Статті в журналах: "Musical characteristics"

1

Tyasrinestu, Fortunata. "Lirik Musikal pada Lagu Anak Berbahasa Indonesia." Resital: Jurnal Seni Pertunjukan 15, no. 2 (December 1, 2014): 163–68. http://dx.doi.org/10.24821/resital.v15i2.850.

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Penelitian ini mengkaji bahasa lagu anak berbahasa Indonesia. Lagu anak berbahasa Indonesia adalah lagu yang diperuntukkan dan dinyanyikan oleh anak-anak sesuai dengan perkembangan anak. Tujuan penelitian ini adalah untuk mendeskripsikan karakteristik lagu anak (LA) secara musikal dengan memperhatikan kata-kata atau lirik yang ada dalam lagu anak berbahasa Indonesia. Karakteristik lirik dan karakteristik musikal yang saling menyatu merupakan harmoni yang indah dalam lagu anak. Penelitian ini menggunakan metode deskriptif. Analisis yang diterapkan adalah metode holistik yang dipergunakan untuk melihat LA dari beberapa perspektif melalui wawancara dan angket yang diperoleh dari praktisi musik dan praktisi pendidikan, guru, orangtua, siswa dan awam. Hasil penelitian menunjukkan bahwa lagu anak berbahasa Indonesia mempunyai beberapa karakteristik secara lirik dan musikal yaitu 1) pola ritme yang diulang secara musikal, 2) melodi yang diulang secara musikal, 3) motif yang diulang secara musikal, dan 4) kata-kata yang diulang secara musikal. Fungsi lagu anak berbahasa Indonesia selain untuk belajar bahasa juga mengandung nilai pendidikan dan karakter positif untuk anak dengan kata-kata bermakna positif pada lirik-liriknya. The Characteristics of Musical Lyrics on Indonesian Children Songs.The study tries to examine the discourse of Indonesian children songs. Indonesian children songs are songs that are composed for and sung by children in accordance with the child development stages. The purpose of this study is to describe the discourse of Indonesian children songs which describe their musical characteristics by giving more attention on words or lyrics of the songs. The characteristics of lyrics and musical characteristics that belong to each other are mainly a beautiful harmony in children songs. This study uses a descriptive method. The holistic method is employed to analyze children songs from some perspectives by doing the interview and distributing questionnaires to musicians, educators, teachers, parents, students, and common people in terms of composition background, the actual condition, and the resulted effect. The result shows that the Indonesian children songs have their own lyrics and musical characteristics as the followings: 1) the pattern of repeated musical rhythm, 2) the musically-repeated melody , 3) the repeated musical motives, and 4) the musically-repeated words. The function of Indonesian children songs is to learn a language of which the songs may also contain positive education values and characters for children by showing the meaningful words in the lyrics.

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2

Maki, Okada. "Musical characteristics of Enka." Popular Music 10, no. 3 (October 1991): 283–303. http://dx.doi.org/10.1017/s0261143000004657.

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This paper presents an analysis of enka, a type of Japanese popular song. I shall attempt to elucidate the musical characteristics of enka by examining its musical scales, melodies, vocal techniques and rhythms. We shall see, however, that enka is a composite genre, not characterised by a single type of scale or rhythm. Furthermore, it is virtually impossible to understand enka without reference to other types of Japanese popular song. Thus some discussion of such other genres will also be required.

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3

Kim, Jeong-Hee. "Musical Characteristics of Gipan Sijo." STUDIES IN KOREAN MUSIC 63 (June 30, 2018): 199–232. http://dx.doi.org/10.35983/sikm.2018.63.199.

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4

Nevriana, Alicia, Pandu Riono, Tri Budi W. Rahardjo, and Adji Kusumadjati. "Lifetime Musical Activities and Cognitive Function of the Elderly." Kesmas: National Public Health Journal 7, no. 7 (February 1, 2013): 304. http://dx.doi.org/10.21109/kesmas.v7i7.28.

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Decreasing cognitive function of the elderly is one of the most common problems that might affect their quality of life. Music is an element that is believed to be able to contribute to the quality of life of the elderly. However, whether musical activities that are done throughout the life span related to cognitive function is unclear. In this research, we evaluated the association between lifetime musical activities and cognitive function. Fifty three older adults from three nursing homes in East Jakarta were selected and interviewed regarding their characteristics and lifetime musical activities. Cognitive function was also measured using Mini Mental State Examinaion (MMSE). The results of this preliminary study revealed that a possibility of an association between lifetime musical activities and cognitive function of the elderly was indicated. The result also showed that the participants who were not actively involved in musical activities during their lifetime were twice more likely to develop cognitive function impairment than the elderly who were actively involved in musical activities, after being adjusted by the characteristics. These correlational results suggest the beneficial effect of musical activities throughout the life span on cognitive functioning for the elderly.Penurunan fungsi kognitif merupakan salah satu masalah umum pada lanjut usia yang mampu memengaruhi kualitas hidup mereka. Musik merupakan sebuah elemen yang dipercaya mampu berkontribusi terhadap kualitas hidup mereka. Meski demikian, hubungan antara aktivitas musikal yang dilakukan sepanjang hidup dan fungsi kognitif lansia belum diketahui secara pasti. Pada penelitian ini, hubungan antara aktivitas musikal sepanjang hidup dan fungsi kognitif dievaluasi. Lima puluh tiga lansia penghuni panti tresna werdha di Jakarta Timur dipilih dan diwawancarai terkait karakteristik dan aktivitas musikal sepanjang hidup mereka. Fungsi kognitif juga diukur menggunakan MMSE. Hasil penelitian ini menunjukkan adanya kemungkinan asosiasi antara aktivitas musikal sepanjang hidup dan fungsi kognitif lansia. Hasil penelitian juga menunjukkan bahwa partisipan yang tidak aktif melakukan aktivitas musikal sepanjang hidupnya dua kali lebih berpeluang untuk mengalami gangguan fungsi kognitif dibandingkan dengan mereka yang aktif melakukan aktivitas musikal, sete-lah disesuaikan dengan karakteristiknya. Hasil korelasi ini mengisyaratkan pengaruh bermanfaat dari aktivitas musikal sepanjang hidup terhadap fungsi kognitif lansia.

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5

Gilmanov, Sergei A. "Psychological characteristics of abilities for musical improvisation." Yugra State University Bulletin 12, no. 1 (April 15, 2016): 116–23. http://dx.doi.org/10.17816/byusu2016121116-123.

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The article is devoted to the psychological characteristics of talent for musical improvisation. The author believes that the ability of musical improvisation grow out of general and special musical abilities, are formed and developed only in the improvisational activities based on the simultaneous integration and differentiation methods of presentation "semantic units" of improvisation. This improvisation goes to artistic image, in which there is "non-musical", socio-cultural content. The article presents data from several empirical studies of the author.

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Gooding, Lori, and Jayne M. Standley. "Musical Development and Learning Characteristics of Students." Update: Applications of Research in Music Education 30, no. 1 (September 1, 2011): 32–45. http://dx.doi.org/10.1177/8755123311418481.

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Development involves progressive changes in knowledge and abilities that occur across the life span. Current research on musical abilities suggests that the development of skills necessary for musicality begins in utero and continues through adulthood. Many of these skills, such as the ability to carry a tune, move in time to music, and respond emotionally to music, progress as part of normal cognitive maturation and development. Others, such as explicit musical knowledge and musical performance, require in-depth learning and practice for future musical development to occur. This article provides a compilation of key musical developmental milestones and learning characteristics from prebirth through adolescence gathered from the research literature. A brief summary of relevant information is provided, as well as charts outlining specific points from the literature.

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Huimin, Qi, Zhu Yongzhong, and Kevin Stuart. "Minhe Mangghuer Wedding Songs: Musical Characteristics." Asian Folklore Studies 58, no. 1 (1999): 77. http://dx.doi.org/10.2307/1178891.

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8

Wen, Yaping. "Musical characteristics of the baroque period." Искусство и образование, no. 5 (2021): 49–53. http://dx.doi.org/10.51631/2072-0432_2021_133_5_49.

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Krause, Amanda E., Simone Maurer, and Jane W. Davidson. "Characteristics of Self-reported Favorite Musical Experiences." Music & Science 3 (January 1, 2020): 205920432094132. http://dx.doi.org/10.1177/2059204320941320.

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Research supports the folk wisdom that individual preferences are tied to our experiences: we like what we know and as a result, we know what we like. Yet our understanding of the elements contained in lived examples of musical experiences that facilitate enjoyment and investment in music is little described. The current study recruited Australian residents ( N = 135) to complete an online survey, which asked them to describe their favorite musical experience with regard to its context and impact. The majority of favorite musical experiences involved listening to live music and performing. The descriptions provided indicated that these experiences resulted in layered emotional experiences, much more subtle than folk psychology would suggest. Further, thematic analysis results revealed that Gabrielsson’s Strong Experiences with Music Descriptive System adequately categorizes the elements of people’s favored experiences, with particular reference to general characteristics, bodily reactions, perceptual phenomena, cognitive aspects, emotional aspects, existential and transcendental aspects, and personal and social aspects. A wide variety of musical genres were involved, though pop, classical, rock, and hip-hop music featured predominately. By detailing key components which lead to favored musical experiences, the findings have implications regarding how musical engagement opportunities can be better designed to support continued musical investment, which has particular relevance for educational and community uses of music for fostering positive individual and community benefits.

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10

Bannister, Scott. "A survey into the experience of musically induced chills: Emotions, situations and music." Psychology of Music 48, no. 2 (September 24, 2018): 297–314. http://dx.doi.org/10.1177/0305735618798024.

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Musically induced chills, an emotional response accompanied by gooseflesh, shivers and tingling sensations, are an intriguing aesthetic phenomenon. Although chills have been linked to musical features, personality traits and listening contexts, there exists no comprehensive study that surveys the general characteristics of chills, such as emotional qualities. Thus, the present research aimed to develop a broad understanding of the musical chills response, in terms of emotional characteristics, types of music and chill-inducing features, and listening contexts. Participants ( N = 375) completed a survey collecting qualitative responses regarding a specific experience of musical chills, with accompanying quantitative ratings of music qualia and underlying mechanisms. Participants could also describe two more “chills pieces”. Results indicate that chills are often experienced as a mixed and moving emotional state, and commonly occur in isolated listening contexts. Recurring musical features linked to chills include crescendos, the human voice, lyrics, and concepts such as unity and communion in the music. Findings are discussed in terms of theories regarding musical chills, and implications for future empirical testing of the response.

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11

Boltz, Marilyn G. "Illusory Tempo Changes Due to Musical Characteristics." Music Perception 28, no. 4 (April 1, 2011): 367–86. http://dx.doi.org/10.1525/mp.2011.28.4.367.

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Recent research in music cognition has investigated ways in which different structural dimensions interact to influence perception and cognition. In the present research, various musical characteristics were manipulated to observe their potential influence on perceived tempo. In Experiment 1, participants were given a paired comparison task in which music-like patterns differed in both the pitch octave (high vs. low) and timbre (bright vs. dull) in which they were played. The results indicated that relative to their standard referents, comparison melodies were judged faster when displaying a higher pitch and/or a brighter timbre—even when no actual tempo differences existed. Experiment 2 converged on these findings by demonstrating that the perceived tempo of a melody was judged faster when it increased in pitch and/or loudness over time. These results are suggested to stem from an overgeneralization of certain structural correlations within the natural environment that, in turn, has implications for both musical performance and the processing of tempo information.

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12

Bader, Rolf. "Microrhythmic characteristics of musical instrument initial transients." Journal of the Acoustical Society of America 117, no. 4 (April 2005): 2477. http://dx.doi.org/10.1121/1.4787609.

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13

Kalashnyk, Mariya P., Uriy I. Loshkov, Oleksandr V. Yakovlev, Anton O. Genkin, and Hanna S. Savchenko. "role of the musical-acoustic thesaurus in the process of orientation in a given space-time." Linguistics and Culture Review 5, S4 (October 23, 2021): 139–48. http://dx.doi.org/10.21744/lingcure.v5ns4.1568.

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Musically-acoustic thesaurus is a complex structure which composition of multiple parts is effectuated by multiple channels of receiving information from the outside and ways of manipulation with it. The manipulation is turning of separate facts into systematic knowledge stored in memory. Musically-acoustic thesaurus of collective and individual consists of two groups with duplex connection which are the knowledge of the world as a sonic phenomenon and of human auditory activity and the experience of absorbing the information received, principles of manipulation with it. They fulfill inherent inclination of individual towards usage of auditory images as a requirement for appearance of musical ones. All the sonorities are bracketed in two groups: extra-musical and musical itself. The latter group consists of musical units of acoustically-sonic environment, having utility, practical significance for a person, allowing orientation in given spacetime. At the same time, they are potentially opened to emotional experiences and aesthetic approach towards them. Acoustically-sonic environment possesses basic traits of organization, being reflected in mind by such characteristics as cyclicity, variability, combinationalism, montage structure, simultaneity, interdependency of shape and background.

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14

Kim, hey jung. "The Musical Structure and Characteristics of Shimchungga Bumpijungryu." STUDIES IN KOREAN MUSIC 47 (June 30, 2010): 99–130. http://dx.doi.org/10.35983/sikm.2010.47.99.

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Lee, Bo-hyung. "Musical Characteristics of Mode(선법) and Tori(토리)". STUDIES IN KOREAN MUSIC 51 (30 червня 2012): 245–71. http://dx.doi.org/10.35983/sikm.2012.51.245.

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16

Peng, Linhui, and Tao Geng. "Acoustical characteristics of Chinese musical instrument bamboo flute." Journal of the Acoustical Society of America 141, no. 5 (May 2017): 3726. http://dx.doi.org/10.1121/1.4988173.

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Zeyu, Liu, Yu Rui, and Zhang Chenggong. "Research on the Influence of Music." Studies in Social Science Research 2, no. 3 (August 18, 2021): p61. http://dx.doi.org/10.22158/sssr.v2n3p61.

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As for question 1, based on the directed relationship between influencers and followers, we building a network of musicians based on influential relationships. A Music Influence Evaluation Model (MIEM) was also established, and the model formula is shown in the text. We then select the top 200 artists in the “music influence” ranking to build a subnet. The larger the subnet node, the more lines are extended. Indicating that the node represents the musician’s influence is large and extensive. From the graph, we can see that Bob Dylan is influential, but the breadth of influence is not enough; Miles Davis influenced a wide range of music factions.As for question 2?We have developed a Music Similarity Evaluation Model (MSEM) to calculate the contribution parameters of fifteen different music metrics. Using fully connected neural networks combined with triple loss to solve the answer. According to the characteristics of Triple Loss, we can make the similar nodes in the space closer together and the dissimilar nodes further apart. After training, our neural network is able to distinguish artists very well. The results were obtained: artists within genres are far more similar than artists between genres, and a classification image of musicians from different genres was produced.As for question 3, a comparative plot of characteristics revealed that music genres also have their own particular musical characteristics. The comprehensive analysis concludes that the difference between genres is mainly reflected by the six features of valence, tempo, mode, key, acousticness, and instrumentalness, and this result is verified by k-means clustering. By plotting the percentage of influence as well as the change of musical characteristics, it was concluded that the influence of genres changes over time; some musical characteristics in genres also change over time. Finally, the similarity between each faction is calculated and plotted as a heat map, and the genres with high similarity must have interrelated relationships with each other.As for question 4, we have developed a Music Influence T-test Model (MITM). We hypothesized that “influencers” would not influence followers to create music, and a t-test using SPSS rejected the original hypothesis and concluded that “influencers” would influence followers to create music. Additionally, Contagious Evaluation Model(CEM) was also be created. We established the “contagious” index and calculated the Pearson correlation coefficients between “contagious” and 15 musical characteristics, and obtained the results: energy, loudness, and acousticness are more “contagious” than other characteristics. Results: energy, loudness and acousticness are more “contagious” than other features.As for question 5, a time series plot of the variation for each musical characteristic with year was plotted and the analysis yielded the following conclusion: There are characteristics that signify revolutions in musical evolution from these data. For example, the music after 1960s showed changes characterized by higher rhythmicity, faster tempo, and fewer spoken words. Based on these musical evolutionary changes, combined with the “musical influence” we calculated earlier, we select five musical change-makers: The Beatles, Bob Dylan, The Rolling Stones, Miles Davis and Jimi Hendrix.As for question 6, we combined musical influences to identify the most influential musicians in each genre in each era as dynamic influencers to represent the music of the genre in that period. Creating images of their musical characteristics over time and analyzing them in relation to the history of musical development led to the conclusion that an artist’s musical identity changes with technology, social development, and changes in genre representation?As for question 7, a Network Connectivity Evaluation Model(NCEM) was developed to measure which artists in the music network were heavily influenced by external factors during the time period. The first and middle of the 20th century were found to be highly connected online, and this period coincided with a period of social upheaval, with the Cold War, World War II, the Industrial Revolution, and the rapid development of the Internet having a great impact on music, from which many new musical styles were born.

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Fung, C. Victor. "Musicians' and Nonmusicians' Preferences for World Musics: Relation to Musical Characteristics and Familiarity." Journal of Research in Music Education 44, no. 1 (April 1996): 60–83. http://dx.doi.org/10.2307/3345414.

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The purpose of this study was to investigate the relationships among musical characteristics and musicians' and nonmusicians' preferences for world musics. World musics were drawn from Africa, Asia, and Latin America. Musical characteristics included tempo, pitch redundancy, tonal centeredness, consonance, brightness in timbre, percussiveness, loudness, textural complexity, and richness in embellishment. Preference was also examined in relation to familiarity. Subjects were 449 undergraduate students (180 music majors and 269 nonmusic majors). Subjects completed a preference-rating scale that included a total of 36 instrumental excerpts from nine countries. Results showed that all nine musical characteristics were significant sources of variance in world music preferences. The following musical characteristics were preferred by both musicians and nonmusicians: fast tempo, loud, tonal-centered, having many different pitches, consonant, moderately embellished, smooth-sounding, and bright timbre. Musicians preferred excerpts with complex texture, whereas nonmusicians preferred moderately complex textures. A positive relationship between familiarity and preference was found across all musical styles. In general, musicians had significantly higher preference means than did nonmusicians:

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LEE, JI YOUNG. "A Study on the Musical Characteristics of Ordo Virtutum : Focusing on the Systematic Musical Composition." Journal of the Musicological Society of Korea 22, no. 1 (May 31, 2019): 83–111. http://dx.doi.org/10.16939/jmsk.2019.22.1.83.

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Bleich-Cohen, Maya, Talma Hendler, Artashes Pashinian, Sarit Faragian, and Michael Poyurovsky. "Obsessive Musical Hallucinations in a Schizophrenia Patient: Psychopathological and fMRI Characteristics." CNS Spectrums 16, no. 7 (July 2011): 153–56. http://dx.doi.org/10.1017/s1092852912000326.

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AbstractObsessive-compulsive symptoms (OCS) are relatively common and clinically significant phenomena in schizophrenia patients, suggesting the existence of a separate schizo-obsessive subgroup of the disorder. Although a majority of schizo-obsessive patients have typical ego-dystonic OCS, a meaningful proportion exhibits diagnostically challenging psychopathological phenomena, psychotic in content and obsessive in form. We report the clinical and functional magnetic resonance imaging characteristics of a schizophrenia patient who developed auditory hallucinations with musical content and obsessive in form. We suggest that “obsessive musical hallucinations”, that integrate both psychotic and obsessive-compulsive disorder (OCD)-related features, may be mediated by the brain networks believed to be involved in OCD and in auditory musical hallucinations.

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Gjerdingen, Robert O. "Categorization of Musical Patterns by Self-Organizing Neuronlike Networks." Music Perception 7, no. 4 (1990): 339–69. http://dx.doi.org/10.2307/40285472.

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Simulations of self-organizing neuronlike networks are used to demonstrate how untrained listeners might be able to sort their perceptions of dozens of diverse musical features into stable, meaningful schemata. A presentation is first made of the salient characteristics of such networks, especially the adaptive- resonance-theory (ART) networks proposed by Stephen Grossberg. Then a discussion follows of how a computer simulation of a four-level ART network—a simulation dubbed L'ART pour l'art—independently categorized musical events in Mozart's six earliest compositions. The ability of the network to abstract significant voiceleading combinations from these pieces (and in fact to detect a possible error in the New Mozart Edition) suggests that this approach holds promise for the study of how ordinary listeners process music's multidimensional complexity. In addition, the categorizations produced by the network are suggestive of alternative conceptualizations of music's hierarchical structure.

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Abramauskienė, Jolanta. "The characteristics of applying computer technologies in the process of musical education." Global Journal of Information Technology 5, no. 2 (January 5, 2016): 95. http://dx.doi.org/10.18844/gjit.v5i2.199.

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On the basis of research material analysis the paper aims to determine the changes happening in music education, which were brought about by the application of computer technologies. The possible trends of applying computer technologies in musical education are analyzed. The changes in the society and the development of computer technologies promote a new approach to the process of musical education. The use of computer technologies in the process of musical education presents new opportunities: music can be recorded, created, it is possible to ply different instruments, learn the theory of music, develop one‘s hearing, search for new information by means of the internet resources. Computer technologies is significant for the professional competences of the trainee teachers of music and can complement tne training of teachers of music. The article presents the analysis of the future teachers’ attitudes to the application of computer technologies in musical education and highlights the characteristics of computer technologies use. The results of the survey demonstrate that there appear aspects of using computer technologies in the education process that need to be improved. Hence, it is important to look for ways to convey the knowledge of music and skills more efficiently. Keywords: computer technologies, musical education, preparation of music teachers.

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Huovinen, Erkki, and Kai Tuuri. "Pleasant Musical Imagery." Music Perception 36, no. 3 (February 1, 2019): 314–30. http://dx.doi.org/10.1525/mp.2019.36.3.314.

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This article introduces the notion of pleasant musical imagery (PMI) for denoting everyday phenomena where people want to cherish music “in their heads.” This account differs from current paradigms for studying musical imagery in that it is not based a priori on (in)voluntariness of the experience. An empirical investigation of the structure and experiential content in 50 persons’ experiences of PMI applied the elicitation interview method. Peer judgments of the interviews helped to bridge a phenomenological investigation of particular experiences with systematic between-subjects analysis. Both structural features of the imagery (e.g., Looseness of structure or Looping) and content features of the imagery (e.g., Embodied evocativeness and Object-directedness) showed significant associations with participants’ individual characteristics, personality, and/or cognitive style. The approach taken suggests a new paradigm for studying musical imagery—one that is based on tracing the interactional and enactive processes of “inner listening.”

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Tereshchenko, L. V., L. A. Boyko, D. K. Ivanchenko, G. V. Zadneprovskaya, and A. V. Latanov. "Characteristics of musical performance and visual-motor interaction of sight-reading performance of pianists depending on texture of musical pieces." Experimental Psychology (Russia) 10, no. 2 (2017): 40–53. http://dx.doi.org/10.17759/exppsy.2017100204.

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We studied the basic characteristics of the music playback while sight-reading of three two-line musical selections of classic music of different textures and complexity–two-voice polyphonic musical piece, the theme and variation of homophonic-harmonic musical piece. The tempo of play and the number of errors depend on the texture of a musical selection. These characteristics are objective indicators of the skill of sight-reading of musicians, and the complexity of musical selection. Using an original technique of eye movement recording without head fixation we studied eye-hand span–the time from reading the text to music playback. According to our data, eye-hand span is dependent on the texture of the performed musical piece, correlated inversely with the number of errors and directly correlated with the rate of stability in the performance. This parameter is also the objective measure of sight-reading ability, and is connected with the complexity of a musical piece and, presumably characterizes the working memory capacity of musicians.

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Sano, Mina. "Characteristics of Eye Movements during Musical Expression in Early Childhood by Tonality: Through Quantitative Analysis by Eye Tracking." Frontiers in Education Technology 5, no. 2 (July 1, 2022): p67. http://dx.doi.org/10.22158/fet.v5n2p67.

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Early childhood children frequently use body movements while singing songs accompanied to the music. When trying to express the recognition of musical elements by body movement, the child in early childhood creates his own musical expression by thinking and judging while looking at the surrounding children and the accompaniment teacher. This study aims to quantitatively analyze changes in eye movements during musical expression. 3-year-old, 4-year-old, and 5-year-old children at two nursery schools in 2020 and two kindergartens in 2021 (n=118) participated in eye tracking during singing a song using an eye tracker (Tobii3). Quantitative analysis by three-way ANOVA was mainly conducted on the calculated data. As a result, the increase in data such as number of saccade occurrences and size, and the moving average velocity of saccade, showed that saccades during musical expression in early childhood tended to be larger in major key than in minor key. From the calculated data on saccade, which is the eye movement during musical expression, it was predicted that effective feature quantities of eye movement during musical expression for machine learning could be derived in the same way as feature quantities depended on the results of quantitative analysis of body movement during musical expression.

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Kim, Namseok. "A Study on Musical Composition and Significance of the Musical Play The Sorrow of Wanderer." National Gugak Center 46 (October 31, 2022): 49–77. http://dx.doi.org/10.29028/jngc.2022.46.049.

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Music plays flourished in the world of the Korean popular play during the Korean Liberation Period. Among them, the cases that drew the interest and curiosity of the audience by composing a narrative based on existing songs and using popular songs as the main theme are particularly noteworthy. The Sorrow of Wanderer is a representative example, but it has not been made meaningful approach so far. It may be mainly because the script has not been excavated until now. Since the script was recently discovered, however, a way to study the status of performances in the 1940s and their characteristics has been opened. Moreover, a path has been opened to discuss the relevance to the popular song of the same name and to conduct meaningful historical research on the production team and creative subject. This study, based on the excavated script of The Sorrow of Wanderer , aims to discuss its birth and transformation, creative subject and reason for change, musical composition and narrative characteristics, and performance effects. It is expected that the academic discussion on this work will not only examine itself, but will be also a help in the study of the overall characteristics of the musical plays that flourished during the Korean Liberation Period.

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ARAI, Yasuko. "The musical characteristics of the Heike Monogatari." Journal of Research Society of Buddhism and Cultural Heritage 2012, no. 21 (2012): 16–21. http://dx.doi.org/10.5845/bukkyobunka.2012.21_16.

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Pousson, Jachin Edward, Aleksandras Voicikas, Valdis Bernhofs, Evaldas Pipinis, Lana Burmistrova, Yuan-Pin Lin, and Inga Griškova-Bulanova. "Spectral Characteristics of EEG during Active Emotional Musical Performance." Sensors 21, no. 22 (November 10, 2021): 7466. http://dx.doi.org/10.3390/s21227466.

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The research on neural correlates of intentional emotion communication by the music performer is still limited. In this study, we attempted to evaluate EEG patterns recorded from musicians who were instructed to perform a simple piano score while manipulating their manner of play to express specific contrasting emotions and self-rate the emotion they reflected on the scales of arousal and valence. In the emotional playing task, participants were instructed to improvise variations in a manner by which the targeted emotion is communicated. In contrast, in the neutral playing task, participants were asked to play the same piece precisely as written to obtain data for control over general patterns of motor and sensory activation during playing. The spectral analysis of the signal was applied as an initial step to be able to connect findings to the wider field of music-emotion research. The experimental contrast of emotional playing vs. neutral playing was employed to probe brain activity patterns differentially involved in distinct emotional states. The tasks of emotional and neutral playing differed considerably with respect to the state of intended-to-transfer emotion arousal and valence levels. The EEG activity differences were observed between distressed/excited and neutral/depressed/relaxed playing.

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Ziemer, Tim, and Rolf Bader. "Psychoacoustic Sound Field Synthesis for Musical Instrument Radiation Characteristics." Journal of the Audio Engineering Society 65, no. 6 (June 27, 2017): 482–96. http://dx.doi.org/10.17743/jaes.2017.0014.

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30

Kim, In-Suk. "Musical Perspectives on the Types and Characteristics of Jaedamsori." Tongyang Ŭmak 41 (June 30, 2017): 107–34. http://dx.doi.org/10.33452/amri.2017.41.107.

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Seo, Jeong min. "Transmissions and Musical Characteristics of the Danga "Sasipoongyung(Sacheolga)"." Journal of Pansori 45 (April 30, 2018): 227–64. http://dx.doi.org/10.18102/jp.2018.4.45.227.

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Poliuha, Viktoriia. "Existential value of musical creativity (characteristics and semantic orientation)." Lubelski Rocznik Pedagogiczny 37, no. 2 (November 21, 2018): 153. http://dx.doi.org/10.17951/lrp.2018.37.2.153-162.

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Podczas badań dokonano analizy wartości egzystencjalnej w kontekście problemu twórczości muzycznej. Metodologia badań jest oparta na podejściu integracyjnym, które przewiduje połączenie ogólnonaukowych koncepcji z metodą analizy, syntezy i uogólnienia. Wykorzystano też metodę analizy porównawczej i analogii, które znalazły zastosowanie w uzmysłowieniu kategorii twórczości, muzyki, egzystencji. Nowość naukowa ma swoje odzwierciedlenie we współczesnej koncepcji edukacyjnej, która odwołuje się m.in. do uzmysłowienia problemów wartości. Udowodniono, iż muzyka staje się twórczością wyłącznie na płaszczyźnie egzystencjalnej, ponieważ tylko egzystencja ludzka ma wyjątkowy twórczy potencjał jako „wykrycie osobowości w byciu”.

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33

Hillier, Benjamin. "Considering genre in metal music." Metal Music Studies 6, no. 1 (March 1, 2020): 5–26. http://dx.doi.org/10.1386/mms_00002_1.

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This article considers how genre is treated in metal fan communities and metal scholarship. In identifying shortcomings in the existing literature with regard to genre definitions, it argues that musical characteristics should be the primary defining characteristics of metal subgenres. To this end, this article posits both a taxonomy for classifying metal genres and a model for analysing their characteristics. This model consists of five characteristics – pitch, timbre, form, rhythm and aesthetics – which, when combined, can elucidate the specific musical and extra-musical elements that comprise metal’s various subgenres. This provides a framework through which metal musicology and other scholarship can develop a common background and work towards concrete definitions of metal subgenres.

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34

Bi, Huan. "A Study of Chinese Piano Works from the Perspective of Ethnomusicology." Region - Educational Research and Reviews 2, no. 2 (May 19, 2020): 1. http://dx.doi.org/10.32629/rerr.v2i2.90.

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Chinese piano works are closely related to folk music. In piano education, Chinese piano works should be analyzed from the perspective of ethnomusicology to guide the students to accurately understand and feel the characteristics and charm of national music culture. This paper probes into the unique national cultural characteristics, national musical styles and musical aesthetic characteristics of Chinese piano works.

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Popp, A. John. "Music, musicians, and the brain: an exploration of musical genius." Neurosurgical Focus 17, no. 6 (December 2004): 895–903. http://dx.doi.org/10.3171/foc.2004.17.6.15.

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✓ The concept of musical genius used to frame a discussion of the “art” practiced by neurosurgeons is the focus of the 2004 Presidential Address to the American Association of Neurological Surgeons (AANS). The musical genius, in contrast to the musically talented individual, is profiled and placed in the pantheon of those who have demonstrated extraordinary creativity. Observations and speculations about the specialization and elaboration of brain structures in musicians evolve into a discussion of artificial intelligence as a foil to what constitutes the essence of humanity. Taking an inductive approach, the author juxtaposes the conclusion about “music, musicians, and the brain” with the theme of the 2004 annual meeting of the AANS, “Advancing Patient Care Through Technology and Creativity,” to elaborate on the characteristics of the consummate neurosurgeon. (Note: Musical vignettes used in the address can be found in the accompanying article posted on Neurosurgical Focus http://www.aans.org/education/journal/neurosurgical).

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Popp, A. John. "Music, musicians, and the brain: an exploration of musical genius." Journal of Neurosurgery 101, no. 6 (December 2004): 895–903. http://dx.doi.org/10.3171/jns.2004.101.6.0895.

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Анотація:

✓ The concept of musical genius used to frame a discussion of the “art” practiced by neurosurgeons is the focus of the 2004 Presidential Address to the American Association of Neurological Surgeons (AANS). The musical genius, in contrast to the musically talented individual, is profiled and placed in the pantheon of those who have demonstrated extraordinary creativity. Observations and speculations about the specialization and elaboration of brain structures in musicians evolve into a discussion of artificial intelligence as a foil to what constitutes the essence of humanity. Taking an inductive approach, the author juxtaposes the conclusion about “music, musicians, and the brain” with the theme of the 2004 annual meeting of the AANS, “Advancing Patient Care Through Technology and Creativity,” to elaborate on the characteristics of the consummate neurosurgeon. (Note: Musical vignettes used in the address can be found in the accompanying article posted on Neurosurgical Focus http://www.aans.org/education/journal/neurosurgical).

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Sosodoro, Bambang. "Interaksi Dan Komunikasi Musikal Dalam Garap Sekaten." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 18, no. 2 (March 26, 2019): 148–58. http://dx.doi.org/10.33153/keteg.v18i2.2403.

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AbstractThe traditions that govern the music of gamelan Sekaten are commonly referred to as garap Sekaten. Based on observations of current musical practice, it can be comprehensively stated that garap Sekaten involves musical interaction and communication. This is reflected in the melodic phrases and interactive grammar between particular instruments of this ensemble. The characteristics, unique qualities, and complexities of garap sekaten have also influenced the gamelan ageng. For example, gendhing Bonang are a genre within gamelan ageng repertoire that accentuate the "loud" instruments and incorporate the sesegan/sabetan playing style found in garap Sekaten. This style is also adopted in particular gendhing Rebab in specific ways. Similarly, several instrumental techniques found in gamelan Ageng originate in garap Sekaten. These include imbal Demung, kinthilan, cegatan and nduduk tunggal techniques for Bonang, and salahan patterns for Kendhang. In short, an understanding of Garap Sekaten is one way of acquiring performance skills in individual instruments and gaining methods for interpreting certain gendhing.Â Key words: Garap Sekaten, Musical Interaction, Musical CommunicationÂ AbstrakTradisi atau kaidah-kaidah dalam praktik musikal gamelan sekaten lazim disebut garap sekaten. Berdasarkan fakta-fakta dan realitas praktik, secara komprehensif dapat dikatakan bahwa garap sekaten terdapat interaksi dan komunikasi musikal. Hal tersebut tercermin dalam kalimat lagu dan gramatikal permainan antar ricikan tertentu. Cirikhas, keunikan, dan kompleksitas garap sekaten juga berkembang di gamelan ageng. Seperti, gending-gending bonang yang menonjolkan instrumen bersuara nyaring, disertai garap sesegan/ sabetan. Garap sabetan yang melekat pada penyajian gending bonang, selanjutnya dikembangkan pada gending-gending rebab dengan ketentuan dan ciri-ciri tertentu. Juga teknik-teknik permainan ricikan, seperti imbal demung, kinthilan, teknik cegatan-nduduk tunggal pada bonangan, hingga pola salahan kendang. Singkatnya, garap sekaten dapat dipahami sebagai suatu tata cara yang memiliki karakteristik dalam menyajikan ricikan maupun mengintepretasi gending tertentu.Kata Kunci: garap sekaten, interaksi, komunikasi musikal

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38

Li, Wei. "Multimedia Teaching of College Musical Education Based on Deep Learning." Mobile Information Systems 2021 (April 2, 2021): 1–10. http://dx.doi.org/10.1155/2021/5545470.

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In view of the current situation of musical education and the need for reform in China, we adopt two different methods, i.e., literature method and interview method in this research work. From these methods, we read a lot of musical education, multimedia technology, and modern teaching and reform. This research work is divided into two main phases. Firstly, the article mainly discusses the characteristics of college musical education compared with other cultural courses and the feasibility of multimedia technology and the auxiliary function of musical education that is applied in school’s musical education. Secondly, brain computing attempts to analyze things by simulating the structure and information processing of biological neural networks. The intelligent learning characteristic of a deep learning algorithm is proposed to monitor the process of musical education teaching and analyze the process quality. Finally, we introduced the design and production of network multimedia courseware which will help in theoretical guidance and reference to the application of multimedia technology in college musical education in China. Moreover, the outcome of the proposed model can play a role in solving and answering questions in the current multimedia application process and Chinese college music workers will apply multimedia technology more effectively and skillfully.

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Burger, Birgitta, and Petri Toiviainen. "See how it feels to move: Relationships between movement characteristics and perception of emotions in dance." Human Technology 16, no. 3 (November 30, 2020): 233–56. http://dx.doi.org/10.17011/ht/urn.202011256764.

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Music makes humans move in ways found to relate to, for instance, musical characteristics, personality, or emotional content of the music. In this study, we investigated associations between embodiments of musical emotions and the perception thereof. After collecting motion capture data of dancers moving to emotionally distinct musical stimuli, silent stick-figure animations were rated by a set of observers regarding perceived discrete emotions, while 10 movement features were computationally extracted from the motion capture data. Results indicate kinematic profiles—emotion-specific sets of movement characteristics—that furthermore conform with dimensional models of valence and arousal, suggesting that observers rated the emotions consistently according to distinct movement features prevalent in the animations. Outcomes show commonalities and differences to a previous study that linked these movement features to auditory perception of musical emotion, providing insights into how emotional expression of music-induced movement could be conveyed and understood through auditory and visual channels, respectively.

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40

Bogunovic, Blanka. "Family background of elementary music school pupils." Zbornik Instituta za pedagoska istrazivanja 37, no. 2 (2005): 99–114. http://dx.doi.org/10.2298/zipi0502099b.

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The theoretical concept of the research relies on the assumption of high-quality and supportive family background of elementary music school pupils as a basis for their musical development and success in different forms of musical activity. The aim of the research is a description on the social-demographical profile and relevant characteristics of their family background before and during early musical education. The sample comprises 506 fathers and 512 mothers whose children attend five different elementary music school. The method is explorative and deals with a sphere that has not been researched in this manner in our society to date. The results point to the existence of a typical musically encouraging and stimulating environment and continuous presence of various forms of family encouragement, support and musical stimulation. Trans-cultural family model of a music student is defined. The structure of family indictors leads to the conclusion about the definite existence of constant parental involvement during pre-school and early school period, as well as parental joint and separate actions which are complemented at different ages of the children, in different areas of actions and in different activity patterns. A practical contribution of the research is to help understanding the importance of parental role in gifted children?s musical development and progress and consequently the need for the establishment of cooperation between music schools and parents.

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Meyer, Rosalee K., Caroline Palmer, and Margarita Mazo. "Affective and Coherence Responses to Russian Laments." Music Perception 16, no. 1 (1998): 135–50. http://dx.doi.org/10.2307/40285782.

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We investigated the effects of formal characteristics (musical phrase structure) and nonverbal vocal gestures (gasps characteristic of crying) on affective and coherence responses to Russian laments by listeners who were familiar or unfamiliar with Russian village music. Laments were presented in semantically compatible or incompatible phrase orders with gasps present or absent. Listeners rated laments on an affective response scale (sad/happy) and a musical coherence scale (phrases follow well/phrases follow poorly). All listeners judged laments as sadder when gasps were present than absent, but effects of phrase order on affective responses were dependent on listeners' musical background. Listeners familiar with Russian laments judged all excerpts as coherent, but listeners unfamiliar with laments judged the excerpts as less coherent when gasps were present than absent. Listeners' emotional and cognitive responses to music were affected by both culture-transcendent factors (gasps characteristic of crying) and culture-specific factors (phrase structure).

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42

Chełkowska-Zacharewicz, Maria, and Mateusz Paliga. "Music emotions and associations in film music listening: The example of leitmotifs from The Lord of the Rings movies." Roczniki Psychologiczne 22, no. 2 (January 10, 2020): 151–75. http://dx.doi.org/10.18290/rpsych.2019.22.2-4.

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The aim of the present study was to investigate which musical emotions and associations appeared while listening to leitmotifs in film music. A sample of 157 participants took part in the study, in which musical associations and emotions were analysed in relation to seven groups of musical themes from The Lord of the Rings films (LOTR). The LOTR soundtrack is a good example of the use of symbols in music to represent ideas, characters, etc. The results show that both the respondents’ associations and the musical emotions they experienced were related to the characteristics of musical motifs. The results are discussed in relation to the assumed features of musical motifs composed by Howard Shore.

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Tieber, Claus, and Anna K. Windisch. "Musical moments and numbers in Austrian silent cinema." Soundtrack 12, no. 1 (November 1, 2020): 7–20. http://dx.doi.org/10.1386/ts_00009_1.

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Although the film musical as a genre came into its own with the sound film technologies of the late 1920s and early 1930s, several characteristic features did not originate solely with the sound film. The ‘musical number’ as the epitome of the genre, can already be found in different forms and shapes in silent films. This article looks at two Austrian silent films, Sonnige Träume (1921) and Seine Hoheit, der Eintänzer (1926), as case studies for how music is represented without a fixed sound source, highlighting the differences and similarities of musical numbers in silent and sound films. The chosen films are analysed in the contexts of their historical exhibition and accompaniment practices, Austria’s film industry as well as the country’s cultural-political situation after the end of the monarchy. These two examples demonstrate that several characteristics of the film musical are based on the creative endeavours made by filmmakers during the silent era, who struggled, failed and succeeded in ‘visualizing’ music and musical performances in the so-called ‘silent’ films. In reconstructing their problems and analysing their solutions, we are able to gain a deeper understanding of the nature of musical numbers during the silent era and on a more general level.

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Prkić-Palavra, Kristina, and Izet Pehlić. "Value Characteristics of Sevdalinka And Turbo-folk as Musical Genres." Društvene i humanističke studije (Online), no. 1(14) (February 4, 2021): 201–22. http://dx.doi.org/10.51558/2490-3647.2021.6.1.201.

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This paper has started from the fact that contextual analysis of song lyrics underlines that the meaning in lyrics is never completely clear, and its functional value and peculiarities are emphasized. This fact is based on insight into the relevant scientific and theoretical sources. The aim of this research was to establish the peculiarities and differences between sevdalinka and turbo-folk genres through a comparative analysis of sevdalinka lyrics and songs written in the spirit of sevdalinka, and turbo-folk songs lyrics. The research started from the assumption that the features of sevdalinka and turbo-folk music as musical genres are very different. The research methods used were the method of theoretical analysis and the method of content analysis, and the dataset consisted of 8 representative sevdalinka songs and songs based on the model of sevdalinka, and 8 turbo-folk songs, which were analyzed for conclusions. The results of the research showed how sevdalinka and turbo-folk songs promote different values. It was concluded that the positive values promoted by sevdalinka songs should be used to a greater extent for educational purposes.

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Yang, Ok-Kyung. "The Musical Characteristics and Transmissinal Significance of Gimhae Samjung Gulripchighy." Tongyang Ŭmak 41 (June 30, 2017): 181–211. http://dx.doi.org/10.33452/amri.2017.41.181.

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Miyamoto, Karen A. "Musical Characteristics of Preschool-Age Students: A Review of Literature." Update: Applications of Research in Music Education 26, no. 1 (November 2007): 26–40. http://dx.doi.org/10.1177/87551233070260010104.

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Myers-Moro, Pamela. "Thai Classical Singing: Its History, Musical Characteristics and Transmission (review)." Notes 62, no. 1 (2005): 152–53. http://dx.doi.org/10.1353/not.2005.0109.

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Meyer, Jürgen, and Uwe J. Hansen. "Directional characteristics of musical instruments, and interactions with performance spaces." Journal of the Acoustical Society of America 138, no. 3 (September 2015): 1784. http://dx.doi.org/10.1121/1.4933652.

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D'haeseleer, Evelien, Sofie Claeys, Iris Meerschman, Kim Bettens, Sofie Degeest, Caroline Dijckmans, Joke De Smet, Anke Luyten, and Kristiane Van Lierde. "Vocal Characteristics and Laryngoscopic Findings in Future Musical Theater Performers." Journal of Voice 31, no. 4 (July 2017): 462–69. http://dx.doi.org/10.1016/j.jvoice.2016.11.018.

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50

Suzuki, Ikuo. "Comparison of characteristics between involuntary musical recollection and mind wandering." Proceedings of the Annual Convention of the Japanese Psychological Association 83 (September 11, 2019): 2C—042–2C—042. http://dx.doi.org/10.4992/pacjpa.83.0_2c-042.

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