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Soputan, Ferdinand A. "Aransemen Musik Populer dalam Ansambel Musik Kolintang Kayu Minahasa." Urban: Jurnal Seni Urban 4, no. 1 (April 15, 2020): 43–60. http://dx.doi.org/10.52969/jsu.v4i1.63.
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Kolintang is a traditional musical instrument from Minahasa, North Sulawesi. This music is traditional because the instruments or instruments are made of wood. This music is played by hitting so that the type of music is included in the type of pitched percussion music. Kolintang music is a type of musical instrument that can play various genres of music, ranging from keroncong, classical, jazz, chacha, and so on. With its openness to various genres, the music from Minahasa is certainly played with a certain arrangement. There are two arrangement models that the author will describe in this paper, namely the standard arrangement with three chords and the modern arrangement with progressive chords. In this article, the author will describe these two arrangement models to show that the audience’s enthusiasm is also determined by an attractive arrangement in a kolintang musical performance. The method used is a method of comparison of two different arrangements. From the search conducted, the author will show that kolintang music can be arranged with various chords and musical genres. Thus, it was found that the novelty that emerged was that the kolintang musical arrangements that could be presented with various genres were part of the adaptation to the popular arrangement model. So, the development and progress of music that occurs in general can also be found in kolintang music, especially with regard to the problem of arrangement as seen in the data studied.Kolintang adalah alat musik tradisional dari Minahasa, Sulawesi Utara. Musik ini bersifat tradisional karena instrumen atau alatnya terbuat dari kayu. Musik ini dimainkan dengan cara pukul sehingga jenis musiknya termasuk ke dalam jenis musik perkusi bernada. Musik kolintang adalah jenis alat musik yang dapat memainkan berbagai genre musik, mulai dari keroncong, klasik, jaz, chacha, dan lain sebagainya. Dengan keterbukaannya pada berbagai genre, musik asal Minahasa ini tentu dimainkan dengan sebuah aransemen tertentu. Terdapat dua model aransemen yang akan penulis uraikan dalam tulisan ini, yakni aransemen standar dengan tiga akor dan aransemen modern dengan akor progresif. Dalam artikel ini, penulis akan menguraikan kedua model aransemen ini untuk memperlihatkan bahwa antusias audiens juga ditentukan oleh aransemen yang menarik dalam sebuah penampilan musik kolintang. Metode yang digunakan adalah metode perbandingan dua aransemen yang berbeda. Dari penelusuran yang dilakukan, penulis akan memperlihatkan bahwa musik kolintang dapat diaransemen dengan berbagai akor serta genre musik. Dengan demikian, didapatkan hasil bahwa kebaruan yang muncul adalah bahwa aransemen musik kolintang yang dapat disuguhkan dengan berbagai genre itu merupakan bagian dari adaptasi dengan model aransemen yang populer. Jadi, perkembangan dan kemajuan musik yang terjadi pada umumnya juga dapat ditemukan dalam musik kolintang, khususnya berkaitan dengan masalah aransemen sebagaimana terlihat pada data yang diteliti.
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Novandhi, Nanda Kurnia. "IMPLEMENTASI TEORI BELAJAR DALAM MATA KULIAH “ARRANGEMENT” DI S1 SENDRATASIK UNIVERSITAS NEGERI SURABAYA." Imaji 17, no. 2 (December 3, 2019): 179–84. http://dx.doi.org/10.21831/imaji.v17i2.27778.
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Arrangement merupakan salah satu ilmu yang harus dikuasai oleh seorang musisi atau orang yang berkecimpung dalam dunia seni musik. Aransemen juga merupakan salah satu yang paling penting dalam menunjang keberhasilan menciptakan sebuah komposisi musik. Pembelajaran aransemen diperlukan seorang musisi atau mahasiswa seni khususnya dalam seni musik karena, untuk membekali mereka dalam menjalani kehidupan sebagai seorang pemain musik. Jenis penelitian yang digunakan dalam penelitian ini adalah kualitatif. Metode pembelajaran yang digunakan adalah pendekatan metode belajar secara konstruktivistik dan behavioristik. Tujuan penelitian adalah untuk mengetahui metode pembelajaran apa yang cocok untuk digunakan dalam perkuliahan aransemen. Manfaat penelitian secara teoritis adalah menambah literatur tentang metode pembelajaran dalam seni musik, dan manfaat secara praktis adalah membantu dalam refensi dalam membangun pembelajaran yang baik. Kata Kunci : Arrangement, Metode Belajar, Behavior, Konstruktif IMPLEMENTATION OF LEARNING THEORY IN THE “ARRANGEMENT” COURSE IN S1 SENDRATASIK, SURABAYA STATE UNIVERSITY Abstract Arrangement is one of the sciences that must be mastered by a musician or person working in the world of music art. Arrangement is also one of the most important in supporting the success of creating a musical composition. Arrangement learning is needed by a musician or art student, especially in the art of music because, to equip them to live life as a music player. This type of research used in this study is qualitative. The learning method used is a constructivist and behavioristic approach to learning methods. The purpose of this research is to find out what learning methods are suitable for use in lecturing arrangements. The theoretical benefit of research is to add to the literature on learning methods in the art of music, and the practical benefit is to help in the refinement in building good learning. Keywords: Arrangement, Learning Method, Behavior, Constructive
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Sukmawati, Eni. "UPAYA PENINGKATKAN HASIL BELAJAR SISWA PADA PELAJARAN SENI BUDAYA ARANSEMEN MUSIK MANCANEGARA DENGAN MEDIA PEMBELAJARAN AUDIO VISUAL." Pedagogia: Jurnal Ilmiah Pendidikan 12, no. 2 (December 29, 2020): 74–77. http://dx.doi.org/10.55215/pedagogia.v12i2.2940.
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EFFORTS TO IMPROVE STUDENT LEARNING OUTCOMES IN INTERNATIONAL MUSIC ARRANGEMENT CULTURAL ARTS LESSONS USING AUDIO VISUAL LEARNING MEDIA This research departs from the phenomenon that occurs in class, namely the lack of understanding of composing a song using audiovisual media. This study aims to (1) find out that audio visual learning media can improve student learning outcomes about international music arrangements. (2) To describe the process of improving student learning outcomes about International Music Arrangements before and after using audio-visual learning media. (3) To measure the magnitude of the increase in student learning outcomes about International Music Arrangements after using audio-visual learning media. Audio-visual learning media can improve student learning outcomes on International Music Arrangement material in SMA Negeri 9 Bogor.
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Mulyadi, Hendrikus, and Hery Supiarza. "Software sibelius: Eksplorasi Teknik Arransemen Lagu Indonesia Pusaka Karya Ismail Marzuki di Masa Pandemi Covid 19." PROMUSIKA 9, no. 1 (September 7, 2021): 01–10. http://dx.doi.org/10.24821/promusika.v1i1.5296.
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Penelitian ini mengkaji eksplorasi teknik aransemen orkestrasi melalui penggunaan software sibelius pada lagu Indonesia Pusaka karya Ismail Marzuki. Tujuan dari penelitian ini adalah untuk mengidentifikasi teknik dan keputusan yang perlu dilakukan dalam penyusunan aransemen dan untuk menguji keefektifan software sibelius dalam mendukung suatu orkestrasi. Metode yang digunakan adalah metode kualitatif dengan pendekatan eksploratif. Analisis teks musik digunakan untuk mendapatkan gambaran umum terkait aspek musik dan teknis, sedangkan analisis data dilakukan melalui reduksi data. Dalam penelitian ini ditentukan 3 nara sumber utama untuk mendapatkan informasi mengenai tanggapan karya virtual aransemen Indonesia Pusaka di masa pandemic covid 19. Penelitian ini menemukan bahwa arransemen Indonesia Pusaka mewakili nasionalisme, keberagaman dan alternatif tontonan di masa pandemi, kemudian terdapat 3 elemen dasar dalam eksplorasi aransemen orkestrasi lagu Pusaka Indonesia, yaitu: 1) bentuk aransemen, 2) idiom musik yang dimunculkan, 3) Softwaresibelius memiliki tingkat kesesuaian yang tinggi. efisiensi dalam membantu siswa membuat aransemen dan orkestrasi, juga dapat membantu arranger untuk membuat aransemen orkestrasi tanpa harus melibatkan pemain musik. Penelitian ini dapat menjadi acuan bagi dunia pendidikan musik dalam penggunaan softwaremusik khususnya penggunaan sibelius untuk orkestrasi dan keperluan kreasi musik lainnya.AbstractSibelius Software: Exploration of The Technique of Arranging Indonesian Songs Pusaka by Ismail Marzuki in the Covid 19 Pandemic. This study examines orchestration arrangement techniques through Sibelius software in the song Indonesia Pusaka by Ismail Marzuki. This research aims to identify the methods and decisions that need to be arranged and test the Sibelius software’s effectiveness in supporting an orchestration. The method used is a qualitative method with an exploratory approach. Music text analysis is used to get an overview regarding musical and technical aspects, while data analysis is done through data reduction. In this study, three primary sources were determined to obtain information about the response to the virtual work of the Indonesian Pusaka arranger during the Covid 19 pandemic. This study found that the Indonesia Pusaka arrangement represented nationalism, diversity and alternative spectacle during the pandemic, then there were three essential elements in exploration. Pusaka Indonesia song orchestration arrangements, namely: 1) arrangement form, 2) musical idioms that appear, 3) Sibelius software has a high level of conformity. Efficiency in helping students make arrangements and orchestration can also help the arranger make orchestration arrangements without involving music players. This research can be a reference for the world of music education in the use of music software, especially the use of Sibelius for orchestration and other musical creation purposes.Keywords: exploration; arrangement; Indonesia Pusaka; Ismail Marzuki; Sibelius software
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Narselina, Puput Meinis. "Analisis Bentuk Musikal dan Struktur Lagu Tanah Airku Karya Ibu Soed Aransemen Joko Suprayitno untuk Duet Vokal dan Orkestra." PROMUSIKA 6, no. 1 (August 6, 2019): 31–40. http://dx.doi.org/10.24821/promusika.v6i1.1825.
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Analisis dalam musik adalah pembelajaran untuk menemukan beberapa elemen – elemen musik yang pada prinsipnya meliputi semua aspek dari musik antara lain; melodi, harmoni, ritme, dinamika, dan bentuk musik. Karya tulis ini merupakan analisis bentuk musikal dan struktur lagu Tanah Airku karya Ibu Soed aransemen Joko Suprayitno untuk format duet vokal dan orkestra. Metode penelitian ini merupakan jenis metode penelitian kualitatif dengan pendekatan musikologis kepada arranger. Metode tersebut meliputi tinjauan historis, analisis bentuk musikal dan struktur aransemen. Penelitian ini bertujuan untuk mengetahui bentuk musikal dan struktur lagu Tanah Airku karya Ibu Soed aransemen Joko Suprayitno untuk duet vokal dan orkestraAnalysis of the music is learning to find some of the elements of music which in principle covers all aspects of music, among others; melody, harmony, rhythm, dynamics, and forms of music. This paper is an analysis of musical form and structure of Tanah Airku song from Ibu Soed arrangement works by Joko Suprayitno for vocal duet and orchestra format . This research method is a type of qualitative research methods with musicological approach to the arranger. The method includes a historical review, analysis of musical form and structure of the arrangement. This study aims to determine the musical form and structure of Tanah Airku song arrangement by Joko Suprayitno for vocal duet and orchestra.Keywords: Joko Suprayitno, Analysis of Arrangement of My Tanah Air Song by Ibu Soed
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Christy, Analis, and Abdul Rachman. "Form of Bundengan Traditional Music Arrangement by Sanggar Akustika in Wonosobo." Jurnal Seni Musik 12, no. 1 (June 30, 2023): 1–11. http://dx.doi.org/10.15294/jsm.v12i1.67147.
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Bundengan is one of the traditional musical instruments in Indonesia that originates and developes in Wonosobo Regency, Central Java. The bundengan music group Akustika provides arrangements for bundengan music. This research aims to determine and provide a description of the form of bundengan music arrangement by the bundengan music group Akustika. The method used in this research was qualitative with a musicological approach. Data collection was carried out through observation, interviews, and documentation techniques. Data analysis was conducted through data reduction, data presentation, and conclusion drawing. The research results show that the musical arrangement of Bundengan in Sanggar Akustika, Wonosobo Regency, combines traditional Bundengan musical instruments with instruments such as cak, guitar, keyboard, violin, bass, and drums. The performed music genres include modern pop, campursari, dangdut, nostalgic songs, and regional songs in Indonesia. The basic tones used are C major and G major, with mixed arrangement styles. During the performance, each musical instrument utilizes a limited repetitive playing pattern until the completion of the song. All the instruments in the Bundengan music complement each other and form dynamic and harmonious musical patterns.
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SAPARDANI, FIRMAN. "PENGGUNAAN SOFTWARE ENCORE DALAM MENULIS ARANSEMEN LAGU BAGI GURU SENI BUDAYA SMP DI KABUPATEN SERANG." EDUTECH : Jurnal Inovasi Pendidikan Berbantuan Teknologi 1, no. 3 (December 6, 2021): 268–77. http://dx.doi.org/10.51878/edutech.v1i3.713.
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One of the obstacles faced by art and culture teachers who do not have a background in music art is in teaching arrangement material, especially in terms of writing block notation, as well as in sounding the results of the arrangement. The purpose of this study is to introduce the existence of various music software which is expected to help art and culture teachers in writing and reading notation as well as being able to listen to the results of their arrangements. The research method in this study uses Class Action Research or classroom action research with a qualitative approach, so that teachers get an overview of implementing it in their respective classes step by step. Utilization of this Encore software can solve the problems faced by middle school arts and culture teachers, especially in Serang Regency in teaching the art of music, especially in arrangement material.
ABSTRAKSalah satu kendala yang dihadapi oleh guru seni budaya yang bukan berlatarbelakang seni musik adalah dalam mengajarkan materi aransemen terutama dalam hal penulisan notasi balok, sekaligus dalam hal membunyikan hasil aransemennya. Tujuan dari penelitian ini adalah memperkenalkan keberadaan berbagai software musik yang diharapkan dapat membantu para guru seni budaya dalam menulis dan membaca notasi sekaligus dapat mendengarkan hasil aransemennya. Metode penelitian pada penelitian ini menggunakan Class Action Research atau penelitian tindakan kelas dengan pendekatan kualitatif, agar para guru memperoleh gambaran dalam menerapkan di kelas masing-masing secara tahap demi tahap. Pemanfaatan software Encore ini dapat memecahkan masalah yang dihadapi para guru seni budaya SMP khususnya di Kabupaten Serang dalam mengajar seni musik terutama dalam materi aransemen..
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Kaestri, Veronica Yoni, and Tri Wahyu Widodo. "Konstruksi Aransemen Bagimu Negeri Melalui Penerapan Ilmu Harmoni dan Kontrapung Dasar." PROMUSIKA 9, no. 1 (September 7, 2021): 27–38. http://dx.doi.org/10.24821/promusika.v1i1.5776.
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Artikel ini mengungkapkan proses aktivitas belajar mahasiswa dalam memahami ilmu harmoni dan kontrapung dasar dalam membentuk sebuah aransemen musik. Ilmu harmoni dan kontrapung merupakan ilmu dasar dalam memperlajari penyusunan nada. Dalam proses penyusunan nada terdapat pengetahuan akur, yang terbagi dalam empat suara yaitu sopran, alto, tenor dan bass tersusun secara horisontal. Unsur empat suara memiliki aturan-aturan yang berlaku dalam ilmu harmoni, sedangkan kontrapung dalam proses pembelajaran mempelajari kontrapung instrumental dengan tanganada diatonik dan termasuk dalam musik gaya polifonik. Artikel ini merupakan hasil penelitian proses aplikasi ilmu harmoni dan kontrapung dengan cara mempraktikan membuat aransemen lagu Bagimu Negeri. Tujuan dari penelitian adalah mengajak mahasiswa dan memahami dalam mengaplikasikan ilmu harmoni dan kontrapung. Melalui cara eksperimen merupakan kegiatan dari proses membuat aransemen lagu Bagimu Negeri dengan pendekatan musikologi. Konstruksi aransemen musik melalui penerapan ilmu harmoni dan kontrapung dengan pendekatan musikologi bermanfaat untuk memberikan pengetahuan pada mahasiswa bagaimana mengaransemen lagu. Hasil akhir penelitian yaitu bagaimana mahasiswa praktik mengaransemen lagu menggunakan ilmu harmoni dan kontrapung yang mengkolaborasi antara ilmu harmoni dan kontrapung. Keterbatasan dalam penelitian ini belum mengungkap kontur dan tekstur harmoni dalam aplikasi aransemen musik. Oleh karena itu memerlukan studi yang lebih jauh kembali dalam memahami aplikasi harmoni dan kontrapung dalam proses aransemen.AbstractThe construction of the music arrangement Bagimu Negeri for the application of harmony and basic counterpunch. This article reveals the learning activity process of students of the S-1 Music Study Program of the Faculty of Performing Arts, Yogyakarta Indonesian Institute of Arts, in understanding the science of harmony and contra punt in forming a musical arrangement. The science of harmony and contra punt is a basic science in learning the preparation of tone. There is knowledge of getting along in composing the tone, divided into four sounds: soprano, alto, tenor, and bass arranged horizontally. Element four sounds have rules that apply in the science of harmony. At the same time, contra punt in the learning process learns instrumental contra punt with diatonic hands and in polyphonic style music. This article results from research in the application process of harmonic and counter punt science by making arrangements for songs for the country. The study aims to invite students and understand in applying the science of harmony and contra punt. The way of experimentation is to make arrangements of songs for the country with a musical approach. Construction of music arrangements through the application of harmonic science and contra punt with a musicology approach is helpful for students to arrange songs. The final result of the study is how students practice arranging songs using the science of harmony and contra punt that collaborate between the science of harmony and contra punt. Limitations in this study have not revealed the contours and textures of harmony in musical arrangement applications. It, therefore, requires a further analysis back in understanding the application of harmony and contra punt in the arrangement process.Keywords: the science of harmony and contra punt; musical arrangements; Bagimu Negeri; Harmonic texture
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JONES, DAVID WYN. "HAYDN'S FORGOTTEN QUARTETS: THREE OF THE ‘PARIS’ SYMPHONIES ARRANGED FOR STRING QUARTET." Eighteenth Century Music 8, no. 2 (July 25, 2011): 287–305. http://dx.doi.org/10.1017/s147857061100008x.
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ABSTRACTIn 1787 Artaria, Haydn's publisher in Vienna, issued three versions of The Seven Last Words: the original orchestral version, a quartet arrangement prepared by the composer and a keyboard arrangement sanctioned by him. A year later, in September 1788, Artaria issued three of the recent ‘Paris’ Symphonies, Nos 84, 85 and 86, in an arrangement for quartet. While the quartet version of The Seven Last Words has always been accepted as part of the canon, the three quartet arrangements of the symphonies have been ignored. Sympathetic consideration of a range of evidence, including the bibliographical, historical and text-critical, suggests that Haydn may have been the author of these three quartets.
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Emalisa, Agnes. "Aransemen Nyanyian Kebalai dalam Format Paduan Suara Campuran dengan Iringan Musik Etnis Rote Ndao." Tambur : Journal of Music Creation, Study and Performance 1, no. 1 (June 25, 2021): 60–70. http://dx.doi.org/10.52960/jt.v1i1.34.
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This study aims to describe the arrangement of a kebalai song in the form of a mixed choir along with ethnic Rote Ndao music accompaniment. This research use desciptive qualitative approach. The research data were obtained by means of; 1) Observation, 2) Interview (Interview), 3) Documentation. The tools used are in the form of interview guidelines, field notes, and sibelius as a presentation application. Music analysis is carried out in several stages; 1) selecting the work to be arranged, 2) processing the work (vocal arrangement and instrument arrangement), 3) orchestration and 4) presentation of the arrangement. The validity test uses triangulation sources and data collection. The results showed that the arrangements made were different from the original singing, but were still in a simple form and easy to hear with pop music styles, there was a development in vocal music both in harmony and musical style and for accompaniment there was development in rhythm, melody and alteration patterns. on a chord. The tempo used is moderate from the beginning then after the bridge there is a change in tempo. The form of presenting the kebalai song arrangement is to use sibelius. Vocals use soprano, alto, tenor and bass while the instruments used consist of one melodic instrument and three rhythmic instruments, namely Sasando, gong, drum and cymbal.
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Sejati, Irfanda Rizki Harmono, and Ghazian Arka Fikry. "Proses Kreativitas Aransemen Lagu Lir-Ilir Oleh Grup Musik Rungon Wresthi." Musikolastika: Jurnal Pertunjukan dan Pendidikan Musik 4, no. 1 (June 25, 2022): 10–17. http://dx.doi.org/10.24036/musikolastika.v4i1.79.
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Creativity is a thought or idea that exists in a person to create new things that have never been thought of by others, including in terms of arrangement. In the arrangement there is a process of creation, because the music to be arranged is the basic material, while the music that has been arranged must contain overall plus values both in chords, melodies, accompaniment patterns, fillers and counter melodies. Rungon Wresthi is one of the music groups located in the city of Semarang. This musical group has its own uniqueness and charm in presenting its musical creativity. This study uses a qualitative research method with descriptive exposure, with the aim of revealing the creative method and background of the Rungon Wresthi music group in composing songs. The results of this study can be seen from the four elements of creativity from Rhodes' theory which show how Rungon Wresthi has creativity in creating works which in this context are in the form of Lir-Ilir song arrangements.
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Eko AgusSetiawan. "PERANAN ARANSEMEN MUSIK GEREJA MODEREN TERHADAP DINAMIKA IBADAH." JURNAL TABGHA 4, no. 1 (April 30, 2023): 46–55. http://dx.doi.org/10.61768/jt.v4i1.68.
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Music arrangement is one of the important things to pay attention to its use in worship by everyone who is expected to make a positive contribution to the development of music specifically for the church, and in general for the Indonesian people in the future. This is one of the ways in which popular culture works in the modern church based on the author's understanding of the general values developed in worship by the church today as the foundation for the development of music at a later stage. This study uses a descriptive qualitative method with the process of collecting data through interviews, observation, and documentation of participants. Based on the data analysis conducted, it was concluded that the role of modern church music arrangements has an influence on the dynamics of church worship. In applying the role of church music arrangements to the dynamics of worship, music ministers need an understanding of the importance of musical arrangements and an understanding of how patterns of developing effective arrangements in carrying out worship activities.
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Strelchenko, K. M. "Modern arrangements and transcriptions of pieces for accordion in terms of sound timbre instruments specificity." Musical art in the educological discourse, no. 2 (2017): 92–96. http://dx.doi.org/10.28925/2518-766x.20172.9296.
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The article is devoted to comparative analysis of the characteristics and differences of sound and timbral features of accordion with other musical instruments in the creative process of arrangement and transcription of original music. This article has examples of some musical pieces for the practical examination of key aspects of this question. There were always many aspects of the problems of concert performance of accordionists. However, the problem of music genres of repertoire, that helps to achieve impressive effect of performance and sense of confidence in broader stylistic possibilities of the instrument, is of special importance today. Therefore, the purpose of article is more extended consideration of the issue of uncomfortable acoustical sounding of accordion in a considerable number of episodes of pieces of music that are not created for this instrument. The concert program of contemporary accordionists, which has the arrangements and transcriptions for accordion of original pieces of music, is complete and perfect. Expanding of the stylistic frontiers of repertoire and increase capabilities of performance of classical, pop and jazz music of different genres and styles will solve many problems associated with the increasing popularity of accordion. Today the need for the use of accordion as original instrument in musicians’ performance practice is urgent. Transcriptions and arrangements are aimed at preparation and adaptation of the original music to perform for another ensemble or other instrument for which the composition was not originally created. The main task is to facilitate the articulation of sound palette of the accordion. It gives the opportunity to create transcription and arrangement in such way that the listener perceives the piece of music as music written for musical instrument that he hears at that time. To perceive and understandand original music, it is advisable to listen to it from the best professional music groups and musicians. Such performance as usual makes a great impression and expands the imagination but in their original genre. When a musician plays their arrangement he recalls what he heard and experienced when he was at the music hall. Naturally the creative personality wishes to recreate from what he was amazed, but he must play the music written for other musical instruments and groups using a different approach to understanding and implementing the image of high performance art.
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Yoo, Ga Eul, Sujin Lee, Aimee Jeehae Kim, Seung Hong Choi, Hyun Ju Chong, and Sunghyouk Park. "Differential Background Music as Attentional Resources Interacting with Cognitive Control." International Journal of Environmental Research and Public Health 19, no. 22 (November 16, 2022): 15094. http://dx.doi.org/10.3390/ijerph192215094.
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We examined the effects of background music on cognitive task performances using different musical arrangements from an excerpt of Mozart’s Piano Sonata K.448. The participants were 126 university students: 70 music majors and 56 nonmusic majors. Three types of musical arrangements were used as background conditions: rhythm-only, melody, and original music conditions. Participants were asked to perform cognitive tasks in the presence of each music condition. The participants’ percentage of completed items and accuracy on these tasks were compared for music and nonmusic majors, controlling for the effect of perceived level of arousal and their performance during no background music. Whether a participant’s perceptions of background music predicted their cognitive performance was also analyzed. We found that music majors demonstrated decreased task performance for the original background condition, while nonmusic majors demonstrated no significant differences in performance across the arrangements. When pitch or rhythm information was modified, emotional valence and arousal were perceived differently. Perception of the complexity of the background music depending on the arrangement type differed between music majors and nonmusic majors. While the perceived complexity significantly predicted nonmusic majors’ cognitive performance, its predictive effect was not found in music majors. The findings imply that perceptions of musical arrangements in terms of expectancy and complexity can be critical factors in determining how arrangements affect concurrent cognitive activity, while suggesting that music itself is not a facilitating or detrimental factor for cognitive performance.
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Enyi, Dan. "HARMONIZING TRADITIONS: CULTURAL SYNTHESIS THROUGH PIANO ADAPTATIONS OF CHINESE FOLK SONGS." Baltic Journal of Legal and Social Sciences, no. 1 (April 18, 2024): 149–55. http://dx.doi.org/10.30525/2592-8813-2024-1-17.
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Abstract. The field of processing and arrangement of folk songs has been notably captivating for composers, as it unveils unexplored possibilities through piano, introducing new tonal expressions for well-known folk tunes. This research synthesizes methods from philosophy, cultural studies, history, and musicology. The dominant creative trend among Chinese composers is the adaptation and arrangement of their national art, diversifying the portrayal of musical content and promoting the global popularity of beloved national melodies. The works in arrangements, orchestrations, and transcriptions serve adaptive, enlightening, didactic, and concert functions in Chinese culture. The classification of these genres follows the European musicological tradition, as there is no precise definition in Chinese musicology. The analysis of piano arrangements reveals an inseparable connection to national musical traditions in terms of genre, form, tonality, timbre, and rhythm. The growing interest of European composers and performers in incorporating Chinese professional music genres opens avenues for studying new relationships and assimilating expressive elements of Chinese musical language within the European music context.
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Yeremenko, Liliia, and Anna Kichapina. "The Musical Arrangement of a Live-Action Film." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (December 24, 2021): 252–59. http://dx.doi.org/10.31866/2617-2674.4.2.2021.248737.
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The purpose of the study is to analyze the characteristics of a live-action film’s musical arrangement; to identify the impact of musical arrangement on the audience’s perception, on the example of the film composer Eric Serra’s works. The research methodology is to apply the following methods: theoretical – analysis of the music functions in making a film and the implementation of the director’s vision, generalizing the influence of musical arrangement on the viewer. Scientific novelty. The functions of film music that help in creating a live-action film were analyzed for the first time, a detailed analysis of the interdependence of music and visuals was made, by theoretical analysis of music functions; it has been found out how it affects the perception of the audience. Conclusions. In the article, we analyzed the functions of musical arrangement in a live-action film. Through the analysis of the influence of music on the audience’s perception, it has been established how the musical arrangement helps to realize the author’s vision. The role of music in making a live-action film has been researched. Through theoretical and practical research of various cinematography aspects that are relevant at the moment (in particular, the problem of the sound space in a movie), it becomes possible to reach a new aesthetic level of design, creation, perception and understanding of cinematic works.
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Richie, Richie, and Gregorius Genep Sukendro. "ROCK MUSIC IN FORMATION OF FAN BEHAVIOR (A CASE STUDY OF SLANK FANS CLUB CENTER)." International Journal of Application on Social Science and Humanities 1, no. 1 (February 23, 2023): 165–72. http://dx.doi.org/10.24912/ijassh.v1i1.25780.
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Music is a work of art that exists and develops in society, in its development music gave birth to many diverse genres/types, one of which is the rock music genre. Rock music, which is one of the popular music genres globally, certainly has many fans whose behavior is shaped by rock music so researchers are interested in researching rock music. The purpose of this study is to find out how rock music impacts the formation of rock fan behavior and to find out what fan behavior is formed from rock music. This study uses a qualitative descriptive research approach with case study methods. Data was collected by conducting interviews, documentation and literature studies. The results obtained through this research is that music is a form of mass communication, and mass communication is one of the places to carry out persuasive communication activities. Rock music impacts fan behavior through various elements in music, but the elements that have an essential influence are lyrics and arrangement. Lyrics have a significant impact in shaping behavior because they are considered honest and represent the fans who want freedom. This freedom is voiced by rock music so that fans experience a sense of justification for being naughty. Rock music arrangements that are difficult to hum but have much aesthetic meaning bring fans deeper into rock music because of the uniqueness of the arrangement. In rock music, the messages mainly conveyed represent various life problems and conflicts. Fans feel represented to absorb persuasive messages in rock songs and practice them in life. The behavior of fans formed is an attitude to appreciate a work, mature nature and have the freedom to dress.
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Rastruba, T., and K. Kushnir. "USE OF MODERN MUSIC AND COMPUTER TECHNOLOGIES IN THE DISCIPLINE STUDY «CHORAL ARRANGEMENT»." Research Notes, no. 1 (May 4, 2022): 76–83. http://dx.doi.org/10.31654/2663-4902-2022-pp-1-76-83.
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Modernization of the education system of Ukraine involves changing the content of the training process for future professionals in the field of computer music. Taking into account the specifics of the training of music teachers, the approach to the choice of modern educational tools is changing. This allows us to emphasize the features of professional music education in Ukraine. The urgency of this topic is due to the widespread use of computers in modern music and pedagogical practice, a significant amount of scientific work in the field of theory of computer technology and its insufficient use in the educational and creative process of students of higher education institutions. The aim of this article is to reveal and analyze modern approaches to the use and application of music and computer technology in the study of choral arrangement and their important impact on the quality of training of future music teachers. The article describes the stages of learning that take place in the study of the discipline «Choral Arrangement» and focuses on the need to introduce innovative approaches, methods, forms and teaching aids using different types of technical means, namely: computer, synthesizer, electronic textbooks, Internet technologies and modern music and computer programs. An important place in the analytical review of the literature was occupied by published materials on the use of computer technology in music education. An analysis of the main research and publications on this issue, as well as the authors’ own observations, led to the conclusion that the use of modern music and computer technology is essential in choral arranging classes. Activation of students’ independent work in performing choral arrangements with the help of computer programs «Music Editor» and computer music programs for recording, processing and arranging choral works helps to intensify learning and interest of students in their future profession.
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Li, Jianhua. "Automatic Piano Harmony Arrangement System Based on Deep Learning." Journal of Sensors 2022 (July 25, 2022): 1–13. http://dx.doi.org/10.1155/2022/7662443.
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Harmony, which plays an important role in enriching melody expression, is a combination of multiple notes. Melody coordination involves adding harmony effect to a single note of melody, which involves professional knowledge of basic music theory and harmony rules, and requires a high technical threshold. Under the macro background of deep learning and neural network technology, artificial intelligence is widely used in music retrieval, music creation, and music teaching. In this article, we provide a powerful tool for piano music creation by manually arranging melody and harmony instead of using deep learning. In this paper, harmonic elimination is divided into three subtasks: note detection, measurement, and multifundamental frequency estimation and model training. The music signal is divided into several segments by note detection, and the main notes and harmonic components of each segment are extracted by multifundamental frequency estimation, which are used as the features and labels of the neural network, so as to give a model with the ability of arrangement and harmony.
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Gong, Tianzhuo, and Chunli Han. "Construction of an Intelligent Arrangement Model for Vocal Music Based on HPC Cluster Programming." Scientific Programming 2022 (May 26, 2022): 1–13. http://dx.doi.org/10.1155/2022/9728085.
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We model in this paper the HPC cluster programming structure and perform a multidimensional computational analysis to design a vocal intelligent arrangement model based on HPC cluster programming using brilliant vocal arrangement. This paper proposes the construction scheme of the HPC interconnection simulation environment based on the full investigation of the research related to the construction of a supercomputer simulation environment at home and abroad. The rapid development of HPC technology has promoted the study of automatic music generation technology, which effectively avoids the traditional machine learning method of music. The rapid growth of HPC technology has facilitated the research of automated music generation techniques, which effectively avoids the overreliance of conventional machine learning methods on music rules and artificial design features. It achieves better results in complex music generation tasks. The key features of intelligent music arrangement are designed and implemented by summarizing the principles of converting paintings to music and then creating the rules of converting images to music and the corresponding relationships based on the theoretical basis. After the conversion rules are clarified, the specific design is carried out according to the computing process of the genetic algorithm. At the same time, the framework of the arrangement is combined with children’s aesthetic psychology; the evolutionary adaptation function is developed in combination with music theory, which finally ensures the motility of the generated music.
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Murcahyanto, Hary. "Aransemen Lagu Lembaga Kita Dalam Ansambel Campuran." PROMUSIKA 8, no. 1 (April 3, 2020): 30–35. http://dx.doi.org/10.24821/promusika.v1i1.4196.
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Lagu Lembaga Kita karya TGKH. Muhammad Zainuddin Abdul Majid sebelumnya berbentuk musik kasidah kemudian diaransemen dalam musik electon. Lagu Lembaga Kita memiliki bentuk musik dan pola akor yang sederhana, tetapi cukup dikenal dan popular dikalangan masyarakat khusunya kalangan masyarakat Nahdlatul Wathan. Seiring perkembangan zaman dan sudah beberapa tahun belum ada bentuk aransemen yang baru, maka peneliti bertujuan untuk mengaransemen lagu tersebut dengan mendeskripsikan bentuk, struktur dan pola aransemen lagu Lembaga Kita dalam ansambel campuran. Jenis penelitian ini menggunakan metode deskriftif kualitatif, sedangkan tekhnik pengumpulan data dilakukan dengan tekhnik triangulasi data yaitu observasi wawancara, dan pengumpulan data dengan dokumen. Data yang didapat kemudian dikaji dan diaransemen atau digubah kedalam bentuk ansambel campuran. Dari hasil penelitian yang dilakukan maka dapat ditarik kesimpulan sebagai berikut: Lagu Lembaga Kita termasuk ke dalam struktur homophony, dilihat dari tekstur musiknya dan dilihat dari struktur aransemennya. Terdapat 88 birama pada lagu Lembaga Kita secara keseluruhan oleh beberapa instrument biola 1, biola 2, biola3, piano, bass, guitar elektrik, guitar klasik, drum dan paduan suara dan dimainkan dalam tangga nada E minor atau tangga nada 1# yang berarti G mayor.AbstractArrangement of Lembaga Kita Songs in Mixed Ensembles. Lembaga Kita song creat by TGKH. Muhammad Zainuddin Abdul Majid was previously in the form of Kasidah music then arranged in electone music. Lembaga Kita song has a simple form of music and chord pattern, but it is well known and popular among the people, especially the Nahdlatul Wathan people. Along with the times and there have been no new arrangements for several years, the researchers aim to arrange the song by describing the shape, structure and pattern of the arrangements of the Lembaga Kita song in a mixed ensemble. This type of research uses qualitative descriptive methods, while data collection techniques are carried out with data triangulation techniques, namely interview observation, and data collection with documents. The data obtained is then reviewed and arranged or changed into a mixed ensemble. From the results of the research conducted it can be concluded as follows: Lembaga Kita song is included in the structure of homophony, seen from the texture of the music and viewed from the structure of the arrangement. There are 88 bars on the Lembaga Kita song as a whole by several violin instruments 1, violin 2, violin 3, piano, bass, electric guitar, classical guitar, drums and choir and played on the E minor scale which means G majorKeywords: arrangement; Lembaga Kita Song; mixed ensemble
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Fikri, Ioqo Alhamra, and Ardipal Ardipal. "PERUBAHAN STRUKTUR DAN ARRANSEMEN MUSIK GAMAD DI KOTA PADANG." Gorga : Jurnal Seni Rupa 8, no. 2 (November 16, 2019): 369. http://dx.doi.org/10.24114/gr.v8i2.15279.
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AbstrakMusik Gamad merupakan sebuah kesenian khas dari kota Padang yang mana pada dasarnya secara musikologi kesenian ini masih tergolong dalam klasifikasi musik melayu namun memiliki keunikan tersendiri dikarenakan pantun-pantun yang menjadi syair lagu dinyanyikan dalam bahasa Minangkabau dan juga bersifat spontan.kesenian ini juga merupakan sebuah bentuk akulturasi dari beberapa budaya masyarakat yang ada di kota padang pada era perkembanganya hingga pada saat ini.dilatar belakangi oleh kedatangan bangsa portugis dengan budaya musik barat dengan cepat menjadi daya tarik bagi bumi putra dalam konsep bermain musik sehingga pada sebelumnya pantun hanya dinyanyikan oleh vokal dengan iringan gendang tradisional kemudian bertambah dengan alat musik seperti akordeon,biola dan gitar.musik gamad pun dengan cepat menjadi sebuah kesenain yang populer di kota padang,namun dengan seiring perkembangan zaman dan pergeseran nilai-nilai sosial yang terjadi dalam masyarakat kota padang turut mempengaruhi kesenian ini sehingga terjadilah perubahan struktur dan bentuk dalam arransemen musik gamad di kota Padang. Kata Kunci: gamad, struktur, bentuk, arransemen.AbstractGamad music is a distinctive art from the city of Padang, which is basically a musical artistry is still classified in the Malay music classification but has its own uniqueness because the poems are poetry sung in the Minangkabau language and are also spontaneous. This art is also a form acculturation of several cultural communities in the city of Padang in the era of its development until today. The background of the arrival of the Portuguese with Western music culture quickly became an attraction for the son of the earth in the concept of playing music so that in the past pantun was only sung by vocals with accompaniment traditional drum and then increased with musical instruments such as accordions, violins and guitars. Gamad music also quickly became a popular game in the city of Padang, but with the development of the times and the shifting of social values that occur in the city of Padang society also influence to this art so that there was a change in structure and shape in the gamad music arrangement in the city of Padang.Keywords: gamad, structure, shape, arrangement.
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Yulfita, Ade Febri, and Asril Asril. "Hibridisasi pada Musik Keroncong dalam Lagu Bugih Lamo oleh Grup Orkes Keroncong Buana Lestari Sawahlunto." Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik 3, no. 2 (October 30, 2023): 61–72. http://dx.doi.org/10.30872/mebang.v3i2.88.
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Minang pop song Bugih Lamo was composed by Syahrul Tarun Yusuf and arranged by the Buana Lestari Keroncong orchestra to become keroncong music. Bugih Lamo songs are already in the form of hybrid music between local and global cultures. The original musical arrangement uses modern musical instruments and uses diatonic tones. Keroncong music is also a hybrid music, so the two musical genres have adapted music globally following the western diatonic scale. The concept of the musical arrangement performed by the Buana Lestari Keroncong Orchestra in the Bugih Lamo song in the form of keroncong, by incorporating elements of keroncong music and other elements of Minang traditional music. The purpose of this study was to see the hybridization process in the keroncong music of the Buana Lestari Keroncong Orchestra. The method used is a qualitative method with the presentation of data is descriptive analysis. The results of this study indicate that there is hybridization and ambivalence in the arrangement of Bugih Lamo’s songs, where there is an assimilation between pop, keroncong, and traditional music. Data collection was carried out based on observation, documentation, and interviews with the artist’s work.
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Panjaitan, Hulman. "UNDANG UNDANG NOMOR 28 TAHUN 2014 TENTANG HAK CIPTA DAN PERLINDUNGAN HUKUM BAGI PENCIPTA KARYA CIPTA MUSIK DAN LAGU." to-ra 5, no. 1 (May 13, 2019): 19. http://dx.doi.org/10.33541/tora.v5i1.1193.
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Abstract
The meaning of song and music is different, but copyright literature does not seem to distinguish them. In the library of international law, the term commonly used to refer to a song or music is musical work. The Bern Convention states that one of the protected works is music compositions with or without words. There is no explicit description in the Bern Convention about what musical work really is. However, from the existing provisions it can be concluded that there are two types of music creation that are protected by copyright, namely music with words and music without words. Music with meaningful words is a song whose elements consist of melody, arrangement lyrics, and notation, while music without words is music that only consists of elements of melody, arrangement and notation.
Keywords: copyright literature; the Bern Convention; protected works.
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Burleigh, Ian G. "Computer-Assisted Tone Arrangement Using Calculated Consonance." Contemporary Music Review 32, no. 5 (October 2013): 447–58. http://dx.doi.org/10.1080/07494467.2013.849873.
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Thormäählen, Wiebke. "Playing with Art: Musical Arrangements as Educational Tools in van Swieten's Vienna." Journal of Musicology 27, no. 3 (2010): 342–76. http://dx.doi.org/10.1525/jm.2010.27.3.342.
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Art played a significant part in the educational ideal promoted by German intellectuals in the late eighteenth century. Gottfried van Swieten, President of the Court Commission for Education in Vienna and librettist for The Creation, was instrumental in developing and promoting the role of art in the moral education of the individual. His encouragement of active engagement with art sheds new light on the common practice of arranging musical "classics"——in particular large-scale vocal works——for smaller instrumental forces around 1800. Van Swieten's writings suggest that such arrangements may be understood not merely as entertaining trifles but as the product of the sociopolitical mores of the Enlightenment. Inviting the direct, interactive experience of art, the arrangement of Joseph Haydn's Creation for string quintet was particularly suited to the moral and social education of the individual. Grounded at least in part in archaic compositional practices, it demonstrated an artwork's adaptability to different circumstances of performance and to the different levels of education of its performers. Moreover, the act of playing the arrangement, one to a part, allowed for the honing of an individual's inner sociable sentiment through collaboration with fellow performers.
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Cao, Chuan. "Creation Characteristics of Music Piano Arrangement Based on Distributed Sensors." Mobile Information Systems 2022 (August 19, 2022): 1–11. http://dx.doi.org/10.1155/2022/3086542.
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Music piano arrangement is a popular creation method among the public at present, which can play a role in the promotion of traditional culture and the combination of popular culture. However, the traditional method of analyzing the creative characteristics of musical piano arrangements has limitations, and it is not suitable for today’s public review era. In this paper, to address the limitations, distributed sensor technology is employed. It utilizes the Top-k query method, KNN (one of the most basic approaches in data mining classification technology is the proximity algorithm, often known as the K closest neighbor classification algorithm) algorithm, and fused balance algorithm to classify the creative features of musical piano arrangements. It collects 50 classic piano arrangements and studies its compositional style, melody, and tone. The data results showed that, for the style characteristics, each algorithm has a high recognition rate for passion songs, and the three errors are small; for the melody characteristics, because the KNN algorithm has a delay in determining the rising tempo, the overall melody is not grasped correctly, and the Top-k query method is not sensitive to the descending tempo, and the recognition rate is low; for the tonal characteristics, the Top-k query method has a larger range of low-key judgments, so that the number of identifications is larger. As for the energy consumption of the system, as the number of nodes increases, the energy consumption of the three algorithms also increases gradually. Among them, the Top-k query method has the largest energy consumption, exceeding 400 W at 180 nodes, and its energy consumption growth rate continues to increase. The fusion algorithm fluctuates greatly, while the KNN algorithm is stable. This shows that KNN algorithm is more stable in terms of system performance, and its characteristics can be better summarized in the creation and research of piano adaptation.
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Omotosho, Mary Taiwo, and Femi Abiodun. "Pathos in the structure of Laz Ekwueme’s Choral Music: Hombe." Journal of the Association of Nigerian Musicologists 16, no. 1 (August 22, 2022): 158–70. http://dx.doi.org/10.4314/janm.v16i1.12.
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Studies have covered analysis in Western and African compositions to include a detailed description of the arrangement of every segment of the music. However, less structural analysis has ventured into the pathos of the arrangement of the musical segments. Engaging in the pathos of the structure of Laz Ekwueme’s choral music (Hombe) will bring to limelight how musical structure enhances emotions and psychological feelings. Methodology relies on analysing the musical elements explored in the composition and close score reading of Hombe using structural analysis model. The result shows that Ekwueme employed the Western four-part chorus arrangement as an ornamental device to establishing the diverse African music elements such as repetition of thematic idea in all parts for emphasis, syncopation, varied tempo and shifting accents and tonality thereby enhancing varied moments of emotions, affects and excitement. The paper concludes that the arrangement of different segments of Hombe created moments of extraordinary pathos evoking different emotions and psychological feelings. Musical structure is thus a compositional device with the power to evoke feelings thereby creating a characteristic pattern of a musical style.
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Ruswanto, Yohanes, and Juanita Theresia Adimurti. "Church music inculturation by way of an experiment of arrangement of Dolo-Dolo mass ordinarium accompaniment- composed by Mateus Weruin for woodwind quintet." Harmonia: Journal of Arts Research and Education 17, no. 1 (August 15, 2017): 23. http://dx.doi.org/10.15294/harmonia.v17i1.8467.
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<p class="IsiAbstrakIndo"><span lang="EN-GB">Inculturation of Church music in an experiment of creating this arrangement aims to bring a different form of musical ordinarium accompaniment form of <em>Dolo-Dolo</em> Mass from Flores, with a different media that uses the woodwind quintet (flute, oboe, clarinet, French horn, and Basson). The experiment took one of the ordinary songs from <em>Madah Bakti</em> “<em>Tuhan Kasihanilah Kami</em>”. The harmonization fine-tunes to the chorus arrangement composed by Mateus Weruin. The literature study was conducted through collecting references on the art of <em>Dolo-Dolo</em> and woodwind quintet so it can be used to create an idea for </span><span lang="EN-GB">this arrangement. The result shows that a rhythmic character that characterizes the traditional Flores music lies in a dotted sixteenth pattern. The richness of sounds and agile characters coming from each instrument creates a percussive atmosphere of Flores folk music. The result of the arrangement experiment can be used to enrich the reference of accompaniment music to the general public and specifically, the Catholic Church. </span></p>
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Martin, Jodie L. "Writing about music: The selection and arrangement of notation in jazz students’ written texts." British Journal of Music Education 35, no. 1 (September 12, 2017): 73–89. http://dx.doi.org/10.1017/s0265051717000171.
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Music notation is intrinsic in the composition and performance of Western art music and also in its analysis and research. The process of writing about music remains underexplored, in particular how excerpts of music notation are selected and arranged in a written text, and how that text describes and contextualises the excerpts. This article applies ‘semantic gravity’ from Legitimation Code Theory to characterise notational excerpts and their integration in a written text, by focusing on how closely they are connected to a particular performance or generalised across performances. It illustrates these concepts with case studies of tertiary students’ research projects to reveal how different purposes drive different notational usage when writing about music. This provides insight for music educators on how to support writing about music and the use of notational quotes.
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Dellavani, Charitra Yulia Dien Wardihastri, Mulyanto Mulyanto, and Edi Kurniadi. "Aransemen Lagu Widodari Karya Denny Caknan sebagai Media Pembelajaran Musik Keroncong di SMK Negeri 8 Surakarta." Resital:Jurnal Seni Pertunjukan 24, no. 2 (August 3, 2023): 146–56. http://dx.doi.org/10.24821/resital.v24i2.8767.
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SMK Negeri 8 Surakarta, a high-school level formal educational institution, focuses on preserving the values of local wisdom in globalization era through art education. One of the methods is strengthening character education through Keroncong music subjects. In this research, the action was done through the elaboration of local wisdom values in Keroncong music by arranging a popular song among millennials entitled Widodari by Denny Caknan. The objective of this research is examining the relationship between the arrangement of Widodari song by Denny Caknan as a medium for learning Keroncong music to preserve the values of local wisdom and as a form of character education at SMK Negeri 8 Surakarta. In this research, the author implemented descriptive qualitative approach using Miles and Huberman's interactive model as a data analysis technique. It included data collection, data reduction, data display, and conclusions: drawing/verifying. Through the arrangement of Widodari songs as a medium for learning Keroncong music, the results reveal that the values of local wisdom in Keroncong music are aesthetic values, mutual aid values, and tolerance values. All of them can be conveyed through musical aspects, such as harmony and ensemble play of each Keroncong instrument.SMK Negeri 8 Surakarta sebagai lembaga pendidikan formal memiliki konsentrasi dalam pelestarian nilai-nilai kearifan lokal di tengah arus globalisasi melalui pendidikan seni, salah satunya dengan menguatkan pendidikan karakter melalui mata pelajaran musik keroncong. Upaya yang dilakukan yaitu dengan mengelaborasikan nilai-nilai kearifan lokal dalam Musik Keroncong dengan mengaransemen lagu yang popular dikalangan milenial, yaitu lagu Widodari karya Denny Caknan sebagai media pembelajaran. Berdasarkan hal tersebut, artikel ini berfokus untuk mencermati relasi antara aransemen lagu Widodari karya Denny Caknan sebagai media pembelajaran musik keroncong dengan upaya pelestarian nilai-nilai kearifan lokal dan pendidikan karakter di SMK Negeri 8 Surakarta. Penelitian ini dilakukan menggunakan pendekatan kualitatif deskriptif, dengan model interaktif Miles & Huberman sebagai teknik analisis data yang memiliki komponen data collection, data reduction, data display, dan conclusions: drawing/verifying. Melalui aransemen lagu Widodari sebagai media pembelajaran musik keroncong, diperoleh hasil bahwa nilai-nilai kearifan lokal yang ada dalam musik keroncong seperti nilai estetika, nilai gotong royong, dan nilai toleransi dapat tersampaikan secara baik melalui aspek musikal, seperti harmoni dan permainan ansambel dari masing-masing instrumen keroncong.
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De Carvalho, Juliano Maurício, Camila Roberta Muniz Serra, and Victor Simoes Zamberlan. "The music sector in the city of Bauru: characteristics of a potential local productive arrangement." CONTRIBUCIONES A LAS CIENCIAS SOCIALES 17, no. 2 (February 8, 2024): e5013. http://dx.doi.org/10.55905/revconv.17n.2-035.
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The research problem of this study arises from the identification of characteristics of the potential of the music sector in the city of Bauru through two categories of the Local Productive Arrangement of music. In order to achieve the objective of presenting the interaction between the creative nucleus and show production categories in the city of Bauru, a bibliographical survey was carried out with reference to the creative economy, the music sector in the city of Bauru and the local productive arrangement for music. Field research was then carried out focusing on two specific areas of the music sector in the city of Bauru, such as the creative nucleus and the production of shows. After this analysis, we identified the profile of the members of these categories, the frequency of performances, how they are hired, working conditions and challenges.
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Buravska, А. А. "Arrange as an object of copyright: concept, essence, protection." Uzhhorod National University Herald. Series: Law, no. 67 (January 16, 2022): 64–68. http://dx.doi.org/10.24144/2307-3322.2021.67.12.
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The article is dedicated to the study of the problems of legal regulation of arrangements as an object of copyright. The urgency of the issue is due to the increasing demand for the creation of this object of copyright and the imperfection of its legal regulation. The methodological basis of the study consists of a number of general scientific and special scientific methods, in particular, comparison, generalization, dialectical and formal-legal method, as well as systematic and complex analysis. In the article, the opinions of scholars and legislative provisions on arrangements, derivative works and musical works are analysed and based on the analysis the concept of the term "arrangement" is given, and its essential features are defined. Thus, an arrangement is objectively expressed, a creative reworking of another existing work, expressed through sounds and consists of arranging another piece of music (for other instruments or folds), and/or processing its melody for performance on a musical instrument or voice with accompaniment. The essential features of an arrangement are considered to be the following: a creative reworking of another existing work; internal completeness and motivation of the whole; individualisation of the work; an objective form of expression; the need to express the essence through different sounds; and dependence on the original musical work. The article focuses on jurisprudence in the field of disputes related to the infringement of the rights of the author of the original work when performing an arrangement and creating a derivative work. The provisions concerning the means of copyright protection for arrangements are summarised. The state of the law in the field of legal regulation of arrangements and copyright and derivative works, in general, is analysed. Article 1 of the Law of Ukraine "On Copyright and Related Rights" is proposed to be supplemented by the term "arrangement" to be understood in accordance with the above.
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Urniežius, Rytis. "Arrangement competences of music teachers : readiness to meet unexpected." Musicologica Brunensia, no. 2 (2020): 139–47. http://dx.doi.org/10.5817/mb2020-2-8.
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Fitri, Putri Ariska, Jagar Lumbantoruan, and Irdhan Epria Darma Putra. "ARANSEMEN LAGU AYAH." Jurnal Sendratasik 8, no. 3 (February 11, 2019): 9. http://dx.doi.org/10.24036/jsu.v7i3.103277.
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AbstractThe purpose of this work is to arrange Ayah song as a form of expression of the author's musical experience in arranging, making musical arrangements that are relevant to the works of musical works of students and maximizing the potential of human resources (students) in school. In this work, the author uses a mixed ensemble presentation format. The musical instruments used for accompanying vocals are pianika, piano, guitar, bass, and drum-set. This arrangement uses 2 parts, namely part A and part B with a time signature of 4/4. Part A starts from 1 time to 46 time and part B starts from the time of 47 to 103. The musical arrangement of this work contains lyrics that tell about the attitude of a father who loves and protects his child. The development techniques applied are (1) repetition melodically and rhythmically, (2) sequences, (3) augmentation, (4) diminution, and various other techniques without changing the essence of the song Ayah.Keywords: Arrangement, School Music, Father's Song.
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Ni Luh Sustiwati, Ni Wayan Ardini, and I Komang Darmayuda. "Creation of Learning Videos on Balinese Folk Song Arrangements for Junior High School Art and Culture Teachers in Buleleng Regency and Denpasar City." Mudra Jurnal Seni Budaya 39, no. 3 (July 4, 2024): 336–46. http://dx.doi.org/10.31091/mudra.v39i3.2772.
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The purpose of this research is to comprehend the learning of group vocal arrangements including their forms and stages for the environment of arts and culture teachers at junior high school in Buleleng Regency and Denpasar City through making related learning videos. The research method used is qualitative and quantitative, with data collection techniques through interviews, observation, document study, discography, and questionnaire. The theory used is the theory of analysis of the form and structure of the song and the theory of function. Primary data sources were obtained from interviews, observations, and discography (VCD). Secondary data was obtained from books, journals, and internet materials. The results showed that by providing material for Balinese folk songs arrangement in group vocals at the level of junior high school teachers in Buleleng Regency and Denpasar City through a video learning process, students' interest in learning music arrangement increased and allowed them to practice directly conveying the results of the arrangement in group vowel form.
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Huang, Jiun-Long, Shih-Chuan Chiu, and Man-Kwan Shan. "Towards an automatic music arrangement framework using score reduction." ACM Transactions on Multimedia Computing, Communications, and Applications 8, no. 1 (January 2012): 1–23. http://dx.doi.org/10.1145/2071396.2071404.
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Atar, Ron. "Form created by performance: Bartók's recording of his Improvisations op. 20." Studia Musicologica 48, no. 1-2 (March 1, 2007): 103–11. http://dx.doi.org/10.1556/smus.48.2007.1-2.6.
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Abstract Bartók's “Continental” 1942 recording of Improvisations op. 20 provides us with invaluable insights into his aesthetics and nature. This is a special case study in which Bartók redesign the composition through his performance. In this rendition the simple structure of most of the eight pieces that construct the composition (alternations between arrangements of the Hungarian peasant songs and transitions section in between them), turn into temperamental micro-drama of associations, flowing without any hesitations from Bartók's mind to his fingers. The folk song arrangements are played in various performing styles, related directly to the written texture, while the transition sections played in more personal style. Here, in these transitional sections, Bartók the romantic, emotional pianist is revealed. These transitions are used by him as improvisatory pauses, used mainly for musical reflections dealing with his performance style of the preceded folk song arrangement or the one that follows. The current article introduces and examines some of the insights evoked by Bartók's recording of this composition.
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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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Wang, Ting Jun. "General Technologies of Music Playing Robots." Applied Mechanics and Materials 184-185 (June 2012): 1570–73. http://dx.doi.org/10.4028/www.scientific.net/amm.184-185.1570.
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Main common technologies of music playing robots are presented based on a xylophone playing robot design and implementation. The research on the common technologies for music playing robots discussed overall arrangement, mechanism structure, transmission mode, control system, music program environmental sensing, behavior, behavior and strategy. Some factors of effecting on music playing robots are discussed. A xylophone-playing robot is analysed and its common technologies are introduced. The xylophone-playing robot realized unmanned playing music via the expectant music control program.
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Cowgill, Rachel. "An Unknown Handel Arrangement by Mozart?: The Halifax Judas." Musical Times 143, no. 1878 (2002): 19. http://dx.doi.org/10.2307/1004420.
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Shi, Shuo, Shuting Xi, and Sang-Bing Tsai. "Research on Autoarrangement System of Accompaniment Chords Based on Hidden Markov Model with Machine Learning." Mathematical Problems in Engineering 2021 (October 13, 2021): 1–10. http://dx.doi.org/10.1155/2021/6551493.
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Accompaniment production is one of the most important elements in music work, and chord arrangement is the key link of accompaniment production, which usually requires more musical talent and profound music theory knowledge to be competent. In this article, the machine learning model is used to replace manual accompaniment chords’ arrangement, and an automatic computer means is provided to complete and assist accompaniment chords’ arrangement. Also, through music feature extraction, automatic chord label construction, and model construction and training, the whole system finally has the ability of automatic accompaniment chord arrangement for the main melody. Based on the research of automatic chord label construction method and the characteristics of MIDI data format, a chord analysis method based on interval difference is proposed to construct chord labels of the whole track and realize the construction of automatic chord labels. In this study, the hidden Markov model is constructed according to the chord types, in which the input features are the improved theme PCP features proposed in this paper, and the input labels are the label data set constructed by the automated method proposed in this paper. After the training is completed, the PCP features of the theme to be predicted and improved are input to generate the accompaniment chords of the final arrangement. Through PCP features and template-matching model, the system designed in this paper improves the matching accuracy of the generated chords compared with that generated by the traditional method.
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Poluan, David, Syahrul Syah Sinaga, and Udi Utomo. "The Role of Society and Artists in the Preservation of Bamboo Music in Minahasa." Edumaspul: Jurnal Pendidikan 7, no. 1 (March 1, 2023): 1719–24. http://dx.doi.org/10.33487/edumaspul.v7i1.6420.
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Musik Bambu merupakan kelompok orkes musik instrumen tradisional yang berasal dari suku Minahasa, Sulawesi Utara. Penelitian ini berfokus pada dua jenis Musik Bambu di Minahasa, yaitu Musik Bambu Melulu, dan Musik Bambu Klarinet. Penelitian ini bertujuan untuk mengetahui upaya pelestarian Musik Bambu yang dilakukan oleh Pelaku seni dan Masyarakat di desa Tumaratas dua, kecamatan Langowan Barat, kabupaten Minahasa, dan desa Liwutung. Kecamatan Pasan, Kabupaten Minahasa Tenggara. Penelitian ini menggunakan jenis penelitian kualitatif dengan kajian etnomusikologi. Etnomusikologi merupakan disiplin ilmu yang memayungi beberapa disiplin ilmu lain seperti musikologi, organologi, dan antropologi. Hasil yang didapati adalah terdapat perbedaan dalam upaya pelestarian yang dilakukan oleh masyarakat dan pelaku seni di desa Tumaratas Dua, dan desa Liwutung. Musik Bambu Melulu yang merupakan jenis Musik Bambu pertama di Minahasa masih dipertahankan keasliannya oleh pelaku seni di Desa Tumaratas Dua meskipun dihadapi oleh tantangan perkembangan zaman. Meskipun banyak ancaman yang dihadapi dalam pelestaran Musik Bambu Melulu, masyarakat di desa Tumaratas Dua juga masih menggunakan Musik Bambu Melulu dalam acara/kegiatan-kegiatan desa. Di sisi lain, Musik Bambu Klarinet di desa Liwutung hingga saat ini masih dilestarikan oleh pelaku seni dan masyarakat disana. Upaya-upaya yang dilakukan adalah perubahan organologi, pengembangan aransemen, dan keterelibatan masyarakat dari kalangan muda hingga dewasa dalam Musik Bambu Klarinet.Kata Kunci: Pelestarian, Perubahan, Musik Tradisional
Abstract Bamboo Music is a group of traditional musical instrument orchestras originating from the Minahasa tribe in North Sulawesi. This research focuses on two types of Bamboo Music in Minahasa: Melulu Bamboo Music and Clarinet Bamboo Music. This study aims to determine the efforts to preserve Bamboo Music carried out by performers and the community in Tumaratas Dua village, West Langowan sub-district, Minahasa district, and Liwutung village. Pasan District, Southeast Minahasa Regency This study combines qualitative research with ethnomusicological studies. Ethnomusicology is a discipline that covers several other disciplines, such as musicology, organology, and anthropology. The results found that there were differences in the conservation efforts carried out by the community and artists in Tumaratas Dua village and Liwutung village. Melulu Bamboo Music, which is the first type of Bamboo Music in Minahasa, is still maintained by artists in Tumaratas Dua Village, despite the challenges of the times. Even though there are many threats to the performance of Melulu Bamboo Music, the community in Tumaratas Dua village still uses Melulu Bamboo Music in village events and activities. On the other hand, the Clarinet Bamboo Music in Liwutung village is still being preserved by artists and the people there. The efforts made are organological changes, arrangement development, and community involvement from young people to adults in Clarinet Bamboo Music.Keywords: Preservation, Change, Traditional Music
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Tinker, Christopher. "Imogen Holst's Music, 1962–84." Tempo, no. 166 (September 1988): 22–27. http://dx.doi.org/10.1017/s004029820002427x.
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Few Musicians know of Imogen Hoist's work as a composer. She entered the R.C.M. in 1926, won an open scholarship for composition in 1927, the Cobbett Prize of 1928 with a Phantasy String Quartet, and an Octavia travelling scholarship in 1929. She was in league with the rising number of women musicians in London at the time, composing for the Anne Macnaghten Quartet, Victoria Reid and Sylvia Spencer among others; her works were performed and broadcast along with those of Lutyens and Maconchy. She was also developing her career as a pianist, undertaking much accompaniment work. Neuritis put an end to this, and, as she remained unmarried, she needed to find work to support herself financially. She joined the staff of the English Folk Dance and Song Society and began work as a school music teacher. An enormous quantity of arrangements ensued, most of which were published. As a result, her output became best known in the field of folk song arrangement, either for educational purposes or for the EFDSS. During the 1930's the only compositions she undertook were little pieces to help in her teaching. Her list of compositions did grow substantially in the following decade (during which she founded and directed the music department at Dartington), but the quantity and quality of them remained little recognized.
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Giga, Stepan, and Larysa Oparyk. "Methodical Aspects of Stylistic Attribution Arrangement of Pop-Vocal Composition." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 12 (December 13, 2023): 81–92. http://dx.doi.org/10.30819/aemr.12-7.
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The purpose of the research is to theoretically develop methods of characterisation and attribution of the style of arranging a pop-vocal composition. Based on the task of identifying active means of music expression, the most suitable methods for determining the characteristic features of style were used; the specific features of form, textural, temporithmic, timbre, melodic-thematic, and ladoharmonic organisation of the musical material of arrangement were analysed. As a result, the algorithm of analytical actions in the process of hearing expertise on the specific features of the musical language of arrangement is aimed at identifying the genesis of the stylistic profile of pop-vocal composition, which usually has features of genre-style synthesis of different areas of popular, jazz, folk, or academic music. In this regard, the parameters of temporithm and phonism are defined as basic criteria for recognising the stylistic dominant of the instrumental component of the song genre. The scientific apparatus of stylistic analysis methods, along with conventional musicological research methods, were used, as well as definitions of constant and aconstant types of the sound image of arrangement as operational criteria of stylistic differentiation of recyclic and through-dramaturgical principles of development of the sound idea of pop-vocal composition. During the comparative hearing analysis of the sound recordings of the famous Ukrainian song «I will go to distant mountains» in the original author's performance of Volodymyr Ivasyuk and its cover version performed by Kvitka Cisyk and arranged by Jack Cortner, the method of comparative stylistic characteristics of arrangements was carried out on the principle of contrasting comparisons or comparisons on the similarity of creative methods of instrumentation, formation, tempo-rithmic, melodic-thematic, and ladotonal organisation of musical material of instrumental accompaniments. The result of the study was the systematisation of the procedure of stylistic attribution of cover versions arrangements of works of popular song genres. The conclusions substantiate the need to consider the criteria of musical novelty and aesthetic value in evaluating the results of stylistic rethinking by the arranger of the original song musical text, which in the new version can appear as a unique, individualised concept that has actual artistic importance for modern listening audiences.
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Nainggolan, Dapot. "KAJIAN TEOLOGIS TERHADAP MUSIK GEREJAWI." JURNAL LUXNOS 6, no. 1 (June 21, 2020): 32–52. http://dx.doi.org/10.47304/jl.v6i1.4.
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Abstract: Church music must be understood correctly based on the principles contained in the word of God. By having a correct understanding of the meaning, purpose, who, and how and when church music should be performed, our worship of God through music and singing will build faith and glorify God. Church music are absolutely based on God's will. Church music is not an option, but an obligation for every church in response to God's redemptive work in his life. Church music and singing are not in the framework of introducing one element to another in an arrangement of liturgical events, and not in the context of an enjoyable joint activity to sing favorite songs. Our encounter with God through His maintenance work at all times, that is the motor that drives the music and songs that we offer to God. Therefore, in this study, it will explain clearly what is meant by ecclesiastical music and then be examined theologically based on the description of Bible verses as a basic material and supported by existing literature sources. Abstrak: Musik gerejawi harus dipahami secara benar berdasarkan prinsip-prinsip yang terkandung dalam firman Allah. Dengan memiliki pemahaman yang benar akan makna , tujuan, siapa, dan bagaimana serta kapan seharusnya musik gerejwi itu dilakukan, maka penyembahan kita kepada Allah melalui musik dan nyanyian akan membangun iman dan memuliakan Allah. Musik dan nyanyian gerejawi mutlak didasari oleh kehendak Allah. Musik gerejawi bukan merupakan pilihan, melainkan kewajiban bagi setiap gereja sebagai respon atas karya penebusan Allah dalam hidupnya. Musik dan nyanyian gerejawi bukan dalam rangka sebagai pengantar antar unsur yang satu dengan unsur lainnya dalam sebuah susunan acara liturgi, dan bukan pula dalam rangka suatu aktifitas kegiatan bersama yang menyenangkan untuk menyanyikan lagu-lagu kesayangan. Perjumpaan kita dengan Allah melalui karya pemeliharaan-Nya pada setiap waktu, itulah yang menjadi motor yang menggerakkan musik dan nyanyian yang kita persembahkan kepada Allah. Oleh karena itu dalam penelitian ini akan menguraikan secara jelas apa yang dimaksud dengan musik gerejawi dan kemudian dikaji secara teologis berdasarkan uaraian ayat-ayat Alkitab sebagai bahan dasar dan didukung oleh sumber-sumber pustaka yang ada.
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Jannah, Billawa Gatra. "LAGU œFIRE DANCE KARYA JESON PUB ARANSEMEN MOMON MARYONO (TINJAUAN ARANSEMEN MARCHING BAND)." Repertoar Journal 1, no. 2 (January 29, 2019): 202–11. http://dx.doi.org/10.26740/rj.v1n2.p202-211.
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Billawa Gatra JannahFakultas Bahasa Dan Seni, Universitas Negeri SurabayaEmail: billawajannah16021254017@mhs.unesa.ac.id AbstrakLagu fire dance Karya Jeson Pub Aransemen Momon Maryono yang dimainkan dengan format marching band saat ini masih sering di mainkan sebagai pembuka dari sebuah pertunjukan, perlombaan pemainnya dari petrokimia yang beberapa kali mendapatkan 10 besar di perlombaan GPMB dari tahun 1994 1998 dengan semua player kebanyakan pegawai perusahaan itu sendiri. Kajian pustaka dilandasi dengan bantuan buku Kawakami dan juga ilmu analisa bentuk musik(IABM) sebagai landasan utama dalam pembuatan judul ini dengan ditambahi buku kajian yang berhubungan dengan musik Marching Band dan ilmunya. Proses aransemen menggunakan 4 bagian utama dan fungsinya. Yaitu Melodic Material, Counter Melodic Material, Rhythmic Harmonic Material dan Sustained Harmonic Material. Bentuk aransemen lagu œFire Dance terdiri dari bagian A (intro,verse 1 & 2 ) bagian B (bridge, verse 1) bagian C (Chorus) bagian D (Chorus 2, Bridge) bagian E (verse 1, solo, verse 2, bridge, coda) dengan selera komposer yang cenderung menggunakan unisono. Pembahasan metode yang digunakan dalam penelitihan ini menggunakan deskriptif analisis dengan pendekatan musikologis yang memanfaatkan data kualitatif.Kata kunci: Aransemen, Marching BandSONG FIRE DANCE BY JESON PUB MOMON MARYONO ARRANGEMENTœ A REVIEW OF THE MARCHING BAND ARRANGEMENTAbstract Song fire dance by Jeson Pub the Momon Maryono arranger played with the Marching band format today is still a frequent play as the opening act of the show, the players race from the petrochemical that several times gained the Big 10 in the GPMB race from 1994 1998 with all the players most of the company's officers themselves. The Literature study is based on the help of Kawakami as well as musical form analysis (IABM) as the main foundation in the making of this title with a study book related to the music of Marching Band and his knowledge. Arrangements Process using 4 main parts and functions. It is Melodic material, melodic Counter material, Rhythmic harmonic material and Sustained harmonic material. The arrangement of the song "Fire Dance" consists of the form of the song arrangement "Fire Dance" consisting of part A (intro, verse 1 & 2) part B (bridge, verse 1) part C (Chorus) part D (Chorus 2, Bridge) part E (verse 1, solo, verse 2, bridge, coda) regularly with composers' tastes tended to use unisono. The discussion of the methods used in this research uses descriptive analysis with a musicological approach that utilizes qualitative data.Keywords: Arrangement, Marching Band
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Notley, Margaret. "Berg's Propaganda Pieces: The ““Platonic Idea”” of Lulu." Journal of Musicology 25, no. 2 (2008): 95–142. http://dx.doi.org/10.1525/jm.2008.25.2.95.
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Abstract After finishing the short score of Lulu and starting to orchestrate it in the spring of 1934, Berg began to realize that his opera might not be staged in Berlin, long planned as the site for the premiere. In late May he decided to make a concert arrangement that he referred to as ““a Propaganda selection,”” which became the Symphonische Stüücke aus ““Lulu.”” In contemporary usage the German word ““Propaganda”” typically denoted advertising or publicity. Acting on advice from his editor, Hans Heinsheimer, and supported by the efforts of his student Willi Reich, Berg sought to create a ““Propaganda”” work that could be performed even in Hitler's Germany and would drum up interest in performances of the entire opera elsewhere. Letters and other sources, many unpublished, show Berg gradually coming to grips both with the reality of the political situation in Germany and with the offensiveness——even to some favorably disposed to modernist music——of the texts by Frank Wedekind on which he based his libretto. A comparison of his arrangement and the opera illuminates the different effects made by more or less the same music in the two works as well as what Berg valued in Lulu and was therefore reluctant to relinquish. Above all he resisted giving up the texts for the music that he arranged as the first and fifth movements, apparently wishing to preserve the striking textures that he had created by placing an operatic voice against a self-sufficient orchestral fabric. But mentored by Heinsheimer, he ended up distancing his arrangement from the opera that it was supposed to promote by removing most of the words; and assisted by Reich he wrote misleading program notes to fill in the resulting semantic gaps. Berg created an arrangement that could be enjoyed as, in his own words, ““pure music.”” Lulu became the platonic idea of Lulu.
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Zabbarova, Margarita M., and Tatiana I. Politaeva. "Arrangement is a Universal Type of Creative Activity of a Modern Music Teacher." IKONI / ICONI, no. 4 (2021): 119–34. http://dx.doi.org/10.33779/2658-4824.2021.4.119-134.
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The article examines electronic arrangements as an art of intonating meanings, a universal means of developing musical culture of society, and a form of artistic activity of the future music teacher. The authors base themselves on analysis of conceptions of cultural-historical development in the choice of genre forms of electronic music-making, accentuate the logical, emotional and associative aspect of artistic creativity and highlight the stages of work on arrangements. The article discloses a teaching system presented in the form of a logical-semantic model, which includes the technology of comparative listening to music, a tutorial program complex “The Life of Wonderful Melodies,” an electronic musical toolkit and supportive musical examples of arrangements and samples of sound.
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Kang, YoungGun. "Study on Music Arrangement Education Content Development Using Artificial Intelligence." Korean Society of Culture and Convergence 43, no. 2 (February 28, 2021): 275–96. http://dx.doi.org/10.33645/cnc.2021.02.43.2.275.
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