Articles de revues sur le sujet « Composers (people in music) »
Pour voir les autres types de publications sur ce sujet consultez le lien suivant : Composers (people in music).
Créez une référence correcte selon les styles APA, MLA, Chicago, Harvard et plusieurs autres
Consultez les 50 meilleurs articles de revues pour votre recherche sur le sujet « Composers (people in music) ».
À côté de chaque source dans la liste de références il y a un bouton « Ajouter à la bibliographie ». Cliquez sur ce bouton, et nous générerons automatiquement la référence bibliographique pour la source choisie selon votre style de citation préféré : APA, MLA, Harvard, Vancouver, Chicago, etc.
Vous pouvez aussi télécharger le texte intégral de la publication scolaire au format pdf et consulter son résumé en ligne lorsque ces informations sont inclues dans les métadonnées.
Parcourez les articles de revues sur diverses disciplines et organisez correctement votre bibliographie.
1
Yaremchuk, Olena. « The Polystylistics of Svyatoslav Lunyov’s Paraliturgical Music ». NaUKMA Research Papers. History and Theory of Culture 6 (21 juin 2023) : 65–71. http://dx.doi.org/10.18523/2617-8907.2023.6.65-71.
Texte intégralRésumé :
Paraliturgical music is a sophisticated expression of the composer’s pure faith, acquired through knowledge of his craft in historical and technical progress. Many examples of sacred music have come down to us from the past, and most of them were in the territory of modern Ukraine, along with works by Russian composers that are still a priority in some churches. One way to rethink this topic is to study the work of Ukrainian composers, particularly in the context of paraliturgical music. One example is the work of contemporary Ukrainian composer Svyatoslav Lunyov. While many scholarly studies have been analyzing liturgical genres and music in the liturgy in various aspects, including canonical music and the work of S. Lunyov, the question of the place of the choral symphony “Strasna Sedmytsia” in the context of paraliturgical music remains unresolved. Due to its scientific novelty, the study of Lunyov’s choral symphony in the context of Ukrainian paraliturgical music became the subject of a special musical and cultural analysis for the first time. Since the beginning of the twenty-first century, the spiritual revival has become more and more important. The historical path of development of church culture, which was deliberately almost destroyed at the beginning of the last century, is being rehabilitated as a result of the establishment of church-state relations. Currently, sacred music is subject to very mixed opinions among scholars, composers, church leaders, philosophers, and people of different faiths. Music based on the canonical texts that form the basis of the church rite but interpreted by contemporary composers seems impossible to introduce into the service on an everyday level. Such music is defined as “paraliturgical.” Today, there are many different examples of music of this genre, as almost all academic composers turn to.
2
Babcock, David. « Korean Composers in Profile ». Tempo, no 192 (avril 1995) : 15–21. http://dx.doi.org/10.1017/s0040298200004071.
Texte intégralRésumé :
Ancient, ornately carved palaces in the midst of a megalopolis, the spirituality of delicate green Koryo celadon, an archaic traditional music as pungent (and delicious) as kimchi – once experienced, never forgotten. Add to these the city of Kyongju, called the ‘museum without walls’, the many reminders of a long history of suffering under Japanese oppression and the uninterrupted excellence of its poetry and visual arts, and one begins to feel Korea's special quality. The country is prosperous; education in all fields, including the arts, is given high priority. Contemporary life is vibrant and intense; the people possess a seemingly boundless capacity for hard work as well as for celebration, festivity, ceremony and mourning – and for music-making. Hardly surprising, then, that the compositional scene in the Republic of South Korea is booming, to say the least.
3
Cameron, Catherine M. « Fighting with Words : American Composers' Commentary on Their Work ». Comparative Studies in Society and History 27, no 3 (juillet 1985) : 430–60. http://dx.doi.org/10.1017/s0010417500011518.
Texte intégralRésumé :
In the past few decades, there has been an explosion of literature concerning the changes taking place in American art music. In many cases, this literature is the work of the very people who are making those changes, the composers of new music. Much of their commentary is written in a manifesto style reminiscent of avant-garde movements of the early twentieth century. The dominant topic concerns the changes composers feel are needed to revolutionize American music.
4
Strenacikova Sr., Maria, et Maria Strenacikova Jr. « Slovak music culture and music professions during Classicism era ». ICONI, no 1 (2021) : 68–74. http://dx.doi.org/10.33779/2658-4824.2021.1.068-074.
Texte intégralRésumé :
The Classicist period in Slovakia developed between 1760 and 1830. At that time Slovakia was a part of the territory of the Hungary. Musical culture during the reign of Maria Theresa, Joseph II and Francis I evolved in three stages under the infl uence of the European musical tradition and contacts with foreign composers from Austria, Germany and Czechia. People could listen to all sorts of music in opera houses, concert halls, noblemen’s courts, petty bourgeois salons and in the countryside. Musical professions in Slovakia were comparable with those in Central Europe. Musicians’ jobs included those of performers, composers, teachers, writers, theoreticians and organizers of cultural life. Usually, one person held two or more of these positions. Composers wrote works which were performed at various occasions. Music teachers taught at state-run music schools, pedagogical colleges and parochial schools. Manufacturers of musical instruments created a number of new instruments, especially wind instruments, violins and organs, many of which were regarded as being highly signifi cant throughout Europe.
5
Mehr, Norman, et Lu Elrod. « Two ! Four ! Six ! Eight ! How do we Appreciate ? Music Appreciation – Perceiving it, Understanding it ». British Journal of Music Education 3, no 2 (juillet 1986) : 129–33. http://dx.doi.org/10.1017/s0265051700005271.
Texte intégralRésumé :
An accountable program of elementary classroom music must have an educational function. In other words, it must perform an educational service. This involves more than the singing of songs or the attempt to hold the interest of children with ‘fun’ activities.The educational assumption behind most elementary classroom music programs is that the children through their musical experiences in the classroom will somehow learn to ‘appreciate’ music. The term ‘appreciate’, however, is vague and means different things to different people. Does it mean that children will learn to love the music of the masters by listening to great music on recordings and being told stories about the meaning of the music and the lives of composers? Does appreciating music mean identifying instruments and labeling the form? Does it mean identifying the composer and the period of the music from hearing it? Does it mean naming a certain number of composers and a certain number of the works of each? Does it have anything to do with preference for and liking of the music of the masters?
6
Guo, Shaoying, et Mengqi Shao. « The Composer-Philosopher as a Key Figure of Musical Aesthetics (by the Example of Tchaikovsky’s Spiritual Endeavor) ». Problemy muzykal'noi nauki / Music Scholarship, no 3 (2023) : 35–46. http://dx.doi.org/10.56620/2782-3598.2023.3.035-046.
Texte intégralRésumé :
The focus of the authors’ scholarly interest is turned to composers-philosophers and philosophers-composers as the crucial figures of musical aesthetics realized in the space of phenomenology. The attention bestowed on such artists makes it possible to approach the understanding of music as an endeavor of transcending, which forms by itself the highest value. Neglecting the latter in the process of mastery of the art of music leads people to “one-dimensionality,” making them admittedly on the decline. When immersing in the inner world of the composer-philosopher or the philosopher-composer, the recipient, essentially, studies the depths of his or her own self, actualizing the dialogue of the artist and the valuator. The criteria for the genuine character of such a dialogue is formed particularly by the process of transcending, under the sign of which music appears in the guise of a meta-philosophical genre. When mastering the dialectics of being realized by musical means of expression, the human being acquires a unity of essence and existence. The authors turn to the personality of Piotr Ilyich Tchaikovsky, considering it appropriate to examine him as a composer-philosopher. Constructing a system of argumentation, they turn their attention towards the great musician’s reading circle, his cultural preferences and antipathies, his students, who manifested themselves in the sphere of philosophical knowledge and in the sphere of the art of music, as well as the musical compositions which have reflected the master’s philosophical ideas. In conclusion, it is emphasized that the study of the musical legacy of the composers-philosophers and the philosophers-composers would help overcome the discontinuity between life and art, when music, remaining aside from the everyday realities experienced by the human being, turn out to be incapable of inspiring him to spiritual wakefulness. As a result, its mission is narrowed down to adornment of everyday life, which inevitably leads to the primitivization of music itself and of the individuals consuming it. Turning to the experience of being of the composers-philosophers would make it possible to overcome this vicious circle.
7
Zhang, Shuang. « Feasibility of Music Composition Using Deep Learning-Based Quality Classification Models ». Wireless Communications and Mobile Computing 2022 (26 mai 2022) : 1–9. http://dx.doi.org/10.1155/2022/8123671.
Texte intégralRésumé :
Polyphonic music technique is the foundation of students’ understanding of musical works. The mastery of polyphonic music techniques enables students to better understand the meaning of musical works and get in touch with the soul of music. Hence, teaching polyphonic music is a compulsory course for composition theory. In the past, all the concepts taught in the composition theory class included the use of the main key, and the minimal amount of polyphonic music works was covered. Also, even if students encountered polyphonic music, a brief inclusion of the same would be included in teaching, creating difficulties for the students to understand polyphonic music well. Intelligent music composition, however, refers to a formalized process that allows the composer to create music with the help of a computer, ensuring minimal human intervention. With the popularity of the Internet and the rapid development of multimedia technology, the majority of the users now use online music applications. Therefore, the need to automatically organize and manage the huge amount of music data effectively has evolved. Studying intelligent music composition helps to understand and simulate the way of thinking of composers in making compositions. It also helps to assist composers in making music, in addition to entertaining people. Considering the aforementioned, the present paper uses a deep learning-based quality classification model for music composition feasibility. The experimental results show that the algorithm has the advantages of fast detection speed and high quality. It helps composers to compose music, greatly reduces the workload, and also ensures certain promotion value.
8
Ibragimov, Abdupatto Ahmadjonovich, Konstantin Konstantinovich Shalankov et Fatima Yaqubjon Kizi Jumanazarova. « THE PEDAGOGICAL SIGNIFICANCE OF THE WORK OF MODERN UZBEK COMPOSERS ». CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no 12 (1 décembre 2021) : 77–81. http://dx.doi.org/10.37547/pedagogics-crjp-02-12-16.
Texte intégralRésumé :
The development of culture and art in our society is based on specific trends. In this regard, music culture has entered an important stage of development, which contributes to the growth of spiritual and cultural consciousness of the people. earns. The teacher-student tradition is unique to our nation and is still used in practice by many master artists.
9
Odunuga, Adeola Funmilayo, et Isaac Yekini-Ajenifuja. « Social Transformation of Africa through Music : The Nigerian experience ». Journal of Educational and Social Research 8, no 2 (1 mai 2018) : 109–14. http://dx.doi.org/10.2478/jesr-2018-0021.
Texte intégralRésumé :
Abstract Music has been found to be an instrument used in transforming lives because of its effectiveness as an agent and medium of transmitting information to the populace. It is used to pass crucial information, impart knowledge, soothe emotions, and affect lives. Music affects the ways and manner of its hearers positively and negatively, hence, it is expedient that people get right information through a good channel and medium. Music composers, performers and producers should be careful of what is composed and performed in order to achieve the desired result. This paper seeks to enlighten music composers and producers on the need to judiciously use music as an instrument of transformation in Africa and other world cultures. The use and effect of music on human being was traced from antiquity to date through library sources. It discovers that some of the recent music composition and performance in Nigeria and some other world cultures are not good enough for consumption. It recommends a viable music teacher education that will impart adequate knowledge on the music teacher trainee which will in turn transforms the music consumers.
10
K, Nagendran. « Urisol That Conveys Musical Meaning in the Purananuru ». International Research Journal of Tamil 4, SPL 2 (28 février 2022) : 321–28. http://dx.doi.org/10.34256/irjt22s250.
Texte intégralRésumé :
In the middle of this century, Tamil isai Renaissance was achieved and tamil isai sangathar brought in a number of musical instruments. Tamil people are innisai of their pandai Yazh. Music in Tamil isai Sangam is the music of Pandai Yazh. Music research was conducted at the Tamil isai Sangam and music tamil scholars and composers gathered. From the grammars they had learned, they spoke of the handkerchief, the sleep, and the sound. Tamil is composed by all tamil people and tamil is played by tamil artist nall isai. The aim is not to tell the passionate history of the Tamil isai Renaissance. There is a feeling that the word music is given in the sense of music. But the history of the word music is remarkable. It provides not one thing but many things. Its appearance is also delicious and the aim here is to explain them.
11
Boddie, Susan. « Cultural Awareness Through Music Study : Fostering Diversity, Equity, and Inclusion in Higher Education Vocal Music Curriculum ». International Journal on Engineering, Science and Technology 5, no 2 (6 septembre 2023) : 161–75. http://dx.doi.org/10.46328/ijonest.166.
Texte intégralRésumé :
The educational research study explored ways to bring history into musical art fostering a deeper attentiveness to diversity, equity, and inclusivity in higher education music studies in North America. It explored the historic narrative of the Indigenous Beothuk people of Newfoundland and Labrador, Canada through music. The study focused on the opera Shanawdithit by Canadian composer Dean Burry, and Indigenous Canadian librettist, Yvette Nolan as an example of how music curriculum can be reconsidered and reimagined. The anthropological and archeological history of the Indigenous Beothuk people - as was taught in Canadian history was filtered through a Western European lens. The musical work reconceptualized the story of Shanawdithit - considered the last of the Beothuk people in Newfoundland and was told from an Indigenous perspective. As well, other notable works by Canadian Indigenous will be presented in this study. As both Canada and the United States explore Indigenous reconciliation, bringing works of underrepresented composers to higher education music study and performance offers a means to foster DEI and more cultural awareness in North American arts curriculum.
12
Graebner, Werner. « Whose music ? The songs of Remmy Ongala and Orchestra Super Matimila ». Popular Music 8, no 3 (octobre 1989) : 243–58. http://dx.doi.org/10.1017/s0261143000003548.
Texte intégralRésumé :
In his song ‘Asili ya Muziki’ (‘The Roots of Music’) Remmy Ongala, one of the most prolific singers/composers in Tanzanian music, discusses the complex and ambiguous position of music and musicians. In Tanzania musicians are commonly considered to be wahuni, i.e. vagabonds, drunkards, drugtakers, while their music, is enjoyed by the same people who call them these names.
13
BEAL, AMY C. « “Why We Sing” : David Mahler's Communities ». Journal of the Society for American Music 7, no 1 (février 2013) : 1–28. http://dx.doi.org/10.1017/s1752196312000466.
Texte intégralRésumé :
AbstractAmerican composer David Mahler (b. 1944) has nurtured a career that is independent, diverse, and hard to classify. Democratic, inclusive, and community oriented, Mahler thinks deeply about sound in specific environments, and how music gets made, both by amateurs and professionals. Mahler's work is thus integrally connected to places, to the people in them, and to the songs those people sing. He is influenced and inspired by U.S. traditions of band music arrangements, the ragtime of Joseph Lamb, the songs of Stephen Foster, the bitonality of Charles Ives, the simple harmonic motion of classic minimalism, and the indeterminacy of John Cage. His teachers included Harold Budd, Morton Subotnick, and James Tenney, and he has been an important influence on many composers of his generation, including Michael Byron, Peter Garland, Larry Polansky, Thom Miller, and Stuart Dempster. Defining himself as a “Listener-in-Residence,” he has composed, performed, taught, organized, and directed, all while remaining almost completely unaffiliated with academic institutions. This article provides a portrait of Mahler's career in the context of the communities that have shaped his work and explores how his music responds to the world around him.
14
McKay, Belinda. « A State of Harmony ? Music in the Deep North ». Queensland Review 5, no 1 (mai 1998) : 1–16. http://dx.doi.org/10.1017/s1321816600001665.
Texte intégralRésumé :
The subject of this paper is music in Queensland, rather than Queensland music. Although we speak readily enough, and unselfconsciously, about Queensland literature or Queensland art, the idea of ‘Queensland music’ (suggesting that there is something distinctive about music composed here) sits uncomfortably to those of us who are not Queensland composers-and even to some who are. I will not be concerned in this paper with distinguishing between the original and the derivative in Queensland musical culture. Rather, I begin from the premise that Queenslanders — like people elsewhere — have developed a unique set of cultural interactions with music, reflecting our particular history and social conditions. In this understanding of music, performance has as much social and cultural significance as composition.
15
Sema, Daniel. « REHARMONISASI ». Jurnal Abdiel : Khazanah Pemikiran Teologi, Pendidikan Agama Kristen, dan Musik Gereja 1, no 01 (17 avril 2017) : 99–117. http://dx.doi.org/10.37368/ja.v1i01.89.
Texte intégralRésumé :
When reharmonizing a tune,one gives the melody new color by changing its underlying harmony, that is, the melody remains but the mood of the song changes. Reharmonizing melody is already known since long time. There are also composers who arranged earlier composers’s tunes with the aim to commemorate his works or that tunes sound fresher for listeners today. The commercialization of popular music brought with it an exponential increase in the number of people listening music of all kinds, in dance halls and nightclubs as well as on radio and on recordings. In this atmosphere of popularization, old music has had to struggle for survival. It seems reharmonization is an effort to meet listeners’s taste of music.
16
Pedro, Matheus Kahakura Franco, Francisco Manoel Branco Germiniani et Hélio A. G. Teive. « Neurosyphilis and classical music : the great composers and “The Great Imitator” ». Arquivos de Neuro-Psiquiatria 76, no 11 (novembre 2018) : 791–94. http://dx.doi.org/10.1590/0004-282x20180122.
Texte intégralRésumé :
ABSTRACT Throughout history, neurosyphilis has victimized many people, including classical composers, with a wide range of clinical presentations. Methods: Six articles with descriptions of composers with possible neurosyphilis were reviewed. Results: Neurosyphilis is a possible diagnosis for composers like Beethoven, whose progressive hearing loss influenced his career, culminating in complete deafness. In his autopsy, cochlear nerve atrophy and cochlear inflammation were described. Donizetti developed behavioral changes, as well as headaches, general paresis and seizures. Both Schumann and Wolf suffered from personality changes, persecutory delusions and general paresis. Joplin and Delius also had symptoms attributed to syphilis. Autopsy findings confirmed the diagnosis of Smetana, who developed dementia, deafness and auditory hallucinations with rapid progression. His tinnitus was musically represented in his first String Quartet. Conclusion: Neurosyphilis victimized several notorious composers. It can be argued that neurosyphilis was a major source of inspiration as well, being responsible for the genesis of musical masterpieces.
17
Vandagriff, Rachel S. « Perspectives and the Patron : Paul Fromm, Benjamin Boretz and Perspectives of New Music ». Journal of the Royal Musical Association 142, no 2 (2017) : 327–65. http://dx.doi.org/10.1080/02690403.2017.1361175.
Texte intégralRésumé :
ABSTRACTOne of the less studied aspects of post-war musical life is private sponsorship of American modernist composers, such as that by the Fromm Music Foundation (FMF) established in 1952. Using unpublished letters and documents from the FMF archives at Harvard and interviews with people who worked with the founder, Paul Fromm, this article discusses how Fromm's involvement in his foundation led to ventures that were influential on the development of American contemporary music and its relationship to academia. Unlike the Ford or Rockefeller foundations, Fromm sought the role of patron, fostering close relationships with composers and accepting their advice. Yet composers in Fromm's network often had aesthetic visions that were different from his. This article discusses Fromm's sponsorship of the Princeton Seminar in Advanced Musical Studies and the journal Perspectives of New Music, and how the different, complex and contradictory visions held by Fromm and his advisers were representative of those in the larger American music scene.
18
Fei, Qinqian. « Soundtrack in British Wartime Propaganda Films : How Does It Cultivate National Character and Inspire People ? » Journal of Research in Social Science and Humanities 2, no 4 (avril 2023) : 25–30. http://dx.doi.org/10.56397/jrssh.2023.04.03.
Texte intégralRésumé :
This paper describes the important propaganda role played by British composers and their music (soundtrack) in wartime propaganda films in order to boost the morale of British soldiers and people’s patriotism, mostly in the historical context of the Elizabethan period, the Napoleonic Wars and the mid-twentieth century. The methodology used in this study was based on a qualitative approach: documentary analysis, using the relevant literature searched for to analyse the information and draw conclusions. Details about the following information were obtained by the author: the findings showed that, firstly, most orchestral-based scores are used because only orchestral music can express a majestic atmosphere and give images of victory and triumph; secondly, in terms of harmonic structure, tonality and orchestration, most use major keys, eighth and sixteenth notes, and some historical instruments to evoke and conform to historical memories of the war scenes. In the end, the aim of all composers’ scores is to have a positive effect by inspiring patriotism in Britain with music that is fanfare.
19
Griffiths, Austin. « Playing the white man’s tune : inclusion in elite classical music education ». British Journal of Music Education 37, no 1 (26 novembre 2019) : 55–70. http://dx.doi.org/10.1017/s0265051719000391.
Texte intégralRésumé :
AbstractThis study examined the nature of inclusion for female and black and minority ethnic (BME) young people in elite-level classical music in England. By contrasting the numbers of female and BME students taking part in elite youth orchestras and music schools with the representation of female and BME compositions in the professional classical music repertoire, the study asked whether female and BME inclusion was limited to participation as performers or whether it included adequate representation in terms of the music performed. The survey analysed 4897 pieces from 681 composers drawn from the 2017/18 concert seasons of 10 major English orchestras, 1 week’s play lists from two classical music radio broadcasters and the programmes from the last four London Promenade seasons. The study found that female and BME students were well represented in elite music education, but they were very poorly represented in the professional repertoire, where 99% of performed pieces were by white composers and 98% by male composers. Applying Bourdieu’s concepts of doxa and illusio, the study concluded that inclusion in classical music in England allowed female and BME musicians to play, but structures in the field maintained a repertoire that continues to be white and male and does not recognise the contributions of female and BME composers. This suggests that inclusion for female and BME musicians is limited and the field continues to promote white and male dominance in its cultural values.
20
Cooper, John Michael. « People of color Who Write Classical Music : Recovering “Lost” Music by Black Composers as Resistance and Revolution ». Black History Bulletin 82, no 1 (2019) : 20–27. http://dx.doi.org/10.1353/bhb.2019.0007.
Texte intégral
21
Totan, Virðinia, et Petruța-Maria Coroiu. « Stylistic Correlations Between Serbian and European Music in the 20th Century ». Studia Universitatis Babeş-Bolyai Musica 69, no 1 (10 juin 2024) : 221–28. http://dx.doi.org/10.24193/subbmusica.2024.1.16.
Texte intégralRésumé :
The Serbian musical culture was put late into connection with the European one. The fact that the first piano was introduced in Serbia in 1824 indicates that cultivating Serbian music was not possible under the Turkish domination. The spread of Serbian music in Europe made it possible to publish compositions by foreign authors and Serbian composers, which drew attention to the themes of Serbian music. The compositions were printed and published in Leipzig, Vienna, Prague, Paris, Budapest, London. The tours abroad performed by Serbian choirs and soloists popularized Serbian songs all over Europe. In the first half of the 20th century, almost 80 European composers wrote works with Serbian influences. Most of the foreign composers, especially those who lived and created among Serbians, embraced the mentality and cultural and musical needs of a people whose melodic essence they tapped into, using Serbian musical themes in their compositions. Keywords: Serbian, composition, modernity, relations, influences.
22
Moscovich, Viviana. « French Spectral Music : an Introduction ». Tempo, no 200 (avril 1997) : 21–28. http://dx.doi.org/10.1017/s0040298200048403.
Texte intégralRésumé :
The composers belonging to what would later be called the ‘spectral music movement’ started their careers in an unstable political period in France. Between 1962 and 1974, under the presidency of Charles de Gaulle and Georges Pompidou, France (the 5th Republic) was what we can call a ‘Gaullist Republic’. But in the middle of the 1960s the economic policy of the government aroused the hostility of the French people. The ‘Stabilization Plan’ of 1963 induced unemployment for the first time since 1945, and the authoritarian character of a government which, in 1967, legislated in the form of ordonnances, turned the people against the presidential policy in every domain.
23
Wang, Qiaochu. « Comparing the two Operas of Rossini and Beethoven : "La Donna Del Lago" and "Fidelio" ». Journal of Education, Humanities and Social Sciences 35 (4 juillet 2024) : 647–51. http://dx.doi.org/10.54097/8qgfwa07.
Texte intégralRésumé :
The virtuosic characteristics of Rossini's works and the philosophical characteristics of Beethoven's works have both made significant contributions to the world of music. In the field of musicology and music theory, Rossini’s operas have already been analyzed by many scholers. However, the number of people analyzing Beethoven's only opera is few. Comparing and analyzing the operas of these two composers together is even rarer. This article focuses the operas La Donna Del Lago and Fidelio from the perspectives of historical backgrounds, music and theatrical analysis. It also briefly analyzed the heroic image of the female protagonists in the two operas. Furthermore, a comparative analysis was conducted on the two arias "Tanti affetti" and "O wär' ich schon mit dir vereint" in these two operas. From music and theathre perspective, the auther investigates the charateristics of these two composers in their opreatic works.
24
Howe Jr., Hubert. « 19-Tone Theory and Applications ». ICONI, no 4 (2020) : 81–99. http://dx.doi.org/10.33779/2658-4824.2020.4.081-099.
Texte intégralRésumé :
Microtonal music is one of those subjects that has always been around, but few people have ever had the will to investigate it thoroughly. The main reason why more people have not dealt with microtonal music is that there are almost no instruments that allow composers to experiment with it. In spite of all this, the music of many cultures even at the present time employs non-equaltempered scales, and even Western music did until the eighteenth century, when mathematicians worked out the logarithmic basis of equal temperament. In this article, the author explains how he became interested in 19-tone equal temperament and how he explored the possible resources available in such a system. This involves creating a chord grammar based on similarity relationships, similar to what he has used in his music written in 12-tone equal temperament. Through these considerations he discovered a particular set of chords that have special properties in terms of their interval content, number of transpositions, and relationships to other chords. Finally, the author explains how he used these properties in the music he composed in this temperament.
25
Titarov, Mykhailo. « Clarinet Quintet and the Legacy of the Mannheim Chapel Composers ». ARTISTIC CULTURE. TOPICAL ISSUES, no 19(1) (13 juin 2023) : 181–85. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283147.
Texte intégralRésumé :
The paper considers the processes of establishment of the clarinet quintet genre in the instrumental chamber music of the composers of the Mannheim chapel. It is noted that the Mannheim chapel was one of the first in Europe to employ clarinetists on a permanent basis. This contributed to the formation of a double composition of the orchestra and the emergence of a solo-ensemble repertoire for the clarinet in the genre of a solo instrumental concerto and in chamber music. It was discovered that the clarinet entered the chamber music of the people of Mannheim as an instrument that could replace the first violin, so the genres of trio and quartet for clarinet and string instruments became the most popular. In the ensembles with a larger number of participants, the search for optimal performing compositions continued. One of them was a quintet for clarinet, two violins, viola, and cello. It required independence of all parts and did not allow the interchangeability of clarinet and violin. Individual works were written for this composition, one of them isin the pieces byC. Stamitz. It isindicated that the connection between composers and clarinetists appeared for the first time in the legacy of Mannheim school. A conclusion is made about the influence of chamber music with the participation of clarinet representatives of the Mannheim chapel on the genre and style priorities of W.A. Mozart, whose works include a clarinet quintet (1789).
26
Kabdurakhmanova, Luiza. « Three Generations Of Women-Composers In Uzbekistan ». Eurasian music science journal, no 1 (10 juin 2021) : 75–85. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_1/54.
Texte intégralRésumé :
The years of independence have been given to the musical art, and in particular to the piano creativity of the composers of Uzbekistan to realize the richest potential of spiritual and creative opportunities, to deeply understand their past, national culture, to open its potential in the context of cultural and spiritual renewal.
This article is devoted to the problem of gender equality in Uzbekistan on the example of women music artists, despite the small percentage of female composers.
From the first day of independence, the composers actively joined the process of spiritual revival and growth of national self-consciousness, inspired by the spirit of faith in their own strengths, freedom of creativity, confident of the bright future of our country and our people.
This article examines the work of three women composers of Uzbekistan and their attempt to express through it their vision of the world.
27
Peacock, David. « Stages in the Development of Tonal Thinking in Compositions by Young Composers ». British Journal of Music Education 11, no 2 (juillet 1994) : 93–98. http://dx.doi.org/10.1017/s026505170000098x.
Texte intégralRésumé :
The increasing interest in children and young people as composers, as evidenced by the growing literature on the subject in recent years, has tended to overlook at least one important aspect of young composers' development: their sense of tonal thinking, its emergence and consolidation. This article traces these characteristics through the compositions of one boy, showing how he ‘progressed’ from pre-tonal operations to fully-established tonal procedures. The discussion of his development is deliberately limited to the examination of harmonic thinking, which manifests itself before long(er)-range tonal planning (in the form of tonality or key schemes) becomes a focus of concern.
28
Putri, Ni Made Ayu Dwara. « Karang Boma : Musical Composition Based on History, Painting and Kawi Dalang Art Creativity Theory ». Jurnal Seni Musik 11, no 1 (30 juin 2022) : 86–91. http://dx.doi.org/10.15294/jsm.v11i1.54280.
Texte intégralRésumé :
The emergence of experimental music is marked by the presence of the figure of John Cage in the 19th century which in music history is often referred to as the period of Modern Music. John Cage is a composer who is full of controversy because his works are experimental and out of the rules contained in music in previous eras such as baroque, classical and romantic eras. One of his most famous works is “4.33” this work is a piano piece complete with sheet music and performed live but the pianist does not play a single note, and only opens and closes the piano according to the direction of the sheet music. The presence of Cage's figure has inspired many people, especially myself. Inspired by experimental music composers, I decided to create a piece of music that combines music with Balinese painting called Karang Boma. This work will be realized in the form of sheet music and midi art. The method of creation used by the author in Karang Boma's musical works refers to the Panducita Subagaprana Theory, this theory is divided into four namely: Pandulame (imajination), Adicita (Idea), Subagalango (Art Compotition), and Pranayuga (External Trend/Tendency).
29
Acquah, Emmanuel O., John F. Annan et Godfred Sackey. « The Africanism in Two Selected Works of C.W.K Mereku : A Formalistic Viewpoint ». European Journal of Humanities and Social Sciences 2, no 3 (8 juin 2022) : 83–94. http://dx.doi.org/10.24018/ejsocial.2022.2.3.239.
Texte intégralRésumé :
The arrival of the Europeans in brought about formal education of the Western world into the then Gold Coast. In the area of Music, the Western theory of Musical practices were introduced and implemented. The introduction of the Western theory of musical practices deeply affected the early Ghanaian composers such that early compositions were in the framework of Western music education, which affected the use of indigenous Ghanaian cultural and traditional practices. However, in the spirit of nationalism, a crusade of Ghanaian indigenous music traditions was initiated in the early twentieth century by Ephraim Amu and it was supported by many composers who followed. Using Euba’s creative ethnomusicology as the underpinning theoretical framework, the writers seek to examine the composer, C.W.K Mereku, investigating into his academic biography. The study again appreciates Africanism through the formalist viewpoint of two of his works: Ghanamamma (People of Ghana) and Atentenata (Atenteben Sonata), exploring the Ghanaian traditional and indigenous elements, and how he used them in his compositions. This study uses purposive sampling method and focuses on interview and document analysis as instruments for data collection. The two compositions of the study reflect Mereku’s conscious usage of the Ghanaian indigenous elements as source materials to express his identity and the awareness of his thematic intercultural activities.
30
Cherkasov, Volodymyr. « Musical and Aesthetic Education of Children and Youth in the a Cross-Cultural Space of the Republic of Malta ». Musical art in the educological discourse, no 8 (2024) : 30–35. http://dx.doi.org/10.28925/2518-766x.2023.85.
Texte intégralRésumé :
The article attempts to investigate and generalize the experience of musical and aesthetic education, the organization of general musical education of children and youth in the cross- cultural environment of the Republic of Malta. On the basis of the analysis of the program material, the priority types of activities in the lessons and during the organization of extra curricular work on artistic and aesthetic education were considered. Particular attention is paid to vocal and choral work, study and performance of folk songs, as well as involving students in familiarizing themselves with the works of domestic and foreign composers, forming worldviews in children and young people by means of musical art. It has been proven that students are active and resourceful, independently find and present folk songs in lessons that they have heard performed by members of their families or acquaintances of the older generation. A dominant role in music lessons is played by listening to and analyzing the musical works of classical composers and studying the work of Maltese composers. Composers and their works are presented, which are included in music education programs.
31
Armstrong, Robin. « Time to Face the Music : Musical Colonization and Appropriation in Disney’s Moana ». Social Sciences 7, no 7 (13 juillet 2018) : 113. http://dx.doi.org/10.3390/socsci7070113.
Texte intégralRésumé :
Despite Disney’s presentation of Moana as a culturally accurate portrayal of Polynesian culture, the film suffers from Western ethnocentrism, specifically in its music. This assertion is at odds with marketing of Moana that emphasized respect for and consultation with Polynesians whose expertise was heralded to validate the film’s music as culturally authentic. While the composers do, in fact, use Polynesian musical traits, they frame the sounds that are unfamiliar within those that are familiar by wrapping them with Western musical characteristics. When the audience does hear Polynesian music throughout the film, the first and last sounds they hear are Western music, not Polynesian. As such, the audience hears Polynesian sounds meld into and then become the music that defines a typical American film. Thus, regardless of Disney’s employment of Polynesian musicians, the music of Moana remains in the rigid control of non-Polynesian American composers. Rather than break new ground, Moana illustrates a musical recapitulation of white men’s control and marketing of the representations of marginalized people. Moana’s music is subject to appropriation, an echo of how colonial resources were exploited in ways that prioritize benefits to cultural outsiders.
32
Chadburn, Leo. « Live from London : What's Changed and Why ». Tempo 70, no 277 (10 juin 2016) : 91–92. http://dx.doi.org/10.1017/s0040298216000073.
Texte intégralRésumé :
Gentrification, spiralling rent, economic inequality, traffic chaos – the people of London have come to dread what ‘change’ entails. However, I'm convinced that some things have changed for the better: today's ‘new music scene’ (which I identify as that populated by composers and performers of notated contemporary music, creative improvisers, their concerts, networks and ideas) is radiating a vibrancy that would have been unimaginable 15 years ago. I want to celebrate it.
33
Segall, Christopher. « Klingende Buchstaben ». Journal of Musicology 30, no 2 (2013) : 252–86. http://dx.doi.org/10.1525/jm.2013.30.2.252.
Texte intégralRésumé :
Many composers have incorporated monograms into their music, using pitch letters to spell out words and names. Alfred Schnittke's monogram technique pervades his works from the 1970s until the end of his career. He derived cryptograms from the names of performer-dedicatees, influential composers, and recently deceased friends, using a systematic procedure that accounts in some way for every possible letter in a given name. Although previous scholars have identified individual monograms in some works, the broader principles by which Schnittke generated and deployed his monograms had not been articulated until now. Many of Schnittke's monograms thus remained unidentified, and the ways in which they interact with twelve-tone technique had not been fully understood. Schnittke appropriated the well-known B–A–C–H and D–S–C–H monograms frequently, but other monograms appear in more than a dozen works. He derived monograms for Russian names from their German transliterations. Schnittke adhered to a principle of chromatic complementation, often integrating monograms into statements of the complete aggregate of twelve pitch classes. I interpret Schnittke’s monogram technique as a facet of the composer’s memorializing impulse, by which he sought to establish in his music the deep connections he felt to the past and the important people in his life.
34
Shevtsova, Olena, Vladyslav Tsarenko, Snizhana Kurkina, Petro Voloshyn et Tetiana Lisovska. « The importance of musical and aesthetic education of young people in modern society ». Revista Amazonia Investiga 12, no 61 (28 février 2023) : 51–60. http://dx.doi.org/10.34069/ai/2023.61.01.6.
Texte intégralRésumé :
The importance of musical and aesthetic education of young people to form their spiritual world in modern conditions of the information society is clarified. The approaches of scientists to understanding the phenomenon of "musical and aesthetic education" are generalized, which gives grounds to assert that this concept is: a component of the spiritual development of the individual, his artistic and emotional sphere, aesthetic attitude to the surrounding reality; a means of developing his musical abilities in the process of conscious perception of works of musical art and critical attitude to musical phenomena; a specially organized purposeful process of forming musical qualities and musical and aesthetic consciousness of the individual. The main purpose of musical education is to teach children to understand music by familiarizing children with folk music, works of great composers and organizing music circles where you can study musical literacy, music history, and learn to play musical instruments. It is proved that teenagers are the most susceptible to the influence of music, since they are passionate about listening to music and are included in performing musical activities, striving to improve melodic hearing, fret sense, develop harmonious hearing, auditory representations and musical abilities.
35
Picanussa, Branckly Egbert. « Template Khusus Untuk Menulis Notasi Angka : Modifikasi Fungsi Tools Program Aplikasi Musik Finale ». JURIKOM (Jurnal Riset Komputer) 7, no 1 (15 février 2020) : 169. http://dx.doi.org/10.30865/jurikom.v7i1.1981.
Texte intégralRésumé :
The numerical notation is one of musical notation which is very popular for most of the Indonesian people, especially composers or music practitioners who have not learned music in formal education. This article is one of the researches about tools modification of music application program of Finale to get a special template to write numerical notation. The method which is used in this research is action research. With this method, the researcher use Finale Music Program tools to get a special template to write numerical notation. The result of this research is a special template to write numerical notation.
36
Franchini, Cecilia. « 1. Simultaneo Ensemble – Bringing Our History Into the Future / A New Pedagogical Approach of Music-Making Developed from “Bottega Dell'arte” ». Review of Artistic Education 15, no 1 (1 mars 2018) : 7–12. http://dx.doi.org/10.2478/rae-2018-0001.
Texte intégralRésumé :
Abstract How much can contemporary artists and audiences learn from the past? The mission and activity of Simultaneo Ensemble - SIM - is presented. How SIM laboratory, grouping performers from the seven Music Academies of Veneto, encourages musicians to explore, perform and promote italian music composers and their works. This article will consider the relationship between research into historical concert programs and the creation of adventurous and compelling chamber music concerts for contemporary audiences. Learn how to enhance the position of chamber music activity trough projects that have suceeded in bringing people together toward common goals via the arts.
37
Kovnatskaya, Ludmila. « Shostakovich and the LASM ». Tempo, no 206 (octobre 1998) : 2–6. http://dx.doi.org/10.1017/s0040298200006665.
Texte intégralRésumé :
In the 1920s there were plenty of new opportunities for young composers to meet colleagues of all ages in the many circles, societies and associations which were then in existence. The most interesting, though short-lived of them was the Leningrad Association of Contemporary Music (LASM), which declared itself to be ‘a gathering of everyone connected with music today’. The Association was planned as a local branch of the International Society of Contemporary Music (ISCM) and of the central Moscow association. But in fact the LASM acted quite independently. Its founders were people who were already well-placed and even high-ranking in the country's musical life: the musicologists and critics Boris Asafyev (Igor Glebov), Vyacheslav Karatigin, Alexander Ossovsky and Andrey Rimsky-Korsakov, the composers Yuliya Weysberg, Alexander Zhitomirsky, Andrey Paschenko, Yuriy Tyulin, Maximilian Shteinberg, Lyubov Shtreikher-Bikhter and Vladimir Shcherbachev. Their first meeting took place on 15 April 1925 at the home of Rimsky-Korsakov and Weysberg.
38
Грінченко, Тетяна, et Ольга Клітинська. « Роль духовної музики у творчості українських композиторів ». Мистецтво в культурі сучасності : теорія та практика навчання, no 1 (30 octobre 2023) : 75–80. http://dx.doi.org/10.31652/3041-1009-2023(1)-10.
Texte intégralRésumé :
The article is devoted to consideration of the role of spiritual music in the work of Ukrainian composers and its influence on the development of musical culture in Ukraine. The essence of the concept of «sacred music» is revealed, various approaches of modern scientists to its definition are highlighted. The purpose of the article is to consider the role of spiritual music in the work of Ukrainian composers and its influence on the development of musical culture in Ukraine. There are several approaches to understanding the meaning of the concept of «sacred music»: is considered church music and is a mandatory part of Orthodox worship; as a means of cognition, a certain type of social and informational system that fulfills the polyfunctional nature of intersubjective interaction that forms the «artistic environment» of this system, as well as the personal qualities of a person that encourage him to know and develop his creative potential, giving priority to universal and artistic values. Despite different positions regarding the definition of the concept of «sacred music», researchers saw in it a significant potential for the education of the individual and his values. Turning to spiritual music, which is an asset and part of the people's culture, is necessary for the preservation of national traditions of moral and aesthetic education. Spiritual works influence the formation of national identity, encourage reflection on important life issues, and give depth and meaning to the musical world. The creativity of Ukrainian composers dedicated to spiritual music is a priceless treasure that must be supported and promoted both within Ukraine and beyond. It deserves proper recognition and dissemination to inspire and strengthen the spirituality of people around the world.
39
BODURIAN, Agota. « The evolution of Armenian liturgical music ». Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no 1 (20 juin 2020) : 39–48. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.4.
Texte intégralRésumé :
"The purpose of this paper is to briefly outline the evolution of Armenian music, from Antiquity to the nineteenth century. The troubled history of the Armenian people defines to a great extent the way the arts have developed, and also the way that vast and rich culture that characterizes the Armenian people, spread throughout the world, has formed. Starting from the earliest roots of music, our study follows the path of the different secular and liturgical genres, which developed in close correlation over the centuries. The paper presents the local traditions and the influences of the peoples with whom the Armenian people came in contact, the reciprocal receptive attitude, the cultural interpenetration that contributed to the development of the musical art. At the same time, we discuss some fragments / texts from the first songs that were preserved from the ancient times, as well as the troubadours of the Armenian Middle Age; we mention the most famous scholars and composers and to the founding of the first universities and present in a concise manner the first attempts of an Armenian music notation system. The paper - as mentioned before - presents only briefly this vast and very interestin g topic, and the in-depth study of the problem is to be carried out in the continuation of the doctoral studies."
40
Manning-Albert, Jacqui. « Beyond the Brochures : Training for Music Theatre ». Canadian Theatre Review 72 (septembre 1992) : 34–38. http://dx.doi.org/10.3138/ctr.72.007.
Texte intégralRésumé :
Music theatre training. It can be a studio in the mountains, where a group of music theatre artists are developing a new Canadian opera, with violinists on stage, scheduled to premiere in Cardiff, Wales. It can be a group of young people and veteran professionals, brushing up their song and dance, one day for a summer Las Vegas-style revue at a Georgian Bay resort, and the next day for a new musical by Cliff Jones. And music theatre training can be a group of writer-composers hiding away in school portables with their computers and synthesizers, writing and rewriting songs and scenes.
41
ALDEN, JANE. « Excavating Chansonniers : Musical Archaeology and the Search for Popular Song ». Journal of Musicology 25, no 1 (1 janvier 2008) : 46–87. http://dx.doi.org/10.1525/jm.2008.25.1.46.
Texte intégralRésumé :
What constitutes popular song? This seems an unlikely question to raise in connection with chansonniers copied in the Loire Valley during the later decades of the fifteenth century. But in fact it was a special preoccupation with France's popular musical heritage that led to the discovery in the nineteenth century of the largest two such manuscripts——the Laborde and Dijon Chansonniers. A government-sponsored search for materials emblematic of national identity was directly responsible, in 1857, for bringing the Laborde Chansonnier to light. Although this manuscript was deemed ““unable to qualify for the distinction of popularity,”” when the Dijon Chansonnier emerged——at approximately the same time——there was a scholarly consensus regarding its popular contents. Since ancient popular songs were believed to represent the indigenous heritage of the French people, the ““Frenchness”” of the songs unearthed was of paramount importance. But as many of the composers found in the Loire Valley chansonniers were born in areas under Burgundian control, their Frenchness was not self-evident. The earliest explorations of the formes fixes chanson repertory were made as part of the search for the true songs of the people. Later scholars rejected the idea that polyphonic art songs, composed by known individuals, could be part of a popular song tradition. But in focusing on the composers in these manuscripts, rather than the artifacts themselves, they divorced this repertory from its historical context. In the 1920s, a group of scholars working in Paris offered a broader approach, one that considered the manuscripts as art objects in their own right. The pioneering work of these scholars suggested a type of inquiry that remains relevant today.
42
Shen, Fuhong. « Analysis of the realization for emotion recognition based on machine learning ». Applied and Computational Engineering 68, no 1 (6 juin 2024) : 137–42. http://dx.doi.org/10.54254/2755-2721/68/20241415.
Texte intégralRésumé :
As a matter of fact, music emotion recognition based on machine learning has been a trend in recent years. This study describes the analysis of the realization for emotion recognition based on machine learning. In this paper, the study expresses some methods of analyzing the emotion of the music composition. The paper represents some classifier molds that enable us to determine the emotion of the music. It aims to provide readers with a deeper comprehension of the music and composers feelings and to know more about the background of the music. The study may let more people to improve their own ability to appreciate music, if this process has let great amounts of individuals known. It also allows people to have more awareness and feelings with more voices. In this paper, the research will also show some about the evolution and original of the synthesizer. Moreover, the study will go to illustrate this through scientific, real examples and personal experiences and pictures.
43
Krulikovska, Tetiana. « CREATION OF UKRAINIAN SONG MAKING IN CREATIVITY UKRAINIAN-POLISH COMPOSITORS PODILLYA OF THE XIX CENTURY (BASED ON THE CREATION OF ANTON KOTSYPINSKY, VICTOR ZENTARSKI AND VLADISLAV ZAREMBA) ». Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization : Art Studies, no 2 (23 mai 2023) : 33–42. http://dx.doi.org/10.25128/2411-3271.19.2.5.
Texte intégralRésumé :
The rich song heritage of the Ukrainian people, representing the spiritual treasures of the nation in the world cultural space, had a significant impact on the development of musical culture of the XIX century and the formation of leading music genres in Ukrainian music. The article explores the genre of processing Ukrainian folk songs in the works of Ukrainian composers of Polish origin of the XIX century Anton Kotsipinsky, Victor Zentarsky and Vladуslav Zaremba. The significance of the Ukrainian song as an important source in the formation of the creative heritage of the composers of Podillуa is considered, the main features of piano writing are described on the example of the processing of Ukrainian songs. So, a significant number of piano compositions by Ukrainian composers of Polish origin related to folklore indicate the depth of interest in folk song and dance sources, their relevance in the artistic worldview of artists and the shaping of interethnic relations in the art of this historical era. Special attention in the study is focused on the active composer transformation of Ukrainian song material in the genre of piano processing in the creations of composer and teacher of Polish descent Vladуslav Zaremba (1833–1902), who was born in Dunaevtsі, Podillya province. The piano heritage of Vladyslav Zaremba has its source almost exclusively in Ukrainian folk song, on the basis of which the national tradition of the folk song processing genre was formed. 18 creations by V. I. Zarembas are joined under a common name “Ukrainski melodii” are marked by lyricism and bright melody. The genre palette of folk songs addressed by Vladyslav Zaremba consists of: family and household – “V kintsi hrebli shumliat verby”, “Chy ya v luzi ne kalyna bula”, “Kozak vidizhdzhaie, divchynonka plache”; lirycal – “Oi ziidy, ziidy ty zironka ta vechirniaia”, “Sontse nyzenko, vechir blyzenko”; as well as cossack – “Hei-zhe vy khloptsi, slavni molodtsi”, burlatska – “Zibralysia vsi burlaky”. A separate group of piano works is composed of songs of literary origin: “Povii vitre na Vkrainu” (lyrics by S. Rudansky, music by L. Alexandrova), “Reve ta stohne Dnipr shyrokyi” (lyrics by T. Shevchenko, music by D. Kryzhanovsky), “Cherevykiv nemaie, a muzyka hraie, hraie, zhaliu zavdaie!” (lyrics by T. Shevchenko), “Stoit hora vysokaia” (lyrics by L. Glibova), “De hrim za horamy” (lyrics by M. Petrenko), belonging to the genre of the song romances. Featured piano works by V. Zaremba have the author’s designation for belonging to the “Dumky” genre. Among them – “Sontse nyzenko”, “Oi ziidy, ziidy ty zironka ta vechirniaia”, “Chy ya v luzi ne kalyna bula” and original piano works – “Dumka”, “Chant d'Ukraine” (“Pisnespiv z Ukrainy”). The fact that the Dumka genre spread in the estates of the Polish aristocracy and among Polish philistines since the 1820’s confirms the particular popularity of V. Zaremba’s piano works in domestic home and parlor music and emphasizes the manifestation of the romantic style of this era. Most of the composer’s treatments are presented in a coupled-variation form. The article outlines the leading role of Ukrainian song as an important source in the building of the composer’s piano heritage, analyzes the main techniques and varieties of the variational development of the main thematic material, traces the connection with folk and professional manners of musical material presentation, and also considers the features of the musical form, harmony and texture of piano treatments by Vladyslav Zaremba.
44
Bodurian, Agota. « Komitas – An Icon in Armenian Music ». Musicology Papers 35, no 1 (1 novembre 2020) : 82–92. http://dx.doi.org/10.47809/mp.2020.35.01.07.
Texte intégralRésumé :
Although the 150th anniversary of the birth of the great Armenian composer, Komitas – celebrated with great respect in Armenian communities everywhere – took place last year, we believe that the importance of the work of this icon in Armenian music deserves and must be mentioned in any period. The author of this study has been concerned with the issue of Armenian music for a long time. During the in-depth studies in the field, the conviction of the need to talk about Armenian music – very little known in Europe – and about its famous representatives, of which the most important was and still is Komitas, was strengthened. At the same time, studying the life and work of this outstanding composer, the similarity of his life and career with that of Bartók Béla, sometimes even surprising, arose several times, despite the great geographical distance that separated them. In this article we will try to briefly present the biography and creation of the great Komitas, as well as some parallel elements in terms of life, research and works of the two composers, musicologists and ethnographers. Belonging to the same generation of musicians, they dedicated their lives to collecting, researching and processing authentic folk music, being concerned not only with the folklore of their own nation, but also with the music of neighbouring peoples. The activity and research of the two present remarkable similarities, and through their compositional activity they both succeeded in opening new perspectives, decisive for their descendants, the generations of composers of the twentieth century.
45
TÜRKMENOĞLU, Ömer, et Gülay LAÇİN. « ‘OPERETTAS’ FROM THE OTTOMAN PERIOD TO THE PRESENT ». Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no 1 (15 avril 2021) : 313–33. http://dx.doi.org/10.46291/zfwt/130116.
Texte intégralRésumé :
We need to give information about the definition and historical process of “operetta” before starting this study titled “Operettas from the Ottoman period to the present”. Operetta was a term used for short and unpretentious operas in the eighteenth century. At the end of the nineteenth century, "operetta" was called "small opera" and "musical theater" as a stage work, born out of the comic opera genre, developed in Paris and Vienna, one of the cultural and artistic centers of Europe. The operettas, which explained fun and emotional subjects in a simple language and appealed to a wide audience, also had the satiric feature of the lower class. In the Nineteenth Century Ottoman Period, when the influence of westernization began to be seen, interest in western style music increased along with the developments in Turkish music. Western style music was initially adopted by the people around the palace and later by the public and began to be performed. During this period, operettas were staged by Italian groups, and operettas were written by Turkish composers using Turkish and Western music together in the last quarter of the 19th century. In operettas written, the musical and instrumental features of Turkish music were used together with the harmony of Western music, and works were tried to be written using two different structures together. In this study, the development of operetta from the Ottoman period to the present day, which emerged in line with the Westernization movement, was discussed. The operettas that were written in this period but were not supported by the conditions of that period, could not be completed and therefore were not performed and forgotten, and operettas that have survived to the present day and have the characteristics of Turkish Music have been identified according to the sources. "Arif's Hilesi", known as the first Turkish operetta written in the Ottoman period and composed by Dikran Çuhaciyan, and the "İstanbulname" operetta composed by Turgay Erdener, one of the last generation composers, were also examined. Keywords: Ottoman, Republic, Period, Turkish, Operetta
46
Mezentseva, Svetlana V. « The Russian Far East — China : Ways and Prospects of Interaction in Academic Musical Culture ». Observatory of Culture 18, no 4 (11 octobre 2021) : 366–76. http://dx.doi.org/10.25281/2072-3156-2021-18-4-366-376.
Texte intégralRésumé :
The article examines regional folklore as a field of interaction between academic musical culture in the Far East of Russia and China. The beginning of the systematic study of the academic musical culture of the Russian Far East is associated with the formation of the regional creative association of composers of the Far East (Union of Composers), which is succeeded today by the Far Eastern Branch of the Union of Composers of Russia. The article notes the multi-ethnicity of the region and the special role of the “dialogue of cultures” in the composers’ works. The author analyzes the culture of indigenous peoples and the East Slavic migratory culture of the Russian Far East, as well as the original culture of the countries of the Asia-Pacific region outside the Russian borders. There is highlighted the commonality of some features of the traditional Far Eastern folklore of Russia and China. The article considers the concept of “academic musical culture”, which includes the composers’ works successively connected with the foundations of Western European music formed in the period of the 17th—19th centuries, the composers’ works of the 20th century, including modern techniques, the musical performance, musical performance infrastructure, educational space and academic musicology.The paper highlights the composers of the region, the main focus of their work, the researchers of the academic musical culture of the region, whose works are significant in understanding the processes of development of modern national musical culture. The article covers the Chinese academic compositional works known in Russia, as well as the range of scientific interests of Russian researchers-orientalists and researchers of musical culture from China.There is recognized the need for cultural understanding of the stated problem through the study of academic music art, traditional music culture, music science, and music education. The author interprets the role of music and computer technologies in musical culture and education in the Far East of Russia and China as the most important component for interaction in the field of academic musical culture, focuses on the problems of informatization of modern music education.The article draws a conclusion about the unique experience of composing in China based on the traditional music of the Russian Far East. The pentatonic basis of Chinese music is especially distinguished as being close to the modal organization of the music of Far Eastern ethnic groups, which is also the basis of the folklore music of Russian Far Eastern composers. The author sees such a palatal proximity as a basis for the interaction of the cultures of the Far Eastern region. The article recognizes this aspect as important from the point of view of creating an integral multicultural space based on the principles of humanism.
47
Angeler, David G. « Biodiversity in Music Scores ». Challenges 11, no 1 (14 mai 2020) : 7. http://dx.doi.org/10.3390/challe11010007.
Texte intégralRésumé :
Nature has inspired music since the dawn of humankind and has contributed to the creation and development of music as an art form. However, attempts to use the science of nature (i.e., quantitative ecology) to inform music as a broader art-science system is comparatively underdeveloped. In this paper an approach from biodiversity assessments is borrowed to quantify structural diversity in music scores. The approach is analogous in its nature and considers notations with distinct pitches and duration as equivalents of species in ecosystems, measures within a score as equivalents of ecosystems, and the sum of measures (i.e., the entire score) as a landscape in which ecosystems are embedded. Structural diversity can be calculated at the level of measures (“alpha diversity”) and the entire score (“gamma diversity”). An additional metric can be derived that quantifies the structural differentiation between measures in a score (“beta diversity”). The approach is demonstrated using music scores that vary in complexity. The method seems particularly suitable for hypothesis testing to objectively identify many of the intricate phenomena in music. For instance, questions related to the variability within and between musical genres or among individual composers can be addressed. Another potential application is an assessment of ontogenetic structural variability in the works of composers during their lifetime. Such information can then be contrasted with other cultural, psychological, and historical variables, among others. This study shows the opportunities that music and ecology offer for interdisciplinary research to broaden our knowledge of complex systems of people and nature.
48
Шишлянникова, Нина Петровна. « MUSIC OF RUSSIAN COMPOSERS IN EDUCATION OF TEENAGERS AS PATRIOTS ». Pedagogical Review, no 6(46) (6 décembre 2022) : 114–21. http://dx.doi.org/10.23951/2307-6127-2022-6-114-121.
Texte intégralRésumé :
Рассмотрена проблема патриотического воспитания подростков в современных условиях информационной войны, направленной в том числе на подрастающее поколение. Отмечено деструктивное влияние потребительской субкультуры, доминирование псевдоискусства над истинным искусством и культурой, что приводит к деформации ценностных понятий об истине, добре и красоте, чувства патриотизма, любви к Отечеству. Обоснована ничем другим незаменимая роль искусства в патриотическом воспитании современных подростков, поскольку эмоционально-чувственный компонент (любовь к родине и ее народу, гордость за прошлые победы в борьбе за независимость, культурные достижения современности и привязанность к родным местам) является основным содержанием понятия «патриотизм» и произведений искусства. Музыка, соприкасаясь с тончайшими движениями человеческой души, ближе других видов искусства к самой сути возвышенного в природе, обществе, индивидуальной жизни человека. Приведены примеры реализации воспитательных возможностей произведений отечественных композиторов патриотической направленности (А. П. Бородина, Д. Д. Шостаковича, Г. В. Свиридова) студентами-музыкантами во время педагогической практики в общеобразовательной школе. Выбор произведений отражает разные периоды отечественной истории: от начала XII в. и до наших дней. Оправданность методических подходов в решении задач патриотического воспитания подростков на примере прослушивания и исполнения музыки отечественных композиторов подтверждена данными устного и письменного опроса учащихся 7-го класса, которые позволяют судить о достаточно высоком уровне их патриотической воспитанности на данном возрастном этапе развития. The article observes the problem of patriotic education of teenagers in modern condition of information war, which is also aimed at the younger generation. It marks the destructive influence of consumer subculture, domination of pseudo-art over true art and culture, which leads to deformation of value understanding about truth, kindness and beauty, sense of patriotism and love for Motherland. The irreplaceable role of art in the patriotic education of modern teenagers is substantiated by nothing else, since the emotional and sensual component (love for the motherland and its people, pride in past victories in the struggle for independence, cultural achievements of our time and attachment to native places) is the main content of the concept of «patriotism» and works of art. Music, in contact with the subtlest movements of the human soul, is closer than other forms of art to the very essence of the sublime in nature, society, and the individual life of a person. Examples of the realization of the educational possibilities of works by domestic composers of a patriotic orientation (A. P. Borodin, D. D. Shostakovich, G. V. Sviridov) by students-musicians during pedagogical practice in a comprehensive school are given. The choice of creations reflects different periods of Russian history: from XII century till our days. Justification of the methodical approaches in solving the problems of patriotic education of teenagers on the examples of listening and performance of the music of the Russian composers is confirmed by the data of oral and written interviews of 7th grade students, which allow us to estimate a fairly high level of their patriotic education at this age stage of development.
49
Baigaziev, Daniiar Talantbekovich, Alina Sultanbekovna Keldibekova, Nazgul Zulumbekovna Khabibullaeva, Cholpon Kaparovna Naimanova et Gulnura Kabylbekovna Dzhumalieva. « Perception of Kyrgyz music as a factor of motivation to a healthy lifestyle : Survey ». BIO Web of Conferences 120 (2024) : 01052. http://dx.doi.org/10.1051/bioconf/202412001052.
Texte intégralRésumé :
The aim of this research is to identify the relationship between perception of Kyrgyz music and motivation for healthy lifestyle, and to understand the mechanisms of music impact on people's behavior within the context of healthy lifestyle. The research methods included literature review, questionnaire development and statistical analysis of data. A total of 248 participants, dominantly young people and women, took part in the online survey. Results showed that musical lyrics covering themes of health, physical activity, and positive thinking can inspire listeners to lead healthy lifestyles. Key images of space, emotions and natural phenomena in Kyrgyz song lyrics reflect the diverse understanding of health and well-being in the culture of Kyrgyz people. Both great composers of the past and modern musicians motivate Kyrgyz people to take care of their health with their patriotic and lyrical songs. The novelty of the research is in the study of a relatively new area of the influence of music on people's behavior within the scope of a healthy lifestyle.
50
McMichael, Anna. « Activating a music festival : Extending musical practices by composing with communities ». International Journal of Community Music 16, no 1 (1 mars 2023) : 95–111. http://dx.doi.org/10.1386/ijcm_00077_1.
Texte intégralRésumé :
This article explores the motivations, approaches and results that occurred when six composers/musicians devised works of experimental music that involved community participants over six years at the annual classical Tyalgum Music Festival in regional Australia. The main aim of this study was to investigate how this music was shaped by community participation in its creation and performance. This qualitative research study drew on retrospective interviews with the musicians involved and the author’s observations and reflections on their music events. The musicians discussed how they responded to people and place in creating and performing their works; they maintained that their involvement with the community resulted in valuable and creative music-making. This study demonstrates that artists can inspire interesting and enjoyable music-making with a community that also expands the possibilities for mainstream arts, cultural practices and festival curation.