Articoli di riviste: "Soul music"

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Dopson, Laurence. "Soul music". Nursing Older People 17, n. 7 (ottobre 2005): 39. http://dx.doi.org/10.7748/nop.17.7.39.s24.

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Shepherd, Reginald. "Soul Music". Chicago Review 40, n. 2/3 (1994): 35. http://dx.doi.org/10.2307/25305834.

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LaSalle. "Sweet Soul Music". Antioch Review 78, n. 1 (2020): 91. http://dx.doi.org/10.7723/antiochreview.78.1.0091.

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Restani, Donatella. "Embryology as a Paradigm for Boethius’ musica humana". Greek and Roman Musical Studies 4, n. 2 (1 settembre 2016): 161–90. http://dx.doi.org/10.1163/22129758-12341274.

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At the beginning of Boethius’ De institutione musica, musica humana is defined as a coaptatio, a well ordered relationship between body and soul and between the parts of the body and the parts of the soul. Boethius promised to expand the topic later, but he never returned to it. As a consequence Medieval and Renaissance music theorists gave it different interpretations. This paper is part of a wider project which aims at recovering the historical meaning of musica humana and its natural implications for human life, by identifying Boethius’ sources on the relationship between music and the human body. Analyzing some of the Pythagorean, Hippocratic and Neoplatonic treatises on embryology, numerology and music as well as their reception in the Latin culture, this paper will explore the definition of musica humana as a style of thought which connected music and science using the same interpretative models, metaphors and images, well-known at Boethius’ time.

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Bintarto, A. Gathut. "Aspek Olah Vokal Musik Klasik Barat pada Musik Populer". Journal of Urban Society's Arts 1, n. 1 (10 aprile 2014): 44–56. http://dx.doi.org/10.24821/jousa.v1i1.787.

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Setiap medium musik mempunyai keistimewaan yang bisa dikaji seperti halnyapada musik klasik Barat dan musik populer. Norma daya tarik musik populeryang ringan dan mudah dinikmati tidak seperti pada musik klasik Barat atauyang sering disebut sebagai musik seni, namun demikian bukan berarti bahwamemainkannya tidak ada syarat artistik. Bervariasinya musik dan banyaknya pelakumusik mengakibatkan standar yang tinggi dan menuntut pemahaman terhadapdetail musik. Musik populer bertolak dari kebiasaan orang dan musisinya inginmemenuhi kebutuhan tersebut. Gambaran emosional yang muncul pada teksmenyebabkan kecenderungan naturalistik dalam bernyanyi. Melalui penelusuranasal-usul musik populer dan penelitian studi kasus di lapangan ditemukan bahwamusik populer beraliran soul serta R&B (rhythm and blues) mempunyai kesamaanunsur dengan teknik dan gaya bernyanyi klasik pada penerapan suara yang ratadalam rentang ambitus (even scale technique), penggunaan imajinasi dengan iramabebas, nada-nada hiasan, teknik vibrato, dan bahkan gaya bernyanyi Gregorianmurni dengan iringan ritmis yang dianggap sebagai suatu kebaruan dalam musikpopuler. The Overview on the Aspect of Western Classical Singing on Popular Music.Every music medium such as Western classical and popular music has its own practicalspecification due to the observation of each characteristic and uniqueness. The potentialattractiveness of popular music is different from the Western classical music in its easylistening characteristics, but it does not mean that the music does not have the artisticcharacter at all. More performers and more variations in the popular music mayaffect the higher standard and require the demand in every aspect of the details. Thepopular music is derived from the daily habit and that is the way the musician shoulddo to make this kind of music. The emotional characteristics in their lyrics cause thenaturalistic singing tendency. Through the observation of the popular music origin andthe field research study, it is founded that soul and R&B music have the similarities. Interms of the classical music, both use the typical scale technique, imagination with thefree rhythm, ornamentation, vibrato technique and even pure Gregorian singing styleused in some popular songs accompanied by rhythmical music served as a new idea inpopular music.

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Valiquette Moreau, Nina. "Musical Mimesis and Political Ethos in Plato’s Republic". Political Theory 45, n. 2 (3 agosto 2016): 192–215. http://dx.doi.org/10.1177/0090591715591587.

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This essay argues that Plato’s Republic includes a widely overlooked meditation on the affective dimension of political judgment. This meditation occurs in the passages on music. In music, Plato identifies the possibility of an extra-rational aesthetic activity that prepares the soul for reasoned judgment: he makes musical mimesis the precondition to logos (speech, reasoned account) because of its ability to actualize in the soul the very ethos required of sound judgment. Music is able to do this because it is not imagistic; music does not produce mediated representations but rather produces alterations in the condition of the soul itself. These alterations are made possible because the soul itself is structured musically. If music actualizes the conditions of the soul, so too does the soul instantiate the conditions of music. In his treatment of musical mimesis, Plato thereby makes disposition, or affect, the defining feature of sound judgment.

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Bolden, Tony. "Critical Reflections on Soul: A Conversation with Portia K. Maultsby". Langston Hughes Review 29, n. 2 (dicembre 2023): 174–89. http://dx.doi.org/10.5325/langhughrevi.29.2.0174.

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ABSTRACT In this interview, Portia K. Maultsby offers significant insight into the aesthetics that informs the performances of soul artists featured in Ahmir “Questlove” Thompson’s film Summer of Soul. Maultsby discusses soul music and vital elements of soul aesthetics while drawing from her extensive knowledge from conducting research on Black music as a pioneering ethnomusicologist, contributing to music as an artist in her own right, and experiencing life in America as a Black woman in the late 1960s. Maultsby therefore offers a rare perspective on soul and explains how music played a pivotal role during the Civil Rights Movement and the Black Power movement. A central component of Maultsby’s analysis is that soul music exemplified what she calls an African-derived sound ideal, and that basic elements of the aesthetic framework were developed in churches. Thus, Maultsby highlights connections between Black sacred and secular music.

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Bolden, Tony. "The Power of Gospel in the Black Arts Movement: A Conversation with Claudrena N. Harold". Langston Hughes Review 29, n. 2 (dicembre 2023): 201–16. http://dx.doi.org/10.5325/langhughrevi.29.2.0201.

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ABSTRACT This interview focuses on gospel music, which is a foundational element of soul music. Combining insights, at times, from her family background, but mostly from research in her book When Sunday Comes: Gospel Music in the Soul and Hip Hop Eras (2020), which borrows its title from Donald Lawrence and the Tri-City Singers hit recording “When Sunday Comes” (1995), Claudrena N. Harold offers an historian’s perspective on gospel music in the late 1960s. Harold discusses gospel artists who appear in Ahmir “Questlove” Thompson’s film Summer of Soul, contextualizes gospel artists in Questlove’s film within the history of gospel music itself, and draws connections between sacred and secular forms of Black music, that is, gospel, soul, and funk. Of particular significance, Harold argues that gospel music was part of the Black Arts Movement. Harold therefore offers a unique perspective on gospel, Summer of Soul, and the Black Arts Movement.

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Hostettler, Nick, e Alan Norrie. "Do You Like Soul Music?" Alethia 3, n. 2 (13 luglio 2000): 2–8. http://dx.doi.org/10.1558/aleth.v3i2.2.

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Plank, Steven. "Music of the Ravish'd Soul". Musical Times 136, n. 1831 (settembre 1995): 466. http://dx.doi.org/10.2307/1003722.

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Clemens, Norman A. "Music, Psychotherapy, and the Soul". Journal of Psychiatric Practice 17, n. 3 (maggio 2011): 204–7. http://dx.doi.org/10.1097/01.pra.0000398414.51868.8e.

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Edmondson, K., D. Garlick e V. Wright. "Music to soothe the soul". BMJ Supportive & Palliative Care 1, n. 2 (1 settembre 2011): 237. http://dx.doi.org/10.1136/bmjspcare-2011-000105.98.

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Dr. Kavita BHatnagar. "Description of various Ragas in Vedas and their scientific impact on human emotions". Knowledgeable Research: A Multidisciplinary Journal 1, n. 1 (30 settembre 2022): 55–57. http://dx.doi.org/10.57067/gdvc7x73.

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There is a deep connection between music and Vedas. Music has been described in the Vedas as an important part of the creation of the universe. Music has been ranked as "Nadabrahma" in the Vedas, which is considered a symbol of meditation and bliss of Brahma. Music has been considered in the Vedas as a medium for the upliftment and progress of the human soul. There are four major Vedas in the Vedas – Rigveda, Yajurveda, Samaveda, and Atharvaveda. Music finds special mention in the Samaveda, which provides inspiration and ideality for kirtan and worship. In the Vedas, music has been considered an important medium to take the energy of the soul to the heights, which promotes musicalization of the soul. Furthermore, music has been associated in the Vedas with time, place, and circumstances, thereby relating it to the society, cultural, and spiritual environment. The description of various ragas in the Vedas refers to the stimulation and stabilization of human emotions. . Emotions like meditation, peace, enthusiasm, love, etc. are stimulated through music in the Vedas, which improves the state of human mind. Music is related to human brain function, emotional balance, and mental health. The use of different ragas and swaras activates certain areas of the brain and produces emotionally based responses. The highest purpose of music in the Vedas is the development of the soul. The combined experience of melodious notes of different ragas establishes a dialogue with the soul and encourages spiritual upliftment. Through the presented research paper, we also want to know what is the scientific impact of music in the Vedas and the form of ragas mentioned in it on human emotions. Will try.

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Nichols, Roger. "Baring the Soul". Musical Times 132, n. 1779 (maggio 1991): 249. http://dx.doi.org/10.2307/965702.

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Pelosi (book editor), Francesco, e Anne Gabrièle Wersinger (review author). "Plato on Music, Soul and Body". Aestimatio: Critical Reviews in the History of Science 9 (21 dicembre 2015): 208–19. http://dx.doi.org/10.33137/aestimatio.v9i0.25997.

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Belfiore, Elizabeth. "Plato on Music, Soul and Body". Ancient Philosophy 32, n. 1 (2012): 194–98. http://dx.doi.org/10.5840/ancientphil201232115.

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Sendova, Evgenia. "Мathematics as Music for the Soul". Mathematics and Informatics LXIV, n. 3 (30 giugno 2021): 264–77. http://dx.doi.org/10.53656/math2021-3-2-mat.

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The article deals with issues related to the manifestation of mathematical talent from an early age and the attitude of professionals to such a phenomenon as Terry Tao. Epizodes from his biography and several tasks he faces at different ages are considered. The main emphasis is on Terry Tao‘s contribution to the proof of Sendov‘s conjecture and his lecture on this topic, organized by the International Center for Mathematical Sciences - Sofia at the Institute of Mathematics and Informatics at BAS together with the the Union of Bulgarian Mathematicians.

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Hogan, Bridgit E. "Soul Music in the Twilight Years". Topics in Geriatric Rehabilitation 19, n. 4 (ottobre 2003): 275–81. http://dx.doi.org/10.1097/00013614-200310000-00008.

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Cooper, B. Lee. "Soul City Detroit: Motor City Labels and the Dawn of Soul Music; Soul City New York: Big Apple Labels and the Dawn of Soul Music". Popular Music and Society 38, n. 1 (14 ottobre 2013): 112–14. http://dx.doi.org/10.1080/03007766.2013.844577.

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Mehra, Lata. "MUSIC THERAPY - AN INNOVATION". International Journal of Research -GRANTHAALAYAH 3, n. 1SE (31 gennaio 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3421.

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Music is the soul of Indian culture, music has been an integral part of Indian culture since its inception, in the present times, in busy, stressful and competitive social conditions, music is the only art that can hurt human's mind and soul for some time. Provides true happiness for संगीत कला भारतीय संस्कृति की आत्मा है, भारतीय संस्कृति के उद्भव काल से ही संगीत इसका अभिन्न अंग रहा है, वर्तमान समय में व्यस्त, तनावपूर्ण एवं प्रतियोगी सामाजिक परिस्थितियों में संगीत ही एक ऐसी कला है, जो मनुष्य के आहत मन एवं आत्मा को कुछ समय के लिए ही सही सुख प्रदान करती है ।

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Fanggidae, Rudi, Meyrlin Saefatu, Dersy Rejoice Taneo, Maha Dewi Rambu Dewata e Aprianus Meta Djangga Uma. "Penggunaan pola iringan musik dalam Ibadah Minggu di Gereja Kristen Sumba (GKS), Klasis Waingapu". Imaji: Jurnal Seni dan Pendidikan Seni 22, n. 1 (28 aprile 2024): 1–11. http://dx.doi.org/10.21831/imaji.v22i1.58501.

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Dalam Ibadah Minggu, Gereja Kristen Sumba selalu menggunakan pola iringan musik untuk mengiringi nyanyian jemaat. Untuk itu yang menjadi tujuan penelitian adalah: (1) Mengetahui penggunaan pola iringan musik ibadah yang digunakan dalam Ibadah Minggu, (2) Menerapkan dan memodifikasi penggunaan pola iringan musik yang benar dalam Ibadah Minggu, (3) Menemukan respons jemaat terhadap penggunaan pola iringan musik dalam Ibadah Minggu. Metode penelitian yang digunakan adalah metode penelitian kualitatif. Adapun hasil penelitian adalah penggunaan pola iringan musik yang benar perlu untuk diterapkan di dalam ibadah sehingga dapat membantu jemaat untuk mengekspresikan suasana hati atau ekspresi imannya dalam ibadah. Untuk itulah, penggunaan pola iringan yang tepat dalam mengiringi nyanyian dari buku hymnal adalah pola iringan melodis. Hal ini karena pola iringan melodis dapat memengaruhi jiwa manusia karena lebih bersentuhan dengan aspek spiritual manusia. Dengan demikian, ketika ibadah, jiwa manusia makin didekatkan dengan Tuhan melalui nyanyian. Dalam konteks pendidikan, hasil penelitian tersebut dapat digunakan untuk meningkatkan pemahaman tentang bagaimana musik dapat mempengaruhi kesejahteraan mental dan spiritual seseorang. Kata kunci: Pola iringan musik, melodis, Ibadah Minggu, nyanyian jemaat, hymne The use of musical accompaniment patterns in Sunday Worship at the Christian Church of Sumba (GKS), Waingapu Classis AbstractIn Sunday Worship, the Christian Church of Sumba always uses music accompaniment patterns to accompany the congregation's singing. Therefore, the research objectives are: (1) To understand the use of worship music accompaniment patterns in Sunday Worship, (2) To apply and modify the correct use of music accompaniment patterns in Sunday Worship, (3) To explore the congregation's response to the use of music accompaniment patterns in Sunday Worship. The research method employed is qualitative research. The findings suggest that the correct use of music accompaniment patterns is essential to be implemented in worship, as it can assist the congregation in expressing their mood or faith expression in worship. Hence, the appropriate use of accompaniment patterns in accompanying hymns from the hymnal book is the melodic accompaniment pattern. This is because melodic accompaniment patterns can affect the human soul as they are more connected with the spiritual aspect of humans. Thus, during worship, the human soul is brought closer to God through singing. In the educational context, these research findings can be used to enhance understanding of how music can influence an individual's mental and spiritual well-being. Keywords: Music accompaniment patterns, melodic, Sunday Worship, congregation singing, hymn

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Cook, Terence, Ashlin R. K. Roy e Keith M. Welker. "Music as an emotion regulation strategy: An examination of genres of music and their roles in emotion regulation". Psychology of Music 47, n. 1 (26 ottobre 2017): 144–54. http://dx.doi.org/10.1177/0305735617734627.

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Research suggests that people frequently use music to regulate their emotions. However, little is known about what kinds of music may regulate affective states. To investigate this, we examined how the music preferences of 794 university students were associated with their use of music to regulate emotions. We found that preferences for pop, rap/hip-hop, soul/funk, and electronica/dance music were positively associated with using music to increase emotional arousal. Soul/funk music preferences were also positively associated with using music for up-regulating positive emotionality and down-regulating negative emotionality. More broadly, energetic and rhythmic music was positively associated with using all examined forms of musical emotion regulation, suggesting this dimension of music is especially useful in modulating emotions. These results highlight the potential use of music as a tool for emotion regulation. Future research can extend our findings by examining the efficacy of different types of music at modulating emotional states.

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Petroff, Valery V. "Art, Science and Paideia in Aristides Quintilianus’ De Musica". ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 15, n. 2 (2021): 935–65. http://dx.doi.org/10.25205/1995-4328-2021-15-2-935-965.

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The study aims to clarify the meaning of the philosophical views of Aristides Quintilianus, presented in his treatise “On Music”: concepts from the field of ontology, epistemology, psychology, anthropology, ethics are discussed in the context of theories developed by his contemporaries. Aristides’ arguments concerning the benefits of arts and sciences (and, accordingly, music) are discussed. It is pointed out that the “accuracy” that Aristides repeatedly speaks about in relation to music means that he prefers to consider music rather as science than art. The definitions of music proposed by Aristides are under consideration, their sources and philosophical content are analyzed. The Neo-Pythagorean and Neo-Platonic context of the ideas of Aristides is explored. Parallels are given from the works of Plato, Porphyry, Iamblichus, Proclus, ps.-Plutarch, Athenaeus, Nicomachus of Gerasa. The views of Aristides on the nature of the cosmos and the soul are discussed, including his doctrine of the descent of the individual soul through the planetary spheres. With regard to “bodily” music, Aristides’ ideas about the correspondence between a soul and its type of melos, as well as about masculine and feminine in music, are analyzed.

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Sapalakkai, Rini Sumanti, Fransiskus Irwan Widjaja e Fredik Bouliu. "Musik sebagai Media di Ladang Misi". PROSIDING PELITA BANGSA 1, n. 2 (4 febbraio 2022): 111. http://dx.doi.org/10.30995/ppb.v1i2.508.

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Music functions as a communication tool to reach the soul by proclaiming the truth of God's word. Music has a very helpful role in evangelism through songs that are created, sung as a testimony to true stories in the lives of believers who declare that Jesus is Lord and Savior. This study aims to discuss music as the spearhead of the mission field. The method used in this research is a literature study approach, carried out by collecting data relevant to the topic or problem in this research. The results of this study will describe music as a medium of worship, music as a medium for preaching God's word, and music as the spearhead of harvesting the mission field. AbstrakMusik berfungsi sebagai alat komunikasi untuk menjangkau jiwa dengan memberitakan kebenaran firman Tuhan. Musik memiliki peran yang sangat membantu dalam pekabaran injil melalui lagu yang diciptakan, dinyanyikan sebagai sebuah kesaksian kisah nyata dalam kehidupan orang percaya yang menyatakan bahwa Yesus adalah Tuhan dan Juruselamat. Penelitian ini bertujuan untuk membahas musik sebagai instrumen yang penting di ladang misi. Metode yang digunakan dalam penelitian ini adalah pendekatan studi kepustakaan, dilakukan dengan mengumpulkan data yang relevan dengan topik atau permasalahan dalam penelitian ini. Hasil penelitian ini akan mendeskripsikan mengenai musik sebagai media dalam ibadah, musik sebgai media pemberitaan firman Tuhan, dan musik sebagai ujung tombak penuaian ladang misi.

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Lascaux, Sandrine. "Schubert, Juan Benet y la musica de la resignación". Estudios Románicos 28 (20 dicembre 2019): 281–93. http://dx.doi.org/10.6018/er/372861.

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La literatura de Juan Benet intenta superar la razon mediante las artes y en particular gracias a su relacion con la musica. Siguiendo los pasos de Schopenhauer o de Nietzsche ue consideran la musica como unico arte susceptible de convocar el afecto puro sin ningun tipo de mediacion intelectual , Benet busca los limites del lenguaje con operaciones constantes de modulacion frasticas para alcanzar una musica intima .En este sentido , el ensayo Puerta de Tierra permitiria entender la estrecha relacion ue une la musica benetiana con la musica de la resignacion compuesta por Schubert en las ultimas obras. The literature of Juan Benet attempts to transport the reader beyond the bounds of reason by means of the arts, and most especially in the relation that binds it to music. Following Schopenhauer and Nietzsche who considered music to be the only art capable of transmitting pure affect without any intellectual mediation, Benet seeks the limits of language and effects persistent sentence modulations with a view to accessing the music of the soul. In this respect, his essay Door of the Earth elucidates the close affiliation between his work and the “music of resignation” which defines Schubert’s later work.

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Whipple, J., e R. S. Lindsey. "Music for the Soul: A Music Therapy Program for Battered Women". Music Therapy Perspectives 17, n. 2 (1 gennaio 1999): 61–68. http://dx.doi.org/10.1093/mtp/17.2.61.

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Szczerbakiewicz, Rafał. "Uwolnić „soul”, wracając do Memphis". Przegląd Kulturoznawczy, n. 3 (57) (ottobre 2023): 375–94. http://dx.doi.org/10.4467/20843860pk.23.026.18584.

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The transgressive potential of Elvis Presley’s music and stage persona remains an inadequately explored topic. He was an affective medium which catalysed a moral, racial and social revolution. He was the first beneficiary of emancipatory transformations of sexuality. The narrations and mythologies of rock culture did not problematise Elvis’s art and image transitions – the reasons for his escapes from media stereotypes. The most salient of the medially disjointed images is Elvis’s tenuous identification with the gender role of a male role model imposed upon him. Indeed, rock heroes are to embody the “macho” role. Meanwhile, the most interesting part of Elvis’s musical identity is precisely the ambiguous status of his masculinity in the 1950s and the “non-normativity” of his persona and music in 1960s–70s.

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Neal, Jocelyn R. "“Tennessee Whiskey” and the Politics of Harmony". Journal of Popular Music Studies 32, n. 2 (1 giugno 2020): 214–37. http://dx.doi.org/10.1525/jpms.2020.32.2.214.

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In 2015, country singer Chris Stapleton, lauded for his allegiance to hard country music, stepped on stage at the Country Music Association annual awards show in Nashville, Tennessee, and knocked out a stunning performance of “Tennessee Whiskey.” The moment was heralded by critics and fans alike as a celebrated return to roots-oriented, traditional, hard country music. But Stapleton's cover version rewrote the song over a historically significant soul groove. In so doing, he presented a musical-political statement about the past and present of country music that challenged its acknowledged racial politics. The analyses presented here, centered on Stapleton and Sturgill Simpson, weave these threads together into a sonic explanation of country music's contradictory senses of genre identity, musical style, and racial politics. They propose a new historical perspective on the confluence of country and soul in the early 1960s, most memorably realized in the two Modern Sounds in Country and Western Music albums that Ray Charles released in 1962. What emerges in conclusion is a subversive narrative that reinvents modern hard country music through a lineage of R&B and soul.

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JACKSON, JOSEPH O. "Searching for Soul, Reframing the Pursuit of Capital". Music, Sound, and the Moving Image 16, n. 1 (1 luglio 2022): 53–77. http://dx.doi.org/10.3828/msmi.2022.3.

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Two music videos were commissioned for Aloe Blacc’s breakthrough song ‘I Need A Dollar’ (2010). The Harlem, New York version directed by Kahlil Joseph adopts a split-screen technique, depicting an unnamed man negotiating the city’s busy streets while, at the same time, framing Blacc as a directionless musician singing wistfully at the window of a dilapidated flat. Derek Pike’s Las Vegas, Nevada version, on the other hand, portrays the singer as a struggling musician traversing the desert before - unexpectedly - winning the jackpot at a casino. This article explores two main lines of argument. Firstly, I explore how institutional and industrial contexts result in two distinguishable music videos, suggesting that although both versions are created in similarly professional and commercialised settings one video is produced within a more ‘independent’ environment. Secondly, I explore how two different music videos can emphasise or de-emphasise certain elements of a song’s content and meaning, drawing from Emily J. Lordi’s theorisation of ‘soul’ to suggest that the ‘soul music’ qualities of Blacc’s ‘I Need A Dollar’ record are emphasised when practitioners adopt a more ‘soulful’ approach to music video creation (Lordi, 2020).

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Tucker, Bruce, e Robert Pruter. "Chicago Soul: Making Black Music Chicago-Style". American Music 12, n. 2 (1994): 204. http://dx.doi.org/10.2307/3052528.

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Bogazianos, Dimitri A. "Northern Soul: Music, Drugs and Subcultural Identity". Contemporary Sociology: A Journal of Reviews 37, n. 6 (novembre 2008): 583–85. http://dx.doi.org/10.1177/009430610803700639.

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Linklater, Kristin. "EssayWord Music: The Soul of the Theatre". Voice and Speech Review 1, n. 1 (gennaio 2000): 193–94. http://dx.doi.org/10.1080/23268263.2000.10761405.

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Womack, Ytasha L. "Soul Rotations: Healing Music with Shannon Harris". Portable Gray 2, n. 1 (marzo 2019): 111–20. http://dx.doi.org/10.1086/704020.

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LAURAND, VALERY. "LES EFFETS ÈTHIQUES DE LA MUSIQUE : LA LECTURE PROBLÈMATIQUE DE DIOGÈNE DE BABYLONE PAR PHILODÈME DE GADARA". Méthexis 27, n. 1 (30 marzo 2014): 197–214. http://dx.doi.org/10.1163/24680974-90000639.

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This paper deals with the place Diogenus of Babylon grants music within the realm of ethical education and training, as reported in Philodemus of Gadara’s (partisan) testimony in his De Musica, wherein it is stated that music encourages men to cultivate virtue and strengthen it. By exploring the controversy between Epicureanism and Stoicism, this paper aims to understand how, according to Stoic thought, cognitive sense-perception (ἐπɩστημoνKὴ σἲσθησɩᴤ) could have an ethical outcome, the sensory experience thus proving its expertise within the field of ethics, and succeeding in changing man's varying states of pleasure and pain. In fact, music like poetry turns out to be the resounding image of rationality that holds direct sway over the rational soul.

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Fujie, Linda, e Bulgarian All Star Orchestra. "Dusha: The Soul of Bulgaria". Yearbook for Traditional Music 29 (1997): 209. http://dx.doi.org/10.2307/768348.

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Ming-mei, Yip, e Li Xiang Ting. "Soul of China -- Guqin Recital". Asian Music 26, n. 2 (1995): 163. http://dx.doi.org/10.2307/834444.

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Gongaki, Konstantina I., e Stavros Kapranos. "Music and Gymnastic harmonization under the viewpoint of the platonic meaning of life". Epistēmēs Metron Logos, n. 6 (19 luglio 2021): 7. http://dx.doi.org/10.12681/eml.27216.

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The essence of life according to Plato is summed up in the tendency of every living being to protect itself and its species from death, by searching immortality. This pursuit is achieved either by reproduction or by intellectual creation. In order for the soul to conquer the existence which will be worthy of man, it must separate from the mortal body. The highest goal of philosophical education is the soul to be led to the view of the idea of the good (agatho), which is the foundation of all knowledge. Thereunto, specific courses are proposed, Music, Gymnastics, Mathematics and Dialectics. Music is preceded temporal and absolute by gymnastics. The school of Pythagoras was the first to put the music-soul relationship, in the service of upbringing and mental physique. Plato attempts to establish man's tendency for rhythm and movement in nature and in the gods. At the same time, he emphasizes the balance between mental and physical education, in order to form the right ethos. For the best fulfillment of these terms, the two superior parts of the soul must be properly trained, the logical with music and the thymoides with gymnastics. The symmetrical movement of the body is ensured by exercise, while for the soul, music and philosophy are used. This targeted intervention will lead them to a harmonious connection. Moreover, it should be ensured that the movements are symmetrical with each other. This is the real goodness (kalokagathia). The unilateral cultivation of gymnastics at the expense of music is considered the main cause of the decline of the excellent republic and the decadence in oligarchy, in the regimein which the morality is imposed by violent, uneducated people who will have neglected the real Muse, the one who is accompanied by the logic and philosophy.

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Komara, Edward M. "Soul on Soul: The Life and Music of Mary Lou Williams (review)". Notes 61, n. 4 (2005): 1019–21. http://dx.doi.org/10.1353/not.2005.0067.

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Tucker, Sherrie. "Soul on Soul: The Life and Music of Mary Lou Williams (review)". Women and Music: A Journal of Gender and Culture 11, n. 1 (2007): 95–100. http://dx.doi.org/10.1353/wam.2007.0022.

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Ogunola, Abiodun Adekunle. "NEXUS BETWEEN MUSIC, HUMAN SOUL AND PERSONALITY FORMATION: CONTEXTS FROM A NIGERIAN PERSPECTIVE". JOURNAL OF SOCIAL SCIENCES 6, n. 2 (1 luglio 2023): 68–79. http://dx.doi.org/10.52326/jss.utm.2023.6(2).06.

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Music is an important element in almost all societies of the world. Music is played almost everywhere that there is human endeavour. People opt to listen to music that resonates with them and appeal to their inner senses. Each individual has their own unique taste for music and preference for certain kind of music. Music is something that everyone enjoys listening to as it refreshes the soul and keeps the human mind active. It also helps to reflect the kind of personality that an individual has formed, is forming, or is likely to form due to the repeated exposures to certain music genres. This paper therefore intends to establish connections among music, the human soul, and the formation of human personalities through the influence of music. It is hoped that an understanding of this can help to identify the strength of music on the human personality and to be consciously aware of the kind of music individuals intentionally and unintentionally get exposed to. The paper also explores music preferences from the context of Nigerian music listeners and its implications on the context of their social interactions and personality development.

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O'Regan, Kevin. "Wackenroder and the Doctrine of the Soul". Nineteenth-Century Music Review 5, n. 1 (giugno 2008): 67–88. http://dx.doi.org/10.1017/s1479409800002597.

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The writings of Wilhelm Heinrich Wackenroder (1773–1798) constitute perhaps the most powerful and original source in the early German Romantic discourse on autonomous music, itself a spearhead of a European trend that matured at he turn of the eighteenth century. Wackenroder's perfervid yet strangely lucid and insightful observations on art and music are founded on the notion ofKunstreligion(‘art religion’), which he uses to replace the rational explanations of art, based on knowledge and representation of the external world, and derived from classical philosophy.

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Khusna, Febriana Aminatul, e Sekar Lathifatul Aliyah. "Emotions Evoked from “Too Good at Goodbyes” Song by Sam Smith". Jambura Journal of English Teaching and Literature 1, n. 2 (30 dicembre 2020): 101–12. http://dx.doi.org/10.37905/jetl.v1i2.7309.

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Music is one means to express the soul. Sad genre music is one of music with high emotional pressure. High emotional pressure allows triggering emotions in someone who hears it. According to Sloboda and Juslin (2001), the music can induce emotions in its listeners and is perceived by listeners as expressive of emotion. The aim of this study was to investigate the influence of music with the sad genre for emotions from the song "Too Good at Goodbyes" by Sam Smith. In this study, the researchers found that the majority of respondents revealed that sad music can trigger emotions in the soul. Descriptive qualitative research with questionnaire methods was used in this study to obtain the valid data. Questionnaire was used in this research as an instrument of research to get the real data from the participants.

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Sanjek, David, e Robert Pruter. "Chicago Soul". Ethnomusicology 38, n. 2 (1994): 362. http://dx.doi.org/10.2307/851751.

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Tao, Zoe. "The “Palliative Soul”". Voices: A World Forum for Music Therapy 19, n. 2 (11 giugno 2019): 13. http://dx.doi.org/10.15845/voices.v19i2.2841.

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This qualitative research project features semi-structured interviews on perspectives of humanistic care with Spanish physicians and therapists who have worked in or are familiar with music therapy and end of life care, disciplines that identify themselves as centering humanistic values in patient care. The purpose of the study was to have the thirteen music therapists and physicians elaborate on their perceptions regarding humanistic patient care and synthesize common elements from their interviews. A grounded theory approach was used to construct and derive themes among interviewees, and a narrative method of analysis was used to highlight salient philosophies of care and moments of conversation with clinicians. Building off of the interviews, this article explores how artistic engagement in end-of-life contexts sets up avenues for spiritual, psychosocial, and medical care. This “palliative soul” approach to patient care illuminates how health professionals may humanize patients at the end of life: leaning in to experiences of suffering with intention and an open ear, approaching patients in anticipation of their potential spiritual, emotional, and psychosocial needs, defining suffering, wellbeing, and effective clinical intervention through the patient’s voice, thinking actively about their own biases and shortcomings in care, and overall seeing the beauty and humanity in people both within and despite their arrival at end-stage disease. Lastly, this article discusses how even outside the context of end of life care, health professionals may broadly adopt the “palliative soul” and incorporate the needs of patients and their relational networks into clinical practice.

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Cooper, B. Lee. "King of Rock ’n’ Soul and The Definitive Soul Collection". Popular Music and Society 43, n. 3 (7 agosto 2019): 359–60. http://dx.doi.org/10.1080/03007766.2019.1652966.

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Liu, Keling. "The Soul of Ethnic Music: The Mongolian Ethnic Song "Hongyan" as an Example". Highlights in Art and Design 4, n. 2 (25 settembre 2023): 7–8. http://dx.doi.org/10.54097/hiaad.v4i2.12183.

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In the era of new media, Chinese film music presents a diversified development situation, and in Chinese film music, the element of ethnic music is an important part that cannot be ignored, and it has an important influence on the development of Chinese film music. The article mainly starts from the content and role of film music, specifically analyses the application of folk music in Chinese film music, and explores the three major elements of folk music, namely, musical instruments, folk songs and operas, and at the same time, takes the Mongolian song "The Wild Geese" as an example, and focuses on the analysis of the application of the elements of folk songs in Chinese film music.

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Langston, Richard. "Searching for the Young Soul Rebels: On Writing, New Wave, and the Ends of Cultural Studies". German Politics and Society 35, n. 2 (1 giugno 2017): 117–37. http://dx.doi.org/10.3167/gps.2017.350208.

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Starting with the surprising role the soul assumed in the West German music essay from the early 1980s, this article interrogates a peculiar, misunderstood middle passage in dominant historiographies of German pop literature—the new wave music essay—that transformed itself at the dawn of the 1990s—shortly before the literary phenomenon labeled Popliteratur emerged— by embracing then emergent Anglo-American Cultural Studies. The importance of new wave music for the essay’s regard for soul were lost on both pop literature and its attendant literary histories. The “studies model” has, at least in this one instance, smoothed over historical ruptures with unfortunate repercussions for our understanding of the precarious writerly mediation of life and music shortly before the value of poetics for life vanished altogether.

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Moody, Ivan. "‘THE SPACE OF THE SOUL’: AN INTERVIEW WITH SOFIA GUBAIDULINA". Tempo 66, n. 259 (gennaio 2012): 31–35. http://dx.doi.org/10.1017/s0040298212000046.

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AbstractIn this interview Gubaidulina discusses her understanding of religion and the way in which it relates to her music, by means of symbolism and metaphor. In particular she speaks of her understanding of the Apocalypse as a book of light, greatly influenced by the writings of Fr Aleksandr Men. She talks about the symbolism of instruments in her work, notably percussion, which she sees as a way to the subconscious; her understanding of the role of modernism in music, and the way in which her work connects with this historical process; and also her use of the Fibonacci sequence. The relationship of her music to liturgy is discussed, as is the double path, apparently contradictory, of the artist who composes both liturgical and concert music. The experience of the composer during the profound changes in music during the 20th century, specifically as regards possible intersections between modernism and spirituality, are also discussed.

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van der Bliek, Rob, e Robert Pruter. "Chicago Soul". Notes 49, n. 1 (settembre 1992): 142. http://dx.doi.org/10.2307/897231.

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Schäfer, Thomas, e Peter Sedlmeier. "Does the Body Move the Soul? The Impact of Arousal on Music Preference". Music Perception 29, n. 1 (1 settembre 2011): 37–50. http://dx.doi.org/10.1525/mp.2011.29.1.37.

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people often report changes in emotional arousal when listening to their preferred music. Can this subjective impression be related to objective physiological measures? And if so, does preference induce arousal or could arousal also influence preference? In Study 1, participants listened to 18 pieces of music and rated the strength of preference as well as their experienced emotional arousal for each piece. In addition, physiological arousal was measured via heart rate, skin conductance, and respiration rate. Results showed that subjective reports about emotional arousal were much more closely connected to the strength of music preference than were physiological measures such as heart rate or skin conductance. The two types of arousal (emotional, physiological) were not substantially associated with each other. In Study 2, we manipulated physiological arousal while one group of participants watched their faces in a mirror during music listening. Effects on music preference differed: For a given piece of unknown music, higher induced arousal yielded higher preference ratings. However, this result only held when the music was not too complex. The results indicated that arousal was not solely a consequence of listening to preferred music but might also be a potent determinant of music preference.

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