networked notation in contemporary musical cultures; we also look outward and articulate five approaches to PD with musical ensembles that might benefit others adopting this rich research method. A pluralistic and inclusive vision of notation is espoused and speculation is submitted that a dynamic, networked notation might ameliorate the boundaries between composing, improvising and performing to the benefit of all three.
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Towarek, Piotr. "GREAT MUSICAL FORMS DEDICATED TO SAINTS CYRIL AND METHODIUS." Forum Teologiczne 24 (November 14, 2023): 143–58. http://dx.doi.org/10.31648/ft.9466.
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This article takes a closer look at the great musical forms dedicated to Saints Cyril and Methodius. These are mainly liturgical compositions related to the worship of the two saints. This group includes a medieval Mass propria (e.g. Parchment Missal no. 212 of the Cracow Chapter) and the Baroque-Classical Mass by Michael Haydn (1758). In the 19th century, the repertoire was expanded to include cantatas (Křížkovsky, Surzyński, Dinew) and hymns (Liszt, Tchaikovsky, Borodin, Pipkov), which are linked to the process of national awakening of Czechs, Slovaks, Croats and Bulgarians. The 19th and 20th centuries also saw the creation of numerous arrangements of the Ordinarium Missae in Glagolitic. These include Leoš Janáček’s monumental “Glagolská mše” (1926) and related works by Czech and Croatian composers (Říchovski, Foerster, Kožušníček, Douša, Janda, Kozinović, Novak, Sokol, Hanuš, Láník). This collection is enriched by stage works: the opera of Zhivka Klinkova (1981/2021) and oratorios and cantatas from the 20th and 21st centuries (Dinew, Širola, Krška, Andrašovan, Tučapský, Procházka, Krák). These works are based on Glagolitic liturgical tests and poetry and prose related to the upsurge of national thought in the 19th century. They show Sts Cyril and Methodius not only as preachers of the Gospel and missionaries to the Slavic peoples but also as teachers of culture, dialogue and reconciliation, and above all, as founders of the foundations of Slavic national identity. The article presented here contributes to the current theological reflection in the field of aspectual hagiology.
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Trouelnikova, L. "The music-folklore sources of the cultural landscape of Ukraine." Musical art in the educological discourse, no. 3 (2018): 54–60. http://dx.doi.org/10.28925/2518-766x.2018.3.5460.
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Theorisation of music and folklore sources of the cultural landscape of Ukraine is done. The author has focused on the cultural understanding of the essential content of the category — folklore as the earliest type of folk artistic culture. It is based on the ethnic and national picture of the world. The author has emphasised that the national-ethnic picture of the worldview and world reflection is defined as the single cognitive orientation, which is the non-verbal and implicit expression of the group understanding of the “life rules”, caused by the social, natural and supernatural forces. The author has underlined that the musical folklore is a national mode in the Ukrainian traditional culture. It forms values and behavioural guidelines for the representatives of the community. They look like the grammar rules, reflected unconsciously by many people, structurise and direct their linguistic behaviour. The art historical analysis of the musical and folklore component in the rites of the Ukrainians is traced. The theorisation of the folklore as a type of culture, which shows the worldview of the subject and the system of its sociocultural orientation, allows us to understand its transformation and historical social dynamics.The purpose of the article is the cultural reflection of Ukrainian folklore as a the reflection of the worldview. The latter depends on the changes of the socio-historical realities in the folk wisdom, which forms the spiritual world as well as in the spiritual culture of the nation and the individuals. It changes as the embodiment of the people’s knowledge and values.The methodology of the research includes the using of the wide range of art history and musicology methods of the representation of the musical and folklore material and the analysis of academic commentary literature. In addition, the author applies the methods of the systematic review of the works of musical and folklore spectrum and the artistic activity of the individuals in the context of the Ukrainian rituals, which have allowed the author to use the the results of the research of the culturological system in the analysis of the facts of the manifestations of the sphere of musical folklore and their place in the Ukrainian life practices.The scientific novelty of the work is the representation of the Ukrainian music folklore as a type of culture, which differs from the professional and the mass ones. It expresses the national picture of the universe and the value-normative system of the people’s life. The author considers the picture of the world as the representation of the surrounding reality, the features of its perception, caused by the unity of subjective and objective conditions and factors of the formation of the national landscape. It allows the theorists and cultural practitioners to realize the significance of the music and folklore concept in the formation of the fundamental values of the Ukrainian nation. Thus, we should research the folklore, taking into account the actual content of the surrounding reality and human activity, its subjects (a bearer), social content, forms of life and functions, etc. It becomes possible if we consider the folklore as the reflection of a picture of the world that changes in accordance with socio-historical processes. We should note that folklore is a type of art as well as a folk wisdom that forms the spiritual world, the spiritual culture of the people and individuals. Finally, it is the embodiment of knowledge, values, norms and the patterns of social groups, communities and individuals.
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West, Chad, and Radio Cremata. "Bringing the Outside In." Journal of Research in Music Education 64, no. 1 (March 17, 2016): 71–87. http://dx.doi.org/10.1177/0022429416637596.
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Through the lens of hospitality, we explored the meanings that members constructed about their experiences within a blended formal/informal college music ensemble. The focus in this ensemble was not on competition and musical excellence but on independent musicianship and praxis. The bandleader had his roots in tradition but his heart in socially relevant pedagogy and favored a less autocratic teaching and learning style. The makeup of the ensemble also included students from both formal and informal backgrounds. Conducting gesture was casual, bandstand formation was loose and free, outfits were expressive of the individual, and tone and balance were more a reflection and celebration of individuals and less of a whole or single sound. Much of the music was performed from standard notation but was chosen collectively, often related to popular contexts, and the overall emphasis was not on uniformity but on individuality and student creativity. Musical decisions often were made democratically, and opinions from within the ensemble were affirmed in the process. The ensemble consisted of a group of approximately 13 members whose experience ranged from beginner to over 30 years and who played everything from violin to iPad. Themes that emerged were inclusivity, autonomy, and affirmation.
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Griffin, Shelley M. "Reflection on the Social Justice Behind Children’s Tales of In- and Out-of-School Music Experiences." Bulletin of the Council for Research in Music Education, no. 188 (April 1, 2011): 77–92. http://dx.doi.org/10.2307/41162331.
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Abstract Honouring children’s musical experiences, both in- and out-of-school, is an integral component of broadening social justice awareness in elementary music curriculum. Situated within the theoretical threads of social constructionism, experience, and attentive listening, findings are drawn from a 3-month, 2-phase study that utilized the took of ethnography and narrative inquiry to uncover how a group of 20 Grade 2/3 children experienced music in their daily lives. While phase two conversation is reported ebewhere, this essay reflects upon the results of my dissertation study, highlights a conversation excerpt with the children during phase one of the study, and provides a social justice perspective on the conversation. Findings from both phases indicated a discernable difference between children’s in- and out-of school music experiences, leading to a recognizable lack of interplay in the two contexts. Thus, it becomes integral to honour children’s lived realities as a means to broaden understandings of social justice in elementary music curricula. Children’s voices become a catalyst for enacting change within elementary music education.
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Ivane, Madara, and Baiba Trīnīte. "DEVELOPMENT OF COORDINATION BETWEEN HEARING AND VOICE IN SINGING: REVIEW OF METHODICAL LITERATURE IN THE LATVIAN LANGUAGE." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 3 (May 20, 2020): 223. http://dx.doi.org/10.17770/sie2020vol3.5080.
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The aim of the study is to examine the reflection of the processes of formation of musicality, musical hearing and vocal skills in methodological materials published in Latvia. The aim of the study is to analyse the existing methodological materials from 21st century that deal with the development of children’s musical hearing as described by various authors. The study focuses on the primary school age, pre-mutation period children who, in addition to general education, are learning singing in vocational or interest education during individual or group lessons (ensembles and choirs). The research method used is the selection and summarization of opinions and recommendations of teachers of music subject, singing teachers and conductors in the work with children – soloists and choir singers, who are gaining their first skills in singing and intonative hearing, as described in various literature sources. The results of the study show that all of the examined materials conceptually coincide, but often different terminology and explanation of techniques is used, which does not always reveal the nature of each expression and technique, thus preventing the theoretically expressed knowledge from being put into practice. Many explanations are based on the empirical work by the authors of the source. There is a lack of methodological techniques that are based on scientifically proven facts.
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Wang, Shuning. "Classroom Reflection on Music Teaching — Take Robin Hood Primary School in the UK as an Example." Journal of Higher Education Research 3, no. 2 (April 19, 2022): 137. http://dx.doi.org/10.32629/jher.v3i2.740.
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I entered the music education major of Kingston university in the UK in September 2019. Because the school attaches great importance to the combination of theory and practice, students in music education need to participate in the internship program assigned by the school before graduation, which is one of the important components of graduation assessment. Of course, so does this paper. We can choose to join the middle school group or the primary school group. I choose to join the Robin Hood primary school group internship program, which consists of seven students. The main content of the internship is to learn Djembe drum under the guidance of teacher Hans, and then to teach Djembe drum to each student in our own way. The program requires each student to master the skills of musical instruments and the sense of rhythm when playing them. In the course of the class, students should pay attention to details and cooperate with the teaching of the intern teacher to enjoy and learn music with their natural sense of music. For us to accept this teaching program, the biggest test is that we must master the basic skills of playing Djembe drum, good sense of rhythm, the ability to maintain the classroom order and personal affinity. In this teaching project, we first need to introduce the origin of Djembe drum to the students, present some simple rhythms in the form of a small game, and then teach the students to play the drum under the leadership of Hans. Through the practice, I learned some useful teaching skills and reflected on the current situation of music education.
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Kotin, Alison, Stella Aguirre McGregor, DeAnna Pellecchia, DeAnna Pellecchia, Ingrid Schatz, and Shaw Pong Liu. "Speak Out. Act Up. Move Forward. Disobedience-Based Arts Education." Harvard Educational Review 83, no. 1 (March 26, 2013): 190–200. http://dx.doi.org/10.17763/haer.83.1.x2j8070452124kv3.
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In this essay, Alison Kotin, Stella Aguirre McGregor, DeAnna Pellecchia, Ingrid Schatz, and Shaw Pong Liu reflect on their experiences working with public high school students to create Speak Out. Act Up. Move Forward., a performative response to current and historical acts of civil disobedience. The authors—a group of instructors from the Urbano Project with specialties in contemporary dance, musical composition, and interactive digital media—discuss their collaboration with students to draw connections between nonviolent protest and the challenges, pressures, and choices teens are faced with in everyday life. Through the use of student voices and powerful images, this reflective piece illustrates the potential of contemporary art to empower youth with a platform to work collaboratively, engage in critical reflection, and provoke and intrigue their audiences in open-ended consideration of urban young people's lived experiences and views of the world.
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Gorbolis, Larysa M., and Anna Ye Chernysh. "ARTISTIC TRINITY: LITERATURE – CINEMA – MUSIC (THE FILM “EARTH” BY O. DOVZHENKO)." Alfred Nobel University Journal of Philology 2, no. 26/2 (December 26, 2023): 238–52. http://dx.doi.org/10.32342/2523-4463-2023-2-26/2-15.
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The purpose of the article is to reveal the ideological, thematic, descriptive, intonation-rhythmic consonance of the musical accompaniment of the band “DakhaBrakha” with the film and film story by O. Dovzhenko. The article highlights the role of musical accompaniment in the restored 2012 version of the film “Earth” by the famous Ukrainian director of the twentieth century O. Dovzhenko. This is the first study in which, through the comprehension of the trinity of the samples of music, cinema, and literature, new meanings are revealed in musical compositions and the film, the relevance of the raised existential problems is expressed, the ethnic basis of the concept of characters and the works of art chosen for the analysis as a whole are indicated. The corpus of methods was applied in the research: the cultural-historical method contributed to the understanding of the place, role, and meaning of film, music, and literary texts in contemporary artistic realities; the intermedial approach helped in identifying and characterizing the common, different and peculiar in the pictorial, mood, ideological and thematic, content filling of scenes, micro-episodes, symbolic images and details in samples belonging to various types of arts; the hermeneutic method is applied to reveal and interpret the traditional and innovative in stylistic specificity of the ethno-chaos performance of the “DakhaBrakha” band. Based on the cultural and historical method, the hermeneutic method, and the intermedial approach in the research it was emphasized that the instruments (accordion, drum, cello, ratchet, etc.) involved by the DakhaBrakha musical group, their tonality, rhythm, as well as the Ukrainian folklore samples involved in the content plan contributed to the effective depiction of various states of the main and secondary characters (joy, grief, concentration, sadness, thoughtfulness, etc.), the moods of the peasants, interpersonal relationships, emphasizing the character traits of Ukrainian heroes, hereditary farmers, their natural desire to work on the land and thus self-actualize. The article remarked on the role of pauses in the reflection of emotionally capacious, conceptually important film episodes, micro-episodes, and scenes, enhanced by demonstrative cinematic techniques. The trinity of music, cinematic material, and literary work in the construction of characters and perfect plot layout is emphasized. The musical design of the film “Earth” by O. Dovzhenko, carried out by the ethnic-chaos DakhaBrakha group, accentuates the national selfhood of the Ukrainian character, even though the film tells about collectivization, the purposeful policy of the then Soviet government (the 30s of the twentieth century) to destroy the private property of Ukrainians, to negate the feeling of the owner composed over the centuries. Skillfully combined traditional and innovative stylistic specificity of performing skills of the ethnic-chaos group “DakhaBrakha” contribute to the identification of subtexts, codes for the interpretation of the content of works, actual existential problems, and national originality of the characters. The order, tempo of the musical performance as well as the visual content, that was thought out by the authors of the film, form the musical leading motif of the movie and deepen the understanding of the subtext, symbolic accents of the literary work, emphasize the features of the artistic presentation of the land problem with the help of expressive images of sunflowers, gardens, steppes, fields, oxen, etc. There are a music tempo-rhythmic and tonal-emotional support of frames in the film, that as well performs a peculiar function of sound illustration in the corresponding episodes of the literary text, thus giving the images of main characters and minor characters dynamics and expression. The musical drama of the film “Earth”, audio visualization of the main and secondary characters, repetition, the collision of frames with different plans, landscapes, and the specifics of their location in the frames emphasize the problematic of the literary work, contribute to the multifaceted images of heroes in the literary work and in the film, enhance the understanding of the conflicts (intra-frame, interpersonal, worldview, etc.), testify to the ideological-thematic, compositional, pictorial, emotional-semantic unity of musical, cinematographic and literary texts.
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Kovtoniuk, Valeriya. "A performing musician’s oeuvre through the prism of phenomenology." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 8–16. http://dx.doi.org/10.34064/khnum1-50.01.
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Background. Continuing trends dated back in the second part of XIX century music culture concentrate on a figure of performing musician. Commercialization an academic art: popularity of performance awards, media supporting for new formats of concert performance, etc. facilitates this largely. Objectives. Public interest conditioned an appearance a lot of scientific research inscribed to problems of musical interpretation. However, a performing oeuvre learning the product, fixation of which even taking to account modern recording capabilities are relative, warrants specific methods. In particular, engaging the conception of values for settlement of a question why performing art products are different with their significance: something becomes a culture phenomenon but something stays at self-actualization level. Methods. For comprehensive study the performing as separate kind of activity it is necessary to involve adjacent humanitaristics areas – psychology and philosophy, which problems of art and it’s osmosis are considered in. In particular, in philosophy art is understood as a kind of human activity aimed at creating new-look material and culture valuables. However, in our perspective more interesting and capacious definition is seem N. Berdyaev’s one: «Art is a human ability to create a new reality from valid material». That picturesque vision of the author’s work, which springs up during an interpretation, often has a wide public interest that let assign to interpretator a status of the creator. Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Sukhlenko). Such an understanding of performing musician’s figure significant we can find in foreign philosophers’ works (R. Ingarden, B. Croce) and native music scientists (B. Moskalenko, I. Suchlenko). Results. E. Husserl’s phenomenological conception had a great impact not only on XX th century philosophy but on many humanities science especially art history. It led to the fact that there are many definitions of phenomenon concept, which is interpreted as a reflection of world of ideas, an object that is accessible to the senses, a basic holistic unit of what can be isolated from consciousness, external properties and subject concern revealing its essence, etc. A unite part all of definitions is a sensorial perception as a base of human knowledge based on individual experience and ability of consciousness to self observation and reflection. Stickling example of this is a field of artistry, which individual sensorial perception takes such a big part in that identity of the creator, his feelings often become the centerpiece of work. In musical oeuvre, an outward subjectivization is an acoustic convergent thinking. However, musical thesaurus is enough for power of imagining wakening enabling reproducing and combination the phenomenal stored in composer-performer-hearer’s memory. Performing art based on searching the new acoustic and dramatic source material characteristics. Thereat performer’s work algorithm depends largely on personal intention based on world and mental outlook. The scale of performer identity, his internal conviction power whereby he creates the new acoustic reality is able to notably change all the elements of composer’s intention and affect our perception of musical composition. In that understanding, the special aspects of composer’s activities, its interconnection and correlation with his oeuvre are opened in other view. Brilliant performance reformatting an art space composer’s work frequently appropriates him «double authorship». As a result is a phenomenon of identification with the name of great composer: L. Beethoven’s 5th Symphony – G. Von Karajan / L. Stokowski; J. S. Bach’s Goldberg Variations – G. Gould / R. Tureck; F. Сhopin’s works – V. Sofronitsky / V. Horowitz; P. Tchaikovsky – M. Pletnev. Exactly this influence aspect of performing art on the musical culture interested B. Croce who confirmed that musical composition only exists at the time of execution. However, choice the pair «composer-performer» depends up our perception, our readiness to acceptance an alternative artistic concept. Herewith prescription, forming «set» of value orientation of some shared identity: from group of like-minded persons to mass convictions, has a great impact here. The latter’s impact differs under studying a creativity of famous musicians and soi-disant «second place» musicians who fall under external influence easier than others do. Even in the light of constant changes of public conscience, one can highlight some hard values in it that characterize certain social stratums. However, and these value systems undergo a review for a time and modern society reject what was topically a couple decades ago. The result is that fashion phenomenon on performers or performing style appears. Accordingly, to continue to be relevant performing musician needs to have a gust of latest tendencies in art and to able to save value bases of personal mental outlook. Conclusions. The phenomenological approach to the study of the creative activity of a musician-performer allows one to go beyond the theoretic analysis that is traditional for musicology. Acceptance that the product of performing creativity can be defined as a phenomenon, reflecting several vectors of personal communication (dialogue with oneself, with a composer, public, historical epoch), can help not only in understanding the “musical work of the performer”, but also in understanding the phenomenal significance of performers in modern musical culture.
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Khir, Roselina, Murina Pawanteh, Ahmad S. Lajis, and John Stephens. "Empowering Informal Learning and Soft-Skill Enrichment Through an Arts -based Project of Animation among Secondary School Students." Advances in Social Sciences Research Journal 9, no. 9 (October 5, 2022): 587–96. http://dx.doi.org/10.14738/assrj.99.13009.
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This research aimed to share with educational stake-holders how informal learning through an Arts -based project can contribute to soft-skill enrichment among school learners. The soft skills looked at were based on the 4 C -skills, Creativity, Critical Thinking, Communication and Collaboration. Secondary school students carried out an animation project based on a musical theatre during the Covid -19 pandemic, half of it online, and half through physical meetings. To achieve these objectives, this research used observation, self-reflection and questionnaires to collect data from 13 students and responses from 3 virtual critics. The analysis method used for this research was descriptive analysis. The results showed that specific arts ensemble activity such as creating a performance or animation is able to produce high level of generalized group production skills. The module can be used as indicators for future arts project collaboration with the 4C’s as the final outcome. These participants believed that an arts-based project had opened up their minds and outlook beyond school exams.
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Yearsley, David. "Alchemy and Counterpoint in an Age of Reason." Journal of the American Musicological Society 51, no. 2 (1998): 201–43. http://dx.doi.org/10.2307/831977.
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This essay demonstrates the importance of alchemy to the theory and practice of learned counterpoint as articulated in the writings of a group of early eighteenth-century German musicians, in particular, those of canon enthusiast and alchemist Heinrich Bokemeyer (1679-1751). While leading eighteenth-century theorists such as Johann Mattheson argued vigorously against the persistence of occult beliefs in music, the correspondence of J. G. Walther with Bokemeyer reveals a lively discourse on the principles of Hermeticism in conjunction with the exchange of counterpoint manuscripts, one of the most important of which was Johann Theile's Musicalisches Kunstbuch. The title and contents of this collection, as well as the pictorial and contrapuntal features of another of Theile's creations, the Harmonischer Baum, suggest further links with alchemy. In 1723-24, Bokemeyer became engaged in a dispute with Mattheson over the merits of canon; this debate was published as "Die canonische Anatomie" in Mattheson's periodical Critica musica. Bokemeyer's lengthy defense of learned counterpoint draws heavily on alchemical metaphors and Hermetic concepts. Bokemeyer would later become a member, along with J. S. Bach, of Lorenz Mizler's Societät der Musicalischen Wissenschaften. Bokemeyer may have seen in Bach's Canonic Variations (BWV 769), presented to the society on Bach's admission in 1747, a reflection of the aesthetic principles articulated in "Die canonische Anatomie." While learned counterpoint's role in composition and pedagogy diminished in the years following the publication of "Die canonische Anatomie," midcentury theorists such as F. W. Marpurg continued to explore the complex workings of canon, but they did so as enlightened encyclopedists holding none of the occult views that had informed the musical belief system of Bokemeyer and the counterpoint devotees of the previous generation.
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Noguchi, Selma Kazumi da Trindade, Andrey Silva Machado, Simone Aguiar da Silva Figueira, Jofre Jacob da Silva Freitas, Thayse Hage Gomes Machado, Marcella Mota Macedo e. Machado, Leonilde Sousa dos Santos, and Renato da Costa Teixeira. "The applicability of active teaching-learning methodologies in health: An integrative review." International Journal of Advanced Engineering Research and Science 9, no. 7 (2022): 001–6. http://dx.doi.org/10.22161/ijaers.97.1.
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Objectives: to identify in the literature the applicability of active teaching-learning methodologies in health. Methodology: integrative review carried out in the Virtual Health Library using the descriptors in health sciences: Active methodologies; Health; Applicability. Results: 31,500 articles were found and, after careful reading, eleven were selected in the Virtual Health Library. The making of the patchwork quilt stood out; Digital Information and Communication Technologies; twine; thematic workshops with practical activities and previous questions for reflection and criticism were also used; patient care, analysis of real cases, role-playing (decision making and competence demonstration); documentaries and television series; mock jury; conversation wheel; movie theater with popcorn; tutorial group; constructivist spiral; flipped classroom and peer instruction, as well as its pedagogical foundations; problematization with the Arch of Charles and Maguerez; Project-Based Learning; the three Pedagogical Moments; Puppet theater and musical parodies; Directed study, flipped classroom, concept map and mind map; interactive dialogued class; case studies; oral presentation of contents; kahoot; Forum; LPAM (Learning Practice Assessment Material); ESCAPE ROOM; Problem Based Learning; Video lessons; theaters and recreational activities. Final Considerations: Reflective teaching, appropriate to the context, of methodological quality has the ability to instigate an expanded and transdisciplinary vision, in addition to promoting social changes resulting from the increase of individual and collective awareness.
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Aleksandrov, Il’ya Yur’evich. "Methodological features of the study of Russian cosmism in Russian culture." Vestnik of Saint Petersburg State University of Culture, no. 4 (53) (December 2022): 6–12. http://dx.doi.org/10.30725/2619-0303-2022-4-6-12.
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The article examines the original phenomenon of Russian cosmism, generated by the culture of the Gorbachev period of «perestroika». Russian cosmism is an original synthesis of scientific ideas, religious and philosophical insights, as well as poetic and artistic penetration into the mysteries of the cosmos. The article shows the limit of applicability of the concept of «Russian cosmism» to Russian philosophy, poetry and ballet. In a number of research works, a «circular» error was revealed when substantiating the involvement in «Russian cosmism» of musical works, ballet, painting and literature based on the content of the ideas of the philosophy of cosmism in them. The article shows that in the era of the Silver Age, philosophers, scientists and writers did not realize the commonality of the ideas of «Russian cosmism». The article proves that one can speak about the philosophy of Russian cosmism only with the advent of critical philosophical reflection on the foundations and principles of the corresponding school – participants in scientific Readings in memory of K. E. Tsiolkovsky realized the presence of a group of Russian thinkers-cosmists only in the late 60s of the XX century. It is shown that Russian cosmism finally acquires its essence only during the years of Gorbachev’s «perestroika», when it becomes a new Russian «saving» ideology for the entire world.
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Lytvynenko, Viktor. "Aesthetic reflection of the labor process of production in the art of folk stage choreography of Ukraine." Collection of scientific works “Notes on Art Criticism”, no. 39 (September 1, 2021): 70–74. http://dx.doi.org/10.32461/2226-2180.39.2021.238690.
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The purpose of the article to research the creative work of choreographers of Ukraine, who devoted a significant role in the staging work to dances on a labor theme. Relying on a certain historical concreteness, they accurately reflected different aspects of the relationship of people and classes in work with the expressive means of choreography. Most of them reflect the artistic images of people for whom work is the first vital need, a source of creative joy, and a sacred duty to society. Therefore, the content of their works was a love of work, a creative attitude towards it, a constant desire to improve their work, to increase their contribution to the common cause. The modern world has, to some extent, changed the attitude and attitudes of people in production, as well as their attitude to work. Therefore, artists-choreographers face new tasks in creative work on the creation of dances on a labor theme, and at the same time in reproducing life problems that concern a modern working man. The research methodology is based on the use of comparative and art historical methods. This methodological approach allows us to reveal and analyze the features and significance of dances on labor topics, which were staged by famous Ukrainian choreographers in folk stage choreography. The scientific novelty of the work lies in expanding the process of the creative associative imagination of the choreographer-director, using the images of workers from the people choreography, first of all, he must study and analyze well how people, their morals, way of life, technology have changed in the new conditions of society. New life gives birth to new dances, new plots, new choreographic compositions. Conclusions. When staging a folk-stage dance on a labor theme, in which the main character is the folk image of a worker, the choreographer, combining various arts in musical-plastic synthesis and possessing all the expressive means of dance, must understand well that the image of a single worker-worker is not the traits of a real person are simply written off; this is a generalized, typified image of a certain group of working people. In some cases, these generalizations in scale may be the face of the workers of an entire large enterprise. Thanks to the artist's creative work, the artistic images of workers reflect not only the production process, their relationship in production, but also form the national consciousness of society.
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Kashyrtsev, Ruslan. "The composer’s interpretation: the dialectic of inner and outer factors." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 193–217. http://dx.doi.org/10.34064/khnum2-21.13.
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Background. Consideration of a composer interpretation is an important sphere for investigation in the Ukrainian musicology. In this article, attention focuses on the interaction of a composer’s artistic individuality (the inner factor) and objective prerequisites of creation a musical piece (the outer factor) in the process of a composer interpretation. Their dialectical interaction is showed on the designed models-scenarios, which display typical situations a composer may encounter in his/ her work. Special attention is paid to differentiation of procedures of the actual composition art and the composer interpretation. The conventional view on the composer interpretation anticipates “the intermediation” between already existing primary source of musical and non-musical origin. In this concept the interpretation plays a significant role in a creation of compositions in “the genre of musical transcription” (Borisenko, 2005; Khutorska, 2009; Moskalenko, 2012). However, the nature of this phenomenon prove itself to be much more complicated and elusive as it’s clear from the studies dedicated to certain personalities (Drach, 2002; Kopytsia, 2018) or the process of composer’s art in general (Mukha, 1979; Schnittke, 1982; Shapovalova, 2008; Varnava, 2017; Chubak, 2017). The objective of the present study is to clarify the dialectical interaction of inner and outer factors of the composer interpretation. The conception of this article is built on the base of such methods as analysis, systematization and structuring, the method of modeling . Research results. The artistic idea itself is an abstract, somewhat blurred image of a future composition. This idea receives its “embodiment” in the text as “a translation from foreign language of the original, which remains intangible” (Schnittke, 1982: 105). The necessity of such “a translation” means that process of musical interpretation is involved not only for the reworking of any artistic piece written by another author, but for the own artistic conception built. However, terms of the composer’s interpretation and the composer’s art are not identical. Composer’s art includes 1) a production of structural musical elements and 2) their synthesis into organized system. The process of interpretation is involved on every stage of composer’s work as a mean of comprehension (understanding, analysis, reflection) of 1) an artistically-imaginative potential, 2) a meaningfulness and 3) an appropriateness to given artistic task of those musical text which the composer produces and synthesizes. The last one ensures a modeling (a setting of certain borders for artistic intent, “a designing”) – a reviewing of plans, a comparison of real and anticipated results etc. The process of interpretation transpires as a dialectical interaction between the composer’s artistic individuality (inner factor) and the objective prerequisites for creation of musical piece (outer factor). The first one has certain parameters, which could be classified as: – professional parameters (the musical individuality): 1) “the power of imagination” (capability to generate ideas and give musical embodiment to them), 2) “musical abilities”, 3) “knowledge and skills” (theoretical, practical and scientific), 4) “the experience” (of musical performance, listening of own / other authors’ compositions), 5) “tools and means” (methods and approaches to work); – non-professional parameters (the personal-artistic individuality): 6) “the motivation” (as a feature of the personality), 7) “the emotionality” (perception and empathy), 8) “the intelligence” (watchfulness, circle of interests); 9) “the outlook” (general attitude to life), 10) “the health” (physical and mental). The objective prerequisites for creation of musical piece (the outer factor) consists of two main components: – the artistic task is appearing due to the need for the musical piece to be made, and it could be 1) given from a third person / a group of people (customer) or 2) initiated by a composer himself / herself (“self-ordering”). – objective circumstances – working conditions, organizational issues, distracting and stressing factors which could influence on the artistic task, speed up or slow down the work, or even pose a threat for a piece creation. A comprehensive coverage of all combinations of objective circumstances is hardly possible within one article (it seems to be more effective to consider this in certain cases). Thus, it’s reasonable to pay the attention to the artistic task, which depends from the customer type and could be classified. And it’s possible to create models of typical scenarios of interaction between the composer and the customer. 1) Scenario no. 1: “own idea – own musical piece”. The composer initiates his / her own project, generates and embody idea. An important feature is that the composer sets the artistic task to himself / herself in case of “self-ordering”, which means that a composer needs to evaluate the work done as from “outside”. This is a significant manifestation of the composer’s interpretation in this situation. Another specific feature is in a strong willing to make a composition as an action of self-expression – he / her become “possessed” with this artistic project which remains in the consciousness as an “unfinished business” must be done. Moreover, a probable risk of failure or / and public disregard does not stop the composer. 1) Scenario no. 2: “given direction from outside – idea – composition”. In this situation the role of the customer (-s) appears, but the artistic task set by him / her / them does not restrain the composer within strict borders. According to “the given direction”, the artist is free to choose stylistics, genre, musical means of expression etc. And this type of customer (he /she might be a performer, a music fan, a festival director or a participant etc.) is interested in creation and performance of this musical piece. So, this sort of the artistic task gives a freedom for selfexpression with partners’ support. Obviously, the project’s success depends from its reliability and objective circumstances. But, the artistic cooperation becomes a valuable experience for the composer and also gains popularity, thus could offer new opportunities for the further career development. 3) Scenario no. 3: “idea of the project author – composer’s interpretation – musical piece”. The composer cooperates with the type of customer who has own idea and own view of artistic task completed. This kind of situation is seemingly common for various commercial projects – music for movies, videogames, theatre shows (an initiative of a theatre), dance music, background music etc. The interaction in the sphere of symphony orchestra music could be also built on these principles. The customer is focused on commercial and / or public success and additional risks are highly unwanted. The composer’s work gains an interesting particularity, because the interaction “composer – customer” becomes more active. In such a case, a collision between artistic interests seems inevitable, because, from the one side, there is the artistic individuality as the inner factor of the composer’s interpretation, and from other side – the objective (for the composer) prerequisites for creation of musical piece, which, at some points, depend on the customer as a source of artistic initiative, thus artistic task and some part of objective circumstances. 4) Scenario no. 4: “teacher – student”. This variant of interaction could contain features of all the scenarios modeled before. An interesting particularity of this situation is that the teacher acts in a role of the customer, who, at the same time, is interested in success of student’s musical project. The teacher will model such artistic tasks which could raise the level of the student as a composer – develop parameters of his artistic individuality (moreover, not only the professional, but the non-professional too). The conflict of artistic interests is possible to appear in described scenarios (in case of self-ordering – the inner conflict). This would lead to significant change of musical projects or even failure. However, this promising topic is better to be investigated in further studies. Conclusions. The comprehension of the interpretational component in composer’s art allows to approach not only to comprehension of single artist’s personality principles of development, but to understanding the process of creation of a musical composition in general. Every written piece is a unique example with its own history of creation and later existence. Though not all of compositions gain public approval, every act of the true artistic self-expression is valuable for the author and raises him / her on a new level as a professional and a person. Because, “the process of author thinking” involves the whole spectrum of person’s experience and is “a way of self-fulfillment of a person who cognizes the world” (Shapovalova, 2008: 9)
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Недоступова, Л. В. "LANGUAGE OF WEDDING CEREMONY AS A REFLECTION OF RURAL FOLK CULTURE." НАУЧНЫЙ ЖУРНАЛ СОВРЕМЕННЫЕ ЛИНГВИСТИЧЕСКИЕ И МЕТОДИКО-ДИДАКТИЧЕСКИЕ ИССЛЕДОВАНИЯ, no. 1(53) (March 15, 2022): 64–79. http://dx.doi.org/10.36622/vstu.2022.74.65.005.
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Постановка задачи. В настоящей работе рассматриваются народная культура и язык говора долгожителей населённого пункта Воронежской области сквозь призму свадебной церемонии, заметный интерес к изучению которых можно наблюдать среди современных лингвистов. Описание элементов сакраментального обычая и сопутствующей лексики позволяет репрезентировать сельский ритуал середины прошлого века в его исконном виде. Целый комплекс свадебных действ, разных по содержанию, но объединённых целевой направленностью, и является частью деревенской традиции XX столетия. Результаты. В процессе общения с сельскими жителями старшей возрастной группы и лексико-семантического анализа языкового материала собрана обширная информация об укладе прежней действительности и главных мероприятиях семейного цикла. Она даёт возможность получить представление о бытии представителей деревенского социума, простом по духовному мироощущению и сложном по действительному содержанию. Эмоциональная насыщенность и образность каждого элемента свадьбы передана через поэтапное исполнение ролей его участниками, включённость целого коллектива родных и близких со стороны жениха и невесты, приданое, праздничную пищу и напитки, подношения, одежду новобрачных, проявление музыкальных и танцевальных способностей гостей и мн. др. Выводы. Проведённое исследование позволило представить оригинальную структуру народного церемониала, яркие черты которого проявились в чёткой временной нормированности действ и раскрылись через своеобразное содержательное наполнение существовавшего жизненного уклада. Глубина погружения в прошлое помогла обнаружить особенности языка и деревенской культуры диалектоносителей, отражённые в свадебном обряде. Таинство ритуала и культовые понятия в прежнем виде, помогающие селянам выживать в трудных условиях и сохранять тепло домашнего очага, постепенно утрачиваются. Репрезентированное исследование пополняет имеющиеся работы воронежских этнолингвистов и диалектологов новыми материалами и вносит весомый вклад в изучение народных говоров. Statement of the problem. This work examines the folk culture and dialect language of the long-livers of the settlement of the Voronezh region through the prism of the wedding ceremony, a noticeable interest in the study of which can be observed among modern linguists. The description of the elements of the sacramental custom and accompanying vocabulary makes it possible to represent the rural ritual of the middle of the last century in its original form. A whole complex of wedding activities, different in content, but united by the target orientation, and is part of the village tradition of the XX century. Results. In the process of communicating with rural residents of the older age group and lexico-semantic analysis of linguistic material, extensive information was collected about the way of the previous reality and the main events of the family cycle. It makes it possible to get an idea of the life of the representatives of the village society, simple in spiritual outlook and complex in actual content. The emotional richness and imagery of each element of the wedding is conveyed through the stage-by-stage performance of roles by its participants, the involvement of a whole team of relatives and friends on the part of the bride and groom, a dowry, festive food and drinks, offerings, clothes of the newlyweds, the manifestation of the musical and dance abilities of the guests, and many others. dr. Conclusion. The study made it possible to present the original structure of the folk ceremonial, the striking features of which were manifested in a clear temporal normalization of actions and revealed through a kind of content filling of the existing way of life. The depth of immersion in the past helped to discover the peculiarities of the language and rural culture of dialect carriers, reflected in the wedding ceremony. The sacrament of the ritual and cult concepts in their former form, which help the villagers to survive in difficult conditions and keep the warmth of the hearth, are gradually being lost. The representative study supplements the existing works of Voronezh ethnolinguists and dialectologists with new materials and makes a significant contribution to the study of folk dialects.
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Yefimenko, Adelina. "First opera about Artificial Intelligence: Miroslav Srnka “Singularity”." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 135 (December 26, 2022): 70–80. http://dx.doi.org/10.31318/2522-4190.2022.135.271004.
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Relevance of the study. Scientists have been working on the research and practical implementation of artificial intelligence (AI) since the middle of the last century. In 2021, this research area celebrated a series of anniversaries that highlight an 85-year history of the impact of artificial intelligence on human consciousness. Various historical stages of the development of artificial intelligence in science, technology and culture are considered. In 2021, the first opera dedicated to this topic appeared. The Czech composer Miroslav Srnka tried to disguise the seriousness of the problem in the genre of opera-comedy, opera-farce. Through the prism of the game, the artist warns against the danger of the future mastery of AI by the human brain. Not only scientists from all branches of science, but also musicians are asking Facebook, Google and other megacorporations about the ultimate goal of billions of dollars invested in AI R&D.
Main objectives of this study are 1) to outline the chronology of the historical stages of artificial intelligence research; 2) to present the problems of AI in different fields of science and culture; 3) to analyze the first opera created in 2021 about artificial intelligence. Miroslav Srnka's A Space Opera for Yuong Voises is a musician's reflection on the problem of the hypothetical future of humanity in the era of transhumanism.
Research methodology. The work uses a complex application of historical, comparative and textological approaches and methods to reveal the specifics of the embodiment of non-musical modern electronic technologies in the genre of opera.
The results of directorial artifacts. In the Science-Fiction-Opera of the Czech composer Miroslav Srnka the experience of digital communication of people in the future and the problems of the hypothetical future of humanity in the era of transhumanism, are presented like in a 'distorting mirror'. Ten years ago, a systematic survey of four different expert groups has been made which included more than 550 scientists. The results were published in a collection of articles by futurists Nick Buström and Vincent C. Müller (researchers at Oxford and Eindhoven University of Technology) named “Future Progress in Artificial Intelligence: A Survey of Expert Opinions”. When asked how soon mankind will master powerful AI, the average response rate of experts showed that 50% of the scientists answered positively to the likelihood of a strong AI availability in the period from 2040 to 2075. We therefore have a good chance to become witnesses of the hypothetical future predicted by futurists, science fiction writers and the authors of the opera “Singularity”, if we believe in the myth of the singularity. However, a large group of scientists rejects the hypothesis of the initiator of the opera “Singularity”, Ray Kurzweil that “The Singularity is Near” and doubts that the future of the singularity can be predicted. The opera “Singularity” is the first musical and theatrical experiment on the interaction and fusion of artificial intelligence (AI) with emotional intelligence (EI). From their inception theater, myths and religious rituals have always been the theme of art, reflecting the universe, legends, cults of society, predicting the future. The opera “Singularity” will take its place in the history of futurology as a musical and theatrical artifact about the myth of a global world in the 21st century.
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Hatipova, I. A. "Mikhail Vasilyevich Sechkin – Pianist, Conductor, Teacher." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 155–70. http://dx.doi.org/10.34064/khnum2-18.09.
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Target setting. In the modern musical culture of the Republic of Moldova M. V. Sechkin stands out as one of the key figures. He proved to be a multi skilled musician: piano player, conductor, and pedagogue. The scientific challenge disclosed in the article touches on creation of a coherent reflection of the work conducted by M. Sechkin in musical and artistic institutions of the Republic of Moldova during 1988–2015. Thus, notably contributing to the theoretical perception of the process of musical art development in the Republic of Moldova at the turn of the 21st century while filling up the gap in studying the history of Moldovan musical culture. Review of literature. The activity conducted by M. Sechkin was not reflected in the scientific literature. The present paper is the first attempt to present the creative portrait of the musician by summarizing press articles and a range of interviews. The purpose of this paper is confined to disclosing the contribution made by the famous piano player, conductor, and pedagogue M. Sechkin in the process of musical art development in Moldova at the turn of the 21st century. Research methodology. In the research of creative activity of M. Sechkin, use has been made of a complex of methods applicable in modern study of art: the empirical level of scientific research was established through informal personal conversations with M. Sechkin and other musicians, directly linked with his activity. Applied at the theoretical level were general scientific methods, such as analysis and synthesis, induction and deduction, comparison, etc. Statement of basic material. Over the years, M. V. Sechkin, born on March 31, 1943 in the Ukrainian City of Kharkov, has contributed decisively to the development of musical culture in the Republic of Moldova as a pianist, opera and symphony orchestra conductor, professor and public figure. He took his first lessons in music from his mother Maria Sechkin Zakharchenko, the follower of K. N. Igumnov. He attended the profile secondary musical school, class of Regina Gorovitz – the sister to the famous pianist Vladimir Gorovitz. In 1966, M. Sechkin graduated from Kharkov Conservatoire as a pianist on the class of Professor Mikhail Khazanovsky and then selected to remain with the Chair as an assistant. However, his dream of making a carrier of symphony and opera conductor has taken the young musician to a different path. The interest for conducting appeared under the influence of the art of conducting revealed by Leonid Khudoley, disciple of Nikolay Golovanov. Therefore, two years later, after graduation, M. Sechkin has entered the faculty of conductors at Kharkov Institute of Arts. One year later, he moves to Kyiv Conservatoire named after P. I. Tchaikovsky, where he attended the class of Professor Mikhail Kanershtein, disciple of one of the founders of the Soviet school of conducting Nicolay Malko. Next followed probation assistantship, where M. Sechkin attended a training course headed by the outstanding Ukrainian conductor Stephan Turchak. Having accomplished his probation assistantship, M. Sechkin has joined the Symphonic orchestra of Zaporozhye Philharmonics and later on invited to Donetsk Opera Theatre, where he mastered a rather comprehensive theatrical repertoire. The Chisinau (Moldova) period of maestro’s creative biography started beck in 1988, when he accepted the invitation to join the Moldovan State Conservatoire as Professor of the Chair of Special Piano and the Chair of Operatic Training. By then he headed the Students Symphony Orchestra, being one of the first conductors of Opera Studio. The Studio repertoire included the best images of West European and Russian opera classics. Prepared from the scratch were such operas as Carmen by G. Bizet and the Noblewoman Vera Sheloga by N. А. Rimsky Korsakov. The students – alumni of this conservatoire then worked successfully at the National Opera Theatre, performed in prestigious opera scenes around the world; among these one could mention Petru Racovita, Natalia Margarit, Lilya Sholomey, Yuri Gasca, Robert Khvalov, Stephan Curudimov, Mefodie Bujor, and Liliana Lavric. The Opera Studio Orchestra was touring in Italy and Spain. For a number of decades, M. Sechkin acted as one of the key conductors at the National Opera and Ballet Theatre, while from 1990 to 1992 acted as the Principal Conductor and the Art Director. Here he worked on staging the ballets Romeo & Juliette by S. Prokofiev, Spartacus by А. Khachaturian, and operas the Marriage of Figaro by W. Mozart, Don Carlos by G. Verdi, and Iolanta by P. I. Tchaikovsky. In parallel to the theatre plays, M. Sechkin has brightly proven his qualities as a conductor of the Symphony Orchestra of the National Philharmonics named after S. Lunchevici. Under his leadership (2008–2013), the orchestra performed more than twenty show programs, including premiere hits by P. Tchaikovsky (Symphony No. 5, symphony Manfred), A. Scriabin (Symphony No. 2 and No. 3), and S. Rachmaninoff (Symphony No. 3). Many of the musicians are marking high conducting mastery of M. Sechkin in performing orchestral accompaniment and special work with the soloists prior to orchestra performance. Likewise appreciated was the work of maestro with young musicians. The conductor devotes a lot of his time to promoting the oeuvre of Moldovan composers. Since 2000 and until nowadays, within the frameworks of the Days of New Music Festival, jointly with the National Philharmonics Orchestra, the maestro prepared a number of programs compiled from the works of V. Polyakov, V. Zagorsky, V. Rotaru, A. Luxemburg, O. Negruza, B. Dubossarsky, and Z. Tcaci. In 30 years of his activity in Chisinau, M. Sechkin cooperated with all of the known orchestra ensembles. Back in 90th, maestro was successfully touring with the National Opera and Ballet Theatre in Italy, Spain, Portugal, Switzerland, Rumania and Chile. In Rumania, M. Sechkin was working full time as a conductor and then as the principal conductor of the Symphony Orchestra of the city of Botosani (1998–2013), where he managed to stage about 70 show programs. The multifaceted and fruitful activity of the musician was repeatedly marked with Certificates of Honor and Diplomas. In 1996, he was decorated with the award Maestru în Artă (Master of Arts) and in 2018 with the noble award of the People’s Artist of the Republic of Moldova. Conclusions and prospects. While appreciating the contribution made by this outstanding musician into the development of the musical culture in the Republic of Moldova, one could clearly see the determinant trajectory of his life and artistic journey – the stalwart devotion to music, musical education, nurturing young performers and listeners of different age group generations.
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Saragih, Harriman Samuel, and Novi Amelia. "Segmentation of music festival visitors by values of hedonia, life satisfaction and eudaimonia." International Journal of Event and Festival Management 11, no. 4 (August 14, 2020): 453–72. http://dx.doi.org/10.1108/ijefm-03-2020-0016.
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PurposeWith the growing interest in eudaimonia in the past years and the need to better understand festival visitors' motivation in the context of music festivals, this study aims to propose visitor segmentation based on the values of hedonia, life satisfaction and eudaimonia.Design/methodology/approachThe analysis in this study employs a case research method that follows the abductive paradigm. The authors begin their conceptual foundation with a review of the literature on hedonia, life satisfaction and eudaimonia. The authors then use the preliminary conceptual foundation as the basis of rival analysis through a focus group and interviews with senior executives, government officials, communities and other related stakeholders. The authors also carry out an exploratory factor analysis to determine the building blocks of eudaimonic festival experiences. Last, using cluster analysis, the authors support their conceptual proposition from the initial qualitative inquiries.FindingsFrom the three studies that the authors performed, their findings suggest that, based on hedonia and eudaimonia, festival attendees can be divided into three distinct segments: (1) pleasure seekers (i.e. visitors who look for personal pleasure, enjoyment and affection), (2) playful learners (i.e. visitors who not only seek pleasure, but also consider the urgency to think about the need to grow as a person) and (3) transcendentalists (i.e. visitors who seek a balance of pleasure, escapism, self-reflection, personal meaning and impact through attending festival activities).Research limitations/implicationsThis study argues that the ideas of hedonia and eudaimonia are present in the context of the music festival. Theoretically, this paper suggests that festival-goers can be divided into three clusters based on the values of hedonia and eudaimonia: pleasure seekers, playful learners and transcendentalists. Practically, this study suggests that festival organisers should consider developing music concert events by taking into account the eudaimonic and hedonistic desires, intrinsically possessed by the festival-goers, which is expected to add value to the produced musical event.Originality/valueThis study is the first to present visitor segmentation in a music festival setting based on the values of eudaimonia, life satisfaction and hedonia.
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Božanić, Mina. "Being fascinated with musical space-time: Piano works by Branka Popović (Solitude: Self reflections, Within a dense molecular cloud and From Rayleigh to Mie)." New Sound, no. 61-1 (2023): 97–118. http://dx.doi.org/10.5937/newso23061097b.
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The piano works by Branka Popović (1977) appear as a unique and independent group in her oeuvre, as well as in the context of Serbian music of the current century. The question of the relation between the composer and musical space-time, which can be experienced directly, during the act of listening and indirectly, during the analysis of the piece of music, emerges as an essential point for understanding and interpreting Branka Popović's piano works. Under the assumption that this relationship is in the realm of unconsciousness and intuition, my goal in this article is to discover the hidden places that show how the musical space-time manifests, in this case, in the piano writing of Branka Popović. To achieve that, I will use an interpretative musical analysis, in which I will point out the specific compositional technique that Branka Popović employs and by which she 'regulates' different musical dimensions and, more precisely, musical components and their elements (specifically rhythm, timbre or tone color, harmony, motivic/thematic structuring, and dynamics) in the act of shaping the musical space-time.
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Simonett, Helena. "Giving voice to the ‘dignified man’: reflections on global popular music." Popular Music 30, no. 2 (May 2011): 227–44. http://dx.doi.org/10.1017/s0261143011000043.
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AbstractAs music increasingly links the global and the local and vice versa, fusions of diverse musical genres and styles burgeon. Globalisation theory (specifically Appadurai) has spurred explorations of musical hybridity and cross-fertilisation among scholars from different academic fields focusing on music. In this essay, I argue for the necessity of understanding global cultural interactions and musical appropriations or exchanges in the context of the ambivalences of the globalised mass diffusion and the power asymmetries involved. The purpose of this paper is to contextualise contemporary theoretical considerations by describing the Yoremensamble project – a government-sponsored cultural project in which a group of urban mestizo musicians from northwestern Mexico appropriated local indigenous musical expressions to produce an album titled ‘Hombre digno’ (‘Dignified man’). The album is just one of many projects around the globe in which artists self-consciously re-localize global popular music styles. The resulting sonic fusions point to the need for a critical cultural analysis of such translocal and global phenomena which is rooted in ethnography.
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Ligeti, György. "A Viennese Exponent of Understatement: Personal reflections on Friedrich Cerha." Tempo, no. 161-162 (September 1987): 3–5. http://dx.doi.org/10.1017/s0040298200023275.
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I First Met Friedrich Cerha and his wife Traude in December 1956. After a concert given by the International Society for Contemporary Music—at that time still considered a small group of conspirators—in a remote room at the Musikakademie, my mentor Hanns Jelinek took me to the Gmoa-Keller on the Heumarkt to introduce me to the leaders of Vienna's musical avant-garde.
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Astari, Risa Tsani. "Meningkatkan Kemampuan Berpikir Kritis Anak Melalui Kegiatan Musical Water Glasses Experiment." JIEEC (Journal of Islamic Education for Early Childhood) 6, no. 1 (January 3, 2024): 20. http://dx.doi.org/10.30587/jieec.v6i1.6709.
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This research aims to improve children's critical thinking skills through the musical water glasses experiment activity. This musical water glasses experiment is a learning activity that contains STEAM elements. This research uses the Classroom Action Research method, which is implemented through four repeated stages, namely planning, implementing, observing, and reflecting. The research subjects studied were 14 students from group B RA Al-Irsyad, Soreang, Bandung. Based on the results of data analysis, the critical thinking ability of children in group B RA Al-Irsyad, Soreang, Bandung before the musical water glasses experiment activity was implemented, obtained an average score of 34% which categorised as starting to develop. After implementing the musical water glasses experiment activity, children's critical thinking abilities in cycle I obtained an average score of 58%, which categorised as developing as expected and in cycle II it increased to 83.5%, which shows the category of developing very well. Thus, the musical water glasses experiment activity was proven to be able to improve the critical thinking skills of group B children at RA Al-Irsyad, Soreang, Bandung.
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Karasik, Vladimir, and Czelun' Hao. "Russian Musical Jargon as an Object of Linguistic Study." Scientific Research and Development. Modern Communication Studies 13, no. 1 (February 29, 2024): 7–14. http://dx.doi.org/10.12737/2587-9103-2024-13-1-7-14.
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e paper deals with Russian musical jargon treated as a professional sociolect of musicians. The material has been taken from the data presented in the Internet. Stylistically, musical jargon belongs to a colloquial register of the Russian language. A thematic classification of Russian musical jargon has been offered. This class of words and expressions may be subdivided into two unequal groups – specialized and non-specialized jargon units. The former comprises units reflecting the sphere of musical performance whereas the latter refer to various spheres of everyday life. Specialized musical jargon group is subdivided into three subgroups – nominations of subjects, objects and ways of musical performance. Nomination technique of the jargon described includes occasional affixal word formation, word composition, metaphorical transference, borrowings (mainly from the English language), dialectal and dated words, and onomatopoeia. Transference of musical notions into various sphere of reality is also a feature of the jargon described.
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Leguina, Adrian, Paul Widdop, and Gindo Tampubolon. "The Global Omnivore: Identifying Musical Taste Groups in Austria, England, Israel and Serbia." Sociological Research Online 21, no. 3 (August 2016): 24–40. http://dx.doi.org/10.5153/sro.4020.
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This research offers a unique opportunity to revisit the omnivore hypothesis under a unified method of cross-national analysis. To accomplish this, we interpret omnivourism as a special case of cultural eclecticism ( Ollivier, 2008 ; Ollivier, Gauthier and Truong, 2009 ). Our methodological approach incorporates the simultaneous analysis of locally produced and globally known musical genres. Its objective is to verify whether cultural omnivourism is a widespread phenomenon, and to determine to what extent any conclusions can be generalised across countries with different social structures and different levels of cultural openness. To truly understand the scope of the omnivourism hypothesis, we argue that it is essential to perform a cross-national comparison to test the hypothesis within a range of social, political and cultural contexts, and a reflection of different historical and cultural repertoires ( Lamont, 1992 ).
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Hill, Matthew, Barry Hill, and Robert Walsh. "Conflict in collaborative musical composition: A case study." Psychology of Music 46, no. 2 (May 21, 2017): 192–207. http://dx.doi.org/10.1177/0305735617704712.
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In collaborative musical composition, such as those used frequently in popular music styles, conflicts between band members are commonplace. This article seeks to examine how task-based and interpersonal conflicts between band members impact on the creation of collaborative compositions, utilising a case study of a band composing music for an album recording. This paper reports on research that tracks the process of the creation of songs for a fourth album recording by a three-piece ensemble who have worked together since 1999. The composition process is marked by numerous disputes and arguments among the band personnel and the interactions between the band members move fluidly between phases of instruction, cooperation, collaboration and conflict. The authors (also the band’s members) analyse video and audio recordings of rehearsals, making observations based in grounded theory in relation to verbal and nonverbal interactions and offering personal reflections on these interactions. Drawing on theoretical perspectives in relation to communication, conflict and group dynamics such as group flow and empathetic creativity, individual and group behaviour are examined with emphasis on the impact of such behaviour on the collaborative process.
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Łuczyńska, Agnieszka. "Group classes and the development of individualities of students from the specializations of choreography and musical." Konteksty Kształcenia Muzycznego 7, no. 1(11) (December 31, 2020): 167–78. http://dx.doi.org/10.5604/01.3001.0014.6479.
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The article signals the problem an academic teacher must face while teaching a group class in artistic fields of study. The development of artistic individuality and awareness is a long and complex process, heavily influenced by the relation between a teacher’s and student’s personality, as well as the use of relevant to the situation, motivational tools. Is such a process likely to be observed while giving classes to a group of students? What factors does it depend on? What does the process of a student’s self-discovery rely on in this situation? The author presents her reflections based on the experience gained while working with choreography and musical students at the Academy of Music in Łódź.
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Delogu, Franco, and Marta Olivetti Belardinelli. "Children's Recognition of Their Musical Performance." Musicae Scientiae 7, no. 1_suppl (September 2003): 31–48. http://dx.doi.org/10.1177/10298649040070s102.
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The present study was designed to obtain indications about unskilled children's music performances by means of a computer-based performance task. In particular, we assessed children's abilities to recognize their own performances and their self-awareness of such competence. A total of 240 children from Southern Italy, subdivided into 3 age groups, performed their own version of a familiar song. After 4, 6, or 8 days according to the group, participants were asked to recognize their own interpretation among two other performances recorded by participants in the same age group. Finally, the reasons for their recognition were elicited. Children's verbal responses were sorted by independent judges into different categories reflecting the cognitive strategies used in the recognition task. Results show that children are able to discriminate their own musical interpretation with a great degree of accuracy. Concerning the verbal responses, children mentioned the Dynamics category more frequently than other categories like Duration, Tempo, Structure, Elimination strategy, Error detection, Aural and tactile discrimination. No significant differences among groups with different retention intervals have been found, suggesting that memory of children's own musical performances is stable for several days. The comparison with a similar American sample shows cultural differences in the strategies used for recognition. Theoretical and methodological implications are also discussed.
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Pérez–Moreno, Jèssica. "Making music in early childhood: A study of the formats of participation." British Journal of Music Education 35, no. 2 (March 4, 2018): 117–32. http://dx.doi.org/10.1017/s0265051717000328.
Full textAbstract:
This paper presents research carried out in a kindergarten in Catalonia with the aim of studying the different kinds of musical activity that take place during one school day. This is an ethnographic study where the researcher became an extra teacher in a group of one to two-year-olds and interacted with them musically. The methodology is based in a participatory observation approach and data are collected via video-recordings, field notes and a daily exchange of impressions and reflections with the teacher. The results show four different kinds of participation that determine the type of musical activity carried out when children are placed in the spotlight: (a) active audience, (b) performer pointer (c) performer proof with expert, and (d) performer proof without expert.
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Ossi, Massimo. "Musical Representation and Vivaldi's Concerto Il Proteo, ò Il mondo al rovverscio, RV 544/572." Journal of the American Musicological Society 69, no. 1 (2016): 111–77. http://dx.doi.org/10.1525/jams.2016.69.1.111.
Full textAbstract:
Vivaldi's concerto titles draw ambivalent reactions from historians, who see them as commercial hooks, rarely reflecting musical substance. But titles condition a work's reception, connecting it to a cultural context by which to steer a listener's reactions, both intellectual and affective. Eighteenth-century writers on aesthetics recognized the role of textual “ideas” in the reception of music. Vivaldi's Il Proteo, ò Il mondo al rovverscio is regarded as a “trick piece” in which the solo violin and cello parts are “reversed,” each being written in the other's clef. The concerto, however, invokes a deeper conception of the mundus inversus metaphor, in that it constitutes a remarkably sophisticated exploration of upside-down compositional practices. While the opening movement challenges notions of “correct” musical syntax, evoking the Carnival celebrations of the “world upside down,” the last presents a well-ordered example of Vivaldian ritornello form. Vivaldi included Il Proteo as the first concerto in a large group sold to Pietro Ottoboni in the mid-1720s, twelve of which bear titles. Some are as concrete as “The Four Seasons,” but others are more abstract, deriving from affective or intellectual subjects such as“Il riposo.” Il Proteo, in this context, seems especially sophisticated, cleverly satirizing some of the composer's own trademark compositional techniques. Its self-conscious treatment of style appears to address contemporary debates regarding music's ability to carry “meaning,” an ability that members of Ottoboni's Arcadian Academy seemed to deny but that others, such as the philosopher Antonio Conti, endorsed. Might Vivaldi have fueled these debates with a provocative set of concertos headed by Il Proteo?
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MALCOMSON, HETTIE. "Composing Individuals: Ethnographic Reflections on Success and Prestige in the British New Music Network." Twentieth-Century Music 10, no. 1 (March 2013): 115–36. http://dx.doi.org/10.1017/s1478572212000436.
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AbstractIn contrast to established musicians, lesser-known composers have received scant attention in art music scholarship. This article, based on an ethnographic study, considers how a group of British composers construed ideas of success and prestige, which I analyse in terms of anthropological writings on exchange, Bourdieusian symbolic economies, and Foucauldian notions of disciplinary power. Prestige was ascribed to composers who created ‘interesting’ music, a category that eclipsed novelty as an aim. Individuality, enacted within a context of individualism, was key to assessing whether music was interesting. This individuality had to be tempered, structured, and embedded in the social norms of this and related ‘art worlds’. The article examines the social processes involved in creating this individuality, musical personality, and music considered interesting.
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Truyền], Nguyen The Truyen [Nguyễn Thế. "What is Known About Some Music Features and Song Lyrics of the Khmer Living in the South of Vietnam?" ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 55–68. http://dx.doi.org/10.30819/aemr.7-4.
Full textAbstract:
In this article, the author will present some research issues as follows: Musical expressions of love for the homeland, Love among men and women, family affection, and attachment to work. The Khmer inhabiting South Vietnam practice all these expressions. In another short section, common characteristics with the music of other ethnic groups in Vietnam include similar instrumental music, scales used and rhythmic structures applied. Thereby, the author reviews categorizations undertaken in the past demonstrating that Khmer music strictly belongs to one ethnic group in the country. Also, musical instruments have been categorized in similar ways, using the Hornbostel-Sachs descriptive tools: Chordophone, Arephones, Idiophones, Membraphones, which are using a variety of scales and modes. It is also said that the inheritance and promotion of the typical values of Khmer music into social life, was a very pragmatic fact, which needs more attention. The use of the term “Folk Music” is only reflecting on a certain approach supported by cultural policies toward minorities from the 1970s to 2010.
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Teplova, Irina B. "Ella von Schultz-Adajewski (1846–1926): The Creative Fate of a Musician and Studies of the Musical Folklore of European Peoples." Vestnik of Saint Petersburg University. Arts 13, no. 3 (2023): 396–412. http://dx.doi.org/10.21638/spbu15.2023.301.
Full textAbstract:
The article is devoted to Ella von Schultz-Adajewski, who left a convincing mark in the Russian and European musical culture of the second half of the 19th — early 21st centuries. The talented musician, born in Russia, continued her creative life in Italy and Germany. Her natural talents and brilliant education (she studied with leading professors of the St Petersburg Conservatory: A.Dreyshok, N.I.Zaremba, A. S.Famintsyn, I.K.Voyachek) allowed her to maximize her professional potential as a pianist, composer, and music researcher. The author of original works in various genres that are attractive to modern performers, Ella von Schultz-Adajewski combined the role of a practicing musician with deep, original theoretical works in the field of comparative musicology. Actually, she became one of the discoverers of this method, which formed the basis of the science of ethnomusicology. The bright artistic and scientific heritage has not yet received a decent assessment in Russian musicology. Meanwhile, in the history of world culture, Ella von Schultz was destined to become the discoverer of the musical folklore of the Friulian Christians, whose folk culture was also the subject of serious scientific interests of outstanding philologists, linguists of St. Petersburg University: I.I. Sreznevsky, I.Baudouin de Courtenay. The works of the musician and wordsmiths laid the foundation of knowledge about the culture of the Slavs, who have been living in Northern Italy for centuries. In the articles devoted to the folklore of various European peoples, the author seeks to find a deep “matrix” reflecting the genetic features of the culture of a particular ethnic group. Innovative for its time are the idea of Ella von Schultz about the inseparable connection of musical folklore and the context of its existence, methods of musical analysis using synoptic tables. The article publishes archival materials for the first time, provides information reflecting the period of Ella von Schultz’s studies at the St. Petersburg Conservatory, her contacts with Russian musicians after her departure abroad. For the first time, unknown scientific articles are also characterized, in which folklore samples are considered from the standpoint of “ethnological documents”.