Статті в журналах: "Passion music Analysis"

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Sanitnarathorn, Pannawit. "An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry." Journal of Education and Training Studies 6, no. 3a (April 1, 2018): 78. http://dx.doi.org/10.11114/jets.v6i3a.3161.

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Digital music streaming are climbing but overall music revenue is declining with digital music piracy being blamed as the culprit. In a 10 year period from 2003 to 2013, global music sales dropped from $US23.3 to $US15 billion dollars with Thailand’s music industry following the trend dropping from $US 304 million in 2010 to $US 279 million in 2014. The study therefore used a structural equation model to analyze the variables affecting digital music piracy and fan music streaming's purchase intention. From the seven point Likert scale questionnaire, 350 music fans were surveyed concerning their digital music streaming activities. The qualitative research was conducted with 10 executives in music industry by the use of purposive sampling. Partial Least Square Graph software was used for model verification with the results showing that fan idolatry has the highest influence on the overall decision to stream music digitally. The results showed that the results of quantitative research is practical and acceptable hypothesis significance at p ≤ 0.05 by factors that have a direct influence positive peak and overall influence is the highest passion to affect their willingness to stream music digitally to consumers. The findings of this study concluded that the artist's passion for their music fans is the key factor in music lover’s intent to stream and pay for digital music. Fans are ultimately the most important sector of the industry and unfortunately it is one which the industry forgets about. Labels or artists who focus on only ‘looking good’ while not engaging their fan audiences are destined for a continuing decline in their sales numbers.

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Vuorinen, Mark. "Symbolic Chiasm in Arvo Pärt’s Passio (1982)." Circuit 21, no. 1 (March 11, 2011): 45–59. http://dx.doi.org/10.7202/1001162ar.

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Passio, is Arvo Pärt’s first large scale vocal-instrumental work in the tintinnabuli style and remains today one of his most significant compositions. In this setting of the Passion text according to St. John, Pärt codifies procedures of tintinnabuli that will remain his principle means of musical communication for years to come while implying a very important perspective of Johannine theology. His compositional design utilizes both small-scale and large-scale chiastic constructions and gives prominence to John’s observance in Chapter 18, verse 4, that Christ knows all that will occur in the events leading to his crucifixion. Seen in this light, the Passion narrative unfolds according to a pre-ordained plan; it is this subtle perspective of the Gospel that Arvo Pärt reveals musically in his Passio. This paper approaches a musical analysis of Passio in relation to John’s perspective that Christ knew all that was to follow. It illustrates that virtually every note is linked in some way to Pärt’s musical pilgrimage to the cross. With a microscopic lens, the analysis connects Pärt’s use of melody, texture, inversion and tintinnabuli to a poignant marriage of music and the biblical text. And on a macroscopic level, it is shown that musical events unfold over time to reveal the inevitability of the crucifixion. It is revealed that within the work’s tonal centres, large-scale textural procedures, pedal points and the music of the Exordium and Conclusio the path to the cross is present from beginning to end. In this way, the listener is taken through the narrative only to realize afterward that the Gospel’s outcome was present from beginning to end.

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BALMER, YVES, THOMAS LACÔTE, and CHRISTOPHER BRENT MURRAY. "Un cri de passion ne s'analyse pas: Olivier Messiaen's Harmonic Borrowings from Jules Massenet." Twentieth-Century Music 13, no. 2 (July 26, 2016): 233–60. http://dx.doi.org/10.1017/s1478572216000025.

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AbstractUntil the present article, Massenet's influence upon the music of Olivier Messiaen has remained entirely unexplored. During the 1930 and 1940s, Messiaen professed his love for the music of Massenet and regularly used Massenet as a model in his teaching materials. Several examples of the way in which Messiaen selects and transforms passages from Massenet's Werther and Manon are considered. The inclusion of a harmonic formula borrowed from Massenet, contrasted with a melodic formula borrowed from Mozart, in ‘Amen du Désir’, the fourth movement of the Visions de l'Amen, reveals the operatic characters hidden behind the programme of one of Messiaen's best-known works. These intersecting source materials in Messiaen's teaching and composition open new roads for the analysis of the composer's music and pedagogy.

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Erasmus, Ewie, and Liesl van der Merwe. "An interpretative phenomenological analysis of the lived musical experiences of three Williams syndrome individuals." Psychology of Music 45, no. 6 (February 1, 2017): 781–94. http://dx.doi.org/10.1177/0305735616689829.

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The purpose of this interpretative phenomenological analysis (IPA) is to understand the lived musical experiences of three individuals living with Williams syndrome (WS). We are interested in their lived musical experiences because the musical abilities of WS individuals are similar to those of normal control groups despite their severe cognitive impairments. Although there is literature on the medical manifestations of the syndrome, there is no research on their lived musical experiences. Their musical experiences need to be explored as a possible way to help them to cope with their unique challenges. In this IPA we used semi-structured interviews and the six steps of data analysis for IPA suggested by Smith et al. (2009). Four superordinate themes emerged from data analysis, namely, that: a) the participants have a passion for performance; b) music allows the participants to foster friendships; c) music allows them to cope with challenging situations; and d) they display musical dependency. The findings of this study can be used to advocate the importance of music in the everyday lives of individuals with WS.

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Shishkin, Andrei Gennadievich. "Opera and religion: the experience of staging the opera “The Greek Passion” by Bohuslav Martinu in the Ural Opera Ballet Theatre." Культура и искусство, no. 5 (May 2020): 140–48. http://dx.doi.org/10.7256/2454-0625.2020.5.32932.

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Opera “The Greek Passion”, based upon Nikos Kazantzakis’ novel “Christ Recrucified”, demonstrated the Biblical story in “passions” of the XX century: in 2019 it was staged for the first time in Russia by Ural Opera Ballet Theatre. The article analyzes Martinu’s interpretation of the genre of passion, related to music and folk mistrial nature of this genre. Experience of interaction of the theatre in the course of staging the spectacle with representatives of the Russian Orthodox Church is reviewed. The research describes the transformation of conflict between true and false Christianity, the themes of inner transfiguration of a person. Analysis is conducted within the methodological framework of the modern theory and history of culture, in combination of culturological, philosophical and theatrological methods of interpretation. It is noted that the captured by stage directors idea on conversion of Christianity into a part of cultural tradition that can lead to the loss of its spiritual content. A conclusion is made that art and religion can be viewed as the equivalents ways of acquainting with the generally recognized humanistic values.

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Ma, Benjamin, Timothy Greer, Dillon Knox, and Shrikanth Narayanan. "A computational lens into how music characterizes genre in film." PLOS ONE 16, no. 4 (April 8, 2021): e0249957. http://dx.doi.org/10.1371/journal.pone.0249957.

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Film music varies tremendously across genre in order to bring about different responses in an audience. For instance, composers may evoke passion in a romantic scene with lush string passages or inspire fear throughout horror films with inharmonious drones. This study investigates such phenomena through a quantitative evaluation of music that is associated with different film genres. We construct supervised neural network models with various pooling mechanisms to predict a film’s genre from its soundtrack. We use these models to compare handcrafted music information retrieval (MIR) features against VGGish audio embedding features, finding similar performance with the top-performing architectures. We examine the best-performing MIR feature model through permutation feature importance (PFI), determining that mel-frequency cepstral coefficient (MFCC) and tonal features are most indicative of musical differences between genres. We investigate the interaction between musical and visual features with a cross-modal analysis, and do not find compelling evidence that music characteristic of a certain genre implies low-level visual features associated with that genre. Furthermore, we provide software code to replicate this study at https://github.com/usc-sail/mica-music-in-media. This work adds to our understanding of music’s use in multi-modal contexts and offers the potential for future inquiry into human affective experiences.

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ANSON-CARTWRIGHT, MARK. "SUBDOMINANT RETURNS IN THE VOCAL MUSIC OF J. S. BACH." Eighteenth Century Music 10, no. 2 (August 1, 2013): 253–76. http://dx.doi.org/10.1017/s1478570613000067.

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ABSTRACTBach's vocal oeuvre contains a significant number of movements (about thirty-five), including but not limited to those in modified da capo form, with a concluding reprise of opening thematic material in the subdominant key. Some of these ‘subdominant returns’ involve strict parallelism, whereby the entire A section returns at the new pitch, thus transforming the original ‘departing’ modulation from I to V into a ‘returning’ modulation from IV to I. Many subdominant returns, however, occur in a range of contexts, which resist straightforward formal categorization. One example is the opening chorus from the St Matthew Passion. While the unusual da capo in this movement has elicited provocative commentary by Karol Berger and others in recent years, the significance of the subdominant return (here and elsewhere) has not been examined in depth. This study begins with a comprehensive survey of subdominant returns in Bach's vocal oeuvre, and then examines cyclic and linear aspects of form through detailed analysis of six movements that exhibit this procedure.

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Rahayuningsih, Bina Kiki. "BENTUK DAN PERUBAHAN FUNGSI MUSIK KONGKIL DI DESA BUNGKAL KABUPATEN PONOROGO." Sorai: Jurnal Pengkajian dan Penciptaan Musik 13, no. 1 (July 1, 2020): 23–35. http://dx.doi.org/10.33153/sorai.v13i1.3091.

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Kongkil music was created in 1933 by Eyang Toinangun as a means of gathering the people of Bungkal Village as an effort to resist the Dutch invaders. Kongkil music is an ensemble consisting of instruments of kongkil, kedhang, saron, kethuk, kenong, kempul and gong. In the beginning, Kongkil's music brought songs created by its members with the theme of passion-building, because there was no legacy of the old repertoire of the predecessors. There was an innovation in the form of repertoire changes since 1975, namely bringing dolanan gendhing. Around 2000, Kongkil's music was in a vacuum, then it was revived in 2012 with a new repertoire that presented lancaran and langgam gendhing. The research entitled "The Form and Change of Kongkil Music Function in Bungkal Village, Ponorogo Regency" uses the concept of Edy Sedyawati's thought that changes in social structure and values will cause physical changes and the role of art itself in society. It also causes changes in the structure of forms. These changes cannot be avoided if the art is willing to live within the society. This study uses descriptive qualitative analysis methods. From this study, it found several things related to the Kongkil Martapura music group, including: (1) History and regeneration of the Kongkil Martapura music group, (2) the forms of performances, instruments and repertoires presented, (3) the factors driving changes in function and its impact on intellectuals and contextual.

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V.V., Plokhikh, and Kadukha O.S. "INTELLECTUAL ABILITIES OF STUDENTS WITH AN ADDICTIVE TENDENCY TO LISTEN TO MUSIC." Scientic Bulletin of Kherson State University. Series Psychological Sciences, no. 1 (April 15, 2021): 32–40. http://dx.doi.org/10.32999/ksu2312-3206/2021-1-4.

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Purpose. The purpose of the researchis to determine the features of the connection of intellectual abilities with addictive manifestations of passion for listening to music in students. Methods. The subjects were 57 students. In an empirical study, the following methods were used: “The scale of Progressive Matrices” by J. Raven; “Simple analogies”; scale “Sports and music fanaticism” from the method “Tendency to dependent behavior” by V.D. Mendelevich. Passion for listening to music was determined using a research questionnaire. We performed statistical analysis of empirical data using correlation analysis (according to Spearman), the Mann-Whitney criterion u, and the Fisher criterion φ*. Results. Analysis of the results according to the method of V.D. Mendelevich allowed us to identify a problem subgroup with an increased predisposition and a high probability of musical dependence in the group of subjects (22 people). We have found that for the studied group, the highest problems are: the frequency of listening to music at leisure (U = 235,5; p = 0,022); desired expressiveness of the musical rhythm (U = 271,5; p = 0,039); frequency of loss of time perception when listening (U = 237,0; p = 0,012); frequency of listening to works in the rock styles (φ* = 1,73; p = 0,042) and hip-hop (φ* = 1,8; p = 0,036). Manifestations of musical addiction correlate with: the use of music to raise the mood (r = 0,289; p = 0,029); the desired sound volume (r = 0,258; p = 0,053); the frequency of “immersion in yourself” when listening (r = 0,350; p = 0,008). The feedback of musical addiction with indicators of intellectual development in Series A (r = −0,280; p = 0,035) and C (r = −0,370; p = 0,005) methods of J. Raven. We have determined that the use of music for intellectual concentration correlates with the overall indicator of problem-solving, according to J. Raven (r = 0,260; p < 0,051) and with the effectiveness of searching for simple analogies (r = 0,303; p < 0,022). Conclusions. The severity of addictive manifestations among studied students about listening to music is directly related to a decrease in the effectiveness of intellectual functions. Those functions aim at determining the relationships and principles of development of the analyzed structural organization. Music contributes to students’ concentration in intellectual activities, but excessive listening to music for mental concentration contributes to the loss of a person’s sense of reality and conscious control over actions when immersed in a flowing state.Key words: thinking, memory, semantic processing of information, musical style, state of consciousness, passion for listening to music. Мета дослідження – визначення особливостей зв’язку інтелектуальних здібностей з адиктивними проявами щодо захопленості прослуховуванням музики у студентів. Методи. Досліджуваними виступили 57 студентів. В емпіричному дослідженні були використані такі методики: «Шкала прогресивних матриць» Дж. Равена; «Прості аналогії»; шкала «Спортивний та музичний фанатизм» із методики «Схильність до залежної поведінки» В.Д. Менделевича. Захопленість прослуховуванням музики визначалася за допомогою дослідницької анкети. Статистичний аналіз емпіричних даних проводився з використанням кореляційного аналізу (за Спірменом), критерію U Манна – Уітні, критерію φ* Фішера. Результати. Аналіз результатів за методикою В.Д. Менделевича дозволив виокремити у групі досліджуваних проблемну підгрупу з підвищеною схильністю та високою ймовірністю музичної залежності (22 особи). Встановлено, що для досліджуваних проблемної групи вище значення показників: частота прослуховування музики на дозвіллі (U = 235,5; p = 0,022); бажана виразність музичного ритму (U = 271,5; p = 0, 039); частота втрати відчуття плину часу у процесі прослуховування (U = 237,0; p = 0,012); частота прослуховування творів у стилях рок (φ* = 1,73; p = 0,042) і хіп-хоп (φ* = 1,8; p = 0,036). Прояви музичної адикції корелюють із: використанням музики для підняття настрою (r = 0,289; p = 0,029); бажаною гучністю звучання (r = 0,258; p = 0,053); частотою «занурення в себе» під час прослуховування (r = 0,350; p = 0,008). Встановлено зворотний зв’язок музичної адикції з показниками інтелектуального розвитку в серіях А (r = −0,280; p = 0,035) та С (r = −0,370; p = 0,005) методики Дж. Равена. Визначено, що використання музики для інтелектуальної зосере-дженості корелює із загальним показником вирішення завдань за Дж. Равеном (r = 0,260; p < 0,051) та з результативністю пошуку простих аналогій (r = 0,303; p < 0,022). Висновки. Виразність адиктивних проявів у студентів-досліджуваних щодо прослуховування музики прямо пов’язана зі зниженням ефективності інтелектуальних функцій, спрямованих на визначення взаємозв’язків та принципів розбудови аналізованої структурної організації. Музика сприяє зосередженості студентів в інтелектуальній діяльності, але надмірне прослуховування музики для розумової зосередженості сприяє втраті особою відчуття реальності та свідомого контролю над діями під час занурення в потоковий стан.Ключові слова: мислення, пам’ять, смислова переробка інформації, музичний стиль, стан свідомості, захопленість прослуховуванням музики

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Frigyesi, Judit. "Who is the girl in Bartók’s The Miraculous Mandarin? a case study of Mimi’s deleted scene and its dramatic meaning." Studia Musicologica 53, no. 1-3 (September 1, 2012): 241–74. http://dx.doi.org/10.1556/smus.53.2012.1-3.18.

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The story of Bartók’s pantomime is usually understood as the clash between the cold-blooded brutality of the city — represented by the tramps — and the force of primeval passion — represented by the mandarin. Within these opposing forces stands the girl — whose character, however, is not obvious. In the first complete manuscript version (piano four-hand), immediately before the ending of the piece, there existed a scene depicting a confrontation between the girl and the tramps. This scene, whose main actor is the girl, is crucial for the drama and reveals Bartók’s view with regard to the girl’s character. Yet when Bartók began orchestrating the work in 1924, he deleted this scene. The present article provides, for the first time, an in-depth analysis as well as dramatic interpretation of this scene. Considering also the original text by Menyhért (Melchior) Lengyel (which contains this scene) and the totality of the final version of Bartók’s pantomime, the article proposes a characterization for the girl and offers a hypothesis for the reason for the omission of this scene from the final version.

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Paetz, Allison M. "“It Felt Like I Had Air Back in My Lungs”: Eleanor’s Journey Back From Burnout." Journal of Music Teacher Education 30, no. 2 (January 10, 2021): 77–92. http://dx.doi.org/10.1177/1057083720984438.

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The purpose of this narrative inquiry was to explore the story of a secondary ensemble teacher who experienced burnout and chose to remain in the profession. Eleanor and I met for three semistructured interviews and two observations. I used Clandinin and Connelly’s three-dimensional inquiry space as a framework for this study. Narrative analysis revealed that Eleanor experienced symptoms of burnout during a first teaching position that was a poor fit for her. Her passion and enthusiasm for teaching were reignited during a period of long-term music substitute teaching in a successful program surrounded by a supportive community. The importance of recognizing burnout, finding support systems, and identifying hegemonic assumptions about teaching emerged as critical points in Eleanor’s narrative. This arc became visible through narratively coding the field texts, and thoroughly reviewing data obtained from interviews and observations.

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Chojnowski, Zbigniew. "Mit tristanowski." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 51, no. 2 (August 16, 2021): 301–5. http://dx.doi.org/10.36770/bp.614.

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The article attempts to discuss and evaluate the book The Passion of the Tristan Myth in Modern Literature, Philosophy, and Music by Artur Żywiołek, which was published in Cracow in 2021. The reviewer starts with the legend of Tristan and Isolde, which the book explores through modernity. According to the author of the article, the book about Tristan myth combines methodologies of such fields as literary studies, musicology, history, cultural studies and philosophy in a great way. In the conclusions, the reviewer evaluates the book in a favourable light, and states that it constitutes an original analysis which will have a considerable influence on the comparative studies.

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Hunter, Abby. "Attitudes, Risk Behavior, and Noise Exposure among Young Adults with Hearing Problems: Identifying a Typology." Seminars in Hearing 38, no. 04 (October 10, 2017): 332–47. http://dx.doi.org/10.1055/s-0037-1606327.

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This study explored attitudes toward leisure noise, use of hearing protection, and perceived susceptibility to leisure-noise damage in young adults with hearing problems. Twelve participants aged between 18 and 35 years took part in a semistructured interview. Data were analyzed using framework analysis. The results showed that a positive attitude to noise, a passion for loud music, a lack of knowledge of the consequences of noise damage, and perceived low risk of hearing problems were associated with people not using earplugs. The aesthetics, comfort, perceived effects on music quality and attitude of others were all barriers to earplug use. Of those who had used earplugs, previous hearing-related symptoms and concern about future hearing damage were the main motivators for use. Four types of people were identified to describe the variation in attitudes and behaviors: those who had no change in behavior or concern about damage; those who were concerned and used earplugs; those who were concerned and avoided loud venues; and those who were concerned about communication difficulties only. Considering the wide variability, it may be more effective to shift attention from trying to change individual attitudes and behaviors to considering systemic changes to protect hearing, through ensuring the music industry and relevant authorities take greater responsibility.

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Rasmussen Pennington, Diane. "“The most passionate cover I’ve seen”: emotional information in fan-created U2 music videos." Journal of Documentation 72, no. 3 (May 9, 2016): 569–90. http://dx.doi.org/10.1108/jd-07-2015-0086.

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Purpose – The purpose of this paper is to explore how both producers and consumers of user-created music videos on YouTube communicate emotional information. Design/methodology/approach – In total, 150 filmic documents containing fan-generated versions of U2’s “Song for Someone” were purposively collected. The author used discourse analysis to understand the types of videos created, the communication of emotional information from both the producers and the consumers, the social construction of emotion in the filmic documents, and elements of intertextuality that represented emotion. Findings – Fans created videos containing cover versions, original versions of the song with new visual content, and tutorials about how to play the song. Producers of cover versions communicated emotional information, especially tenderness, through facial expression, their surroundings, and corresponding musical elements. Producers’ visual content expressed emotion through meaningful photographs and sad stories. Producers’ descriptions revealed emotion as well. Emotions were individually experienced and socially constructed. Consumers conveyed emotion through likes, dislikes, and expressive positive comments. Intertextuality communicated passion for U2 through tour references, paraphernalia displays, band photographs, imitating the band, and musical mashups. Practical implications – Information science can work towards a new generation of multimedia information retrieval systems that incorporate emotion in order to help users discover documents in meaningful ways that move beyond keyword and bibliographic searches. Originality/value – This is one of the earliest research papers in the area of emotional information retrieval (EmIR).

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School, Veronika, and Amélie Zosso. "“You Cannot Perform Music Without Taking Care of Your Body”: A Qualitative Study on Musicians’ Representation of Body and Health." Medical Problems of Performing Artists 27, no. 3 (September 1, 2012): 129–36. http://dx.doi.org/10.21091/mppa.2012.3024.

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OBJECTIVE: To identify professional musicians’ representation of health and illness and to identify its perceived impact on musical performance. METHODS: A total of 11 professional musicians participated in this phenomenological study. Five of the musicians were healthy, and the others suffered debilitating physical health problems caused by playing their instruments. Semi-structured interviews were conducted, transcribed verbatim and analysed. Thematic analysis, including a six-step coding process, was performed (ATLAS-ti 6). RESULTS: Three major themes emerged from the data: music as art, the health of musicians, and learning through experience. The first theme, music as art, was discussed by both groups; they talked about such things as passion, joy, sense of identity, sensitivity, and a musician’s hard life. Discussions of the second theme, the health of musicians, revealed a complex link between health and performance, including the dramatic impact of potential or actual health problems on musical careers. Not surprisingly, musicians with health problems were more concerned with dysfunctional body parts (mostly the hand), whereas healthy musicians focused on maintaining the health of the entire person. The third theme, learning through experience, focused on the dynamic nature of health and included the life-long learning approach, not only in terms of using the body in musical performance but also in daily life. CONCLUSIONS: The centre of a musician’s life is making music in which the body plays an important part. Participants in this study evidenced a complex link between health and musical performance, and maintaining health was perceived by these musicians as a dynamic balance. Our results suggest that learning through experience might help musicians adapt to changes related to their bodies.

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De Ornellas, Kevin. "From Tory Boy to #sadmanonatrain: Great British Railway Journeys and the hard and soft masculinities of Michael Portillo." Journal of Popular Television 9, no. 2 (June 1, 2021): 251–63. http://dx.doi.org/10.1386/jptv_00053_1.

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Before 2005, Michael Portillo was a reviled populist, right-wing British Conservative politician. Seemingly, he is a now a mellowed national treasure due largely to his approachable, friendly, prolific series of travelogues, Great British Railway Journeys (2010‐present). This multi-series documentary has been a remarkable BBC success: delivering upbeat music, dynamic camera work, a repetitive format, rosy-tinted Victoriana and celebratory subject matter, the programme makers ensure that the programme is feel-good, cosy, nostalgic and soothing. But Portillo’s political inclinations are apparent: Portillo, sometimes quite subtly, expresses consistently his passion for free enterprise, for the supposed benefits of historical colonialism, for the monarchy, for the military and for social liberalism. A believer in an enterprise-encouraging small state and in personal liberty and social mobility, Portillo’s politics chime in directly with the current thinking of the Conservative Party leadership. In short, the apparently benign travelogue series promotes Portillo’s mainstream post-Thatcherite British Conservatism: an analysis of the ubiquitous programme’s understated but clear Conservatism counters right-wing accusations about the BBC’s alleged leftist bias.

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Baker, Deborah Lesko. "Gabrielle de Coignard’s Sonnets spirituels: Writing Passion within and against the Petrarchan Tradition." Renaissance and Reformation 38, no. 3 (November 27, 2015): 41–60. http://dx.doi.org/10.33137/rr.v38i3.26147.

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This article will focus on the ways in which Gabrielle de Coignard’s Sonnets spirituels, cultivated in purposefully sought domestic isolation, reveals conflictual aspirations nourished by the pursuit of an untainted devotional path that nevertheless cannot escape the assimilation of the earthly passion-fraught discourse of the Petrarchan tradition. Beginning with an analysis of the two opening sonnets, I will examine how despite her apparent disavowal of the worldly obsessions of practitioners of this dominant tradition in order to define herself as a singularly and purely Christian poet, her writing places many of their conventions, allusions, and rhetoric at the centre of her own poetic itinerary. I will then move on to study how these opening signals of Coignard’s inscription of her devotional trajectory both against and within the male and female Petrarchan tradition are affirmed at multiple moments in the progression of her collection. Cet article approfondira les façons dont les Sonnets spirituels de Gabrielle de Coignard, composés dans le cadre d’une solitude domestique voulue, font preuve de fortes aspirations conflictuelles nourries par la poursuite d’un chemin dévotionnel qui n’arrive néanmoins pas à s’échapper de l’assimilation du discours des passions terrestres dans la tradition pétrarquiste. À partir d’une analyse des deux premiers sonnets, j’examinerai comment — malgré son refus apparent de ces obsessions chez Pétrarque et ses imitateurs/imitatrices français, un refus visé à se définir en tant que poétesse purement chrétienne — l’écriture de Coignard incorpore maints éléments de la rhétorique pétrarquiste au centre de son propre itinéraire poétique. J’étudierai, par la suite, comment ces signes inauguraux de l’inscription de sa trajectoire spirituelle à l’intérieur et à l’encontre du discours pétrarquiste sont affirmés à de multiples moments dans la progression de son recueil.

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Kostyuchenko, Natalya, and Olexander Filts. "PARANOID SCHIZOPHRENIA NEGATIVE SYMPTOMS FEATURES IN CASE OF PRESENCE OF MUSICAL EAR." EUREKA: Health Sciences 3 (May 31, 2018): 54–60. http://dx.doi.org/10.21303/2504-5679.2018.00650.

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In our work, we propose one of the options for a prognostic criterion, which at the beginning of the disease can provide sufficient evidence to predict the form and severity of negative symptoms in schizophrenia. Aim. To investigate the influence of the presence of ear on music on the degree of severity of deficiency symptoms in paranoid schizophrenia. The study was conducted on the basis of the third clinical department of the Lviv Regional Clinical Psychiatric Hospital for the period of 2015. 40 patients with paranoid form of schizophrenia, aged 18 to 35, were examined, of which: group I – 20 patients with advanced ear on music (average age 28.60±1.01 years) and group II – 20 patients with no ear on music (average age 27.30±1.15 years). The main methods of studying the observation groups were: clinical-psychopathological, pathopsychological, and statistical. The pathopsychological study of the evaluation of negative symptoms was conducted using the "Qualitative Assessment Scale for Positivity, Negative and General Psychopathological Syndromes" (PANSS – Positive and Negative Syndrome Scale), namely, its PANSS-NS subscale. Comparison of the probability of the difference between the average indices of unrelated groups was carried out using the Mann-Whitney method, comparing the relative parameters of the distribution structure by the xi-square criterion. Analysis of the results of the study shows that in patients with developed ear on music, the level of deficiency symptoms of negative symptoms under the PANSS-NS subclass is 2.2 times lower (p <0.01) than in patients with no developed ear on music: 2.04±0.14 against 4.46±0.17 points, respectively. Comparing the key indicators of the PANSS-NS subscale in patients with paranoid schizophrenia with advanced ear on music, it was found that the manifestations of "Violations of abstract thinking" (N5 – 2.35±0.15 points), "Violation of spontaneity and smoothness in the conversation" (N6 – 2.30±0.15 points) and "Stereotyped thinking" (N7 – 2.20±0.16 points). All these negative symptoms were in patients with muscular earache with significantly lower scores: from lack of severity (1 point) to weakness (3 points). The lack of expressiveness (1 point) was most common in N4 "Passive-apathy social strangeness " - 35.00±10.67 % of patients, very weak severity (2 points) - for N1 "Blurred passion" - 75.00±9.68 % of patients (p <0.05 with the proportion of negative symptoms 1 and 3 points), weakness (3 points) - for N5 – 45.00±11.12 % of patients (p <0.05 with the proportion of negative symptoms 1 point ) The highest proportion (70.00±10.25 %, p <0.05 with a share of negative symptoms of 6 points) of patients with paranoid schizophrenia without ear on music had a high severity (5 points) of rigidity and stereotyping of thinking (N7). The obtained data prove the influence of the factor of the presence of ear on music on deficit syndrome, as well as on the forms and degree of severity of negative symptoms in paranoid schizophrenia.

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Kornoukhov, Mikhail D. "Question Left Unanswered (Lessons by Eduard Borisovich Abdullin)." Musical Art and Education 8, no. 3 (2020): 118–28. http://dx.doi.org/10.31862//2309-1428-2020-8-3-118-128.

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The article describes the author’s personal perception of his Teacher, one of the best representatives of the Russian musical and pedagogical science, Eduard Borisovich Abdullin, as a person, a musician-teacher, and a scientist. Among the personal and professional qualities of E. B. Abdullin, the author, speaking about the “magic of personality”, notes his passion for his profession, his ability to “infect” others with it, his highest level of morality, his creative degree of “being” in the musical and educational environment, his ability to bring particular problems of the educational process to a fundamentally different level – the level of creativity and scientific analysis. The author considers his meeting with Eduard Borisovich to be his main life lesson and the answer to the question: “What should a musician-teacher be like?” As one of the essential principles of the scientific school by E. B. Abdullin, the author considers the “principle of questioning”. This principle is associated with the questions that everyone asks, first of all, to himself when solving various problems encountered in the educational process. In the School by E. B. Abdullin, multi-level “questions – answers”, “questions – problems”, “questions – reflections” characterize the semantic content of almost all components of the music teaching profession. This paradigm, according to the author, is consistent with the Dialogic way of teaching in antiquity – the guiding questions prepared by the Teacher stimulate the cognitive activity of the student and necessarily lead to the understanding of knowledge due to his personal capabilities. This model maximizes the student’s personality and unique creative and reflexive development. In the section “Evolution of research interests”, the author briefly outlines the problems of his own PhD and doctoral theses, completed under the supervision of E. B. Abdullin, as well as some dissertation materials of his students, who continue the traditions of the scientific School “Methodology of music education pedagogy”.

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Hohaizel, Olha. "THE IMAGE OF ANNA IN THE OPERA “STOLEN HAPPINESS” BY Y. MEYTUS: INTERPRETATIVE ANALYSIS." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 112–29. http://dx.doi.org/10.34064/khnum1-58.07.

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The article analyzes the musical material of the two arias of Anna – as the key characteristics of her image in the opera Y. Meytus “Stolen Happiness” (based on the experience of analysis, since the arias are in the work and repertoire of the author of the study). Consideration of the image from the point of view of performance and interpretation of the understanding of the interactions of words and music, the composer logic of emotional experiences, taking into account a complex of components such as the nature of the musical fabric and the historical aspect, is proposed. operas. Statement of the problem. The creativity of Y. Meytus as a composer, who stood at the origins of the formation of the Ukrainian composing school of the twentieth century, is still relevant and, in particular, his rarely performed opera «Stolen Happiness», which in the true opinion of Y. Malyshev, is a «significant contribution» in the development of realistic opera art. There are still an undeserved number of records of this opera, and accordingly a small number of variants of interpretations of images, semantic texts and subtexts, and this work in this sense is of practical importance from the performer’s point of view. Since Anna’s arias are in the work and repertoire of the author of the study, the relevance of this topic is also related to the direct presentation of this music on stage. The purpose of the study –to determine the specificity of the interpretation of the image of Anna from the opera “Stolen Happiness” by Y. Maytus. Analysis of publications on the topic of the study. Regarding the works of Y. Meytus, there are researches and publications by Y. Malyshev, L. Archimovich, I. Mamchur, L. Bas, where the composer’s creativity is covered. There are few sources for the opera «Stolen Happiness», and there is no comprehensive and in-depth interpretative performance analysis.Presentation of the main research material. Widely utilizing the opera-harmonic basis of the features of Western Ukrainian folklore in the opera «Stolen Happiness», Y. Meytus emphasizes the national identity and color of the characters, including the main heroine, by means of the symphonic development of the musical material creates a dramatically and intelligently developed development of the multifaceted and multifaceted. The task of vocal performance is to consciously read the “score of feelings” of the performed character, which is contained primarily in the musical texture, which much and fully conveys the dynamics of character image development. The vocal part, the melody, being a part of harmony, is the condensate, the quintessence of the harmonious thought of the composer, which demands from the performer imagination, intuition, attention, sensory perception, emotional sensitivity. Conclusions of the study. Having performed a performative analysis of the image of Anna in the opera «Stolen Happiness» by Y. Meytus. 1. Because, first and foremost, it is an aria-melodic musical drama, close in style to verisim (the melody in Y. Meytus does not lose the properties of the length and cantilenes) therefore performance requires good long vocal breathing, cantilever, legato, flexibility of voice and timbral equality with simultaneous force of sound in climaxes, long thought of phrases, fullness of each vowel, clear diction, that is, awareness of the relationship between words and music, the smoothness of the language line. Good intonation hearing and good coordination of vocal apparatus are required not only from the point of view of breathing, but also from the point of view of difficult intonational musical language. 2. Performing arias requires from the singer a deep emotional responsiveness, great mental strength and physical endurance, as well as an actor’s understanding of the image-role. This image does not tolerate excessive passion for expressiveness, unnecessary emotions and hysterics, it will penetrate the depth of the tragedy of the heroine. The nuances from pianissimo, not transient to whispering, but voiced, to the filled fortissimo, not transitional to cry. The choice of tempo, especially given their frequent change, should be consistent with the natural sound of the vocal language. 3. The texture of the music material determines the role of the voice. The party is suitable for a solid lyric, lyric-dramatic (spinto) or dramatic soprano, that is, for voice, has the flight to “cut through” the orchestra and be sounded part of its rich texture.

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Ainsworth, Alan John. "“A Private Passion”." Southern California Quarterly 101, no. 3 (2019): 317–38. http://dx.doi.org/10.1525/scq.2019.101.3.317.

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Photographer Bob Douglas’s 1940s–1990s career illustrates the race-based constraints experienced by African American photographers. Analyses of his images of jazz performers bring to light his rapport with the musicians and his sensitivity to their music and the differences between his practice and from that of white jazz photographers. His oeuvre is an important contribution to the history of both jazz and photography.

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Piana, Marco. "Written in Blood: Blood Devotion in Gianfrancesco Pico’s Staurostichon." Renaissance and Reformation 42, no. 4 (April 9, 2020): 85–102. http://dx.doi.org/10.7202/1068576ar.

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This article aims to provide an analysis of Gianfrancesco Pico della Mirandola’s hymn Staurostichon in view of other examples of Savonarolan blood devotion. Staurostichon describes a supernatural event that took place in Germany between 1501 and 1503, when unusual rainfalls started to mark people’s bodies and garments with shapes of red crosses and other symbols generally connected to Christ’s Passion. Often interpreted as a rain of divine blood, the Kreuzwunder gave free rein to the imagination of many historians, astrologers, and prophets of the time. Deeply engrained with Savonarola’s devotion to Christ’s blood and wounds, Gianfrancesco Pico’s Staurostichon seeks to provide a biblical and prophetic explanation of the event: an explanation that is soaked in the gory events of the sacred Scriptures and the lives of the saints.

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Pankina, Elena V. "The Musical Iconography of the Private Chambers of Studiolo and Grotta of Isabella d’Este." Observatory of Culture 15, no. 4 (October 25, 2018): 468–78. http://dx.doi.org/10.25281/2072-3156-2018-15-4-468-478.

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The article is dedicated to the analysis of certain components of the historical interior of the studiolo and grotta of Isabella d’Este, Marquise of Mantua (1474—1539). The article considers, in the imagological aspect, the decorative elements of her private chambers in the “Palazzo Ducale” as a form of personal and, at the same time, status representation of the wife of the ruler of the state and as a reflection of some aspects of the behavioral standard of the Renaissance noble lady. For the first time, the artistic design of the Mantuan studiolo (private studio)and grotta (adjoining storage room for art and rarities) is examined through extraction of musical imagery and musical symbolism, which had a special importance in authomythologization of Isabella d’Este and reflected her deep personal passion for music.Analyzing the contextual part of the allegorical painting by Lorenzo Costa the Elder (1504—1506) “Allegory of the Court of Isabella d’Este”, the article focuses on the proximity of the characters playing the “heavenly” lute and zither to the figure of Isabella d’Este. And the attainment of eternal life by Isabella, as the center of the harmonious world of wisdom and art, is considered to be the main conceptual message. The depictions of the musical instruments on the wooden intarsia are regarded in connection with the music practice of the Marquise and people around her, which is evidenced by numerous documents of the Mantuan Archive of Gonzaga. The incipit of the chanson by Ockeghem “Prenez sur moi votre exemple amoreux”, included in the decor, for the first time receives an extended interpretation as an indirect semantic message. The figures of Euterpe and Erato, with their usual flute and lyre, are, on the contrary, quite traditional and expected in this context on the doorway marble medallions. The ceiling impreses, with the enigmatic image of musical signs (viola key, metric designations and pauses), have a symbolic meaning. The article concludes that the purpose of inclusion of the musical decor in the design of studiolo and grotta is to indicate the status of Isabella d’Este as a ruler of the artistic world where music takes the main part.

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Zhang, Guangqian. "Composer Zhang Zhao: a look at the development of modern Chinese piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 85–100. http://dx.doi.org/10.34064/khnum1-52.06.

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Background. The article is devoted to the creative activity of the outstanding Chinese composer, pianist, teacher and public figure Zhang Zhao (born in 1964). The musical heritage of Zhang Zhao covers a wide range of genres and includes symphonic, piano music, instrumental compositions, works for Chinese traditional instruments, vocal, chamber music, ballets, music of cinema and television programs, and music for large social events. Despite his notoriety in China, the United States, Canada and many European countries, Zhang Zhao is little known in Ukraine. Thus, Ukrainian musicians to date have been deprived of the opportunity to get acquainted with his work. Since the music of Zhang Zhao sounds in many countries of the world, it resonates powerfully in a variety of areas, and in particular, research. To date, the work of the composer is actively studied by Chinese musicologists. However, among the publications, small articles devoted to a narrow range of problems predominate. Large-scale studies devoted to any area of his music have not yet been created. One of the most important topics relating to the composer’s work is the study of his views on musical art. Zhang Zhao’s vision of the further development of Chinese piano art reveals the composer’s worldview, his creative credo. This question is decisive for studying the composer’s musical heritage, defining his genre-style priorities. Objectives. The purpose of the article is to reveal the peculiarities of Zhang Zhao’s artistic worldview in order to promote the fullest possible identification of the ideas of the composer, the disclosure of the artistic concepts of his works. Methods of research are based on a set of scientific approaches necessary for the disclosure of its theme. The complex approach, combining the principle of musical-theoretical, musical-historical and performing analysis, is taken as the basis of the methodology. Results. Important for the disclosure of the creative worldview of the composer is the study of his statements on the ways of further development of musical art. His attitude and vision of his role in this process, the Chinese musician has repeatedly stated in an interview with domestic journalists. According to Zhang Zhao, the main issue that should concern modern composers is the place of the musical art of their country in world culture. Zhang Zhao found in the face of the pianist virtuoso his Yundi Li adherent. The collaboration between the composer and the performer began in 2011. Zhang Zhao took part in a large-scale theatrical performance at the Third Congress of BRICS leaders in Sanya. Then Yundi Li performed on the stage of the concert hall of Zhang Zhao’s play “In the most remote place” and “Chinese piano dream”. Zhang Zhao is committed to the concept of inheritance and the promotion of a culture of national music. The Chinese compare Zhang Zhao with the outstanding leader of the Polish people Chopin, who dedicated his life to the transformation in piano music of various genres. Piano works by Zhang Zhao adorned the world culture with the introduction of Chinese national motives into it. The composer introduced listeners to the air melodic lines of original works and filled his works with a complex texture, making them attractive for acquaintance with the rich traditional culture of China. Developing national piano art, Zhang Zhao inscribes the Chinese chapter in the world culture with his inherent passion and love for life. In addition to studying composition, performing and teaching, Zhang Zhao, is active in public activities, being a music professor at the Central University for Nationalities. He pays great attention to the development of the artistic taste of students, shares his own musical ideas and aesthetic principles. The composer made great efforts and energy to create the “Chinese piano dream”. To popularize this work, they, together with Yundi Li and the Shanghai People’s Orchestra conducted nationwide tours, visited Taiwan, and outlined other projects. Despite the fact that Professor Zhang Zhao has a very tight work schedule, he nevertheless finds time to talk with his students about the place of national music and its prospects. In the “Chinese Piano Dream”, the composer sought to reflect the essence of the musical culture of the Chinese nation. He embodied the dreams of the older generation of pianist composers and performers about the perfection of the Chinese piano scene, set a high goal – to show the artistic value of the Chinese piano piece on the world stage, took on the mission to inherit the national culture and pass it on to the next generations. In the works of Zhang Zhao, the interests of the Chinese and global world level intersect. This is due to the amazing richness of the composer’s creative worldview, which is open to everything significant in life and art. On this basis, the composer came to important conclusions about the role of contemporary classical musical art in people’s lives in China and in the world. Conclusions. For more than twenty years, Zhang Zhao is in the creative search for his musical style. He carefully investigated the development of ethnic music, which enabled him to create his piano works, which are distinguished by a unique and mature language.

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Löbert, Anja. "Fandom as a religious form: on the reception of pop music by Cliff Richard fans in Liverpool." Popular Music 31, no. 1 (January 2012): 125–41. http://dx.doi.org/10.1017/s0261143011000493.

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AbstractUsing the example of Cliff Richard fans, this article investigates to what extent the rites and rituals exercised in fandom can be regarded as representations of a religious form as understood by the French sociologist Émile Durkheim in The Elementary Forms of Religious Life. Because empirical research has established its significance, the pop concert experience and its echoing effects are used as a starting point to explore the thesis that fans draw and cultivate a distinction between a profane and a sacred domain in their lives. These suggestions are further enriched by Randall Collins' and Gabriele Mordt's analyses of passions. This article adopts their concept of the sacred object as a passion-preserving device. In addition, the argument of popular music scholar Daniel Cavicchi (based on Bruce Springsteen fans) is taken one step further. Finally, I suggest a typology of fan experience that differentiates between primary interaction ritual, secondary interaction ritual, the cult of the individual and special rites.

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Chychkanov, Ihor. "The creative personality of Grigory Sokolov in the piano art of the XX–XXI centuries." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 171–84. http://dx.doi.org/10.34064/khnum1-59.12.

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Problem statement. Piano art of the XX–XXI centuries is extremely colorful and, perhaps, provocative phenomenon, whose uniqueness is determined primarily by the coexistence of numerous creative principles and individual preferences. This determines the constant relevance of questions of the interpretation of performance and identification of factors influencing the formation of the performance concept of a musical piece. The system of causation, which is the basis for the interpretation of a particular piece of music toughts such factors as school, nationality, era, style, personality of the artist and even the condition of the instrument, the acoustics of the hall, etc. All these parameters affect the formation of individual performance style. Several aspects of the formation of the pianist’s style are analyzed: the development of personality and character, the piano school, the attitude to musical text, the inclination towards some composers and styles. Objectives. The purpose of this article is to determine the parameters that influenced the formation and development of individual performance style of G. Sokolov. Theoretical background. In this article, we rely on scholar sources, the subject of which are the main categories of performing musicology, especially a category of musical style. The concept of style has been substantially developed by many scholars who have proposed authorial definitions. In this paper we will rely on what was proposed by S. Skrebkov: “Style in music, as in all other arts, is the highest kind of artistic unity”. (Skrebkov, 1973: 10) This understanding of style as a certain integrity, in our opinion, correlates with the point of view of domestic scientist V. Moskalenko (1998, 2012), who emphasizes that the specificity of the musician’s musical thinking determines the uniqueness of his musical language, which, among other things, is the key to its cognition. Thus, the methodological basis of this study is the concept of the style in music by S. Skrebkov (1973), V. Moskalenko (1998, 2012), M. Lobanova (1990). Results for discussion. G. Sokolov is a rather closed person, he has not given interviews for years, he is increasingly concentrating exclusively on his solo career, practically giving up performing with the orchestra. Moreover, this is not a sign of late style, or a certain consequence of personality development, the pianist’s classmates claim that he was like that all his life. So, the only way to determine what influenced the formation and development of individual performance style of G. Sokolov is detailed comparative analysis of the stages of his formation as a musician. In our opinion, later, this closeness, some emotional detachment of G. Sokolov, not only influenced the basic parameters of his individual performance style, but also allowed the pianist to avoid the problems associated with overstrain. We also emphasize that the pianist is characterized by attention to details. G. Sokolov since childhood was interested in butterflies, transport and air routes, rational planning of routes and flights, he was a perfectionist in everything. Let us also mention his child’s passion for conducting, which began his acquaintance with music. It is known that sometimes the repertoire chosen to participate in the competition reveals some secrets of the pianist’s stylistic preferences, but in the case of G. Sokolov it did not happen. The pianist can be called universal. His repertoire includes works of different styles, due to the tendency to present a variety of compositional sound concepts of the world, which is the uniqueness and significance of the art of music. In this regard, the pianist himself says the following: “I think in the art of all who interest us, unites their dissimilarity” (from interview, Sokolov, 2016). Over the years, G. Sokolov increasingly gravitated to miniature forms. Trying to move away from pathetic and epic works, pianist, obviously, prefers the aesthetic dimension of the phenomenon of piano playing. Such a subtle understanding of music characterizes him more as a philosopher than a virtuoso. In a sense, he can be called an artisan, because he just does his job well, it is also an art. It is necessary to disassemble the structure of the work, find a balance, take into account the peculiarities of the sound of the instrument at the time of writing, the style of the author and many other small (but very important) aspects. This jewelry work shows the true style. Conclusions. So, can we call G. Sokolov a pianistic phenomenon? Positive answer can be fortified with factors such as isolation, alienation from many modern trends in culture, while retaining the ability to perform repertoire of completely different styles. For him, the art of music is a very intimate, thoughtful process of understanding meaningful content of each sound. Taking as a basis the thesis of S. Skrebkov that style is the highest form of artistic unity, we can say that G. Sokolov’s style is holistic, convincing and has an impact on modern performing arts precisely because of its uniqueness.

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Knysh, P. O. "Gender approach in the analysis of performing versions (on the example of F. Chopin’s Second Piano Concerto performed by E. Kissin, C. Arrau, Lang Lang, M. Argerich, B. Davidovich)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 189–99. http://dx.doi.org/10.34064/khnum1-56.12.

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Background. The work focuses on studying gender peculiarities of interpretations of the Second Piano Concerto by F. Chopin. Presenting the results of the scientific works that concern the issue of gender peculiarities of performing music, the author comes to the conclusion about lack of research of this question in the field of piano art. While the contemporary social and psychological works of the domain of gender turn to the primary signs of gender differences, embodied still at the point of the earliest stage of personality formation, starting with the very birth of a child (Bendas, T., 2006 et alt.). For instance, still in their childhood girls develop such features as a higher intensity emotionality, subtleness of feelings, whereas boys tend to be more rational while thinking over life situations or works of art. Such psychological peculiarities are revealed for various life periods and get more distinct in the process of age advancement. Research methodology. In this article the gender approach is combined with the comparative method while considering key features of different performance versions of the Second Piano Concerto by F. Chopin. Appealing to the performance versions of E. Kissin, С. Arrau, Lang Lang, M. Argerich, B. Davidovich, we emphasize their uniqueness with a simultaneous focus on performance tools used by these prominent musicians to reveal the essence of this masterpiece of the Romantic era. The purpose of this article is to generalize the tendencies of the performing concepts of Chopin’s Second Concerto by the famous masters of piano art of the XX – early XXI century in the light of gender approach. Research results. The Second piano concerto, created by F. Chopin at the turn of the 20s–30s of the XIX century, has become a model of the innovative approach both to interpreting the genre in general and to piano virtuosity. Firstly, it is expressed through the dominance of the pianoforte over the orchestra, while the former being characterized by the total melodization of the texture. Researchers of F. Chopin’s creativity point out the fact that in his concertos there are influence traces of W. Mozart, C. Weber, J. Hummel; however, despite the belonging of the concertos to early stage of creative activity, Chopin achieves unique artistic results. Maintaining, just like Mozart’s, the classical structured transparent form, enriching musical textures with passages, just like Hummel, Chopin, nevertheless, presents deeply individual images. If in the First part of the Second Concerto the dependence on classical traditions is still obvious, the Second part and the Final demonstrate broad horizons for the lyric component of the composer’s music. Before we turn to a number of outstanding samples of the Second Concerto performance, we recall the opinion of one of the best pianist-interpreters, E. Fisher, that the sound embodiment of a musical work consists of three elements: musical text, instrument and artist (Fisher, E. 1977: 201). He noted that the musical text is an unshakable material basis for the performer. Interpretation is possible only under the condition of accurate transmission of what is stated in the author’s text reflecting both the development of the playing technique and the improvement of musical instruments. At the same time, the end result – the sound image of the work – arises under the influence of the artist’s personality, reflecting its qualities, such as “the degree of development of intelligence, worldview, especially emotional life, belonging to one or another artistic type” (ibid.). So, performers who turn to the Second Concert, can accent certain elements, lines, forming its rich semantic complex. If we classify performing versions of the Chopin Concert by gender qualities, we can come to certain conclusions. In the male versions studied we have clearly revealed the constructivism in musical arrangements, an intellectual structure, rational forethought concerning all the stages of musical development. A special emphasis is laid on caesuras and differentiation between various types of musical material, clearly bespeaks pianists’ intention to reflect more comprehensively a philosophical content of the work. The peculiar predominant feature as for E. Kissin’s performance is his lyric-psychological interpretation of the image palette of the Concerto. Kissin’s main way of realizing the corresponding tasks is articulation that emphasizes the uniqueness of each episode. In the performance of С. Arrau we notice a characteristic brightness, emotionality, contrasting effect, thanks to the intensive exploitation of agogics; at the same time, the unity of the music form is reached through the exactness of the meter and rhythmic pulsation. Lang Lang’s version is a model of a supreme sound lyricism. The pianist plays in the style of Mozart with a clear texture, rationed pedalizing and agogics. At the same time, in his performance there is a philosophical generalization that can be perceived. In comparison with the male versions, the female ones, on the whole, are peculiar in terms of their subtler sound richness, touché softness. In the interpretation of the drama lines of the Concerto it is the image-emotional component that prevails but, together with this, a special emphasis is laid on lyric and psychological details. The analyzed interpretation by B. Davidovich is characterized by a specific style of its own as, while building up the performance dramaturgy of the Concerto, she prefers a through theme development, without dividing the sound stream into separate fragments the way many performers prefer to do. M. Argerich understands this music by F. Chopin in a different way. Her performance style is unique due to its high drama intensity, emotionality, passion, introducing elements of rationalism into the drama line of the Concerto.

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Lebedinski, Ester. "The travels of a tune: Purcell’s ‘If love’s a sweet passion’ and the cultural translation of 17th-century English music." Early Music 48, no. 1 (February 2020): 75–90. http://dx.doi.org/10.1093/em/caaa003.

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Abstract The travels of a tune: Purcell’s ‘If love’s a sweet passion’ and the cultural translation of 17th-century English music This article discusses Henry Purcell’s theatre song ‘If love’s a sweet passion’ (from The Fairy Queen, 1692) and its journey into various contexts in England and abroad. The article analyses the song’s appearance in printed songbooks, broadside ballads and single-sheet engravings, and in the Dutch manuscript songbook Finspång 9096:7 (now in Norrköping, Sweden), to show how the song was adapted to various contexts and conventions. The appearance of ‘If love’s a sweet passion’ in Finspång 9096:7 further suggests that there was greater reciprocity in the exchanges between England and continental Europe than hitherto thought. I nuance this claim by arguing that such exchanges were dependent on translation and mediation by musicians such as John Abell (1653–after 1716) or translators such as Abel Boyer (?1667–1729). Boyer used ‘If love’s a sweet passion’ in his Compleat French-Master (1694) and his French lyrics appear in Finspång 9096:7. The article shows the variety of uses and adaptations of ‘If love’s a sweet passion’ in English and French-language contexts. This both challenges notions of ‘elite’ and ‘popular’ music as entirely separate, and invites scholars and performers to imagine Purcell’s theatre songs performed and consumed in new ways.

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Parkhomenko, Dar’ia. "“Musical gastronomy” in Rossini’s piano miniatures (on the example of the cycle “Quatre horsd’oeuvres et quatre mendiants”)." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 169–88. http://dx.doi.org/10.34064/khnum2-19.10.

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Formulation of the problem. If the operatic creativity of G. Rossini constantly attracts researchers, then the chamber instrumental music of the composer is lighted only in some works of Western European musicologists, in particular, in the dissertation of Sh. Miller (1990), in which the author analyzes Rossini’s late piano pieces, noting the master’s penchant for frequent repetitions of musical elements. Ch. Park (1997), in turn, examines the chamber-instrumental works of G. Rossini in stylistic and compositional aspects, as a result concluding about his bright innovativeness in this area. B.-R. Kern and R. Moller (2002) are interested in the facts of the composer’s life and create a detailed periodization of his biography and work, sometimes involving the analysis of chamber plays written in the Paris period (1823–1868). At the same time, in domestic sources, chamber-instrumental music by G. Rossini, which becomes a key area of activity in the mature period of his life, is covered only sporadically that determines the relevance of the proposed research. The purpose of this article is to reveal the peculiarities of G. Rossini’s interpretation of piano miniatures using the example of the cycle “Quatre horsd’oeuvres et quatre mendiants” (“Four appetizers and four desserts”). The main task is to consider the features of the composer’s interpretation of the program conception of the musical pieces. Research methodology. Wide cultural-historical and biographical research approaches clearing Rossini’s aesthetic position combine with traditional methods of musicological analysis for examination of the expressive means used by the composer. The specific aspect of considering Rossini’s piano miniatures determined by the fact that we can find numerous mentions about composer’s great passion for cooking in the current musical-critical works and studies about Rossini’s life and career. Research results. Cooking was a source of musical inspiration for G. Rossini. He could compose music during a meal and was able to write musical variations on napkins, often comparing music and food. In addition, he also became the author of two books of recipes, one of which was published under the editorship of T. Beauvert (1997) in Paris. The book came out under the title “Rossini les péchés de gourmandize” (“Rossini – the sins of gourmandize”) and is interesting because some dishes have musical names, for example, “Figaro” salad, “Pasticcini” pastries and “William Tell” cake, and as illustrations the musical works by the composer were used. In the period from 1857 to 1868, G. Rossini created ironic and humorous chamber music, among others eight albums of piano pieces included in his large collection “Peches de vieillesse” (a total of 164 compositions of chamber vocal and instrumental music, combined into 14 albums). The collection “Peches de vieillesse” includes three cycles and several individual food-themed pieces scattered across the various albums. All these miniatures bear the name of a certain culinary ingredient. The “edible” theme in “Peches de vieillesse” arose from the composer’s passionate love for gourmet dishes: he himself argued that good music and the exquisite taste of his dishes are inseparable. The article examines the piano miniatures that make up the “gastronomic” cycle “Four appetizers and four desserts”. According to the composer’s idea, the miniatures were to be performed on “Saturday evenings” in his house. The cycle consists of eight parts, which were included in the fourth album of the megacollection “Peches de vieillesse”. This “edible” cycle is divided into two groups of four miniatures: “Hors-d’oeuvres” / “Appetizers” (No. 1 “Les radis”, No. 2 “Les anchois”, No. 3 “Les Cornichons”: “Introduction: Theme et Variations”, No. 4 “La beurre”: “Theme and variations”) and “Mendicants” / “Desserts” (No. 1 “Les figuees seche”: “Me voila – Bonjour Madame”, No. 2 “Les amandes”: “Minuit sonne – Bonsoir Madame”, No. 3 “Lesraisins”: “A ma petite perruche”), No. 4 “Les noisette”: “A ma chere Nini”). The composition of the album combines the features of an eight-movement cycle and a cycle within a cycle, since the “appetizers” are separated from the “desserts” by a subtitle. In addition, each of the “desserts” is accompanied by short text lines emphasizing the composer’s sense of humor, where Rossini addresses to his wife (“Me voila – Bonjour Madame” – No. 1, “Minuit sonne – Bonsoir, Madame” – No. 2), to his parrot (“A ma petite perruche” – No. 3) and his dog (“A ma chere Nini” – No. 4). “Quatre hors-d’oeuvres et quatre mendiants”, at first glance, is a sequence of pieces of various tempers with a “culinary” program. Each of them poses complex performing tasks for the pianist (imitation of violin strokes, arpeggios and octave beatings at a fast tempo, fiorituras, abrupt changes in dynamic and tempo shades, etc.). The composer’s program idea is realized through a complex of diverse means of musical expression. For example, sharp changes in character and contrasting dynamic shades falling on each beat in the “Les radis” can be associated with the burning taste of a bitter root vegetable, etc. In “Les raisins”, to enhance the humorous effect, Rossini adds text to accompany the melodic line of the upper voice, so that a vocal part appears that completely duplicates the part of the right hand, which takes the cycle beyond the boundaries of piano music. However, in modern interpretations, performers omit these lines. Thus, the analysis of the plays of the cycle revealed a number of unusual compositional solutions (use of verbal text, quotes and allusions), which to a greater extent demonstrate “desserts”, where G. Rossini, in addition to the “culinary” program, using subheads associated with various communicative situations (relationship with his wife, pets, friendly caricaturing). The composer shows his commitment to theatricalization, due not only to various subheadsdedications, but also quotation and allusions (“Les raisins”, a “triple portrait” of the composer proper, his friend and his parrot). Conclusions. As a result, the piano cycle by G. Rossini, in a number of ways, approaches to the piano cycles of romantics, such as, for example, R. Schumann’s “Carnival”. The “culinary” program of the cycle is complemented by an arsenal of sound-visual means of the romantic era, to which G. Rossini refused to count himself among the composers. Along with program genre miniatures, there are portrait pieces; besides that, the composer conducts an indirect dialogue with contemporaries and close people (M. Carafa, J. Rothschild, O. Pélissier, F. Liszt). The pieces demonstrate a vivid theatricality, which is embodied in a variety of characters within one miniature-scene and even in the addition of a verbal text, which indicates the closeness of the cycle to instrumental theater – an attribute of musical creativity of the twentieth century.

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Bonneville-Roussy, Arielle, Emese Hruska, and Hayley Trower. "Teaching Music to Support Students: How Autonomy-Supportive Music Teachers Increase Students’ Well-Being." Journal of Research in Music Education 68, no. 1 (January 31, 2020): 97–119. http://dx.doi.org/10.1177/0022429419897611.

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According to self-determination theory (SDT), the learning experiences of music students can be explained partly by the autonomy-supportive style adopted by their music teachers. To provide the first in-depth understanding of how music performance teachers support the autonomy of their students and how this support is related to students’ well-being, we adopted SDT and the PERMA model of well-being. We provide answers to three fundamental questions about teacher-student relationships in music: (1) Do music performance teachers support the autonomy of their students in higher music education? (2) How do students perceive this support? and (3) How does autonomy support affect music students’ well-being? Music performance teachers ( n = 35) and students ( n = 190) were recruited from higher music education institutions in the United Kingdom. Analyses included mean comparisons of teachers’ and students’ answers to survey questions, correlational analyses of teacher-student dyads’ responses on measures, and qualitative analyses of open-ended questions. Results showed that teachers and students mostly agreed that teachers provide autonomy support to their students. Teachers’ transmission of passion for music and autonomy-supportive behaviors were related to students’ well-being, whereas controlling behaviors hindered well-being. Qualitative results showed that although students put well-being at the core of their concerns, music teachers seemed unaware or ill-prepared to face those concerns.

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Zhu, Fengdaijiao. "Zhu Jian’er’s life creativity: the historiography of the composer’s personality." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 190–212. http://dx.doi.org/10.34064/khnum2-18.11.

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Background. The article is devoted to the study of the personality of the outstanding Chinese composer Zhu Jian’er (1922–2017) – the leading figure of the national musical art of the twentieth century. It is proved that the presented problematic makes it possible to most deeply and accurately explore the musical heritage of the artist. In order to better understand the meaning of the composer’s creations, it is necessary to consider his environment, the stages of creative formation, the characteristics of character and personal qualities, his civic position and the characteristics of his worldview. Most of Zhu Jian’er’s life was in times of great turmoil associated with the Sino-Japanese liberation war, with the rigid ideological line of the Communist Party, with the excesses of the Cultural Revolution, etc. Consideration of the work of an outstanding composer through the prism of his personality became possible only in the twenty-first century, when Chinese society was completely freed from the pressure of ideology, which had long been felt after the policy of the Cultural Revolution in the country. Objectives. The purpose of this article is to systematize the historiographic information about the life-making of Zhu Jian’er in the context of the general trends in the development of Chinese musical culture of the twentieth and early twenty-first century. Methods. The methodology of the research is based on the scientific approaches necessary for the disclosure of the topic. The integrated research way is used that combines the principle of musical-theoretical, musical-historical and performing analysis. Results. The composer’s youth passed in Shanghai, occupied by the Japanese invaders. Great importance to the young man had a twenty-four-hour musical radio program, through which he became acquainted with European classical music. In 1945, the composer became the leader of the musical group of the Corps of Cultural Art of the Suzhou military district, and then the director and conductor of the orchestra. As soon as the country was liberated, the composer returned to Shanghai with many musicians from the military orchestra. He was appointed to the position of the head of the musical ensemble of the state film studio. In the summer of 1955, at the age of 33, Zhu Jian’er enrolled in the graduate school of the Moscow Conservatory. Returning to China in the summer of 1960, Zhu Jian’er was full of ambition and a desire to serve his homeland and people. However, the subsequent years of the Cultural Revolution for a decade deprived him of the possibility of full-fledged creativity. Own feelings receded into the background, the collective ousted the personal. In his music the composer presented the Cultural Revolution – with its false goals, ugly human relations, distorted values, unjustified sufferings. This idea formed the basis of the First Symphony. Many outstanding masterpieces of the composer have won major awards at home and abroad, bringing glory to Chinese music on the international music scene. People close to Zhu Jian’er noted that the composer was rarely seen among friends or acquaintances, he was silent and did not like to talk. He was very thin, and it was not clear how a fiery passion and great creative energy lived in such a weak body. The composer had a mild temperament, he never became angry with people and was careful in his statements. However, even such a kind and conflict-free person, faced with unhealthy trends in the music industry, was embroiled in legal proceedings related to “violation of rights” and was forced to fight for his reputation. But he was not afraid of reprisals, his energy and strong enthusiasm gave him strength. Despite the fact that Zhu Jian’er was always an ordinary person, immersed in his own affairs, he was not indifferent to the events in his country and the fate of the national culture. In addition, he was also worried about the international situation and the influence of China outside. The composer has always been interested in politics and collected information about musical culture abroad. He had his own understanding of the world, and he tried to hold an independent opinion, although, as a real creator, he was often visited by the spirit of doubt. Despite his painful body, Zhu Jian’er was a very tough and courageous man. In the years when China was shook by events that he considered as the national catastrophe, the composer retained loyalty to the power. It was not conformism, the musician sincerely loved his homeland and was ready to die for it, his position was that the mistakes would be corrected and the country would gain strength. These inner experiences deeply touched the composer’s mind and feelings, and were subsequently reflected in his music, being formed the unique musical style of his works. In recent years, as an elderly and painful man, Zhu Jian’er continued, in his words, “to pay off debts” – writing articles for various Shanghai music publishers, editing symphonic, orchestral and piano music, and writing a monograph. In most cases, this was underpaid or completely unpaid work. However, the composer was doing such work, considering it his duty. Conclusions. We can observe important milestones in the life-making of Zhu Jian’er, which radically influenced his multifaceted musical creativity. The outlook and civil position of the musician was formed during the years of the Sino-Japanese war of liberation. This enforced his ardent love for his native land and his people. Since he himself was physically unable to be in the ranks of the army, the desire to defend their homeland was expressed in the military songs by Zhu Jian’er. The critical attitude of the musician to the policy of the Cultural Revolution did not change his positive attitude towards life, but only made him think about the meaning of the artist’s life and purpose in society. The activities of the composer in the team of the military ensemble led him to realize the need for further professional development. The passionate desire to gain the highest stages of composer skills prompted Zhu Jian’er insistently to possess by this knowledge at the Moscow Conservatory and then at the Shanghai Conservatory. The composer honed his skills in the field of vocal, instrumental, chamber and choral music, however, the genre of the symphony in which the musician expressed his civic creed and view of the world became the pinnacle of his work.

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Saarikallio, Suvi H., Johanna P. Maksimainen, and William M. Randall. "Relaxed and connected: Insights into the emotional–motivational constituents of musical pleasure." Psychology of Music 47, no. 5 (June 20, 2018): 644–62. http://dx.doi.org/10.1177/0305735618778768.

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Music is a source of daily pleasure, and positive emotional experiences and rewarding functions of music have been actively studied. Yet, knowledge about the interrelatedness of emotional and motivational constituents of musical pleasure is sparse. This study explored the characteristic emotional contents of music-induced pleasure, their relation to motivations for music and whether the underlying dimensionality of these aspects was specific to music (in comparison to the visual domain). Data were collected through an online questionnaire ( N = 464), measuring evoked emotions and motivational pleasure types that the respondents related to a musical piece or a visual object inducing pleasure in their daily life. Exploratory factor analyses indicated six-factor models for evoked emotions and three-factor models for pleasure types and regression analyses about their interrelatedness suggested an underlying two-dimensional conceptualization: On one hand, musical pleasure stems from music-induced sensations of relaxation, power, and passion. On the other hand, musical pleasure centers on the feeling of kinship relating to social values and mental contemplation. Minor domain-specificity of this constitution of pleasure in comparison to the visual domain was observed. Overall, the study provides novel perspectives for understanding the complex emotional–motivational features directing individuals’ daily engagement with music listening.

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Custodero, Lori A., and Elissa A. Johnson-Green. "Passing the Cultural Torch: Musical Experience and Musical Parenting of Infants." Journal of Research in Music Education 51, no. 2 (July 2003): 102–14. http://dx.doi.org/10.2307/3345844.

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Using a regionally focused national survey of parents with 4–6-month-olds (N = 2, 250), we addressed associations between musical experience and the frequency and content of playing music and singing for infants. The possible mediation of a classical CD distribution to new parents in hospitals was also investigated. Five variables of experience were considered: (1) respondents' recollections of their mother or (2) father singing to them, (3) playing an instrument, (4) singing in a choir, and (5) taking music lessons. Chi-square analyses indicated that musical experience was highly associated with increased frequency of playing and singing. The content of what was played and sung was less uniformly linked, and revealed individual profiles for each mode of formal experience. Differences were found between those who did and those who did not receive the CD. Results support a systems view of the child in the context of families and society, and have implications about indirect effects of music education.

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Wibowo, Tito Parta, Edho Pranata, and Antomie Antomie. "Interaksi Kekuatan Otot Tungkai Terhadap Keterampilan Passing Atas Pada Permainan Bola Voli." Edunesia : Jurnal Ilmiah Pendidikan 1, no. 3 (November 1, 2020): 41–45. http://dx.doi.org/10.51276/edu.v1i3.58.

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Abstract: Based on the observations of researchers on the implementation of Activities in SMA Negeri 1 Ulu Musi, District of Four Lawang, that the passing ability of students is not good so that it often causes the ball to not be exact when doing it. This problem is thought to be caused by several factors, including low levels of leg muscle strength. This study aims to determine the interaction of leg muscle strength on upper passing skills in volleyball games. This research method is a correlational method. The population of this research was all students of Class X of SMA 1Ulu Musi as many as 20 people while the samples were taken in total sampling. The place of the research was at SMA Negeri 1 Ulu musi, while the time of the study was February-March 2020. Data on leg muscle strength were taken with vertical tests jump, and passing ability data is taken by passing the top test. The data analysis technique of this research uses correlation analysis techniques. The results of the data analysis show that: There is a significant relationship between leg muscle strength (X) and upper passing skills (Y) in high school students 1 Ulu Musi, with rxy = 0.90> r (0.05) (20) = 0.444. Abstrak: Berdasarkan pengamatan peneliti terhadap pelaksanaan Kegiatan di SMA Negeri 1 Ulu Musi Kabupaten Empat Lawang, bahwa kemampuan passing para siswa kurang baik sehingga menyebabkan bola sering tidak tepat pasa saat melakukakannya. Masalah inilah diduga disebabkan oleh beberapa faktor, antara lain rendahnya tingkat kekuatan otot tungkai. Penelitian ini bertujuan untuk mengetahui Interaksi Kekuatan Otot Tungkai Terhadap Keterampilan Passing Atas pada permainan bola voli. Metode penelitian ini adalah metode korelasional. Populasi penelitian ini seluruh siswa Kelas X SMA Negeri 1Ulu Musi sebanyak 20 orang sedangkan sampel diambil secara total sampling, Tempat pelaksanaan penelitian di Di SMA Negeri I Ulu musi, adapun waktu penelitian adalah bulan Febuari-Maret 2020. Data kekuatan otot tungkai diambil dengan tes vertical jump, dan data Kemampuan passing diambil dengan tes passing atas. Teknik analisis data penelitian ini menggunakan teknik dengan analisis korelasi. Hasil analisis data menunjukkan bahwa: Terdapat hubungan yang signifikan antara kekuatan otot tungkai (X) terhadap keterampilan passing atas (Y) pada siswa SMA Negeri 1 Ulu Musi, dengan rxy =0,90> r(0,05)(20) =0,444

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Remes, Hanna. "”Sävelet tekevät tekstin eläväksi”: paaston ja pääsiäisajan liturginen kuoromusiikki sanoman kannattelija." Trio 10, no. 1 (July 10, 2021): 91–100. http://dx.doi.org/10.37453/trio.110132.

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Hanna Remes’s artistic doctoral degree, which focuses on choral church music in worship, is the first of its kind in Finland. The demonstration of proficiency carried out 2016–2020 comprises two masses, a worship service, a passion drama and an Easter concert. She elucidates changes in guidelines for the liturgical use of the choir according to the Evangelical Lutheran Church of Finland’s 2000 church manual from those of the 1968 church manual. The dissertation stands at the junction of liturgy and the history of church music. Remes compares and analyses the liturgical role of the choir in the Church of Finland as stated in the latest church manuals and supplementary materials and explains the guiding principles of the manuals’ preparation.

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Buchler, Michael. "Ornamentation as Gesture in Atonal Music." Music Theory Spectrum 42, no. 1 (December 3, 2019): 24–37. http://dx.doi.org/10.1093/mts/mtz021.

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Abstract Hearing and representing melodic and harmonic elaboration lies at the heart of tonal analysis. We sometimes disagree about what exactly is ornamental or how tones are prolonged, but our widespread collective understanding of passing tones, neighbor tones, suspensions, and the like underscores the important notion that some notes are more structurally important than others. This article proposes ways to read ornamentation in atonal music, recasting ornamental categories gesturally and pragmatically instead of (or in addition to) tonally and metrically.

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Shaked, Varda. "Computer Scientists with Serious Music Avocations Share Their Thinking." Leonardo 52, no. 5 (October 2019): 468–73. http://dx.doi.org/10.1162/leon_a_01445.

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This article presents the cognitive capacities and tendencies in the lives of computer scientists who play classical music as a serious avocation. Using qualitative research and thematic analysis methods, narratives of seven participants are constructed through open-ended interviews, from which the essence of their thinking skills is extracted in the form of four primary themes: being in the zone, assuming an engineering/scientific mindset, aesthetic thinking and joyous thinking. With such a rich thinking toolkit, this study motivates educators to support individuals with interdisciplinary interests and calls for such individuals not to leave behind their musical passions despite pragmatic career considerations.

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Stehle, Maria. "Temporal tapestries: Transforming cityscapes in Berlin pop music videos." Journal of European Popular Culture 10, no. 2 (October 1, 2019): 109–25. http://dx.doi.org/10.1386/jepc_00004_1.

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This article analyses a selection of pop music videos released between 2012 and 2014 that rescript Berlin’s Zeitlichkeit (temporality), the relationship between city spaces, history, and time. Examples include videos by German and non-German artists, ranging from David Bowie to Miss Platnum, Lilly Wood & the Prick, Alanis Morissette and Andreas Bourani. Striking synergies between the different sound-image-texts emerge around questions of historic memory, time, and time passing. Close analyses show how these Berlin music videos released between 2012 and 2014 challenge linear narratives of pasts and progress. In the non-linear conceptions of time suggested in these videos and songs, new and old agents can coexist and create images and narratives of a different temporal tapestry of the city.

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Osborn, Brad. "The Subdominant Tritone in Film and Television Music." Current Musicology 107 (February 10, 2021): 62–92. http://dx.doi.org/10.52214/cm.v107i.7840.

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Tritones sounding over subdominant harmony, either as suspensions, accented passing tones, or incomplete neighbors, constitute a class of sonorities regularly heard in film and television music. I collectively refer to these phenomena as “subdominant tritones” (SdTT), and theorize a link between the SdTT and emotions it engenders. The article presents close visual/musical analysis of selected SdTT-tinged passages in feature films that animate various heightened emotional states, including longing, nostalgia, relief, and melancholy. [Please note: This article contains embedded video files. These files cannot be played on all PDF readers. Current Musicology recommends Foxit PDF Reader, Adobe Acrobat, or any other PDF reader capable of reading "enriched" media.]

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Lemcke, Marie-Christine, Asja Ebinghaus, and Ute Knierim. "Impact of Music Played in an Automatic Milking System on Cows’ Milk Yield and Behavior—A Pilot Study." Dairy 2, no. 1 (February 1, 2021): 73–78. http://dx.doi.org/10.3390/dairy2010007.

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Practical experience suggests that music can have a positive effect on the welfare of dairy cows, which for some other animal species has been shown in earlier studies. Music could, furthermore, be a useful tool to support, for example, daily milking routines. In this pilot study we explored effects of music inside an automatic milking system (AMS) on cows’ milk yield and behavior. The experiment was conducted on a Finnish dairy farm with 56 cows in loose housing. Over two 2-day periods without and with selected music pieces played inside the AMS, data on daily milk yield (DMY), selection gate passing frequency (GP), milking frequency (MF), and milking interval (MI) were recorded. For analyses, data of 17 Holstein-Friesian cows were used. At cow level, mean values over repeated measurements without and with music were calculated, and analyzed by paired t-tests (DMY, MF) or Wilcoxon tests (MI, GP). During intervals with music versus without, cows passed the selection gate more often (15.8 versus 13.8) and had higher MF (3.0 vs. 2.8). No differences were found in MI (07:49:21 vs. 08:37:38) and DMY (36.5 vs. 37.0). The latter might be explained by a ceiling effect. Overall, the results suggest that the investigated sample of cows perceived the selected music as attractive and that playing music might be a practical tool to reduce necessary efforts of driving cows to milking.

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Fatmawati, Desy Eka. "Racial Passing Practiced by Mulattoes: A New Historicist Reading of Nella Larsen’s Passing and Jessie Fauset’s Plum Bun”." Rubikon : Journal of Transnational American Studies 4, no. 2 (July 19, 2019): 95. http://dx.doi.org/10.22146/rubikon.v4i2.47881.

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Racial passing practice is the act of passing or disguising as white by mulattoes, and it became a phenomenon during Harlem Renaissance. Harlem Renaissance is an era when African American culture related to arts, literature, and music were greatly celebrated. This era can also be said as the most glamorous and happiest moment for African Americans since the antebellum era. Using two of the prominent racial passing narratives during Harlem Renaissance: Passing by Nella Larsen and Plum Bun by Jessie Fauset, this research aims to find the depiction of racial passing practice in the two narratives in order to get deeper understanding of the issue. This research is under American Studies paradigm of Post-nationalist to take into account the minorities’ perspective in understanding America. The minorities’ perspective in this context is from African American’s mixed raced descents (mulattoes). As the focus of this research is historical phenomenon, this research also applies New Historicism as an approach. Based on the analysis, racial passing practice was a reaction from white’s domination through Jim Crow laws, and African Americans considered racial passing practice as a form of both “fooling the white folks” and a betrayal to their “true people”. Keywords: Racial Passing, Mulattoes, Harlem Renaissance, Jim Crow, New Historicism

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Kuch, Mia, and Clemens Wöllner. "On the Move: Principal Components of the Functions and Experiences of Mobile Music Listening." Music & Science 4 (January 1, 2021): 205920432110328. http://dx.doi.org/10.1177/20592043211032852.

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Mobile music listening is widely recognized as an integral part of everyday music use. It is also a rather peculiar experience, since the listeners are surrounded by strangers in public and at the same time engaged in a solitary and private activity. The current study aimed at investigating the functions and experiences of mobile listening with a quantitative online questionnaire, and collected further information about mobile listening situations and listening habits. Among respondents ( n = 203), 89% reported listening to music while being on the move. We found mood-related and cognitive functions to be most prevalent (e.g., enhancing mood, relaxation, prevention of being bored), whereas least important functions relate to social dimensions (e.g., feeling less lonely, feeling less watched). Regarding experiences of mobile music, respondents most commonly adapted their mood to the music and lost touch with the current surroundings. A principal component analysis on ratings of functions and experiences resulted in an underlying structure of five dimensions, representing different levels of involvement: (1) Mood Management comprises functions to satisfy individual needs; (2) Absorption and Aestheticization encompasses deep listening experiences and altered perception of the surroundings; (3) Social Encapsulation and Self-Focus describe the distancing of oneself and changes in attention; (4) Distraction and Passing Time include the prevention of being bored and making time pass faster; and (5) Auditory Background is defined by a non-attentive and rather unaffected music listening. These results highlight the immersiveness of mobile music listening. By creating an individual soundworld, listeners distance themselves from the surroundings aurally and mentally, and modify their attention, perception, moods, and emotions, leading to an improvement of daily life experiences while moving.

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Skrukwa, Marek. "Biblical Inspirations in the Works of Krzysztof Penderecki: At the Crossroads of Theology and Music." Perspektywy Kultury 26, no. 3 (October 1, 2019): 47–66. http://dx.doi.org/10.35765/pk.2019.2603.06.

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By taking up Biblical themes in his oeuvre, Krzysztof Penderecki effectuated the idea of returning art to its Christian roots. Analyses of selected fragments of his outstanding works (Seven Gates of Jerusalem and Passion According to St. Luke) show that the composer performed a peculiar, apt and suggestive “translation” of Biblical content into musical language, using contemporary compositional techniques as well as alluding at times to the tradition of J.S. Bach. In the above compositions, Penderecki utilized the sound of the instruments, assigning them symbolic meaning and even experimenting with their construction (tubaphone). He also introduced a spatially-distributed orchestra, assigning the human voice its original, purely declamatory function, without limitations of rhythm or meter. The composer thus took steps to theatricalize the musical work, in order to enable a deeper reception of the Biblical content by the audience.

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Pasoulas, Aki. "Temporal Associations, Semantic Content and Source Bonding." Organised Sound 16, no. 1 (February 25, 2011): 63–68. http://dx.doi.org/10.1017/s1355771810000440.

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Inspired by Denis Smalley's theoretical ideas on spectromorphology and Albert Bregman's (1990) auditory scene analysis, I began an investigation into the formation and segregation of timescales1 in electroacoustic music. This research inevitably led me to an exploration of the factors that shape our perception of time passing and estimation of durations, where spectromorphological issues intermingle with extra-musical associations, autobiographical experiences, emotional responses, and the surrounding environment at the time of listening. Ultimately, time perception affects the structural balance of a composition. This paper, which is part of my ongoing research, examines how the perception of time is affected by the semantic meaning and the spectromorphological characteristics of sound events.

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Gilányi, Gabriella. "The Processional Oct. Lat. 794 of the Budapest National Széchényi Library. A re-identification." Studia Musicologica 56, no. 2-3 (June 2015): 257–89. http://dx.doi.org/10.1556/6.2015.56.2.11.

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The Budapest National Széchényi Library keeps a Pauline manuscript compiled in 1644. Based on a possessor’s entry at its very beginning, the source Cod. Lat. 794 has so far been referred to in the literature as the Pauline Processional of Újhely but its content has never been thoroughly investigated. The original aim of this study was to fill this gap by carrying out a codicological, liturgical and musical survey and, finally, producing a full description and detailed evaluation of the manuscript. However, the many-sided analysis has eventually led to unexpected findings, which make the earlier consensus about the provenance of the book questionable. First of all, while the manuscript uses the typical Pauline notation, its style and ductus differ markedly from the notation of the 1623 Gradual belonging definitely to the monastery of (Sátoralja)újhely, whereas it shows striking similarities to 17th–18th-century manuscripts of the Croatian Paulines. Other characteristics such as the sequence and designation of the stations in the processional topography and the last unit of the book, which is a notated Passional in Croatian language, point toward Lepoglava, the centre of the Pauline province as the possible provenance. A comparative analysis of the melodies also support this hypothesis.

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Scott, Allen. "Simon Lyra and the Lutheran liturgy in the second half-century of the Reformation in Breslau." Muzyka 65, no. 1 (April 2, 2020): 3–18. http://dx.doi.org/10.36744/m.309.

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In 1593, Simon Lyra (1547-1601) was appointed cantor of the St. Elisabeth Church and Gymnasium in Breslau/Wrocław. In the same year, he drew up a list of prints and manuscripts that he considered appropriate for teaching and for use in Lutheran worship. In addition to this list, there are six music manuscripts dating from the 1580s and 1590s that either belonged to him or were collected under his direction. Taken together, Lyra’s repertoire list and the additional manuscripts contain well over a thousand items, including masses, motets, responsories, psalms, passions, vespers settings, and devotional songs. The music in the collections contain all of the items necessary for use in the liturgies performed in the St. Elisabeth Church and Gymnasium in the last quarter of the sixteenth century. This list provides valuable clues into the musical life of a well-established Lutheran church and school at the end of the sixteenth century. When studying collections of prints and manuscripts, I believe it is helpful to make a distinction between two types of use. Printed music represents possibilities. In other words, they are collections from which a cantor could make choices. In Lyra’s case, we can view his recommendations as general examples of what he considered liturgically and aesthetically appropriate for his time and position. On the other hand, manuscripts represent choices. The musical works in the six Bohn manuscripts associated with Lyra are the result of specific decisions to copy and place them in particular collections in a particular order. Therefore, they can provide clues as to what works were performed on which occasions. In other words, manuscripts provide a truer picture of a musical culture in a particular location. According to my analysis of Lyra’s recommendations, by the time he arrived at St. Elisabeth the liturgies, especially the mass, still followed Luther's Latin "Formula Missae" adopted in the 1520s. The music for the services consisted of Latin masses and motets by the most highly regarded, international composers of the first half of the sixteenth century. During his time as Signator and cantor, he updated the church and school choir repertory with music of his contemporaries, primarily composers from Central Europe. Three of these composers, Gregor Lange, Johann Knoefel, and Jacob Handl, may have been his friends and/or colleagues. In addition, some of the manuscripts collected under his direction provide evidence that the Breslau liturgies were beginning to change in the direction of the seventeenth-century Lutheran service in which the "Latin choir" gave way to more German-texted sacred music and greater congregational participation.

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Zheng, Yiren. "Sounding the Ineffable: Third-Century Chinese Whistling as an Alternative Voice." positions: asia critique 29, no. 2 (May 1, 2021): 267–90. http://dx.doi.org/10.1215/10679847-8852176.

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AbstractThis article examines the role of whistling as an elusive voice in the literary world from around the third century onward. It argues that as an alternative to normalized forms of vocal, musical, and poetic expression, whistling destabilized, blurred, and reconfigured notions of voice, language, writing, and music within the larger context of Six Dynasties thought and aesthetics. Despite the wide range of vocalizations (e.g., wailing, the tiger's roar) associated with whistling in premodern China, the whistling examined in this article refers to a particular vocal art commonly practiced by the literati. It reached its height around the third century, signaled by a rise in literary texts that illustrate its musical features, elaborate its mechanism, and tell stories about whistlers. An analysis of two main texts on whistling, Rhapsody on Whistling (third century) and Principles of Whistling (circa eighth century), uncovers the act of whistling as a gap: it is not yet a voice, not quite a kind of music, and it is beyond the realm of language. The whistler does not produce the whistling; it is his breath—passing through a bodily gap—that activates his body as a musical instrument, making the whistled sound an echo even before it sounds.

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Kordovska, P. А. "S. Scharrino’s «Luci mie traditrici»: the musical text of the Renaissance in the modern opera." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 132–51. http://dx.doi.org/10.34064/khnum2-14.10.

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Objectives. This paper is concerned with the creativity of contemporary Italian composer S. Sciarrino, who is primarily famous as the author of numerous operas. Among the variety of issues, which deal with the studying of this topic, one of the most important is the interaction of the author’s text and quotations from the compositions, which was created during previous eras. A similar creative approach connected with citation is the distinctive feature of S. Sciarrino’s composer style. The goal of this paper is to reveal the specifics of S. Sciarrino’s quotation method. Methods. Research methodology is based on the unity of style, genre, intonation and system types of analysis. Furthermore, to reveal the specifics of Sciarrino’s quotations method, we involved the concept of «deconstruction», which means understanding the musical text through destruction of stereotype or inclusion it in a new context. Results. Оne of the most vivid examples of S. Sciarrino’s quotations method is the opera “Luci mie traditrici” (“My Treacherous Eyes”), which is dedicated to the tragic life story of the Italian Renaissance composer Carlo Gesualdo di Venoza, the author of famous chromatic madrigals. Nowadays the story of Gesualdo’s life is well known as a fascinating legend of beautiful, but tragic passion, adultery, betrayal and revenge. Avoiding the quotation of the C. Gesualdo’s madrigal, S. Sсiarrino does not refuse of the idea of including the example of Renaissance music to the text of the opera at all. Composer chooses Elegy “Qu’est devenu ce bel oeil” (“What has become of those lovely eyes”), created for three voices by C. Le Jeune, French composer of XVI century. In Sciarrino’s opera the Elegy is perceived as a symbol of lost love, and, at the same time, as an identifier of the historical epoch shown in the opera. In the S. Sciarrino’s opera “Luci mie traditrici” C. Le Jeune’s Elegy appears in the Prologue and in three instrumental Intermezzo, four times in total, gaining new qualities for each time. The fragments of the ancient chromatic tetrachord, on which the Elegy is based, are the basis of the intonation vocabulary of all vocal parts of the opera. In Prologue, the Elegy is represented only by the single monodic upper voice, which is performed by non-personalized soprano behind the forestage. In the First intermezzo, following the scene of declaration of love between the main characters, the Duke and the Duchess, the Elegy sounds already in the original three-voice texture, but in instrumental transcription. The Second intermezzo, following the scene of repentance of the Duchess, the Elegy is perceived as a projection of the reflective consciousness of the Duke, who is tragically undergoing the betrayal of his beloved wife. The structure of the stanzas of the elegy gradually begins to disintegrate. The sound is constantly interrupted by pauses in all voices that can be interpreted as the embodiment of the painfully excited consciousness of the Duke. In the Third Intermezzo, preceding the final scene of the Catastrophe, the melodic lines of C. Le Jeune’s Elegy are completely preserved, but the recognition of this theme is reduced to a minimum. The melody is dispersed among the parties of various instruments and consists of separate «isolated sounds», which, by the definition of M. Cesari, is the smallest structural element of the musical vocabulary of S. Sciarrino. Overall conclusions. C. Le Jeune’s Elegy in S. Scarrino’s opera “Luci mie traditrici” is an example of a consistent “deconstruction” of someone else’s text, which leads to its new understanding, its inclusion in the new context, the expansion of new semantic and intonation space. By using the series of “dispersed variations” the composer models the dramatic line of the work with the multidimensionality of meanings and their projections, which is characteristic of post-avanguard art. As a result, the musical text of the Renaissance ceases to be a representative of the “Renaissance myth” and is perceived by the modern listener as the personification of the eternal human tragedy embodied in S. Sciarrino’s opera.

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Kodenko, I. I. "Concepts of Early Music Re-creation in Wanda Landowska’s Work." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 261–79. http://dx.doi.org/10.34064/khnum2-17.17.

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Background. The XIX century presented the world with many wonderful musicians, among them there is Wanda Landowska (1879–1959), a researcher of the musical culture of the past. She is considered as one of the founders of the authentic movement in academic musical art, a representative of the first generation of “historical performers” who returned long-forgotten ancient music to their contemporaries. Landowska’s creativity, whose concerts with historical programs in the early XX century enjoyed extreme popularity, was covered in the press of that time, and, after, in special literature, although, given the world fame of the artist, clearly not enough. The name of W. Landowska is mentioned in passing by her contemporary A. Schweitzer in his famous monograph “J. S. Bach” (Schweitzer, 1965, transl. from German Ya. Druskin, p. 259); the review articles by famous Russian musicians and scientists A. V. Ossovsky (1971) and A. Maikapar (1991) are devoted to her. However, the fundamental studies of all aspects of W. Landowska’s activity are still lacking both in foreign and in domestic musicology. Ukrainian scientists have already taken certain steps in the study of the work of an outstanding Polish artist. G. Kurkovsky (1983) highlights the performances of a harpsichordist in Kiev, analyzing her repertoire. As a participant in concerts of the Imperial Russian Music Society, between 1907 and 1911 W. Landowska performed with constant success in Ukraine, not only in Kiev, but also in Odessa and Kharkiv. The researches by N. Svyrydenko, which appeared in the last decade (2010a, 2010b, 2017), gives a due assessment of the activity of the outstanding Polish musician in promoting ancient music. However, in general, in publications devoted to the artist, an analysis of the features of her performing style was not given enough attention, as well as her research works and notes. Objectives. This article aims to identify features of the concepts of W. Landowska regarding the performance of ancient music. The research material was, first of all, the notes of the outstanding harpsichordist collected by her student D. Restout; Russian translation by A. Maikapar (Landowska, W., 1991). The results of the study. Landowska is one of the firsts who was involved in the formation of the phenomenon of “early music”. She draws attention to the fact that few of her contemporaries carefully studied the music of the Middle Ages, Renaissance, Baroque. Meanwhile, the musical practice of these eras lays the foundation for the formation of styles and Viennese classicism, and Romanticism, and new music. Working on the interpretation of ancient works, Landowska, first of all, proceeded from the historical context of the era and the general musical meaning. She emphasized the importance of playing music on the instruments of the exact era for which they were written. In her works, Landowska focused on the problems of reproducing ancient music on the harpsichord, namely, on such performance parameters as tempo, dynamics, registration, phrasing, ornamentation. In particular, Landowska presents and parses the tables of F. Couperin, J. Ph. Rameau and J. S. Bach with decipherments of ornamentations, touching in this connection also to issues of improvisation. Landowska laid the foundations of historically informed performing, emphasizing the need for musicians to study the treatises of Р. F. Tosi-J. F.Agricola, J.J. Quantz, F. Couperin, J. Ph. Rameau, L. Mozart, G. Frescobaldi, F. W. Marpurg, С. Ph. E. Bach. Relying on the old treatises, she sought to find a practical solution to the problems of interpreting ancient music precisely on authentic instruments, since the technique and character of the performance largely depend on the construction of the latter. Landowska studied in detail the clavier works of the outstanding harpsichordists F. Couperin and J. Ph. Rameau, and also paid great attention to the issue of the influence of French music on German music. Landowska believed that in order to find the right tempo, high-quality sound, it is necessary to thoroughly study the mechanism of the instrument. We can talk about the “sense of rhythm”, “accuracy and articulation of sound” about “spatial representations” only from the position of the harpsichordist, since the latter can have just different principles of intonation on the instrument and completely different decisions for fingering, than the pianist, due to the different construction of the harpsichord and piano (for example, without the passing of one finger under another). Landowska deals with the main key to ancient music – rhetoric. Increased attention in interpretation should be given to phrasing and breathing, which plays a major role, since each pause, caesura logically share a melodic line. At the same time, rhythmic freedom should not become synonymous with arbitrariness – Landowska’s playing was always distinguished by rhythmic accuracy, with which it conveyed the duration of sounds. “Some phrases within the play require rhythmic changes, while others – do not,” notes the artist (1991, p. 373). Thus, Landowska insisted on a completely different approach to the interpretation of music of past eras compared to what reigned in her time. She believed that turning to the music of masters of the past gives the musician the opportunity to develop a good musical taste and aesthetic feeling, and studying of the theoretical sources of ancient eras – to create a full-fledged idea of ancient music. In order to embody his vision of music in sounds, the performer should have good taste, Landowska insists on this, but it must be connected with knowledge of the material, styles of the past and historical context. Studying old treatises, Landowska made certain conclusions: the technology of playing an instrument is more complex and multifaceted than simply polishing “complex passages”, as it is considered today, and “coordination of thought and fingers” was called “technology” in that time (ibid., p. 150). In general, the artist puts “ears” and “consciousness” above just good finger coordination. The task of an authenticist is more difficult – it’s not enough to have good technique, you need to be able to combine all other performance components: touché, rhythm, breath, agogics, ornamentation, rhetoric, symbolism, sound, timbre, etc. Conclusions. W. Landowska positioned herself primarily as a harpsichordist, popularizing this instrument, although the sound of her harpsichord is still quite far from the sound of a “historical harpsichord”, for example, G. Leonhardt. Nevertheless, the sound of the harpsichord recreated by Landowska made a stunning impression on his contemporaries. As a result, it completely changed the then performer’s and listener’s ideas about ancient music, giving a powerful impetus to a complete revision and rethinking of generally accepted manners of performing and romantic cliché of hearing. Fifty-year-old practical experience of Landowska-harpsichordist is very important for modern performers of ancient music, who strive for its most accurate reproduction, that open the perspectives for further in-depth study of the creative heritage of an outstanding artist.

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Schmidt, Katharina. "Money and a Room of One’s Own?! A Feminist Deconstruction of the Situation of Female Jazz Musicians 1960–1980." European Journal of Musicology 16, no. 1 (December 31, 2017): 81–93. http://dx.doi.org/10.5450/ejm.2017.16.5780.

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‘What does it take for a woman to be able to write a novel?' asks Virginia Woolf in A Room of One's Own. The answer is surprisingly mundane: She needs money and a room of her own. Although Woolf writes at length about passion and talent, she concludes that material preconditions are actually more crucial. Similarly, the present article argues that there has been no lack of interest in jazz among female musicians, but a lack of socially accepted possibilities for professionalisation. This article endeavours to deconstruct some of the socio-cultural contexts and frameworks of music-making in a feminist way. To this end, the most crucial findings from semi-structured interviews with Norma Winstone, Sidsel Endresen, Aki Takase and Uschi Brüning are presented and discussed. To contextualise the interviews, Bourdieu's analyses of the academic and literary fields will be referred to with relation to the institutionalisation of jazz, while questions of canonicity and historiography will be discussed, as well as questions surrounding performativity and corporeality. Linking up with research surrounding these issues in other musical styles, this article attempts to map and contextualise the debate about gender and the arts in its complex, sometimes controversial and even paradoxical dynamic.

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