Literatura académica sobre el tema "Melodic theme"
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Artículos de revistas sobre el tema "Melodic theme"
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Faturrozi, Muhammad Muchlis. "Aransemen Lagu "Tanah Airku" Karya Ibu Sud Oleh Joko Suprayitno (Tinjauan Variasi Melodi)". Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 3, n.º 1 (27 de junio de 2020): 33. http://dx.doi.org/10.26740/vt.v3n1.p33-44.
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Aransemen lagu “Tanah Airku” karya Ibu Sud oleh Joko Suprayitno yang diberi judul “variation on tanah airku” merupakan salah satu aransemen dengan keunikan bentuk yaitu variasi tema. Bentuk ini variasi tema ini banyak menggunakan variasi melodi sehingga penulis tertarik meneliti tentang teknik variasi melodinya. Penelitian ini membahas struktur lagu “Tanah Airku” karya Ibu Sud guna memetakan motif dan frase agar lebih mudah mengurai variasi melodi didalamnya, kemudian barulah dibahas variasi melodi yang digunakan dalam aransemen berjudul “variation on tanah airku” ini. Dalam mengurai variasi melodi ini, teori yang digunakan adalah teori aransemen, motif, bentuk lagu, dan variasi melodi. Dalam menganalisa struktur lagu dan variasi melodi, pendekatan penelitian yang digunakan adalah pendekatan penelitian kualitatif. Dalam metode tersebut subjek penelitiannya adalah full score “variation on tanah airku” oleh Joko Suprayitno dengan objek utamanya yaitu variasi melodi. Sumber data yang digunakan adalah dari full score “variation on tanah airku” oleh Joko Suprayitno dan teknik pengumpulan data yang digunakan adalah melalui wawancara dengan narasumber (yang dalam hal ini Joko Suprayitno) dan dokumentasi. Hasil analisa yang didapat adalah struktur lagu “Tanah Airku” terdiri dari 3 frase dan 6 motif. Alur aransemen yang dibuat oleh Joko Suprayitno ini dimulai dari bagian introduction, theme, variasi I-VII, cadenza, dan yang terakhir finale. Dari struktur tersebut, variasi melodi yang terjadi pada melodi utama adalah melodic variation and fake via non-chordal, ornament dan sekuensi. Kemudian variasi yang digunakan diluar melodi utama antara lain, filler (melodic filler, tail, fill in), counter melody, obbligato, cliché, dan filler like obbligato. Variasi melodi yang banya digunakan Joko Suprayitno adalah melodic variation and fake via non-chordal dan filler.Kata Kunci: Aransemen, Variasi Melodi
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Hough, Monica Strauss. "Melodic Intonation Therapy and aphasia: Another variation on a theme". Aphasiology 24, n.º 6-8 (20 de julio de 2010): 775–86. http://dx.doi.org/10.1080/02687030903501941.
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Leppert, Richard. "On Reading Adorno Hearing Schubert". 19th-Century Music 29, n.º 1 (2005): 056–63. http://dx.doi.org/10.1525/ncm.2005.29.1.56.
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Adorno's "Schubert" textually reenacts what he recognizes in Schubert's music, repeating himself but with subtle differences, as though he were holding up a cut gem to light and turning it to see the differences manifested in its facets. Adorno's ideas about this music are less developed than juxtaposed, often paratactically, so as to constitute what Benjamin termed a constellation. What Adorno hears in Schubert is a kind of reciprocity toward otherness. Schubert's "landscape," for Adorno, is grounded in the realm of the cultural imaginary; it represents for him a declaration of love, defined by the difference between subject and object that engenders embrace, rather than domination. The aesthetic truth of Schubert's music doesn't emerge through development, except, ironically perhaps, in the "successful" failure of his developments. Instead, it's articulated in a virtual instant, as in the shape and turn of a melody (and distinctly not in its working out). The Schubert melody is like the imagined perfection of landscape--as though, like "nature," it were always already complete. The C-minor Andante of the Piano Trio in Eb (op. 100, D. 929) is a case in point. The opening melodic statement in the cello and the folklike second theme in the violin, for the most part, can only be repeated, not improved upon, though Schubert tries--the melodic perfection of the opening statements, the first theme especially, becomes unambiguously evident only when the movement ends. We need everything that follows the initial statements to realize what we first heard: a melody (more than a theme) complete in itself, perfect, and on that account acoustically utopian--a semblance of happiness embedded in the sad honesty of C-minorÕs pensive melancholy.
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Elinson, Alexander Eben. "Contrapuntal Composition in a Muwashshah Family, or Variations On a Panegyric Theme'". Medieval Encounters 7, n.º 2 (2001): 174–96. http://dx.doi.org/10.1163/157006701x00049.
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AbstractThe unique structural qualities of the Andalusi strophic poem (muwashshah or zajal) lent itself to a type of poetic interaction called muārada, commonly translated as "literary imitation." By composing within the parameters of an already established metrical, rhythmic, and melodic scheme, as well as sometimes sharing the final lines of the poem (the kharja), poets opened up a dialogue with their audience, and/or their fellow poets. However, these "imitations" were more than simplistic copies of of one another composed for virtuosic show. When executed well, a muārada provided a variation, praise, parody, response, or combination of these, of the original work, which would not be lost on the audience familiar with the form. In this paper, I will examine three strophic pocms that share a common kharja, in addition to elements of thematic development, rhyme scheme, and metrical patterns. In our set, we have what appears to be three panegyrics -a muwashshah composed in classical Arabic, a muwashshah-like zajal in Andalusī colloquial Arabic, and a muwashshah in Hebrew. Through a close reading of the poems, I will show that despite their shared features and surface similarities, they are, in fact, quite distinct in language, tone, and purpose, thus calling into question their generic designation as panegyric poems.
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Stetsiuk, B. O. "Types of musical improvisation: a classification discourse". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, n.º 57 (10 de marzo de 2020): 178–96. http://dx.doi.org/10.34064/khnum1-57.11.
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This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).
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Drake, Carolyn, W. Jay Dowling y Caroline Palmer. "Accent Structures in the Reproduction of Simple Tunes by Children and Adult Pianists". Music Perception 8, n.º 3 (1991): 315–34. http://dx.doi.org/10.2307/40285505.
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This paper examines the influence of three accent structures on the reproduction of simple musical tunes by 5-, 7-, 9-, and 11-year-old children and adult pianists. In the metric accent structure, periodically spaced beats are accented; in the melodic accent structure, events after a jump in pitch interval or after a turn in contour are accented; and in the rhythmic grouping accent structure, the first and last events of a rhythmic group are accented. Four themes were created in which all three accent structures coincided. Three variations were derived from each theme in which each accent structure in turn was moved out of synchrony with the other two. In a fourth variation, all three accent structures were out of synchrony with each other. Both the children's and the pianists' reproductions were the most accurate when the accent structures coincided and the least accurate when they conflicted. Intermediate results were obtained when the rhythmic grouping and melodic accent structures were displaced, but no deterioration in performance was observed when the metric accent structure was displaced, demonstrating the relatively unimportant role played by intensity variations in these conditions. These results were obtained only for the melody scores—no deteriorations were found in the rhythm scores. For the pianists, fewer errors were made on the accented notes than on the others. So, the juxtaposition of the three accent structures does indeed influence the perception of musical sequences. When attention is drawn to the same point in time by several different accent structures, the segmentation of the sequence into smaller units is efficient and reproductions are good. However, when attention is drawn to too many points in time, segmentation is less efficient and reproductions are poorer.
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Herdianto*, Ferry. "Marimba Solis Performance with Repertoar the Variation on Theme (from the Malay's "Pucuk Pisang")". International Journal of Management and Humanities 5, n.º 7 (30 de marzo de 2021): 76–81. http://dx.doi.org/10.35940/ijmh.f1235.035721.
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Performing the art of music in the era of the industrial revolution 4.0 experienced many changes, these changes had a big impact on industry players in terms of music marketing and consumers to enjoy music. In the era of revolution 4.0, every individual is currently required to race against each other in filling life both in education and skills. To respond to the challenges in this 4.0 era, the writer has a desire to change himself, both in ways of thinking and in skills so that the author can be useful both for self-improvement and beneficial to many audiences. On this occasion, the presenter performed a modern repertoire using marimba instruments that had different levels of difficulty. It is a challenge for the presenter to master the techniques with the difficulties inherent in each repertoire. Marimba is a type of melodic percussion instrument that is rarely known by the public. In this marimba show, the presenter presents a musical repertoire, i.e The Variation On Theme (From the Malay's “Pucuk Pisang”) the show is presented in the form of a solo marimba and accompaniment. Repertoire The Variation On Theme (From the Malay's “Pucuk Pisang”) has a difficulty level. Here the presenter is required to master and practice all the difficulties contained in the repertoire, especially basic techniques.
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Savchenko, Yevheniia. "PHONETIC MEANS EXECUTING THEME AND RHEME FUNCTIONING IN SPEECH". Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 18, n.º 28 (julio de 2019): 165–76. http://dx.doi.org/10.24195/2616-5317-2019-28-15.
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The paper deals with phonetic means executing theme and rheme functioning in speech. The main components of prosodic arrangement of the theme and rheme structure of the utterance are studied, and a problem of structural units of intonation is investigated. Multi-functionality of intonation tends to complicate a study of speech prosody. At the stage of inventory and taxonomic analysis of the formal means of intonation the basic components of prosodic arrangement of the theme and rheme structure of the utterance are considered and a problem of the structural intonation units is studied. The analysis is based on a study of the material essence of the intonation units which differentiation is provided not only by the melodic component but also by speech intensity, speech tempo (including pauses), voice timbre as well as the integral prosodic characteristic — the phrase stress. It is possible to speak definitely about presence of essential differences in the degree of informational melody, speech intensity, tempo and timbre in the context of communication of meanings, and a complex nature of their accomplishment in speech. Therefore, it becomes important to study not just the role of each of these components in the accomplishment of the communicative function of intonation but also to establish their hierarchy, inter-relation and interdependence. Functional analysis of intonation is primarily aimed at specification of the very principle of classification of the intonation structure functional loading. It is advisable to study the relative autonomy of various functions and the nature of their interaction. The list of intonation functions may be limited with such a set: intelligent and logical function (segmentation by syntagms, links between syntagms, actual segmentation, accentual marking of the syntagm elements), differentiation function of the communication types (situations), the function expressing the emotional state and relations and the function that transfers modal relations. At the prosody level the actual segmentation of utterances is accomplished in speech primarily by using tonal and, partially, dynamic means of intonation (the emphasis is often linked to the forceful intonation components — intensity and energy component): at that, in order to identify the content, the place of stress is important as well as certain peculiarities of its accomplishment.
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Слюжінскас, Рімантас. "ARCHAIC MUSICAL STYLES PROBLEM IN THE EARLIEST PUBLICATIONS OF LITHUANIAN FOLKLORE". Музикознавча думка Дніпропетровщини, n.º 15 (1 de noviembre de 2019): 50–60. http://dx.doi.org/10.33287/22194.
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The purpose of this submitted scientific article is based onemphasizing of archaic musical styles evaluation problem in the earliestLithuanian folklore publications. The target of this investigation is definedon analysis of the historical music notations in the historical musicalfolklore editions. The methods of this represented exploration are formedon the basis of historical method, where some well-known stereotypeshave to be re-thought. Systemic method is also important here tounderstand the whole socio-cultural context of early notations ofLithuanian folk songs. The structurally analytical method allows maximalprofoundly holding out the contemporary outlook concerning previousactual investigations on this theme. The scientific newness of thepresented article is determined by new attitude for evaluation of earliestmusical styles throughout Lithuanian folklore heritage. The actual factsdiscovering from large period of historical times in Lithuanianethnomusicology might be understood as also important novelty of this ourscientific work. Conclusions. We are not allowed to bring guarantees, thatthe earliest musical descriptions of folk songs and their melodies are reallyearliest in historical life and development of local folk tradition. The described, fixed folklore materials are just very fragmentary moments,taken from the real and eternal folk life development both in Lithuaniancase, and worldwide. And this development has no any clear beginning,any clear outset. The main task of all ethnomusicologists is to find, tounderstand, and to evaluate the level of the antiquity and authenticity ofparticular local melodic tunes in the context, certainly, of all contemporaryscientific knowledge.
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Pereira, Eliton Perpetuo Rosa y Otoniel Pereira Gomes. "A iniciação à improvisação no piano popular: análise de métodos e elaboração de proposta didática". Cadernos de Educação Tecnologia e Sociedade 14, n.º 1 (12 de marzo de 2021): 38. http://dx.doi.org/10.14571/brajets.v14.n1.38-55.
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The theme of this research focuses on the initiation of improvisation on the popular piano, as a musical educational action to introduce students to this instrument in the universe of improvisation, as a music teaching activity, but mainly as a musical experience activity related to popular music. The study aimed to carry out a comparative analysis of the publications most used by Brazilian popular musicians on harmony and improvisation, in printed editions in Portuguese or translations printed in Brazil. Nine publications with this profile were found and the analysis took place through five main categories: 1) musical initiation; 2) concepts of improvisation; 3) rhythmic, melodic and harmonic aspects; 4) practical exercises (technique and repertoire); and 5) didactic aspects. The results show regularities, specificities, and gaps in these publications most widely circulated in Brazil among popular piano teachers and improvisers. Concerning the process of initiation to improvisation on the popular piano, we highlight aspects related to planning, the sequence of contents, and practical activities.
Tesis sobre el tema "Melodic theme"
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Bruno, Emilie. "Psallendae Mariae: Marian Processional Chants of the Ambrosian Rite". Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/23567.
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This interdisciplinary study examines a collection of chants intrinsically connected to the larger body of Western Chant: the psallendae. These chants of the Ambrosian rite, the form of Christian worship proper to the archdiocese of Milan, were sung during religious processions. With over 700 psallendae assigned to the Church calendar, this study examines only those assigned to feast days of the Virgin Mary, and in doing so, reveals a rich history of devotion to her.
The primary sources examined are thirteenth-century manuscripts and medieval liturgical manuals. The processional chants are subjected to a thorough literary and musical analysis. Rooted in François-Auguste Gevaert's thematic theory, and using tools of reticular and stemmatic analysis, the psallendae are grouped according to melodic profile. Each group is then reduced to a core melodic theme, which, when juxtaposed with the ancient practice of religious processions, makes a compelling argument for the psallendae as among the oldest Christian chants.
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Åkerlind, Emma. "Berättande melodier : Hur en films theme song representerar narrationen". Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-28579.
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Rosén, Andersson Sara. "Demoner, drakar och domedag : En undersökning av religionens roll i den svenska death metal-lyriken". Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-71770.
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The following essay aims to examine the use of lyrical themes linked to religion. The music styles in focus in this study are death metal and melodic death metal in Sweden. The study is based on 14 Swedish bands that are or have been active during the last 30 years. In this study I ask which themes connected to religion are used in the lyrics from the middle of the 80’s till today and how the use of themes changes during this time period. My hypothesis was that since metal’s function and purpose is to break boundaries and test the social limits the lyrics inevitably must change over time to continue to draw attention and provoke. The lyrics have been studied with qualitative text analysis and put in a timeline divided in four eras to see the changes over time and how they are expressed. Each era is divided into different categories and themes that are found in the lyrics. This study shows that the lyrics in the chosen genres connected to religion change over time, in accordance with my hypothesis. The main lyrical themes are Satanism, Anti-religion and religion critics, Christian themes, Esoterism and mysticism and Mythology. The lyrical themes have changed from dealing primarily with Satanism and anti-Christianity/religion in the 80’s and early 90’s to more complex lyrics about esoterism, mysticism, spiritism, and mythology today.
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PHELAN, VINCENT J. "AN ANALYSIS OF THE FIRST MOVEMENT OF THE CONCERTO FOR VIOLIN AND ORCHESTRA, OP.77 BY JOHANNES BRAHMS: APPLICATIONS IN PERFORMANCE". University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148174895.
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Kriek, Elizabeth Margaretha. "Die simfonie in Suid-Afrika, 1970-1990 : 'n styl en struktuurstudie". Thesis, 1995. http://hdl.handle.net/10500/17130.
Texto completoLibros sobre el tema "Melodic theme"
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Chamberlain, David. Melodic forms: The sculpture of David Chamberlain. Editado por Wolfson Pamela y Pucker-Safrai Gallery. Boston: D.R. Godine, 1990.
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Wilde, Denis Gerard. The development of melody in the tone poems of Richard Strauss: Motif, figure, and theme. Lewiston, N.Y: E. Mellen Press, 1990.
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Klee, Paul. Paul Klee: Melodie und Rhythmus. Editado por Baumgartner Michael 1952-, Amiet-Keller Marianne y Zentrum Paul Klee. Ostfildern: Hatje Cantz, 2006.
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Ceccucci, Piero, ed. Fiorenza mia…! Firenze e dintorni nella poesia portoghese d'oggi. Florence: Firenze University Press, 2009. http://dx.doi.org/10.36253/978-88-8453-329-6.
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In the Portuguese imagination Florence is justly considered the cradle of modern western civilisation. Seen and admired from the Renaissance on as the new Athens, for the Portuguese it has always represented not only a model of culture and civilisation to take as inspiration, but also and above all the locus amoenus of spiritual and intellectual harmony and balance, dreamed-of and unattainable, that floods and pervades the soul with a vague, nostalgic sentiment of admiration. Evidence of this, now as in the past, are the serried ranks of poets who for centuries have sung its praises and raised it to the rank of myth. This brief anthology proposes only a few of them, among the most renowned of recent generations. In a truly original way these poets have managed to convey to the hearts and minds of their compatriots their own stunned vision of the city, illustrating emotions that cannot fail to move even the Florentines and, in a broader sense, we Italians as a whole. Thus what is offered in these pages, in fine Italian translation, is this mesh of voices, an intimate and enthralling polyphony of city, poet and reader, unfurling in an evocative melody and proposing the legend of Florence in a new light – possibly more authentic and illuminating.
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Schmuckler, Mark A. Components of melodic processing. Editado por Susan Hallam, Ian Cross y Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0009.
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Melody is the most ubiquitous form of musical structure, with which listeners come into contact on a daily basis. Mirroring the prevalence and importance of melody, research in music cognition has focused extensively on the processes involved in perceiving and remembering melodic structure. Despite these years of study, however, our understanding of pitch structure in melody can be described simply, with respect to the two components of tonality and pitch contour. Although the importance of these two components has been recognized over the years, it is only recently that workable models of these components have been proposed. This article describes such models of tonality and melodic contour, and discusses the role of these components in listeners' perceptions of and memory for melody.
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Thomas, Oliver. Music in Euripides’ Medea. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0005.
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This chapter argues that a tricky passage of Athenaeus, about Euripides’ use of melodic responsion in the play’s odes (453c–454a), is worth taking seriously. The reasons for doubting its information are not overwhelming, and moreover the effects of such responsion tie in excellently with what a number of the characters within the play (especially the chorus in the first and third stasima) have to say about music. In testing the hypothesis that Euripides employed ‘melodic responsion’ in the Medea, the chapter shows that melodic structure could have reinforced the odes’ semantics and themes, but also that it would have been a crucial element in the characterization of the chorus. This use of melody is also examined in the context of existing scholarship on Euripides’ adoption of various ‘New Musical’ forms later in his career.
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D’Angour, Armand. The Musical Setting of Ancient Greek Texts. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0003.
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This chapter discusses the relationship between melody and language in Homer, the musical fragment of Euripides’ Orestes, and the ‘Seikilos Song’. Readings of Homeric passages draw on statistical analysis of the pitch-structures of the hexameter to show how melody may have been used to mark significant junctures, bridge syntactically conjoined verses, and demarcate the narrative. The musical scores of the two later texts demonstrate the interaction of semantic meaning with melodic and rhythmical patterns, and contextualizes these interactions against the backdrop of wider developments in Greek performance culture. The (probably) Euripidean melody on the Vienna papyrus should be seen in relation to the techniques of the ‘New Musicians’, and viewed as a move towards a more emotionally ‘programmatic’ melodization. The chapter also argues for an overall continuity of techniques for creating musical effects from ancient Greek to later traditions of Western music.
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Psaroudakes, Stelios. Mesomedes’ Hymn to the Sun. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0006.
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This chapter investigates the relationship between the lyrics and the music of Mesomedes’ Hymn to the Sun. There are many instances of word painting in music. The chapter argues that Mesomedes’ Hymn to the Sun is a piece of music well thought through by the composer. The song’s melodic contours reflect and accentuate the meaning of the words, which can affectively be brought forth in sound if the performer is musically sensitive and is aware of the word-melody relationships. It is argued that the song was most probably composed for monodic performance.
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Waters, Keith. Postbop Jazz in the 1960s. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190604578.001.0001.
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Innovations in postbop jazz compositions of the 1960s occurred in several dimensions, including harmony, form, and melody. Postbop jazz composers such as Wayne Shorter, Herbie Hancock, Chick Corea, along with others (Booker Little, Joe Henderson, Woody Shaw) broke with earlier tonal jazz traditions. Their compositions marked a departure from the techniques of jazz standards and original compositions that defined small-group repertory through the 1950s: single-key orientation, schematic 32-bar frameworks (in AABA or ABAC forms), and tonal harmonic progressions. The book develops analytical pathways through a number of compositions, including “El Gaucho,” “Penelope,” “Pinocchio,” “Face of the Deep” (Shorter); “King Cobra,” “Dolphin Dance,” “Jessica” (Hancock); “Windows,” “Inner Space,” “Song of the Wind” (Corea); as well as “We Speak” (Little); “Punjab” (Henderson); and “Beyond All Limits” (Shaw). These case studies offer ways to understand the works’ harmonic syntax, melodic and formal designs, and general principles of harmonic substitution. By locating points of contact among these postbop techniques—and by describing their evolution from previous tonal jazz practices—the book illustrates the syntactic changes that emerged during the 1960s.
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Maloy, Rebecca. Songs of Sacrifice. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190071530.001.0001.
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Songs of Sacrifice argues that liturgical music—both texts and melodies—played a central role in the cultural renewal of early Medieval Iberia. Between the seventh and eleventh centuries, Christian worship on the Iberian Peninsula was structured by rituals of great theological and musical richness, known as the Old Hispanic (or Mozarabic) rite. Much of this liturgy was produced during the seventh century, as part of a cultural and educational program led by Isidore of Seville and other bishops. After the conversion of the Visigothic rulers from Arian to Nicene Christianity at the end of the sixth century, the bishops aimed to create a society unified in the Nicene faith, built on twin pillars of church and kingdom. They initiated a project of clerical education, facilitated through a distinctive culture of textual production. The chant repertory was carefully designed to promote these aims. The creators of the chant texts reworked scripture in ways designed to teach biblical exegesis, linking both to the theological works of Isidore and others, and to Visigothic anti-Jewish discourse. The notation reveals an intricate melodic grammar that is closely tied to textual syntax and sound. Through musical rhetoric, the melodies shaped the delivery of the texts to underline words and phrases of particular liturgical or doctrinal import. The chants thus worked toward the formation of individual Christian souls and a communal, Nicene identity. The final chapters turn to questions about the intersection between orality and writing and the relationships of the Old Hispanic chant to other Western plainsong traditions.
Capítulos de libros sobre el tema "Melodic theme"
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Hoagwood, Terence Allan. "“It Gave Them Virtues Not Their Own” : Byron’s Hebrew Melodies". En From Song to Print, 105–27. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105706_5.
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Shin, Chang-Hwan, Kyong-I. Ku, KiChang Kim y Yoo-Sung Kim. "Automatic Construction of Theme Melody Index from Music Database for Fast Content-Based Retrievals". En Lecture Notes in Computer Science, 605–12. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/3-540-36618-0_48.
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Kang, Yong-Kyoon, Kyong-I. Ku y Yoo-Sung Kim. "Extracting Theme Melodies by Using a Graphical Clustering Algorithm for Content-Based Music Information Retrieval". En Advances in Databases and Information Systems, 84–97. Berlin, Heidelberg: Springer Berlin Heidelberg, 2001. http://dx.doi.org/10.1007/3-540-44803-9_8.
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Steen, Mark. "God et al.— World-Making as Collaborative Improvisation: New Metaphors for Open Theists". En Abrahamic Reflections on Randomness and Providence, 311–37. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-75797-7_15.
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AbstractThe Abrahamic traditions regard God as the world’s author. But what kind of author? A novelist? A playwright? Perhaps a composer of classical music? I will argue that it is best to regard God as like an improvisational play director or the leader of a jazz ensemble. Each determines the broad melodic contours or coarse-grained plot beforehand, while allowing their musicians or actors, and chance, to fill in the more fine-grained details. This analogy allows us to regard God as the ultimate author of this world, while allowing us to be, while less than co-authors, more than mere enactors of a pre-written piece. These metaphors are particularly well-suited to illustrate and flesh out an Open Theistic view of things.
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Armstrong, Alison. "Ableton Overture (Intermediate)". En The Music Technology Cookbook, 119–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0019.
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In this music technology-meets-classical composition activity, students will learn how to combine tried and tested compositional techniques (sequence, inversion, augmentation, diminution, and imitation) with many possibilities in Ableton Live’s session view. This composition task was designed for students ages 12 to 16 who are new to composing. The aims of the activity include: 1) inputting melodic and rhythmic information into a DAW and exploring composition devices; 2) reviewing melodic and rhythmic compositional devices, exploring simple accompaniment patterns, and combining a theme with an accompaniment pattern; 3) exploring sounds, octave ranges, and tempi in Ableton Live; 4) exploring combinations of themes with other students through sharing MIDI loops, making an arrangement, and justifying choices; and 5) presenting an arrangement to a fictional client.
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Lester, Joel. "It Sounds like Brahms". En Brahms's Violin Sonatas, 3–27. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190087036.003.0001.
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Chapter 1 discusses the balance of classicism and romanticism as artistic and expressive underpinnings of Brahms’s style. Brahms was in many ways a composer for whom the past—even the distant past—was still very much alive. Yet he was remarkably innovative. He often used Classical-Era forms, but he adapted them to his expressive ends. He used harmonic progressions identical to those used in similar circumstances by composers of the Classical Era, but also used harmonies as adventurously as Wagner or Liszt. In terms of texture and of rhythm and meter, he was, if anything, more adventurous than many of his contemporaries. The chapter offers a detailed analysis of harmony, dissonance, melody, melodic evolution, texture, rhythm and meter, counterpoint, and developing variation in a single Brahms phrase (from the second theme of the first movement of the A-major Violin Sonata, op. 100). Brahms’s phrase is compared to and differentiated from a similar phrase opening the second theme in Beethoven’s Violin Sonata in A, op. 30, no. 2.
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Maloy, Rebecca. "The Melodic Language". En Songs of Sacrifice, 105–58. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190071530.003.0005.
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This chapter posits a set of principles that underlie the melodic grammar of the Old Hispanic melodies though close analysis of its neumes. In the Old Hispanic notation, certain neumes and neume combinations were used to signal particular structural points in the melodies, pointing to a distinctive culture of musical literacy associated with the rite in the tenth and eleventh centuries. By examining the contexts in which these neumes occur, the author identifies melodic repetitions, and posits which neume patterns served as cadences and openings. Through this analysis, a sophisticated melodic grammar emerges. The melodies are closely tethered to aspects of the text, such as syntax, accent, and syllable division. While melodic variety and individuality are core traits of the repertory, the creators of the chants drew on a large vocabulary of standard melodic formulas, combining it in ever varying ways.
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Leong, Daphne. "Drama in Structure". En Performing Knowledge, 201–62. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190653545.003.0008.
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Messiaen’s Visions de l’Amen is interpreted as ritual cum drama, enacted by its two pianists. Beginning with the work’s compositional background, this chapter profiles Visions’ two original pianists (Messiaen and Yvonne Loriod), describes the occasion of its premiere, and outlines its extramusical inspiration in Messiaen’s visions of the Amen. Messiaen uses combinatorial means to create Visions’ ritual and drama: repeating, varying, superposing, juxtaposing, combining, and recombining. His combinatorial materials are themes, timbres, and harmonic and rhythmic modules: two types of themes (the Creation theme and the blackbird’s song), two types of timbral elements (birdsong and percussion sounds), and two types of pedals (rhythmic and melodic-harmonic) are discussed, exploring their construction, locations, and functions in Visions. The two pianos themselves, along with the constructs of ritual and drama, are viewed as combinatorial components; the chapter closes by showing how the two pianos, in combination, enact ritual and drama through their relationships.
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Stoia, Nicholas. "Melodic Designs". En Sweet Thing, 194–227. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190881979.003.0006.
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The most flexible element of the “Sweet Thing” scheme is melody, the subject of Chapter 5. Because this component is so fluid, a great number of melodies defy categorization and seem largely unrelated to one another; and yet there are many that share noticeable characteristics of general shape and contour, which are here categorized under four titles: “Pirate,” “Stand By Me,” “Frog,” and “Blues Frog.” Moreover, these designs clearly relate back to earlier sources. The “Pirate” design, in particular, exhibits especially deep roots, extending back several centuries and ultimately adapted to the stylistic norms of twentieth-century popular music; but the “Stand By Me” and “Frog” designs also have clear origins in earlier music, the former in gospel hymnody and the latter in ragtime. In one of the most fascinating developments in the emergence of the “Sweet Thing” scheme, a melodic design descending from one branch mixes with a poetic form or rhythmic type—or both—descending from another, generating a new hybrid.
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Maloy, Rebecca. "Conclusion". En Songs of Sacrifice, 281–86. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190071530.003.0009.
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This chapter provides a summary and conclusion for the book and explores some potential areas for future research. Through the education of clergy and laity, the bishops strove to create a Visigothic kingdom unified in the Nicene faith. The chant texts and melodies were carefully constructed to serve these ends. Liturgy and chant were a practical way of instilling doctrine and modeling biblical exegesis, as part of a cultural program that was at once theological and ideological. By the time of the surviving manuscripts with notation, the Iberian cantors had developed a distinctive culture of musical literacy, in which particular neumes and neume patterns signaled specific melodic functions. Through analysis of these neume shapes, I have posited a sophisticated melodic grammar that is closely tied to textual syntax and aural aspects of the text such as word accent and assonance. Strategic placement of melismas, cadences, and melodic repetition underlined words and images that were central to the text’s typological meaning or liturgical use. Finally, I have considered the relationship of the sacrificia to offertories in other liturgical traditions. Further reportorial, textual, and melodies parallels between Western chant repertories remain to be discovered and explored through similar methodologies.
Actas de conferencias sobre el tema "Melodic theme"
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Tsuchiya, Takahiko y Jason Freeman. "A Study of Exploratory Analysis in Melodic Sonification with Structural and Durational Time Scales". En The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.031.
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Melodic sonification is one of the most common methods of sonification: data modulates the pitch of an audio synthesizer over time. This simple sonification, however, still raises questions about how we listen to a melody and perceive the motions and patterns characterized by the underlying data. We argue that analytical listening to such melodies may focus on different ranges of the melody at different times and discover the pitch (and data) relationships gradually over time and after repeated listening. To examine such behaviors in real-time listening to a melodic sonification, we conducted a user study employing interactive time and pitch resolution controls for the user. The study also examines the relationships of these changing time and pitch resolutions to perceived musicality. The results indicate a stronger general relationship between the time progression and the use of time-resolution control to analyze data characteristics, while the pitch resolution controls tend to have more correlation with subjective perceptions of musicality.
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Gomes, Cláudio, Josue Da Silva, Marco Leal y Thiago Nascimento. "3A: mAchine learning Algorithm Applied to emotions in melodies". En Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10450.
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At every moment, innumerable emotions can indicate and provide questions about daily attitudes. These emotions can interfere or stimulate different goals. Whether in school, home or social life, the environment increases the itinerant part of the process of attitudes. The musician is also passive of these emotions and incorporates them into his compositions for various reasons. Thus, the musical composition has innumerable sources, for example, academic formation, experiences, influences and perceptions of the musical scene. In this way, this work develops the mAchine learning Algorithm Applied to emotions in melodies (3A). The 3A recognizes the musician’s melodies in real time to generate accompaniment melody. As input, The 3A used MIDI data from a synthesizer to generate accompanying MIDI output or sound file by the programming language Chuck. Initially in this work, it is using the Gregorian modes for each intention of composition. In case, the musician changes the mode or tone, the 3A has an adaptation to continuing the musical sequence. Currently, The 3A uses artificial neural networks to predict and adapt melodies. It started from mathematical series for the formation of melodies that present interesting results for both mathematicians and musicians.
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M. Alagrami, Ali y Maged M. Eljazzar. "SMARTAJWEED Automatic Recognition of Arabic Quranic Recitation Rules". En 6th International Conference on Computer Science, Engineering And Applications (CSEA 2020). AIRCC Publishing Corporation, 2020. http://dx.doi.org/10.5121/csit.2020.101812.
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Tajweed is a set of rules to read the Quran in a correct Pronunciation of the letters with all its Qualities, while Reciting the Quran. which means you have to give every letter in the Quran its due of characteristics and apply it to this particular letter in this specific situation while reading, which may differ in other times. These characteristics include melodic rules, like where to stop and for how long, when to merge two letters in pronunciation or when to stretch some, or even when to put more strength on some letters over other. Most of the papers focus mainly on the main recitation rules and the pronunciation but not (Ahkam AL Tajweed) which give different rhythm and different melody to the pronunciation with every different rule of (Tajweed). Which is also considered very important and essential in Reading the Quran as it can give different meanings to the words. In this paper we discuss in detail full system for automatic recognition of Quran Recitation Rules (Tajweed) by using support vector machine and threshold scoring system.
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Kersalé, Patrick. "At the Origin of the Khmer Melodic Percussion Ensembles or “From Spoken to Gestured Language”". En GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-5.
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Frescoes representing melodic percussion orchestras have recently appeared in the central sanctuary of the Angkor Wat temple. They prefigure two orchestras existing today in Cambodia: the pin peat and the kantoam ming. These two ensembles are respectively related to Theravada Buddhism ceremonies and funerary rituals in the Siem Reap area. They represent a revolution in the field of music because of their acoustic richness and their sound power, supplanting the old Angkorian string orchestras. This project analyzes in detail the composition of the fresco sets and establishes a link with the structure of Khmer melodic percussion orchestras. The analysis of some graphic details, related to other frescoes and bas-reliefs of Angkor Wat, also makes it possible to propose a dating. The study embodies one of an anthropological ethnomusicology, while also incorporating a discourse analysis, so to frame the uncovering of new historiographers of music and instrumentation, so to re describe musical discourses, more so to shed new light on melodic percussion of Angkorian music.
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Middleton, Jonathan, Jaakko Hakulinen, Katariina Tiitinen, Juho Hella, Tuuli Keskinen, Pertti Huuskonen, Juhani Linna, Markku Turunen, Mounia Ziat y Roope Raisamo. "Sonification with Musical Characteristics: A Path Guided by User-Engagement". En The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.006.
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Sonification with musical characteristics can engage users, and this dynamic carries value as a mediator between data and human perception, analysis, and interpretation. A user engagement study has been designed to measure engagement levels from conditions within primarily melodic, rhythmic, and chordal contexts. This paper reports findings from the melodic portion of the study, and states the challenges of using musical characteristics in sonifications via the perspective of form and function – a long standing debate in Human-Computer Interaction. These results can guide the design of more complex sonifications of multivariable data suitable for real life use.
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Dzhumanova, Lola. "The melodic dictation in the traditions of Russian music education". En HEAd'16 - International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/head16.2016.2576.
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In Russia solfeggio became an academic subject at the time of foundation of Saint-Petersburg and Moscow conservatories. Coming from Western Europe, in Russia solfeggio gained its own traditions of teaching. There were established three main activities – vocal and intonation exercises, hearing analysis and dictation. They were defined by the scientist of the ХХth century – professor of Moscow Conservatory I.V. Sposobin.It is a melodic dictation that became a comprehensive model for the development of prospect musicians’ skills. The reason is in the combination of various tasks, such as the ability to hear, realize, memorize and record a relatively complete musical part based on a certain number of replays. Over the years of evolution in the Russian teaching school the dictation obtained logical representation, enabling to teach and perceive music, tonal and atonal. The same dictation significantly differs in the Russian tradition from its French analogue.The report describes the evolution in the three-level system of music education, comparing it to the traditions of other countries.Key words: solfeggio, a melodic dictation, a comprehensive task, multilevel musical thinking.
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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training". En 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.
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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Dyer, John, Paul Stapleton y Matthew Rodger. "Sonification of Movement for Motor Skill Learning in a Novel Bimanual Task: Aesthetics and Retention Strategies". En The 22nd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2016. http://dx.doi.org/10.21785/icad2016.027.
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Here we report early results from an experiment designed to investigate the use of sonification for the learning of a novel perceptual-motor skill. We find that sonification which employs melody is more effective than a strategy which provides only bare timing information. We additionally show that it might be possible to ‘refresh’ learning after performance has waned following training - through passive listening to the sound that would be produced by perfect performance. Implications of these findings are discussed in terms of general motor performance enhancement and sonic feedback design.