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Journal articles on the topic 'Aleatory music'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Yori-Aki, Matsudaira, and Joaquim M. Benítez. "Matsudaira Yoritsune's path from neoclassical to aleatory music." Contemporary Music Review 17, no. 4 (1998): 5–13. http://dx.doi.org/10.1080/07494469800640241.

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2

Lee, Young-mi. "Instructional Strateges for Implementing Aleatory Music in School." Yonsei Music Research 6 (December 31, 1999): 157–82. http://dx.doi.org/10.16940/ymr.1999.6.157.

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3

Попов, Даниил. "Adaptive Music in Video Games." Музыкальная академия, no. 3(779) (September 26, 2022): 124–37. http://dx.doi.org/10.34690/257.

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Музыкальное оформление видеоигр сегодня можно оценивать как феномен, полностью обособленный в самостоятельный жанр. Адаптивная музыка - разновидность игрового саундтрека, ключевой особенностью которой является адаптация звукового сопровождения к тем или иным ситуациям, вызванным действиями игрока. Следует с осторожностью говорить о том, что глубокие теоретические исследования феномена адаптивного саундтрека в настоящий момент отсутствуют и существует проблема его недостаточной изученности в контексте музыкальной теории. Выбор темы обусловлен представлением о рядоположности адаптивной игровой м

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4

Koposova, Irina V. "“Freely-Pulsating Composition” of Leif Segerstam as an Individual Aleatory Project." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (March 2018): 16–22. http://dx.doi.org/10.17674/1997-0854.2018.1.016-022.

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5

Sokolvyak, Natalia L. "About the Aleatory Technique in the Performing Process in Sergei Slonimsky’s Antiphons." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2019): 139–46. http://dx.doi.org/10.17674/1997-0854.2019.2.139-146.

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Titova, Anastasia V. "“Ach Golgatha!” by Karel Goeyvarts in the Aspect of Synthesis of Serialism, Aleatory Technique and Minimalism." Music Scholarship / Problemy Muzykal'noj Nauki, no. 1 (2021): 182–92. http://dx.doi.org/10.33779/2587-6341.2021.1.182-192.

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7

Okuneva, Ekaterina G. "The Particularities of Compositional Work in Ernst Krenek’s “Sechs Vermessene”: Interconnection between Serialism and Aleatory Technique." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2019): 17–28. http://dx.doi.org/10.17674/1997-0854.2019.2.017-028.

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Barciński, Łukasz. "Trans(a)l(e)atory Studies or the Translator as a Performer: "Finnegans Wake" by James Joyce in Polish Translation." Między Oryginałem a Przekładem 24, no. 41 (2018): 29–47. http://dx.doi.org/10.12797/moap.24.2018.41.02.

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Following the interdisciplinary approach, the article presents the translator’s role from the point of view musical terminology, which becomes appropriated for the sake of translation studies. As a result, the study applies the musical term aleatory music denoting an indeterminate type of musical notation which allows considerable freedom in the interpretation of a musical score. From this perspective, the translator, confronted with the inevitable interpretative gaps and indeterminacies in the source text, is compared to a musical performer who interprets the indeterminate aleatory notation.

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Бобрина, М. С. "Vasil Kazandjiev’s “Youth Album” (1972)— a Pearl of Bulgarian National Culture." Научный вестник Московской консерватории, no. 2(41) (June 19, 2020): 114–25. http://dx.doi.org/10.26176/mosconsv.2020.41.2.005.

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Статья посвящена обзору фортепианного цикла «Детские пьесы» (1972) выдающегося современного болгарского композитора Васила Казанджиева. Определено положение цикла Казанджиева в ряду других сборников детских пьес в мировой классике XIX–XX веков. Рассмотрены особенности применения в музыке для детей авангардных техник и средств выразительности, среди которых— алеаторика, сонорика и сонорно окрашенная гармония, свободная двенадцатитоновость, политональные и полиладовые сочетания, применение нетактированных построений, нетрадиционные способы звукоизвлечения на фортепиано. Подчеркивается национальн

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10

Golovan, Ievgeniia. "The latest approaches to piano interpretation in chamber and ensemble creativity of V. Silvestrov (the case of the "Drama" cycle for violin, cello and piano)." Culturology Ideas, no. 20 (2'2021) (2021): 107–14. http://dx.doi.org/10.37627/2311-9489-20-2021-2.107-114.

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The article overviews a set of issues related to the latest interpretation of the piano in the second half of the XXth century, the use of non-specific techniques of playing the instrument and the peculiarities of its use in the chamber ensemble. It describes the main elaboration direction of compositional methods and techniques, their objectification in the ensemble work of Ukrainian artists. V. Silvestrov's "Drama" for violin, cello and piano is analyzed as a unique example of synthesis of traditional and avant-garde tendencies in the music of the XXth century, which combines music making wi

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Gallagher-Ross, Jacob. "Mediating the Method." Theatre Survey 56, no. 3 (2015): 291–313. http://dx.doi.org/10.1017/s0040557415000277.

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The scene is New York City, 1958. That year, in two disparate arenas, American culture was attempting to come to grips with the difference between noise and art. A twenty-five-year retrospective concert of John Cage's work at New York's Town Hall helped create an intellectually coherent canon out of Cage's experiments, which critics had often treated as puerile provocations or exercises in whimsy to be regarded with bemused toleration. For some forward thinkers, noise was becoming intellectually exciting material for experimental music, whereas the audible audience outrage preserved by the rec

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GOTCHEVA, Angelina-Ogniana. "THE RUSSIAN COMPOSER EDISON DENISOV – FAR OR CLOSE TO THE WESTERN CULTURE." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (2020): 94–108. http://dx.doi.org/10.37708/ezs.swu.v18i1.11.

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19 marks the 90th anniversary of the birth of the Russian avant-garde composer Edison Denisov. He belongs to the second generation of Soviet avant-garde composers, whose work is famous for its innovative thinking and techniques: serialism, aleatory, sonorism and the use of electronics. The most progressive composers among them are Edison Denisov, Sofia Gubaidulina and Alfred Schnittke, who form a group later called “The Moscow Triad”. This article explores the ways in which Eastern and Western culture meet, specifically within works pertaining to the religious perspectives of the three authors

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Bogue, Ronald. "Scoring the Rhizome: Bussotti's Musical Diagram." Deleuze Studies 8, no. 4 (2014): 470–90. http://dx.doi.org/10.3366/dls.2014.0166.

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The score of Piece Four of Sylvano Bussotti's Five Piano Pieces for David Tudor is the most important image in A Thousand Plateaus. It serves as a prefatory image not only to the Rhizome plateau, but also to the work as a whole. It functions as the book's musical score, guiding readers in their performance of the text. Embracing John Cage's graphism and aleatory practices, Bussotti created his own ‘aserial’ new music, one that celebrated passion and Bussotti's open homosexuality. The visual elements of Piece Four include a deterritorialisation of the standard piano score, a diagram of the comp

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Kosiewicz, Jerzy. "Aleatorism and Sporting Performance." Physical Culture and Sport. Studies and Research 73, no. 1 (2017): 54–61. http://dx.doi.org/10.1515/pcssr-2017-0006.

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Abstract A sporting spectacle is an important cultural event, essentially influencing social and individual lives. In spite of this, there does not yet exist a monograph that analyzes, describes, and explains sporting performance from the point of view of aleatorism as part of the theory of sport and physical culture. Unfortunately, no monograph has developed this issue in a multi-aspectual, holistic, culturological, and philosophical way, dealing with its axiological values (aesthetic and praxeological). This applies to the relations between this phenomenon and the mechanisms that bring about

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Rovner, Anton А. "Mark Belodubrovsky, a Versatile Contemporary Composer, Violinist and Educator." ICONI, no. 1 (2021): 111–25. http://dx.doi.org/10.33779/2658-4824.2021.1.111-125.

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Mark Belodubrovsky is one of the most accomplished contemporary composers living presently in Moscow who has written a substantial amount of solo, chamber and vocal musical compositions of high quality, which are performed in Russia and in a number of other countries. His musical output is especially noted for its versatility of different styles of music: some of his compositions are traditional and romantic in their style and tonal in their harmony, with a strong infl uence of Russian folk music which the composer actively employs in a number of his compositions, while other works follow inno

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Sediuk, I. O. "Artistic and aesthetic ideas in “Plays” for two pianos by P. Dambis." Aspects of Historical Musicology 15, no. 15 (2019): 181–98. http://dx.doi.org/10.34064/khnum2-15.09.

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Background. The piano ensemble as a special type of chamber music has become popular in recent decades, as evidenced by numerous international piano duo competitions taking place in different countries, music festivals, master classes. Whereas a large number of scientifi c works is devoted to four-hand duo, two-piano ensemble began to attract the active attention of researchers only in the present day. Despite the individual approaches to its specifi cs and selected music examples, the generic properties of this phenomenon, which distinguish it among other forms of duo music, remain uncertain.

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17

Tytova, Mariia. "“Madrigāls” by Peteris Vasks: ways to renew the genre tradition." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 135 (December 26, 2022): 112–25. http://dx.doi.org/10.31318/2522-4190.2022.135.271009.

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The relevance of the study lies in highlighting the main principles of updating the ancient genre tradition with modern means in «Madrigāls» for mixed choir a сappella by the Latvian composer Peteris Vasks. The main objective of the article is to reveal the ways of updating the genre tradition and expressive means of music in «Madrigals» by Peteris Vasks for the a cappella choir. The methodology includes methods of historical, comparative, structural and functional analysis for: tracing the history of the emergence and development of the madrigal genre and identifying the peculiari

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18

Pamungkas, Yayi Wira. "Penggunaan Aturan Ular Tangga dalam Musik Aleatorik Berbasis Serialisme Integral." Journal of Music Science, Technology, and Industry 3, no. 2 (2020): 201–22. http://dx.doi.org/10.31091/jomsti.v3i2.1157.

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Purpose: The author does an experiment by using the rules of snake and ladder to find out and understand how the concept of uncertainty can work in serialism-based aleatoric music: by testing it using the most stringent serialism system, namely the system of integral serialism. Research methods: The process of creating the composition of this artistic research work has five stages, namely the exploration stage, the concept preparation stage, the concept analysis stage, the macro structure preparation stage, and the concept application stage. Results and discussion: The concept of snake and lad

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19

Suhendra, Hadi, Martarosa Martarosa, and Asep Saepul Haris. "BASOSOH: KOMPOSISI MUSIK ALEATORIC DALAM FORMAT ORKESTRA FLUXUS." Gorga : Jurnal Seni Rupa 7, no. 2 (2018): 156. http://dx.doi.org/10.24114/gr.v7i2.11032.

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AbstrakBasosoh merupakan karya seni bunyi yang terinspirasi dari fenomena ritual Tabuik di Pariaman Sumatra Barat. Basosoh merupakan kata sifat yang frontal, biasanya diungkapkan dengan berbagai media seperti permainan musik, mengguncang atau mengarak benda seperti Tabuik dengan meneriakan kata Sosoh. Seiring berkembangnya teknologi, Tabuik di tengah-tengah masyarakat telah terkontaminasi oleh desakan otonomi daerah, desakan pariwisata dan otoriter pemerintah yang lebih menggairahkan untuk menunjang sektor kepariwisataan. Posisi dan tujuan untuk pariwisata telah menjadikan Tabuik berubah dari

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20

Amazonas, Mauro, Thais Castro, João Gustavo Kienen, Rosiane Freitas, and Bruno Gadelha. "Composing aleatoric music through interaction." Per Musi, no. 40 (June 22, 2021): 1–35. http://dx.doi.org/10.35699/2317-6377.2020.26077.

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Urban public art is an art exhibition held in public places, contextualized with their surroundings and its audience. Technology is a significant trend in public art due to its connection possibilities with human life, fostering different kinds of interaction. In this way, this work presents an installation proposal consisting of an environment for creating collaborative random music from interaction with mobile devices in public spaces. Everyone participating in the installation is a composer and interaction is a chance agent, although it follows John Cage's composition methods. In order to p

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21

Jeongwon, Joe, and Hoo Song. "Roland Barthes' "Text" and aleatoric music: Is "The birth of the reader" the birth of the listener?" Muzikologija, no. 2 (2002): 263–81. http://dx.doi.org/10.2298/muz0202263j.

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The history of Western classical music and the development of its notational system show that composers have tried to control more and more aspects of their compositions as precisely as possible. Total serialism represents the culmination of compositional control. Given this progressively increasing compositional control, the emergence of chance music, or aleatoric music, in the mid-twentieth century is a significantly interesting phenomenon. In aleatoric music, the composer deliberately incorporates elements of chance in the process of composition and/or in performance. Consequently, aleatori

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22

Malyi, Dmytro. "The writing technique as a component of the compositional process (on the examples of creative practice of the second half of the 20th – 21st centuries)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (2021): 117–30. http://dx.doi.org/10.34064/khnum1-59.08.

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Background, objectives and methodology of the research. The social and cultural paradigm of the 20th century has given rise to a type of composing thinking that did not exist before – a scientific one. Thus, the evolution of the composer’s writing can be defined as a path from thinking by perfect consonance, emancipated dissonance to thinking by deterministic sound and its parameters (height, duration, dynamics, timbre, and articulation). The term of the «composer’s writing technique» means a set of techniques and methods of working with the musical material as a result of the activity of thin

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23

Tytova, Mariia. "Choral ballad by Peteris Vasks «Litene»: aspects of sound and pitch organization." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 137 (October 30, 2023): 110–20. http://dx.doi.org/10.31318/2522-4190.2023.137.294670.

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The relevance of the article lies in highlighting the basic principles of organizing the sound tissue in the central work of the middle period of the Latvian composer Peteris Vasks' creativity, namely a ballad «Litene» for mixed choir a сappella. The main purpose of the article is to identify the peculiarities of the sound and pitch organization of the choral tissue in the ballad «Litene» by Peteris Vasks and to determine its influence on the process of genre renewal. The methodology includes methods of structural-functional and historical analysis to: trace the characteristic feat

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Greig. "Lo Duca and Dreyer: Baroque Music, Extant Recordings, and Aleatoric Synchrony." Music and the Moving Image 13, no. 2 (2020): 25. http://dx.doi.org/10.5406/musimoviimag.13.2.0025.

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Hope, Cat. "Electronic Scores for Music: The Possibilities of Animated Notation." Computer Music Journal 41, no. 3 (2017): 21–35. http://dx.doi.org/10.1162/comj_a_00427.

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This article argues that animated notations are the most exciting new direction for music notation since the conception of the real-time score. The real-time score revolutionized performance practices in new music, with the composer Gerhard E. Winkler calling it a “third way” between improvisation and fixed scores. Developing upon the idea of dynamic notation epitomized by the real-time score, animated notation features movement as its foundation, and may be presented as an interactive program, video, or application environment generated in real time or preset. It extends the possibilities pre

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Nowakowska, Lena. "The influence of polish compositional work of 20th and 21st century on the development of harpsichord technique." Notes Muzyczny 1, no. 21 (2024): 95–112. http://dx.doi.org/10.5604/01.3001.0054.6326.

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The article gives a review of the Polish contemporary music for harpsichord and discusses its impact on the development of harpsichord technique. The author’s main objective was to present analyses of the most important phenomena in the context of performance‑ related issues, such as the use of a graphic score, aleatoric elements, sonorism, music performativity, or an electronic layer in the pieces dedicated to the instrument commonly associated with early music performance. The presentation of first experimental works of Roman Haubenstock‑Ramati and Bogusław Schaeffer is followed by a discuss

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Patton, Kevin. "Morphological notation for interactive electroacoustic music." Organised Sound 12, no. 2 (2007): 123–28. http://dx.doi.org/10.1017/s1355771807001781.

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AbstractInteractive electroacoustic music that alters or extends instrumental timbre, samples it, or generates sound based upon data generated in real time by the performer presents a new set of challenges for the performing musician. Unlike tape music, interactive music can continuously vary its response and, frequently, performers are unable are to predict how the computer will react. Many, if not most, scores include no visual representation of how the computer may affect the sound of the instrument.Providing performers with a readily accessible visual representation of the sonic possibilit

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Schulze, Holger. "Hand-Luggage: For a Generative Theory of Artifacts." Leonardo Music Journal 13 (December 2003): 61–65. http://dx.doi.org/10.1162/096112104322750809.

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This article presents the basic elements and strategies of a generative theory of artifacts, the Theorie der Werkgenese. Starting with a narrative reconstruction of Mike Mills's TV commercial for Adidas, the text briefly outlines a history of aleatoric games and heuristic strategies in the classical avantgarde as well as in postmodern follow-ups and late-20th-century pop music. Finally, the various fictions conveyed by the commercial are narrated in a new way, demonstrating generative analysis.

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Petinova, Marina A. "Social contexts of music culture in the epoch of “current modernity”: from aleatoric to reflecting Shostakovich." Aspirantskiy Vestnik Povolzhiya 20, no. 3-4 (2020): 23–28. http://dx.doi.org/10.17816/2072-2354.2020.20.2.23-28.

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The dynamic processes taking place in society encompass all the meridians of activity-based forms of culture, including art. The social optics of everyday life shows that today the conditions for the existence of institutions can suddenly change, leading to a change in the way a person exists, transforming his place and habitual forms of activity, leading to an unexpected change in perception, destroying established expectations and goals. Time in such a new social ontology loses its processuality and connectedness, turning into isolated moments, impulses. Creativity processes either freeze, g

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Delaere, Mark. "Karel Goeyvaerts: a Belgian Pioneer of Serial, Electronic and Minimal Music." Tempo, no. 195 (January 1996): 2–5. http://dx.doi.org/10.1017/s0040298200004708.

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‘From now on, I will accept only Karel Goeyvaerts as my teacher in composition’ exclaimed the young Karlheinz Stockhausen during the famous New Music Summer Courses at Darmstadt in 1951. Goeyvaerts had just explained the very principles of serial organization for which Stockhausen had been searching for some time. In the following years Goeyvaerts 1923–1993) developed those basic principles into variety of composition techniques, and into a stylistic diversity not often encountered in serious music. After having applied serialism to tapegenerated music in the early 1950s and to experimental an

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Копосова, И. В., and А. А. Витоль. "INTERPRETATION OF THE ETHNIC THEME IN THE CHORAL WORKS OF PĒTERIS VASKS (THROUGH THE EXAMPLE OF MATE SAULE AND ZĪLES ZIŅA)." Music Journal of Northern Europe, no. 2(30) (April 4, 2024): 40–59. http://dx.doi.org/10.61908/2413-0486.2022.30.2.40-59.

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В творчестве ведущего современного автора Петериса Васкса хоровая музыка занимает важное место. В своих сочинениях для хора композитор соединил национальные традиции и возможности современных композиторских техник, в первую очередь, сонорики и алеаторики. Этот союз ярче всего представлен в сочинениях 1970-х – начала 1980-х. Два из них – «Mate saule» на стихи Яниса Петерса и «Zīles ziņa» на стихи Улдиса Берзиньша – анализируются в статье с позиций воплощения национальной темы, значимой для композитора. В процессе анализа показаны принципы работы с поэтическим текстом, выделены композиционные и

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Curreri, Enrico. "Aesthetic Perturbation: Using a Chance/Aleatoric Music Therapy Intervention to Reduce Rigidity in Adult Patients with Psychiatric Disorders." Music Therapy Perspectives 31, no. 2 (2013): 105–11. http://dx.doi.org/10.1093/mtp/31.2.105.

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Coskuner, Sonat. "Perceptions of Audience on Soundpainting Performance." Journal of Education and Training Studies 6, no. 10 (2018): 142. http://dx.doi.org/10.11114/jets.v6i10.3445.

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Today, contemporary music emerges as an experimental phenomenon trapped in the laboratory environment rather than an element of skill. Modern music, where principles such as specialism and rationality are determinative, has become difficult to understand not only for performers who carry it on the stage but also for today's audience. One of the works done in recent years is Soundpainting, which is based on improvisation and allows everyone to do this stage art. Soundpainting is the multidisciplinary live composing sign language for Musicians, Dancers, Actors and Visual Artists. Presently the l

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Serov, Iurii Eduardovich. "Symphonic compositions of Boris Tishchenko and the world music culture." Философия и культура, no. 5 (May 2021): 10–17. http://dx.doi.org/10.7256/2454-0757.2021.5.36162.

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The subject of this research is the symphonic works of the prominent Russian composer of the late XX century Boris Ivanovich Tishchenko (1939 &ndash; 2010). His symphonic pieces synthesize different images, ideas, genres, and forms. This article explores various stylistic and linguistic effects upon his works, reveals the origins of fresh and unique artistic thinking. Emphasis is placed on the innovative role of B. Tishchenko in the revival of Russian symphonic style of the 1960s. Special attention is given to Tishchenko's succession of the great Russian symphonic tradition. The main concl

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Каянова, Иветта. "Half a Century of Slovak Music: Ilja Zeljenka." Музыкальная академия, no. 2(778) (June 30, 2022): 64–85. http://dx.doi.org/10.34690/235.

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В статье рассматриваются жизнь и творчество словацкого композитора Ильи Зельенки (1932-2007) в контексте общественно-политической ситуации, сложившейся в Чехословакии во второй половине XX века. В его наследии, сочетающем эстетику авангарда, модерна и постмодерна, видна картина развития словацкой музыки на протяжении 50 лет. Композитор долго искал собственный стиль, обращаясь к сериализму, алеаторике, сонористике и электронной музыке, сочиняя произведения в духе классиков XX века. Он явился первым в Словакии создателем серийного произведения (Второй квинтет для фортепиано, 1958), алеаторическо

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Mozgalova, Nataliia, and Anna Novosadova. "GENRE-STYLE INNOVATIONS IN THE OEUVRE OF MODERN UKRAINIAN COMPOSERS." Baltic Journal of Legal and Social Sciences, no. 4 (January 2, 2023): 56–63. http://dx.doi.org/10.30525/2592-8813-2022-4-7.

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The article is devoted to the genre and style features of contemporary oeuvre of Ukrainian composers. It was determined that genre and style, which are closely interrelated, is the representation of the author’s individuality. It is emphasized that it is impossible to characterize the work of artists without understanding the specified categories. Therefore, the reference to the categories of genre and style is not accidental. The analysis of the oeuvre by O. Kozarenko, L. Dychko, L. Kolobud, and Ye. Stankovych allows us to conclude about the inherent features of contemporary Ukrainian musical

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Rodionova, Lilia Vladimirovna. "Synthesis of Music of the West and the East on the Example of a Piece for Dissected Piano “Tien-Shan” by Lilia Rodionova." Culture. Art. Education, no. 3 (April 24, 2023): 90–105. http://dx.doi.org/10.37816/2949-1762-2023-2-1-90-105.

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The article is a composer's commentary on his own work. The piece for the dissected piano «Tien Shan» was created in May 1982, in the city of Frunze, under the impression of the beauty of the mountain landscapes. The thematic basis for the two-part contrasting form was the folk Kyrgyz intonation. The first section is written for the preparation of the piano, the second-for the usual one. The following composition techniques were used: sonoristic, aleatoric, twelve-tone notes, sophisticated jazz harmony, repetitively, technique is a Central element. The work implements a synthesis of music from

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Григорьева, Г. В. "Silhouettes by Edison Denisov in Gradations of Avant-garde." Научный вестник Московской консерватории, no. 1(40) (March 20, 2020): 68–83. http://dx.doi.org/10.26176/mosconsv.2020.40.1.005.

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В статье рассматривается пример совокупного использования авангардных технико-стилистических приемов, уникальный для Э. Денисова. Серийность, сонорика, алеаторика и пуантилизм действуют здесь на основе полистилистики. Никогда в дальнейшем композитор не использовал технику квадратов, не применял и тотально-цитатный метод композиции. В «Силуэтах» на основе разных авангардных техник представлены «эскизные портреты» пяти женских фигур: Донны Анны (Моцарт), Людмилы (Глинка), Лизы (Чайковский), Лорелеи (Лист) и Марии (Берг). Подчеркивается связь «Силуэтов» с рядом вариаций Денисова на заимствованные

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Rahman, Surya, and Rico Gusmanto. "KARYA MUSIK CANG PANAH: REPRESENTATIF KEUDE KUPI SEBAGAI AXIS MUNDI BAGI MASYARAKAT ACEH." Gorga : Jurnal Seni Rupa 11, no. 2 (2022): 281. http://dx.doi.org/10.24114/gr.v11i2.36366.

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Cang Panah is a musical composition inspired by the phenomenon of Acehnese people's activities in Keude Kupi. The people of Aceh always come to Keude Kupi every day to carry out various activities. This activity is formed from social interactions carried out by the community. There are three forms of social interaction found in Keude Kupi, namely interactions between individuals, individuals with groups, and interactions between groups. these three forms of social interaction are social values created by the activities of the Acehnese people. This makes keude kupi an axis mundi for the people

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Fernández Company, José Fernando, Jesús María Alvardo Izquierdo, María García Rodríguez, and Iván Chamorro Cano. "Eficacia de la escucha musical en el rendimiento matemático." Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM 20 (September 28, 2023): 129–54. http://dx.doi.org/10.5209/reciem.80541.

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Si bien numerosos estudios han mostrado que la música de fondo mejora el rendimiento académico de adolescentes, pocos han contrastado resultados a partir de sus preferencias musicales o de composiciones de Mozart. Participaron en el estudio 185 adolescentes pertenecientes a los cursos de 1º a 4º de Educación Secundaria Obligatoria con edades comprendidas entre 12 y 17 años con una (EM = 13,63; DS = 1,26) de las cuales el 52,4% eran chicas. Se realizó una asignación aleatoria de los grupos a una de dos condiciones experimentales: escuchar su preferencia musical o composiciones de Mozart mientra

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Чигарева, Е. И. "Avant-garde Technique in the Conditions of Conflict Dramaturgy: Confessiones by Nikolai Korndorf." Научный вестник Московской консерватории, no. 1(40) (March 20, 2020): 84–95. http://dx.doi.org/10.26176/mosconsv.2020.40.1.006.

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В статье рассматривается роль авангардной техники в музыкальном языке Николая Корндорфа на примере «Confessiones» для 14 инструментов и магнитофонной записи (1979). Отношение Корндорфа к авангарду было непростым, но в определенных случаях он использует приемы авангардной техники. Так, в центральном разделе «Confessiones» соединяются атональность, хроматика, микрохроматика, алеаторика, сонорика. Крайние разделы близки к русскому народному музицированию. В результате создается драматургия волны, типичная для музыкального мышления Корндорфа. Синтез различных технических приемо — характерная черта

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Sinelnikova, Olga V., and Darya D. Maksimova. "NATIONAL TRADITIONS AND TECHNIQUES OF THE XXTH CENTURY COMPOSITION IN ALBERTO GINASTERA’S SONATA FOR GUITAR." Arts education and science 1, no. 38 (2024): 24–38. http://dx.doi.org/10.36871/hon.202401024.

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The article is devoted to the work of the Argentine composer Alberto Ginastera and the study of his Sonata for guitar Op. 47. This work represents Ginastera’s style as an organic combination of national traditions and achievements of professional music art of the XXth century. The article analyses the four parts of the work in order to identify elements of traditional culture as the basis of its musical material. Ginastera uses rhythms, intonations, melodic formulas, texture and timbre effects of Argentine folklore, such genres as malambo, milonga, vidala, chacarera. The guitar playing itself

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Petrova-Kirkova, Galya. "THE REPERTOIRE IN FOLK SINGING TRAINING AS AN OPPORTUNITY FOR CREATING CREATIVITY IN STUDENTS MINDS - THE FUTURE TEACHERS." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (2019): 453–57. http://dx.doi.org/10.35120/kij3002453p.

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Nowadays, the formation of creative attitude is a current issue which is directly related to the goals and missions of todays folk singing training and education; and to the uniqueness and adaptability skills in each and every personality. Through the means of expression (concluding improvisation) found in bulgarian folklore, the repertoire in folk singing training allows the development of a creative attitude. The repertoire in folk singing training among with the means of expression in both authentic and processed folklore songs allows the ability of creative thinking in every student to gro

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Zakharov, Yurii. "Witold Lutosławski as an innovator in the field of symphonic thematism (on the example of the Third Symphony)." PHILHARMONICA. International Music Journal, no. 4 (April 2023): 36–48. http://dx.doi.org/10.7256/2453-613x.2023.4.43997.

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W. Lutos&#322;awski (1913-1994) was an outstanding Polish composer, one of the inventors of the principle of limited (controlled) aleatorics. In his symphonic music, aleatoric and sonoric types of material interact with the thematism of the traditional type. The article is devoted to the analysis of this interaction and the identification of the dramatic role of non-traditional thematism in the musical form. The Third Symphony (1983) serves as the research material. The author of the article characterizes the expressive possibilities of aleatorics of the texture, identifies two types of so

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Shchetynsky, Oleksandr. "Valentyn Bibik: reaching artistic maturity." Aspects of Historical Musicology 23, no. 23 (2021): 42–64. http://dx.doi.org/10.34064/khnum2-23.03.

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The object of research is the works of V. Bibik written at the beginning of his mature period. The aim of the research is to reveal the main features of Bibik’s style. Methods of research include technical analysis of the works in the context of the innovative tendencies in the Ukrainian music of 1960–70s, as well as comparative research. Research results. Outstanding Ukrainian composer Valentyn Bibik (1940–2003) wrote over 150 works. Mostly they are large-scale symphonic, choral, vocal, and chamber pieces. Among them are 11 symphonies, over 20 concerti for various instruments with orchestra,

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Kudashova, V. A. "VIOLIN SOUND IMAGE AND NEW COMPOSITIONAL WRITING TECHNIQUES OF THE SECOND HALF OF THE XXTH CENTURY." Arts education and science 2, no. 31 (2022): 49–56. http://dx.doi.org/10.36871/hon.202202007.

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The expansion of the sound image of violin music in the second half of the XXth century is largely due to the emergence of new compositional writing techniques. The spirit of experimentation, the pathos of finding ways to embody original artistic ideas significantly influenced the composers' attitude to the "sound" and image of the instrument. The authors adapt the writing technique and the acoustic and expressive possibilities of the violin to the content and concept of their compositions. In sonoristic, minimalistic, aleatoric compositions, the creation of a new musical reality encourages th

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Helzlsouer, Kathy J., Kelly Phair, Shannon Manocheh, and Stephen Holmes. "Feasibility Study of a Music Therapy Intervention for Patients Breast Cancer Survivors with Cognitive Dysfunction: The MusIC Study." Music and Medicine 8, no. 3 (2016): 84. http://dx.doi.org/10.47513/mmd.v8i3.418.

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Cognitive impairment following treatment is a common complaint among breast cancer patients. Commonly affected cognitive domains include executive level functioning, working and verbal memory, concentration and information processing. A feasibility study was conducted to evaluate the ability to recruit for a choral-based music therapy intervention study and to refine the design of the intervention. The intervention was conducted over a 2-month period and included group music therapy sessions and choral participation. Participants were given a DVD and CD with music-based exercises with the sugg

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Rozmus, Rafał. "Kolęda jako źródło inspiracji w twórczości kompozytorów polskich w latach 1945-2005." Annales Universitatis Mariae Curie-Sklodowska, sectio L – Artes 16, no. 1/2 (2019): 101. http://dx.doi.org/10.17951/l.2018.16.1/2.101-181.

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<p>Repertuar muzyki bożonarodzeniowej z lat 1945-2005 ugruntowanej na rodzimej tradycji kolędowej przedstawia się jako dość obszerna część twórczości polskich kompozytorów. Jest to zjawisko zróżnicowane, obejmujące różne sposoby traktowania materiału kolędowego, rozmaite rozwiązania z zakresu formy, techniki kompozytorskiej, wielorakie rodzaje składów wykonawczych i różnorodne odcienie ekspresji dźwiękowej. Znajdujemy tu m.in.: częste nawiązania do polskiej muzyki ludowej, stylizacje historyzujące, język romantyczny i neoromantyczny, archaizacje, emanacje nowego języka dźwiękowego (sonor

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Garaz, Oleg. "The Origin of the Concept of Style in European Musical Thinking." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (2022): 7–19. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.01.

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"Essentially, the emergence of the concept of style in European musical thinking is the consequence of the shift produced at the end of the Renaissance. The trend towards the simplification of language and musical expression and the subordination of both to the notional-poetic discourse determines the unimaginable: the hegemony of rhetoric and, implicitly, of style as a rhetorical sub-category having the function of organizing and controlling musical suggestiveness – the taxonomy of musically expressible emotions. It is also during the period of the musical Baroque that the practical insertion

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Gou, He, and Michael Dezuanni. "Towards understanding young children’s digital lives in China and Australia." Comunicar 26, no. 57 (2018): 81–90. http://dx.doi.org/10.3916/c57-2018-08.

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This article develops insights and generates new lines of inquiry into young children’s digital lives in China and Australia. It brings to dialogue findings from a national study of young children's digital media use in urban settings in China with findings from studies in Australia. This is not presented as a direct comparison, but rather as an opportunity to shed light on children’s digital lives in two countries and to account for the impact of context in relatively different social and cultural circumstances. The article outlines findings from a study of 1,171 preschool-aged children (3 to

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