To see the other types of publications on this topic, follow the link: Church music. Instrumental music. Music theory.
Journal articles on the topic 'Church music. Instrumental music. Music theory'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Church music. Instrumental music. Music theory.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Speyer, Kathrin. "Musik und Moral: Intertextuelle Bezüge zwischen Lact. inst. 6,21 und Sen. epist. 123,9 f." Philologus 163, no. 2 (November 6, 2019): 298–319. http://dx.doi.org/10.1515/phil-2018-0043.
Full textAbstract:
Abstract The goal of this article is to use structural, lexical and content analysis to make the case that the Church Father Lactantius, when composing Divinae institutiones 6,21, engaged with Sen. epist. 123,9 f. and pointedly refers to it. In the process, this whole chapter of Lactantius will be examined to see what the relation is between the decisive influence of the Seneca passage and that of other pre-texts that have already been identified as such in existing publications, especially the works of other Church Fathers. The content under discussion concerns the risks of purely instrumental music compared to those of artistically designed speech for the spirit of the listener, closely linked to the question of whether Christian writings, too, may – or even should – be aesthetically appealing. The treatment of this question leads ultimately to a general discussion of the relation of pleasure to virtue in the sense of a life pleasing to God.
2
Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.
Full textAbstract:
Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
3
Thomas, Cathy. "Reverberations of the Black Feminist Breathing Chorus." Resonance 2, no. 2 (2021): 281–95. http://dx.doi.org/10.1525/res.2021.2.2.281.
Full textAbstract:
Alexis Pauline Gumbs is a writer, poet, activist, and independent scholar whose experimental triptych (Spill, M Archive, Dub) offers both mundane and unearthly interventions for humanity’s struggles against histories of ecological extraction and Black feminist refusals. Sangodare is a multimedia artist, musician, and theologian drawing from Black feminist writings and African Diaspora wisdom. They are co-founders of several multi-platform undertakings such as the Mobile Homecoming Project that birthed the Black Feminist Breathing Chorus (BFBC). It is one of many online and in-person spaces supporting QPOC and Black feminist communities. The BFBC, in particular, blends theory, meditation, music, poetics, and Black church traditions. In this asynchronous mantra practice, hundreds of participants receive daily “ancestor” mantras via the Mobilehomecoming.org website. These mantras are shortened quotes from the diverse writings and speeches of figures such as Marsha P. Johnson, Zora Neale Hurston, Pat Parker, and Joseph Beam. The social, juridical, and digital records of violence against women, POC, queer, and non-binary bodies and communities is not new. However, as consequences of the COVID-19 pandemic have overlapped with conspicuous displays of anti-Black policing and asymmetric economies, the BFBC has provided an alternative space to rebuild and re-enchant social, political, and intellectual life through a remixed spiritual practice of amplifying voices. This interview highlights how race, gender, location, and time do not limit the quest for freedom. Thus, the primacy of Black queer positionality is instrumental in the chorus’s examination of both liberating and oppressive social hierarchies.
4
Venišnik, Vesna. "Instrumental Music and Franciscan Liturgy." Musicological Annual 50, no. 2 (April 3, 2015): 93–99. http://dx.doi.org/10.4312/mz.50.2.93-99.
Full textAbstract:
The Franciscan Library in Novo mesto holds a rather large collection of 18th century sacred and secular music. Among the preserved music there are also several symphonies. The article deals with their characteristics and the possibilities of their performance during the church liturgy.
5
Kuebel, Christa R. "Preparedness of Instrumental Music Majors Teaching Elementary General Music." Journal of Research in Music Education 67, no. 3 (June 14, 2019): 304–22. http://dx.doi.org/10.1177/0022429419850110.
Full textAbstract:
The purpose of this multiple-case study was to examine the career development, choices, and goals of elementary general music teachers who identified as instrumental majors during their undergraduate degree programs. Data collection included a questionnaire, interviews, participant journals, and observation field notes; data were organized using the theoretical framework of social cognitive career theory. Themes are presented in two categories: internal influences (self-efficacy and perceived differences between elementary music and instrumental music) and external influences (economy, undergraduate preparation, and working in elementary general music). Implications regarding the development of self-efficacy and preparation for teaching outside of one’s specialization are discussed.
6
Mitchell, Nicholas. "Choral and Instrumental Pitch in Church Music 1570-1620." Galpin Society Journal 48 (March 1995): 13. http://dx.doi.org/10.2307/842800.
Full text
7
Hulková, Marta. "Central European Connections of Six Manuscript Organ Tablature Books of the Reformation Era from the Region of Zips (Szepes, Spiš)." Studia Musicologica 56, no. 1 (March 2015): 3–37. http://dx.doi.org/10.1556/6.2015.56.1.1.
Full textAbstract:
Tablature notations that developed in the sixteenth century in the field of secular European instrumental music had an impact also on the dissemination of purely vocal and vocal-instrumental church music. In this function, the so-called new German organ tablature notation (also known as Ammerbach’s notation) became the most prominent, enabling organists to produce intabulations from the vocal and vocal-instrumental parts of sacred compositions. On the choir of the Lutheran church in Levoča, as parts of the Leutschau/Lőcse/Levoča Music Collection, six tablature books written in Ammerbach’s notation have been preserved. They are associated with Johann Plotz, Ján Šimbracký, and Samuel Marckfelner, local organists active in Zips during the seventeenth century. The tablature books contain a repertoire which shows that the scribes had a good knowledge of contemporaneous Protestant church music performed in Central Europe, as well as works by Renaissance masters active in Catholic environment during the second half of the sixteenth century. The books contain intabulations of the works by local seventeenth-century musicians, as well as several pieces by Jacob Regnart, Matthäus von Löwenstern, Fabianus Ripanus, etc. The tablatures are often the only usable source for the reconstruction of sixteenth- and seventeenth-century polyphonic compositions transmitted incompletely.
8
Achikeh, Cordis-Mariae, and Raphael Umeugochukwu. "The value of good liturgical music." UJAH: Unizik Journal of Arts and Humanities 20, no. 3 (October 30, 2020): 133–50. http://dx.doi.org/10.4314/ujah.v20i3.8.
Full textAbstract:
It is disturbing that in recent times, the worshiping community in the capacity of some church ministers, composers and musicians have deviated from the specifications of liturgical music even as recommended by Vatican Council II (The Constitution of The Sacred Liturgy). Also misunderstood and misappropriated is the idea of inculturation that permits composers in different countries to write music using the language of the locality as well as the indigenous instruments. This is partly due to inadequate enlightenment and training on the part of the liturgical music practitioners on the real meaning of liturgical music. A lot ofproblems have come up from these misconceptions and misinterpretations which include but a few making noise in place of music, negligence of the core features of liturgical music ranging from little or no attention to the solemn nature of the liturgy to relevance for some unimaginable selfish interests. In remedying these challenges, the researcher has made lots of recommendations. One of them is that the practitioners of liturgical music be exposed through seminars and workshops to relevant church documents on liturgical music from time to time. It is necessary and most pertinent that the church retains its solemnity in worship as against the recent mediocrity which has come to envelop the liturgical music making practices. The great value of good liturgical music needs to be sustained.
Keywords: Liturgical Music, Gregorian Chant, Sacred Polyphony, Instrumental Music, Catholic Church, Liturgical Musician, Choir, Congregation
9
Lebaka, Morakeng Edward Kenneth. "Integration of Vocal Music, Dance and Instrumental Playing in St Matthews Apostolic Church: Maphopha Congregation." European Journal of Interdisciplinary Studies 4, no. 2 (July 24, 2018): 34. http://dx.doi.org/10.26417/ejis.v4i2.p34-44.
Full textAbstract:
There are a number of different approaches to determining the functions of music. Members of St Matthews Apostolic church – Maphopha congregation in Sekhukhune district – Limpopo Province in South Africa identify themselves by their music and allow music to become a representation of themselves. In responding to a song, to a hymn, they are drawn into affective and emotional alliances. Their relationship to music is inevitably based upon their emotions and internal connection to a particular song. Emotionally intense songs are even used during funerals to cue specific emotions from the audience for suspense, heartbreak, or a peaceful resolution. Songs, then, become an active ingredient in their lives as they find ways to employ music as a tool to share in their life experiences and bring them to a desired emotional state. The purpose of this study was to contribute towards documenting and describing the integration of vocal music, dance and instrumental playing in this church. To achieve this aim, the study employed a naturalistic approach and data was collected through video recordings of church services, interviews and observations. The primary question the study addressed is: how is collective identity formed through music and how does religious music serve as a core part of culture? The results have shown that in this church, music is manipulated to serve congregational purposes. The investigation has also shown that identity is largely related to musical preference, and the congregants use music to understand who they are and define themselves internally as well as externally.
10
Branscombe, Peter, Mary Sue Morrow, and Cecelia Hopkins Porter. "German Music Criticism in the Late Eighteenth Century: Aesthetic Issues in Instrumental Music." Modern Language Review 95, no. 3 (July 2000): 884. http://dx.doi.org/10.2307/3735588.
Full text
11
Prof. Mellitus N. WANYAMA; Prof. Frederick B. J. A. NGALA, Joyce M. MOCHERE;. "The Relevance of University Music Curricula to the Requirements of Church Music Job Market in Kenya." Editon Consortium Journal of Curriculum and Educational Studies 2, no. 1 (October 7, 2020): 250–74. http://dx.doi.org/10.51317/ecjces.v2i1.161.
Full textAbstract:
In the prevailing global church music job market, church worship ministers or music directors are on high demand as they play a crucial role in church liturgy and other church musical events. Globally, many universities offer programmes on music training and pastoral leadership. In Kenya, such training is predominantly in theological schools with few universities offering such programmes. Currently, there is a growing interest of church musicians in Kenya due to the need to spread the gospel beyond the church walls and to promote ecumenism. For example, churches participate in church crusades, church concerts, and inter-churches music festivals. This strengthens the need for church worship ministers with music and leadership training. Universities in Kenya are, therefore, obligated to offer church music programmes that will enable these worship ministers to fit in the current job market. The discourse on church music, though, is rare in Kenya hence limited literature on the same. The study had an objective of establishing the relevance of university music curricula to the requirements of church music job market in Kenya. Elliot's Praxial theory underpinned the study. The study found out that universities are not keen to include music programmes that are relevant to the music job market. The Simple Matching Coefficient (SMC) of university X and Y music curricula to the requirements of church music job market was 0.00. Both universities did not have a church music program hence missing all the requirements of the given job market. The study recommends that there is a need to develop church music programmes in universities in Kenya, and this can be done in collaboration with the Schools of Theology at the university.
12
Temperley, David. "Rhythmic Variability in European Vocal Music." Music Perception 35, no. 2 (December 1, 2017): 193–99. http://dx.doi.org/10.1525/mp.2017.35.2.193.
Full textAbstract:
Rhythmic variability in the vocal music of four European nations was examined, using the nPVI measure (normalized pairwise variability index). It was predicted that English and German songs would show higher nPVI than French and Italian ones, mirroring the differences between these nations in speech rhythm, and in accord with previous studies of instrumental music. Surprisingly, there was no evidence of this pattern, and some evidence of the opposite pattern: nPVI is higher in French and Italian vocal music than in English and German vocal music. This casts doubt on the theory that the differences in instrumental rhythm between these nations are due to differences in speech rhythm.
13
Tan. "Towards a Transcultural Theory of Democracy for Instrumental Music Education." Philosophy of Music Education Review 22, no. 1 (2014): 61. http://dx.doi.org/10.2979/philmusieducrevi.22.1.61.
Full text
14
Palmer, C. Michael. "Instrumental Jazz Improvisation Development." Journal of Research in Music Education 64, no. 3 (August 23, 2016): 360–78. http://dx.doi.org/10.1177/0022429416664897.
Full textAbstract:
The purpose of this exploratory study was to examine the role aural imitation ability, jazz theory knowledge, and personal background variables play in the development of jazz improvisation achievement. Participants ( N = 70) included 26 high school and 44 college instrumentalists with varying degrees of jazz improvisation experience. Data were collected using four researcher-designed instruments: (a) Participant Improvisation Experience Survey (PIES), (b) Improvisation Achievement Performance Measure (IAPM), (c) Aural Imitation Measure (AIM), and (d) the Jazz Theory Measure (JTM). Results indicate that aural imitation ability and technical facility are fundamental skills supporting jazz improvisation achievement. Other contributing factors include improvisation experience, jazz experience, practicing improvisation, perceived self-confidence, self-assessment, and jazz theory knowledge. Further analysis of results led to improvisation being viewed from a developmental perspective and achievement levels being distinguished on a developmental continuum (i.e., novice, intermediate, advanced) based on performance evaluations within musical categories (i.e., rhythm/time feel, harmony, melody/rhythmic development, style, expressivity, and creativity).
15
Hugill, Andrew. "On Style in Electroacoustic Music." Organised Sound 21, no. 1 (March 3, 2016): 4–14. http://dx.doi.org/10.1017/s1355771815000333.
Full textAbstract:
This article argues for the habilitation of a concept of style in electroacoustic music. It surveys the reasons for the neglect of style, looking in particular at the modernist embedding of electroacoustic theory and the consequences of postmodern genre formations. It considers the extent to which academic understanding of the materiality of music has moved from the analysis of sound to the analysis of media. It offers a critique of notions of sonic inclusivity and the differentiation of electroacoustic music from instrumental music. It emphasises the importance of comparative analysis and understanding the elements of style in electroacoustic music. It critically examines a number of techniques and frameworks for stylistic analysis. It concludes by encouraging the electroacoustic music community to engage more fully with notions of style.
16
Rubin, Joel E. "“Music is the Pen of the Soul”: Recent Works on Ḥasidic and Jewish Instrumental Klezmer Music." AJS Review 29, no. 1 (April 2005): 145–58. http://dx.doi.org/10.1017/s0364009405000085.
Full textAbstract:
Despite the focus by the popular media on the revival of Jewish instrumental klezmer music during the past decades, surprisingly little of a scholarly nature has been written until recently about either the klezmer tradition or its revival. Since 1999 a relatively large number of new book publications of both a scholarly and a popular nature have appeared. Besides the four volumes under review here, they include books by Rita Ottens and Joel Rubin, Moshe Beregovski, Seth Rogovoy, Mark Slobin, Zinovij Stoljar, and Yale Strom. It is hoped that the publication of these four works (and the other recent works not reviewed here) will open a broader discussion of the complex of issues surrounding klezmer and ḥasidic music and stimulate further research in these areas.
17
Jankovic-Begus, Jelena. "Chanting of the inner space: on symphonic and concertante works by Milorad Marinkovic." Muzikologija, no. 19 (2015): 83–117. http://dx.doi.org/10.2298/muz1519083j.
Full textAbstract:
The opus of contemporary Serbian composer Milorad Marinkovic (b. 1976), which encompasses works of choral, chamber, concertante and symphony music, leans towards classical forms of artistic music, Serbian folklore music, and Serbian Orthodox church chant. This paper deals with pieces composed for larger instrumental ensembles: Herojska uvertira (Heroic Overture) for symphony orchestra, Psalmodija (Psalmody) for symphony orchestra, Koncert za klavir i orkestar (Piano concerto) and Mala opera (Little Opera) for chamber ensemble (septet) with prominent soloist parts of flute and clarinet. Special attention is placed on different procedures used by Marinkovic to accomplish wholeness and integration of the musical tissue. This paper observes these pieces as examples of religious music, having in mind the composer?s own understanding of the notion. Among common characteristics of the observed works that justify this point of view are specific single movement forms and the prominent role of main thematic materials, a cyclic principle, and programmatic elements. References to Serbian church chant observed in Marinkovic?s instrumental works are also discussed, especially in parallel with the analogue procedures used by Ljubica Maric (1909- 2003), one of the composer?s role models. Although Marinkovic?s works for instrumental ensembles do not fall into the category of spiritual music in its narrow sense (as defined by the composer himself), in this paper they are nevertheless considered as ?spiritual? in a broader sense, as an expression of the composer?s desire to spiritualize his entire artistic output.
18
Yashaswini, L., and Sandeep Maruthy. "Effect of Music Training on Categorical Perception of Speech and Music." Journal of Audiology and Otology 24, no. 3 (July 10, 2020): 140–48. http://dx.doi.org/10.7874/jao.2019.00500.
Full textAbstract:
Background and Objectives: The aim of this study is to evaluate the effect of music training on the characteristics of auditory perception of speech and music. The perception of speech and music stimuli was assessed across their respective stimulus continuum and the resultant plots were compared between musicians and non-musicians. Subjects and Methods: Thirty musicians with formal music training and twenty-seven non-musicians participated in the study (age: 20 to 30 years). They were assessed for identification of consonant-vowel syllables (/da/ to /ga/), vowels (/u/ to /a/), vocal music note (/ri/ to /ga/), and instrumental music note (/ri/ to /ga/) across their respective stimulus continuum. The continua contained 15 tokens with equal step size between any adjacent tokens. The resultant identification scores were plotted against each token and were analyzed for presence of categorical boundary. If the categorical boundary was found, the plots were analyzed by six parameters of categorical perception; for the point of 50% crossover, lower edge of categorical boundary, upper edge of categorical boundary, phoneme boundary width, slope, and intercepts. Results: Overall, the results showed that both speech and music are perceived differently in musicians and non-musicians. In musicians, both speech and music are categorically perceived, while in non-musicians, only speech is perceived categorically. Conclusions: The findings of the present study indicate that music is perceived categorically by musicians, even if the stimulus is devoid of vocal tract features. The findings support that the categorical perception is strongly influenced by training and results are discussed in light of notions of motor theory of speech perception.
19
Polzonetti, Pierpaolo. "Tartini and the Tongue of Saint Anthony." Journal of the American Musicological Society 67, no. 2 (2014): 429–86. http://dx.doi.org/10.1525/jams.2014.67.2.429.
Full textAbstract:
This article explores the nexus between Giuseppe Tartini's concertos for violin and orchestra, written for the Franciscan Basilica of Saint Anthony in Padua, and the devotion to this Saint's tongue, still preserved as a relic. Anthony's tongue, hagiographers write, was the instrument of a rhetoric that transcended verbal signification, able to move people of different languages and even animals. Soon, the tongue of Saint Anthony became a powerful symbol of universal language. In the eighteenth century, the Catholic Church, and especially the followers of Saint Anthony, revitalized their global mission to overcome cultural and linguistic barriers. Commissioning orchestral church music was part of this strategy. Like Anthony's preaching, Tartini's music was informed by the utopian goal to reach out to a pluralist community. His music and ideas attracted the attention of Jean-Jacques Rousseau and Charles Burney, both engaged in contemporary debates on the quest for universality of music in a multicultural world. Newly discovered evidence sheds light on the liturgical context of Tartini's violin concertos, as well as on religious rituals of music making and listening that left long-lasting traces of sacrality in the secular rites of production and consumption of instrumental music.
20
Zhukova, Olena A. "Ukrainian baroque instrumental music in the context of European culture." Notes Muzyczny 1, no. 13 (June 9, 2020): 125–41. http://dx.doi.org/10.5604/01.3001.0014.1946.
Full textAbstract:
The study presents an overview of the history of instrumental music in Ukraine, where choir and solo singing has always played a prominent role. Singing was a substantive part of the church life and folklore of the city and countryside. Thus, the more prominent was the distribution of instrumental music, which embodied cultural links between Ukraine and other European countries. Instrumental music tradition, more common for Catholic and Lutheran countries, came to Ukraine and brought some remarkable examples of brilliant composers with great theoretical and performing skills. Many important names, which belong to Ukrainian musical culture, have been known in the Western Europe as ‘Russian’. For many foreign researchers ‘The Former Soviet Union’ remains a terra incognita, where the national origin of an artist is some- times forgotten. In the past, for many years the most talented Ukrainian musicians were invited or came for fame and money to other countries and became popular there. Although they often got music education in Ukraine, they were often considered as representatives of the Russian culture. For some time, Ukraine was the source of specialists for nearby countries, so it was the ‘in-between’ between the Western European and Slavonic musical cultures. Rediscovering it by research, performing and elaborating is a very important task for modern Ukrainian per- forming musicians as well as for scholars. Historically Informed Performance in Ukraine nowadays is also an important field for research and promotion among professionals and non- professionals. Achievements in the field of rediscovering of early music are often unknown in the wide circle of musicologists and performing musicians. At the same time, this knowledge can turn out useful not only for early music lovers, but also for musicians who play classical repertoire. This path easily creates many opportunities for collaboration between Ukrainian and European musicians and forms a positive image for Ukraine on the world scene. It also explains the importance of the study.
21
Trukhanova, Alexandra G. "The Characteristic Features of Vassily Titov’s Choral Music." ICONI, no. 1 (2021): 61–67. http://dx.doi.org/10.33779/2658-4824.2021.1.061-067.
Full textAbstract:
Among the Russian composers of the turn of the 17th and 18th centuries a special position is held by the sacred choral works of Vassily Titov (ca. 1650 — ca. 1715), one of the bright representatives of the polyphonic part singing, in which the originality of the Russian Baroque musical culture. The music of Vassily Titov, an outstanding master of choral writing, is diverse in terms of its genres, it comprises nearly two hundred compositions, many of which predominated in the church music repertoire of Russian churches during the course of the 18th century. A study of Vassily Titov’s choral works has made it possible to disclose the characteristic features of the composer’s polyphonic style. The latter include the multi-choral presentation with its bright spatial effects, the antiphonic juxtapositions of large choral masses, the principles of concertizing based on the succession of solo voices and tutti, on the juxtaposition of the chordal-harmonic and the polyphonic exposition, as well as the skillful mastery of imitational counterpoint, up to polyphonic variation. Features of national originality reveal themselves most vividly in the musical thematicism of the compositions, where along with the ornamental design of the intertwining melodic lines and turns of an instrumental type, use is made of intonations of folk songs, cants and church chants. In his musical oeuvres Vassily Titov revised and reevaluated the basic characteristic traits and forms of Western European Baroque music in correspondence with the particularities of Russian musical culture, thereby preserving and enriching the traditions of the Russian national style.
22
Horetska, Nataliia. "Stylistic features of the performing ancient instrumental music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 110–32. http://dx.doi.org/10.34064/khnum1-57.07.
Full textAbstract:
Background, objectives and methodology of the research. Musical performing art of the XX–XXI centuries demonstrates a steady and growing interest in a huge array of music from pre-classical eras – the Middle Ages, Renaissance, Baroque. The baroque music occupies a leading position in the field of instrumental performing as an obligatory part of the educational (works by J. S. Bach) and concert repertoire. The problem of interpretation of early music, acutely posed by musicians of the XX century – up to the reconstruction of all historical performance parameters – retains its relevance. In this regard, we note that the performance of a piece of music does not always make off the strongest impression precisely in its “primary” – restored – form, since reconstruction is limited by the volume of our historical knowledge, while modern musical instruments have a much wider range of expressiveness, than theirs historical predecessors, and the modern interpreter – “de facto”, due to his location in the historical space – a much richer thesaurus. So, the aim of this article is systematization, from the standpoint of the teaching experience of its author in the piano class, observations and practical recommendations regarding the style of performing of ancient instrumental music and approaches to its interpretation by a pianist on an instrument of modern construction. The methodology of the study includes an appeal to the intonation theory of B. Asafiev (1971), when considering the dynamic processes of formation of the musical form and the functioning of articulatory units – motifs, phrases, rhetorical figures, strokes, etc.; to the provisions of the works of M. Mikhailov (1981), E. Nazaikinskiy (2003), O. Katrich (2000) concerning the theory of styles; V. Kholopova (1979) and G. Ignatchenko (1983), when considering performance techniques that emphasize the originality of the texture of baroque music; as well as generally accepted methods of scientific research: analysis, selection, structuring of information with its subsequent generalization. Presentation of research results. The study of ancient instrumental music in the piano class is extremely important for the formation of a competent specialist, a musician of a wide range. In the cognitive process, such stages must be passed as determining the style, genre, form of the musical work, identifying the features of the musically expressive means used in it and finding appropriate ways to embody them. It is necessary to make as complete an idea as possible of the past historical epoch, its philosophy, aesthetics, different types of art and their interaction. The purpose of work on pieces of ancient music should be directing а performer to the general laws of “style of the era” (according to M. Mikhailov, 1981), because, despite national differences, by the middle of the XVIII century, a certain “panEuropean” style was formed, which was of great importance for the formation of the next generations of musicians. One of the brightest manifestations of the musical style of the seventeenth and eighteenth centuries is a close connection between music and the art of rhetoric. When referring to ancient music, performers must take into account the enormous influence that rhetoric had on the formation of musical thinking at that time. The close relationship of the latter with the oratory, which is based on a set of laws and rules, led to the influence of musical-rhetorical figures on the semantics of musical language, and, consequently – on the intonation-declamation sphere of musical text, ways of articulation. The latter were largely determined by the design features of ancient tools. The variety of characteristic techniques of instrumental sound production – expressive touches, among which a special place was occupied by the string strokes (legato, detache, martele, etc.) – has become an integral part of the style of European music of the XVII–XVIII centuries. Transferring them to the field of piano technique is necessary for adequate interpretation of works of this period, requiring the pianist to find appropriate analogues that allow to some extent to reproduce the figurative, articulatory, timbre-color, texture characteristics of the performed work. Modern piano, which due to a fundamentally different method of sound production does not claim to be an authentic reproduction of baroque music, has its own rich arsenal of expressiveness, which allows you to offer the listener no less interesting interpretive content of music of past eras. The art of outstanding pianists of the XX–XXI centuries, to whose audio and video recordings modern performers turn in search of a reference sound (G. Gould, S. Richter, S. Feinberg, T. Nikolaeva, M.Argerich, F. Gulda, G. Sokolov, A. Schiff and others) demonstrates this fact clearly. Conclusions. Not reconstruction, but reproduction of the style, image and spirit of early music becomes the leading principle of working on it in the piano class. And here the pianist should come to the aid of a conscious intonation, based on knowledge of both the general laws of the reproduced style and its characteristic details. The outstanding interpreter of early music V. Landowska (1991: 350) wrote: “One cannot ignore the reading of Quantz’s treatises on playing the flute, Leopold Mozart on the violin, Tosi-Agricola on singing, François Couperin, Rameau, Frescobaldi, Marpurg, K. F. E. Bach and many others – about playing keyboard instruments”. Finding “unexpected treasures” in them, “the disciples are delighted, because they begin to realize what they simply did not pay attention to before. In such cases, you find yourself witnessing an explosion of joy, somewhat reminiscent of the discovery of love”.
23
Smith, Bret P. "Goal orientation, implicit theory of ability, and collegiate instrumental music practice." Psychology of Music 33, no. 1 (January 2005): 36–57. http://dx.doi.org/10.1177/0305735605048013.
Full text
24
Barnett, Gregory. "Modal Theory, Church Keys, and the Sonata at the End of the Seventeenth Century." Journal of the American Musicological Society 51, no. 2 (July 1998): 245–81. http://dx.doi.org/10.1525/jams.1998.51.2.03a00020.
Full text
25
Barnett, Gregory. "Modal Theory, Church Keys, and the Sonata at the End of the Seventeenth Century." Journal of the American Musicological Society 51, no. 2 (1998): 245–81. http://dx.doi.org/10.2307/831978.
Full textAbstract:
In the latter half of the seventeenth century, two composers, Giovanni Maria Bononcini and Giulio Cesare Arresti, published collections of sonatas arranged according to modal criteria. Although their conceptions of a modal system differ markedly from one another and from other modal theories of the period, Bononcini's and Arresti's common use of a particular set of eight tonalities concurs with a widespread practice among seicento sonata composers that was also widely attested by theorists. In their music, composers extended these eight tonalities to greater numbers through transpositions. This practice thus reflects an a priori conception of a tonal system based on a core set of tonalities plus transpositions of that set. This core set derives, not from the modes, but from tonalities originating in the eight psalm tones used in the Catholic offices. The significance of these psalm tone tonalities-otherwise known as church keys-cannot be underestimated: they provide a crucial link between seventeenth-century modal theory and the musical practice of that period; moreover, the particular characteristics of the psalm tones themselves explain features found in late seicento tonalities.
26
GARCÍA GALLARDO, CRISTÓBAL L., and PAUL MURPHY. "‘THESE ARE THE TONES COMMONLY USED’: THE TONOS DE CANTO DE ÓRGANO IN SPANISH BAROQUE MUSIC THEORY." Eighteenth Century Music 13, no. 1 (February 11, 2016): 73–93. http://dx.doi.org/10.1017/s1478570615000433.
Full textAbstract:
In the course of the seventeenth and eighteenth centuries, composers and music theorists moved away from the system of the eight ecclesiastical modes that had been elaborated by medieval theorists and was later applied to polyphonic music (including the varied system extended to twelve modes in the sixteenth century) towards modern bimodal tonality. Although several modal systems coexisted within this time period, a distinct variant of the eight modes, often known in modern scholarship as the church keys, developed as a practical solution to problems associated with the performance of psalms and other recited formulas (especially the Magnificat) in alternatim practice between the choir in plainchant and the organ. A scarcity of research on this topic within investigations of Spanish music prompts us to outline an introduction to a matter so crucial to music theory of the baroque period in Spain. Thus we present an overview of the treatment of the church keys or tones in Spanish treatises over a long period of two centuries, and focus briefly on particular contributions made by individual authors.
27
Boye, Gary R. "Lagniappe: Country Music in North Carolina: Pickin' in the Old North State." North Carolina Libraries 61, no. 3 (January 20, 2009): 103. http://dx.doi.org/10.3776/ncl.v61i3.167.
Full textAbstract:
While all Southern states share historical connections in culture and geography, North Carolina is in many ways unique. From the Outer Banks to the industrial Piedmont to the High Country of the west, the state has a unique mix of regions and cultures. Music figures prominently in North Carolina, and its musicians reflect the diversity of the geography. The state’s earliest musicians were the Native Americans, especially the Cherokee, whose music has been recorded and studied in some detail. European-American music has flourishedsince colonial days: in Salem, the Moravian church has sponsored the development of sacred choral and instrumental music for over 200 years. In the early twentieth century a distinct African American blues style originated from the textile mill and tobacco towns of the Piedmont region.
28
Nahajowski, Marek. "Cadence formulas in instrumental music of the Renaissance and early Baroque in the context of that time’s theory of music and composition practice." Notes Muzyczny 1, no. 11 (June 28, 2019): 9–27. http://dx.doi.org/10.5604/01.3001.0013.3519.
Full textAbstract:
Cadence (ending) formulas are one of the most intriguing phenomena in music. They occur in works of all historical periods and styles and they have a variety of forms: from melodic and harmonic turns to rhythmic or even dynamic ones. However, this issue is important not only from the perspective of theory of music or composition technique but also performance practice as the way how a singer or instrument player understands the functioning of separate elements of a piece will impinge on the sound shape of the work presented to the public. Reading the extramusical message hidden in the structure of a piece should be regarded particularly significant for the interpretation of pieces written in times when adding precise performance guidelines in the score was not practiced. In case of compositions written in the 16th and the first half of the 17th centuries, the way how ending formulas functioned was a result of the specificity of that time’s modal system and the principles of polyphonic composition, in which the role of melodic (horizontal) thinking prevailed over the harmonic (vertical) one. The issue of cadences gains special importance while analysing instrumental works in which the absence of verbal text hinders the division of the piece into segments. It only becomes possible thanks to analysing the structure of the piece, including the allocation of modal ending formulas in separate voices of the composition. Howsoever the topic of cadences in music of the 16th and 17th centuries has been discussed many times in the literature on the subject, it has had no satisfactory presentation related to that time’s instrumental repertoire. The present article is an attempt to elaborate on the deliberations on the topic of modal cadence formulas in instrumental works from the 16th and the first half of the 17th centuries. Its first part has an introductory character and it touches on the notion of cadence in modern theoretical-musical and encyclopaedic texts compared to composition theory and practice in the Renaissance and early Baroque eras. The second part of the article is an analysis of selected instrumental works from the end of the 16th and the beginning of the 17th centuries meant for different types of line-ups – the four-voice canzona by Florentio Maschera, canzona by Girolamo Frescobaldi for solo instrument with basso continuo and one of the ricercati by Giovanni Bassano meant for solo melodic instrument without accompaniment.
29
May, Lissa F. "Factors and Abilities Influencing Achievement in Instrumental Jazz Improvisation." Journal of Research in Music Education 51, no. 3 (October 2003): 245–58. http://dx.doi.org/10.2307/3345377.
Full textAbstract:
The primary purposes of this study were to identify factors underlying instrumental jazz improvisation achievement and to examine the extent to which knowledge of jazz theory, aural skills, aural imitation, and selected background variables predict achievement in instrumental jazz improvisation. Subjects were 73 undergraduate wind players enrolled in college jazz ensembles at five midwestern universities in the United States. Results indicated that objective measurement of instrumental jazz improvisation is possible on expressive as well as technical dimensions. Factor analysis revealed only one factor, suggesting that instrumental jazz improvisation is a single construct. Stepwise multiple regression revealed self evaluation of improvisation as the single best predictor of achievement in instrumental jazz improvisation with aural imitation ability as the second best predictor.
30
Johnson, Bret. "ARCHITECT OF CATHEDRAL MUSIC: AN INTERVIEW WITH PHILIP MOORE." Tempo 65, no. 257 (July 2011): 63–67. http://dx.doi.org/10.1017/s0040298211000271.
Full textAbstract:
Philip Moore (b. 1943) has had a distinguished career as a cathedral musician, organist and, increasingly in recent years, as a composer. He began his career as a music master at Eton College and subsequently held a number of important positions, firstly at Canterbury and Guildford Cathedrals and latterly as Master of the Music at York Minster (1983–2008). His impressive catalogue of 400 works contains a substantial body of church music, but he has also written instrumental music and some larger works with orchestra including an organ concerto. His music draws on a wide sphere of influences with a strong tilt towards Vaughan Williams, Howells and Britten, plainchant and Duruflé and those whom he regards as the great classical architects of music: Bach, Brahms, Mozart and Hindemith amongst many others. On 20 November 2010 his new cantata Ode to St Cecilia was premièred in Guildford Cathedral. The composer has said that the genesis and design of the work derives from Britten's St Nicholas to which he hopes it will be seen as complementary. This interview took place in October 2009 before a recital devoted entirely to Moore's organ music at St Paul's Cathedral in London.
31
McCann, B., and B. McCann. "Bridging Disciplinary Divides in the Study of Brazilian Instrumental Music." Luso-Brazilian Review 48, no. 1 (June 1, 2011): 1–5. http://dx.doi.org/10.1353/lbr.2011.0013.
Full text
32
Bíró, István Ferenc, Balázs Hörich, Tamás Szalai, and Judit Váradi. "The Social Dimensions of Music Education." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (December 21, 2020): 37–50. http://dx.doi.org/10.24193/subbmusica.2020.2.02.
Full textAbstract:
"The aim of our study is to explore the factors influencing the cultural sensitivity of students aged 8–13 years. We set up our hypotheses based on the theory of Bourdieu and Passeron and the research of Hunyadi. Our main question is instrumental studies, the frequency of singing, and social status how affect cultural consumption. In our research, we examined the impact of parents’ attitudes to music on children’s musical consumption. To examine the role of cultural capital, we used international models. The aim of our exploratory research is to examine in what form and to what extent the different manifestations of cultural capital prevail in the dimension of cultural consumption. Our results supported that higher education, higher parental care, parents’ musical capital, and good financial status increase the chances of cultural consumption. Those family with higher social status can be characterized by a broader cultural consumption pattern, which in turn is accompanied by more frequent musical activity. Families in a better position are characterized not only by higher cultural consumption but also by more prudent methods of cultural transmission. Keywords: cultural consumption, music education, cultural capital"
33
Lebaka, Morakeng Edward Kenneth. "Integration of Vocal Music, Dance and Instrumental Playing in St Matthews Apostolic Church: Maphopha Congregation." European Journal of Interdisciplinary Studies 4 (July 24, 2018): 34. http://dx.doi.org/10.26417/ejis.v4i2a.p34-44.
Full text
34
Desain, Peter, Henkjan Honing, Huub Vanthienen, and Luke Windsor. "Computational Modeling of Music Cognition: Problem or Solution?" Music Perception 16, no. 1 (1998): 151–66. http://dx.doi.org/10.2307/40285783.
Full textAbstract:
The central purpose of this paper is to elaborate on the methods for computational modeling and to show how, although computational modeling should in principle be instrumental in the understanding of the structure of musical knowledge and the processes involved in music cognition, in practice it too often degenerates into a loose "if you want to understand the theory, here, look in my program" approach. We will show how many issues cannot be decided by inspecting computer programs as they are written nowadays, and we will indicate a possible solution, giving examples from the field of music cognition research.
35
Darcy, Warren. ": Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven . William E. Caplin." Music Theory Spectrum 22, no. 1 (April 2000): 122–25. http://dx.doi.org/10.1525/mts.2000.22.1.02a00060.
Full text
36
Marston, Nicholas. "William E. Chaplin, Classical Forum: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven." Music Analysis 20, no. 1 (March 2001): 143–49. http://dx.doi.org/10.1111/1468-2249.00131.
Full text
37
Sibanda, Fortune, and Tompson Makahamadze. "'Melodies to God': The Place of Music, Instruments and Dance in the Seventh Day Adventist Church in Masvingo Province, Zimbabwe." Exchange 37, no. 3 (2008): 290–309. http://dx.doi.org/10.1163/157254308x311992.
Full textAbstract:
AbstractThis paper examines the type of music played in the Seventh Day Adventist churches in Masvingo Province, Zimbabwe. Although the Seventh Day Adventist Church in general allows the use of instruments and dance in worship, the Seventh day Adventist churches in Masvingo condemns such practices. Their music is essentially a capella. The paper contends that such a stance perpetuates the early missionary attitude that tended to denigrate African cultural elements in worship. It is argued in this paper that instrumental music and dance enriches African spirituality and that the Seventh Day Adventist Churches in Masvingo should incorporate African instruments and dance to a certain extent if they are to make significant impact on the indigenous people. It advocates mission by translation as opposed to mission by diffusion.
38
Voigt, Boris. "Musikästhetik für den Homo oeconomicus." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 58, no. 1 (2013): 97–120. http://dx.doi.org/10.28937/1000106213.
Full textAbstract:
Autonome Musik ist nur als Ware denkbar. Diese treffende Einsicht liegt bereits der Musikästhetik Adam Smiths zugrunde, darf jedoch nicht missverstanden werden als ein auf die Musik gerichteter ökonomischer Determinismus. Vielmehr unterliegt Smiths ökonomische Theorie selbst in hohem Maße einer Ästhetisierung. Beide Ebenen, Ästhetik und Ökonomie, sind strukturell aneinander gekoppelt. Besonders deutlich wird dies an Smiths musikästhetischen Überlegungen. Er unterscheidet strikt zwischen Vokal- und Instrumentalmusik, wobei die Vokalmusik durch die Kommunikation von Sympathierelationen charakterisiert ist, während die Instrumentalmusik lediglich sich selbst kommuniziert, also autonom ist und damit der Denkfigur der unsichtbaren Hand entspricht, die in der Instrumentalmusik tatsächlich ihren präzisesten Ausdruck findet.<br><br>Autonomous music is conceivable only as a commodity. This striking insight is already underlying Adam Smith’s aesthetics of music, but it should not be misunderstood as an economic determinism on music. Rather, Smith’s economic theory itself is subject of aestheticisation. Both levels, aesthetics and economics, are structurally coupled. This is particularly evident in Smith’s musical-aesthetic considerations. He distinguishes clearly between vocal and instrumental music. While vocal music is characterised by the communication of relations of sympathy, instrumental music communicates only itself and is therefore autonomous. Thus it corresponds to the figure of the invisible hand, which actually has its most precise expression in instrumental music.
39
Hash, Phillip M. "Music Education at the New York Institution for the Blind, 1832–1863." Journal of Research in Music Education 62, no. 4 (December 17, 2014): 362–88. http://dx.doi.org/10.1177/0022429414555983.
Full textAbstract:
The purpose of this study was to document the history of music education at the New York Institution for the Blind (NYIB) from the opening of the school in 1832 through the tenure of the facility’s first music director, Anthony Reiff. Research questions pertained to the school’s origin and operation and to its music curriculum, pedagogy, faculty, ensembles, and resources. The NYIB provided a home and education for students ages eight to twenty-five. The music program served as recreation and vocational training and as a means of promoting the school. Reiff joined the faculty in 1835 and established a band and choir that performed throughout the city and surrounding states. In 1847, the board of managers hired George F. Root as head of vocal music and named Reiff director of the instrumental division. Sigismund Laser replaced Root in 1855 and remained at the NYIB until 1863, when both he and Reiff left the school. The faculty at the NYIB developed and promoted effective methods for teaching music to people with blindness and prepared graduates to serve as church musicians, piano tuners, and music educators. Findings from this study might serve to remind music educators of past pedagogical methods and principles applicable in teaching students who are blind today.
40
Dill, Charles. "Rameau's Imaginary Monsters: Knowledge, Theory, and Chromaticism in Hippolyte et Aricie." Journal of the American Musicological Society 55, no. 3 (2002): 433–76. http://dx.doi.org/10.1525/jams.2002.55.3.433.
Full textAbstract:
Abstract In recent years, historians have begun studying the compromises and semiotic slippages underlying Enlightenment thought, what writers of the time characterized as, among other things, monstrosities. Monsters failed to conform to a perceived natural order and as such became models for discussing everything from the limits of knowledge to departures from generic practices. Taking advantage of both this critical trope and the presence of monsters in Rameau's Hippolyte et Aricie (1733), the present essay describes Rameau's struggles with instrumental reason in his theorization of the chromatic genus. The composer marked the climactic moment in act 4 of the opera with what is surely the most striking progression in the performed version, a chromatic modulation that captures the characters' shock and registers the monster's supernatural presence. During the same period, he experimented theoretically with numerous descriptions of the chromatic progression, as both an ordinary and an extraordinary property of music. Working as composer and theorist, then, Rameau let chromaticism occupy varied epistemological positions in his work, which in turn allows us to observe him dealing with the limitations of his theoretical system and musical representation.
41
Bao, Yueli. "Not Forgetting the Original, Absorbing Foreign Things, Facing the Future—Comment on Wu Guodong’s “Chinese National Music”." World Journal of Social Science Research 7, no. 3 (August 3, 2020): p61. http://dx.doi.org/10.22158/wjssr.v7n3p61.
Full textAbstract:
Mr. Wu Guodong has devoted his life to the research of national music and ethnomusicology. His works are various and achieved. Also, he practices the academic concepts himself introduced and takes the research of traditional Chinese music and culture to a more profound level. “Chinese National Music” is a masterpiece of Wu Guodong, which concentrates on teaching and combines the ethnomusicology discipline theory and traditional music research techniques. This book describes Chinese national music from five perspectives: folk songs, folk instrumental music, song and dance music, opera music, and opera music. As a new variety of textbooks, its combination of rational cognition and perceptual experience dramatically improves readers’ interest in reading. Thus, it intends to allow more students to comprehend and understand China’s rich and diverse national music from each perspective.
42
Edlund, Bengt. "Book Review: The Convergence of Musicology and Music Cognition: Does Practice Make Perfect? Current Theory and Research on Instrumental Music Practice." Musicae Scientiae 2, no. 1 (March 1998): 99–101. http://dx.doi.org/10.1177/102986499800200107.
Full text
43
Tan, Leonard. "ConfucianCreatio in situ– philosophical resource for a theory of creativity in instrumental music education." Music Education Research 18, no. 1 (January 9, 2015): 91–108. http://dx.doi.org/10.1080/14613808.2014.993602.
Full text
44
Riley, Matthew. "The Sonata Principle Reformulated for Haydn Post-1770 and a Typology of his Recapitulatory Strategies." Journal of the Royal Musical Association 140, no. 1 (2015): 1–39. http://dx.doi.org/10.1080/02690403.2015.1008862.
Full textAbstract:
AbstractHaydn's ‘recomposition’ of the recapitulation is well known, but this article proposes, against received wisdom, that Haydn composed as though following a rule in the recapitulations of fast sonata-form movements from the 1770s onwards. The article extends William E. Caplin's functional theory to the Haydn recapitulation in order to revive the ‘sonata principle’, restated and limited to fast movements in Haydn's instrumental cycles. It then lays out a typology of Haydn's recapitulatory strategies that unfold within the constraints of the sonata principle.
45
Germiquet, Nicole. "A re-contextualisation of Charles Keil's theory of participatory discrepancies in the music of the Presbyterian Church of Mozambique." Journal of the Musical Arts in Africa 10, no. 1 (December 2013): 105–17. http://dx.doi.org/10.2989/18121004.2013.846984.
Full text
46
Roig-Francoli, Miguel A. "Modal Paradigms in Mid-Sixteenth-Century Spanish Instrumental Composition: Theory and Practice in Antonio de Cabezon and Tomas de Santa Maria." Journal of Music Theory 38, no. 2 (1994): 249. http://dx.doi.org/10.2307/843774.
Full text
47
Mawer, Deborah. "Enlivening analysis through performance: ‘Practising set theory’." British Journal of Music Education 20, no. 3 (October 29, 2003): 257–76. http://dx.doi.org/10.1017/s0265051703005497.
Full textAbstract:
This is a sister article to one that appeared in this journal in 1999, which established benefits in coupling instrumental study and voice-leading analysis, primarily for performers but also for analysts. That analytical students too were more receptive to study when connected with their instrument was the cue for the present article; performance has much to offer the teaching/learning of non-tonal analytical techniques founded on the basic tenets of set theory. This article details an experimental curriculum, ‘Practising set theory’, tested at Lancaster University across 2001–2, in comparison with more traditional methods employed across 1995–2002, and in relation to the new ‘Music benchmark statement’ (2002). Beyond the specifics, it is hoped this research may interest other practitioners seeking alternative pedagogical approaches to parts of the Music curriculum perceived as difficult or especially demanding.
48
Juntunen, Marja-Leena. "Teacher educators’ visions of pedagogical training within instrumental higher music education. A case in Finland." British Journal of Music Education 31, no. 2 (April 15, 2014): 157–77. http://dx.doi.org/10.1017/s0265051714000102.
Full textAbstract:
The purpose of this study was to examine the visions of teacher educators of instrumental pedagogy (n = 12) in higher music education regarding ‘good’ teaching and instrumental student teacher preparation. The theoretical basis for the study was research on teachers’ visions (Hammerness, 2006): teachers’ own conceptions of ideal teaching practices. The data were gathered through semi-structured interviews and analysed by qualitative content analysis. The interviewed teachers’ visions of good teaching of instrumental pedagogy were closely related to their visions of good teaching of instrumental or vocal music, which they attempted to communicate to their student teachers. The process of teacher development was primarily understood as acquiring a package of skills and knowledge that are partly instrument specific, partly generic, and strongly influenced by the labour market. Teaching practice was considered essential, and was perceived as building connections between theory and practical application. The findings support prior research within Nordic teacher education (Hammerness, 2012), in that faculty members’ visions related to teaching are individual and only partly negotiated with their colleagues.
49
Siuta, Bohdan. "Notion “Genre Type” as the Metalіngual Unit of the Modern Musical Theory." Terminological Bulletin, no. 5 (2019): 188–95. http://dx.doi.org/10.37919/2221-8807-2019-5-25.
Full textAbstract:
The notion “genre type” is actual metalіngual unit of the modern musicology and musical theory. The theoretical comprehension of this term is connected with the problem of the theory of the musical genre, which is actual for contemporary musicology. This term (as far as its correspondences in musicological discourse of the countries of Eastern, Central and Western Europe) in Ukrainian musicology is still totally uncertain and not codified. This creates an obvious metalіngual lacuna. In the adequate theoretical representation, the term “genre type” outlines the higher level of the hierarchical category of the speech genre, which combines the characteristics of the speech and creative genres in music. Since the end of the 19th century phenomena musical forms / models / patterns (song form, form of rondo, etc.) and the content of music are the subject of studying and classification within the academic discipline “The doctrine of the musical form”. And in relation to the studying of genre types, other criteria are the determining factors: performance composition (instrumental, vocal, vocal-instrumental, musical and theatrical work), text, functions, place of execution, structure of construction. Additional factors of the systematic classification are periods (such as the Renaissance, Baroque, Viennese classicism) and styles (respectively, genres). The process of emancipation of functional music (which had certain social functions) determined the emergence in the 20th century so called “pure music”, almost unrelated to the primary circumstances of origin and existence. In 20th century composers begin to avoid the narrow qualifications of “genres” and established “genre types” and create “hybrid mixed forms” within the usual “classical genre types” (such as chamber symphony) or with the involvement of other types of art (for example, performances as a mixed form of art based on singing action of dance, theatre and music). In the middle of the 20th century began to differentiate musical-creative and musical-language genres within the T. Adorno’s classification of music practices for E-music, U-music and F-music. However, in contemporary Ukrainian musicology we have not a general acceptance of theoretical and methodological principles for the demarcation of classical music and entertainment. Accordingly, there is no proper musicology terminology. Working out of approaches and convincing criteria of the decision of these difficult theoretical and practical issues still continues. In connection with this, the necessity of introducing into the scientific circle the concept of “genre type”, as well as comprehension of its musical and speech nature is actualized.
50
Iddon, Martin. "The Instrumental Music of Iannis Xenakis: Theory, Practice, Self-Borrowing (review)." Notes 69, no. 2 (2012): 284–86. http://dx.doi.org/10.1353/not.2012.0144.
Full text