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Journal articles on the topic 'Contemporary instrumental music'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Wilks, John. "The Contemporary Instrumentalist." British Journal of Music Education 6, no. 1 (1989): 37–53. http://dx.doi.org/10.1017/s0265051700006823.

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The study of avant-garde music has been largely neglected by instrumental tuition. Yet such work is not necessarily difficult on either the ears or the fingers – provided it is begun at the earliest stages of study. Indeed, it is the delayed introduction that is the cause of many of the problems seen in accepting and enjoying contemporary music. There is need for systematisation and for the composition of suitable music.

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Conway, Paul. "Huddersfield Contemporary Music Festival 2012." Tempo 67, no. 264 (2013): 66–69. http://dx.doi.org/10.1017/s0040298213000089.

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As diverse and inquiring as ever, the 35th Huddersfield Contemporary Music Festival provided nine days of unfamiliar and rarely encountered repertoire, sometimes rewarding, sometimes baffling, but always worth sampling. The 2012 late-November celebration of avant-gardism placed an emphasis on Norway and the voice in its many guises, both strands exemplified by the choice of Trondheim-born vocalist Maja S. K. Ratkje as composer-in-residence. Yet despite this spotlight on vocal and choral works, there was no shortage of instrumental and chamber music, most of it new to Britain.

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KORCZYNSKI, MAREK, and KEITH JONES. "Instrumental music? The social origins of broadcast music in British factories." Popular Music 25, no. 2 (2006): 145–64. http://dx.doi.org/10.1017/s0261143006000882.

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This paper explores the social origins and development of music relayed through loudspeakers in British factories during World War Two, focusing on the BBC programme Music While You Work, which provided a national soundtrack for factory work, and the contemporary institutions of Industrial Psychology, which promoted music as a highly ‘valuable’ accompaniment to work and formulated scientific principles governing its broadcast. Combining archival evidence from these organisations, the paper first outlines the historical circumstances of development, detailing the form of broadcasts and of the m

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Zadnik, Katarina. "Primary Music School Education in Slovenia and Montenegro." Musicological Annual 55, no. 1 (2019): 195–210. http://dx.doi.org/10.4312/mz.55.1.195-210.

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Comparison of primary music school education in Slovenia and Montenegro showed distinctive historical development. Contemporary education lasts for 10 years in Slovenia, 9 years in Montenegro. Enrolment in Slovene system is available for 5-year-olds, in Montenegro, for 6-year-olds. Curricula encompass music-theoretical and instrumental subjects, Slovene concept includes more instrumental areas.

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Nenic, Iva. "We are not a female band, we are a band!”: Female performance as a model of gender transgression in Serbian popular music." Muzikologija, no. 19 (2015): 135–56. http://dx.doi.org/10.2298/muz1519135n.

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Instrumental performance, leadership, and authorship by women in music has historically been subjected to various repressive regimes, while many of the prejudices and restrictions regarding female musicking can still be discerned in contemporary popular music practices in Serbia. These mechanisms have been transferred into contemporary music with different ideological and stylistic inclination, such as indie music cohorts and folk- or tradition-based genres and scenes. The structural preconditions that articulate the subject position of female instrumentalists, regardless of genre or the scene

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O’Callaghan, James. "Mimetic Instrumental Resynthesis." Organised Sound 20, no. 2 (2015): 231–40. http://dx.doi.org/10.1017/s1355771815000114.

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This article provides a brief survey of composition in which field recordings or other referential sounds are transcribed for acoustic instruments. Through a discussion of how electroacoustic music and scholarship have conceptualised the notion of mimesis, and how various forms of contemporary acoustic music have adopted electroacoustic techniques, it identifies a recent musical practice in which these concerns are brought together. The article proposes the term mimetic instrumental resynthesis as a way of describing the common threads behind works that employ electronic-assisted or computer-a

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Suan, Chong Lee. "Why the Ancient Musical Essence is Still Retained in Dusun Tindal's Instrumental Music within its Modern Community?" GATR Global Journal of Business Social Sciences Review 3, no. 3 (2015): 24–31. http://dx.doi.org/10.35609/gjbssr.2015.3.3(3).

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Objective - This paper examines Dusun Tindal's instrumental music practice within the context of modernity of the society in Tenghilan, a town that is located on northwest Sabah. The study looks into the driving modish musical styles and forms in the root of the ancient traditions especially in the aspects of musical natures, music compositions, musical functions, and philosophies. Methodology/Technique - The contemporary musical ensemble is a newly developed tradition combining a mixture of traditional and western musical instruments and styles. Due to the new mindsets and tastes of their you

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Hughes, Bernard. "MAGICAL THEATRES: THE MUSIC OF PARAM VIR." Tempo 58, no. 228 (2004): 2–13. http://dx.doi.org/10.1017/s0040298204000099.

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Param Vir was born in Delhi in 1952 and has lived and worked in Britain since 1984. His greatest success has been in opera, and the two orchestral works in his catalogue also testify to a remarkable theatrical sensibility. Vir's music embodies and feeds off the contradictions of his life. Although rooted firmly in the modernist aesthetic of Western contemporary music, Vir's Indian background and education have left a mark on his music. His emigration has resulted in alienation from a national identity, leaving him an outsider both in India and Britain. He is contracted to a venerable English p

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Martinez, Emilie. "Remember Gerhard Richter in the Thunderstorm of Beethoven: The Influence of Cross-Sensory Coupling on Memory, Intercultural Communication, and the Verbalization of Paintings and Sounds." Research in Language 11, no. 4 (2013): 445–61. http://dx.doi.org/10.2478/rela-2013-0001.

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Abstract This interdisciplinary study focuses on the perception and verbalization of messages conveyed through instrumental music, soundscapes, and contemporary paintings. International young-adult university students learning German participated in a series of experiments conducted at Friedrich Schiller University in Jena, Germany. To incorporate globalization and cultural difference into this analysis, the author compared the reactions of Western and Asian participants to auditory and visual stimuli. This paper explores the concepts of mixed media, cross-sensory coupling, and esthetic synest

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GROVES, STEPHEN. "The Sound of the English Picturesque in the Age of the Landscape Garden." Eighteenth Century Music 9, no. 2 (2012): 185–212. http://dx.doi.org/10.1017/s1478570612000048.

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ABSTRACTIn eighteenth-century England, painting, poetry and gardening were often labelled the ‘sister arts’. An increasing interest in English landscape scenes and an emerging taste for ‘nature tourism’ gave rise to the ‘picturesque’ movement. Contemporary writers seldom considered English music as part of this ‘sisterhood’, however, or treated music as a medium for conveying national scenic beauty. When the picturesque was discussed in connection with music, eighteenth-century critics tended to use the concept to explain the tactics of novelty and surprise encountered in German instrumental m

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El-Ghadban, Yara. "Shedding Some Light on Contemporary Musicians in Palestine." Middle East Studies Association Bulletin 35, no. 1 (2001): 28–34. http://dx.doi.org/10.1017/s0026318400041390.

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I talked to my wife in Ram Allah a few hours ago, and I was wondering why I should continue playing music,…but then I realized that this instrument can be a weapon too.With those Words, Samir Joubran plucked the first note on his ‘ud. His comments are echoed by many of his Palestinian peers, who seize every opportunity to bring awareness to Palestinian suffering through their music. His first solo improvisation or taqsim immediately set the mood for a truly captivating evening of music and song, ranging from classical instrumental to nationalist to Arab folk and Palestinian repertoire. His per

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Ketting, Knud. "Danish Music Education – A Crafts Museum?" British Journal of Music Education 4, no. 3 (1987): 263–66. http://dx.doi.org/10.1017/s0265051700006112.

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Evidence suggests that only a very small number of music teachers in Denmark make use of modern compositions; and this in spite of very considerable efforts made by the Danish Music Information Centre to disseminate annotated lists of contemporary works suitable for schools and for private instrumental teaching. The author argues that there is now no excuse for not recognising the importance of the work of living composers; all that we need to do is to play their music!

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Grabócz, Márta. "The Influence of Scientific Theories on Musical Form in Contemporary Instrumental and Electroacoustic Works." Studia Musicologica 60, no. 1-4 (2020): 129–46. http://dx.doi.org/10.1556/6.2019.00007.

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This article highlights the contradiction between theories of form in musicology (originating in the mechanistic and organicist definitions of the eighteenth and nineteenth centuries), and new forms created by contemporary composers since circa 1970. The initial discussion introduces various “traditional” definitions of form in aesthetics, semiotics and musicology. Following this, a critique of the mechanistic approach, drawing on the work of André Souris, is presented. The third part discusses some recent scientific theories which composers have drawn from. The remainder of the article provid

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Hammond, Matthew. "Huddersfield Contemporary Music Festival: 21–23 November 2014." Tempo 69, no. 272 (2015): 63–65. http://dx.doi.org/10.1017/s0040298214001077.

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hcmf// 2014 kicked off with a typically tough and knotty concert from Petr Kotik's chamber orchestra Ostravská banda, who performed a collection of UK premieres for small ensemble by Christian Wolff, three Czech composers and another American. The concert was billed as a tribute to Wolff, who was in attendance and who celebrates his eightieth birthday this year, and this acknowledgement of his status as one of the few remaining high modernists allowed the festival to begin with a celebration of the music with which it has been most closely associated. First up was Wolff's 37 Haiku, a setting o

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SCHEDEL, MARGARET ANNE. "Alternative venues for computer music: SoundGallery_Living Room_ARTSHIP." Organised Sound 9, no. 3 (2004): 301–3. http://dx.doi.org/10.1017/s1355771804000500.

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The audience for contemporary classical music is small – the audience for computer music is even smaller. Traditional concert halls are failing to generate interest in new instrumental music, much less computer music, while museums are having much more success with new art, including art with a technological component. By marketing our music to art galleries and museums, we can reach an audience predisposed to accept the new and unusual in artistic expression. Presenting the works of music outside a traditional proscenium setting also helps shatter any a priori definitions of ‘music’ audiences

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Hatfield, Johannes L., Hallgeir Halvari, and Pierre-Nicolas Lemyre. "Instrumental practice in the contemporary music academy: A three-phase cycle of Self-Regulated Learning in music students." Musicae Scientiae 21, no. 3 (2016): 316–37. http://dx.doi.org/10.1177/1029864916658342.

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The purpose of the present study was to test an adapted model of self-regulated learning (Zimmerman, 1989) in the context of higher music education (n = 204). The following four hypotheses were tested: 1) Forethought phase constructs such as goal setting, self-efficacy, and time management were hypothesized to positively predict the use of psychological skills (i.e., self-observation, arousal-regulation, imagery, concentration, and self-control); 2) The use of psychological skills was expected to predict self-reflection phase constructs such as coping and perception of progress; 3) The links f

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Rehding, Alexander. "The Quest for the Origins of Music in Germany Circa 1900." Journal of the American Musicological Society 53, no. 2 (2000): 345–85. http://dx.doi.org/10.2307/832011.

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Speculation as to the origins of music flourished around 1900, in the climate of the recently institutionalized academic discipline of Musikwissenschaft at German-speaking universities. Even across the methodological divides of the young discipline, virtually all branches of Musikwissenschaft participated in this search, which was fueled by the nineteenth-century "philosophy of origins," a powerful ideology that invested special metaphysical significance in the point of departure. Resonating with such concepts as authenticity, autochthony, stability, and purity, the philosophy of origins encou

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Wisudawaty, Hanna. "KONSTRUKSI MAKNA GERAK SEBAGAI KOMUNIKASI NONVERBAL DALAM MUSIK KONTEMPORER." JIKE : Jurnal Ilmu Komunikasi Efek 2, no. 1 (2018): 86–95. http://dx.doi.org/10.32534/jike.v2i1.490.

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The research is conducted by researcher to identify and describe the meaning of kinesics in contemporary music for the composers. The research questions are: 1) How the contemporary musical composers interperet the kinesics messages through facial expressions. 2) How the contemporary musical composers interperet the kinesics messages through gestures. 3) How the contemporary musical composers interperet the kinesics messages through its artifactual. This research used a qualitative method with the interpretive paradigm through a phenomenological approach. Research subjects consisted of seven c

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Vella, Francesca. "Bridging Divides: Verdi's Requiem in Post-Unification Italy." Journal of the Royal Musical Association 140, no. 2 (2015): 313–42. http://dx.doi.org/10.1080/02690403.2015.1075809.

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ABSTRACTThis article addresses the early Italian reception of Verdi's Messa da Requiem (1874), premièred in Milan on the first anniversary of the death of the novelist Alessandro Manzoni. Previous literature has focused on issues of musical genre and the work's political implications (particularly its connections with Manzoni and with late nineteenth-century Italian revivals of ‘old’ sacred music). The article examines, instead, the curiously pluralistic concerns of contemporary critics, as well as certain aspects of Verdi's vocal writing, with the aim of destabilizing traditional dichotomies

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Cvejić, Žarko. "From men to machines and back: Automata and the reception of virtuosity in European instrumental art music, c.1815-c.1850." New Sound, no. 48-2 (2016): 65–80. http://dx.doi.org/10.5937/newso1648065c.

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In most histories of Western music, the 1830s and 40s are typically described as "the age/era of virtuosity and/or virtuosi". Indeed, major contemporary sources, including leading musical journals of the time, teem with reports on the latest exploits of Liszt and his rivals and in much of this body of criticism, piano and violin virtuosi were commonly celebrated for pushing the limits of humanly conceivable excellence in musical performance. However, a significant number of these critical responses were also negative, critiquing individual virtuosi for playing not like humans, but like automat

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Jankovic-Begus, Jelena. "Chanting of the inner space: on symphonic and concertante works by Milorad Marinkovic." Muzikologija, no. 19 (2015): 83–117. http://dx.doi.org/10.2298/muz1519083j.

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The opus of contemporary Serbian composer Milorad Marinkovic (b. 1976), which encompasses works of choral, chamber, concertante and symphony music, leans towards classical forms of artistic music, Serbian folklore music, and Serbian Orthodox church chant. This paper deals with pieces composed for larger instrumental ensembles: Herojska uvertira (Heroic Overture) for symphony orchestra, Psalmodija (Psalmody) for symphony orchestra, Koncert za klavir i orkestar (Piano concerto) and Mala opera (Little Opera) for chamber ensemble (septet) with prominent soloist parts of flute and clarinet. Special

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Corcoran-Tadd, Athena. "Impuls Festival, Graz. Collaboratory with Stefan Prins." Tempo 71, no. 281 (2017): 90–91. http://dx.doi.org/10.1017/s0040298217000341.

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Impuls, the International Ensemble and Composition Academy for Contemporary Music, has in the past offered a workshop that deviates from the main activities of instrumental classes and ensemble work, composition classes, lectures, and call-for-score reading sessions, taking the form of an intensive course which plays with the grey areas between composer and performer, performance and installation, cochlear and non-cochlear music. In 2017, with the Academy now in its tenth edition, the focus of this workshop moved from ‘Composition Beyond Music’, led in recent years by Peter Ablinger (2013) and

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Warnaby, John. "THE MUSIC OF NICOLAUS A. HUBER." Tempo 57, no. 224 (2003): 22–38. http://dx.doi.org/10.1017/s0040298203000135.

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There is a school of thought in Britain which suggests that the rigours of modernist composition resulted in sterility and uniformity. Yet in the German-speaking world, composers have explored a wide range of expressive possibilities within a modernist sensibility. They have proved that the discipline of modernism is capable of stimulating genuine individuality, and over the past 30 years, Nicolaus A. Huber has emerged as one of the most distinctively radical, yet equally recognizable personalities on the German contemporary music scene. In contrast to Lachenmann, Rihm, or Höller, Huber has no

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Nicely, Annmarie, and Raslinda Mohd Ghazali. "Music and emotion links to visitor harassment: a look at Jamaica." Tourism Review 74, no. 3 (2019): 371–84. http://dx.doi.org/10.1108/tr-11-2017-0174.

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Purpose The purpose of this paper is to use a study conducted on the Caribbean island of Jamaica to make the case that music might be a plausible suppressant of negative visitor harassment (VH). The goal of the study in question was to determine the genres of songs and music likely to have a positive effect on emotions the antithesis of the ones associated with VH but would have positive effect on visitors’ shopping behaviors as well. Design/methodology/approach A mixed method pre-experimental design was used for the study. Forty-two craft traders from a single craft market in Jamaica particip

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Vasiliu, Alex. "The Balkan tradition in contemporary jazz. Anatoly Vapirov." Artes. Journal of Musicology 20, no. 1 (2019): 256–64. http://dx.doi.org/10.2478/ajm-2019-0015.

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Abstract The folkloric character of the beginnings of jazz has been established by all researchers of American classical music. The African-Americans brought as slaves onto the territory of North America, the European émigrés tied to their own folkloric repertoire, the songs in the musical revues on Broadway turned national successes – can be considered the first three waves to have fundamentally influenced the history of jazz music. Preserving the classical and modern manner of improvisation and arrangement has not been a solution for authentic jazz musicians, permanently preoccupied with ren

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Swithinbank, Christopher. "INTO THE LION'S DEN: HELMUT LACHENMANN AT 75." Tempo 65, no. 257 (2011): 52–61. http://dx.doi.org/10.1017/s004029821100026x.

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In April 2010, the Guildhall School of Music recognized German composer Helmut Lachenmann's expertise in extended instrumental techniques, inviting him to give the keynote speech at a research day dedicated to contemporary performance practice; in May, he had a Fellowship of the Royal College of Music conferred upon him for his achievements as a composer; in June, the London Symphony Orchestra performed Lachenmann's Double (Grido II) for string orchestra, in doing so becoming the first non-BBC British orchestra to have performed his music; and in October, the Southbank Centre presented two day

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BURNARD, PAMELA, and GARY SPRUCE. "Editorial." British Journal of Music Education 26, no. 1 (2009): 3–4. http://dx.doi.org/10.1017/s0265051708008231.

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The articles in this issue encompass topics that range from the musical behaviours of primary school children in Singapore, to the use of podcasting in an undergraduate programme in Wolverhampton, UK, and from the musical role models of secondary school children in Stoke-on-Trent (also in the UK), to the impact of the social and cultural context on school music education in Hong Kong. This issue also brings together articles that explore how university music students develop skills as instrumental and vocal teachers and reconsiders how musical skills can form a meaningful relationship with mus

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WOOD, ABIGAIL. "The Multiple Voices of American Klezmer." Journal of the Society for American Music 1, no. 3 (2007): 367–92. http://dx.doi.org/10.1017/s1752196307070125.

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Since the 1970s, klezmer has undergone a revival and radical transformation. Originally a European Jewish music, klezmer is now a staple of the world music scene. Although the fusion of instrumental and vocal genres under a single musical umbrella is a significant marker of change between the Old World and revived klezmer repertories, the extension of the boundaries of the klezmer repertory to encompass vocal material has largely been overlooked by practitioners and scholars. This article reinstates song in the narrative of the klezmer revival, exploring how and why it has assumed its prominen

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Hromchenko, Valerii. "Vocal instrumentality as the ethno-cultural feature of V. Martyniuk's composer style (the case of compositions for wind instruments)." Culturology Ideas, no. 20 (2'2021) (2021): 99–106. http://dx.doi.org/10.37627/2311-9489-20-2021-2.99-106.

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The article discloses the instrumental language nature of Dnipro composer Valentina Martyniuk from the perspective of the ethno-cultural features for master's author style. The investigation is being carried out on the basis of compositions for wind instruments, namely "Interview on a given topic" for clarinet solo, Vocalize for flute and piano, as well as Melody for horn (or flute) and piano. The investigation has established the defining foundation of the vocal of the composer's instrumental language to be the phenomenon of folk singing style of artistic instrumental creations. This phenomen

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Berehova, Olena. "Instrumental Theater in the Modern Ukrainian Composers’ Creativity." Culturology Ideas, no. 14 (2'2018) (2018): 102–8. http://dx.doi.org/10.37627/2311-9489-14-2018-2.102-108.

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Relevance of research. Instrumental theatre as a specific phenomenon of musical creativity was first recognized in the mid-1960s. Researchers note the following features of the instrumental theatre: the search for a new musical language; the presence of sound drama; appeal to the voice and the word as a background or semantic subtext; hidden polyphony; openness to protest and provocation; the stage game of the musicians-performers. However, this original artistic phenomenon remains little investigated in Ukrainian musicology. The purpose of the article is to actualize the samples of the instru

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Smith, Neil Thomas, and Rachel Thwaites. "NARRATIVES OF ORIGINALITY IN COMPETITIVE COMPOSITION OPPORTUNITIES FOR ‘EMERGING COMPOSERS’." Tempo 72, no. 283 (2017): 45–55. http://dx.doi.org/10.1017/s0040298217000936.

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ABSTRACTThis article investigates the tension between originality and success for ‘emerging composers’ involved in composition opportunities in the British contemporary classical music scene. It utilises survey responses from 47 new music composers to better understand their experiences of these very public signs of compositional success. Though the narrative of the original artist is still significant, conflicts arise between ‘uniqueness’ and the realities of the composition opportunity. Composers aspire to be original, but are aware that a number of other, more instrumental, factors play a c

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Husak, V. A. "Peculiarities of development of music teachers’ effective thinking in the process of instrumental training." Musical art in the educological discourse, no. 2 (2017): 104–12. http://dx.doi.org/10.28925/2518-766x.20172.10412.

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The article presents the essence of the concepts “effective thinking”, “ideomotorics” and “psychomotorics”. The author explores peculiarities of development of music teachers’ effective thinking in the process of instrumental training due to the activation of mental phenomenon “ideomotor training”. Basing on scientific postulates of music pedagogy and music psychology, the author offers methodological manuals as for the practical implementation of the method of «ideomotor training» in teaching and performing practice of students on the basis of the phenomenon of anticipation of polymodal ideas

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Gregory, Dianne. "Analysis of Listening Preferences of High School and College Musicians." Journal of Research in Music Education 42, no. 4 (1994): 331–42. http://dx.doi.org/10.2307/3345740.

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Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Inst

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Green, Helen. "Defining the City ‘Trumpeter’: German Civic Identity and the Employment of Brass Instrumentalists, c.1500." Journal of the Royal Musical Association 136, no. 1 (2011): 1–31. http://dx.doi.org/10.1080/02690403.2011.562714.

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This article examines the employment of brass instrumentalists in German cities around 1500, as a reflection of the political circumstances of the epoch, where rivalry between the distinct components of the social hierarchy encouraged the assertion of power and status through musical patronage. Archival records and contemporary chronicles provide invaluable insights into the performances of civic brass instrumentalists, whether in the provision of signals (by the city watchmen or those who played alongside the cities’ troops) or for the entertainment of the citizens and their guests (within th

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Palmer, John R. "Lost in the city: Yes's ‘Heart of the Sunrise’ and the expansion of musical expression in rock." Popular Music 34, no. 3 (2015): 408–31. http://dx.doi.org/10.1017/s0261143015000343.

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AbstractYes's ‘Heart of the Sunrise’ addresses one of the primary concerns of the counterculture: the alienation of the individual from humanity by the dominant consumerist, ‘plastic’ culture, represented by the city. In their expression of the effects of alienation, Yes expanded the musical vocabulary of rock, for while the allusive imagery of the song's text relates the locus of the protagonist and his being ‘lost’ amid the population of the city, the arrangement of the song and the purely instrumental passages lay bare the frustration of an individual unable to establish intimate, human rel

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Almăşanu, Carmen. "Values of neo-protestant choral works in Romania." Artes. Journal of Musicology 20, no. 1 (2019): 265–79. http://dx.doi.org/10.2478/ajm-2019-0016.

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Abstract Borne from the relevant and efficient expression in the context of contemporary culture, neo-protestant choral spirituality uses a diversified and meaningful language. From the very beginning of the existence of neo-protestant cults on the territory of our country, the establishment of a liturgical repertoire intended for common intonation or by various choral or vocal-instrumental bands has been one of the primordial preoccupations. Along with choral creations translated from the universal literature, there is a significant number of original works created by Romanian composers withi

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Yakovchuk, N. "“Little Trio” for clarinet, bassoon and piano." Musical art in the educological discourse, no. 3 (2018): 75–79. http://dx.doi.org/10.28925/2518-766x.2018.3.7579.

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The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrai

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Cichy, Daniel. "Witold Szalonek Seen Through His Own Views." Musicology Today 12, no. 1 (2015): 31–44. http://dx.doi.org/10.1515/muso-2015-0004.

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Abstract Witold Szalonek (1927-2001) did not limit himself in his artistic activity to composing instrumental, vocal and vocal-instrumental works. He was also very active as a pedagogue, music promotor and musicologist-theorist. His writings reflect the tendency (popular among composers in the 2nd half of the 20th century) to comment on the aesthetic phenomena of historical and contemporary music culture, with particular emphasis on his own works. His views on art and selfcommentaries are contained in published and unpublished articles and manifestos. With regard to character and function, the

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Palubinskienė, Vida. "Some Aspects of Schoolchild’s and Students’ Ethnic Identity Development Though Ethnic Instrumental Music." Pedagogika 117, no. 1 (2015): 98–109. http://dx.doi.org/10.15823/p.2015.070.

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One of the basic objectives of contemporary pedagogy is developing youth’s national musical culture. In the course of history, when the idea of Lithuanian independence used to become realistic and tangible, special attention was paid to identity issues. The efforts to sustain and to thoroughly foster our traditions, customs, language and ethnical music had the greatest impact on the development of Lithuanian people’s national awareness. The essential categories characterizing the Lithuanian national identity have been and remained self-awareness, language, customs, folk art, and ethnical instr

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Miller, Malcolm. "BETWEEN TWO CULTURES: A CONVERSATION WITH SHULAMIT RAN." Tempo 58, no. 227 (2004): 15–32. http://dx.doi.org/10.1017/s0040298204000026.

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Although Israeli performers are widely recognized in the international arena, serious music composed by Israeli composers is far less well known. Yet, throughout Israel's 55-year history to date, contemporary music has attained a remarkably dynamic, thriving impetus despite (and perhaps partly as a consequence of) the harsh realities of daily life. The works of four generations (and a rising fifth generation) of composers in all genres and instrumental combinations may still be known far less than they deserve across the world, yet the amount of new recordings, published studies and performanc

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Conway, Paul. "Presteigne Festival 2012." Tempo 67, no. 263 (2013): 86–89. http://dx.doi.org/10.1017/s0040298212001465.

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For six lively and exhilarating days at the end of August 2012, the Presteigne Festival's thirtieth anniversary was celebrated in 16 concerts featuring no fewer than nine new specially commissioned pieces, most of them from composers already closely associated with this much-anticipated annual event held in and around a modest borders town in Powys. Composer-in-residence Sally Beamish was well represented with a generous selection from her output for instrumental and chamber forces, including the premières of two new arrangements of her earlier works. Each concert was programmed with exemplary

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Siuta, Bohdan. "Notion “Genre Type” as the Metalіngual Unit of the Modern Musical Theory". Terminological Bulletin, № 5 (2019): 188–95. http://dx.doi.org/10.37919/2221-8807-2019-5-25.

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The notion “genre type” is actual metalіngual unit of the modern musicology and musical theory. The theoretical comprehension of this term is connected with the problem of the theory of the musical genre, which is actual for contemporary musicology. This term (as far as its correspondences in musicological discourse of the countries of Eastern, Central and Western Europe) in Ukrainian musicology is still totally uncertain and not codified. This creates an obvious metalіngual lacuna. In the adequate theoretical representation, the term “genre type” outlines the higher level of the hierarchical

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Polzonetti, Pierpaolo. "Tartini and the Tongue of Saint Anthony." Journal of the American Musicological Society 67, no. 2 (2014): 429–86. http://dx.doi.org/10.1525/jams.2014.67.2.429.

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This article explores the nexus between Giuseppe Tartini's concertos for violin and orchestra, written for the Franciscan Basilica of Saint Anthony in Padua, and the devotion to this Saint's tongue, still preserved as a relic. Anthony's tongue, hagiographers write, was the instrument of a rhetoric that transcended verbal signification, able to move people of different languages and even animals. Soon, the tongue of Saint Anthony became a powerful symbol of universal language. In the eighteenth century, the Catholic Church, and especially the followers of Saint Anthony, revitalized their global

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McKeon, Ed. "THE CONCEPT ALBUM AS CURATORIAL ‘MEDIUM’: COLIN RILEY'S IN PLACE." Tempo 75, no. 296 (2021): 46–56. http://dx.doi.org/10.1017/s0040298220000947.

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AbstractColin Riley's collaborative and curated project In Place (2015–18) – with its exploration of memory, place, language and identity – becomes a stimulus for considering the intertwining relationship between the song cycle and the album form. Featuring seven commissioned poets alongside found texts, In Place simultaneously assembles fragments of contemporary Britain and its broken tongues whilst reflecting on the current possibilities for binding these through song. Riley and his collaborators construct a sense of place in the movements between idiom, psychogeography, field recordings, sa

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Moormann, Peter. "Raum-Musik als Kontaktzone. Stockhausens Hymnen bei der Weltausstellung in Osaka 1970." Paragrana 19, no. 2 (2010): 33–43. http://dx.doi.org/10.1524/para.2010.0023.

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AbstractFor the World Exposition in Osaka (1970), architect Fritz Bornemann designed the German Pavilion, which focused the expo′s general theme Peace and Progress by means of avant-garde electronic and instrumental music, first and foremost by Karlheinz Stockhausen. The main auditorium was conceived as a globe to provide a completely new style of musical experience: the audience being surrounded by the music and able to follow the sound′s motion in a three-dimensional setting. Central part of Stockhausen′s daily concerts was his piece Hymnen for soloists and electronic tape in which he merg

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CHAPMAN, DAVID F. "THE SIXTEEN-FOOT VIOLONE IN CONCERTED MUSIC OF THE SEVENTEENTH AND EIGHTEENTH CENTURIES: ISSUES OF TERMINOLOGY AND FUNCTION." Eighteenth Century Music 12, no. 1 (2015): 33–67. http://dx.doi.org/10.1017/s1478570614000347.

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ABSTRACTRecent performance projects have called into question the use of the sixteen-foot violone in a wide range of instrumental and concerted vocal works, particularly those by J. S. Bach. In performances of music by Bach and his contemporaries, artists have on occasion opted to exclude sixteen-foot participation in the bass line, often citing terminological issues as a reason. While acknowledging that the use of the term violone in scores and parts from the sixteenth to the eighteenth centuries is problematic, this article casts doubt on the conclusions reached by these performers and on th

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Macklin, Christopher. "Cross-Cultural Perspectives on Secular Vocal Performance in Early Wales." Journal of the Royal Musical Association 134, no. 2 (2009): 167–83. http://dx.doi.org/10.1080/02690400903109059.

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AbstractThere are many historical repertories of interest for which documentary evidence is scant. In such areas traditional models of musicological research, driven by notation, may be of limited use, and there is thus a need to develop alternative formulations for the relationship between the performance, the performer and the text. In this study, textual analysis and ethnographic comparisons of structurally similar performance cultures (namely, classical Greece and Rome and bardic traditions of south-eastern Europe and eastern Africa) are combined to examine one such tradition: the secular

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Cypess, Rebecca, and Steven Kemper. "The Anthropomorphic Analogy: Humanising musical machines in the early modern and contemporary eras." Organised Sound 23, no. 2 (2018): 167–80. http://dx.doi.org/10.1017/s1355771818000043.

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Since the late twentieth century, the development of cybernetics, physical computing and robotics has led artists and researchers to create musical systems that explore the relationship between human bodies and mechanical systems. Anthropomorphic musical robots and bodily integrated ‘cyborg’ sensor interfaces explore complementary manifestations of what we call the ‘anthropomorphic analogy’, which probes the boundary between human artificer and artificial machine, encouraging listeners and viewers to humanise non-musical machines and understand the human body itself as a mechanical instrument.

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Locke, Ralph P. "Aidaand Nine Readings of Empire." Nineteenth-Century Music Review 3, no. 1 (2006): 45–72. http://dx.doi.org/10.1017/s1479409800000343.

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What influence did contemporary attitudes towards empire and towards ‘Other’ peoples exert on musical works, especially when those peoples were perceived as being of a different race?The answer surely varies with the genre and also with the complexity of the given work. The late Edward Said – the most prominent and controversial figure in cultural critique of this sort – put it well: a work that is ‘rich in … aesthetic intellectual complexity’ must not be treated as if it were a crudely ‘jingoistic ditty’ – or, for the present context, a racist one. Said's specific example of a complex literar

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Malcomson, Hettie. "New generations, older bodies:danzón, age and ‘cultural rescue’ in the Port of Veracruz, Mexico." Popular Music 31, no. 2 (2012): 217–30. http://dx.doi.org/10.1017/s0261143012000062.

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AbstractUnderstandings and discourses about age have tended to be instrumental to popular music in terms of production, promotion and consumption, and many studies of popular music have taken younger people, and especially ‘youth’ cultures, as their subject matter. Where older people have been considered, the focus has mostly been retrospective, that is on their experiences when young and their attitudes to contemporary ‘youth’ cultures, rather than relationships between the temporal dimension of the life course and music. As the case of danzón illustrates, stereotypes that older people are re

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