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Journal articles on the topic 'Transformations musicales'

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Author: Grafiati

Published: 1 June 2024

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1

St-Laurent, Méi-Ra. "Quand le metal flirte avec ABBA : Analyse des transformations formelles et thématiques de « Summer Night City »." Articles 34, no. 1-2 (May 26, 2015): 135–51. http://dx.doi.org/10.7202/1030873ar.

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Une des caractéristiques fondamentales de la musique populaire demeure la réutilisation constante du matériel musical en provenance d’une multitude de styles et de courants (remix, adaptation, échantillonnage, etc.). Cette pratique nommée la transphonographie provient de l’intertextualité, un concept élaboré par le littéraire Gérard Genette et adapté à la musique populaire par le musicologue Serge Lacasse. Dans ce texte, l’auteur emploiera la transphonographie pour relever les différentes transformations musicales et thématiques survenant dans la chanson « Summer Night City » de ABBA, lorsque celle-ci est reprise par le groupe de gothique metal symphonique Therion. En plus des éléments musicaux propres à la musique d’ABBA modifiés pour correspondre à l’esthétique de Therion, ces transformations induisent aussi un changement dans la signification même de la chanson.

2

Andreatta, Moreno. "Une introduction musicologique à la recherche « mathémusicale » : aspects théoriques et enjeux épistémologiques." Circuit 24, no. 2 (August 13, 2014): 51–66. http://dx.doi.org/10.7202/1026184ar.

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Cette contribution se propose de présenter certains aspects théoriques et discuter quelques enjeux épistémologiques des recherches menées par l’auteur dans le domaine des rapports entre mathématiques et musique. Après une introduction générale sur le contexte de la recherche « mathémusicale » à l’Ircam et la place du projet misa (Modélisation informatique des structures algébriques en musique) au sein des activités de recherche de l’équipe Représentations musicales, nous discutons le problème de la formalisation algébrique de la théorie des ensembles de classes de hauteurs (Set Theory) et de la théorie transformationnelle (Transformational Theory), deux paradigmes analytiques dont nous avons étudié les aspects théoriques et computationnels à travers une démarche de modélisation informatique des structures et processus musicaux. L’analyse musicale basée sur les ensembles de classes de hauteurs et leurs transformations soulève des questions philosophiques intéressantes, notamment dans ses rapports avec la phénoménologie et les sciences cognitives. En particulier, en confrontant notre point de vue musicologique avec la phénoménologie, nous pouvons avancer l’hypothèse d’une pertinence de la catégorie de « structuralisme phénoménologique » dans une relecture/réactivation de la tradition structurale en analyse musicale.

3

Santerre, Ariane. "L’intertextualité dans Le Verfügbar aux Enfers et d’autres témoignages concentrationnaires." Revue musicale OICRM 3, no. 2 (June 6, 2019): 55–77. http://dx.doi.org/10.7202/1060107ar.

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Le Verfügbar aux Enfers ne laisse pas de surprendre, à la fois par son contexte de rédaction que par son contenu. Si les citations musicales sont évidentes dans cette œuvre, la présence d’un intertexte littéraire est également perceptible et mérite d’être approfondie. Or, afin de bien mesurer le caractère particulier du Verfügbar aux Enfers, une analyse comparative s’avère nécessaire. Cet article se propose de se pencher sur l’intertextualité dans les textes concentrationnaires rédigés pendant deux périodes distinctes, l’époque de l’incarcération et celle de l’après-guerre. Cette contribution s’attache d’abord à une différence fondamentale entre ces deux périodes, celle de l’identité du lecteur. Il s’agira ensuite de s’interroger sur la manière dont cette caractéristique influence les procédés intertextuels utilisés dans les textes, opérant ainsi des transformations importantes d’une période de rédaction à l’autre.

4

Aubert, Laurent. "Du « bon usage » des musiques du monde. Questions sur une éthique de la diversité culturelle." Les Cahiers de la Société québécoise de recherche en musique 11, no. 1-2 (November 21, 2018): 21–29. http://dx.doi.org/10.7202/1054020ar.

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L’ethnomusicologie a longtemps abordé les musiques du monde selon une perspective essentialiste dont on trouve les prémisses chez Platon. Mais force est de constater que les musiques de l’oralité font actuellement l’objet de transformations aussi rapides et radicales que les sociétés dont elles émanent. Certaines sont en train de disparaître, tandis que d’autres sont confrontées aux défis de la mondialisation et en particulier aux divers processus de métropolisation, d’interculturalité et de mise en spectacle qu’elle implique. Face à cette situation, un courant de patrimonialisation visant à la sauvegarde de pratiques musicales menacées se développe, notamment sous l’égide d’organisations comme l’UNESCO. Entre les deux pôles que représentent aujourd’hui l’« ethnomusicologie d’urgence » et l’ethnomusicologyof change, cet article propose quelques réflexions sur les nouveaux enjeux auxquels est soumise la discipline et les questions déontologiques qui en résultent pour le chercheur.

5

Morrongiello, Barbara A., Caroline L. Roes, and Faith Donnelly. "Children's Perception of Musical Patterns: Effects of Music Instruction." Music Perception 6, no. 4 (1989): 447–62. http://dx.doi.org/10.2307/40285442.

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Musically trained and untrained children between 4 and 6 years of age were tested for their discrimination of transformations of an unfamiliar six-tone melody. Transformations involved a change in one, two, or all three of the following features: melodic contour, musical intervals, or individual frequencies. In order to manipulate task difficulty, melodies were played at different presentation rates. Results revealed that discrimination performance varied as a function of (1) musical training, (2) what features of a melody were changed, (3) number of features of a melody that changed, and (4) rate of presentation. Musically trained children performed better than children without training, they showed enhanced sensitivity to the more specific melodic features (i. e., individual frequencies), they were better at detecting transformations involving changes in a fewer number of features, and their performance was unaffected by rate of presentation. In contrast, children without training attended primarily to more general pattern features (i. e., melodic contour) and needed a change involving a larger number of musical features for reliable discrimination of a transformation. In general, as the rate of presentation of the melody increased a decrement in performance occurred for untrained listeners, but the magnitude of these effects varied with transformation type.

6

Castro, Paulo F. de. "“Wie ein Naturlaut”: La representación musical del paisaje como desafío a la teoría de los tópicos." Súmula: Revista de Teoría y Análisis Musical 1, no. 2 (December 7, 2023): 120–40. http://dx.doi.org/10.59180/29525993.a9859250.

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En este artículo discuto algunas cuestiones conceptuales relacionadas con la teoría de los tópicos y, en particular, los problemas que plantea la distinción hecha por Raymond Monelle entre tópicos propiamente dichos e iconos musicales. Mi principal presupuesto es que, por regla general, el pictorialismo musical participa de la naturaleza retórica de la representación musical y tiende a desarrollar sus propias continuidades y transformaciones tópicas a lo largo de la historia. Como estudio de caso, ofrezco un examen de la pieza de Wagner conocida como “Waldweben” –de Siegfried, Acto II–, centrándome en algunos de sus aspectos morfológicos –melódico, armónico, rítmico, tímbrico, textural– y en las dimensiones intertextuales de su modo de representación del paisaje natural. Llamo la atención tanto sobre sus precedentes como sobre su posteridad, en ejemplos seleccionados de obras francesas, alemanas y rusas de finales del siglo XIX y principios del XX. Este enfoque intertextual permite la identificación de un tópico recurrente peculiar –designado aquí como tópico de “paisaje sonoro”– que puede considerarse como un elemento bien establecido del vocabulario retórico de gran parte de la “música de la naturaleza” de la época. Este jugó un papel importante en la reconfiguración de la temporalidad musical más allá de sus implicaciones retóricas, al disolver la oposición de fondo y primer plano, y al neutralizar el potencial de una lógica musical evolutiva/narrativa según el modelo clásico-romántico. Palabras clave: teoría de los tópicos, icono musical, intertextualidad, pictorialismo, temporalidad, paisaje AbstractIn this article, I discuss some conceptual questions relating to topic theory, and in particular the problems raised by Raymond Monelle’s distinction between topics proper and musical icons. My main presupposition is that, as a rule, musical pictorialism partakes of the rhetorical nature of musical representation and tends to develop its own topical continuities and transformations throughout history. As a case study, I offer an examination of Wagner's piece known as “Waldweben”—from Siegfried, Act II—, focusing on some of its morphological aspects melodic, harmonic, rhythmic, timbral, textural—and the intertextual dimensions of its mode of representation of the natural landscape. I draw attention both to its precedents and its posterity, in selected examples from works by French, German, and Russian composers of the late 19th and early 20th century. This intertextual approach allows the identification of a peculiar recurring topic—designated here as a “soundscape” topic—that can be regarded as a well-established element of the rhetorical vocabulary of a great deal of “nature music” of the period. The topic played an important role in the reconfiguration of musical temporality beyond its rhetorical implications, by dissolving the opposition of background and foreground, and neutralizing the potential of a developmental/narrative musical logic after the Classic-Romantic model. Keywords: topic theory, musical icon, intertextuality, pictorialism, temporality, landscape

7

Bigo, Louis, Daniele Ghisi, Antoine Spicher, and Moreno Andreatta. "Representation of Musical Structures and Processes in Simplicial Chord Spaces." Computer Music Journal 39, no. 3 (September 2015): 9–24. http://dx.doi.org/10.1162/comj_a_00312.

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In this article, we present a set of musical transformations based on the representations of chord spaces derived from the Tonnetz. These chord spaces are formalized as simplicial complexes. A musical composition is represented in such a space by a trajectory. Spatial transformations are applied on these trajectories and induce a transformation of the original composition. These concepts are implemented in two applications, the software HexaChord and the Max object bach.tonnetz, dedicated to music analysis and composition, respectively.

8

Ovchinnikova, Yulia S. "Pedagogical Meaning of Study of Transformation Musical Practices of Peoples of the World in Modern Education." Musical Art and Education 7, no. 2 (2019): 57–76. http://dx.doi.org/10.31862/2309-1428-2019-7-2-57-76.

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Nowadays the Russian education is living a raw of system changes, where formation of student’s personal agency, of skill for learning and for self-development during the whole life, for elaborating the way of actualization of their own intentions are becoming the main tasks of the learning process. The abilities for self-understanding, self-development and self-actualization are connected with a category of personal transformation. The keys for its understanding could be found in the experience of traditional cultures that despite their bent for constancy are full of transformational motifs. The important role in this process belongs to “symbols of transformation”. One of the most effective between them is music that accompanies all the important events of human life in the context of traditional culture. The main mechanism for personal transformation is activity of musical experiencing. The comparative study of traditional cultures gives possibility to offer the following typology of transformational practices of work with musical experiencing: 1. Musical practices for passing the borderline states between dream and wakefulness. 2. Rites of passage and initiation. 3. Practices of individual and joint intoning of experiencing. 4. Healing practices. 5. Transformational practices of storytelling sessions. 6. Rituals of spiritual renovation. 7. Spiritual musical practices in education. 8. Dance transformational practices. In all of them music takes on the role: of internal subjective experience; of “live sound” that influences the whole human organism but not only the acoustic analyzer; of means for symbolization of experiencing; of a way of internal “growing” – from concentration in point of painful experiencing into the wide, endless “Self”; of marker of internal changes; of a metaphor of experiencing activity for transformation of internal world. The study of transformational musical practices in modern education helps to achieve the deeper level in world culture study, to understand the variety, typology and mechanisms of musical influence on a human in different traditions; widens the range of methods for work with musical experiencing; forms pedagogical tools for modern developmental, psychotherapeutic and educational practices; reveals the role of music as means for symbolization of experiencing; shows spiritual foundations of musical traditions of different peoples that form emotional and axiological attitude to them; enriches with wide range of cultural symbols for understanding and composing person’s own life.

9

Carterette, Edward C., Donald V. Kohl, and Mark A. Pitt. "Similarities among Transformed Melodies: The Abstraction of Invariants." Music Perception 3, no. 4 (1986): 393–409. http://dx.doi.org/10.2307/40285345.

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In studying the abstraction of musical ideas from diverse invariants, six-note melodies of varying note durations and note intensities were used as prototypes. Four types of transformations on a prototype distorted each of four musical components: contour, interval, loudness, and duration. In an acquisition phase, listeners heard simple transformations on a single prototype, but in recognition heard both simple and compound transformations as well as the prototype, which had been unheard in acquisition. Predictions were borne out, namely, that both prototypes and simple transformations were falsely recognized with greater certainty than any other transformed melodies; and latencies of recognition of the prototypes, an alternative measure of certainty, were shorter than latencies of recognition of any other transformed melodies. It is argued that the methods used enable the examination of the properties of musical transformation spaces.

10

Beuscart, Jean-Samuel. "Les transformations de l'intermédiation musicale." Réseaux 141-142, no. 2 (2007): 143. http://dx.doi.org/10.3917/res.141.0143.

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11

Rings, S. "Generalized Musical Intervals and Transformations; Musical Form and Transformation: Four Analytic Essays; Studies in Music with Text." Journal of Music Theory 50, no. 1 (January 1, 2006): 111–27. http://dx.doi.org/10.1215/00222909-2008-010.

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12

MATSUNOBU, KOJI. "Music for life: a Japanese experience of spirituality, ageing and musical growth." Ageing and Society 38, no. 6 (February 27, 2017): 1100–1120. http://dx.doi.org/10.1017/s0144686x1600146x.

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ABSTRACTThis paper examines the role of musical engagement in later-life spiritual development and ageing. The nexus of music, spirituality and ageing has been relatively unexplored. Change of styles, means of expression and ways of engagement are among the transformation that older musicians often encounter. Based on an ethnographic study of Japanese music practitioners, the paper introduces a community music practice in which spiritual cultivation is a collective goal of musical pursuit. A case introduced in this paper suggests that music helps to develop a sense of purpose and enhance the meaning of life by instilling the feeling that people are still able to develop musically and spiritually. Some of the transformation identified in the study included changes of repertoire, the purpose of practice and the meaning of progress, all of which was characterised in the dictum of less-is-more. The paper highlights the process in which spiritual development and musical growth are linked and support positive ageing.

13

Ruiz, Émilie, Albéric Tellier, and Julien Pénin. "Comprendre les transformations de l’industrie musicale." Revue Française de Gestion 47, no. 294 (January 2021): 79–97. http://dx.doi.org/10.3166/rfg.2021.00505.

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L’objectif de cet article est de revenir sur les profonds bouleversements touchant la musique enregistrée depuis l’avènement de la numérisation, qui a permis la dématérialisation des œuvres. Nous proposons un cadre général pour mieux cerner les défis à relever par les acteurs, en mobilisant une approche fondée sur le modèle d’affaires. Nous défendons l’idée qu’un nouvel écosystème de la musique est en train de se développer, nécessitant l’acceptation collective d’un « méta-modèle d’affaires » pour fonctionner. L’article présente également les travaux de ce numéro spécial.

14

Laplante, Chantale. "Le son généreux [pour une hyper-écoute]." Articles 26, no. 2 (December 7, 2012): 69–74. http://dx.doi.org/10.7202/1013226ar.

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L’article que l’artiste propose au lecteur relate le processus de transformation de sa pratique artistique durant une période particulière. L’artiste nous entretient de la transformation dans sa manière de composer la musique et de travailler avec le son. Elle développe sa réflexion autour de deux notions principales : l’hyper écoute qui favorise une approche intuitive, le son devenant la source première d’information à être transmué par la sensibilité de l’artiste, et l’espace-surface issu d’un temps musical non linéaire inscrit dans la durée. Tout au long de l’article, le lecteur prendra connaissance d’un contexte de travail précis qui a favorisé l’émergence d’un questionnement sur le processus de composition musicale et la relation avec le matériau en jeu, le son.

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Hall, Rachel Wells. "Review: Generalized Musical Intervals and Transformations by David Lewin; Musical Form and Transformation: Four Analytic Essays by David Lewin." Journal of the American Musicological Society 62, no. 1 (2009): 205–22. http://dx.doi.org/10.1525/jams.2009.62.1.205.

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Stewart, Lauren. "Neurocognitive Studies of Musical Literacy Acquisition." Musicae Scientiae 9, no. 2 (July 2005): 223–37. http://dx.doi.org/10.1177/102986490500900204.

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Although certain parallels can be drawn between written language and notation in music — both use arbitrary visual symbols to notate the salient aspects of a sound pattern, the purpose of each notational system differs markedly. While the primary function of written language is to carry referential meaning, the primary function of musical notation is to carry instructions for the production of a musical performance. Music reading thus lies at the interface between perception and action and provides an ecological model with which to study how visual instructions influence the motor system. The studies presented in this article investigate how musical symbols on the page are decoded into a musical response, from both a cognitive and neurological perspective. The results of a musical Stroop paradigm are described, in which musical notation was present but irrelevant for task performance. The presence of musical notation produced systematic effects on reaction time, demonstrating that reading of the written note, as well as the written word, is obligatory for those who are musically literate. Spatial interference tasks are also described which suggest that music reading, at least for the pianist, can be characterized as a set of vertical to horizontal mappings. These behavioural findings are mirrored by the results of an fMRI training study in which musically untrained adults were taught to read music and play piano keyboard over a period of three months. Learning-specific changes were seen in superior parietal cortex and supramarginal gyrus, areas which are known to be involved in spatial sensorimotor transformations and preparation of learned actions respectively.

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Leroux, Philippe. "Composer l’espace sonore en interaction avec le monde." Circuit 32, no. 2 (August 31, 2022): 71–77. http://dx.doi.org/10.7202/1091905ar.

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Cet article explore l’idée que si l’approche habituelle de l’espace sonore dans la composition musicale est, en général, d’ordre pratique, il existe, cependant, une attitude consistant à mettre en rapport celui-ci avec notre propre intériorité spatiale. En effet, concevoir, comme écouter, la mise en espace des sons, c’est d’une certaine façon extérioriser dans l’espace sonore du monde notre espace intérieur. Après avoir décrit ce dernier, et proposé l’oeuvre musicale et son écoute comme seuils entre les espaces intérieur et extérieur, le texte scrute les relations qui s’établissent entre eux. À partir de celles-ci est proposé un nouveau type de rapport entre la personne qui compose l’espace musical et cet espace lui-même. Au lieu d’établir une relation à sens unique avec le monde, dans laquelle celui-ci n’est que l’objet de notre action, la composition peut alors devenir également le lieu de notre transformation.

18

LOSSEFF, NICKY. "Casting Beams of Darkness into Bartók’s Cantata Profana." Twentieth-Century Music 3, no. 2 (September 2006): 221–54. http://dx.doi.org/10.1017/s1478572207000473.

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AbstractBéla Bartók’s Cantata Profana (1930) retains ambiguities inherent in the Romanian myth on which it is based – a story of nine hunting-lads magically transformed into stags. This article explores the mysterious elements through psychoanalysis, positing links between darkness, Bartókian ‘night music’, and the Unconscious. Other aspects of the musical language suggest representations of Lacanian processes, specifically a regressive fantasy to the mental order of the ‘Real’. This is linked to Bartók’s experience of childhood illness, a time of perfect maternal love but profound bodily betrayal, suggesting that the stag-body represents a strong, proud transformation, ‘replacing’ the debilitated body of childhood memory. Musically, the ‘mirror-image’ scales of the opening and ending of the work are re-examined. It is proposed that they represent Bartók acknowledging loss, most importantly the loss of the myth of ‘pure sources’, which had sustained him, both musically and psychologically, up until then. This loss inevitably sought expression after a disastrous polemical debate forced him to abandon the idea of musical purity in folksong.

19

Latincic, Dragan. "Central rotation of regular (and irregular) musical poligons." Muzikologija, no. 28 (2020): 205–34. http://dx.doi.org/10.2298/muz2028205l.

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The text describes the application of one of the most important isometric transformations to the projected metro-rhythmic entities of individual harmonics of the spectrum. It is a direct isometry called central rotation. Central rotation conditions the hemiola structuring of the meter. Hemiolas are identified with regular and irregular geometric figures (primarily triangles) by means of a partition and the composition (index) number of a particular spectral harmonics. The partition and composition of numbers, which are dealt with in discrete mathematics, on the one hand, and, the technique of horizontal hemiolas, characteristic of the polyphony of the sub-Saharan region, on the other, served as a means of creating methods by which the isometric transformation of central rotation would be realized in (musical) time.

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Hearne, James, and David Lewin. "Generalized Musical Intervals and Transformations." Computer Music Journal 12, no. 1 (1988): 69. http://dx.doi.org/10.2307/3679839.

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Rahn, John, and David Lewin. "Generalized Musical Intervals and Transformations." Journal of Music Theory 31, no. 2 (1987): 305. http://dx.doi.org/10.2307/843712.

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Hughes, J. Robin, and David Lewin. "Generalized Musical Intervals and Transformations." Music Analysis 8, no. 3 (October 1989): 325. http://dx.doi.org/10.2307/854293.

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Alaminos-Fernández, Antonio Francisco. "Musical transformations of non-places." OBETS. Revista de Ciencias Sociales 13, no. 3 (November 9, 2018): 211. http://dx.doi.org/10.14198/obets2018.13.1.08.

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The twentieth and twenty-first century have been a temporary canvas where two closely related concepts have broadened, both in terms of modernity and supermodernity: ambient music and the development of urban spaces. Both phenomena undergo a development, interaction and sustained change process, largely caused by technological changes. For the purpose of this study, first the concept of "non-places" and its change from physical spaces to virtual spaces will be presented. In second place, the development of ambient music is specifically considered; first regarding the close relationship that it establishes with non-places and then the generation of atmospheres through collective sound spheres. Subsequent technological transformations spread and fragment the associations between non-places and music, enabling personal atmospheres through individual spheres. At present, technological developments allow virtual non-places to take shape (Augé), which are environmentally filled thanks to playlists through streaming services. Subsystems of delocalised networked spheres and temporary spheres are established, yet they are emotionally contiguous. This article presents the humanising role that music has experienced within this urban growth process in western societies, which have developed over the last century.

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Ustinova, Daniela V., and Natalia V. Lashtabova. "TRANSLATION TRANSFORMATIONS OF THE LIBRETTO BY N. TATE FOR THE OPERA “DIDO AND AENEAS”." Sovremennye issledovaniya sotsialnykh problem 14, no. 2 (June 30, 2022): 260–70. http://dx.doi.org/10.12731/2077-1770-2022-14-2-260-270.

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The article is devoted to the analysis of translation transformations in musical compositions. Studies in the field of musical translation and opera compositions were considered, difficulties that an interpreter may face were identified. Using the example of N. Tate’s libretto for the opera “Dido and Aeneas”, the texts of the recitative and Dido’s aria were analyzed, as well as the ways of its translation into Russian. Background. To achieve adequacy in the translation of musical compositions, in particular opera librettos, translators resort to the use of various types of transformations. On basis of the libretto for the opera “Dido and Aeneas”, the analysis of Y. Dimitrin’s translation is carried out. Purpose. To identify and analyze the translation transformations of Y. Dimitrin’s libretto of the opera “Dido and Aeneas” in comparison with the literal translation. Materials and methods. The research material was G. Purcell’s opera “Dido and Aeneas” and its translation into Russian. During the analysis of the material, the method of analysis and synthesis of theoretical scientific material on the topic under study, as well as the comparative method were used. Results. The results of the study proved that due to the difference in the structures of languages, the interpreter faced a number of problems in translation of the recitative and Dido’s aria of the opera. In the process, he was forced to use such translation methods as addition, omission, and integral transformation, which helped him make the Russian version close in meaning and in content. Practical implications. The results of the research can be used by students of linguistic universities interested in poetic translation, as well as by translators with experience in translating musical compositions, for a profound understanding of the possibilities of using translation transformations.

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Zhao, Tingting, Joanne Pei Sze Yeoh, and Fung Chiat Loo. "Cultural integration and innovation in string music: A study on the transformation of Heze string music." Herança 6, no. 2 (October 19, 2023): 61–73. http://dx.doi.org/10.52152/heranca.v6i2.765.

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This article seeks to scrutinize the reasons and factors for the transformation and evolution of Heze String Music. Changes in the practice of Heze String Music as observed by both cultural bearers and the younger generation of Heze string players can significantly contribute to sculpting the future trajectory of Heze String Music. The article's analysis can inform cultural policy and heritage conservation efforts. Recognizing the factors driving changes in Heze String Music may guide policies to support the continued vitality of this tradition, including education initiatives, funding support, and other cultural sustainability measures. This qualitative study employs methodologies including participant observations and interviews. The research is further enriched by the compilation and collection of audio and video recordings, historical records, concert programs, news articles, musical scores, images of musical instruments, and other significant print materials. This article reveals that the transformation and evolution of Heze String Music have been significantly influenced by sociocultural transformations, cross-genre interactions, education, economic, and technological advancements.

26

Pierson, Michael. "From rage to riches: swag and capital in the Tanzanian hip hop industry." Popular Music 39, no. 3-4 (December 2020): 523–38. http://dx.doi.org/10.1017/s0261143020000434.

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AbstractThis article traces how Tanzanian Bongo Flava hip hop has shifted from a politically conscious genre at the dawn of democratization and liberalization to its contemporary articulations, more commonly aligned with glamorous, geographically abstracted Western pop sensibilities. It argues that ‘swag’, as an intimately embodied and musically performed charisma, has served as a connective thread across political and economic transformations because of its capacity to generate phantasmatic deferrals to common experiences of dispossession. These fetishistic qualities mediate the attachments of artists and consumers within the splintering musical genre, holding open space to reach for a diversity of desired futures.

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Rusanova, Ekaterina. "CULTURAL MEANING OF JAZZ (THROUGH THEODOR ADORNO’S CONCEPTION)." Studia Humanitatis 20, no. 3 (November 2021): 36–41. http://dx.doi.org/10.15393/j12.art.2021.3764.

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The article examines the patterns of development of one of the important musical trends in the XX and the XXI centuries in terms of its socio-cultural and socio-philosophical characteristics. The analysis takes into account Russian and Western (European and American) trends and assessments. The article captures the methodology of Theodor Adorno’s position, his political and musicological views. Attention is paid to the mechanisms of development of spiritual culture in a post-industrial society. The author substantiates the hypothesis and elaborates the idea of the great potential of jazz as a productive form of development and improvement of culture. The musical trends of the mid-twentieth century demonstrated radical transformations of jazz and rock music under the influence of commercialization, which demanded the simplification of the figurative system and language, active use of technical achievements, and mediation of musical space. The transformation of music and musical space contributed to the restructuring of society’s existence and consciousness, which in turn influenced the change of musical aesthetics and consumerized it.

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Shahray, Oksana, and Larysa Melnyk. "Transformation of musical culture today." Pedagogìčnij časopis Volinì 4(11), no. 2018 (2018): 83–89. http://dx.doi.org/10.29038/2415-8143-2018-04-83-89.

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Hood, Sarah B. "Musical Metamorphoses: Opera in Transformation." Canadian Theatre Review 64 (September 1990): 18–21. http://dx.doi.org/10.3138/ctr.64.003.

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In Delacorta’s Diva (memorably filmed by Jean-Jacques Beneix) a teenage delivery boy falls in love with an internationally renowned operatic soprano, attends every performance he can and eventually inveigles himself into her company. Nowadays there is an exotic element in this; we would have expected the young man to be more interested in a rock star or a movie actor. But a century or so ago it would have been much more usual for someone neither rich nor old to be passionate about opera.

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Dallaire, Frédéric. "« Just allow the space to tell us what we should be… what we should be doing » : l’expérience cinématographique de la musique improvisée." Revue musicale OICRM 5, no. 1 (April 9, 2018): 92–102. http://dx.doi.org/10.7202/1044445ar.

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Cet article explore l’hypothèse suivante : le cinéma peut nous faire voir et entendre la dimension éthique et politique de l’improvisation musicale. Il décrit concrètement les éléments de cette politique de l’improvisation en analysant plusieurs séquences du film Step Across the Border (1990) de Nicolas Humbert et Werner Penzel. Il étudie deux principes relationnels qui structurent la pratique de l’improvisation musicale et cinématographique explorée dans le film. L’implication (intégration du créateur dans l’espace sonore) et la résonance (transformation mutuelle du son, du contexte, de l’auditeur) modifient la dynamique du tournage et souligne le potentiel musical des espaces quotidiens (la rue, le café, la mer, l’usine). De plus, le montage cinématographique a un pouvoir de mise en relation, il crée un espace de résonance qui brouille les frontières entre les musiciens (Fred Frith et ses amis), les cinéastes et les spectateurs. Cette « expérimentation de nouvelles formes sociales de création » (Saladin 2014, p. 205) produit une expérience cinématographique libre et singulière : dans ce film, la musique est un phénomène pluriel qui peut déplacer notre regard, notre écoute, et ainsi interroger nos manières d’interagir avec les autres.

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Vereš, Jozef. "Transformations of the musical-pedagogical thinking." Hudba - integrácie - interpretácie 20, no. 1 (July 2017): 11–95. http://dx.doi.org/10.17846/hii.2017.20.11-95.

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Dienes, Zoltan, and Christopher Longuet-Higgins. "Can musical transformations be implicitly learned?" Cognitive Science 28, no. 4 (July 2004): 531–58. http://dx.doi.org/10.1207/s15516709cog2804_2.

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Noll, Thomas. "Musical intervals and special linear transformations." Journal of Mathematics and Music 1, no. 2 (July 2007): 121–37. http://dx.doi.org/10.1080/17459730701375026.

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LEE, Inho, and Johee LEE. "Analysis of chromatic mediant relationship in film music score with Neo-Riemannian theory." Rast Müzikoloji Dergisi 10, no. 4 (December 30, 2022): 449–61. http://dx.doi.org/10.12975/rastmd.20221041.

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Film has influenced the public as an important cultural form since the 20th century, and film music, as an integral part of film, plays an important role in shaping its content. Film music was influenced by late European Romantic music, and the Hollywood film score system was established based on composers of European descent, followed by the fusion of numerous emerging musical styles, such as Jazz, Rock, and EDM, etc. The orchestral music as the main composition of the film score has a sense of aural expectation in the sound expression, which largely comes from the chromaticization of the harmonies. When analyzing Hollywood film music, it is inevitable that chromatic harmony progression cannot be accurately expressed by traditional tonal music analysis. This study analyzes the chromatic harmony progression of chromatic mediant relationship in the film scores of four composers from the perspective of neo-Riemannian theory. And the correlation between the four sets of transformations and chromatically harmonic progression, H transformation, PL transformation, LP transformation, and RP transformation, is derived from the comparative analysis of neo-Riemannian theory and chromatic mediant relationship. These transformations have deepened the negative emotions of angst and fear or the positive emotions of grandeur and sacredness in film narratives. Exploring and expanding the use of neo-Riemannian theory in film music analysis has positive implications for the development of film music by demonstrating the rationality, accuracy, and intuitiveness of neo-Riemannian theory in the process of film musicology.

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Junyi, Liu. "CROSS-CULTURAL MUSICAL TRANSFORMATION: SHAPING CHINESE TRADITIONS." Scientific Journal of Polonia University 59, no. 4 (November 15, 2023): 43–48. http://dx.doi.org/10.23856/5906.

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This article endeavors to thoroughly examine the processes of Western influence on Chinese musical culture, focusing on the perspectives of prominent figures within the Chinese composer-performer tradition. Specifically, it highlights the role of Westernization as a means of shaping musical concepts in the works of Fei Shi, Ou Man, Qing Zhu, and Zeng Zhizhi. Furthermore, it acknowledges that a substantial number of music scholars pursue education abroad with the intention of delving into Western musical experiences and engaging with the resources of Western musical culture and the arts. Upon their return, whether they adopt a “Westernized” or “reformed” approach, they are actively contributing to the practical development of their own musical culture and innovative musical ideas. It is revealed that the processes of Westernization primarily occurred through the efforts of individual representatives within the Chinese community. The article highlights their practical actions involving the adaptation and creation of contemporary styles and forms within Chinese musical culture.

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Lityagina, Lydia, and Nikolai Naumov. "The Graphovox System of Musical Transformation." Leonardo Music Journal 6 (1996): 64. http://dx.doi.org/10.2307/1513313.

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Bailey, Walter B. (Walter Boyce). "Schoenberg's Transformation of Musical Language (review)." Notes 64, no. 2 (2007): 294–96. http://dx.doi.org/10.1353/not.2007.0156.

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Kudlička, Ján. "Transformations. Landscape as visual and musical phenomenon." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Plastyczna. Fotografia 12 (2017): 105–14. http://dx.doi.org/10.16926/ep.2017.12.08.

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Clough, John. "Generalized Musical Intervals and Transformations David Lewin." Music Theory Spectrum 11, no. 2 (October 1989): 226–31. http://dx.doi.org/10.2307/745937.

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Clough, John. ": Generalized Musical Intervals and Transformations . David Lewin." Music Theory Spectrum 11, no. 2 (October 1989): 226–31. http://dx.doi.org/10.1525/mts.1989.11.2.02a00050.

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Rose, Ethan. "Translating Transformations: Object-Based Sound Installations." Leonardo Music Journal 23 (December 2013): 65–69. http://dx.doi.org/10.1162/lmj_a_00157.

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This paper defines the object-based sound installation as a distinct category of sound art that emerges from the intersection of live musical performance and the sonic possibilities of the recording studio. In order to contextualize this emergent category, connections are drawn among the rationalization of the senses, automated musical instruments, the lineage of recorded sound and the notion of absolute music. This interwoven history provides the necessary backdrop for the interpretation of three major works by Steven Reich, Alvin Lucier and Zimoun. These respective pieces are described in order to elucidate the ways in which object-based sound installations introduce embodied visibility into the transformative gestures of sound reproduction.

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Kang, Da hye, and Woon Seung Yeo. "A Study of Remix Music’s Transformation Methods." Korean Association for the Study of Popular Music 30 (November 30, 2022): 9–37. http://dx.doi.org/10.36775/kjpm.2022.30.9.

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The act of remixing to create a new cultural product by reconstructing an existing one is being performed in almost all cultural content fields today. Even so, although the remix concept originated in the musical field, theoretical discussion concerning its reconstruction principles in popular music compared to other genres is lacking. This paper analyzes the methods of transforming original songs in remixing. Furthermore, it presents a theoretical basis for its systematic understanding. Ninety-four previously released popular music remixes were selected and compared with the original songs in terms of musical elements, thereby identifying representative types of reconstruction as a new standard for remix music creation. This comparison is then further studied to explore whether applying analytical methods of literary works allows for a deeper understanding of the musical remix process. As a result, musical remix types were categorized as either 1) an “expansion” process that preserves the original accompaniment (i.e., background) and transforms the vocal composition, or 2) a “transposition” process that creates a new accompaniment while preserving the original vocals (i.e., characters). Based on this finding, musical remixing could be described as preserving either the vocals or the accompaniment of the original song while completely transforming the other element. Thus, it maintains the original piece’s identity and aura but simultaneously reveals the difference. These results identify types of remixing popular music based on principles borrowed from a non-musical genre. Furthermore, they analyze existing types and suggest systematic strategies for creating new ones.

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Ailamaz’ian, A. M. "From Musical Experience to Personality Transformation: The Practice of Musical Movement." Journal of Russian & East European Psychology 55, no. 1 (January 2, 2018): 15–41. http://dx.doi.org/10.1080/10610405.2018.1491238.

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Yang, In-Jeong. "Virtual Musical Instruments on Smart Device and Transformation in Musical Experience." Korean Society of Culture and Convergence 42, no. 7 (July 30, 2020): 71–100. http://dx.doi.org/10.33645/cnc.2020.07.42.7.71.

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Rapport, Evan. "Hearing punk as blues." Popular Music 33, no. 1 (January 2014): 39–67. http://dx.doi.org/10.1017/s0261143013000524.

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AbstractPunk is an extreme manifestation of the rock project, meaning that it depends on an association of raw and authentic expression with blackness, musically represented by particular approaches to the blues, combined with processes of white appropriation, transformation and obfuscation of those blues resources. Punk's powerful affect largely derives from the tension between punk's blues foundations and strategies that obscure its roots. Punk treatments and transformations of the blues include: (1) moving from multi-part, three-chord harmonic schemes to riffs and one- and two-chord vamps; (2) taking a new approach to vocal performance styles; and (3) retaining certain melodic approaches, such as the use of pentatonic scales and monophonic textures. Punk's complex relationship to the blues, including the history of negation and erasure, continues to be a central part of the punk aesthetic.

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Thilakan, Jithin, Balamurali BT, Jer-Ming Chen, and Malte Kob. "Classification of the perceptual impression of source-level blending between violins in a joint performance." Acta Acustica 7 (2023): 62. http://dx.doi.org/10.1051/aacus/2023050.

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Quantifying auditory perception of blending between sound sources is a relevant topic in music perception, but remains poorly explored due to its complex and multidimensional nature. Previous studies were able to explain the source-level blending in musically constrained sound samples, but comprehensive modelling of blending perception that involves musically realistic samples was beyond their scope. Combining the methods of Music Information Retrieval (MIR) and Machine Learning (ML), this investigation attempts to classify sound samples from real musical scenarios having different musical excerpts according to their overall source-level blending impression. Monophonically rendered samples of 2 violins in unison, extracted from in-situ close-mic recordings of ensemble performance, were perceptually evaluated and labeled into blended and non-blended classes by a group of expert listeners. Mel Frequency Cepstral Coefficients (MFCCs) were extracted, and a classification model was developed using linear and non-linear feature transformation techniques adapted from the dimensionality reduction strategies such as Principal Component Analysis (PCA), Linear Discriminant Analysis (LDA), and t-Stochastic Neighbourhood Embedding (t-SNE), paired with Euclidean distance measure as a metric to evaluate the similarity of transformed feature clusters. Results showed that LDA transformed raw MFCCs trained and validated using a separate train-test data set and Leave-One-Out Cross-Validation (LOOCV) resulted in an accuracy of 87.5%, and 87.1% respectively in correctly classifying the samples into blended and non-blended classes. In this regard, the proposed classification model which incorporates “ecological” score-independent sound samples without requiring access to individual source recordings advances the holistic modeling of blending.

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Smoliar, Stephen W., and David Lewin. "Musical Form and Transformation: Four Analytic Essays." Computer Music Journal 18, no. 3 (1994): 75. http://dx.doi.org/10.2307/3681189.

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Morris, Robert D., and David Lewin. "Musical Form and Transformation: 4 Analytic Essays." Journal of Music Theory 39, no. 2 (1995): 342. http://dx.doi.org/10.2307/843972.

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Whittall, Arnold, and David Lewin. "Musical form and Transformation: Four Analytic Essays." Musical Times 134, no. 1809 (November 1993): 652. http://dx.doi.org/10.2307/1002808.

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Lukashenko, Larysa. "Musical Culture of Podlasie: Change, Transformation, Assimilation." Tautosakos darbai 59 (June 2, 2020): 147–64. http://dx.doi.org/10.51554/td.2020.28372.

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Podlasie is a territory of ethnic borderlands, where the Polish, Ukrainian, and Belarusian cultures have coexisted for centuries. Political conflicts of the last century and deportations during the “Wisla Operation” in 1947 have led to today’s situation where the territories of Northern and Southern Podlasie, which some decades ago featured a unified ethnical dialect, now differ in ethno-cultural terms.In Southern Podlasie, native music culture has partially been recovered by people returning from exile to northern Poland in the 60s and 70s, while Ukrainian musical folklore has almost disappeared. Musical folklore traditions existed in the northern part of Podlasie (which was not touched by the mass transmigration of the mid-1940s) until the end of the twentieth century and continues to exist to a certain extent.This article investigates the dynamics of this transformation in Southern Podlasie through audio recordings and published sourсes. Particular attention is paid to the processes of interpenetration and assimilation of the repertoire of closely co-existing Polish and Ukrainian musical cultures. The final aspect of the study is a comparison of ethnic and cultural processes in Northern and Southern Podlasie.