Artigos de revistas sobre o tema "Gabba (Music)"

Seksio sesarea adalah sebuah bentuk proses melahirkan anak dengan melakukan sebuah irisan pembedahan yang menembus dinding abdomen. Nyeri adalah suatu gangguan yang tidak menyenangkan dan terlokalisasi yang disebabkan oleh luka insisi. Terapi music merupakan salah satu teknik distraksi yang digunakan untuk mengalihkan sensasi yang tidak menyenangkan oleh seseorang misalnya nyeri. Tujuan dari penelitian ini untuk mengetahui pengaruh terapi music terhadap penurunan tingkat nyeri pada pasien posto perasi di RS. Ummi Kota Bengkulu. Desain penelitian ini menggunakan metode Pre-Eksperimental dengan pendekatan One Group pre-post test design, Sampel dalam penelitian ini berjumlah 16 pasien, Dengan menggunakan teknik sampling purposive sampling dan alat ukur yang digunakan adalah NRS (Numeric Rating Scale). Analisa data menggunakan Uji Paired t test dengan derajat signifikansi α 0,05. Hasil penelitian menunjukkan bahwa musik dipercaya dapat meningkatkan pengeluaran hormon endorphin. Endorfin merupakan ejektor dari rasa rileks dan ketenangan yang timbul, midbrain mengeluarakan Gama AminoButyric Acid (GABA) yang berfungsi menghambat hantaran implus listrik dari satu neuron ke nueron lainnya oleh neurontransmiter didalam sinaps. Midbrain mengeluarkan enkepalin dan beta endorfin dan zat tersebut dapat menimbulkan efek analgesik yang akhirnya mengeliminasi neurotransmitter rasa nyeri pada pusat persepsi dan interpretasi sensorik somatic di otak sehingga efek yang bisa muncul adalah nyeri berkurang. Sebelum dilakukan terapi musik rata-rata tingkat nyeri 6,25. Setelah dilakukan terapi music tingkat nyeri menjadi 4,68. Hasil analisa dari penelitian ini didapatkan bahwa nilai P value= 0,001 (p < α 0,05) yang mempunyai makna terdapat pengaruh pemberian terapi music terhadap penurunan tingkat nyeri pada pasien post operasi di RS. Ummi Kota Bengkulu. Dengan demikian diharapkan untuk dapat menerapkan terapi music untuk mengurangi tingkat nyeri di Instansi Rumah Sakit

The problem of tempering keyboard and fretted instruments has occupied the attention of musicians and theorists for hundreds of years. Since the sixteenth century most fretted instruments such as the lute and viola da gamba have employed equal temperament (or an approximation of it based upon the 18:17 rule) or an adaptation of mean-tone tuning, but these systems suffered from ‘tempered’, or ‘impure’, intervals. In 1705 the music theorist Thomas Salmon (born London, 1648; died Mepsal [now Meppershall], Bedfordshire, 1706) proposed a system of intonation for the viola da gamba that employed divided frets (that is, the frets were not tied across the fingerboard in a straight line but were in effect cut apart and glued or inset beneath each string as required) as well as interchangeable fingerboards for different keys (much like the set of crooks for the later Inventionshorn). It was Salmon’s intention to overcome the lack of purity associated with fretting systems that ‘falsify the proportions’ and thus ‘deprive us of that satisfactory pleasure which arises from the exactness of sonorous numbers’. In his system the C major scale was constructed of large and small whole tones having ratios of 9:8 for the intervals C–D, F–G and A–B, 10:9 for the intervals D–E and G–A, and 16:15 for the semitones E–F and B–C. The two sizes of whole tones were divided 18:17:16 and 20:19:18, resulting in the following scale:

In 1773 Johann Christian Bach filed a bill of complaint in Chancery for breach of musical copyright, initiating what was to become a landmark case in British copyright law. Bach claimed that the publishing firm of Longman, Lukey & Co. had brought out unauthorized editions of two of his compositions: a ‘new lesson for the Harpsichord or Piano Forte’ and a ‘new Sonata’ for keyboard and viola da gamba.

German musicians, according to contemporary documents, played a variety of bowed instruments throughout the late middle ages. The vedel was the most favored instrument c. 1400. The terminology was not precise, but in most cases this was probably a kind of fiddle. By about 1500 scribes most often recorded the presence of the geige, a general term which could indicate several bowed instruments. One of the most characteristic and important of these was a large instrument, with frets, played in gamba position-an instrument which appears to have developed independent of any foreign influence and which might be termed a "German viol." Archival and musical evidence suggests that this instrument could have developed as early as c. 1475. Furthermore, German players of geigen were known to have traveled to Italy, and to have been prominent in such important centers as Florence, Ferrara, and Mantua. We know that the Italian viol da gamba developed about 1500, and the shape of the instrument, as has been demonstrated by the recent work of Ian Woodfield, was strongly influenced by Spanish concepts. It now appears, however, that the Italian viol was the result of a more complex interaction than has previously been proposed, one with contributions not only from Spain and Italy, but from Germany as well.

To have a child lead an orchestra is an anomaly, yet this situation was encouraged, celebrated, or simply tolerated hundreds of times throughout the twentieth century. This article reconstructs the Western cultural phenomenon of the child conductor from its emergence in music halls in the 1910s to the consolidation of this figure within classical music and beyond in the late 1940s. Issues such as the professionalization of child maestros and their rise to international stardom are addressed. Profiles of child conductors are presented from the earliest child conductors, such as Willy Ferrero and Rio Gebhardt, to celebrity child maestros such as Pierino Gamba, Roberto Benzi and Giannella de Marco. While child virtuosos have been subject to scholarly study, child conductors have been largely overlooked. This article addresses this lacuna by surveying the general phenomenon.

India is a country with diverse culture. Indian folks reflect the way of life in India. Bollywood, the name for Indian films had marked its signature in music and dance with the influence of traditional Indian folk. It had begun in the 1940s with the song “Diwali Phir Aa Gayi Sajni” from Khajanchi (1941) and coloured by the later generation of directors. Sanjay Leela Bhansali is one of the grandiose filmmakers in Bollywood who had glorified Indian folk, culture and aesthetics on screen. This paper titled “Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanjay Leela Bhansali’s Movies” is a close study on the folkdances employed in Bhansali’s movies such as Gujarat’s Garba in Hum Dil De Chuke Sanam (1999), Uttar Pradesh’s Kathak in Devdas (2002), Garba in Goliyon Ki Rasleela Ramleela (2013), Maharashtra’s Jugalbandi, Lavani, Kathak in Bajirao Mastani (2015), and Rajasthan’s Ghoomar and Kathak in Padmaavat (2018). Evaluating all these songs trace back its relation and devotion to North Indian cultures which marks the bond between people and the culture of our society.

India is a country with diverse culture. Indian folks reflect the way of life in India. Bollywood, the name for Indian films had marked its signature in music and dance with the influence of traditional Indian folk. It had begun in the 1940s with the song “Diwali Phir Aa Gayi Sajni” from Khajanchi (1941) and coloured by the later generation of directors. Sanjay Leela Bhansali is one of the grandiose filmmakers in Bollywood who had glorified Indian folk, culture and aesthetics on screen. This paper titled “Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanjay Leela Bhansali’s Movies” is a close study on the folkdances employed in Bhansali’s movies such as Gujarat’s Garba in Hum Dil De Chuke Sanam (1999), Uttar Pradesh’s Kathak in Devdas (2002), Garba in Goliyon Ki Rasleela Ramleela (2013), Maharashtra’s Jugalbandi, Lavani, Kathak in Bajirao Mastani (2015), and Rajasthan’s Ghoomar and Kathak in Padmaavat (2018). Evaluating all these songs trace back its relation and devotion to North Indian cultures which marks the bond between people and the culture of our society.

India is a country with diverse culture. Indian folks reflect the way of life in India. Bollywood, the name for Indian films had marked its signature in music and dance with the influence of traditional Indian folk. It had begun in the 1940s with the song “Diwali Phir Aa Gayi Sajni” from Khajanchi (1941) and coloured by the later generation of directors. Sanjay Leela Bhansali is one of the grandiose filmmakers in Bollywood who had glorified Indian folk, culture and aesthetics on screen. This paper titled “Hum Dil De Chuke Sanam to Padmaavat: An Epitome on Traditional Indian Folk Dance in Sanjay Leela Bhansali’s Movies” is a close study on the folkdances employed in Bhansali’s movies such as Gujarat’s Garba in Hum Dil De Chuke Sanam (1999), Uttar Pradesh’s Kathak in Devdas (2002), Garba in Goliyon Ki Rasleela Ramleela (2013), Maharashtra’s Jugalbandi, Lavani, Kathak in Bajirao Mastani (2015), and Rajasthan’s Ghoomar and Kathak in Padmaavat (2018). Evaluating all these songs trace back its relation and devotion to North Indian cultures which marks the bond between people and the culture of our society.

Die Studie untersucht (1) den englischen Einfluß auf die Kammersonaten Buxtehudes, der sich speziell in der Klangstruktur mit Melodieinstrumenten in Sopran- und Alt-/Baß-Lage und in der Besetzung mit Viola da gamba auswirkt, (2) das italienische Vorbild von Sonaten und Opernsinfonien als formgebendes und expressives Element in den Sonaten Buxtehudes, und sie versucht, (3) das individuelle Gepräge des Repertoires zu beleuchten. Der Begriff des „Stylus phantasticus“ dient als Ausgangspunkt für die Diskussion der revidierten Sonate in B (BuxWV 255). Buxtehudes Transformation von Einflüssen zu einem höchst persönlichen Kompositionskonzept läßt sich anhand der Revisionen exemplarisch darstellen. (Vorlage)

The object of the article is Alain Corneau's feature film "All the Mornings of the World" ("Tous les matins du monde", 1991). The movie is considered as a work of art with strong postmodern tendencies. The director uses music written in the XVIIth century to create an image of the era. The image of the gambist de Sainte-Colombe is formed on the basis of the aesthetic and emotional perception of his works by the creators of the movie. The timbre of viola da gamba, one of the key features of which is rapid fading, defines the main philosophical idea of the film. The "disadvantage" of the instrument, which contributed to its short life in art, is perceived by the filmmakers as its original value. The rapidly fading sound becomes a metaphorical symbol of dying and rebirth, death and immortality being one. In addition, Baroque music performs the function of temporary "immersion". Using the music of ancient styles, the film industry gains a foothold in true values and an element of authenticity. In turn, by participating in cinema, it appropriates the features of mass culture: lightness, illusiveness, and easy accessibility. Such ambivalence is also characteristic of the plot, in which events that evoke completely modern feelings take place against a historical background far removed from the present moment.

Twentieth-century accounts of the life and musical activities of Ann Ford, later Mrs Thicknesse (1737–1824), have largely relied on the entry for her in the Victorian Dictionary of National Biography. The rediscovery of a fifty-four-page article on her in Public Characters (London, 1806) has led to a re-evaluation of other sources of information, including her semi-autobiographical novel The School for Fashion (London, 1800), the pamphlets published in the course of her dispute with the Earl of Jersey and her treatises on playing the English guitar and the musical glasses. These throw new light on her musical activities and help us to understand the context and significance of her public concerts in 1760 and 1761. Her public persona and her preference for soft, exotic instruments such as the viola da gamba, the archlute and the guitar are seen as embodying the cult of sensibility, at its height during her period of fame around 1760.

Autism Spectrum Disorder (ASD) has attracted attention for difficulty with social communication, where valid exam and treatment are expected. Current cases include 2 patients (32F/13M) with ASD and their mothers (61F/43F). They received procedures of music therapy (MT), Ayurvedic head massage, and measured the changes in the values of bio resonance apparatus before and after the intervention. As a result, oxytocin brought remarkable improvement among dopamine, GABA, serotonin, autonomic nerve, autism and others. Questionnaire survey showed satisfactory evaluation from all subjects. These results suggest that combined therapeutic trials would contribute the improvement of ASD, leading to future possibility of treatment.

Gitar klasik pada dasarnya merupakan instrumen musik yang dimainkan secara solo. Namun, karena beberapa faktor seperti demam panggung, kurang percaya diri, dan kerumitan repertoarnya membuat beberapa gitaris klasik lebih memilih untuk bermain ensambel dengan format duet gitar. Interpretasi musikal yang digunakan dalam bermain solo dan ensambel berbeda. Di dalam pertunjukan solo, interpretasi musikal biasanya dilakukan secara mandiri atau mendapatkan bimbingan dari gurunya. Namun, di dalam duet gitar terjadi kolaborasi dalam interpretasi musikalnya. Penelitian ini menyoroti pada proses interpretasi musikal duet gitar dari dua orang mahasiswi gitar klasik di Institut Seni Indonesia Yogyakarta. Metode penelitian dilakukan dengan pengamatan tidak terlibat terhadap proses berlatih hingga pertunjukan musik dilakukan. Pengamatan juga dilakukan pada dokumen partitur repertoar yang mereka mainkan. Hasilnya adalah terjadi kolaborasi di antara kedua pemain gitar klasik tersebut dan adanya pengaruh dari guru gitar mereka. Kolaborasi yang terjadi adalah adanya dominasi dan negosiasi di antara kedua pemain dan gurunya. Sedangkan dominasi terkuat dalam kasus ini adalah arahan dari gurunya.

Third-trimester primigravida mothers typically experience anxiety. Serotonin, norepinephrine, and GABA are the three primary neurotransmitters responsible for anxiety. Labor pain may be impacted by anxiety. Relaxation music can help with anxiety. Binaural beats are a sort of relaxation music that are thought to be an inexpensive, safe, and side-effect-free approach to ease anxiety and pain in patients, according to various studies. The aim of this study was to ascertain how binaural beats affected anxiety and pain during the early stages of labor. The HRS-A questionnaire was used in a quasi-experimental study with a control group for the pretest and posttest. The participants in this study are 36 primigravida moms who are 36 weeks along. The participants were then split into four groups: control, alpha, beta, and gamma. Two weeks prior to delivery, the intervention was conducted by listening to 20 minutes of the group's preferred genre of music or binaural beats. The labor pain scale was calculated using the Verbal Descriptor Scale. The collected data will be examined with Paired-Sample T-Test, One-Way ANOVA, and Regression Linear tests in SPSS. The result of alpha and beta groups, when the anxiety scale affects the pain scale of the initial stage of labor, there is a considerable drop in the anxiety scale. Binaural beats' alpha and beta waves hence effectively lower the initial stage of labor's pain scale.

Stress caused by noise is becoming widespread globally. Noise may lead to deafness, endocrine disorders, neurological diseases, and a decline in mental health. The mechanism behind noise-induced neurodevelopmental abnormalities is unclear, but apoptosis and pro-inflammatory signals may play an important role. In this study, weaned piglets were used as a model to explore noise-induced neurodevelopmental abnormalities. We hypothesized that long-term noise exposure would induce anxiety and cause acute stress, exhibited by alterations in neurotransmission in the amygdala. A total of 72 hybrid piglets (Large White × Duroc × Min Pig) were randomly divided into three groups, including noise (exposed to mechanical noise, 80–85 dB), control (blank, exposed to natural background sound, <40 dB), and music (positive control, exposed to Mozart K.448, 60–70 dB) groups. The piglets were exposed to 6 h of auditory noise daily (10:00–16:00) for 28 days. Compared with the control group, piglets exposed to noise showed more aggressive behavior. The expression of Caspase3, Caspase9, Bax, NF-κB (p56), TLR4, MYD88, I κ B α, IL-1 β, TNF-α, and IL-12RB2 was significantly upregulated in the amygdala, while the expression of Nrf2, HO-1, CAT, and SOD was downregulated in piglets in the noise group. Cell death occurred, and numerous inflammatory cells accumulated in the amygdala of piglets in the noise group. Targeted metabolomics showed that the content of inhibitory neurotransmitter GABA was higher in the amygdala of piglets in the noise group. Compared with the noise group, piglets in the music group displayed more positive emotion-related behaviors. Compared with the noise group, the expression of genes related to apoptosis, inflammation, and oxidative damage was lower in the music group. Cells of the amygdala in the music group were also of normal morphology. Our results show that noise-induced stress causes apoptosis and neuroinflammation in the amygdala and induces anxiety during the early neonatal neural development of piglets. In contrast, to some extent, music alleviates noise-induced anxiety.

The cello solis performance is an instrumental show that places great importance on the maturity of a solist in presenting the repertoires which he will present in the form of a recital examination. The cello is a stringed instrument just like the violin. The current cello is called the modern cello. The modern cello is a development of the previous Cello such as the viola da gamba, viola da spalla, viola da bracchio and bass viol. Initially, the Cello served as the bass in a musical foundation. In the 17th century, composers such as Domenico Gabrielli and Giuseppe Colombi created works for single Cello or Cello solo without accompaniment. This paper aims to inform the performance of a Solis Cello instrument, by using the interpretation, maturity and mastery of the presenter's skills to the techniques contained in each repertoire that is performed. Where a solist performs the repertoire, through the appearance of the individuality of the virtuosity of his instrument. The achievement of a presenter's skills is intended so that aesthetic values can be presented in a show.Key words: study analysis, recital, cello, repertoire.ABSTRAKPertunjukan solis cello merupakan sebuah pertunjukan instrumental yang sangat mementingkan kematangan bagi seorang solis dalam membawakan repertoar-repertoar yang akan disajikannya dalam bentuk ujian resital. Cello merupakan instrumen gesek sama seperti biola. Cello yang ada sekarang disebut modern cello. Cello modern merupakan pengembangan dari Cello yang sebelumnya hadir seperti viola da gamba, viola da spalla, viola da bracchio dan bass viol. Pada awalnya, Cello berfungsi sebagai bas dalam sebuah fondasi musik. Pada abad ke-17, komposer seperti Domenico Gabrielli dan Giuseppe Colombi membuat karya-karya untuk Cello tunggal atau solo Cello tanpa iringan. Tulisan ini bertujuan untuk menginformasikan permainan seorang Solis instrumen Cello, dengan menggunakan interpretasi, kematangan dan penguasaan skill penyaji terhadap teknik-teknik yang terdapat pada setiap repertoar yang dibawakan. Dimana seorang solis mempertunjukan repertoar tersebut, melalui penampilan individualitas virtuositas instrumen nya. Pencapaian skill seorang penyaji bertujuan, agar nilai estetis dapat dihadirkan dalam sebuah pertunjukan.Kata kunci: studi analisis, resital, cello , repertoar.

Appealing to the stated topic is relevant because of the desire to concretize the knowledge of little-known in Russian musicology instrumental consorts (musical groups), as well as to expand the existing understanding of the court culture of Renaissance England and its musical and sound appearance. The main center of English consorts development was the Royal court of the Tudors — Henry VIII and his daughter Elizabeth I. Their heyday was at the peak of the “Golden Age” of English culture. Based on the results of scienti­fic research by Western scientists and visual and verbal sources available for study, the article outlines the milestones in the history of the main types of instrumental consort in England — the whole consort, consisting of instruments of the same family, and the broken consort, today often identified with the mixed consort, which connects heterogeneous instruments. The article notes that the early history of the recorder consort in England was closely connected with creative activities of the family of Venetian musicians Bassano. Extremely popular in musical circles of England, the consort of viol was originally formed thanks to Flemish and, somewhat later, Italian musicians. As for the mixed consort, which united performers of the viols da gamba and da braccio, lute, bandore, cistre and recorder, it started to be called “English” because of the stable combination of certain musical instruments. Analysis of consort music anthologies of the 16th—17th centuries made it possible to identify individual genre and musical-style reference points in musical groups’ repertoire, in which musicians improved the principles of instrumental polyphony and the stile concertante, topical in the Modern Period.

The article was based on a fragment of the author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, practice, and selected literature examples (Academy of Music in Łódź, chapter The evolution of cello in the 17th century) and consists of two parts. The first part outlines of the evolution of cello from its birth in the 16th century to the 18th century (the text is supplemented with illustrations), whereas the second part describes the role and use of cello in music of that period. The introduction to the article includes a critical reference to the list of academic and popular science publications therein, in Polish and other languages, touching on the cello issue in the 17th and 18th centuries. The historical part touches on the circumstances of how the violin family emerged with a special attention paid to bass representatives of that group of instruments. Following a detailed analysis of preserved instruments, their reliable copies, luthier publications, illustrations and treatises from that period, the author discussed the construction of the earlies cellos. Apart from data concerning sizes and scale length of these instruments, the article includes information about their body, neck, fingerboard (with slope angle), bridge and tailpiece, materials they were made of, and types and gauge of strings used at that time. It also describes cello tuning methods. Moreover, the author mentions different types of cello (piccolo, da spalla, basse de violon) and different ways of how it was held. A separate issue are the bows, especially types of bows, their evolution and ways of holding. This part of the article is concluded with a list of different names of bass variants of the violin used in the 16th and 17th centuries before the name cello/violoncello finally settled. The second part of the article elaborates on the most important functions of cello: as a consort instrument, a universal continuo instrument or a solo instrument. Cello (along with viola da gamba or dulcian/bassoon) managed especially well as a melodic instrument co-rendering the continuo parts, and the result was that the basso continuo became the most important domain of cello in the Baroque, having a significant influence on the shape of playing technique and performance practice of that instrument. As one of melodic bass instruments, cello performed an important role in shaping the concertante style, along with the violin, shawm/oboe, cornet or flute. It was that practice combined with the improvisation practice developed simultaneously (which also influenced the development of the instrument itself) that the idea to write first autonomous compositions for the cello (solo, chamber or with basso continuo) emerged from at the end of the 17th century. Continuation of this article, which shall be devoted to Baroque works for the cello and their composers, will be published in the following issue of “Notes Muzyczny”.

Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.

Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.

Bones are one of the oldest materials used to create musical instruments. Currently, the world’s oldest known instruments are flutes made out of bones (Turk, Turk, and Otte 11). In fact, bones have been used to create or enhance musical instruments in a variety of settings throughout history and in modern day instrument making. Bone bull roarers, jaw bone percussion, clappers, trumpets, drum shells, lyres, or construction parts, such as frets, plectrums, pipes and pipe fittings, embouchure adjustments, or percussive strikes are just a few of the more common uses of bones in musical instrument construction. One man even made a guitar out of the skeleton of his dead uncle to memorialise the person who influenced his musical tastes and career (Bienstock). Bones can therefore be taken as a somewhat common material for making musical instruments. All of these instruments share a common trait, and not just the obvious one that they are all made out of or incorporate bones. None of these instruments are intended to represent something monstrous. Instead, they represent the ephemeral nature of humanity (Cupchik 33), a celebration of lineage or religious beliefs (Davis), or simply are the materials available or suitable to create a sound-making device (Regan). It is not possible to know the full intentions of a maker, in many cases, but a link to monstrosity and a representation of the ‘horrific’ or ‘freakish’ seems missing for the most. There are instruments, however, that do house this sentiment and some that utilise bones in the construction with the purpose of making this connection between the remains and something beast-like. In this article, I argue that the Bone Guitar Thing (BGT) built and played by raxil4 is one of those instruments. Introducing the 'Thing' Raxil4 is the stage name of sonic artist Andrew Page. He has been playing his Bone Guitar Thing for almost twenty years in a variety of settings (Page, email interview, 25 June 2021). The instrument has undergone slight changes during that time, but primarily it has retained its specific visual, timbral, and underlying associative features. The BGT is complex, more so than it may seem at first. By investigating the materials used, the performance techniques employed, and raxil4’s intentions as a musician, instrument maker, and community member within his circles of activity, the monstrous nature of the BGT comes to light. The resultant series of entanglements exhibits and supports a definition of what is a 'monster' that, like several definitions in monster theory discourse (Levina and Bui 6; Cohen 7; Mittman 51), includes challenging that which may be seen as ‘normal’ and thereby may nurture levels of unease or fear. However, in the case of the BGT, that which is monstrous is simultaneously being taken as something positive alongside its beast-like characteristics, and rather than evolving into something that needs to be repressed or eliminated, the ’monster’ here becomes a hero or champion, colleague, or even a friend. The Bone Guitar Thing is not really a guitar. It is a zither with a piece of driftwood for a base, (currently) five strings, and an electric pick-up (see Fig. 1). The bridge for the instrument is two bones, and the pitch and timbre of the strings is sometimes changed with bones used for Cage-like preparation (Cage 7-8; Bunger). Bones are also used to play the instrument, sometimes like a plectrum, others like a hammered dulcimer, or occasionally, simply pounding the string or the soundboard with great force to make a combination of percussive and string sounds. Glissandos are created by using the plectrum bones as a slide, and Page also uses jaw bones to introduce ratchet sounds, string scraping, and precise pitch bending (with the sharper edged part of the bones) (raxil4, “Livestream”). The instrument is electric, so the bones are enhanced with guitar pedals (typically reverb, distortion, and octave-splitter; Page, email interview, 25 June 2021), but the tonal qualities retain a semblance of the bone usage. Fig. 1: raxil4's Bone Guitar Thing. Photograph: Andrew Page. Page often uses the BGT as part of his sonic arsenal to perform dark ambient music, noisescapes, improv music, or live film soundtracks both in live concerts and recording situations. He plays solo as much as with ensembles, and more often improvises his music or parts, but occasionally works with predetermined organisation or scores of some description (although he admits to typically abandoning predetermined passages or scores during live performances; Page, email interview, 14 July 2021). Currently in London, raxil4 presents concerts in a variety of settings, typically well-suited for his brand of sonic art, such as Ryan Jordan’s long-running concert series Noise=Noise (raxil4 feat. King Sara), experimental music shows at the Barbican (raxil4 + King Sara + P23), and dark ambient showcases promoted and arranged by one of his record labels, Sombre Soniks (Wright). Sounds beyond Words: Monstrous Music One series of performances in which raxil4 used the BGT took the form of an immersive theatre show produced by Dread Falls Theatre called Father Dagon, based on the works of horror author H. P. Lovecraft. The performance incorporated a breaking of the ’fourth wall’ in which the audience wanders freely through the performance space, with actor- and sometimes audience-interactive musical performances of partially improvised, partially composed passages by musicians located throughout the set. Director and writer Victoria Snaith considered the use of live, semi-mobile, experimental music dispersed through the audience (mixed with an overall backing soundtrack) as heightening the intensity of the experience by introducing unfamiliar aspects to the setting. She discusses having made this decision based on Lovecraft’s own approach to story-telling that highlights a sense of unfamiliarity and therefore sense of “fear of the unknown”. The usefulness of creating unfamiliarity in this context can serve to support the parts of the narrative that contains supernatural and monstrous aspects. Given that the elements of the supernatural and horrible monsters in Lovecraftian tales are primarily indescribable (both because Lovecraft would recount beasts and fantastic magical happenings in his works as being such, and because in a practical theatrical situation, these things would be impossible to describe, especially without text or specific props or costumes, which the show purposefully uses sparingly, also as a conscious choice to embrace the unknown). Sounds created on instruments that are unique, or generated through unusual performance techniques would lend themselves to being more difficult to describe, and therefore fitting to support a desire to present something regarded as also difficult to describe, that being supernatural happenings or horrific creatures. (Connor 77) Page’s use of the BGT in these performances added directly to this notion both sonically and visually. The homemade nature of his instrument increased the potential that audience members would be less familiar with the source of his sounds, even if they were watching him perform, and the resultant soundscape he provided introduced harsh timbres, undulating pads, and aggressive punctuation of movement. Page sees the BGT as an instrument “reclaimed from the watery depths” (matching the theme of the show’s narrative), therefore as one fitting into the Lovecraft show “quite nicely” (Page, email interview, 25 June 2021). He likens the sounds created by the BGT as presenting “otherworldly melodies” akin to those played by Erich Zann (a character in another Lovecraft story who conjures a gateway to an alternate dimension full of indescribable creatures and nightmares via performing unusual music on his viola de gamba), which Page also sees as fitting (ibid.). His instrument in this setting as a producer and provider of unfamiliarity is supportive of constructing and maintaining a definition of “monstrous” or “terrifying” (Levina and Bui 6). Fig. 2: raxil4 performing in Dread Falls Theatre's Father Dagon, London 2012. Photograph: Pierre Ketteridge. Finding Community in the 'Freakish' Raxil4 also notes that the Bone Guitar Thing is appropriate for creative input within improv music circles (Page, email interview, 25 June 2021). Generally speaking, contemporary improv music (meaning the broad genre) is improvised performance focussing on sonic exploration over melodic, harmonic, or rhythmic content (even though all will be present in most cases; Toop 132-137). In my experience working with improv musicians since 1981, I find that these performers typically attempt to create sounds that are unusual or unexpected. Players often embrace extended techniques, repurposing non-musical items to be sound-making devices, and employ self-built instruments. Improv musicians seek to break free from the constraints of what may be seen as Western standard musical practices (ibid.), but they simultaneously strive to uphold some parallel aspects of artisanship and virtuosity, perhaps as a means to validate their departure from Classical/mainstream music norms. The instruments and approaches can be seen as factors that separate the experimental artists from the conservatory-based performers, yet still affords them the clout of being hard-working, innovative, expressive, and professional. As the name implies, improv music emphasises improvisation. André Hodier (23-36) in his classic book The Worlds of Jazz likens improvising jazz musicians to an alien race who battle each other on a daily basis (via jazz battles) in order to see who resides at the top of the improvisation chain. Improv musicians (some of whom come from a jazz background) tend to engage in this sort of hierarchical status ranking system using a much more ’polite’ and co-supportive mentality (at least in the scenes in which I have been privileged to participate). Improv musicians can occasionally embrace a friendly attitude that one should surpass the experimental nature of other performers, and may do so by presenting a new sound, technique, or instrument. The BGT can serve this function. It can stand out among other improv musicians’ gear, even if a majority of the instruments are self-built, through its use of bones and its intentional evocation of something horrific. Improvised music is sometimes looked down upon by musical communities who value conservatory training, popular music, or more traditional Western classical approaches to music. Referring to avant-garde jazz in the 60s and 70s, Valerie Wilmer (6) recounts that critics and Classical music enthusiasts perceived experimental and improv music as “‘freakish’ and only worthy of passing interest”. The dynamic is different today, but the overall attitude remains, at least in part. The improv music scene is creatively valid, but in comparison to conservative or more mainstream music, incorporates more experimental practices, therefore sometimes musical form, interactions, and preparation is less obvious to audience members outside the experimental music circles. The Bone Guitar Thing also plays into this construction. It is artistically valid, yet perhaps simultaneously challenging to the less-experienced listener. The BGT in this setting is multifunctional. Page (email interview, 25 June 2021) sees the BGT as a means to cut through or rise above other improv musicians, partly by being more recognisable as a “freakish” instrument at performances where the music is already considered freakish by some outsiders. Additionally, the fact that Page has taken the time to make this instrument, and uses notably practiced techniques to create the sounds he introduces, may position him as an innovative professional, rather than a non-trained imposter. The BGT can (at least for raxil4, but for others as well) become a monster among monsters that allows Page to validate his brand of creativity (Ibid). Musical ’freakishness’ appears in other settings as well. An example of this is a performance in which raxil4 took part where an ensemble provided experimental music for a live tattooing event (raxil4, “Listening”). Here, the congruency with being monstrous or freakish is perhaps more overt. Similar to the soundscape being performed, Fenske (6) points out that tattoos may still be seen as unfit or unexpected for certain classes, genders, or education levels, and may even still be associated with illustrated circus performers of the past. Furthermore, Kinzey (32) suggests that avant-garde and counter-culture communities (such as ones where tattooing and live music converge in a single event) often value uniqueness that serves to “erase boundaries between everyday life and art”. The combined performativity of live music and tattoo inking (both the artistic activity and the art itself) associates raxil4 and the BGT with this non-mainstream circle (to some degree), potentially conjuring an identity of something freakish or monstrous to people with different values. Engaging with Expressive Objects The conception and evolution of the Bone Guitar Thing has its roots in personal experience, art experimentation, and material culture related to Page’s life and the musical communities in which he played and plays. In the past, Page endeavored to make small sculptures to be given as Christmas and birthday gifts from materials he found on the shore of the River Thames, many including bones. Page then began to create new musical instruments with what he had available. Page’s brother is a doctor specialising in gunshot wounds and knife trauma, and his apartment was filled with remnants of his brother’s occupation, including a number of crutches. From these, Page crafted his first instruments in this period: crutch harps that utilised the leftover medical devices to build stringed sound generators. He claims the instruments at first were not overly successful, so he began to experiment with his bone sculptures to create more serviceable instruments. An early attempt was a percussion instrument made from various found bones, which Page deemed the “Xylobone” (see Fig. 4). This instrument and advanced crutch harps (6-string tenor (see Fig. 3.) and 2-string bass) became his first arsenal of sound makers, but Page felt the instruments ultimately failed to meet expectations and opted to rethink his approaches and designs. Fig. 3: One of Page's 6-stringed crutch harps. Photograph: Andrew Page. Fig. 4: The Xylobone - raxil4's bone xylophone percussion instrument. Photograph: Andrew Page. The BGT was intended to be more “playable”, “expressive”, and audible to battle louder co-performers. As mentioned, the driftwood base and bones for the instrument originated from the River Thames. The electronics come from a destroyed guitar that was the result of performing in a previous project in which Page was the singer, where the guitarist “had a habit of smashing his guitars on stage, in a sort of expensive tribute to [grunge guitarist] Kurt Cobain" (Page, email interview, 25 June 2021). The BGT started off as a 6-string zither that used guitar-gauge steel strings, but according to Page, given the harsh performance technique of beating or scraping the strings with bones, he was encouraged to switch to using wound, bass-gauge strings, affording him a lower pitch and greater resistance to energetic performance practices. One tuning peg, however, snapped off quite early in its life (as it was in a thinner, more weathered part of the driftwood), leaving the instrument one string shorter. Page says he likes to think that the instrument decided itself that it would be a “5-stringed beast” (ibid.). Conclusion The Bone Guitar Thing is, in fact, beast-like, at least in the settings, sonic attributes, and mindsets of the player and the communities in which the instrument is played, but it may not be the case that this beast-like nature is equal to being monstrous. Cohen (3-25) in his discussion of seven potential monster theories outlines several different notions of what can be considered “monstrous” and relates the monster in each theoretical situation to those fearing the monstrous construct. Most closely related to the situation in which the BGT is observed is a parallel theory based on the concept of “Us versus Them”, meaning “Us” as those who are dealing with the monster in question, and “Them” as being those on the side of the monster or the monster itself (Cohen 19-20). However, with the BGT, the monster is not unanimous with “them”, but rather with “us”. In all the situations outlined here, the instrument takes on the role of a beast, but not a negative role for Page (email interview, 14 July 2021) or fans of raxil4 (Wright). Instead, the beast is more like part of the team of noise makers actively engaged in the community’s activities of creation, entertainment, identity, and validation of values upheld thereof. Each of the performance settings can be argued to exhibit a sense of welcoming outsiders or praising diversity, rather than ostracising it. The Lovecraft performance and story were constructed on the premise of questioning what is a monster and who determines that definition. The Bone Guitar Thing supports and interacts precisely within this parameter to enhance the artistic commentary presented. Within the improv music setting, the instrument assists Page to achieve uniqueness among that which is already unique and highlights the values of community including a show of innovation, exploration, and personal performance technique development. For the live tattooing, the instrument stands out as a unifying sonic flag, connecting other (perhaps less-monstrous) artists into a stronger group of alternative creatives. Effectively, the BGT is a 'freak among freaks', serving to simultaneously fit in and rise above, all while maintaining a sense of “us” within respective circles. The beast-like nature is not entirely an outward force. Page (email interviews, 25 June 2021 and 14 July 2021) is aware that he has received no formal education in music. He admits he is less familiar with music theory, and more familiar with the science and technology behind the music. Page considers himself to be experimental in his approach to sound creation, which he sees as being more unique due to ignoring the “rulebooks” (ibid.). As a result, he feels (at least a slight) pressure of feeling “unprofessional” or “correct” in the eyes of Western conservatory-trained musicians and composers or those with a similar mentality (Page, email interview, 25 June 2021). The BGT was also, to a degree, built to battle being told what was “right”. For Page, his instrument is akin to a beast that helped him break free of the constraints of Western tonal and virtuosic constraints. “I made my own [instrument] so that nobody could tell me I was playing it the wrong way” (ibid.). His “beast” helped him break down barriers and asserted himself as an innovative musician and creative professional. So, then, the Bone Guitar Thing is a monster; sonically, visually, and physically. It represents a monster, it is called “the beast”, and it takes on the role of a terrifying creature raging through (sometimes, extremely quietly – raxil4; raxil 4 feat. King Sara; raxil4 + King Sara + P23) soundscapes, settings, and performances, rallying the like-minded and routing the unsuspecting or “others”. That is an overdramatic take on the situation, perhaps, but the instrument does uphold a series of values and creative aesthetics that fosters positive relationships between the artist, the community, and the sonic and physical qualities of the zither. Rather than being a device that places a horrific barrier to be overcome in an “us versus them” scenario, the monster takes on an alternate role and becomes a source of empowerment for “outsiders” or marginalised groups or people (Mittman 51). Thus the Bone Guitar Thing allows Page to demolish barriers and amalgamate fellow community members into a larger version of “us” to create a space in which the beast is no longer a monster. References Bienstock, Richard. “Man Builds Guitar Out of His Dead Uncle’s Skeleton.” Guitar World 11 Feb. 2021. Web. 13 June 2021 <https://www.guitarworld.com/news/man-builds-guitar-out-of-his-dead-uncles-skeleton-uses-it-to-play-black-metal>. Bunger, Richard. The Well-Prepared Piano. Colorado Springs: Colorado College Music P, 1973. Cage, John. Empty Words: Writings ’73-’78. Middletown, CT: Wesleyan University P, 1981. Cohen, Jeffrey Jerome. “Monster Culture (Seven Theses).” Monster Theory: Reading Culture. Minneapolis: U of Minnesota P, 1996. 3–25. Connor, Will. “Performing the Sounds of Darkness: An Exploratory Discussion of Musical Instruments and the Gothic Aesthetic.” The Dark Arts Journal: Reimaging the Gothic 2.I2 (Autumn 2016). 26 June 2021 <https://thedarkartsjournal.files.wordpress.com/2017/04/the-dark-arts-journal-2-21.pdf>. Cupchik, Jeffrey. “Buddhism as Performing Art: Visualizing Music in the Tibetan Sacred Ritual Music Liturgies.” Yale Journal of Music & Religion 1.1 (2015): 31–62. Davis, Josh. “Some Bronze Age Britons Turned the Bones of Dead Relatives into Musical Instruments.” Natural History Museum. 1 Sep. 2020. 23 June 2021 <https://www.nhm.ac.uk/discover/news/2020/september/bronze-age-britons-turned-the-bones-of-dead-relatives-into-musical-instruments.html>. Fenske, Mindy. Tattoos in American Visual Culture. New York: Palgrave, 2007. Hodier, André. The Worlds of Jazz. New York: Grove P, 1972. Kinzey, Jake. The Sacred and the Profane: An Investigation of Hipsters. Winchester, U.K.: Zero Books, 2012. Levina, Marina, and Diem-My T. Bui. “Introduction: Toward a Comprehensive Monster Theory in the 21st Century.” Monster Culture in the 21st Century: A Reader. Eds. Marina Levina and Diem-My T. Bui. New Delhi: Bloomsbury. 1–14. Mittman, Asa Simon. “Introduction: The Impact of Monsters and Monster Studies.” The Ashgate Research Companion to Monsters and the Monstrous. Eds. Asa Simon Mittman and Peter J. Dendle. London and New York: Routledge, 2013. 44–60. Raxil4. Listening Circuits: 19/06/21 with Live Tattooing from Catmouse. 21 June 2021. 23 June 2021 <https://www.youtube.com/watch?v=VZgUC5TTOxk&list=LL&index=3>. ———. raxil4 – Livestream for Iklecktik: 21/06/20. 22 June 2020. 23 June 2021 <https://www.youtube.com/watch?v=-zW-Mw2jRDQ&list=LL&index=6>. Raxil4 feat: King Sara. raxil4 feat: King Sara – Sawbones 13 – Live @ Noise=Noise (14/01/13). 26 Jan. 2013. 23 June 2021 <https://www.youtube.com/watch?v=fxFMA77yQ_A&list=LL&index=5>. raxil4 + King Sara + P23. raxil4 + King Sara + P23 – Barbican: 15/08/13. 11 Sep. 2018. 23 June 2021 <https://www.youtube.com/watch?v=N619ooZxx-0&list=LL&index=4>. Page, Andrew. Email interview. 25 June 2021. ———. Email interview. 14 July 2021. Regan, Marty. Video interview. 13 July 2021. Snaith, Victoria. Personal interview. 17 April 2016. Toop, David. Ocean of Sound. London: Serpent’s Tail, 2001. Turk, Matija, Ivan Turk, and Marcel Otte. “The Neanderthal Musical Instrument from Divje Babe I Cave (Slovenia): A Critical Review of the Discussion.” Applied Sciences 10-1226.2 (2020): 1–11. Wilmer, Valerie. As Serious as Your Life. London: Serpent’s Tail, 2018. Wright, Kevin. Email interview. 29 June 2021.