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Afdhal, Muhammad. "“REPUBLIKEN” MENYATU DALAM PERBEDAAN." Imaji 17, no. 1 (June 27, 2019): 66–73. http://dx.doi.org/10.21831/imaji.v17i1.25736.
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Republiken adalah penganut ketatanegaraan yang berbentuk republik. Istilah Republiken menunjukkan suatu kesatuan masyarakat yang berbangsa dan berdaulat. Republiken dalam kaitannya dengan karya seni ini adalah suatu bentuk semangat berbangsa melalui seni, dalam hal ini musik, menunjukkan bahwa perbedaan ras atau suku bukanlah masalah untuk bangsa Indonesia menjadi semangat yang satu. Karya komposisi musik yang berjudul “Republiken”, diharapkan dapat menunjukkan semangat berbangsa melalui beberapa karakteristik musik-musik nusantara yang diekspresikan melalui EDM atau Elektronik Dance Music yang merupakan sebuah rumah besar untuk genre-genre musik, seperti disco, dupstep dan sebagainya, karena sebagian alat musiknya menggunakan alat-alat elektronik seperti gitar elektrik, keyboard, synthesiezer dan lauchpad yang dewasa ini menjadi alat musik yang banyak digunakan dalam penciptaan musik EDM “REPUBLIKEN” UNITES IN DIFFERENCESAbstractRepubliken are followers of republic constitutions. The term Republiken shows a united nation and sovereign community. In relation to this work of art, Republiken is a form of nationalism spirit through art—in this case music—showing that racial or ethnic differences are not a problem for Indonesian people to be one spirit. The music composition works entitled "Republiken", are expected to show the spirit of nationalism through several characteristics of archipelago music expressed through EDM or Electronic Dance Music which is a big house for music genres, such as disco, dupstep and so on, because some of the music tools uses electronic devices like electric guitars, keyboards, synthesizers and lauchpads which today are a musical instrument that is widely used in EDM music creation
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Bolaji, David. "Emurobome Idolor and the Discourse of Nigerian Art Music: A 60th Birthday Celebration." AFRREV IJAH: An International Journal of Arts and Humanities 9, no. 1 (April 28, 2020): 58–68. http://dx.doi.org/10.4314/ijah.v9i1.6.
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This article focused on some of the contributions of Emurobome Idolor in the Nigerian music studies. His scholarly contributions cut across different areas of Art Music including Ethnomusicology, Music Composition, Conducting, African Music and Music education in Nigeria. This article identifies and acknowledges the ideological concept of Idolor’s Philosophy towards excellence. Also, this article justified and abstracted some musical attributes that he portrayed as a scholar in Nigerian Art music. Empirical method of research was used for this study, through the holistic overview of some of his scholarly publications and two of his art music compositions titled “Glory Hallelujah and Nigeria’ Otoro So Owan. Through abstractive analysis of these creative works, younger art composers will learn and acquire divers’ compositional techniques that can be used and adopted in promoting African indigenous music.
Key Words: Hard Work, Philosophical Perspective, Art Music and African Music
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Amazonas, Mauro, Thais Castro, João Gustavo Kienen, Rosiane Freitas, and Bruno Gadelha. "Composing aleatoric music through interaction." Per Musi, no. 40 (June 22, 2021): 1–35. http://dx.doi.org/10.35699/2317-6377.2020.26077.
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Urban public art is an art exhibition held in public places, contextualized with their surroundings and its audience. Technology is a significant trend in public art due to its connection possibilities with human life, fostering different kinds of interaction. In this way, this work presents an installation proposal consisting of an environment for creating collaborative random music from interaction with mobile devices in public spaces. Everyone participating in the installation is a composer and interaction is a chance agent, although it follows John Cage's composition methods. In order to probe technology, we carried out two pilot studies, followed by a workshop for the installation itself. Those two pilot studies led us to a new version that was put into practice during the workshop. During the workshop, participants' interaction generated fourteen compositions, and the sounds resulting from the collaborative composition were made available to the public through a website.
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Herdianto, Ferry, Yusnelli Yusnelli, and Freddy Antara. "KOMPOSISI MUSIK BADONDONG BAIBO DALAM MUSIK INSTRMENTAL." Gorga : Jurnal Seni Rupa 10, no. 1 (May 18, 2021): 115. http://dx.doi.org/10.24114/gr.v10i1.24912.
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The composition of instrumental and vocal music in this creation came from the art of badondong baibo and was developed into an instrumental music performance in the form of a musical composition with an orchestra format. The principle of the formulation of the creation of conventional music science. While the purpose of this creation is 1) to create badondong baibo art with different contexts and functions into modern music compositions and develop it using conventional techniques, 2) to realize musical ideas inspired by badondong baibo art and make it a new musical composition. . While the method of creation is carried out in three stages, namely; 1) data collection stage, 2) creation stage and 3) evaluation stage. This composition can be concluded that; a) creating musical compositions derived from regional arts has its own difficulties, where the creator must understand and explore the arts of the area, b) badondong is a new musical composition that is adapted from the melodies and vocals of badondong baibo in the Danto area of East Kampar district, c) the tone of the composition this music is a modified "nandung-nandung" melody without reducing the basic "nandung-nandung" melody, d) this badondong baibo vocal is sung by a vocalist to show the main theme in the creation of this musical composition, e) this composition is in the form of an orchestra format, f) This badondong is a musical composition with a lot of development, and is presented in the context of performing arts.Keywords: badondong, baibo, composition, music. AbstrakRumusan penciptaan komposisi ini diwujudkan dalam sebuah pertunjukan yaitu musik instrumental dan vokal yang mengangkat kesenian badondong baibo menjadi sebuah pertunjukan musik instrumental yang kreatif dan inovatif dalam bentuk komposisi musik dengan format orketra. Dimana rumusan penciptaan menggunakan prinsip-prinsip ilmu musik konvensional. Sedangkan tujuan penciptaan ini adalah 1) untuk menghadirkan kesenian badondong baibo dengan konteks dan fungsi yang berbeda ke dalam komposisi musik modern dan mengembangkannya dengan menggunakan teknik konvensional, 2) untuk merealisasikan ide musikal yang di inspirasi dari kesenian badondong baibo dan menjadikannya sebuah komposisi musik yang baru. Sedangkan metode penciptaan dilakukan dengan tiga tahap yaitu; 1) tahap pengumpulan data, 2) tahap penciptaan dan 3) tahap evaluasi. Secara aris besar kompisisi ini dapat disimpulkan bahwa; a) menggarap sebuah komposisi yang berangkat dari sebuah kesenian bukanlah perkara yang mudah, selain harus memahami, kita juga dituntut untuk mempelajari latar belakang dari kesenian tersebut, b) badondong adalah komposisi musik baru yang bersumber dari melodi vocal badondong baibo yang terdapat didaerah Danto kecamatan Kampar Timur, c) material komposisi ini adalah potongan-potongan melodi “nandung-nandung” yang dikembangkan dengan tidak menghilangkan nuasa melodi pokok “nandung-nandung”, d) vokal dari badondong baibo dibawakan oleh seorang vokalis untuk memperkenalkan tema pokok dalam penggarapan komposisi ini, e) komposisi digarap dengan format orkestra dalam sebuah pertunjukan seni, f) badondong ini adalah sebuah komposisi musik yang dicipatkan dengan menggunakan banyak pengembangan, dimana komposisi musik ini dihadirkan dalam konteks prtunjukan.Kata Kunci: badondong, baibo, komposisi, musik. Authors:Ferry Herdianto : Institut Seni Indonesia PadangpanjangYusnelli : Institut Seni Indonesia PadangpanjangFreddy Antara : Institut Seni Indonesia Padangpanjang References:Aziza, M. R., Soemardiono, B. (2013). Canon, Sebuah Teori Musik sebagai Tema Objek Rancang Sekolah Tinggi Seni Pertunjukan Indonesia. Jurnal Sains dan Seni Pomits. 2(2), __ _ __ .Amanriza, dkk. (1989). Koba Sastra Lisan Orang Riau. Pekanbaru: Dinas Kebudayaan dan Pariwisata Provinsi Riau.Baran, Stanley J. (2011). Pengantar Komunikasi Massa: Literasi Media dan Budaya, Edisi Kelima Buku Satu. Jakarta: Salemba Humanika.Banoe, Pono. (2003). Kamus Musik. Yogyakarta: Kanisius.Esten, M. (1990) Sastra Indonesia dan Tradisi Subkultur. Bandung: Angkasa.Lailia, D. R. (2016). Tinjauan Harmoni Pada Karya Musik “True Love Of Family”. Jurusan Pendidikan Sendratasik: Fakultas Bahasa dan Seni Universitas Negeri Surabaya.Jamalus. (1988). Pengajaran Musik Melalui Pengalaman Musik. Jakarta: Proyek Pengembangan Tenaga Kependidikan Direktorat Jendral Pendidikan Tinggi.Kusumawati, Heni. (2004). Komposisi Dasar. Yogyakarta: Fakultas Bahasa dan Seni. Universitas Negeri Yogyakarta.Herdianto, F. (2021). “Badondong Baibo”. Hasil Dokumentasi Pribadi. 2021, ISI Padangpanjang.Hutagalung, R. J. (2018). Klasifikasi Instrumen Musik pada Ensembel Musik Tradisional Batak Toba. Jurnal Christian Humaniora, 2(2), 114-126. https://doi.org/10.46965/jch.v2i2.92. Mahdayeni, M., Alhaddad, M. R., & Saleh, A. S. (2019). Manusia dan Kebudayaan (Manusia dan Sejarah Kebudayaan, Manusia dalam Keanekaragaman Budaya dan Peradaban, Manusia dan Sumber Penghidupan). Tadbir: Jurnal Manajemen Pendidikan Islam, 7(2), 154-165. https://doi.org/10.30603/tjmpi.v7i2.1125. Maran, Rafael Raga. (2007). Manusia dan Kebudayaan dalam Perspektif Ilmu Budaya Dasar. Jakarta: Rineka Cipta.Mudjilah, H. S. (2004). Teori Musik (Diktat Kuliah). Yogyakarta: Jurusan Sendratasik Program Studi Pendidikan Seni Musik, FBS-UNY Yogyakarta.Juita, N. (2015). Nilai-nilai Pendidikan Karakter dalam Pantun Badondong Masyarakat Desa Tanjung Bungo Kecamatan Kampar Timur Kabupaten Kampar. Bahasa, Sastra, dan Pembelajaran, 3(1). __ _ __ .Purnomo. (2018) Warisan Budaya Takbenda (WBTb) Hasil Penetapan Kemendikbud 2013 s.d. 2018 Untuk Wilayah Kerja BPNB Kepulauan Riau Provinsi Kepulauan Riau dan Riau. Riau: Balai Pelestarian Nilai Budaya Kepulauan Riau.Sahar, S. (2016). Merintis Jalan: Membangun Wacana Pendekatan Antropologi Islam. Jurnal Al Adyaan; Jurnal Sosial dan Agama, 1(02). __ _ __ .Syafiq, Muhammad. (2003). Ensiklopedia Musik Klasik. Yogyakarta: Adicita Karya Nusa.Sibarani, R. (2015). Pendekatan antropolinguistik terhadap kajian tradisi lisan. Retorika: Jurnal Ilmu Bahasa, 1(1), 1-17. https://doi.org/10.22225/jr.1.1.9.1-17.Sutami, Hermina. (2005). Ungkapan Fatis dalam Pelbagai Bahasa. Depok: Rumah Printing. Sumardjo, Jakob. (2000). Filsafat Seni, Penerbit ITB: Bandung.Wang, A. (2014, May). The Expression of Emotion and Feeling in Music Composition. In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14) (pp. 636-638). Atlantis Press.Turek, Ralp. (1988). Concepts and Application. New York: The University of Akron.Yohana, N., & Husmiwati, K. (2015). Kaidah interaksi komunikasi tradisi lisan basiacuang dalam adat perkawinan Melayu Kampar Riau. Jurnal Penelitian Komunikasi, 18(1), 43-56.
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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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Laferrière, Carolyn. "Painting with Music." Greek and Roman Musical Studies 8, no. 1 (March 13, 2020): 63–90. http://dx.doi.org/10.1163/22129758-12341362.
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Abstract When Apollo is depicted playing his lyre, the representation of his active musical performance suggests a sonic element in the viewer’s perception of the image. In this paper, I examine how Apollo’s music and its effect upon his audience are communicated in late Archaic Athenian vase-painting. I draw attention to three musical terms, namely ῥυθµός, συµµετρία, and ἁρµονία, which were defined around the same time that the images were created. These concepts were also used for art criticism, encouraging a comparison between art and music. Working between these musical terms and the visual images, I show that the material representation of Apollo’s music informs each image’s composition through the repetition of similar lines and forms among Apollo, his instrument, his audience, and the plants and animals that accompany them. The images suggest that the sounds of the god’s music draw the composition together into a musical harmonia, thereby continually reaffirming the unifying character inherent to Apollo’s music.
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O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (May 14, 2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.
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Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.
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Sudarman, Yos, and Erfan Lubis. "DEVELOPING CHARACTER EDUCATION THROUGH THE SIMPLE SONG COMPOSITION IN ARTS EDUCATION CULTURE FOR JUNIOR HIGH SCHOOL STUDENTS (SMP)." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 16, no. 1 (March 17, 2015): 105. http://dx.doi.org/10.24036/komposisi.v16i1.8048.
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MENGEMBANGKAN PENDIDIKAN KARAKTER MELALUI KEMAMPUAN MENCIPTA LAGU SEDERHANA DALAM PENDIDIKAN SENI BUDAYA BAGI SISWASEKOLAH MENENGAH PERTAMA (SMP)AbstractThe research was conducted in SMP Negeri 16 Padang, which was motivated by the music of culture and art of learning problems in curriculum-based Character Education in 2013, where some of the subject matter tends to develop the cognitive and psychomotor, more geared to the development of the affective domain. From the pattern of KI and KD field of the music of culture and art in 2013 at the junior high curriculum, competencies, knowledge and skills the art of music is not negligible, but the development of attitudes of learners through learning music is much more important. Developing Character Education through Capability Creates a Simple Song learning in the Junior Cultural Arts is one of the subject matter may be directed to the development of the educational aspects of character, to understand the attitude and response of students to the theme of simple songs that he created. There are nine steps that are applied in this study are: (1) find the idea: (2) exploration of the theme of experience and appreciation of the work: (3) stringing words according to the theme: (4) analysis of the suitability of the choice of words on the vowel sounds in rhymes and articulation: (5) selection of musical nuance and patron melody; (6) analysis of the relationship melodies and lyrics; (7) notational (number / beam) (8) makes a simple isnstrumental musical accompaniment; and (9) the presentation creation simple songs sung by music iiringan. Results showed that, with a simple song that created the students, they realize himself what he knew and understood about attitudes and behavior problems of both himself and other people. Key Words: Education Music Arts, character education, creating songs AbstrakPenelitian ini dilaksanakan di SMP Negeri 16 Padang yang dilatarbelakangi oleh masalah pembelajaran seni budaya musik dalam Kurikulum 2013 yang berbasis Pendidikan Karakter, di mana beberapa materi pelajaran yang cenderung mengembangkan ranah kognitif dan psikomotorik, lebih diarahkan kepada pengembangan ranah afektif. Dari pola KI dan KD bidang Seni Budaya Musik pada kurikulum 2013 di SMP, kompetensi pengetahuan dan keterampilan seni musik tidak diabaikn, namun pengembangan sikap peserta didik melalui pembelajaran musik jauh lebih penting. Mengembangkan Pendidikan Karakter melalui Kemampuan Mencipta Lagu Sederhana dalam pembelajaran Seni Budaya di SMP adalah salah satu materi pelajaran yang dapat diarahkan kepada pengembangan aspek pendidikan karakter, dengan memahami sikap dan tanggap siswa terhadap tema lagu sederhana yang ia ciptakan. Ada sembilan langkah yang diterapkan dalam penelitian ini yaitu: (1) menemukan ide: (2) eksplorasi tema dari pengalaman dan apresiasi karya: (3) merangkai kata sesuai tema: (4) analisis kesesuaian pilihan kata pada bunyi vokal menurut sajak dan artikulasi: (5) pemilihan nuansa musikal dan patron melodi; (6) analisis hubungan melodi dan lirik; (7) penulisan notasi (angka/balok) (8) membuat iringan musik isnstrumental sederhana; dan (9) presentasi ciptaan lagu sederhana yang dinyanyikan dengan iiringan musik. Hasil penelitian menunjukkan bahwa, dengan lagu sederhana yang diciptakan siswa, mereka menyadari sendiri apa yang ia ketahui dan pahami tentang masalah sikap dan berperilaku baik bagi dirinya maupun oranglain. Kata Kunci: Pembelajaran Seni Musik, pendidikan karakter, mencipta lagu
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Collins, Nick. "Automatic Composition of Electroacoustic Art Music Utilizing Machine Listening." Computer Music Journal 36, no. 3 (September 2012): 8–23. http://dx.doi.org/10.1162/comj_a_00135.
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This article presents Autocousmatic, an algorithmic system that creates electroacoustic art music using machine-listening processes within the design cycle. After surveying previous projects in automated mixing and algorithmic composition, the design and implementation of the current system is outlined. An iterative, automatic effects processing system is coupled to machine-listening components, including the assessment of the “worthiness” of intermediate files to continue to a final mixing stage. Generation of the formal structure of output pieces utilizes models derived from a small corpus of exemplar electroacoustic music, and a dynamic time-warping similarity-measure technique drawn from music information retrieval is employed to decide between candidate final mixes. Evaluation of Autocousmatic has involved three main components: the entry of its output works into composition competitions, the public release of the software with an associated questionnaire and sound examples on SoundCloud, and direct feedback from three highly experienced electroacoustic composers. The article concludes with a discussion of the current status of the system, with regards to ideas from the computational creativity literature, among other sources, and suggestions for future work that may advance the compositional ability of the system beyond its current level and towards human-like expertise.
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Lloyd, James. "Composition, Comparison, and Concept." Greek and Roman Musical Studies 8, no. 2 (August 14, 2020): 323–37. http://dx.doi.org/10.1163/22129758-bja10010.
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Abstract While recent discussions of music archaeology have emphasised the importance of context for the study of the art and archaeology of ancient music, there has not been much theoretical engagement with the objects themselves. This paper takes recent arguments concerning two objects identified as strobiloi to propose an object-based framework for the study of ancient art and archaeology in relation to ancient music. Contexts are not infallible. Being mindful of composition, comparisons, and concepts (the three core elements of the proposed framework), I argue that there is, as yet, no certain artistic or archaeological evidence for interpreting objects identified as strobiloi as musical devices, and that the Asteas Phrynis vase cannot be used as a reliable source for organological detail.
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Wolkowicz, Vera. "Incan or Not? Building Ecuador’s Musical Past in the Quest for a Nationalist Art Music, 1900–1950." Journal of Musicology 36, no. 2 (2019): 228–60. http://dx.doi.org/10.1525/jm.2019.36.2.228.
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When the development of Ecuadorian national art music began at the end of the nineteenth century, composers and music historians followed European models and studied folklore as a window onto the past. In this quest to discover and articulate what was truly “Ecuadorian,” Incan culture occupied a complex position, sometimes hailed as a primary component of Ecuador’s musical heritage and sometimes dismissed as irrelevant. This article explores the music histories written by composers Pedro Pablo Traversari, Segundo Luis Moreno, and Sixto María Durán, and investigates a selection of Traversari’s compositions and Moreno’s music analyses. It demonstrates how they either included Incan culture in or excluded it from a national music history, in dialogue with scholars outside Ecuador. Early twentieth-century musical discourse in Ecuador produced a series of conflicting and converging perspectives on national and continental music that contribute to our understanding of the global history of nationalistic art musics.
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Ladič, Branko. "Transformations of folklorism in 20th-century Slovak composition." Studia Musicologica 56, no. 4 (December 2015): 367–95. http://dx.doi.org/10.1556/6.2015.56.4.6.
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Folkloristic musical works played an essential role in the creation of a ‘Slovak idiom’ in classical music of the post-war period. From the simple arrangement of folk songs to a more autonomous art music (which may have been only partly influenced by folk traditions) there existed a broad spectrum of musical practices, including also film music and music for the professional ‘folk music ensembles’ that appeared after 1948. By referring to specific examples from this large body of music, I will show how composers worked with harmonic and poetic elements that were particular to folk music: my discussion of examples from the breadth of this music — including music for the film Zem spieva ([The land sings], music by F. Škvor), the ‘model’ compositions for the ensemble SĽUK (A. Moyzes) and, finally, the subjective folklorism of the avantgarde in the 1960s and 1970s — shows how Slovak composers worked under changing ideological influences to bring about an ‘ennobling’ of folk music.
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Blom, Christian. "Music as Organised Time: A strategy for transmedial composition and a questioning of the relation between music and sound." Organised Sound 23, no. 3 (December 2018): 246–55. http://dx.doi.org/10.1017/s1355771818000158.
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As a consequence of the universal alphabet of binary code, music is expanding to include transmedia practices. This text suggests that the seemingly exclusive bond between the art form of music and its primary medium, sound, might be opened up to include other media. If the practices of composers who also appear as sound- and kinetic artists are not recognised as music, possible contemporary perspectives on past music is lost and the future development of music is inhibited.The author presents an artistic perspective on transmediality, where two questions are addressed. The first is whether or not a transmedial structure can be made with light, movement and sound – and if so, how is this done? A strategy for transmedial composition with light, sound and movement is proposed, and exemplified with hand drawings. The second question raised in this article concerns whether or not transmedial compositions result in music. An idea of music as organised time is developed, and includes a discussion on the exclusive relation between art form and medium, especially between sound and music.
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Agawu, Kofi. "The Challenge of African Art Music." Circuit 21, no. 2 (July 21, 2011): 49–64. http://dx.doi.org/10.7202/1005272ar.
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This essay offers broad reflection on some of the challenges faced by African composers of art music. The specific point of departure is the publication of a new anthology, Piano Music of Africa and the African Diaspora, edited by Ghanaian pianist and scholar William Chapman Nyaho and published in 2009 by Oxford University Press. The anthology exemplifies a diverse range of creative achievement in a genre that is less often associated with Africa than urban ‘popular’ music or ‘traditional’ music of pre-colonial origins. Noting the virtues of musical knowledge gained through individual composition rather than ethnography, the article first comments on the significance of the encounters of Steve Reich and György Ligeti with various African repertories. Then, turning directly to selected pieces from the anthology, attention is given to the multiple heritage of the African composer and how this affects his or her choices of pitch, rhythm and phrase structure. Excerpts from works by Nketia, Uzoigwe, Euba, Labi and Osman serve as illustration.
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Stratan-Artyshkova, Tetiana. "PSYCHOLOGICAL FOUNDATIONS OF COMPOSITION AND PERFOMANCE OF FUTURE TEACHER OF MUSIC." Aesthetics and Ethics of Pedagogical Action, no. 13 (March 9, 2016): 49–59. http://dx.doi.org/10.33989/2226-4051.2016.13.171538.
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The article characterizes the component structure of music and performance practice of a musical art would-be-teacher, determines the notion of “author’s ability” as a system-making cause of music and performance practice of a future teacher and professionally meaningful personal feature, which denotes the highest level of a personal artistic development, its core power, artistic intellection and emphasizes the meaningful of a would-be-teacher personality of a musician as continuity. The psychological analysis of music and performance process, its entire mechanisms states that the interrelation of the highest intellectual value and meaningful power of personality realizes in process of its activity, personal features are reviling, making current, developing, the artistic mind, emotionality, artistic vision, empathy, creativity, freedom, self-analysis is mastering, artistic and interpretational abilities are improving. The structure and functional analysis of entire components of music and performance work states that the involving of a music art would-be-teachers in their own mature work defines entirety, uniqueness of a future teacher personality, emphasizes that music and performance activity of musical art future teachers states on a higher level availability of complex integral personal professionally meaningful features, which reflect subjectivity of a future teacher, his ideology positions and value orientations, personal and professional focus, formation of a positive self-concept, ability to act, create, to be independent and responsible in action, it means, that the entity of music and performance work of a future professional consists not in absolutization of obtaining process of academic knowledge and learning artistic and interpretational abilities, but in focusing the content of this action on development personal and artistic features of a future teacher personality as a subject of action, his ability to be performative, original and unique in his own creativity.
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Parker, Jennifer no e. "Composing [De]Composition: Data Sonification for Sound Art and Music Composition." Leonardo 51, no. 5 (October 2018): 528. http://dx.doi.org/10.1162/leon_a_01664.
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KNYT, ERINN. "Between Composition and Transcription: Ferruccio Busoni and Music Notation." Twentieth-Century Music 11, no. 1 (March 2014): 37–61. http://dx.doi.org/10.1017/s1478572213000145.
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Abstract‘The new art of music is derived from the old signs – and these now stand for the musical art itself.’1 With this statement, Ferruccio Busoni (1866–1924) summarized his main criticism of traditional music notation – that it was lifeless and outdated. Based on an analysis of Busoni's organic method of keyboard notation (1909), an examination of composition sketches and performance scores, and an investigation of his writings about notation in aesthetic texts – in particular the Sketch of a New Aesthetic of Music (1907) – this article shows how Busoni's multifaceted views about notation forged a middle ground between the work as text and the work as performance in an age enthralled to the idea of Werktreue. In addition, it traces the continuing influence of Busoni's ideas about notation on Arnold Schoenberg and other contemporaneous theorists and composers.
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Prabowo, Anik, Udi Utomo, and Syahrul Syah Sinaga. "Komposisi Musik Ilustrasi Pada Kelompok Teater Kembang SMA N 1 BREBES." Jurnal Seni Musik 9, no. 2 (December 30, 2020): 99–108. http://dx.doi.org/10.15294/jsm.v9i2.39608.
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Theater is a performing art which in its performance brings a story that is delivered through acting on the stage. Theater performance is inseparable from music as supporting atmosphere. Based on that, this research aims to know the types of illustration music composition in “Kembang” Theater group from SMA N 1 Brebes. This study used qualitative method. To obtain the accurate data, this study used observation, interview, and documentation. This research consists of data collection, data reduction, data presentation, and conclusion. The result shows that “Kembang” Theater always makes music composition that is suitable with the theme of the script on their performances. Illustrated music is always played live on stage with consideration of getting maximum results in every scene played. There are various types of illustration music composition in “Kembang” Theater group. They are opening music, happy music, wistful music, tense music, horror music, romantic music, comical music, sampakan music/convey music, transition music, and closing music. The types of script are divided into two types. There are tragedy script and comedy script. Not all types of Illustration music composition exists in all types of script. For example, sampakan music and comical music that only exist in comedy script.
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Matanari, Oang Gabriel, I. Komang Darmayuda, and Ni Wayan Ardini. "“Belenggu Benalu”: Komposisi Kolaborasi-Interpretatif mengenai Pengaruh Akulturasi Budaya Barat pada Musik Batak Toba “Uning-uningan”." Journal of Music Science, Technology, and Industry 2, no. 1 (January 15, 2019): 85. http://dx.doi.org/10.31091/jomsti.v2i1.612.
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Budaya asing yang masuk ke tanah Batak di Sumatera Utara, Indonesia, membawa pengaruh yang besar bagi perkembangan musik Batak Toba atau Uning-uningan, yaitu ansambel hasil transformasi antara Gondang Hasapi yang terdiri atas Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, serta Hesek, dengan Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, dan Hesek serta Sarune Bolon). Dalam perkembangan zaman ini, sebagian besar acara adat Batak Toba menyajikan konsep musik Uning-uningan dengan iringan keyboard, bahkan dalam banyak situasi, ketika terdapat keterbatasan dana di dalamnya, otomatis ada ruang yang besar bagi pemain organ tunggal untuk mengaplikasikan repertoar-repertoar musik Uning-uningan hanya dengan keyboard-nya. Hal tersebut tentunya memberikan pengaruh negatif bagi eksistensi musik tradisional Batak Toba ini. Alhasil pengaruh yang terjadi akibat budaya Barat mampu menarik minat masyarakat Batak Toba, sehingga masyarakat Batak Toba lebih menyukai konsep musik Uning-uningan dengan iringan keyboard. Oleh sebab itu, keprihatinan penulis sekaligus komposer dalam menanggapi pengaruh akulturasi terhadap eksistensi musik tradisi Batak Toba dituangkan dalam komposisi musik dengan judul “Belenggu Benalu”. Melalui komposisi musik ini penulis berharap masyarakat Batak Toba, khususnya para musisi Batak sadar dan turut berpartisipasi dalam melestarikan serta menjaga Uning-uningan dan musik tradisional Batak lainnya sebagai salah satu identitas dari keragaman seni dan budaya Indonesia. Foreign culture that enters Batak land in North Sumatera, Indonesia, has a great influence on the development of the Batak Toba music or Uning-uningan (an ensemble transformed between Gondang Hasapi consisting of Sarune Etek, Hasapi Doal, Hasapi Ende, Garantung, as well as Hesek and Gondang Sabangunan/Bolon (Taganing, Ogung (Gong), Odap, Hesek and Sarune Bolon). Nowadays, most of the traditional Batak Toba ceremonials present the concept of Uning-uningan music with keyboard accompaniment, especially in the situations that there is a budget limitation which gives a large space for single organ players (keyboardist) to apply Uning-uningan musical repertoires only with an instrument (i.e. the keyboard). This certainly gives negative influence on the existence of the Batak Toba traditional music. As a result the influence that happened because of the western culture makes the people of Batak Toba prefers the musical concept of Uning-uningan with keyboard accompaniment. Therefore, the concern of the author and composer in responding to the influence of acculturation on the existence of Batak Toba traditional music is outlined in musical composition entitled “Belenggu Benalu”. Through this music composition hopefully the people of Batak Toba, especially Batak musicians are aware and participate in preserving and maintaining Uning-uningan and other traditional Batak music as one of the identities of the Indonesian art and culture diversity.
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Dunn, Rosemary. "Teaching Music through Individual Composition: A Music Course for Pupils aged Eleven to Eighteen." British Journal of Music Education 9, no. 1 (March 1992): 49–60. http://dx.doi.org/10.1017/s0265051700008688.
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In this article I expound my method of teaching the language of music to my pupils. I aim to enable them to express themselves through music, just as they are expected to use the tools of language for creative writing and art materials for original work.My class organisation and the syllabus by which my pupils learn to compose is explained in some detail for years seven to nine and in more general terms thereafter.I include examples of compositions, from Year Seven and from GCSE pupils. I hope I can encourage other teachers to adopt similar objectives and therefore reap similar rewards.
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DEMEYERE, EWALD. "ON BWV1080/8: BETWEEN THEORY AND PRACTICE." Eighteenth Century Music 4, no. 2 (September 2007): 291–99. http://dx.doi.org/10.1017/s1478570607000966.
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The application of rhetoric to music had special significance in the seventeenth century and in the first half of the eighteenth century. The discipline of classical Greek oratory, originally dealing with how to make and execute a speech, formed the basis for the rules of composition and performance, especially in German-speaking lands. During this period the influence of rhetorical principles on all parameters of music was commonplace; not only did a vast number of treatises on rhetoric in music emerge, but the central educational programme taught in the Latin schools and the universities included both musica and rhetorica among the seven artes liberales. That rhetoric was also a fundamental part of Bach’s music-making is shown by the following testimony from Johann Abraham Birnbaum (1702–1748), Professor of Poetics and Rhetoric at Leipzig: ‘He so perfectly understood the resemblance which the performance of a musical piece has in common with rhetorical art that he was listened to with the utmost satisfaction and pleasure when he discoursed of the similarity and agreement between them; but we also wonder at the skilful use he made of this in his works’.
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Otondo, Felipe. "Music technology, composition teaching and employability skills." Journal of Music, Technology and Education 9, no. 3 (December 1, 2016): 229–40. http://dx.doi.org/10.1386/jmte.9.3.229_1.
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This article explores the relationship between the creative skills taught as part of the music technology BA course at Lancaster University and the skills valued by graduates and employers in the creative industries. The study investigated ways of enhancing specific and generic employability skills intrinsic to music technology teaching while working in close collaboration with industry partners and Lancaster University graduates. A survey of students, graduates and industry experts showed that generic and discipline-based skills linked to music technology composition teaching, such as communication, planning and organizing and critical listening, are highly valued by both recruiting professionals and students. These results are in line with findings from an earlier project that showed the importance of non-disciplinary knowledge shared among students from different backgrounds for the design and implementation of successful interdisciplinary collaborations. Future developments of the project will investigate ways of enhancing generic and specific employability skills within interdisciplinary learning environments for art and science students.
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Orozco, Renzo Filinich. "TA [P] CHAS: References to Indigenous Traditions in Peruvian Electroacoustic Composition of the 1960s." Leonardo Music Journal 27 (December 2017): 93–97. http://dx.doi.org/10.1162/lmj_a_01026.
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This article reviews the compositional practice of Peruvian electroacoustic music in the 1960s, to investigate the methods and sources of influence on music and new technologies of that time. It therefore explores local expressions and national and regional identities through elements of folk and traditional music used in these practices. The analysis of this repertoire, from a cross-cultural perspective, sheds new light on the history and originality of experimental art and music in Peru, as well as on Peruvian ethnomusicology.
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Ibude, Isaac Osakpamwan. "African Art Music and the Drama of Christian Worship among Baptists in Nigeria." East African Journal of Traditions, Culture and Religion 2, no. 1 (October 22, 2020): 72–82. http://dx.doi.org/10.37284/eajtcr.2.1.226.
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Church music is purpose-driven and functional art. The search for authentic African experience in Christian worship among Nigerian Baptists brought about the introduction of art music compositions into the drama of worship. The paper discusses the development and contextualisation of Baptist worship by the inclusion of new music(s) written, composed and performed by Africans for the purpose of the liturgy, serving as a voice within the culture. The research adopted an ethnographic research design. Data were collected from published works and recorded art music compositions, content analysis of worship bulletins, personal interviews with art music composers, choirmasters and pastors within the denomination. Textual analysis of art music compositions reveals that there are four different modes of communication in the drama of worship: Kerigmatic, Leitourgic, Koinonia, and Reflexive. The emergence and performance of art music compositions in the drama of worship have facilitated communication, indigenisation and acculturation of Christian worship among Baptists in Nigeria.
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Vasylieva, Larysa. "Semantic of the form in rock-music: art-pedagogical aspect (on example of hardand-heavy)." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 42–47. http://dx.doi.org/10.33310/2518-7813-2019-66-3-42-47.
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Purpose of Article - description of the semantic features of the hard-and-heavy musical composition in artistic and pedagogical aspects - the following tasks are specifically applied: individual perspectives of the study of semantics in rock music; need an organization theme), describe the structure and semantic model of hard and heavy compositions. Methodology relies on an integrated approach with the use of system-structural, functional and comparative methods, which allows to explore the characteristics of musical composition's semantics in hardand-heavy at the intonational-thematic, genre, compositional levels. Scientific novelty consists in describing the models of the structural and semantic organization of hard-and-heavy compositions on the basis of a study of the processes of shaping, thematic and structural organization. Hard-and-heavy uses various types of forms - from simple to complex, mirror-symmetric, open, alternative, which are based on one of the three types of thematic organization: monoriff, polyriff, spiral. Structural models of hard-and-heavy musical forms emerge based on the interaction of genre features of vocal and instrumental music. Each structural model corresponds to a generalized semantic model with a specific range of values. The guiding lines for semantic interpretation are representations of typical forms. The semantic model of a typical hardand-heavy composition has several particular models that play the role of a meaningful scenario, define the functional and dynamic profile of the piece, and create the semantic field of this form. Semantic analysis of the rock-piece`s form, as a component of the operational level of artistic and pedagogical analysis, provides an awareness of the joint action of the means of musical expression in their interconnection and conditionality of content. It reveals the structural features of a piece of music, facilitating the process of perception and providing active influence of musical images on the listeners
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Østergaard, Edvin. "Moon Music: A Composition of Art and Science in Dialogue." Leonardo 43, no. 3 (June 2010): 223–28. http://dx.doi.org/10.1162/leon.2010.43.3.223.
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Leonardo da Vinci's careful descriptions of the reflection of light by the moon inspired the author to compose a piece for choir on ways of perceiving the moon. In The Two Moons, Leonardo's words are contrasted with two additional texts: facts from a textbook on astronomy and a poem by Denise Levertov. The author discusses the challenge of transforming text and idea into musical sound. Further he discusses exploring natural phenomena by means of parallel efforts in art and science.
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Porębski, Adam. "Composition learning at a music school on the example of the School Composers’ Club at the K. Szymanowski Primary and Secondary Music Schools in Wrocław." Konteksty Kształcenia Muzycznego 7, no. 1(11) (December 31, 2020): 155–66. http://dx.doi.org/10.5604/01.3001.0014.6477.
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It is no use looking for the educated musicians who were given a chance to come into longer contact with composition as a school subject being part of their formal education. Meanwhile, fascination with an act of creation and willingness to get familiar with music “from the inside” accompany school-age people. It is then that first, bashful compositional attempts are made. Over time, pupils search for new sounds on their instruments, improvise, experiment, get familiar with music literature. Such attempts should not go unnoticed – an observant pedagogue will easily notice creative predispositions in their pupils. In this article, the author shares his pedagogical experiences gained while giving composition classes at the K. Szymanowski Comprehensive Primary and Secondary Music Schools in Wrocław. The idea of promoting the art of composition was fully implemented in the form of the School Composers’ Club, founded in the school year of 2016/2017, the activity of which is based on the author’s original school curriculum, a system of individualized education and various forms of young composers’ presentations. The Club’s activity assumes, on the one hand, preparing pupils to take up compositional studies and, on the other one, fostering their general musical development enriched with creative competences.
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LEWIS, HANNAH. "“The Realm of Serious Art”: Henry Hadley's Involvement in Early Sound Film." Journal of the Society for American Music 8, no. 3 (August 2014): 285–310. http://dx.doi.org/10.1017/s1752196314000212.
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AbstractComposer-conductor Henry Kimball Hadley (1871–1937) is widely viewed as a conservative musical figure, one who resisted radical changes as American musical modernism began to flourish. His compositional style remained firmly rooted in late-Romantic European idioms; and although Hadley advocated for American composition through programming choices as a conductor, he mostly ignored the music of younger, adventurous composers. In one respect, however, Hadley was part of the cutting edge of musical production: that of musical dissemination through new media. This essay explores Hadley's work conducting and composing film music during the transition from silent to synchronized sound film, specifically his involvement with Warner Bros. and their new sound synchronization technology, Vitaphone, in 1926–27. Drawing on archival evidence, I examine Hadley's approach to film composition for the 1927 filmWhen a Man Loves. I argue that Hadley's high-art associations conferred legitimacy upon the new technology, and in his involvement with Vitaphone he aimed to establish sound film composition as a viable outlet for serious composers. Hadley's example prompts us to reconsider the parameters through which we distinguish experimental and conservative musical practices, reconfiguring the definitions to include not just musical proclivities but also the contexts and modes through which they circulate.
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Campbell, Patricia Shehan. "From Cage to Glass: Lessons for the Late Twentieth Century." British Journal of Music Education 7, no. 1 (March 1990): 15–24. http://dx.doi.org/10.1017/s0265051700007488.
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Because art music of the late twentieth century has received little attention in North American school music settings, this paper proposes a rationale as well as procedures for the teaching of one of its emerging styles: minimalism. A brief historical view of the development of minimalism is offered, the influence of Cage's concepts of music as an ongoing [if indeterminate] process is recognised, and the relationship of minimalism to other musical sytles and genres is noted. Listening lessons for works by composers Terry Riley, Steve Reich, and Phillip Glass are devised, along with suggestions for performance and composition experiences in the music classroom. Due to its eclectic nature, including the influence of rock and pop music, instruction in the music of the minimalist composers is viewed as a gateway to other art music styles and techniques of the late twentieth century.
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Liu, Xia. "The narrative in vocal music: the genre aspect." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 230–42. http://dx.doi.org/10.34064/khnum2-18.13.
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Logical reason for research. Relevance of the presented topic is determined by the fact that with the help of knowledge gained in the field of inter-scientific interaction, it is possible to obtain new research results on both, traditional and new issues of musicology. In vocal music, which combines musical and extra-musical factors, there are a number of its own “eternal questions”, one of which is the interaction of the word and music. There is no definite answer to the question of what is the leading in the vocal art – a word or music, each time this is decided individually within the framework of a certain genre and style. But there is always a certain verbal “programming” of a vocal composition with the text. One of the serious and complex concepts associated with a textual basis is the “narrative”, and the study of the effect of the narrative in the musical art requires a special attention in both theoretical and practical directions. Innovation. The article is devoted to considering a narrative in the vocal music in the genre aspect. The narrative nature is understood as a narrative orientation associated with a certain emotional content; at the same time, the narrative is characterized, on the one hand, as a factor of the verbal text of a vocal composition (the extra-musical component), and, on the other hand, as a factor of a single whole vocal composition (the musical component). From the point of view of its implementation, the narrative in vocal music has two main functions – the composer’s one and the performer’s one, which in its own way manifests itself in various vocal genres. The most striking of the narrative vocal genres in vocal music are the opera and the ballad. In the opera, the narrative has a more complex synthetic nature in connection with the interaction of various types of art (music, literature, theatre). In the chamber-vocal genre of the ballad, the narrative side is presented more revealingly and is more closely associated with the verbal text (which is due to the literary origin of the genre). The purpose of the present study is to identify the specifics of the narrative in vocal music in the genre aspect. The main methods of the presented research are the genre one and the functional one. The genre method is necessary to characterize vocal genres in connection with the chosen perspective for studying the meaning and the effect of the narrative in vocal music. The functional method allows one to determine the peculiar features of the interaction of the extra-musical narrative and music in the conditions of various vocal genres. The research results. The directions of the interaction of words and music in the vocal art are diverse: this can be their interaction in a concrete composition through the prism of the style (of the performer, the composer, and the historical epoch); the features of the composer interpretation of the verbal text; the intonation and phonic patterns associated, for example, with a specific national source, and much more. The verbal text as a guideline, already being coloured emotionally, is representing, in fact, a kind of narration. As it is known widely in the field of philosophy and psychology, the narrative is a statement of interrelated events presented in the form of the sequence of words or images. Sometimes the meaning of the term “narrative” coincides with the words “narration”, “story”; but there are other meanings (for example, as a “psychological attitude”). In music, these two meanings, “narrative” and “psychological attitude”, interact, as a result, within the framework of certain vocal genres the individual creative decisions born. The main feature of a narrative composition is the presence of a mediator between the author and the world of narrative (Schmid, V., 2008). This is especially important for understanding the specifics of the manifestation of the narrative nature in music, where there is such a “mediator”. In vocal music there are other signs of narrative, understood as the quality of the verbal text itself, because the genres of vocal music are quite diverse in scale and objectives – from the opera to the vocal miniature. The narrative qualities are primarily possessed by those texts that describe the figurative and emotional situation from a third person, a storyteller. In vocal music, this applies primarily to genres with the leading literary and the vivid plot beginning – these are musical and theatrical compositions (an opera), as well as the chamber-vocal genre of a ballad. The narrative qualities of the musical component can manifest themselves in different ways – both, on permanent basis, to enhance the emotional effect, and in opposition, for a contrasting juxtaposition and creating a dramaturgy layering and volume. The musical accompaniment often “deciphers” for the listener that emotional, figurative, plot subtext that is partially absent in the literary text, according to the laws of the narrative nature. The tasks of the vocalist as an interpreter of compositions of the narrative genres are the ownership of the special complex of performing techniques related to the need to identify the entire figurative potential, which is embedded in the vocal composition (both in the text part and in the music one), as well as in its presentation to the listener in an individual performing version. With this, each genre possesses with its own specifics. An opera is a genre where the musical and literary art interacts with the theatrical art. The chamber-vocal genre of a ballad has its own characteristics, the main of which the narrative nature is. Conclusions. The narrative nature in the art of music is primarily associated with its extra-musical source. Both literary criticism and psychology study the narration, since the narrative as a story-telling is characterized by an emotional attitude, which is dictated from the outside to the one to whom the narrative is directed. Since the text (the word) is also used in vocal music, it is possible and necessary to talk about the existence of the narrative in music with all the specifics of its action. In vocal music, one can distinguish genres where the word text contains the narrative to a greater extent, which determines the specifics of the genre. This is the opera, but there the narrative is associated not only with the literary, but also with the theatrical factor. A more revealing vocal genre in the aspect of the narrative nature is such a genre of the chamber-vocal music as the ballad. The prospects for the study of the narration in the musical art are associated both, with the interaction of the musical and extra-musical principles and the issues of musical interpretation, which the performing musicology considers. Since the narrative prepossess a mediator between its source and the recipient, and in the musical art there is also a mediator between the author (the composer) and the listener.
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Garro, Diego. "From Sonic Art to Visual Music: Divergences, convergences, intersections." Organised Sound 17, no. 2 (July 19, 2012): 103–13. http://dx.doi.org/10.1017/s1355771812000027.
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This paper introduces strategies for the electroacoustic community to relate to, and engage with, the visual music phenomenon. It addresses technological, historical, cultural and idiomatic intersections between the two art forms. From the personal viewpoint of a trained synaesthete of acousmatic origin, the boundaries between sonic and audiovisual compositional practices appear somewhat porous. The electroacoustic language is intrinsically visual, even within its acousmatic paradigm. Visible morphologies acquire a sonorous dimension as soon as we uproot them from their cinematographic habitat and plunge them into the cauldron of a new alchemy. Multi-disciplinary lines of enquiry are essential to elucidate the workings of complex multimediatic interactions such as those at play in visual music. Yet, a holistic view of the creative and technological pathways is equally significant so that artistic truths, and myths, can be (re)discovered amidst lines of code or loops of wire connecting our computer peripherals. Thus this article is written both with the language of an analyst and, perhaps more, with the expressions and idiosyncrasies of an academic composer. A few selected examples from the contemporary repertoire are discussed to exemplify a variety of approaches to visual music composition, including extracts from the work Patah (Garro 2010).
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Duţică, Luminiţa. "Choose Music! A Consulting and Training Strategy for Admission to Higher Education in Music." Review of Artistic Education 17, no. 1 (March 1, 2019): 40–46. http://dx.doi.org/10.2478/rae-2019-0004.
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Abstract The educational project CHOOSE MUSIC!, subtitled “for counselling and training for admission to higher education in music”, was created many years ago, at the initiative of Prof. Univ. PhD. Luminiţa Duţică, with the main purpose of creating a bridge between the pre-university and academic musical education (through pupils - students, pupils - university professors, etc.). Another special objective was to promote the image and opportunities existing at “George Enescu” National University of Arts of Iași. In this respect, inter-institutional partnerships were established between the Faculty of Interpretation, Composition and Theoretical Music Studies within “George Enescu” National University of Arts of Iași and numerous art high schools/colleges, especially from the regions of Moldavia (Suceava, Botoșani, Bacău, Piatra-Neamț, Iași, Bârlad and Galați). In this study we will go into more detailed aspects related to teaching and art activities made for this purpose, diverse and attractive, evidenced by: demonstration lessons of Music theory, Classical composition / jazz – easy listening, Musicology, Choral/Orchestral Conducting, MasterClass for aspects regarding the perception and graphic representation of the sounds, as well as the specific musical skills training (held by professors Luminiţa and Gheorghe Duţică), to which educational concerts, book launches, special meetings with teachers from the pre-university education, additional training with students for admission to the academic musical education in Iași (especially in the contest subject called Theory - Solfeggio –Melodic Dictation.
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Collis, Adam. "Ryoki Ikeda and the Prioritising of Space over Time in Musical Discourse." Organised Sound 22, no. 3 (November 24, 2017): 378–84. http://dx.doi.org/10.1017/s1355771817000541.
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No art form so rigorously organises time as music. Whereas all art in some sense exists in time, music could be said to be of time. This article, however, questions implicit assumptions about the fundamental nature of time to music. In contrast, an alternative approach to the discourse of composition and analysis is proposed in which space rather than time is privileged. Russolo, Stockhausen, Cage and Agostino Di Scipio are cited as historical precedents where the status of time in music is questioned but a more detailed consideration is given to Ryoji Ikeda, a contemporary sound-art practitioner who, it is argued, represents a turn towards the privileging of space in contemporary music practice. This article argues that an approach to composition that implicitly accepts the primacy of time tends to privilege sounds that are more easily described symbolically, such as notated pitched sounds or materials with clear spectromorphological design. In contrast, an approach that places greater concern with the work in space facilitates the greater use of materials that could be considered ‘noise’, in the sense of both a broadband spectrum and signal disruption.
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Emmerson, Simon. "New spaces / new places: a Sound House for the performance of electroacoustic music and sonic art." Organised Sound 6, no. 2 (August 2001): 103–5. http://dx.doi.org/10.1017/s1355771801002047.
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The author has written articles and papers on the possibilities of differentiated spaces in the composition of electroacoustic music (Emmerson 1994, 1998). He extends this into a more practical discussion on the spaces used for the presentation of electroacoustic music (acousmatic music and ‘live electronic’ music), sound installations and other sonic art. The move into more informal ‘club’ environments is not without controversy. The ‘sampling’ approach to the very act of listening and ‘consuming’ sonic art has challenged traditional concert hall presentation. This paper brings various possibilities into plans (at once conceptual but also intended to have practical application) for a multi-space ‘Sound House’: a centre for the performance of the sonic arts. This centre is socially embedded within interpersonal human interaction and is not to be found in the current performance possibilities of the Internet – though it may be connected to others of its kind through this means.
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Iddon, Martin. "OUTSOURCING PROGRESS: ON CONCEPTUAL MUSIC." Tempo 70, no. 275 (December 7, 2015): 36–49. http://dx.doi.org/10.1017/s0040298215000613.
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AbstractThis article addresses the phenomenon of New Conceptualism, otherwise known as conceptual music, or Konzeptmusik, and locates it within the German new music scene of the last decade. It is suggested that conceptual music may perhaps be a contradiction in terms, representing a nostalgic desire for the semantic strength of conceptual art. In particular the article focuses on Johannes Kreidler's 2009 work, Fremdarbeit, and scrutinises the composer's claim to have ‘outsourced’ the composition of the work to India and China. The significance of this – whether actual or fictional – as an example of globalisation is examined and set within its political and economic context.
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Siopsi, Anastasia. "Music in the Imaginary Worlds of the Greek Nation: Greek Art Music during the Nineteenth-Century's fin de siécle (1880s–1910s)." Nineteenth-Century Music Review 8, no. 1 (June 27, 2011): 17–39. http://dx.doi.org/10.1017/s1479409811000048.
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This essay analyzes ways in which music becomes attached to the growing demand for national culture by the Greek middle class since the last decades of the nineteenth century.In modern Greece of that period, the predominant notions of ‘historic continuity’ and ‘Hellenism’, or ‘Greekness’, interpret Greek history as an uninterrupted evolution from the classical past to Byzantium. In terms of music, continuity was believed to be found from ancient Greek music to Byzantine hymns and folk songs. This theory, supported by important scholars and composers both in Greece and abroad, placed tradition in a privileged position both in composition and reception of music; composers incorporated rhythms, scales and the character of Greek folk songs and Byzantine hymns in their works and the middle-class audience was eager to accept folkloristic styles and the embodiment of tradition in art music because they reflected the notion of ‘national’. Musically, the theory of ‘historic continuity’ was strengthened by the links between German romanticism and attitudes to ancient culture. Moreover, German models, or the organic romantic perception of music, influenced representatives of the so-called National School of Music; the consequence was a growing alienation from Italian music in terms of offering aesthetic standards to composition and reception.
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SCHENKER, HEINRICH. "The Decline of the Art of Composition: A Technical-Critical Study." Music Analysis 24, no. 1-2 (March 2005): 33–129. http://dx.doi.org/10.1111/j.1468-2249.2005.00217.x.
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Jeongwon, Joe, and Hoo Song. "Roland Barthes' "Text" and aleatoric music: Is "The birth of the reader" the birth of the listener?" Muzikologija, no. 2 (2002): 263–81. http://dx.doi.org/10.2298/muz0202263j.
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The history of Western classical music and the development of its notational system show that composers have tried to control more and more aspects of their compositions as precisely as possible. Total serialism represents the culmination of compositional control. Given this progressively increasing compositional control, the emergence of chance music, or aleatoric music, in the mid-twentieth century is a significantly interesting phenomenon. In aleatoric music, the composer deliberately incorporates elements of chance in the process of composition and/or in performance. Consequently, aleatoric works challenge the traditional notion of an art work as a closed entity fixed by its author. The philosophical root of aleatoric music can be traced to post structuralism, specifically its critique of the Enlightenment notion of the author as the creator of the meaning of his or her work. Roland Barthes' declaration of "the death of the author" epitomizes the Poststructuralists' position. Distinguishing "Text" from "Work," Barthes maintains that in a "Text," meanings are to be engendered not by the author but by the reader. Barthes conceives aleatoric music as an example of the "Text," which demands "the birth of the reader." This essay critically re-examines Barthes' notion of aleatoric music, focusing on the complicated status of the reader in music. The readers of a musical Text can be both performers and listeners. When Barthes' declaration of the birth of the reader is applied to the listener, it becomes problematic, since the listener, unlike the literary reader, does not have direct access to the "Text" but needs to be mediated by the performer. As Carl Dahlhaus has remarked, listeners cannot be exposed to other possible renditions that the performer could have chosen but did not choose, and in this respect, the supposed openness of an aleatoric piece is closed and fixed at the time of performance. In aleatoric music, it is not listeners but only performers who are promoted to the rank of co-author of the works. Finally, this essay explores the reason why Barthes turned to music for the purpose of illustrating his theory of text. What rhetorical role does music play in his articulation of "Work" and "Text"? Precisely because of music's "difference" as a performance art, music history provides the examples of the lowest and the highest moments in Barthes' theory of text, that is, those of Work and Text. If, for Barthes, the institutionalization of the professional performer in music history demonstrates the advent of Work better than literary examples, the performer's supposed dissolution in aleatoric music is more liberating than any literary moments of Text. This is because the figure of music - as performance art-provides Barthes with a reified and bodily "situated" model of the Subject.
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Lokareva, Yuliya. "METHODICAL ASPECTS OF MUSIC AND THEORETICAL TRAINING IN HIGHER ART EDUCATIONAL INSTITUTIONS." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 102–6. http://dx.doi.org/10.36550/2415-7988-2021-1-192-102-106.
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The article actualizes the problem of music-theoretical training in higher educational institutions, reveals the pedagogical potential of music-theoretical disciplines, explores the methodological aspects of optimizing the process of music-theoretical training on the basis of an integrated approach. research analysis revealed the pedagogical potential of music-theoretical training for the professional development of future music teachers, multifaceted opportunities of music-theoretical disciplines, demonstrated the versatility of music-theoretical training (cognitive-informational, practical, creative, projective functions), proved the need for its focus on music -creative activity, which consists of various types (instrumental-performing, conductor-choral, improvisational-creative, research, lecture-educational, compositional and others) and affects the comprehensive disclosure and practical implementation of the creative potential of students of higher art educational institutions. The current stage of development of national education is characterized by the actualization of the role of art disciplines during the professional development of the personality of the future teacher of music art. Music-theoretical training is the basis of the process of formation of professional competencies of future music teachers. The problem of raising the level of professionalism of future music teachers largely depends on music-theoretical training aimed at various types of music-creative activities that are important for the training of students of higher art schools. Thus, the analysis of research revealed the pedagogical potential of music-theoretical training for the professional development of future music teachers, multifaceted possibilities of music-theoretical disciplines, demonstrated the versatility of music-theoretical training (cognitive-informational, practical, creative, projective functions), proved the need for its direction on musical and creative activity, which consists of different types (instrumental-performing, conducting-choral, improvisational-creative, research, lecture-educational, compositional and others) and influences the comprehensive disclosure and practical implementation of the creative potential of students of higher art education institutions.
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Barrett, Natasha. "Spatio-musical composition strategies." Organised Sound 7, no. 3 (December 2002): 313–23. http://dx.doi.org/10.1017/s1355771802003114.
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Spatial elements in acousmatic music are inherent to the art form, in composition and in the projection of the music to the listener. But is it possible for spatial elements to be as important carriers of musical structure as the other aspects of sound? For a parameter to serve the requirements of musical development, it is necessary for that parameter to cover a range of perceptually different states. For ‘space’ to be more than a setting within which the main active elements in the structure unfold, it needs to satisfy these requirements. This paper explains a number of important spatial composition strategies available to the acousmatic composer in light of current technology and sound reproduction situations. The analysis takes an aesthetical rather than a technical standpoint.
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Blackburn, Bonnie J. "On Compositional Process in the Fifteenth Century." Journal of the American Musicological Society 40, no. 2 (1987): 210–84. http://dx.doi.org/10.2307/831517.
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The change from "successive composition" to "simultaneous conception" is one of the great turning points in the history of music. The latter term, derived from Pietro Aaron's allusion to the method of composition used by modern composers, does not correctly convey Aaron's meaning. He said that modern composers "take all the parts into consideration at once," disposing them in different ranges and thus allowing the avoidance of awkward clashes between the inner voices. This more harmonic orientation finds confirmation in the writings of Giovanni Spataro, whose theory of harmony, later developed by Zarlino, contradicts a current view of fifteenth-century music as purely intervallic counterpoint founded on a superius-tenor framework in which the bass is nonstructural and nonessential. The theory is grounded in the functional role of dissonance, adumbrated a century earlier in the treatise by Goscalcus. Discussion of the new compositional process can already be found fifty years earlier in the writings of Johannes Tinctoris. That this has not been recognized is due to persistent confusion over the term res facta. The key to comprehending this term lies in a correct understanding of what Tinctoris meant by counterpoint: it is not what we today call counterpoint but successive composition. Res facta differs from counterpoint in that each voice must be related to every other voice so that no improper dissonances appear between them. This method, "harmonic composition," could be quasi-simultaneous or successive; the criterion is the ultimate result-the finished work of art. Res facta is both a method of composition and a term that denotes a work composed in this manner, analogous to Listenius's opus perfectum et absolutum. The musica poetica of the sixteenth century is the legacy of res facta, and the two terms are indirectly connected. The new process of composition is the foundation for Tinctoris's delineation of an ars nova beginning about 1437, a date that may have been chosen in recognition of its first great representation in Dufay's Nuper rosarum flores.
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Ivanova, Tsvetana, Leandar Litov, Rositza Marinova, Todor Ivanov, Mihail Iossifov, and Agnieshka Deynovitch. "The Music of Human Hormones." Leonardo Music Journal 28 (December 2018): 38–46. http://dx.doi.org/10.1162/lmj_a_01033.
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In this study, the authors take on the challenge to translate biological form (science) into musical form (art). Through scientifically developed methodology, the authors link two aspects of human experience that influence human emotions: hormones, from the inside, and music, from the outside. The authors develop an original algorithm, which they use to represent the properties and the effects of the human hormone oxytocin in a musical composition. The authors performed a neurological test to verify the accuracy of the musical interpretation and investigated the parallel neurological impacts of the hormone’s biological and musical form. This article describes the preliminary results of the study.
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Koutsomichalis, Marinos. "Ad-Hoc Aesthetics: Context-dependent composition strategies in music and sound art." Organised Sound 23, no. 1 (December 26, 2017): 12–19. http://dx.doi.org/10.1017/s1355771817000231.
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Contemporary trains of thought largely denounce hylomorphism and a series of dichotomies of the past in favour of rather hybrid, all-inclusive and non-anthropocentric schemata. Yet, the former seem to still pervade our understanding of music and sound art in several respects. For many, composition is a primarily abstract process, musical instruments and audio-related technologies are fixed material means, and artists are creative individuals who are solely and primarily responsible for the artworks they produce. In this article a series of ad hoc and context-dependent compositional traits are scrutinised, with reference to theory as well as to actual artistic practice (both historical and contemporary), and are shown to transcend such assumptions in more or less straightforward ways. In particular, a series of practices is examined that revolves around material inquiry, anti-optimality, and hybrid, reflexive or ‘meta’ interfaces. More, DIWO (Do It With Others) approaches to composition are discussed and shown to echo adhocracy and contextual dependency in various respects and by means of emergent autopoiesis. Certain slants to DIWO are finally examined with respect to a series of powerful (in the author’s opinion) metaphors, namely emergence, transience and post-selfhood.
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Gorbunova, Irina B. "The integrative model for the semantic space of music and a contemporary musical educational process." Educação e desafios 6, Especial (December 8, 2020): 2–13. http://dx.doi.org/10.24115/s2446-622020206especial529p.2-13.
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The advent of computer technology has led to the creation and development of new forms of teaching musical art. The emergence of music computer technologies (MCT) was the basis for creating both new forms in the educational process and new subjects, the appearance of new disciplines and new educational trends in the system of a contemporary musical education. These new subjects, such as “Musical Informatics,” “Computer Music Creative Work,” “Computer Arrangement and Composition, Sound and Timbre Programming,” “Electronic Musical Instruments” and many others, fully reflect the essence of the changes that have occurred in approaches to the study of music art. This article analyzes the possibility of including an integrative model for the semantic space of music, developed with the participation of the prominent cybernetics, scientist Mikhail Borisovich Ignatyev, in a contemporary musical educational process.
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Gorbunova, Irina Borisovna. "integrative model for the semantic space of music and a contemporary musical educational process." LAPLAGE EM REVISTA 6 (September 4, 2020): 2–13. http://dx.doi.org/10.24115/s2446-622020206especial940p.2-13.
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The advent of computer technology has led to the creation and development of new forms of teaching musical art. The emergence of music computer technologies (MCT) was the basis for creating both new forms in the educational process and new subjects, the appearance of new disciplines and new educational trends in the system of a contemporary musical education. These new subjects, such as “Musical Informatics,” “Computer Music Creative Work,” “Computer Arrangement and Composition, Sound and Timbre Programming,” “Electronic Musical Instruments” and many others, fully reflect the essence of the changes that have occurred in approaches to the study of music art. This article analyzes the possibility of including an integrative model for the semantic space of music, developed with the participation of the prominent cybernetics, scientist Mikhail Borisovich Ignatyev, in a contemporary musical educational process.
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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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McKay, Belinda. "A State of Harmony? Music in the Deep North." Queensland Review 5, no. 1 (May 1998): 1–16. http://dx.doi.org/10.1017/s1321816600001665.
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The subject of this paper is music in Queensland, rather than Queensland music. Although we speak readily enough, and unselfconsciously, about Queensland literature or Queensland art, the idea of ‘Queensland music’ (suggesting that there is something distinctive about music composed here) sits uncomfortably to those of us who are not Queensland composers-and even to some who are. I will not be concerned in this paper with distinguishing between the original and the derivative in Queensland musical culture. Rather, I begin from the premise that Queenslanders — like people elsewhere — have developed a unique set of cultural interactions with music, reflecting our particular history and social conditions. In this understanding of music, performance has as much social and cultural significance as composition.
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Lupton, Mandy, and Christine Bruce. "Craft, process and art: Teaching and learning music composition in higher education." British Journal of Music Education 27, no. 3 (September 22, 2010): 271–87. http://dx.doi.org/10.1017/s0265051710000239.
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This paper explores models of teaching and learning music composition in higher education. It analyses the pedagogical approaches apparent in the literature on teaching and learning composition in schools and universities, and introduces a teaching model as: learning from the masters; mastery of techniques; exploring ideas; and developing voice. It then presents a learning model developed from a qualitative study into students’ experiences of learning composition at university as: craft, process and art. The relationship between the students’ experiences and the pedagogical model is examined. Finally, the implications for composition curricula in higher education are presented.
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Быков-Куликовский, Дмитрий Николаевич. "SEMANTIC APPROACH IN MUSIC AND ART EDUCATION." Tomsk state pedagogical university bulletin, no. 2(214) (March 24, 2021): 101–11. http://dx.doi.org/10.23951/1609-624x-2021-2-101-111.
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Рассматривается возможность использования исторически сложившихся интонационных семантических стереотипов для развития творческой активности учащихся, мотивации познавательной учебной деятельности. Анализируются конкретные варианты использования «мигрирующих интонационных комплексов» для импровизации, сочинения, ансамблевого музицирования на музыкально-теоретических дисциплинах детских музыкальных школ (детских школ искусств), на музыкальных занятиях общеобразовательных школ и различных учреждениях дополнительного образования, включая дошкольное. Именно мотивация способствует достижению важнейшей цели в образовании – экологизации учебного процесса. Это значит максимально вписать учебную деятельность в жизненные потребности учащихся. Положительно переживаемые эмоции в процессе музыкальных занятий способствуют решению очень многих задач. «Пропустить» музыку через себя, «прожить в ней», музицируя, – значит полюбить, понять. Решение весьма сложных вопросов музыкальной педагогики академик Б. В. Асафьев видел в использовании семантического подхода, открывающего и перспективу будущих исследований ученых, и перспективу разработки методики и методологии семантического подхода в музыкально-художественном воспитании и образовании. На основе семантического подхода-анализа исследуются наиболее яркие культурные коды «золотого фонда стандартов» мировой музыки. Представлены некоторые методические подходы-рекомендации и предложения их практического использования в музыкальной педагогике. Сделаны соответствующие выводы по теме исследования. На основе семантического подхода-анализа можно раскрыть феномен музыкального текста, его смысла «не только с позиции фонетики, грамматики и синтаксиса», но и «с точки зрения поэтики, семантики, стилистики». Используя семантический подход в процессе обучения, можно приобрести «навыки устной музыкальной речи» – импровизации, бывшей обязательной когда-то при подготовке музыканта. Необходимо создание «органичной межпредметной связи» между теоретическими дисциплинами и «музицирующей практикой», так как теоретические дисциплины могут и изначально должны быть музицирующими. Вопрос в методике, методологии «погружения» в музыку. Музыкальной педагогике еще предстоит принять и освоить семантический подход, учитывая уровень современной психологии восприятия, выработать методику и методологию учебного процесса, чтобы заинтересовать, увлечь, влюбить в музыку, слушаемую и исполняемую. The article considers the possibility of using historical intonation semantic stereotypes for the development of creative activity of students, motivation of cognitive learning activities. Specific options are being considered for the use of «migratory intonation complexes» for improvisation, composition, ensemble music in the musical-theoretical disciplines of CMS / CSA, in music classes of general education school and various institutions of additional education, including pre-school. It is motivation that contributes to the achievement of the most important goal in education - the greening of the educational process. This means to maximally incorporate educational activities into the life needs of students. Positively experienced emotions in the process of music classes contribute to the solution of many problems. To «pass» music through oneself, «to live in it» while playing music means to love, to understand. Academician B. V. Asafiev saw the solution to very complex issues of musical pedagogy in the use of the semantic approach, which opens up both the prospect of future research of scientists, and the prospect of developing the methods and methodology of the semantic approach in musical and artistic education and training. Based on the semantic approach of analysis the article explores the brightest cultural codes of the «golden fund of standards» of world music. Some methodical approaches-recommendations and proposals for their practical use in music pedagogy are presented. In the effective and final sections of the article, the relevant conclusions are drawn on the topic of the study. On the basis of semantic approach-analysis it is possible to reveal the phenomenon of musical text, its meaning «not only from the position of phonetics, grammar and syntax», but also «from the point of view of poetics, semantics, style». Using a semantic approach in the process of learning you need to acquire «the skills of oral musical speech» – improvisation, which was once obligatory in the training of a musician. It is necessary to create an «organic intersubject communication» between theoretical disciplines and «music-making practice» because theoretical disciplines can and should be musical. The question is the methods of teaching, the methodology of «immersion» in music. Musical pedagogy has yet to be adopted and mastered, taking into account the level of modern psychology of perception, to develop the methods and methodology of the educational process to interest, captivate, to make students fall in love with music heard and performed.
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VISELL, YON. "Spontaneous organisation, pattern models, and music." Organised Sound 9, no. 2 (August 2004): 151–65. http://dx.doi.org/10.1017/s1355771804000238.
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Pattern theory provides a set of principles for constructing generative models of the information contained in natural signals, such as images or sound. Consequently, it also represents a useful language within which to develop generative systems of art. A pattern theory inspired framework and set of algorithms for interactive computer music composition are presented in the form of a self-organising hidden Markov model – a modular, graphical approach to the representation and spontaneous organisation of sound events in time and in parameter space. The result constitutes a system for composing stochastic music which incorporates creative and structural ideas such as uncertainty, variability, hierarchy and complexity, and which bears a strong relationship to realistic models of statistical physics or perceptual systems. The pattern theory approach to composition provides an elegant set of organisational principles for the production of sound by computer. Further, its machine learning underpinnings suggest many interesting applications to emergent tasks concerning the learning and creative modification of musical forms.