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Journal articles on the topic 'Arpeggione'
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Pilch, Marek. "Performance topics in harpsichord music in the second half of the 18th century – Part 2. Arpeggio." Notes Muzyczny 2, no. 12 (December 13, 2019): 33–44. http://dx.doi.org/10.5604/01.3001.0013.7166.
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The article on the rendering of the arpeggio is a continuation of the cycle devoted to performance topics in harpsichord music in the second half of the 18th century, the first part of which was published in “Notes Muzyczny” no. 2(10)2019. The author’s assumption is that the condition necessary for acquiring a convincing interpretation of works from the period of Classicism on the harpsichord is following the arpeggio mannerism in compliance with the performance style shaped in the 17th century called style brisé (luthé) and characteristic of the forms such as the allemande, tombeau or préludes non mesuré. Despite the arpeggio’s diversity, unlike ornaments, this mannerism has not been thoroughly described. That is why doubts often occur as to whether or to what extent it can be used in instances when it is not explicitly required. In the context of classical music performance on the harpsichord the arpeggio is of special significance as it is a very important mean of expression. In its many shades it is one of the mannerisms the use of which is a performer’s decision. The modern trend of historical performance has updated the approach towards this mannerism for keyboard music from the classical period, allowing the use of performance traditions of the 17th and the first half of the 18th centuries. While performing arpeggios, one should be guided by the awareness of the historical context, musical sense, but also the instrument’s idiom, and apply them wherever they enhance the sound of the harpsichord and affections of a given fragment of a composition. The article discusses the guidelines on the ways of rendering of arpeggios, mainly based on the Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende by Daniel Gottlob Türk (1789) and its use options in harpsichord music of the second half of the 18th century exemplified by works by W. A. Mozart.
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Mogensen, R., N. Deletaille, and A. Roudier. "The arpeggione and fortepiano of the 1820s in the context of current computer music." Early Music 42, no. 4 (October 14, 2014): 545–54. http://dx.doi.org/10.1093/em/cau097.
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Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER." Tempo 58, no. 229 (July 2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.
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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.
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Cath Vidler. "Arpeggio poems." Antipodes 27, no. 1 (2013): 72. http://dx.doi.org/10.13110/antipodes.27.1.0072.
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Barbancho, Isabel, George Tzanetakis, Ana M. Barbancho, and Lorenzo J. Tardon. "Discrimination Between Ascending/Descending Pitch Arpeggios." IEEE/ACM Transactions on Audio, Speech, and Language Processing 26, no. 11 (November 2018): 2194–203. http://dx.doi.org/10.1109/taslp.2018.2858538.
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Krieg, Niki. "Pellegrino D'Acierno, The Fat Man Arpeggios." Forum Italicum: A Journal of Italian Studies 50, no. 1 (December 16, 2015): 305–7. http://dx.doi.org/10.1177/0014585815623463.
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Zabanal, John-Rine A. "A Survey of Collegiate String Musicians’ Use of Drone Accompaniment to Improve Intonation." Update: Applications of Research in Music Education 38, no. 2 (July 13, 2019): 46–54. http://dx.doi.org/10.1177/8755123319861428.
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The purpose of this study was to survey collegiate string musicians on their use of drone accompaniments to improve intonation. A questionnaire was developed and distributed to collegiate string musicians ( N = 152). Most participants reported that they used a drone accompaniment as a tool to improve their intonation and that they were introduced to it in high school. Participants indicated they used a drone accompaniment more regularly when practicing scales and arpeggios. Additionally, they believed that it was an effective technique for improving intonation, especially for scales and arpeggios. A positive-moderate relationship between reported use of a drone accompaniment in practice and its perceived effectiveness to improve intonation was found for fast passages, slow passages, and solo repertoire. A majority of participants reported that they used a tuning application on their mobile device and a dedicated metronome and tuner to produce a drone accompaniment.
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Miteva-Dinkova, Stela. "THE ARPEGGIO IN DIDACTIC LITERATURE FOR CLASSICAL GUITAR." Knowledge International Journal 28, no. 3 (December 10, 2018): 1069–74. http://dx.doi.org/10.35120/kij28031069s.
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The art of instrumental performance has a specific purpose - to present a musical work (author's product) to a wide public auditorium - an audience. In order to accomplish this practical activity, the performer is necessary to adopt and master certain instrumental skills. Some of them are universal, others are "tied to" the specifics of the instrument itself, and others refer to certain elements of the musical language. By their nature, the techniques are skills created by the both hands finger movements. Fully studied and perfected, they are part of the instrumental technique, which is a tool of clear, convincing and "picturesque" representation of the artistic content of the musical works. In the process of classical guitar education, techniques are mastered step by step in accordance with their complexity, using didactic approaches outlined/exposed in the books. The review of such editions, which are created in a different period of time, illustrates the development of different pedagogical views in the classical guitar training. This provides practical and applied knowledge to the instructor of a musical instrument as an irreplaceable assistant in the teaching practice. This argues the consideration of arpeggio - a major technique skill in the context of its widespread application in the didactic instrumental literature and its fundamental importance for the development of instrumental technique in classical guitar. Expanded exposure with detailed organization of activities and modern manners of mastering the arpeggio technique, the author presents in the article ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education’ (Miteva-Dinkova, S. ‘Innovative approach of mastering the specific arpeggio technique in classical guitar education, Collection of papers from International Scientific Conference ‘Science, Education and Innovations in the Arts’, Plovdiv, 2018). This text clarifies the origin, development and achievement of the most efficient ways of work that provide rapid and positive results in the pedagogical practice based on a review of basic didactic books (Mauro Giuliani – 120 Right Hand Studies, Francisco Tàrrega – Complete Technical Studies, Emilio Pujol – Escuela razonada de la guitarra, Abel Carlevaro – Seria Didactica para Guitarra, part 3 – Right Hand Technique).
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Dejanović, I., G. Milosavljević, and R. Vaderna. "Arpeggio: A flexible PEG parser for Python." Knowledge-Based Systems 95 (March 2016): 71–74. http://dx.doi.org/10.1016/j.knosys.2015.12.004.
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Solow, Jeffrey. "Cello Scale and Arpeggio Books: A Survey." American String Teacher 54, no. 4 (November 2004): 66–71. http://dx.doi.org/10.1177/000313130405400416.
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Butterfield, Craig. "The Block Approach: Expanded Arpeggios for Jazz Improvisation." American String Teacher 64, no. 1 (February 2014): 38–42. http://dx.doi.org/10.1177/000313131406400107.
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Ota, Mineo. "Bartók’s wrists and 19th-century performance practice: An essay on the historicity of piano technique." Studia Musicologica 53, no. 1-3 (September 1, 2012): 161–70. http://dx.doi.org/10.1556/smus.53.2012.1-3.12.
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Mária Comensoli, who studied under Bartók in the mid-1920s, reports that her teacher used “peculiar fingerings and peculiar wrist and arm technique.” Examining such comments and the recordings of the composer-pianist, it becomes clear that Bartók played the piano partly according to the 19th-century performance practice. He frequently played chords in arpeggio, even when there were no markings of arpeggio in the score, and he respected the tone color of each finger by relying on the technique of leaping. Contemporary documents suggest that one of Bartók’s technical advantages was the flexibility of his wrists. In Bartók’s case it may have been a fruit of a conscious training by István Thomán. The writings of the Liszt-pupil Thomán suggest that, like his master, he valued the “active” use of wrists, even though he basically supported the modern, “synthetic” piano technique propagated by Breithaupt, who consistently recommended the “passive” use of the wrists. It is likely that, through Thomán, Bartók learned many things from the 19th-century performance practice.
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Mantel, Georg. "Zur Ausführung der Arpeggien in J. S. Bachs "Chromatischer Phantasie"." Bach-Jahrbuch 26 (May 9, 2018): 142–52. http://dx.doi.org/10.13141/bjb.v19292490.
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Kohn, Andrew. "Scales and Arpeggios for Bass: Reflections on Some Printed Sources." American String Teacher 67, no. 3 (August 2017): 38–41. http://dx.doi.org/10.1177/000313131706700308.
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Watson, Alan HD, and Kevin Price. "Embouchure Muscle Activity in Student and Elite Trumpeters." Medical Problems of Performing Artists 35, no. 1 (March 1, 2020): 42–53. http://dx.doi.org/10.21091/mppa.2020.1006.
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AIMS: Objective information on embouchure muscle use in brass players is currently limited. This pilot study records and analyses embouchure muscle activity in trumpet players to identify typical patterns and to reveal how these can differ between playing tasks. METHODS: Activity in four embouchure muscles was recorded using surface electromyography in 7 conservatoire trumpet students and 3 elite professional trumpeters. Each played a set of simple exercises, tongued and slurred, including single notes of different pitch, upward and downward transitions between notes a fifth apart, arpeggios, and a short musical piece. RESULTS: Muscle activity was initiated 0.4–2.0 s before the beginning of a note. In some players this was at a higher level than needed to sustain the note, while in others it was not. Levels of activity in all muscles generally increased and decreased together during arpeggios, in line with changing pitch. The sound was terminated by an abrupt fall in muscle activity. In many players, transitions between notes a fifth apart required no change in muscle activity, though in others this was marked by a sharp increase or decrease. CONCLUSION: Though levels of muscle activity rose consistently over large pitch ranges, there was considerable variation in the degree to which this occurred over smaller intervals. Even among the 3 professional players, the embouchure muscle activity showed clear individual patterns, suggesting that high levels of performance can be achieved in different ways. Further investigations will be needed to clarify how embouchure activity changes with proficiency.
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Whishaw, Ian Q., and Boguslaw Gorny. "Arpeggio and fractionated digit movements used in prehension by rats." Behavioural Brain Research 60, no. 1 (January 1994): 15–24. http://dx.doi.org/10.1016/0166-4328(94)90058-2.
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Mochalin, B. V., and A. A. Yagovdik. "Actual approaches to work with scales and arpeggios by jazz guitarist." Alma mater. Vestnik Vysshey Shkoly, no. 7 (July 2018): 84–87. http://dx.doi.org/10.20339/am.07-18.084.
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Eloul, Shaltiel, Gil Zissu, Yehiel H. Amo, and Nori Jacoby. "Motion Tracking of a Fish as a Novel Way to Control Electronic Music Performance." Leonardo 49, no. 3 (June 2016): 203–10. http://dx.doi.org/10.1162/leon_a_01072.
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The authors have mapped the three-dimensional motion of a fish onto various electronic music performance gestures, including loops, melodies, arpeggio and DJ-like interventions. They combine an element of visualization, using an LED screen installed on the back of an aquarium, to create a link between the fish’s motion and the sonified music. This visual addition provides extra information about the fish’s role in the music, enabling the perception of versatile and developing auditory structures during the performance that extend beyond the sonification of the momentary motion of objects.
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Giovannoni, Gavin, Volker Knappertz, Joshua R. Steinerman, Aaron P. Tansy, Thomas Li, Stephen Krieger, Antonio Uccelli, et al. "A randomized, placebo-controlled, phase 2 trial of laquinimod in primary progressive multiple sclerosis." Neurology 95, no. 8 (July 10, 2020): e1027-e1040. http://dx.doi.org/10.1212/wnl.0000000000010284.
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ObjectiveTo evaluate efficacy, safety, and tolerability of laquinimod in patients with primary progressive multiple sclerosis (PPMS).MethodsIn the randomized, double-blind, placebo-controlled, phase 2 study, ARPEGGIO (A Randomized Placebo-controlled Trial Evaluating Laquinimod in PPMS, Gauging Gradations in MRI and Clinical Outcomes), eligible patients with PPMS were randomized 1:1:1 to receive once-daily oral laquinimod 0.6 mg or 1.5 mg or matching placebo. Percentage brain volume change (PBVC; primary endpoint) from baseline to week 48 was assessed by MRI. Secondary and exploratory endpoints included clinical and MRI measures. Efficacy endpoints were evaluated using a predefined, hierarchical statistical testing procedure. Safety was monitored throughout the study. The laquinimod 1.5 mg dose arm was discontinued on January 1, 2016, due to findings of cardiovascular events.ResultsA total of 374 patients were randomized to laquinimod 0.6 mg (n = 139) or 1.5 mg (n = 95) or placebo (n = 140). ARPEGGIO did not meet the primary endpoint of significant treatment effect with laquinimod 0.6 mg vs placebo on PBVC from baseline to week 48 (adjusted mean difference = 0.016%, p = 0.903). Laquinimod 0.6 mg reduced the number of new T2 brain lesions at week 48 (risk ratio 0.4; 95% confidence interval, 0.26–0.69; p = 0.001). Incidence of adverse events was higher among patients treated with laquinimod 0.6 mg (83%) vs laquinimod 1.5 mg (66%) and placebo (78%).ConclusionsLaquinimod 0.6 mg did not demonstrate a statistically significant effect on brain volume loss in PPMS at week 48.Clinicaltrials.gov identifierNCT02284568.Classification of evidenceThis study provides Class I evidence that, although well tolerated, laquinimod 0.6 mg did not demonstrate a significant treatment effect on PBVC in patients with PPMS.
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Stanton, Kelly Patrick, Fabio Parisi, Francesco Strino, Neta Rabin, Patrik Asp, and Yuval Kluger. "Arpeggio: harmonic compression of ChIP-seq data reveals protein-chromatin interaction signatures." Nucleic Acids Research 41, no. 16 (July 19, 2013): e161-e161. http://dx.doi.org/10.1093/nar/gkt627.
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Önder, Gülten Cüceoğlu. "Analysis of Carl Joachim Andersen Op.15 Flute Etudes Used in Flute Education." International Education Studies 14, no. 4 (March 24, 2021): 57. http://dx.doi.org/10.5539/ies.v14n4p57.
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In this study, it was aimed to examine C. J. Andersen’s op.15 etude book used in flute education in terms of measurement units, vocalization techniques, technical studies, nuance terms, speed terms, tonality. Thus it is aimed to reveal the gains that the etudes can provide for the student. Document analysis method was used in the study. The summary of results as follows. Etudes are mostly written in 4/4 unit of measure. It was found that mostly legato and staccato was used a great extent in the etudes. Interval was run the most in the etudes. Also etudes include technical studies such as arpeggio, chromatic scale, scale studies, and tonality. The terms crescendo and decrescendo nuances were used in all of the etudes. Mezzoforte, forte and piano nuances were also included in the etudes. Allegro and its varieties have been used as the term of speed in most of the etudes. In the etudes, 24 different tones were used, 12 of them in major tones and 12 of them in minor tones. Tone, measure and tempo changes were made in some etudes. Considering the results, Andersen’s op.15 etude book systematically covers many issues in terms of flute education. Etudes can provide to the student in flute education both in technical and musical gains; legato, tongue technique, articulation, interval, arpeggio, intonation, chromatic scale, phrasing, good breathing technique, a quality tone and a correct blowing angle. Instead of playing a etude book from the beginning to the end, the student’s difficulties can be eliminated by conducting etudes on whatever subject he/she has inadequate or difficulty. With this analysis, the topics in the etudes can be classified and presented in line with the needs of the students.
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Zabanal, John-Rine A. "Effects of Short-Term Practice With a Tonic Drone Accompaniment on Middle and High School Violin and Viola Intonation." String Research Journal 9, no. 1 (June 25, 2019): 51–61. http://dx.doi.org/10.1177/1948499219851407.
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The purpose of this study was to investigate the effect of tonic drone accompaniment on the intonation of violinists and violists. Twenty-eight middle and high school students performed an ascending diatonic line and a descending dominant 7th arpeggio on the violin or viola in three trials: pretest, posttest accompanied with drone, and posttest unaccompanied. The students were grouped based on age and years of experience. A significant difference in cent deviation scores was found between age groups but not years of experience. Post hoc analysis revealed a significant difference between the middle-age group and the youngest group. No significant difference was found overall between pretest, drone accompanied posttest, and unaccompanied posttest conditions.
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Slade, Teri, Gilles Comeau, and Donald Russell. "Measurable changes in piano performance of scales and arpeggios following a Body Mapping workshop." Journal of New Music Research 49, no. 4 (July 2, 2020): 362–72. http://dx.doi.org/10.1080/09298215.2020.1784958.
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Butterfield, Craig. "The “Block” Approach: A System for Logical Arpeggio Fingerings on the Double Bass." American String Teacher 63, no. 1 (February 2013): 34–37. http://dx.doi.org/10.1177/000313131306300107.
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Butterfield, Craig. "The Block Approach: A System for Logical Arpeggio Fingerings on the Double Bass." American String Teacher 63, no. 4 (November 2013): 42–44. http://dx.doi.org/10.1177/000313131306300409.
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Jubb, Harry C., Alicia P. Higueruelo, Bernardo Ochoa-Montaño, Will R. Pitt, David B. Ascher, and Tom L. Blundell. "Arpeggio: A Web Server for Calculating and Visualising Interatomic Interactions in Protein Structures." Journal of Molecular Biology 429, no. 3 (February 2017): 365–71. http://dx.doi.org/10.1016/j.jmb.2016.12.004.
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Wristen, Brenda G. "Avoiding Piano-related Injury: A Proposed Theoretical Procedure for Biomechanical Analysis of Piano Technique." Medical Problems of Performing Artists 15, no. 2 (June 1, 2000): 55–64. http://dx.doi.org/10.21091/mppa.2000.2012.
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Several biomechanical studies have been done with regard to the fingertip, hand, wrist, and upper arm in pianists. However, these studies have generally focused either on one isolated part of the anatomy, or on one specific motion. It is notable that none of the studies conducted to date examines the execution of a technical skill at the piano, such as a scale or arpeggio, in terms of the cooperative work done by all involved parts of the anatomy. Drawing upon established quantitative data, this study took a qualitative approach in describing and analyzing the execution of selected piano technical tasks. The procedure developed for conducting a biomechanical analysis can be readily applied in both medical and pedagogical venues with the goal of preventing injury.
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Yoshie, Michiko, Kazutoshi Kudo, and Tatsuyuki Ohtsuki. "Effects of Psychological Stress on State Anxiety, Electromyographic Activity, and Arpeggio Performance in Pianists." Medical Problems of Performing Artists 23, no. 3 (September 1, 2008): 120–32. http://dx.doi.org/10.21091/mppa.2008.3024.
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The present study examined the effects of psychological stress, as manipulated by performance evaluation, on the cognitive, physiological, and behavioral components of music performance anxiety (MPA) and performance quality. Twelve skilled pianists (five women, seven men) aged 21.9 ± 3.3 yrs performed arpeggios on a digital piano at the metronome-paced fastest possible tempo under the evaluation and no-evaluation conditions. Measurements were made of self-reported state anxiety, heart rate (HR), sweat rate (SR), and electromyographic (EMG) activity from eight arm and shoulder muscles, and MIDI signals were obtained. The increases in self-reported anxiety score, HR, and SR in the evaluation condition confirmed the effectiveness of stress manipulation. The EMG activity of all the muscles investigated significantly increased from the no-evaluation to evaluation condition, suggesting that psychological stress can add to the risk of playing-related musculoskeletal disorders. Furthermore, the elevated muscle activity in the forearm was accompanied by increased key velocities. We also obtained the first evidence of increased arm stiffness associated with MPA by estimating the cocontraction levels of antagonist muscles in the forearm and upper arm. Consistent with the three systems model of anxiety, the three MPA components were moderately intercorrelated. Participants with high trait anxiety showed stronger correlations between the self-reported anxiety score and other objective measures, which indicated their heightened perceptual sensitivity to physiological and behavioral changes caused by psychological stress. These results provide some practical implications for understanding and coping with MPA.
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Besouw, Rachel M. Van, Jude S. Brereton, and David M. Howard. "Range of Tuning for Tones With and Without Vibrato." Music Perception 26, no. 2 (December 1, 2008): 145–55. http://dx.doi.org/10.1525/mp.2008.26.2.145.
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PREVIOUS STUDIES ON VIBRATO PITCH HAVE attempted to determine the "principal pitch" of vibrato tones and not the range of tuning for such tones in a melodic context. This study investigates the range of acceptable tuning (RAT) for tones with and without vibrato, using repeating ascending and descending three-tone arpeggios. The second tone in each sequence was modulated or unmodulated with an initial pitch that was flat or sharp. With each repetition the pitch of the second tone increased or decreased by 3 cents depending upon the initial pitch condition. Participants indicated when they perceived the second tone to be in tune and out of tune. The RAT for vibrato tones was approximately 10 cents greater than for unmodulated tones. This is largely due to the lower RAT limit, indicating that the carrier frequency of vibrato tones can be 10 cents flatter than the fundamental frequency of an unmodulated tone.
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Carrière, Paul. "Das harmonische Gefüge und Arpeggio des C dur-Präludiums im I. Teil des Wohltemperierten Klaviers." Bach-Jahrbuch 22 (February 27, 2018): 64–92. http://dx.doi.org/10.13141/bjb.v19251451.
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Hollander, P. A., A. Amod, L. E. Litwak, and U. Chaudhari. "Effect of Rimonabant on Glycemic Control in Insulin-Treated Type 2 Diabetes: The ARPEGGIO Trial." Diabetes Care 33, no. 3 (December 15, 2009): 605–7. http://dx.doi.org/10.2337/dc09-0455.
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Juwita, Lily, Erfan Erfan, and Irdhan Epria Darma Putra. "ARANSEMEN MUSIK SEKOLAH DENGAN JUDUL “RUMAH KITA”." Jurnal Sendratasik 8, no. 1 (July 1, 2019): 35. http://dx.doi.org/10.24036/jsu.v8i1.106416.
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This artwork aims to express an idea that is poured through music performances in the form of music arrangement. In this song, arranger worked in the form of school music arrangement. The band Combo at SMK N 7 Padang corresponds to the ability of ensembles studied by students. Here arranger arranged song our house is played with some vocal music accompaniment, keyboard, bass, guitar, drums. The arransemen in this piece of music contains lyrics that explain that as bad and cruel as any of this country we must remain grateful and devoted to the homeland. By building new things through some development techniques such as reps, modulation, Augmentsi, diminution, arpeggio and various other techniques without changing the essence of the song of our house. Arransemen song popularized by one of the Indonesian rock band Goodbles with the title song "Rumah Kita" played by students of SMK Negeri 7 Padang. The Arransemen is played by 6 people with vocal formations, guitars, keyboards, bass and drums. Keywords: Rumah Kita
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Morris, Renée, Andrew P. Tosolini, Joshua D. Goldstein, and Ian Q. Whishaw. "Impaired Arpeggio Movement in Skilled Reaching by Rubrospinal Tract Lesions in the Rat: A Behavioral/Anatomical Fractionation." Journal of Neurotrauma 28, no. 12 (December 2011): 2439–51. http://dx.doi.org/10.1089/neu.2010.1708.
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Juszyńska, Krystyna. "Didactic qualities of piano pieces for children by Miłosz Magin (1929-1999)." Konteksty Kształcenia Muzycznego 6, no. 1 (10) (June 30, 2020): 27–44. http://dx.doi.org/10.5604/01.3001.0014.2314.
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Miłosz Magin was a renowned Polish pianist and composer. He was born in Łódź, studied in Warsaw, was a prizewinner of several international piano competitions, successfully concerted all over the world and in 1960 he finally settled down in Paris. His compositional output covers numerous piano pieces, orchestral, chamber and vocal works, as well as a ballet. Pieces for children constitute an important and relatively large part of his oeuvre. The article discusses five cycles of miniatures (38 pieces in total), dedicated to pupils at the elementary level of piano learning: Obrazki z Polski (1982), Miniatury polskie (1982), Kółko graniaste (1987), Karnawał lalek for four hands (1990) and Zaczarowane zabawki (1996). The pieces have didactic qualities and play the two roles: they gradually introduce a pupil into the world of music and they help to master the piano technique. They develop, in particular, fingers’ dexterity, chordal and arpeggio technique, precision while realization various rhythmic structures, mastery of large leaps on the keyboard. Performing Magin’s music sensitizes to the timbre of pitches in different registers, to changeable dynamics, original harmony, bitonality, phrasing, articulation, agogic and proper interpretation. His compositions develop children’s imagination and familiarize them with diverse timbres of the piano. They are little masterpieces, put into a terse form of a miniature.
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Sitompul, Amiruddin. "Metamorfosis Kupu-kupu: Sebuah Komposisi Musik." PROMUSIKA 5, no. 1 (April 25, 2017): 17–24. http://dx.doi.org/10.24821/promusika.v5i1.2283.
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Gagasan menciptakan karya seni terkadang berasal dari lingkungan sekitar, di antaranya yang banyak digunakan sebagai ide ialah kupu-kupu yang perkembangbiakannya melalui proses metamorfosis. Metamorfosis Kupu-kupu dipilih sebagai gagasan komposisi musik karena memiliki metamorfosis sempurna, atau holometabolisme. Penerapan gagasan Metamorfosis Kupu-kupu dalam komposisi ini menggunakan unsur ekstra-musikal sebagai gagasan dasar penciptaannya. Elemen ekstra musikal tersebut ditransformasikan ke dalam ide musikal dengan menggunakan unsur musikal di wilayah musik tonal. Karya ini dibuat oleh sumber program musik apelatif, yaitu yang dapat menempatkan karakter tertentu menjadi judulnya. Musik program musikal ini dibudidayakan dengan mengeksplorasi bentuk dan harmonisasinya. Pada karya ini penulis memperdalam ide dengan konsep-konsep harmoni, melodi, dinamika dan timbre. Penggunaan ukuran elemen eksplorasi dan pengolahan konsep-konsep tersebut diharapkan dapat memberikan kontribusi terhadap orisinalitas karya. Metamorfosis Kupu-kupu dilambangkan dengan catatan kunci soprano yang tenang pada bagian awal, kemudian menjadi lebih kompleks, dan didasarkan atas harmoni dan ritme yang dipertahankan sebagai iringan dengan penggunaan arpeggio sehingga menciptakan amosfir tenang pada proses tahap metamorfosis. Pemilihan alat musik yang tepat, penggunaan teknik-teknik kontrapung stretto, modus, polikordal, metrik, dan juga motif ekspansi maupun penyempitan yang digunakan dalam budidaya, diharapkan dapat memberi warna baru dalam penciptaan karya seni musik dan orisinalitasnya.
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Sugawa-Shimada, Akiko. "Playing with Militarism in/with Arpeggio and Kantai Collection: Effects of shōjo Images in War-related Contents Tourism in Japan." Journal of War & Culture Studies 12, no. 1 (March 3, 2018): 53–66. http://dx.doi.org/10.1080/17526272.2018.1427014.
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Ohsawa, Chie, Ken-ichi Sawai, and Minoru Tsuzaki. "The role of real-time acquisition of visual and auditory information in the performance of scale and arpeggio tasks in pianists." Journal of the Acoustical Society of America 140, no. 4 (October 2016): 3318. http://dx.doi.org/10.1121/1.4970568.
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Jacobs, J. Pieter, and Daniel Bullock. "A Two-Process Model for Control of Legato Articulation across a Wide Range of Tempos during Piano Performance." Music Perception 16, no. 2 (1998): 169–99. http://dx.doi.org/10.2307/40285786.
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The key overlap times (KOTs) required for legato articulation vary markedly with tempo. For scales/ arpeggios performed at interonset intervals (IOIs) of 100-1000 ms, prior reports show an increasing but nonlinear functional dependence of KOT on IOI. Because the major nonlinearity appears in the long-IOI (slow-tempo) region, the dependence of KOT on IOI is not attributable to gross biomechanical factors, such as finger inertias. Herein, we show that the dependence can arise from a neural circuit in which a predictive central process and a slow sensory feedback process cooperate to control articulation. An oscillating neural network is first constructed as an extension of the vector-integration-to-endpoint (VITE) model for voluntary control of movement. The resulting circuit exhibits volition-controlled oscillation rates. It also affords predictive control by continuously computing an internal estimate of the remaining " time-to-contact" (TTC) with a targeted integration level, the reaching of which triggers the oscillator's next half cycle. At fixed successive threshold values of this estimate of time remaining in the current half cycle, the performer first launches keystroke n + 1 and then lifts keystroke n. As tempo slows, the time required to pass between threshold crossings elongates, and KOT increases. However, if performers used only such a central process to control articulation, they would not show the bend seen in the slow tempo region of the KOT vs. IOI function. The bend emerges if performers lift keystroke n whenever they cross the second internal threshold or receive sensory feedback from stroke n + 1, whichever comes earlier. Empirical estimates of feedback delay times are consistent with this interpretation.
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Sasongko, Michael Hari. "IDIOM MUSIK KLASIK DI GEREJA KARISMATIK." Tonika: Jurnal Penelitian dan Pengkajian Seni 1, no. 1 (November 26, 2018): 1–14. http://dx.doi.org/10.37368/tonika.v1i1.7.
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Church music has long history and experiences in its periods. It began when they, the believers, mentioned themselves as the “Christian”. From the time that phenomenon the christians commenced their act of devotion tradition included their musical tradition of worship. The existence of church music more developed till Middle Age or Dark Age Period. It was dominantly covering to others music genre. At the Renaisance Period, the church reformation movement occured and it was pioneered by Martin Luther. Western music changed at the time. Luther changed of scene; He changed the tradition of Catholic church that used Latin lirics to folk language; He changed the gregorian chant tradition with folksong. The phenomenon was the first time of event of inculturation in world history of music after it undergone stagnancy during the authorization of Roman empire, especially when Pope Gregory created the standarization to all christian music. At the present day we are familiar with charismatic music tradition which is developed from American music tradition. It has a characteristic which is used as the band instrument in praise and worship by christian believers. But sometimes, the believers also use arpeggio or broken-chord as the main charracter on Classical Period in part the way of Western music history. Pass through the reasearch, the reasearcher look into the idioms are used in praise and worship in charismatic church. The reasearcher found that the using of idiom in Classical Period has enriched the nuance of music aesthetic in praise and worship.
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Dobrowohl, Felix A., Andrew J. Milne, and Roger T. Dean. "Timbre Preferences in the Context of Mixing Music." Applied Sciences 9, no. 8 (April 24, 2019): 1695. http://dx.doi.org/10.3390/app9081695.
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Mixing music is a highly complex task. This is exacerbated by the fact that timbre perception is still poorly understood. As a result, few studies have been able to pinpoint listeners’ preferences in terms of timbre. In order to investigate timbre preference in a music production context, we let participants mix multiple individual parts of musical pieces (bassline, harmony, and arpeggio parts, all sounded with a synthesizer) by adjusting four specific timbral attributes of the synthesizer (lowpass, sawtooth/square wave oscillation blend, distortion, and inharmonicity). After participants mixed all parts of a musical piece, they were asked to rate multiple mixes of the same musical piece. Listeners showed preferences for their own mixes over random, fixed sawtooth, or expert mixes. However, participants were unable to identify their own mixes. Despite not being able to accurately identify their own mixes, participants consistently preferred the mix they thought to be their own, regardless of whether or not this mix was indeed their own. Correlations and cluster analysis of the participants’ mixing settings show most participants behaving independently in their mixing approaches and one moderate sized cluster of participants who are actually rather similar. In reference to the starting-settings, participants applied the biggest changes to the sound with the inharmonicity manipulation (measured in the perceptual distance) despite often mentioning that they do not find this manipulation particularly useful. The results show that listeners have a consistent, yet individual timbre preference and are able to reliably evoke changes in timbre towards their own preferences.
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Pilch, Marek. "Performance topics in harpsichord music in the second half of the 18th century – Part 1." Notes Muzyczny 1, no. 11 (June 28, 2019): 29–42. http://dx.doi.org/10.5604/01.3001.0013.3520.
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The present article is connected in terms of its topic with the text entitled Harpsichord or piano? Different concepts in the 18th century keyboard music published by the author in “Notes Muzyczny” no. 1 (9) 2018, and it is the continuation of the discussion on the capacities and ways of performance of music from the Classical period, which is now understood as piano music, on the harpsichord. Subsequent parts will touch on peculiar performance topics connected with the role of the harpsichord in that period: the understanding and rendering of the dynamics, the performance of arpeggios, and the ornamentation. The starting point of the author’s deliberations is the textbook by Daniel Gottlob Türk entitled Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende mit kritischen Anmerkungen. (Leipzig, Halle 1789) and textbooks by other theoreticians of that period (J. J. Quantz, C. Ph. E. Bach), as well as modern publications (F. Neumann, C. Brown, S. Rampe, J. Trinkewitz). The possibility of the rendering of the dynamics understood as the capacity to influence the strength of single sounds is not the necessary condition for performing keyboard compositions from the second half of the 18th century. Neither is it the feature placing keyboard instruments in any particular hierarchy of values. In the 18th century sources it is hard to find any opinions stating that harpsichords were perceived as worse than other keyboard instruments due to the impossibility of shaping the dynamics of individual sounds. The most significant remarks referring to the performance are the topics connected with expression. The dynamics is not the only mean thanks to which a performance becomes expressive. It is possible to play in an expressive way on the harpsichord, yet it is achieved thanks to articulatory measures, agogic nuances, the right way of hitting keys and the proper selection of texture while playing basso continuo.
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Salman, Fikra Zaky Aryamani. "Analisis Teknik Permainan Gitar Pada Komposisi Gitar Sunburst Karya Andrew York." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 2, no. 2 (January 27, 2020): 99. http://dx.doi.org/10.26740/vt.v2n2.p99-105.
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Salah satu komponis pada abad ke 19 adalah Andrew York, lahir pada tahun 1958 di Atlanta dan dibesarkan di Virginia dan kecintaan terhadap musik ditanamkan pada usia dini. Dari sekian banyak komposisi yang dibuat Andrew York, sunburst adalah salah satu komposisi yang sangat populer dikalangan masyarakat. Sunburst sendiri ditulis pada tahun 1986 dan dipublikasikan pada tahun 1998. Penelitian ini bertujuan untuk; 1) Mendeskripsikan teknik permainan gitar dalam komposisi sunburst karya Andrew York; 2) Mendeskripsikan faktor-faktor pendukung teknik-teknik gitar klasik dalam memainkan komposisi sunburst Andrew York. Penelitian difokuskan pada teknik permainan gitar klasik yang terdapat dalam sunburst karya Andrew York. Penelitian ini merupakan penelitian deskriptif kualitatif. Pengumpulan data dilakukan dengan cara observasi partisipatif, dokumentasi, dan refrensi. Subjek penelitian dalam penelitian ini adalah partitur sunburst karya Andrew York, sedangkan objek penelitiannya adalah teknik permainan gitar dalam komposisi sunburst karya Andrew York. Teknik analisis data dilakukan secara kualitatif yang terdiri atas data reduction (reduksi data), data display (penyajian data), verification (kesimpulan). Validasi data diperoleh dengan triangulasi data dan triangulasi pengamat. Hasil penelitian menunjukan bahwa 1) Teknik permainan gitar yang digunakan dalam sunburst karya Andrew York meliputi; Slur, Barre, Harmonic, Glissando, dan Petikan Tirando, 2) Faktor kendala yang perlu diperhatikan dalam memainkan sunburst karya Andrew York berkaitan dengan teknik-teknik permainan gitar klasik yaitu; speed, Power, kesehatan dan ketahanan fisik. Setelah menganalisis teknik-teknik yang terdapat pada komposisi sunburst karya Andrew York, teknik-teknik tersebut diantarannya: 1) Terdapat 2 macam slur pada komposisi sunburst, yaitu: Ascending atau Hammer-on dan Descending atau Pull-off, 2) Barre yang digunakan pada komposisi sunburst adalah half barre, 3) Harmonic yang digunakan pada komposisi sunburst adalah Natural harmonic dan biasanya digunakan sebagai transisi perpindahan kalimat selanjutnya. 4) Glissando di komposisi sunburst digunakan sebagai mempermudah pemain gitar saat menekan beberapa nada yang dianggap sulit dimainkan pada jari kiri, 5) Dalam komposisi sunburst, dari birama awal sampai akhir menggunakan petikan tirando untuk memainkan akor, arpeggio, dan melodiKata Kunci : Teknik permainan, Gitar klasik, Sunburst, Andrew York
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Supiarza, Hery, Deni Setiawan, and Cece Sobarna. "Pola Permainan Alat Musik Keroncong dan Tenor di Orkes Keroncong Irama Jakarta." Resital: Jurnal Seni Pertunjukan 20, no. 2 (August 26, 2019): 108–20. http://dx.doi.org/10.24821/resital.v20i2.2459.
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Penelitian ini mendiskusikan pola permainan alat musik keroncong dan tenor serta penerapannya pada lagu “Cente Manis” dan “Sambel Cobek”. Kedua alat musik ini merupakan identitas keroncong gaya Jakarta. Penelitian dilakukan dengan pendekatan kualitatif deskriptif dan data dikumpulkan melalui observasi, wawancara, dan dokumentasi. Berdasarkan hasil penelitian ditemukan bahwa asal mula istilah alat musik keroncong berasal dari bunyi alat musik itu sendiri. Istilah tenor merujuk pada istilah suara laki-laki tertinggi. Ditemukan juga teknik permainan alat musik keroncong dan tenor yaitu teknik rasguaedo (prung), strumming, arpeggio dan dengan cara dipetik satu-satu pada setiap senar. Teknik memainkan alat musik keroncong dan tenor tersebut meliputi pola permainan dobel engkel, dobel balik, format dan gaya lama. Permainan keempat pola tersebut bergantung pada lagu yang akan dibawakan dan kesepakatan para personilnya. The Approach of Orff-Schulwerk for Prospective Music Teachers in Kindergarten Schools. The topic in this article focuses on the application of Orff-schulwerk for university students as prospective teachers in school, including kindergarten. Orff-schulwerk can be seen as an approach to music education. In related to primary education, this approach focuses on the children needs and develops children musicality through necessary activities (elemental) in music and movement. Some questions in this article are: 1) what kind of Orff-schulwerk that can be used by prospective teachers in the learning process at kindergarten? 2) what benefits can be obtained by teacher candidates through the application of the Orff-schulwerk approach? And 3) how do prospective teachers who use this approach can understand their role in learning? The method used in this study is action research. The findings in this research are prospective teachers understand that: 1) Orff-schulwerk can be used in related to exploration – imagination – creation that involving music and movement; 2) this approach is useful for developing student musicality in the learning process in kindergarten; and 3) in this approach, prospective teachers are acted as facilitators who can create an atmosphere of learning that stimulate students’ imagination and creation. This study concludes that the Orff-schulwerk approach should be mastered by prospective teachers who teach in schools, including kindergarten. By having an understanding of this approach, both theoretically and practically, prospective teachers not only enhance their knowledge but also support the national education goals, namely the students’ character building in schools.Keywords: Orff-Schulwerk; music education; kindergarten teachers
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Khai, Mykhailo. "Musical and instrumental culture of Ukrainians as a component of the formation of national outlook." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 94–119. http://dx.doi.org/10.34064/khnum2-19.06.
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Background. One of the integrating, determining and identifying forces of the social progress of the entire human community is the custom and folklore tradition of the smallest sub-ethnic units / constituents individual nations and peoples, their verbal and ethno-cultural (including ethno-musical) sources, that, like rivers and brooks, fill the ocean of culture promoting for life and further development. The structure of the traditional Ukrainian musical culture, along with the well-known the old practices of group singing, itinerant kobzars and lira players, also consists of a powerful musical-instrumental component (herdsman’s folklore, calendarian-ritual chanting and dance). The aim and methods of the research. This article examines the phenomenon of traditional instrumentalism from the point of view of its fundamental influences on the worldviews regarding the formation and functioning of the ethnic sound of Ukrainians based on the longtime field-type, theoretical, pedagogical and practical (scientific and reconstructive musical performing) the experience of the author. The research results. Especially effective and such that, in recent years, was involved in the processes of salvation and “strengthening” (the term by S. Hrytsa) of traditional musical aesthetics, is the method of scientific and executive reconstruction of old folk music genres and forms. Systematic scientific-theoretical and structural-typological analytical work aimed at reproducing prototypes and structural details of reconstructed objects, forms, genres and actions of traditional Ukrainian musical culture, including instrumental, was reflected primarily in the research of S. Hrytsa (2000; 2002; 2015), A. Ivanytskyi (2007), I. Matsiievskyi (2012), B. Kindratiuk (2012), V. Yarmola (2014) and the author of these lines (Khai, M., 2011a; 2011b; 2013 and others). The author of the article thoroughly considers special issues of indexing musical instruments according to the system of E. Hornbostl – K. Sachs with the principle of division into classes, subclasses, categories, subdivisions; for the first time in Ukrainian ethnoorganology he carrys out a complete and consistent grouping of Ukrainian folk musical instruments. It is stated that the most important criteria of all classifications are: form, construction, structure, way of playing, repertoire, manner of performance. The criteria of traditionalism and functioning of folk instruments are determined separately (see: Khai, M., 2011a: 145–261). Based on this, Ukrainian folk musical instruments are considered in the following groups: 1) folk idiophones (self-sounding), 2) folk membranophones; 3) folk chordophones (strings); 4) folk aerophones (wind). Analyzing the existing classifications of national instrumental music, the author puts forward the thesis: areas of distribution and “density of ingrowth” of non-ethnic and authorial elements in the traditional centers of Ukrainian national instrumental music are mostly related to factors of geographical proximity, of natural extinction and administrative-repressive planting of alluvial and so-called “parallel” culture. Experiments on the instrumental traditions of Ukrainians, along with the autochthonous traditional instrumental repertoire, testify to the active functioning at the level of reception / ingrowth of works of other national origin. The interethnic and inter-genre transformation of the folk-instrumental style is connected with the spread of the Moscow, Polish, Romanian and Jewish intonation elements on the territory of the country. Touching the extremely complex and topical problems of archetypal traditional culture, interethnic relations of nations in the modern kaleidoscope of globalization processes, the article focuses on the negative (forced, administrative-aggressive absorption and destruction) and the positive (diversity, enrichment) interactions of the mentioned cultural elements. Characterizing from the positions mentioned here the main features of the ethnic sound ideal in the instrumental tradition of Ukrainians, the author defends its “European model” (tendency to cantilena sound of violin and flute ) as opposed to the type, which dominates the ethnosonic aesthetics of East – tremolo on one string. For the first time in these studies, the thesis is asserted that sounds that imitate the human voice or complement it predominate in Ukraine: flute cantilena, bandura-kobza and partly cymbal arpeggio, which differ significantly and fundamentally from the “Asian” coloristics of one-string tremolo. Conclusions. The final outcome of the study, about the cathartic function of traditional instrumentalism and musical culture in modern social-sublimation processes of human development and, conversely – about neglecting it as a manner to the complete destruction of human civilization as such, steers away from pessimism, inspiring hope for survival in the cataclysms of nature and society as a whole.
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Bielova, Yе D. "Romance «Blacked Night» by O. Tadeush based on Sappho’s poem: dialogue in “large time”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 104–23. http://dx.doi.org/10.34064/khnum1-53.07.
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Theoretical background. According to the concept of M. Bakhtin (1986, others), every from outstanding works enters to the “large time”, where it enriches with new meanings, senses, fully revealing the subtext embedded in it. A similar dialogue occurs directly in the process of composer’s interpretation of a literary text taken as the primary basis for a musical piece. Especially this is true for the archaic literary source, since the perception of it in the distant epoch don’t coincide with the way it is perceived by contemporaries of the composer. This phenomenon is due to a new cultural and historical context, and, as a result, the literary work acquires a new semantic content adequate to the musical opus, its perception by performers and public. Thus, a composer and performers of a musical-poetic opus, recipients and scientists enter into the dialogue of the “large time”, bringing their own intellectual baggage, thesaurus, artistic perception of art. In this case, the researcher need to take into account the unique artistic synthesis that arises as a result of the interaction of words, music and the all of means of artistic expression. The proposed study is based on M. Bakhtin’s concept of dialogue, which carries out in the semiotic space of culture. M. Bakhtin views the dialogue not only as a human-to-human contact but also as an appeal to a scientific or artistic text. Analyzing the vocal miniature, one should track the individualities of the authors of literary text and the musical work, at the same time filtering the meanings of the text of the vocal miniature through the own artistic experience, grasping the dialogue in the context of cultural and historical experience and “large memory”, (M. Bakhtin’s concept). The romance “Blackened Night” is addressed to the original members – soprano and marimba duet. However, from the standpoint of the need for performing reproduction of vocal and instrumental synthesis, it is appropriate to refer to the experience of concert pianists. The purpose of the study is to define the cultural and historical context of dialogue in “large time”, which determines the content-semantic areas of gravity between the word and music in the composer’s, performer’s interpretation and perception of the romance «Blackened Night» by Oksana Tadeush. Methods. The methodological basis of the study is the communicative model of the “large dialogue” (M. Bakhtin), which is carried out in the time-space (chronotope, according M. Bakhtin) and is based on the “large memory” of culture. On the other hand, the study used the methodology of interpretative performing analysis of musical works (in particular, the analytical approach by remarkable singer and researcher Ian Bostridge, 2019). The moment of coincidence of both research methodologies has been revealed: unraveling the semantic images of the opus simultaneously from the standpoint of the time of its writing and modernity, which helps to reveal the content of the cultural dialogue. Results. The study showed that the poem by Sappho is related to the «night» poetry characteristic of European culture, as well as to the symbol of Night, which the archetype of the Romantic era is. At the level of musical semantics, the connection with «night » poetry is reflected in the musical texture, since the arpeggio figures in accompaniment, as one of the texture units, is characteristic to the nocturne genre. The author concludes: the sound image of marimba corresponds best to the spirit of «night» poetry. The connection with archaic thinking is represented through the signs of monodic texture characterized for singing with the accompaniment in the Hellenistic era. Archaic origin is inherent in hemiolica (term by Yu. Kholopov, 2003): there is the scale with augmented second in the vocal part of O. Tadeush’s romance. Dialogue in “large time” was further extended by the performers on the premier of the romance (O. Velyka – soprano, and the author of this article – marimba) with the assistance of stage costumes (dresses that resemble ancient Greek tunics) that helped the communicator-interpreters to get deeper into the image. Interpreting Sappho’s «night» poetry, O. Tadeush turns to the sound image of marimba, which is the background for the heroine’s internal monologue. The dialogue not only with the author of the poetic text arises, but also with the tradition of the chamber-vocal genre in historical retrospective, as the second member of the ensemble in O. Tadeush’s romance is not the piano, but the marimba (a percussion instrument related to the piano, but at the same time unique in terms of timbre and articulation). The articulation of a percussionist who intones on the marimba should fill each sound with coloring vibration to make it expressive and meaningful, to achieve a variety of sounds of this mono-timbre instrument with helping of use of varieties touché and registers, in according with dynamics of form-building and figurative development of the work. Conclusion. To sum up, we note that in the romance «Blackened Night» Oksana Tadeush enters into dialogue with great Sappho, reproducing the world of her poems, melody and rhythm of the poetic text in the original language. The composer creates a unique artistic concept, following the laws of the chamber-vocal genre with regard to the duet of singing and instrumental voices as well as the laws of music in accordance with the current tendencies of the beginning of the 21st century, where the search for an extraordinary artistic solution is not the last argument. As a research prospect interesting the author, further clarification of the specificity of the implementation of the sound images of percussion instruments in the creativity of the composers of the Kharkiv School is suggested, taking into account the individuality of the artistic concept of each piece of music.
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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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Milosavljevic, Stefan, Tony Kuo, Samuele Decarli, Lucas Mohn, Jun Sese, Kentaro K. Shimizu, Rie Shimizu-Inatsugi, and Mark D. Robinson. "ARPEGGIO: Automated Reproducible Polyploid EpiGenetic GuIdance workflOw." BMC Genomics 22, no. 1 (July 17, 2021). http://dx.doi.org/10.1186/s12864-021-07845-2.
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Abstract Background Whole genome duplication (WGD) events are common in the evolutionary history of many living organisms. For decades, researchers have been trying to understand the genetic and epigenetic impact of WGD and its underlying molecular mechanisms. Particular attention was given to allopolyploid study systems, species resulting from an hybridization event accompanied by WGD. Investigating the mechanisms behind the survival of a newly formed allopolyploid highlighted the key role of DNA methylation. With the improvement of high-throughput methods, such as whole genome bisulfite sequencing (WGBS), an opportunity opened to further understand the role of DNA methylation at a larger scale and higher resolution. However, only a few studies have applied WGBS to allopolyploids, which might be due to lack of genomic resources combined with a burdensome data analysis process. To overcome these problems, we developed the Automated Reproducible Polyploid EpiGenetic GuIdance workflOw (ARPEGGIO): the first workflow for the analysis of epigenetic data in polyploids. This workflow analyzes WGBS data from allopolyploid species via the genome assemblies of the allopolyploid’s parent species. ARPEGGIO utilizes an updated read classification algorithm (EAGLE-RC), to tackle the challenge of sequence similarity amongst parental genomes. ARPEGGIO offers automation, but more importantly, a complete set of analyses including spot checks starting from raw WGBS data: quality checks, trimming, alignment, methylation extraction, statistical analyses and downstream analyses. A full run of ARPEGGIO outputs a list of genes showing differential methylation. ARPEGGIO was made simple to set up, run and interpret, and its implementation ensures reproducibility by including both package management and containerization. Results We evaluated ARPEGGIO in two ways. First, we tested EAGLE-RC’s performance with publicly available datasets given a ground truth, and we show that EAGLE-RC decreases the error rate by 3 to 4 times compared to standard approaches. Second, using the same initial dataset, we show agreement between ARPEGGIO’s output and published results. Compared to other similar workflows, ARPEGGIO is the only one supporting polyploid data. Conclusions The goal of ARPEGGIO is to promote, support and improve polyploid research with a reproducible and automated set of analyses in a convenient implementation. ARPEGGIO is available at https://github.com/supermaxiste/ARPEGGIO.
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Walser, Peter, Steen Savery Trojaborg, Thomas Darholm, Magnus Kollén, and Rico Stockmann. "Arpeggio – die Hauptbrücke der neuen Hisingsbron in Göteborg." Stahlbau, September 12, 2021. http://dx.doi.org/10.1002/stab.202100058.
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