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1
Gordin, Karina. "Bodywork: Tuning the Instrument of the Soul." Music and Medicine 10, no. 1 (January 25, 2018): 18. http://dx.doi.org/10.47513/mmd.v10i1.555.
Testo completoAbstract (sommario):
Instrumental musicians are among groups of professionals at high risk for overuse injuries, including pain, fatigue, loss of range of motion, as well as loss of endurance and fine motor control[i]. Factors contributing to overuse injuries include, but not limited to, ergonomic errors and posture misalignment due to poor fit between instrument and musician, heavy instruments, as well as repetitive strain due to prolonged daily practice and/or performance[ii]. Massage therapy may target musician specific injuries by focusing on relaxing restrictive, overused muscles, enhancing circulation, and improving range of motion by increasing length of fascia and muscles, and breaking down adhesions[iii].
2
Boysen, Yvette. "Volunteer Musicians Bring ‘Smile to the Soul’." Volunteer Management Report 22, no. 8 (July 18, 2017): 5. http://dx.doi.org/10.1002/vmr.30710.
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Thram, Diane. "JAZZ IN SERVICE OF THE STRUGGLE." African Music: Journal of the International Library of African Music 10, no. 4 (November 22, 2018): 67–102. http://dx.doi.org/10.21504/amj.v10i4.2234.
Testo completoAbstract (sommario):
This article contributes to the substantial body of publications on South African jazz with information on jazz performance and performers in New Brighton, a township adjacent to Port Elizabeth noted for its vibrant jazz scene and outstanding jazz musicians. The article covers several decades from the heyday of swing bands in the 1940s–50s through the 1960s–70s when New Brighton’s premier jazz combo, the Soul Jazzmen, were at the height of their artistry. The role of swing bands in New Brighton and surrounding communities as the training ground for members of the Soul Jazzmen and other local musicians of note is discussed, as well as how the Soul Jazzmen in turn were tutors for musicians of the next generation who became widely recognized artists, composers and arrangers. This is followed by a focus on the Soul Jazzmen and compositions by its members that protested against the apartheid regime in the 1960s–70s. The article is informed by historic photographs, newspaper clippings and information from oral history interviews that richly document how jazz was performed in service of the anti-apartheid struggle in New Brighton.
4
Tang, Patricia. "TWENTY-FIRST CENTURY SABAR DRUMS: INNOVATIONS IN ORGANOLOGY AND PERFORMANCE PRACTICES IN SENEGAL AND THE DIASPORA." African Music: Journal of the International Library of African Music 11, no. 1 (December 1, 2019): 49–71. http://dx.doi.org/10.21504/amj.v11i1.2292.
Testo completoAbstract (sommario):
This article contributes to the substantial body of publications on South African jazz with information on jazz performance and performers in New Brighton, a township adjacent to Port Elizabeth noted for its vibrant jazz scene and outstanding jazz musicians. The article covers several decades from the heyday of swing bands in the 1940s–50s through the 1960s–70s when New Brighton’s premier jazz combo, the Soul Jazzmen, were at the height of their artistry. The role of swing bands in New Brighton and surrounding communities as the training ground for members of the Soul Jazzmen and other local musicians of note is discussed, as well as how the Soul Jazzmen in turn were tutors for musicians of the next generation who became widely recognized artists, composers and arrangers. This is followed by a focus on the Soul Jazzmen and compositions by its members that protested against the apartheid regime in the 1960s–70s. The article is informed by historic photographs, newspaper clippings and information from oral history interviews that richly document how jazz was performed in service of the anti-apartheid struggle in New Brighton.
5
van de Port, Mattijs. "The articulation of soul: gypsy musicians and the Serbian Other." Popular Music 18, no. 3 (October 1999): 291–307. http://dx.doi.org/10.1017/s0261143000008886.
Testo completoAbstract (sommario):
In his Moeurs et Coutumes des Tziganes (1936), the French ethnologist Martin Block notices thatwhen a Hungarian or Romanian feels sad, or when, on the contrary, he wants to celebrate, he needs Gypsy music to exteriorize the state of his soul. (Block 1936, p. 136)Block's conclusion that Gypsy musicians are in the business of articulating other people's ‘soul’ confronts us with an intriguing conundrum. Given the fact that in eastern Europe, group boundaries between Gypsies and non-Gypsies are strictly defined and zealously kept up, one wonders how Gypsies would be able to articulate musically an intimate knowledge about their non-Gypsy customers. And why would Hungarians, Romanians – and, as I will argue in this paper, Serbs as well – need Gypsy musicians to ‘exteriorize their state of soul’?
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Barratt-Peacock, Ruth. "Aspirational cosmopolitanism in classical music anime: Adapting Romantic legacies in Forest of Piano." East Asian Journal of Popular Culture 8, no. 1 (April 1, 2022): 9–26. http://dx.doi.org/10.1386/eapc_00060_1.
Testo completoAbstract (sommario):
This article argues that anime about musicians specializing in western classical music offers a vehicle for questioning normative narratives that tend to exclude East Asian musicians from classical music culture beyond tertiary education. This article explores how the series Forest of Piano, the 2018 anime adaptation of Makoto Isshiki’s manga, utilizes competing Romantic models of genius to negotiate the protagonists’ positions as East Asian musicians on the global stage. In the series, the idea that the spirit of a piece is bound to the composer’s relationship to a specific place competes with the idea of a Romantic genius that channels the transcendent universal music of the world-soul from Nature.
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Moch, Michał. "Review: Mark LeVine, We’ll Play till We Die: Journeys across a Decade of Revolutionary Music in the Muslim World, Oakland 2022: University of California Press, pp. 310." Hemispheres.Studies on Cultures and Societies 37 (2022): 81–87. http://dx.doi.org/10.60018/hemi.bkrf8290.
Testo completoAbstract (sommario):
The book, combining the form of an academic work with a musical travelogue, is a continuation of Heavy Metal Islam: Rock, Resistance, and the Struggle for the Soul of Islam, which was published in 2008, two years before the main wave of political transformation in the Arab countries started. LeVine’s volume is just the newest and one of the most interesting examples of the growing body of texts analysing the central importance of popular music in Arabic popular culture and its influence on the wider sociopolitical context of the region. LeVine makes use of his rich experience as a researcher, traveller and musician, also with experiences of playing or recording with some of the musicians mentioned in the book.
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Bertrand, Jane T., Erica Dudas, Melissa B. Goldin, and Cathi Fontenot. "Providing healthcare to New Orleans' heart and soul: The musicians." Arts & Health 6, no. 2 (July 10, 2013): 176–83. http://dx.doi.org/10.1080/17533015.2013.815238.
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Beller-McKenna, Daniel. "The Beatles as Musicians: The Quarry Men through Rubber Soul (review)." Notes 59, no. 3 (2003): 614–15. http://dx.doi.org/10.1353/not.2003.0002.
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Ligeti, Lukas. "A Work for the Jewish Soul of Warsaw, Old and New." Leonardo Music Journal 27 (December 2017): 57–58. http://dx.doi.org/10.1162/lmj_a_01017.
Testo completoAbstract (sommario):
In 2015, Lukas Ligeti created a site-specific, audience-interactive performance work while in residence at the Museum of the History of Polish Jews in Warsaw. Based on interviews with residents of Warsaw, the piece examined aural memories of Jewish life in the city, tracing the extermination and re-emergence of the Jewish community through speech and songs as well as creative musicians’ reimaginings of these memories, with computer technology as a mediator.
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Gloag, Kenneth. "Walter Everett, The Beatles as Musicians: Revolver through the Anthology; The Beatles as Musicians: The Quarry Men through Rubber Soul." Music Analysis 22, no. 1-2 (March 2003): 231–37. http://dx.doi.org/10.1111/j.0262-5245.2003.00181.x.
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Zbikowski, Lawrence M. "Modelling the Groove: Conceptual Structure and Popular Music." Journal of the Royal Musical Association 129, no. 2 (2004): 272–97. http://dx.doi.org/10.1093/jrma/129.2.272.
Testo completoAbstract (sommario):
A musical groove is most typically created by a small group of musicians working together, each contributing parts to the whole. Characterizing the knowledge behind such interactive ventures has proved to be challenging. This article attempts to characterize the knowledge basic to grooves first by concentrating on ‘the groove’ as it is practised in soul, rhythm and blues, jazz fusion and various other popular genres, and second by focusing on cognitive knowledge structures called conceptual models. It is argued that musicians rely on such structures to produce grooves, and that listeners make use of similar structures to understand them. Grooves from the music of Eric Clapton, Miles Davis and James Brown are discussed, and conceptual models for each are developed.
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Henderson, Darwin L., Brenda Dales, and Teresa Young. "These Books Are Not Quiet Bebop, Blues, Swing, and Soul: Jazz in Children’s Books." Children and Libraries 14, no. 1 (March 22, 2016): 20. http://dx.doi.org/10.5860/cal.14n1.20.
Testo completoAbstract (sommario):
Pages seem to pulse as they fill the senses with rhythm, setting, and pattern. Reflecting attitude and time, young readers and listeners are inducted into the world of . . . jazz. Music and musicians are represented in visual and textual styles that mix and balance, amplify, and absorb, like the sounds that jazz makes.
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neal, mark anthony. "white chocolate soul: teena marie and lewis taylor." Popular Music 24, no. 3 (October 2005): 369–80. http://dx.doi.org/10.1017/s0261143005000577.
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there has been no greater tension within the tradition of black pop music than that associated with the performance of ‘black’ styles by white musicians and performers. in the past, it has been all too easy to identify many of these white artists under the rubric of ‘blue-eyed soul’ – a term that is as much a social construction of raced identities as it is a marketing ploy. using paul c. taylor's essay ‘funky white boys and honorary soul sisters’ as a reference, i'd like to argue that there are artists who transcend, to varying degrees, the kinds of ‘affective obstacles’ that make it difficult for some audiences to derive pleasures from so-called ‘white’ performances of black musical idioms.
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Solis, Gabriel. "Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions." Daedalus 148, no. 2 (April 2019): 23–35. http://dx.doi.org/10.1162/daed_a_01740.
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The rise of jazz-R&B-hip hop fusions in contemporary Los Angeles offers an opportunity to reflect on the ways jazz matters to black audiences today. Drawing on recent Afrofuturist art and theory as well as on Amiri Baraka's analysis of the “changing same” in black music, this essay traces out the significance of work by artists as diverse as Kamasi Washington, Flying Lotus, Thundercat, and Robert Glasper, positing that their music tells us that jazz matters not only in itself, but also in its continuing capacity to engage in cross-genre dialogues for musicians and audiences who hear it as part of a rich continuum of African American musical expression.
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Perrot, Sylvain. "The Musical Culture of the Western Greeks, according to Epigraphical Evidence." Greek and Roman Musical Studies 2, no. 1 (January 28, 2014): 99–123. http://dx.doi.org/10.1163/22129758-12341254.
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AbstractInscriptions concerning musicians in and from Magna Graecia illuminate the musical life of the Western Greeks. There are chronological restrictions; all the inscriptions were written in the Hellenistic and Roman periods, none in Archaic and Classical times. We shall consider resemblances and differences between them and those of mainland Greece and Asia Minor, and relationships between Magna Graecia and Rome. Many inscriptions are honorific decrees for victors in local and Panhellenic musical contests, notably at Delphi. Others are lists of participants, whose commonest musical specialisms were also, perhaps, the most popular. Some reveal the functions of musicians in sanctuaries. Funerary inscriptions, not always evoking the music of the elites, mention composers as well as performers, identifying their gender, age and social status. Some are in verse, elucidating the Western Greeks’ conception of µουσική itself, and their poetic techniques for expressing on a stone the feelings of a musical soul.
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Kalimullina, O. "Springs of the folk soul: from the history of the formation of Kazan culture of the XX century." Heritage and Modern Times 4, no. 2 (July 12, 2021): 198–204. http://dx.doi.org/10.52883/2619-0214-2021-4-2-198-204.
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The article attempts to systematize the historical stages of the formation of the Orchestra of Folk Instruments of the Republic of Tatarstan, which is led by the People's Artist of Russia, Professor A.I. Shutikov. Creative connections of the collective are revealed, the foundations of the creative orientation of the leader and musicians are formulated. The activities of the orchestra are regarded as an important segment of the Republic of Tatarstan culture.
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Lee, Stephen. "Re-examining the concept of the ‘independent’ record company: the case of Wax Trax! records." Popular Music 14, no. 1 (January 1995): 13–31. http://dx.doi.org/10.1017/s0261143000007613.
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In the American record industry, independent record companies have long held a cultural status that far exceeds the actual economic impact they have in the market-place. Independent record companies, or ‘indies’, have become understood as innovative and creative oases for new or unconventional musicians in the midst of a capital-driven and profit-oriented record business. The development of a wide range of musical genres and styles – from rhythm and blues and soul to punk and industrial – are often attributed to the small companies that operated outside of the control of the larger ‘major’ labels.
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Rasmussen, Anne K. "Theory and practice at the ‘Arabic org’: digital technology in contemporary Arab music performance." Popular Music 15, no. 3 (October 1996): 345–65. http://dx.doi.org/10.1017/s0261143000008321.
Testo completoAbstract (sommario):
The synthesizer is ubiquitous on the Arab–American musical scene. Heard at every party, and on every recording, the synthesizer sings the lingua franca of international popular music. While the facade and the body of the synthesizer consist of neutral, slick, black plastic and metal technology, the soul of the instrument, when played by Arab–American musicians, is capable of a completely indigenous, if synthetic, musical idiom. In this article I draw on my experience of six performers of the Arabic ‘org’, commonly known today as ‘keyboards’, to present a sketch of a modern musical tradition.
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Vartanov, Sergei. "The “from despair to immortality of soul” concept in the interpretation of Beethoven’s Sonata op.111." PHILHARMONICA. International Music Journal, no. 4 (April 2020): 85–104. http://dx.doi.org/10.7256/2453-613x.2020.4.33070.
Testo completoAbstract (sommario):
The research subject is Beethoven’s view of life of the late period - the topical issue for a performing musician: without understanding of the fundamental changes in his style, it is impossible to adequately interpret the late piano sonatas. The last of them - Sonata op.111 - has been an object of discussion not only among musicians, but also among writers for almost two centuries. The author detects the following types of dialogue in Sonate op.111: a) a dialogue with Beethoven’s previous compositions; b) a dialogue - within the latest period - with Ninth Symphony op.25 and Missa Solemnis op.123; c) a dialogue with the music of predecessors; d) an imaginary dialogue of Beethoven and Goethe (of the period of “Faust” completion); e) a dialogue op.111 with the world culture. The author arrives at the following conclusions: whilst the formation of the concept of interpretation is usually related to the performance activities of romanticists - Paganini and List, the prerequisites of the phenomenon of interpretation can be found already in the works and ideas of Beethoven - he is a precursor of romanticists of the 19th century. Each of his works is individualized, and doesn’t contain patterns or cliches. To play his compositions outside of the concept means to be not able to adequately convey the spirit of Beethoven’s music. With all their strict architectonics, Beethoven’s works appeal to spontaneity of self-expression - a pianist, as an actor, should experience this music “in the here and now”.   
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Kovács, Réka, and Andrada Savin. "Music Autobiographies – Performing Selves." Acta Universitatis Sapientiae, Philologica 14, no. 3 (December 1, 2022): 127–42. http://dx.doi.org/10.2478/ausp-2022-0029.
Testo completoAbstract (sommario):
Abstract The article pays tribute to four artists of the music scene, i.e. Bob Dylan, Bruce Springsteen, Patti Smith, and John Luther Adams. It walks in their footsteps through their autobiographies and features the major landmarks in their artistic and creative evolution. Despite the various incongruent traits in their music style, background, or gender, music autobiographies prove to be valuable assets, based on which correlations and contrasts can be elucidated, the road to growing into an artist can be followed, and the creative spirit can be grasped. We hereby conclude that autobiographies can constitute a bridge towards the artistic soul and deepen the understanding of how these musicians project themselves as performers and position themselves in society.
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Jia, Haiyang. "Piano Performance Techniques and Musical Expressiveness." Pacific International Journal 6, no. 4 (January 1, 2024): 34–37. http://dx.doi.org/10.55014/pij.v6i4.461.
Testo completoAbstract (sommario):
Music, often described as the universal language of emotions, transcends cultural boundaries and speaks to the deepest recesses of the human soul. Among the myriad of musical instruments, the piano holds a special place, capable of conveying a vast range of emotions and moods. Central to the art of piano playing are the techniques employed by pianists to bring forth both technical brilliance and profound emotional expression. This paper delves into the intricate relationship between piano performance techniques and the art of conveying musical expressiveness. By examining the synergy between these two elements, this study aims to unravel the nuances that govern piano performance and explore how musicians imbue their interpretations with personal creativity and sentiment.
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Nuri, Nurhaida. "Peranan Bahasa Dalam Berkesenian: Pemberdayaan Lirik Lagu sebagai Sarana Pembentukan Karakter Bangsa." JURNAL ARBITRER 1, no. 1 (October 1, 2013): 58. http://dx.doi.org/10.25077/ar.1.1.58-67.2013.
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Language has important role in supporting the activities of art of music.This support can be seen from the lyrics composing the song.Language is used as the media to express the artisticness of the music.The harmonious esthetical lyrics with the rhyme give certain meaning to the music lovers. Without proper lyrics, the music composed will lose their soul, except instrumentalities which have no lyrics. The language in this lyric is categorized as literary words because it is ambiguous and full of expression. This kind of language may be used for several purposes, like persuading, to unite, to separate, and to provoke. Though the language is guaranteed by poetical license, as the literary work, such language is supposed to fulfill the esthetical aspects reflected in the intrinsic and extrinsic ones. As the lyric composer, a musician is bound the values and the social- ideology in society. No matter how, the lyric composer is part of the society. So, what happens in the society is part of his experience. The Indonesian proficiency as the media to express lyrics in Indonesian popular songs is undoubted. However, the quality is questioned. This worry comes up due to many lyrics-vulgarly expressed impacts negatively to the developing of national character. The success on building the character can be used through the role of Indonesian language, the model, especially the artists and musicians. They are forced to use the distinctive language bearing the character of honesty, politeness, and responsibility.
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Перевозчикова, Кристина Викторовна. "Concerto for Conductor and Orchestra by Nino Rota and Federico Fellini: A Rehearsal of the Apocalypse." Музыкальная академия, no. 3(771) (September 30, 2020): 196–205. http://dx.doi.org/10.34690/96.
Testo completoAbstract (sommario):
В знаменитом фильме Федерико Феллини с музыкой Нино Роты символически, через судьбы музыкантов выражена идея катастрофического обнищания человеческого духа, неминуемо ведущая общество к Апокалипсису. Кинолента построена по законам концертной сонатной формы и обладает четко выраженной музыкально-кинематографической драматургией, способствующей постижению глубокого философского смысла, заложенного великим режиссером. Музыкальная ткань Нино Роты, составленная из оркестровых фрагментов, шумов, звуковых пятен, точно передает концепцию Феллини, сохраняя при этом собственную семантику. The famous film by Federico Fellini with music by Nino Rota symbolically expresses-through the fate of musicians - the idea of catastrophic impoverishment of a human soul which inevitably leads the society to the Apocalypse. The film is based on the principles of a concerto sonata form and has a certain musical and cinematic dramaturgy which helps the comprehension of deep philosophical meaning laid down by the great director. Nino Rota's musical score which consists of orchestral fragments, sounds, and clusters, accurately conveys Fellini's concept, while maintaining its own semantic.
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Bachorik, Justin Pierre, Marc Bangert, Psyche Loui, Kevin Larke, Jeff Berger, Robert Rowe, and Gottfried Schlaug. "Emotion in Motion: Investigating the Time-Course of Emotional Judgments of Musical Stimuli." Music Perception 26, no. 4 (April 1, 2009): 355–64. http://dx.doi.org/10.1525/mp.2009.26.4.355.
Testo completoAbstract (sommario):
MUSIC ELICITS PROFOUND EMOTIONS; HOWEVER, THE time-course of these emotional responses during listening sessions is unclear. We investigated the length of time required for participants to initiate emotional responses ("integration time") to 138 musical samples from a variety of genres by monitoring their real-time continuous ratings of emotional content and arousal level of the musical excerpts (made using a joystick). On average, participants required 8.31 s (SEM = 0.10) of music before initiating emotional judgments. Additionally, we found that: 1) integration time depended on familiarity of songs; 2) soul/funk, jazz, and classical genres were more quickly assessed than other genres; and 3) musicians did not differ significantly in their responses from those with minimal instrumental musical experience. Results were partially explained by the tempo of musical stimuli and suggest that decisions regarding musical structure, as well as prior knowledge and musical preference, are involved in the emotional response to music.
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Kus, Peter. "Sound Animation, or on the Singing Stone." Maska 31, no. 179 (September 1, 2016): 92–99. http://dx.doi.org/10.1386/maska.31.179-180.92_1.
Testo completoAbstract (sommario):
The starting point for the author’s reflection on sound animation is the Egyptian statue of Memnon, the stone that sang at dawn; at first sight, this appears to be an oxymoron, for stone is an allegory of the inanimate, and yet immortal, while voice is the exact opposite, the fleeting sign of life. This opposition has triggered thinking about the life of stone and about the question of whether stone – not unlike musical instruments – has its own soul or if another life sounds through it. The author touches upon cosmological theories and world mythologies, which describe the world and its origin with musical metaphors, as well as the superstring theory in contemporary physics, according to which the vibrations of superstrings determine the properties of particles and forces in nature. Oscillation, then, is an innate property of all things; hence, man is not only a constructor and animator, but must also listen to things and become an echo of their own sounds. In this relationship, the author finds the line separating classical, mainly industrial, instruments from original musical instruments that originate from the “animation” of materials: in the first case, it is the musician who expresses him- or herself, while in the latter case, it is the object that does so; the former instruments are played by musicians, the latter are animated by them. The writer is the author of musical puppet plays in which set design elements, props and puppets enable visual and theatrical expressiveness as well as the performance of music; therefore, his performances are an indivisible blend of puppet animation and music concerts.
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Osterweis, Ariel. "The Muse of Virtuosity: Desmond Richardson, Race, and Choreographic Falsetto." Dance Research Journal 45, no. 3 (December 2013): 53–74. http://dx.doi.org/10.1017/s0149767713000259.
Testo completoAbstract (sommario):
This article interrogates the status ofvirtuosityin dance through the co-constitutive paradigms of race, gender, and class, accounting for both the term's emergence in journalistic arts discourse and how “queer of color” critique refines its meaning in and for contemporary performance culture (Roderick Ferguson). Virtuosity operates at the supposed border between popular and “high” art, and “Soul” and the mechanical, defining the location of the virtuoso's potential transgression. Discourses of virtuosity in performance are linked to connotations of excess, and examining formal and sociocultural aspects of virtuosic dance reveals under-recognized heterogeneity generated by vernacular influences on high art. Founded in 1994 by Desmond Richardson (as muse) and Dwight Rhoden (as choreographer), Complexions Contemporary Ballet exemplifies how much of “Africanist” choreography resists performing “ontopolitical critique” through stillness, privileging speed, stylistic hybridity, and technical intricacy (Brenda Dixon Gottschild, André Lepecki). I propose and develop the termchoreographic falsetto, likening Richardson's virtuosity to that of black “Post-Soul” singers such as Prince, on the one hand, and nineteenth-century virtuoso musicians and composers such as Liszt, on the other (Francesca Royster). Richardson performs queer black masculinity by exploiting hyperbolic technical skills typically reserved for women, expanding upon choreographic aesthetics initiated by George Balanchine, William Forsythe, Alvin Ailey, and Ulysses Dove. Calling upon Theodor Adorno and Max Weber's theories of virtuosity and charisma in music and religion (in addition to Ferguson, Royster, Gottschild, Lepecki, Thomas DeFrantz, Nathaniel Mackey, Joseph Roach, Susan Bernstein, and Gabriele Brandstetter), I account for a historically and cross-culturally prevalent (if relatively forgotten) aspect of virtuosity, namely its position at the meeting point of gender, religion, capitalism, and individualism.
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Jones, Brian E. "Thursday at Miller's." Journal of Jazz Studies 14, no. 1 (May 30, 2023): 120–33. http://dx.doi.org/10.14713/jjs.v14i1.218.
Testo completoAbstract (sommario):
At seventy-three years old, jazz trumpeter/composer/bandleader John D’earth remains a vortex of swirling energy: gigging constantly, ceaselessly composing, and tirelessly teaching. An iconic musician with a world-class reputation, D’earth is a gifted post-bop trumpeter with a fat sound, a dense knowledge of harmony, and a virtuosic sense of rhythm. D’earth is the type of player that would demand attention in any major metropolitan jazz scene, but within the small confines of the Charlottesville, Virginia jazz community, D’earth is a pillar of influence. Simply put, D’earth is the heart and soul of the central Virginia jazz milieu. Beyond his skills as a performer, D’earth is a revered teacher and mentor. As the Director of Jazz Performance at the University of Virginia, D’earth has certainly helped hundreds of promising young musicians navigate the vicissitudes of institutional learning. But it is D’earth’s work as a teacher outside the academy that will ultimately cement his legacy. D’earth has been leading a Thursday night weekly gig at Miller’s, a beloved tavern in downtown Charlottesville, for over thirty years. Miller’s on Thursdays is a laboratory—a musical workshop—where D’earth holds forth with both his students and his colleagues. On the Miller’s bandstand, D’earth puts professionals next to amateurs, beginners alongside experts. Everyone solos, all players add to the collective musical interplay, and each musician has a voice within the group. This project engages D’earth in a series of interviews exploring his holistic approach to jazz pedagogy. Beyond interrogating D’earth’s specific teaching system(s), I inquire into his views about both the pitfalls and advantages of jazz in the academy, how improvisation can build social, political, and economic alliances, and the ways in which music can act as both a form of resistance and a strategy for survival in neoliberal times. At the forefront of my agenda is a discussion on how the jazz ecology of Charlottesville was affected by the events of August 12, 2017, when a misguided “Unite the Right” rally ended in the tragic death of Heather Heyer, bringing political upheaval and racial turmoil to the city of Charlottesville. Finally, I dissect the Miller’s phenomenon with D’earth, attempting to explain how this particular location has operated as both a performance environment and important pedagogical space for such a remarkably long time and yielded such a wealth of creativity and access to musical insight.
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Cobo-Piñero, Rocío. "Beyond Literature: Toni Morrison’s Musical and Visual Legacy For Black Women Artists." Feminismo/s, no. 40 (July 15, 2022): 27. http://dx.doi.org/10.14198/fem.2022.40.02.
Testo completoAbstract (sommario):
The aim of this article is to analyze Toni Morrison’s understudied influence on music and visual art. In 1994 she established the Atelier Program in Princeton University as an interdisciplinary arts program that supported and nurtured multifaceted collaborations between artists and students from different disciplines. Moreover, her oeuvre shows her craft in a number of literary and artistic spheres that include writing novels, short stories, children’s books, literary criticism, song cycles and the script for a musical and a play. Keeping in mind Morrison’s multidimensional engagement with literature and the other arts, the first half of the article delves into the contemporary musical responses to the writer, placing special emphasis on black women musicians such as rapper Akua Naru, neo-soul vocalist India Arie, and singer and songwriter Janelle Monáe. Morrison’s intersectional representations of gender and race relations across the history of the U.S. have similarly inspired visual artists. The second half of the article explores the visual creations by U.S. black women artists Kara Walker, Lorna Simpson and Amy Sherald. Morrison’s manifold articulations of blackness and womanhood similarly resonate on the other side of the Atlantic through the work of Lubaina Himid, the first black British artist to win the prestigious Turner Prize in 2017.
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Zhukovska, Halyna. "Філософія життя й смерті в романістиці Галини Пагутяк". Slavica Wratislaviensia 168 (18 квітня 2019): 173–83. http://dx.doi.org/10.19195/0137-1150.168.14.
Testo completoAbstract (sommario):
Philosophy of life and death in Halyna Pahutiak’s novelsHalyna Pahutiak represents neo-gothic prose in contemporary Ukrainian literature. Her mystical and highly original novels Servant of Dobromil, Uriah Gothic, and Enchanted Musicians contain themes such as the oppositions of life/death, real/unreal, real/mythological. Pahutiak’s prose is hermetic and often involves the theme of the confession of an individual trying to find herself in the depths of her soul to understand the meaning of her existence and the universe. The philosophical concept of life/death in this artistic discourse also involves other contradictions, such as as world/anti-world God’s world/devil’s world, good/evil, paradise/hell, immortality/passage. Философия жизни и смерти в романистике Галины ПагутякГалина Пагутяк — создатель неоготической прозы в современной украинской литературе. Тесное сочетание жизни и смерти, реального и мифологического, мистическое наполнение текстов — неотъемлемые признаки оригинального художественного мира ее романов Слуга с Добромиля, Уризька готика, Зачарованные музыканты. Проза Галины Пагутяк — герметична, в ее основе лежит часто исповедь личности, которая пытается найти себя в глубинах собственной души и понять смысл своего существования во Вселенной. Определяющим в художественном дискурсе является философский концепт — жизнь/смерть, который модифицируется как мир/антимир мир Божий/мир дьявольский, добро/зло, рай/ад, бессмертие/кратковременность и тому подобное.
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EKPO, Omotolani Ebenezer. "The Eurhythmics of Swange Dance of the Tiv People of Central Nigeria." Journal of Advance Research in Social Science and Humanities (ISSN: 2208-2387) 7, no. 12 (December 31, 2021): 01–09. http://dx.doi.org/10.53555/nnssh.v7i12.1127.
Testo completoAbstract (sommario):
Eurhythmics in Dalcroze study is defined as the engagement of human body in rhythmic movement and active listening. Jaques-Dalcroze’s involvement of Eurhythmics in music pedagogy is aimed at securing steady position for the body and mind as well as a calculated and unconstrained expression of rhythm. African indigenous music and dance is predominantly functional with intensive assignation of the body and soul of the participants to satisfy the rhythmic drum patterns provided by the musicians. The teaching of music in traditional African settings may be generally informal, yet deliberate. The training technique of the notable indigenous dances in Nigeria informally employ the Dalcroze Eurhythmics teaching technique in the step by step movement pattern and dynamics employed during their group practices, especially with younger members of the group. Among the various traditional dance found in the Tiv clan of central Nigeria, the Swange dance is purposefully selected for this study to validate the relevance of Dalcroze to indigenous Nigerian culture, with regard to music and movement. This paper employ the ethnographic study approach; it combines participatory and observation research methodologies, theoretical engagement, and ample illustrative style of writing, to portray the everyday complexities of music/dance learning among the people.
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Trippett, David. "Exercising Musical Minds: Phrenology and Music Pedagogy in London circa 1830." 19th-Century Music 39, no. 2 (2015): 99–124. http://dx.doi.org/10.1525/ncm.2015.39.2.99.
Testo completoAbstract (sommario):
The icon of the machine in early-nineteenth-century Britain was subject to a number of contemporary critiques in which pedagogy and the life of the mind were implicated, but to what extent was education in music composition influenced by this? A number of journal articles appeared on the topic of music and phrenology, bolstered by the establishment of the London Phrenological Society (1823), and its sister organization, the British Phrenological Association (1838). They placed the creative imagination, music, and the “natural” life of the mind into a fraught discourse around music and materialism. The cost of a material mind was a perceived loss of contact with the “gifts of naturer … the dynamical nature of man … the mystic depths of man's soul” (Carlyle), but the concept of machine was also invested with magical potential to transform matter, to generate energy, and can be understood as a new ideal type of mechanism. These confliciting ideals and anxieties over mechanism, as paradigm and rallying cry, are here situated in the context of music pedagogy during the second quarter of the century, with particular reference to amateur musicians and the popular appeal of phrenological “exercise,” and of devices such as Johann Bernhard Logier's “chiroplast.”
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Burford, Mark. "Sam Cooke as Pop Album Artist—A Reinvention in Three Songs." Journal of the American Musicological Society 65, no. 1 (2012): 113–78. http://dx.doi.org/10.1525/jams.2012.65.1.113.
Testo completoAbstract (sommario):
Abstract Though African American singer, songwriter, and entrepreneur Sam Cooke (1931–1964) is commonly celebrated as a pioneering soul singer, the preponderance of Cooke recordings suggesting to many critics a “white” middle-of-the-road pop sound has troubled this reception. From June 1957 until the end of 1959, Cooke recorded for the independent label Keen Records, where he charted a course for realizing his professional and socioeconomic aspirations, including his determination to harness the prestige attached to the long-playing album and the “album artist.” This article explores relationships between the repertory, performances, and production on three Keen album tracks: “Danny Boy,” “My Foolish Heart,” and “I've Got a Right to Sing the Blues.” These recordings reveal Cooke's seldom-noted proximity to contemporaneous figures and concerns: “Irish tenor” Morton Downey, who built a career on the fluidity between ethnic identity and pop's transparent “whiteness”; Billy Eckstine, who struggled to navigate the racial and sexual politics of the pop balladeer; and the black studio musicians whose campaign for employment equity in 1950s Los Angeles found resonance with Cooke's vision. Taking Cooke's endeavor seriously positions us to assess freshly Cooke's skills as a vocalist, the processes through which “pop” becomes racialized as white, and intractable methodological challenges in black music studies.
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Tanjung, Flores, Abdul Haris Nasution, and Lister Eva Simangunsong. "Nahum Situmorang dan Amir Pasaribu: Seniman Legendaris dari Tanah Batak dan Kontribusi terhadap Perkembangan Musik Indonesia." MUKADIMAH: Jurnal Pendidikan, Sejarah, dan Ilmu-ilmu Sosial 6, no. 2 (September 8, 2022): 332–43. http://dx.doi.org/10.30743/mkd.v6i2.5908.
Testo completoAbstract (sommario):
This study aims to find out the artists who came from the Batak Land during the Dutch colonial period in Indonesia, the independence period, and the post-independence period, as well as the specialty of the artists in motivating the workers in the millennial era or the present. The research method used is descriptive qualitative with a historical approach through heuristic steps (collection of data relevant to the topic of study, both primary and secondary), for verification (criticism of external and internal sources), for further interpretation. The analysis was carried out using the theory of semiotics (Ferdinand De Saussure), namely content analysis. The results show that North Sumatra, especially the Tapanuli region, is the hometown for many artists, especially musicians with various genres known at the national and international level. The strength of the lyrics and musicality from the traditional to the popular modern has strengthened the variety of themes and musical compositions so that they become part of the atmosphere that supports the emergence of "Batak the Singing Man". with musical colors, ranging from classical, pop, jazz, blues, country, cha-cha, tango, calypso, rumba, waltz, march, baleno, slow rock, bossanova, keroncong, hawaian beat, stambulan, soul, and faxtrot, respectively each with its derivatives.
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Tsyhanok, Oksana. "THE PROBLEM OF SPIRITUAL CREATION IN M. BAZHAN’S «NIGHT CONCERTS»." Philological Review, no. 1 (May 31, 2021): 205–13. http://dx.doi.org/10.31499/2415-8828.1.2021.232744.
Testo completoAbstract (sommario):
The article analyzes the content of the concept of «spiritual creation» and its constituent elements «spirit», «creation»; the means of verbal representation of the studied concept in revealing the content of texts and images of characters in the poetic cycle «Night concerts» are analyzed; the specific in the process of revealing the role of musicians and their works in the life of society, the influence of music on the listener, on the formation of personality are determined; the peculiarity of the poet’s «translation» of the language of music into words are defined.
 It is emphasized that music is not just a melody for M. Bazhan, it is the truth of feelings, that is why the artist translated it into the language of visible images. A careful reading of the content of M. Bazhan’s «Night concerts» allows us to single out the semantic load of the concept «Spirit»: Spirit of artist; Spirit of music; Spirit of the word (voice); Spirit of the city; Spirit of victory; Spirit-Soul; Spirit of love, and «creation» – as creativity that goes beyond human existence.
 In each poem that makes up the cycle «Night concerts», we see a personality of the Composer-Creator: E. Villa-Lobos, M. Leontovych, L. Hrabovskyi, Ya. Sibelius, F. Schubert, D. Shostakovych and singer Edith Piaf, who is also a creative person. As composers, whose personalities and destinies are revealed in the works of the artist, the Poet himself becomes a kind of a translator of the sounds of music into the sounds of poetry. M. Bazhan pays special attention to the character of Edith Piaf, whose songs became a symbol of Paris, its freedom, and the singer’s talent raised her above the crowd, even above the city roofs, in the poet’s vision she is a «midnight soothsayer», «pure prophetess» in whose character Virgin Mother is visible.
 In «Night concerts» the artist is not limited to the sound aspect of the musicians’ work. He attaches great importance to the features of the performer and composer. Because it is their inner strength, their Spirit is embodied in the works. Reading the poems that make up this cycle of poetry acquaints us not only with creativity, but also with the fate of composers and performers.
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Muñoz, Catalina. "“A Mission of Enormous Transcendence”: The Cultural Politics of Music During Colombia’s Liberal Republic, 1930-1946." Hispanic American Historical Review 94, no. 1 (February 1, 2014): 77–105. http://dx.doi.org/10.1215/00182168-2390613.
Testo completoAbstract (sommario):
AbstractThis article examines the cultural programs developed by reformist intellectuals and artists working for the Colombian government during the period known as the Liberal Republic (1930-1946). It explores the implementation of two music programs in particular, the orfeones obreros and the murgas populares, with attention to both the political discourses from above and the everyday music practices from below. I show that, far from being inspired by common interest or nationalist sentiment alone, the ruling elites turned to cultural politics as an arena through which to define the relationship between the rulers and the ruled in a way that naturalized the former’s place in power. I argue that while music programs asserted the unity, horizontality, and inclusiveness of the nation by glorifying popular music, they also deepened the terms of exclusion they professed to level by essentializing the pueblo. However, this official celebration of popular culture, which rendered its practitioners archaic and passive repositories of the nation’s soul, was challenged by a very dynamic, effervescent, and transnationally open music landscape driven by the activities of creative grassroots musicians. Using data from the National Folkloric Survey of 1942, I explore the everyday music practices of popular sectors in different areas of the country and the challenge that these practices posed to elite definitions of popular music.
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Husak, V. A. "Peculiarities of development of music teachers’ effective thinking in the process of instrumental training." Musical art in the educological discourse, no. 2 (2017): 104–12. http://dx.doi.org/10.28925/2518-766x.20172.10412.
Testo completoAbstract (sommario):
The article presents the essence of the concepts “effective thinking”, “ideomotorics” and “psychomotorics”. The author explores peculiarities of development of music teachers’ effective thinking in the process of instrumental training due to the activation of mental phenomenon “ideomotor training”. Basing on scientific postulates of music pedagogy and music psychology, the author offers methodological manuals as for the practical implementation of the method of «ideomotor training» in teaching and performing practice of students on the basis of the phenomenon of anticipation of polymodal ideas of motions, images and feelings about the way, the shape and the motion of the hands on the keyboard of the instrument, etc. On the basis of retrospective analysis of contemporary scientific literature methodological issues in performing instrumental training in terms of intensification of reflective professional processes and psychomotor activity of music experts are investigated. The author affirms that psychomotor activity of teacher-musician is comprehensive and versatile. With its help, students are able to achieve high performance skills in music interpretation. Mechanisms of music psychomotor activity are created every time from the very beginning in achieving the objective of sound, that is why the hand of artist is able to overcome any technical difficulty. Musicians, playing the instrument, animate it; reflect depth of their soul in the instrument. The instrument becomes the active object of psychomotor activity. The cooperation of the instrument and participator happens. Summarizing the research, the author draws to conclusions that conscious deliberate activation of effective thinking in the musical training of teachers is accompanied by ideomotor reactions and techniques, determines the development of performance skills and memory of students, substantially develops skills of running of motor component of performing instrumental activities, helps to the formation and mnemonic consolidation of the music interpretation plan. The functioning of effective thinking of intended music teachers is greatly enriched by the artistic and logical thinking and simulation-based creative prediction of results in psychomotor gained executive experience. This kind of professional musical thinking cannot exist either of practice or analytical understanding of theoretical knowledge, principles and laws of music and performing arts.
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Voronina, N. I. "SOUND – MUSIC – CULTURE: SPACE-TIME REFLECTION." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 25, no. 91 (2023): 114–20. http://dx.doi.org/10.37313/2413-9645-2023-25-91-114-120.
Testo completoAbstract (sommario):
The article presents reflections on the metaphysics of music, first of all, by posing the eternal question, which is difficult to answer: "What is music?"; Why is it, along with literature, painting, religious creativity, always at the boundary of acute socio-cultural discussions, becoming a stumbling block in endless disputes about the meaning of being? In this series, the definitions of music are clearly read by thinkers and musicians. The methodology of the “sphere of soundmusic” concept is essentially as universal as the sphere of culture and religion; that is why scientists and theosophists of antiquity and the Middle Ages often used music as a phenomenon to explain the world order and the complex mechanisms of the human soul. Music in all its aspects, therefore, has already been recognized for many centuries as something exceptionally suitable for building models that help to understand areas no less material than itself. The author comes to the conclusion that in people gifted with exceptional creative impulsiveness, inquisitiveness, volitional struggle means one of the important properties of his work. Pulsating feelings and thought of the creator, passion, emotionality, volitional aspirations give rise to a certain style of musical thinking, individual in its manifestations, but based on the main spiritual and creative foundations of the time. Not an individual, but rather a confessional, intimate-personal aspect of the confessional expresses a special symbolic dominant of culture and is especially clearly manifested in music.
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Luo, Xinjie. "“Buddha Passion” by Tan Dun." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (2022): 52–63. http://dx.doi.org/10.33779/2782-3598.2022.2.052-063.
Testo completoAbstract (sommario):
Tan Dun is one of the musicians who gained a high reputation in China after the Chinese Cultural Revolution. His work embraces the principles of Chinese and Western music, bridging the gap between Western classical music and Asian traditional culture. “Buddha Passion” for chorus and orchestra or chamber ensemble was composed in 2018. This work reproduces the musical heritage concealed in cave paintings painted thousands of years ago, which bears in itself national beliefs and feelings of compassion and hope for the future, expresses the everyday life and reflections of Chinese culture. “Buddha Passion” is a work in which Tan Dun expresses his understanding of Zen and Buddhism. The entire work is divided into six acts. Each one of them contains profound philosophy aimed at guiding people toward good deeds by means of a dialogue between music and culture, history and the human soul. In this work the composer attempts to depict the Dunhuang frescoes into music, allowing the audience to “hear” them. The dramatic character of these paintings is described in the form of an epos. “Buddha Passion” manifests musical heritage and conveys the long-time events and the composer’s reflections on his native culture. Tan Dun believes that for the sake of the future development of Chinese culture and Chinese art it is necessary to study the country’s history and traditions more deeply. In the present day Tan Dun’s music plays a vital role in the global prestige of Chinese culture, demonstrating its values that have developed over centuries and millennia, offering the whole world the comprehension of these cultural riches.
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Kosmovskaya, M. L. "Methodology of Working with Manuscripts (From the Experience of Preparing for Publication the Materials from the Archival Funds of N.F. Findeisen)." Art & Culture Studies, no. 3 (September 2023): 380–409. http://dx.doi.org/10.51678/2226-0072-2023-3-380-409.
Testo completoAbstract (sommario):
The attempts to answer the question of what made outstanding figures of culture and art keep diaries lead to the conclusion that the reason for this systematic daily work was the awareness of fulfilling their own destiny, the search for which began in childhood and resulted in the choice of the main type of activity in adulthood. Recording facts of the times in manuscripts with their initial assessment was a need of soul from youth. It is through strong (though sometimes subconscious) awareness of their path as a mission that the epoch is imprinted on their diary pages. Hence the cornerstone methodological principle in working with manuscripts: the preservation of authentic texts; without notes or improvisation, preserving all the features of the writing (up to cursive explanations). Such careful work creates the possibility of subsequent reprints — corrected and modified. And we, the people of today, are given the opportunity to evaluate historical events from a very distant time perspective. Long-term (since the beginning of the 1980s) work with the diaries of Nikolai Fedorovich Findeizen (1894– 1928) — a scientist, historian and historiographer of Russian music, the creator and permanent editor-publisher of the Russian Musical Newspaper (1894–1918), and in 1920s the organizer and head of the Musical-Historical Museum of the Academic Leningrad Philharmonic Society (now the Museum of Music in the Sheremetev Palace) — has allowed making some generalizations on the problematic aspects of the study of manuscripts by Russian musicians, which is reflected in the main section of the article.
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Asror, Muhammad Khozinul, та Penny Respati Yurisa. "MA'NA AL-TASYJĪ' FI AGNIYAH "HĀWIL MARRATAN UKHRA WAKUN FUḌŪLIYYAN WA TAṢNA' AL-MUSTAHĪL" LI HUMUUD AL-KHUḌR: DIRĀSAH SIMIUṬĪQIYYAH 'INDA FERDINAND DE SAUSSURE". 3rd Annual International Conferences on Language, Literature, and Media 4 (21 вересня 2022): 14. http://dx.doi.org/10.18860/aicollim.v4i1.1929.
Testo completoAbstract (sommario):
Song is one of the means of communication that is considered successful in delivering messages to the listeners. Hammoud Al-Khidr is one of the musicians who has succeeded in presenting songs filled with encouraging messages. The researchers were interested in analyzing the meaning of encouragement found in each of his songs. This research is descriptive qualitative . The data sources were the lyrics of the song “Hawil maratan 'ukhraa wakun fudulia watasnae almustahila" and YouTube. This research used the semiotic theory of Ferdinand de Saussure, which seeks to understand the meaning of a literary work using signs. The objectives of this research were to know the reference and the reference found in the songs; and uncover the meaning of encouragement found in the songs. The results of this research were: (1) What is referred to in these songs is the lyrics of the song itself, and what is referred to is the interpretation of the reference; (2) The meaning of encouragement in the song Try Again is the encouragement to try again, focus on the future, not be afraid of dreaming, renew the soul, and be dissatisfied easily. Encouragement in the song "Lilmuhawalat maratan 'ukhraa" is to encourage curiosity and to ask lots of questions and discussion. The meaning of the encouragement contained in the song "Tasnae almustahil" is the encouragement to conquer the impossible, strengthen the resolve, move together, grow, advance, trust and commit. It is expected that there will be more other researchers who explore similar topic and they are suggested to use other theories to advance this research.
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Parncutt, Richard, and Graham Hair. "A Psychocultural Theory of Musical Interval." Music Perception 35, no. 4 (April 1, 2018): 475–501. http://dx.doi.org/10.1525/mp.2018.35.4.475.
Testo completoAbstract (sommario):
The Pythagoreans linked musical intervals with integer ratios, cosmic order, and the human soul. The empirical approach of Aristoxenus, based on real musicians making real music, was neglected. Today, many music scholars and researchers still conceptualize intervals as ratios. We argue that this idea is fundamentally incorrect and present convergent evidence against it. There is no internally consistent “Just” scale: a 6th scale degree that is 5:3 above the 1st is not a perfect 5th (3:2) above the 2nd (9:8). Pythagorean tuning solves this problem, but creates another: ratios of psychologically implausible large numbers. Performers do not switch between two ratios of one interval (e.g., 5:4 and 81:64 for the major third), modern studies of performance intonation show no consistent preferences for specific ratios, and no known brain mechanism is sensitive to ratios in musical contexts. Moreover, physical frequency and perceived pitch are not the same. Rameau and Helmholtz derived musical intervals from the harmonic series, which is audible in everyday sounds including voiced speech; but those intervals, like musical intervals, are perceived categorically. Musical intervals and scales, although they depend in part on acoustic factors, are primarily psychocultural entities—not mathematical or physical. Intervals are historically and culturally variable distances that are learned from oral traditions. There is no perfect tuning for any interval; even octaves are stretched relative to 2:1. Twelve-tone equal temperament is not intrinsically better or worse than Just or Pythagorean. Ratio theory is an important chapter in the history Western musical thought, but it is inconsistent with a modern evidence-based understanding of musical structure, perception and cognition.
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Abadzhian, Harrii. "The charming horn of Kumayri, conductor-researcher Shaliko‑dzhian (creative portrait of Shaliko Paltadzhian)." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 143–59. http://dx.doi.org/10.34064/khnum2-23.09.
Testo completoAbstract (sommario):
Background. Topicality, objectives, methodology and novelty of the research. The creative achievements of the Honored Art Worker of Ukraine, Professor Shaliko Harehinovych Paltadzhian (1941–2020) are a significant contribution to the history of the development of Ukrainian musical culture and, of course, deserve special attention and thorough in-depth research. However, there is not still any fundamental work about this talented musician, brilliant French horn player and wonderful conductor. The author of this article was lucky to study together with Sh. Paltadzhyan at the Kharkov Conservatory and to work with him until the end of life of this outstanding artist. This essay aims to capture some of the features of the creative portrait of Shaliko Paltadzhian, relying on the few existing reference sources and self-own memories about the artist, and also to emphasize his, in a sense, a unique role in the educational process at the Kharkiv National University of Arts and at Ukraine in general. Accordingly, touching upon the educational, methodological and sociological spheres, the study as a whole adheres to the chronological method of presenting events inherent in the genres of historical and biographical essays and portraits. The main results of the research. We traced the creative path of Shaliko Paltadzhian from his very appearance in Kharkiv in 1959 as an entrant at the Kharkiv Conservatory, where, despite the almost complete impossibility of communication due to the language barrier (the musician was born in Armenian city Gyumri, which was known as Kumayri from the period of the Kingdom of Urartu), he, nevertheless, charmed the examiners with the extra-ordinal expressive sound of his French horn, and until the last decade of fruitful work of this wonderful musician at Kharkiv National University of Arts and the “Slobozhansky” Youth Academic Symphony Orchestra . We consider Sh. Paltadzhian’s working with this orchestra as a new special stage in his conducting activities. Being, at the same time, the leader of the Student orchestra of the Kharkiv National University of Arts and the professional team of the “Slobozhansky” Orchestra, Sh. Paltadzhian, thus, makes the first in Ukrainian musical education sphere practical step in the implementation of a modern project on the introduction of so named “dual form” of vocational training, which joints the instructive process in an educational institution with the practice at the workplace. In addition, he does it long before the official directives (“Slobozhansky” Orchestra already exists 28 years). The example of the “Slobozhansky” Orchestra testifies that the organization of the educational process in a dual form gives a positive result and fully corresponds to modern educational methods: after graduating from the University, the musicians come to new teams as the very well prepared professionals, because they were passing through a “double” school as orchestra students. Shaliko Paltadzhian as a conductor proved this in practice. Conclusions. In perspective, the method of dual form of education can be adapted to any specialization. In our case, the practical bases for this are orchestras (symphony, wind), children’s music schools, music colleges, art faculties at other universities, and so on. “Slobozhansky” Orchestra partially solves the problem of mass moving abroad of the best domestic youth. The orchestra has an interesting creative atmosphere. World-famous conductors, soloists work with him; the collective tours in Denmark, Spain and Italy. Some graduates have already turned down foreign offers and stayed at home in Ukraine. Thus, Shaliko Paltadzhian played a key role in a landmark scientificeducation experiment conducted at the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The weird and wonderful, versatile talent of this bright, charismatic musician is striking. As a Professor at the University, Sh. Paltadzhian taught various educational disciplines in the last decade of his life: opera and symphony conducting, musical instruments studies, arrangements, reading scores. He is also the author of scientific papers and manuals. His brilliant talent and clear human soul will forever remain in our memory.
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ȘOITU, CRISTINA-NICOLETA. "Stylistic Confluences: the National Ethos and the Universal in the Artistic Development of Chopin, Enescu and Silvestrov." ARTES. JOURNAL OF MUSICOLOGY 27, no. 27-28 (July 2, 2023): 70–84. http://dx.doi.org/10.35218/ajm-2023-0004.
Testo completoAbstract (sommario):
The model of Creation is one that reveals the usefulness, meaning, and beauty of “sharing”. Artistic creation, in the present study the musical one, is explained at least by the understanding, or knowledge beyond the individual limit of the creator, or by the precept of externalization, even if this is a revelation to a single being or to God. Frédéric Chopin, George Enescu and Valentin Silvestrov are composers who, in different periods, seek, in their artistic development, to value national elements, but also a way of integrating them into what is called „universal,” therefore an addressability that crosses country borders, towards a human space, that of the soul. Of different nationalities, Polish, Romanian and Ukrainian respectively, these musicians know and live in other cultures (Chopin and Enescu in Vienna and Paris, Silvestrov in Berlin), which help them to create in the spirit of a synthesis, a reinterpretation, a metaphor. In this way, we point to a mutual way of understanding the composition, determined by an informational-spiritual interchange, dialogue and national feeling. The confluences of knowledge and dialogue build personality, and the accumulation gives rise to the desire for a choice, to obtain one's own expression. The national feeling is the element that in this unique synthesis is an emblematic shade which transmits identity data in music, such as a physical location or one related to the sensibility of a people. The processing of national symbols does not constitute a constraint in the creation of the mentioned composers, because this transformation relates to a reception of the “other” who can come from any ethnicity or represent it in any place in the world. These observations can be explained in relation to the scores of some instrumental works (for solo piano and for violin and piano) by Chopin, Enescu, Silvestrov. The biographical data and the analysis of the works lead to the understanding of the musical style of each one, built from within itself, through the proximity of the self – “the other”, and in itself, through reformulation and rediscovery; but one's own style, which defines the self, also reveals itself to the “other”.
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Kruglova, Elena V. "EXPRESSIVE AND DESCRIPTIVE FUNCTIONS OF ORNAMENTATION IN THE 17TH CENTURY VOCAL MUSIC." Scientific and analytical journal Burganov House. The space of culture 19, no. 6 (December 10, 2023): 129–40. http://dx.doi.org/10.36340/2071-6818-2023-19-6-129-140.
Testo completoAbstract (sommario):
he demand for Baroque music on the concert stage sets high requirements for singers in terms of the performance style. At present, the issues of reproducing vocal ornamentation in ancient arias are the primary tasks. Given the lack of knowledge and skills of baroque improvisation among Russian singers, the ornamentation used often represents, in fact, only a technical aspect that the soloists are diligently trying to cope with. At the same time, ornaments often sound "empty", not expressive, not corresponding to the main purpose which is to emphasise affect. According to the instructions of the 17th century masters, the main purpose of performing music was to show the passions of the human soul. The singers’ fundamental task was to maximise the impact on the listener’s feelings and to awake affects in them through an intoned word. As a vivid expressive means, ornamentation contributed to the emphasis of certain words in the general context. Moreover, according to the instructions of teachers from the past, singers needed to convey one or another affect with the appropriate intonation of the voice. The artistic function of ornaments came down to increasing the level of performance expressiveness. Various ornamentation (melismas and passages) had to be used purely to enhance the musical statement. The proposed article is aimed at solving actual problems in the field of Baroque performance, problems related to the correct interpretation and performance of vocal ornaments in 17th century works. The historicism principle is the methodological basis of the work. Using the methods of analysis and synthesis, as well as the cultural and historical method of research, the author managed to recreate the historical significance of the ornament in connection with the opera traditions of the 17th century. The author's position is that for a singer, it is important to understand the figurative and expressive functions of any type of ornamentation (melismas, passages) as one of the main means of expression, contributing to revealing the composition affect, which presents scientific novelty and is the main conclusion of the article. The content and conclusions of the article will be useful to musicians, singers performing 17th century compositions for their stylistically correct interpretation, as well as in training courses on the history of vocal performance and stylistics at Performing Arts departments of music colleges and university faculties.
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Anggreni, Ni Luh Eka Yuli. "KOMUNIKASI RITUAL PAWAI OGOH-OGOH SEBAGAI IMPLEMENTASI DALAM TRI HITA KARANA." Widya Sandhi Jurnal Kajian Agama Sosial dan Budaya 14, no. 1 (May 31, 2023): 1–10. http://dx.doi.org/10.53977/ws.v14i1.671.
Testo completoAbstract (sommario):
The Ogoh-ogoh parade is one of a series of Nyepi activities. In the implementation of the ogoh-ogoh parade which was held in the city of Mataram, it did not only involve Hindus, but also Muslims, Buddhists, and Christians. Ogoh-Ogoh is one of the works of sculpture that depicts the embodiment of Bhuta kala, Bhuta kala in Hinduism is described as the embodiment of a giant whose figure is known for its large and frightening size.
 The purpose of this study is to describe and analyze the implementation and values contained in the teachings of tri hitakarana in the tradition of the ogoh-ogoh parade in Mataram City. This study used qualitative research methods.
 The results of this study are as follows: Ritual Communication of the Ogoh-Ogoh Parade as Implementation in Tri Hitakarana, including, 1) The Parhyangan conception is implemented before carrying out the ogoh-ogoh parade, where before the event begins the community performs a melaspas ceremony. 2) Conception Pawongan is the concept of harmonization between fellow humans, the implementation of which in the parade is not only the Hindu community who are involved as paratroopers or gamelan musicians, but there are also non-Hindu relatives that we meet bringing kecimol, gendang beleq and even barong sai to participate in the celebration and celebration. the success of the ogoh-ogoh parade. 3) The concept of Palemahan is implemented when after carrying out the ogoh-ogoh parade, the community then performs a mass mecaru ceremony or at their respective homes. The values contained in the Ritual Communication of the Ogoh-Ogoh Parade as Implementation in the Tri Hitakarana are, 1) Religious or Spiritual Values, believing in the existence of God which is believed by Hindus or the people of Mataram City. 2) Social Values and Religious Tolerance, mutual respect among Hindus or among each other despite different religions and beliefs, without anyone looking at social status, whether position, caste or wealth in order to achieve common goals, all work hand in hand enthusiastically, sincerely, sincerely and concern for others. 3) Art value, contained in the manufacturing process, where in making ogoh-ogoh techniques are needed in making and have a high artistic spirit by having an artistic soul so that person can pour ideas according to the desired imagination, not only looks good to the eye but also able to give an impression and meaning to everyone who observes the work of art.
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Hutchings, Shabaka, and Ashish Ghadiali. "Transcendence." Soundings 79, no. 79 (November 1, 2021): 138–52. http://dx.doi.org/10.3898/soun.79.09.2021.
Testo completoAbstract (sommario):
An interview with musician Shabaka Hutchings, leader of the bands Sons of Kemet, The Comet is Coming and Shabaka and the Ancestors. The conversation starts with a discussion of multiplicity and unity, and the imperial habit of reducing multiplicity down to a single dominant unity, whether through imposing one religion, one view of empire, or one recognised form of art music. It looks at the different ways of viewing culture in the West and in African countries. And it discusses the relationship between jazz and classical music; improvisation; musical dialogue; South African music; transcendence through music; and musical healing.
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Scott, Cheraine Donalea. "Policing Black sound: performing UK Grime and Rap music under routinised surveillance." Soundings 75, no. 75 (September 1, 2020): 55–65. http://dx.doi.org/10.3898/soun.75.03.2020.
Testo completoAbstract (sommario):
The recent sounds of BLM protests can be thought of as reconstituting George Floyd's extinguished voice - amplifying his solitary protest against restraint through creating a ruckus that interrupted the wider silencing of Black voices. UK Grime and Rap music is another way in which these silences are being challenged today, in the face of all the attempts to police it and close it down, and to restrict the artistic freedom of young Black musicians, especially as expressed in Drill music. Policing Black sound is part of the wider policing of the black body - and restrictions on Black music are discussed in relation to the many laws on anti-social behaviour that have been enacted since New Labour's first creation of ASBOs. David Starkey's fear about whites becoming black is linked to a long-held fear on the right about the potentially corrupting effect of Black music on white listeners, and its perceived threat to the status quo - the spread of a 'dub virus'.
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Діте, Людмила Анатоліївна. "The influence of evolutionary processes of consciousness on the performance expressiveness of a musical work." Professional Art Education, no. 2 (2021): 6–12. http://dx.doi.org/10.34142/27091805.2021.2.02.01.
Testo completoAbstract (sommario):
The purpose of the article. Based on the philosophical, musicological, psychological and pedagogical literature, to reveal the dependence of expressiveness in the performance of musical works on the evolutionary patterns of development of musical art, consciousness and spiritual outlook of the performer himself. The methods and methodology are based on the analysis and systematization of scientific information on the evolutionary processes taking place in the world, musical art and their impact on the consciousness of the performing musician and his/her performance skills. The scientific novelty of the article lies in the fact that the dependence of the expressiveness of the performing musician, the sound of the musical work on his own spiritual substance is determined on the basis of philosophical concepts. Results. The article deals with the problems of musical performance, certain regularities in the presentation of musical works formed by different performing eras, which affirmed a far from unambiguous vision of the essence of the performer’s expressiveness. It is emphasized that the evolutionary processes taking place in human consciousness naturally affect the evolution of composer’s thinking and the expressiveness of a musician’s performance. It is revealed that in the conditions of modernity, when the idea of human nature is changing, which is considered more as a vibrational entity than as a physical one, new facets of understanding are introduced into the understanding of performing expressiveness. It is noted that by reaching the level of high-frequency vibrations, the performer is already able to reflect the synthesis of two worlds - manifested and unmanifested, getting the opportunity to reveal personal expressiveness as an external manifestation of the expression of the soul. The significance of musical intonation is emphasized, which is the highest manifestation of the expressiveness of musical performance, reveals the ontological image of the musician. Thus, given that the musical sound is generated by the spiritual basis of the existence of its performer, it is important to achieve one’s own depth in the embodiment of sound.
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Menshikov, P. V., G. K. Kassymova, R. R. Gasanova, Y. V. Zaichikov, V. A. Berezovskaya, A. V. Kosov, M. R. Arpentieva, and M. E. Kirichkova. "ARTISTIC AND AESTHETIC EDUCATION AND MUSICAL PSYCHOTHERAPY OF A SPECIALIST’S TRAINING." BULLETIN 384, no. 2 (April 15, 2020): 222–32. http://dx.doi.org/10.32014/10.32014/2020.2518-1467.62.
Testo completoAbstract (sommario):
A special role in the development of a pianist as a musician, composer and performer, as shown by the examples of the well-known, included in the history of art, and the most ordinary pianists, their listeners and admirers, lovers of piano music and music in general, are played by moments associated with psychotherapeutic abilities and music features. The purpose of the study is to comprehend the psychotherapeutic aspects of performing activities (using pianists as an example). The research method is a theoretical analysis of the psychotherapeutic aspects of performing activities: the study of the possibilities and functions of musical psychotherapy in the life of a musician as a “(self) psychotherapist” and “patient”. For almost any person, music acts as a way of self-understanding and understanding of the world, a way of self-realization, rethinking and overcoming life's difficulties - internal and external "blockages" of development, a way of saturating life with universal meanings, including a person in the richness of his native culture and universal culture as a whole. Art and, above all, its metaphorical nature help to bring out and realize internal experiences, provide an opportunity to look at one’s own experiences, problems and injuries from another perspective, to see a different meaning in them. In essence, we are talking about art therapy, including the art of writing and performing music - musical psychotherapy. However, for a musician, music has a special meaning, special significance. Musician - produces music, and, therefore, is not only an “object”, but also the subject of musical psychotherapy. The musician’s training includes preparing him as an individual and as a professional to perform functions that can be called psychotherapeutic: in the works of the most famous performers, as well as in the work of ordinary teachers, psychotherapeutic moments sometimes become key. Piano music and performance practice sets a certain “viewing angle” of life, and, in the case of traumatic experiences, a new way of understanding a difficult, traumatic and continuing to excite a person event, changing his attitude towards him. It helps to see something that was hidden in the hustle and bustle of everyday life or in the patterns of relationships familiar to a given culture. At the same time, while playing music or learning to play music, a person teaches to see the hidden and understand the many secrets of the human soul, the relationships of people.