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Articoli di riviste sul tema "Soul musicians"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 30 luglio 2024

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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.

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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 i

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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.

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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 m

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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.

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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 m

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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.

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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

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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.

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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 wit

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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.

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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,

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8

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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9

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.

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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.

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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

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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.

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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 difficul

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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

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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 special

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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’ lab

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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.

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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.

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The research subject is Beethoven&rsquo;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&rsquo;s previous compositions; b) a dialogue - within the latest period - with Ninth Symphony op.25 an

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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.

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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 autobiographie

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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.

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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 t

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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 s

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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.

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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 fil

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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.

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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 o

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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.

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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 origi

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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.

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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 sociocultur

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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.

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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 sou

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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.

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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 lit

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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.

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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 in

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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.

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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 t

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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.

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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 material

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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.

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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 relations

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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.

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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

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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.

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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 th

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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.

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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 relation

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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.

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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

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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.

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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 theosophis

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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.

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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

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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.

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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 m

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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.

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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 lite

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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.

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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

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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.

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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

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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.

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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 addressabili

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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.

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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 th

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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.

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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-ogo

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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.

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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; transcendenc

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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.

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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

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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.

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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 novel

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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.

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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

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