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1
Willmann, Roland. "Alexander Skrjabin: Die 6. Klaviersonate op. 62." Die Musikforschung 48, no. 2 (September 22, 2021): 153–66. http://dx.doi.org/10.52412/mf.1995.h2.1067.
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Als Musik historischen Übergangs erweist sich die 6. Sonate Skrjabins. Oktatonik vermittelt noch unverbrauchten Ausdruck und ist schon einheitsstiftendes Strukturprinzip. Die Sonatensatzform wird einer prozeßhaften Dynamik unterworfen, indem sich die Musik mittels klanglich-linearer Dialektik entfaltet. Thematische Gestalten profilieren sich, die auf einer höheren Entwicklungsstufe wiederum zur Synthese gelangen. Eine Analogiebildung zu geistigen Prinzipien schein möglich. Der von Friedrich Nietzsche formulierte dionysisch-apollinische Gegensatz erscheint in der 6. Sonate sogar explizit: Als apollinische Welt des Traums und als dionysische Sphäre von Rausch und Tanz. (Willmann, Roland)
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Matzerath, Josef. "Residenz - Festung - Zentralort : Dresdner Spezifika des 17. Jahrhunderts." Schütz-Jahrbuch 29 (August 25, 2017): 7–16. http://dx.doi.org/10.13141/sjb.v2007976.
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Das Wirken von Heinrich Schütz in Dresden fällt in die Zeit des sächsischen Kurfürsten Johann Georgs I., unter dessen Herrschaft die Residenzstadt eine hohe soziale Dynamik erlebte. Neben Hof und staatlicher Zentralverwaltung entwickelte sich residenzspezifisch ein auf Luxusprodukte spezialisiertes Handwerk. In Dresden lebten aber auch Menschen ohne Bürgerrecht: Tagelöhner, Söldner und böhmische Exulanten. Kursächsische Landtage brachten im Abstand von einigen Jahren mehrere hundert Mitglieder der gesellschaftlichen Führungsformationen auf einige Monate in die Stadt. Ästhetisch hatte der Dresdner Hof schon vor der Ankunft von Heinrich Schütz durch die Kunst Giovanni Maria Nossenis zum Standard der europäischen Kunstentwicklung aufgeschlossen. Schütz schuf durch seine Musik ein neues ästhetisches Programm der Herrscherrepräsentation, das hinausging über Nossenis Synthese handwerklicher Hofkünste zu einem ikonographischen Programm fürstlicher Selbstdarstellung. (Autor)
Quelle: Bibliographie des Musikschrifttums online
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Goldhammer, Klaus, and Mathias Birkel. "Audio auf der Überholspur. Das neue Leitmedium." MedienWirtschaft 17, no. 2-3 (2020): 36–48. http://dx.doi.org/10.15358/1613-0669-2020-2-3-36.
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Der Audiomarkt ist heftig in Bewegung. Der Aufsatz bietet einen Faktencheck zur Nutzung, zu wirtschaftlichen Kennzahlen und Trends. Während in den letzten Jahren vor allem der Bewegtbildmarkt für starke Dynamik sorgte, erlebt inzwischen auch der Audiobereich durch non-lineare Dienste, neue Nutzungsmöglichkeiten und vielfältige Inhalte eine Boomphase. Neben klassischem Radio haben sich kostenlose Webradios und Podcasts, aber auch kostenpflichtige Musikstreaming-Dienste und Hörbuch-Plattformen im Markt etabliert. Hinzu kommen Audio-Dienste im Auto (In-Car-Entertainment) sowie der Bereich Smartspeaker. Eine große Stärke von Audio-Inhalten ist, dass man sie unterwegs auf dem Fahrrad, in der U-Bahn, im Auto, beim Joggen, bei der Hausarbeit oder auch zum Einschlafen hören kann – Situationen also, in denen visuelle Medien nicht oder nur sehr eingeschränkt funktionieren. Audioangebote können selbst während der Internetnutzung, beim Surfen oder Chatten parallel weiterlaufen. Das sichert Reichweite und Nutzung. Zugleich werden auch Videodienste wie YouTube verstärkt als Audioangebot genutzt. So zeigen diverse Studien, dass YouTube die erfolgreichste Plattform für den Abruf von Musik ist, auch ohne Bewegtbild. Auch Spotify bietet seit August 2020 Podcasts mit Video an. Damit verschwimmen die klassischen Grenzen zwischen Audio und Video immer weiter.
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Rustiyanti, Sri. "Musik Internal dan Eksternal dalam Kesenian Randai." Resital: Jurnal Seni Pertunjukan 15, no. 2 (March 15, 2015): 152–62. http://dx.doi.org/10.24821/resital.v15i2.849.
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Kehidupan musik pada masyarakat Minangkabau tidak terlepas adanya peranan serta fungsi yang melekat pada kesenian Randai. Melalui pendekatan etnomusikologi, tulisan ini menelaah peranan musik internal dan eksternal dalam kesenian Randai. Kesenian ini menggunakan medium seni ganda atau kolektif karena didukung oleh beberapa cabang seni antara lain tari, musik, teater, sastra, dan rupa. Hasil penelitian menunjukkan bahwa musik iringan dalam Randai terbagi menjadi dua, yaitu musik internal dan musik eksternal. Musik internal adalah musik atau bunyi-bunyian yang berasal dari anggota tubuh manusia (penari), misalnya tepukan tangan, petik jari, tepuk dada, siulan, hentakan kaki ke tanah dan sebagainya, sedangkan musik eksternal adalah bunyi-bunyian atau suara yang berasal dari alat musik atau instrumen seperti talempong, gandang, saluang, dan rabab. The Role of Internal and External Music in the Arts of Randai. The musical life in Minangkabau society is inseparable from its roles and functions which attach to the arts of Randai. Through the ethnomusicology approach, this paper examines the role of internal and external music in the art of Randai. Considering its sustainability and amendment, the musicality is the identity of Minangkabau society so that the sustainability of the music can be run in accordance with the dynamics of society today. Among the types of arts in Minangkabau, Randai is an art form that uses multiple or collective art medium for it is supported by several branches of the arts, including dance, music, theater arts, literary arts, and fine arts. The results of this study is more focused on the art of music. Musical accompaniment in Randai is divided into two, namely internal and external music. The internal music is the music or the sounds that come from the human body (a dancer), for example, clapping, finger picking, patting the chest, whistling, stomping on the ground, and so on, while the external music is the sounds emanating from the tools of music or instruments, such as talempong, gandang, saluang, and rabab.
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Triyanuartha, I. Nyoman. "Eksistensi Gula Gending di dalam Dinamika Budaya Lombok." Journal of Urban Society's Arts 2, no. 2 (October 10, 2015): 80–88. http://dx.doi.org/10.24821/jousa.v2i2.1445.
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Penelitian ini bertujuan untuk mengungkap eksistensi gula gending di dalam dinamika budaya yang terjadi di Lombok. Gula gending merupakan sebuah pertunjukan musik yang dimainkan ketika pedagang harum manis mepromosikan barang dagangannya untuk menarik perhatian calon pembeli. Seiring dengan perjalanan waktu, pertunjukan musik ini menjadi langka dan jarang ditemukan di dalam masyarakat. Kini gula gending muncul kembali dengan beberapa perkembangan yang menyertainya. Analisis dilakukan terhadap fakta musikal yang meliputi dimensi sonorik, dimensi visual dan dimensi kinestetik. Untuk membahas mengenai penyebab dan hasil dari perkembangan akan digunakan konsep music and cutural dynamic. This research aims to gasp the exsistence of gula gending in cultural dynamic which occurs in Lombok. Gula gending was a music performance played when the arbanat seller was promoting their goods to attract the customers’ attention. As the time goes by, this music performance becomes rare, so we seldom find its existence in society. In spite of the fact, nowdays gula gending reappears along with few following developments. An analysis has been done to the musical facts which may include among athers are sonoric dimention, visual dimention, and kinesthetic dimention. To gain the explanation about the causes and results of the development, music and cultural dynamic concepts are conducted.
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Cilione, Pier Alberto Porceddu. "La Potenza della Musica: La Questione della Dynamis tra Musica e Filosofia." Philosophy of Music 74, no. 4 (December 30, 2018): 957–82. http://dx.doi.org/10.17990/rpf/2018_74_4_0957.
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This article examines the conceptual relationship between the notion of dynamics in music and the idea of dynamics as “power” and “potentiality” in metaphysics. What is implicit in both notions is the idea of “force”, as configured in a philosophical tradition from Aristotle to Nietzsche, Heidegger and Deleuze. It is no coincidence that the system of signs that, in music, indicates the intensity of sound, its strength and its expression, takes its name from this philosophical concept. What follows tries to understand in which sense the term dynamics, as a theory of force and potentiality, steps into the field of music. The Aristotelian concept of dynamis, Leibniz’s theory of vis activa and the Nietzschean “Will to Power” reveal their profound meaning when related to the specific dynamic ontology realized by music. Two contemporary musical examples, taken from flute works by Sciarrino and Hosokawa, show with particular evidence how to understand a metaphysical idea of musical dynamics.
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Narselina, Puput Meinis. "Analisis Bentuk Musikal dan Struktur Lagu Tanah Airku Karya Ibu Soed Aransemen Joko Suprayitno untuk Duet Vokal dan Orkestra." PROMUSIKA 6, no. 1 (August 6, 2019): 31–40. http://dx.doi.org/10.24821/promusika.v6i1.1825.
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Analisis dalam musik adalah pembelajaran untuk menemukan beberapa elemen – elemen musik yang pada prinsipnya meliputi semua aspek dari musik antara lain; melodi, harmoni, ritme, dinamika, dan bentuk musik. Karya tulis ini merupakan analisis bentuk musikal dan struktur lagu Tanah Airku karya Ibu Soed aransemen Joko Suprayitno untuk format duet vokal dan orkestra. Metode penelitian ini merupakan jenis metode penelitian kualitatif dengan pendekatan musikologis kepada arranger. Metode tersebut meliputi tinjauan historis, analisis bentuk musikal dan struktur aransemen. Penelitian ini bertujuan untuk mengetahui bentuk musikal dan struktur lagu Tanah Airku karya Ibu Soed aransemen Joko Suprayitno untuk duet vokal dan orkestraAnalysis of the music is learning to find some of the elements of music which in principle covers all aspects of music, among others; melody, harmony, rhythm, dynamics, and forms of music. This paper is an analysis of musical form and structure of Tanah Airku song from Ibu Soed arrangement works by Joko Suprayitno for vocal duet and orchestra format . This research method is a type of qualitative research methods with musicological approach to the arranger. The method includes a historical review, analysis of musical form and structure of the arrangement. This study aims to determine the musical form and structure of Tanah Airku song arrangement by Joko Suprayitno for vocal duet and orchestra.Keywords: Joko Suprayitno, Analysis of Arrangement of My Tanah Air Song by Ibu Soed
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Radhakrishnan, Nandhu, Savithri S.R., and Rammohan Gangisetty. "Expression of Emotions in Carnatic Vocal Music." Music and Medicine 8, no. 3 (July 31, 2016): 108. http://dx.doi.org/10.47513/mmd.v8i3.438.
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Voice is the element that makes speech audible. Apart from conveying the meaning of what is spoken, it can carry a variety of information about the speaker like gender, age, general health, mood, and emotions. Expressing emotions is a crucial aspect in speech communication and vocal music. Bhava, or emotions in vocal music convey the essence of the piece rendered by the singer. This preliminary study is to understand the role of the larynx in expressing emotions like joy and sorrow in Carnatic vocal music. Twelve Carnatic singers rendered vocal emotions at three levels, joy, sorrow, and neutral. The output was recorded, analyzed, and compared between each level. Results showed significant differences between the laryngeal dynamics of joy and sorrow. The results of this and future studies will help in designing voice therapy techniques for disorders like Parkinson’s disease that affect both facial and vocal expression of emotions. Keywords: emotions, carnatic, vocal, laryngealSpanishExpresión de Emociones en la música vocal carnáticaLa voz es el elemento que hace al habla audible. Aparte de trasmitir el significado de lo que se dice, puede llevar variedad de información sobre quien habla como el género, edad, estado de salud, humor, emoción. Expresar emociones es un aspecto crucial de la comunicación hablada y esto también ocurre en el canto. Las emociones en la música vocal transmiten la esencia de una pieza (Bhava) , dictada por el cantante. Este estudio preliminar es un intento de comprender el rol de la laringe en la expresión de emociones como alegría y tristeza en la música vocal carnática. Doce cantantes carnáticos interpretan emociones vocales en tres niveles: alegría, tristeza y neutro. La producción entre cada nivel fue grabada, analizada y comparada. Los resultados muestran diferencias significativas entre las dinámicas de la laringe en alegría y tristeza. El resulto de este y de estudios futuros ayudara a diseñar técnicas de terapia vocal para desordenes como la enfermedad de Parkinson que afecta la expresión vocal y facial de emociones.Palabras claves: Emociones, carnático , vocal , laringe GermanDer Ausdruck dvon Emotionen durch Carnatic vokale Musik Abstract: Die Stimme ist ein Element, das Sprache hörbar werden lässt. Abgesehen vom Inhalt dessen, was gesagt wird, überträgt sie verschiedenste Informationen über den Sprechenden, wie Geschlecht, Alter, allgemeine Gesundheit, Stimmung und Emotionen. Das Ausdrücken von Emotionen ist ein entscheidender Aspekt verbaler Kommunikation; dies ereignet sich auch beim Singen. Bhava oder Emotionen in vokaler Musik, überträgt die Essenz eines Stückes, das von dem Sänger wiedergegeben wird. Diese einleitende Studie ist ein Versuch, die Rolle der Larynx beim Ausdruck von Emotionen, wie Freude und Leid, durch Carnatic vokale Musik zu verstehen. 12 Carnatic Sänger interpretierten vokale Emotionen in drei Stufen: Freude, Leid und neutral. Der Output der drei Stufen wurde aufgenommen, analysiert und verglichen. Die Ergebnisse zeigten signifikante Unterschiede zwischen der Larynx- Dynamik bei Freude und Leid. Die Ergebnisse dieser und zukünftiger Studien werden helfen, vokale Therapietechniken für Krankheiten wie Parkinson zu erstellen, die beides, den mimischen und vokalen Ausdruck von Emotionen beeinflussen. ItalianEspressioi ed Emozioni nella Musica Vocale CarnaticaLa voce è l’elemento che rende le nostre parole udibili. Oltre a trasmettere il significato di ciò che viene detto, può trasportare una varietà di informazioni riguardanti chi in quel momento sta parlando come, il sesso, l’età , lo stato generale di salute, l’umore e l’emozione.. Esprimere un emozione è un aspetto cruciale nella comunicazione verbale e questo avviene anche nel canto. Bhava, o le emozioni in musica comunicano l’essenza di brano, trasmessa dal cantante.. Questo studio preliminare e`un tetativo di comprendere il ruolo della laringe nell’esprimere emozoni come la gioia e il dolore nella musica vocale Carnatica. 12 cantanti Carnatici hanno fornito 3 livelli di emozioni vocali: gioia, dolore e neutralità. Il prodotto tra I vari livelli è stato registrato, analizzato, e comparato. I risultati hanno mostrato differenze significative tra le dinamiche della laringe di gioia e di dolore. Questi risultati e gli studi futuri aiuteranno alla progettazione di tecniche di logopedia per disturbi come il morbo di Parkinson, che colpisce sia l’espressione facciale che vocale dell’espressione.Parole chiave: musica vocale carnatica, laringeJapaneseカルナータカ音楽の声における感情表現について 声とは、ことばを聴覚化するための要素である。語られている事柄の意味を伝達するだけでなく、声は、語り手の様々な情報、例えば性別、年齢、健康状態、気分、感情などを伝える媒体となる。感情表現とは、言語的コミュニケーションにおける重要な要素であり、これは歌唱でも同様である。声楽音楽におけるバーヴァ（Bhava）また感情は、その曲の根本的要素であり、歌手によって表現されるものである。この予備研究は、カルナータカ音楽の歌唱で喜びや哀しみ等の感情を表現する際、歌手の喉頭部がいかに作用しているかについて理解するための検証である。方法は、12名のカルナータカ音楽の歌手が、３つのレベルの感情（喜び、悲しみ、ニュートラル）を歌唱表現する。各レベルの違いは、すべて録音され、分析され、比較された。結果として、喜びと悲しみの表現における喉頭部の動きに、大きな差が生じていることが分かった。この結果と将来的研究は、パーキンソン病などの表情や発語における感情表現に困難を持つ対象者に対して、声を使ったセラピーの 技法を設計する際に有効になると考える。キーワード：感情、カルナータカ音楽、声楽、喉頭部
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Putra, I. Putu Adi Septa Suweca. "Analisis Komposisi Musik “Kuasa Tanah”." Journal of Music Science, Technology, and Industry 2, no. 1 (January 15, 2019): 49. http://dx.doi.org/10.31091/jomsti.v2i1.611.
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Tulisan ini bertujuan untuk mengupas dan memahami lebih mendalam cara kerja musik “Kuasa Tanah” yang dikomposisi oleh musisi Bali Dewa Ketut Alit yang secara terselubung menanamkan nilai intelektual dalam proses perwujudannya. Setiap komponis tentu memiliki metode tersendiri untuk mewujudkan karyanya. Perbedaan metode dan wujud karya yang dihasilkan dapat memberikan ciri khas tersendiri bagi setiap komponis. Tulisan ini lebih merujuk kepada persoalan musikalitas yang terjadi pada peristiwa karya ini. Persoalan musikalitas sangat penting dipahami dan dikupas untuk melihat musik secara tekstual. Melalui persoalan ini, pada giliran selanjutnya, dapat digunakan sebagai pengetahuan serta landasan keilmuan dalam membuat suatu karya, dan diharapkan dapat membuka cara pandang masyarakat agar musik tidak hanya dianggap sebagai hiburan semata. Berdasarkan metode kualitatif dari wawancara dan transkripsi yang dilakukan, dalam analisis penulis ditemukan bahwa dalam karya ini terdapat pembaharuan tata racik yang tercermin dari cara kerja komponis dalam mengolah elemen-elemen musik yang telah dipilih. Keseluruhan karya ini menggunakan beberapa jenis instrumen yang terdapat dalam gamelan Bali. Meskipun medium yang digunakan ialah beberapa instrumen lokal dari gamelan Bali, tetapi musik yang dihasilkan bersifat universal. Ini menunjukkan bahwa gamelan akan secara elegan hidup berdampingan di atas kesetaraan dan bergelora sebagai musik yang mandiri di tengah-tengah dinamika musik global yang tiada batas. This paper aims to explore and understand more deeply about the music of “Kuasa Tanah” (or the power of land) composed by a Balinese musician named Dewa Ketut Alit which covertly instills intellectual value in the process of its manifestation. Broadly speaking, each composer certainly has his own method for realizing his work. The difference in methods and forms of the work produced can also provide distinctive characteristics for each composer. This article is more referring to musicality problems that occur in “Kuasa Tanah” The issue of musicality is very important to understand and peel to see music in a textual manner. Through this issue, in the next turn, it can be used as knowledge and scientific foundation in making another new work, and is expected to open a society’s perspective so that music is not only regarded as merely entertainment. Using qualitative method through interview and transcription done, in the analysis is fount that in “Kuasa Tanah”, there is a renewal of the packaging system that is reflected in the way the composer works in processing the selected musical elements. The entire work uses several types of local instruments found in Balinese gamelan. Although it uses several instruments from Balinese gamelan, but the music produced is sounded universal. This shows that the gamelan will elegantly coexist above equality and surge as independent music amidst the infinite dynamics of global music.
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Farhan, Farhan. "Amar Munkar Nahi Ma’ruf: Studi Lirik Lagu Dangdut Koplo Jaran Goyang dan Parodinya." Al-I'lam: Jurnal Komunikasi dan Penyiaran Islam 3, no. 1 (September 25, 2019): 15. http://dx.doi.org/10.31764/jail.v1i2.1364.
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Abstrak:Tulisan ini mengkaji dinamika perkembangan musik dangdut koplo di Nusantara dalam perspektif dakwah dan komunikasi. Perkembangan Produksi music dangdut (koplo) semakin mendapatkan tempat dikalangan masyarakat kekinian. Didukung dengan Industri media musik yang semakin meningkat setiap tahun seiring perkembangan konvergensi media konvensional terkoneksi dengan new media (internet). Penciptaan lirik lagu dangdut koplo berjudul ‘jaran Goyang’ dan parodinya memiliki pengaruh cukup kuat dalam mengubah paradigma pendengar/penonton. Efek lirik lagu dangdut koplo ‘jaran goyang’ tidak hanya merubah pola berpikir dan berperilaku. Melalui paradigma Amar Ma’ruf Nahi Mungkar dan kajian media dengan pendekatan etnografi virtual di media sosial You tube, penelitian menyimpulkan bahwa lirik lagu dangdut koplo berjudul ‘jaran goyang’ mengandung pesan perilaku tidak terpuji (Amar ‘Munkar’) dan bertentangan dengan dokrin agama Islam. Sedangkan parodi lirik lagu ‘Jaran Goyang’ menunjukkan pesan-pesan kebenaran dan kebajikan selaras dengan ajaran Islam (Amar Ma’ruf), sekaligus merupakan praktik metode dakwah kekikian kepada objek dakwah dari komunitas pecinta musik. Tantangan pendakwah masa depan diperlukan kontinuitas massif dalam mensinergikan pesan-pesan dakwah dengan dinamisasi seni musik dangdut. Abstract:This paper examines the dynamics of the development of music dangdut koplo in Indonesia through perspective of da'wah and communication. The progress of production dangdut music (koplo) is increasingly gaining around today's society. Supported by the music media industry which is every year increasingly as the development of conventional media convergence is connected to the new media (internet). The creation of the lyrics of the song dangdut koplo entitled 'jaran Goyang' and its parody has quite a powerful influence in changing the listener / audience paradigm. The effect of the lyrics of the song dangdut koplo 'jaran goyang' not only changes the pattern of thinking and behaving. Through the Amar Ma'ruf Nahi Mungkar paradigm and media studies using a virtual ethnographic approach on social media You Tube, the study concluded that the lyrics of the song dangdut koplo titled 'jaran goyang' contain messages of dishonorable behavior (Amar 'Munkar') and are contrary to Islamic religious doctrine . Whereas the parody of the song 'Jaran Goyang' shows the messages of truth and virtue in harmony with the teachings of Islam (Amar Ma'ruf), as well as the practice of the method of preaching to the object of preaching from the music lovers community. The challenge of future preachers requires massive continuity in synergizing the messages of da'wah with the dynamics art of the dangdut music
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Burnsed, Vernon. "Differences in Preference for Subtle Dynamic Nuance between Conductors, Middle School Music Students, and Elementary School Students." Journal of Research in Music Education 49, no. 1 (April 2001): 49–56. http://dx.doi.org/10.2307/3345809.
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This study began as a systematic replication of two previous studies in which a significant proportion of elementary and middle school music students preferred versions of American folk songs with explicit variation in dynamics over versions of the same folk songs where the dynamics were held constant. In the present study, the preference test used in the previous studies was modified to reflect a more realistic representation of dynamic nuance. Dynamic variation was reduced by one-third, and smoother curvatures were applied to the crescendos and decrescendos of the expressive versions of the 10 folk songs. This revised test was administered to 288 Grade 1–5 students, 78 middle school music students, and 22 conductors. The results of the study indicate that age and/or musical experience may affect perception and preference for subtle dynamic nuance in music.
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Patriantoro, Teguh Hartono. "Selera Keindahan Warga Tionghoa di Semarang: Studi Kasus Transformasi Fungsi Musik Hiburan ke Ritual." Imaji 17, no. 1 (June 27, 2019): 44–50. http://dx.doi.org/10.21831/imaji.v17i1.23478.
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Artikel ini menganalisa tentang selera keindaan yang mendapatkan intervensi dari politik praktis. Kondisi politik yang dimaksudkan adalah adanya INPRES no. 14 tahun 1967 yang berisi tentang larangan bagi Masyarakat Tionghoa di Indonesia untuk menggelar acara budaya di depan umum. Munculnya Inpres tersebut mempengaruhi eksistensi Masyarakat Tionghoa dan menyebabkan para pelaku seni untuk merubah fungsi musik yang awalnya bersifat hiburan menjadi pseudo ritual. Proses perpindahan fungsi tersebut juga berdampak pada letak keindahan, dimana ungkapan spontan seperti “ciamik”, perasaan kagum, dan gesture bahagia tereduksi secara politis. Pemeliharan pola dari pemerintah dengan adanya INPRES serta tuduhan subversif bagi warga negara yang melanggar, menyebabkan struktur kultural musik menjadi berubah pula. Seperti pemilihan lagu yang harus menghilangkan syair duniawi, pemilihan tempo musik dengan irama dinamis, dan genre musik. Hal ini menyebabkan letak citarasa keindahan dalam bermusik tidak bersifat universal, dikarenakan adanya kerinduan dari masyarakat setelah terbebas dari INPRES. Tujuan dari artikel ini adalah menganalisa bentuk pembelajaran/penularan ilmu kepada generasi berikutnya dengan penyesuaian kondisi eksternal seperti faktor sosial, politik, dan ekonomi. Metode yang digunakan adalah pendekatan antar bidang dengan payung utama etnomusikologi.Kata Kunci:ciamik, estetika Tionghoa, transformasi musik, ritual Chinese’s Taste of Beauty in Semarang:Case Study on the Transformational Function of Music from Entertainment into Rituals ABSTRACTThis article analyzes the sense of desire that gets intervention from practical politics. The intended political condition is the existence of INPRES no. 14 of 1967 which contained a prohibition on Chinese Communities in Indonesia to hold cultural events in public. The emergence of the INPRES influenced the existence of the Chinese community and caused the perpetrators of the arts to change the function of music which was originally as an entertainment into a pseudo ritual. The process of transferring this function also affects the aesthetics location, where spontaneous expressions such as "ciamik", feelings of awe, and gesture of happiness are reduced politically. The pattern maintenance from the government with the INPRES and allegations of subversion for citizens who violate causes the change of music cultural structure as well. Like the selection of songs that must eliminate worldly lyrics, using dynamic rhythms as the tempo, and musical genres. This causes the aesthetics of music cannot be enjoyed universally, due to the longing of the community after being freed from the INPRES. The purpose of this study is to analyze the form of learning or transmission of knowledge for the future generations with adjustments to the conditions of social, political, and economic factors. The method used is the integrated approach concerning in ethnomusicology.Keywords: ciamik, Chinese aesthetics, musical transformation, pseudo ritual.
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Drott, Eric. "Ligeti in Fluxus." Journal of Musicology 21, no. 2 (2004): 201–40. http://dx.doi.org/10.1525/jm.2004.21.2.201.
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During a brief period in the early 1960s, Fluxus, a neo-avant-garde group active in the United States, Europe, and Japan, engaged the unlikely participation of Gyorgy Ligeti. Ligeti's three contributions to Fluxus publications-the Trois Bagatelles for David Tudor (1961), Die Zukunft der Musik-eine kollektive Komposition (1961), and Poèème Symphonique for 100 metronomes (1962)-proved both compatible with and divergent from the general ideology and aesthetic of Fluxus. Central to the consideration of Ligeti's Fluxus pieces is the contentious relationship that existed between experimental and modernist branches of new music at the time. Ligeti's flirtation with more experimental forms of composition not only reflects the general dynamic of this relationship but also illuminates how Ligeti positioned himself within the field of European contemporary music ca. 1960 and in subsequent years.
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Kharisma, Bethoven. "Analisis Komposisi Soundtrack dalam Video Game “Genshin Impact”." Indonesian Journal of Performing Arts Education 1, no. 2 (July 31, 2021): 12–15. http://dx.doi.org/10.24821/ijopaed.v1i2.5432.
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Role-playing games merupakan merupakan salah satu genre utama dari sebagian banyak game dan ada dalam bentuk dan format yang berbeda. Dalam sebuah game cenderung menggunakan musik cinematic yang mampu membawa suasana dan emosi kepada pemain game tersebut. Pemilihan soundtrack Genshin Impact pada “Main Theme: from The Wind and The Star Traveler” sebagai objek penelitian dikarenakan penataan musik cinematic yang megah. Penelitian kualitatif deskriptif ini memiliki tujuan untuk menganalisis teknik pengolahan komposisi dari soundtrack tersebut. Metode yang digunakan adalah studi diskografi, studi literatur, dan observasi. Hasil menunjukkan bahwa soundtrack “Main Theme” pada Genshin Impact dimainkan dakam tonalitas D Mayor dengan tempo 82 bpm. Dalam soundtrack Main Theme terdiri dari beberapa bagian yaitu, intro, verse, chorus, dan outro. Elemen musik pada soundtrack Main Theme juga diketahui berdasarkan ritme, dinamika, harmoni, tekstur, dan bentuk. Musik soundtrack tersebut mengandung suasana yang sederhana tapi megah dari penggunaan tonalitas mayor, poliritme, dan pengembangan motif utama yang memperkaya. Role-playing games are one of the main genres of many games and come in many different forms and formats. A game tends to use cinematic music that can bring atmosphere and emotions to the game's players. The selection of the Genshin Impact soundtrack on "Main Theme: from The Wind and The Star Traveler" as the object of research is due to the magnificent cinematic music arrangement. This descriptive qualitative study aims to analyze the compositional processing techniques of the soundtrack. The method used is discography study, literature study, and observation. The results show that the “Main Theme” soundtrack on Genshin Impact is played in a D Major tonality with a tempo of 82 bpm. The Main Theme soundtrack consists of several parts: intro, verse, chorus, and outro. The musical elements in the Main Theme soundtrack are also known based on rhythm, dynamics, harmony, texture, and form. The soundtrack's music contains a simple but majestic atmosphere of the enriching use of major tonality, polyrhythm, and development of central motifs.
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Macaulay, Cameron. "The Cosmic & The Corporeal." MUSIC.OLOGY.ECA 1 (September 11, 2020): 26–39. http://dx.doi.org/10.2218/music.2020.5696.
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Under the Skin is a film deeply preoccupied with the human experience. Our protagonist is ‘Laura,’ an alien in disguise who stalks Glasgow in search of male prey. We are entirely situated with her throughout — seeing the streets through her eyes, sitting with her in the van during each hunt. Our proximity to her complicates the ontological question beyond a blunt dichotomy of Laura and the human subjects. Rather, it’s a dynamic continuum whereby Laura might glean empathy while ordinary people are estranged. The article argues that audiovision is the primary channel through which entanglements between the cosmic and the corporeal are explored in the film. Through director Jonathan Glazer and composer Mica Levy’s maintaining of the ‘alien lens’ (as well as an alien audition) the subject of humanity is ravelled.
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Sugiarto, Roni. "DINAMIKA KETERHUBUNGAN RUANG ARSITEKTURAL DAN MUSIKAL BAROK." Vitruvian 9, no. 2 (February 26, 2020): 99. http://dx.doi.org/10.22441/vitruvian.2020.v9i2.004.
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ABSTRAKKetika kita mendengar suara (audial, akustikal) kitapun dapat melihat ruang (spatial). Di samping dapat melihat bentuk dan mendengar bunyi, kita dapat juga mendengar bentuk dan melihat bunyi. Meskipun bahasa yang dipergunakan arsitektur dan musik berbeda, namun kedua bidang ini memiliki karakter berkesenian yang sama yaitu pencarian makna keindahan yang tiada akhir. Arsitektur dan musik berbagi tujuan yang sama dalam hal estetika, namun keduanya memiliki perbedaan wujud. Melalui penjelajahan imajinatif dan perseptif karya seni Barok, tulisan ini mencoba mencari hubungan yang analogis antara sensasi auditory berupa tatanan melodi dan irama dengan manifestasi ruang arsitektural. Dengan menerapkan pendekatan yang bersifat kualitatif dengan teknik penarikan sampel yang sesuai dengan ruang lingkup pembahasan, dan menelusuran hubungan yang analogis (yang atributif) dicapai juga dengan kajian komparatif tatanan/ruang antara arsitektur dengan musik Barok. Dengan Sistem representasi yang menjadi kunci dalam menghantarkan visi tatanan/ruang arsitektural serta musikal Barok, maka diharapkan secara imajinatif dan ekspresif perwujudan dinamika hubungan antara ruang arsitektural dan musikal Barok dapat ditemukan. Di lain hal, penelusuran keterhubungan antara arsitektur dan musik terbuka bagi berbagai kekuatan seni, dapat berkomunikasi dengan aspek arsitektur dan dapat dicari kedekatan hubungan antar masing-masing kekuatan seni. ABSTRACTWhen we hear the sound (audial, acoustical) we can see the space (spatial). In addition to being able to see the shapes and hear the sound, we can also hear the shapes and see the sound. Although the language used by architecture and music s different, but these two fields have the same artistic character that is the exploration for the endless beauty of the end. Through the imaginative and perseptive exploration of Baroque artwork, it seeks to find an analogic relationship between the auditory sensation of melody and rhythm with the manifestation of architectural space. By using a qualitative approach with sampling techniques that fit the scope of the discussion, and tracking analogical (attributive) relationships is also achieved by a comparative study of the order / space between Baroque architecture and music. With the representation system, the key of delivering the vision of Baroque architectural / space order and musicals, it is hoped that imaginatively and expressively the realization of the dynamics of the relationship between architectural space and Baroque music can be found. On the other hand, the research for the connection between architecture and music is open to various artistic, possible to communicate with aspects of architecture and to find the closeness of the relationship between each art.
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Schmidt-Beste, Thomas. "Preventive and Cautionary Dynamics in the Symphonies of Mendelssohn and his Time." Journal of Musicology 31, no. 1 (January 1, 2014): 43–90. http://dx.doi.org/10.1525/jm.2014.31.1.43.
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From the late eighteenth century onward, composers began to use dynamic signs as an independent layer of expressive meaning, deployed either to reinforce the dynamic tendencies inherent in the music (through melodic or harmonic trajectory, phrasing, texture, etc.) or to counteract them. The study of this phenomenon thus far has been limited to individual observations regarding particular events, such as “surprise dynamics” (for example sudden peaks in volume or a subito piano following a crescendo), with no attempt to reach a systematic understanding. This article elucidates a little-noticed device, the preventive or cautionary dynamic. Some nineteenth-century composers reiterate dynamic instructions in their instrumental music several times in succession. The purpose of these repetitions is to maintain a desired dynamic level that runs counter to the intrinsic ebb and flow of tonal music (the “internal dynamic” as defined by some authors). The device is used most frequently at the extremes of the dynamic spectrum, often to create expressive tension in a poetic/extramusical sense. The first composer to make substantial use of this technique was Beethoven, but it is Mendelssohn who developed and deployed it most fully. This type of dynamic instruction is most prevalent in large-scale instrumental compositions, such as the symphony, and highlights another aspect of musical practice of the period: composers increasingly had to contend with conductors and performances over which they had no direct control. The increased use of dynamic signs in general and preventive or cautionary dynamics in particular can thus be read as an attempt to assert control over expressive aspects of their compositions that traditionally had been left to performers.
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Potter, Keith, Geraint A. Wiggins, and Marcus T. Pearce. "Towards Greater Objectivity in Music Theory: Information-Dynamic Analysis of Minimalist Music." Musicae Scientiae 11, no. 2 (July 2007): 295–324. http://dx.doi.org/10.1177/102986490701100207.
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We present evidence for a relationship between two objective measures of the information dynamics of music and points of structural importance in the music as analysed by an expert musicologist. Our approach is motivated by ecological validity: rather than taking musical stimuli and artificially simplifying them to make their study tractable, we have sought and found music which is appropriate to our study. We give a novel, detailed analysis of one piece, Glass' Gradus, and show how the analysis corresponds with the information dynamics of the piece as heard. To show that this correspondence generalises, at least to music in a similar style by the same composer, we go on to analyse Glass' Two Pages. We suggest that this research provides further evidence that information-dynamic modelling is a worthwhile approach to the study of music cognition and also has the potential, if automated, to be a powerful tool to increase objectivity in data-based music analysis.
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Parmadie, Bambang, A. A. Ngurah Anom Kumbara, A. A. Bagus Wirawan, and I. Gede Arya Sugiartha. "Pengaruh Globalisasi Dan Hegemoni Pada Transformasi Musik Dol Di Kota Bengkulu." Mudra Jurnal Seni Budaya 33, no. 1 (February 6, 2018): 67. http://dx.doi.org/10.31091/mudra.v33i1.240.
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Transformasi memiliki arti perubahan bentuk dan secara lengkap merupakan perubahan fisik maupun nonfisik (bentuk, rupa, sifat, fungsi, dan lain-lain). Transformasi dimaksudkan baik perubahan yang masih menunjukkan benda asalnya maupun perubahan yang sudah tidak memperlihatkan kesamaan dengan benda asalnya. Arus globalisasi dan hegemoni yang terjadi pada perubahan musik Dol sebagai musikalitas ritual Tabot digunakan secara sengaja untuk hiburan, kreativitas seniman, pencitraan, pendidikan, dan pariwisata. Fenomena yang terjadi dalam waktu yang panjang dan bertahap-tahap, bersifat linier dan hierarkis, dari sakral ke sekuler atau profan (komodifikasi), dari idealisme tradisi ke idealisme industri dan pencitraan (ekonomi), dan dari tujuan ke pesanan (kreativitas). Metode yang digunakan dalam penelitian ini adalah metode kualitatif. Teori yang digunakan untuk menganalisis permasalahan yaitu teori hegemoni, teori budaya populer dan teori praktik sosial. Hasil penelitian pengaruh globalisasi dan hegemoni pada perubahan musik Dol dari sakral ke sekuler atau profan maupun sebaliknya yang terjadi dalam masyarakat Bengkulu menyebabkan perubahan (motivasi dan stimulasi) ini dapat diterima oleh masyarakat dan bisa menyatu dalam kehidupan bermasyarakat. Pengaruh globalisasi dan hegemoni pada perubahan musik Dol menjadikan kesenian ini sebagai industri budaya, materi kreatifitas seniman, pariwisata, pencitraan dan inovasi pada pendidikan. Musik Dol tumbuh menjadi kebudayaan seni pertunjukan baru yang menggeser keberadaan pesta rakyat ritual Tabot pada saat ini. Hal ini tampak jelas dalam perkembangan musik Dol semakin meluas secara kuantitas dan kreatifitas.Transformation signifies meaningful change in form and is a complete physical and nonphysical reconfiguration (form, likeness, nature, function, etc.). Transformation is representative of both intended change that is still indicative of the origins of an object and the changes that are not indicative of showing any similarity with the object in its original form. The dynamics of globalization and hegemony that have affected change in Dol music as Tabot ritual musicality is used deliberately for entertainment, artist's creativity, imaging, education, and tourism. Long-term and gradual phenomena are linear and hierarchical, from sacred to secular or profane (commodification), from idealism to industrial idealism and imaging (economy), and from purpose to order (creativity). The method used in this research is qualitative method. The theory used to analyze the problems of hegemony theory, popular culture theory and social practice theory. The result of the research of the influence of globalization and hegemony on the musical change of Dol from sacred to secular or profane and vice versa that happened in Bengkulu society caused change (motivation and stimulation) that is accepted by society and can be instrumental in united society life. The influence of globalization and hegemony on the change of Dol music makes this art take form as cultural industry, artistic creativity, tourism, imaging and innovation in education. So Dol music becomes an icon of Bengkulu Province and flourishes into a new performance art culture that shifts the existence of Tabot ritual folk feast. This is evident as the development of Dol music is widespread in quantity and creativity.
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Huron, David. "Crescendo/Diminuendo Asymmetries in Beethoven's Piano Sonatas." Music Perception 7, no. 4 (1990): 395–402. http://dx.doi.org/10.2307/40285475.
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A study of 32 piano sonatas by Beethoven reveals a significant asymmetry between increasing and decreasing dynamics. Specifically: (1) crescendos are more frequent than diminuendos, (2) crescendos tend to last longer than diminuendos, (3) large changes of dynamics tend to involve reductions in loudness, and (4) crescendos will more commonly follow low dynamic levels than will diminuendos follow high dynamic levels. These results support a "ramp archetype" of musical dynamics in which the music tends to build in a gradual way, but tends to subside relatively quickly. The results parallel a previous study showing an identical textural asymmetry in the evolution of polyphonic sonorities.
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Jayantoro, Setyawan. "TRANSFORMASI KONFRONTATIF KOMPOSISI GAMELAN BARU: Revitalisasi Penciptaan Inovatif dan Peran Vital Perguruan Tinggi Seni." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 18, no. 1 (March 26, 2019): 25–38. http://dx.doi.org/10.33153/keteg.v18i1.2394.
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AbstrakInovasi sebebas-bebasnya tanpa batas adalah persoalan konfrontatif yang sesungguhnya tengah mengancam eksistensi musik tradisi dalam korelasinya dengan masalah jati diri beserta dinamika konservasinya di era tuntutan yang serba mutakhir. Sejatinya orientasi komposisi gamelan baru itu berbasis pada akar tradisinya yang utuh, sebagai wujud inovasi kreatif, puncak dari akumulasi keilmuan karya-karya tradisi sebelumnya, karena desakan dominasi tuntutan kepentingan materialistik, atau memang sebatas ajang pelarian atas sikap frustasinya sebab ketidakmampuan mengusai basis tradisi yang mumpuni – berbagai model kontradiksi semacam ini tentu menjadi persoalan urgensif untuk ditelaah serius. Saat ini kita dapat melihat substansi masalahnya pada wujud karya gamelan non tradisi. Dorongan kuat semangat “modernisasi†berbalut lebat ideologi materialisme memang telah mengkonstruksi kesadaran kuat bahwa gamelan seolah dapat disandingkan dengan instrumen musik apapun, dicampur-sarikan dengan sistem musik apapun, dikolaborasikan dengan hitungan frekuensi apapun, fleksibel ditransformasikan ke dalam bentuk komposisi apapun, dan bahkan bebas direkayasa liar tanpa perlu pertimbangan kognitif yang didasarkan pada pengetahuan yang holistik. Perguruan Tinggi Seni tentu memiliki peran vital dan inheren dengan masalah konfrontasi ini sehingga perlu merumuskan rekonsiliasi ideologis melalui dialektika kritis yang berkesinambungan. Transformasi inovatif gamelan dalam entitas apapun idealnya dapat berjalan konsisten di atas konservasi kemapanan yang dinamis. Tiap hembusan nafas kebaruan yang diciptakan adalah kreasi inovatif yang berbasis pada sintesis dengan progresi intelektualitas yang dinamis, atraktif, impresif, dan konstruktif sehingga memperkaya eksistensi seni tradisi di era mutakhir.Kata Kunci: Konfrontasi, Komposisi, Transformasi, GamelanAbstract Unlimited freedom in innovation is a confronting problem that is seriously threatening the existence of traditional music in with regards to the issue of identity and the dynamics of its conservation in an era that demands one keeps up to date. By right, the orientation of new gamelan compositions should be based on its intact traditional roots: as a form of creative innovation they are the culmination of knowledge found in previous traditional works. However, because of the dominating pressures of materialistic concerns, or indeed as an excuse for the inability to achieve mastery in traditional competencies, this type of contraindicative model is certainly an urgent matter for serious study. At present we can see the substance of the problem in the form of non-traditional gamelan works. The strong impulse of the spirit of “modernization†clad in the ideology of materialism has indeed constructed a strong awareness that the gamelan seems to be juxtaposed with any musical instrument, mixed with any music system, collaborated with any frequency count, flexibly transformed into any composition, and even wildly engineered without the need for cognitive consideration based on holistic knowledge. Higher Education in the Arts certainly has a vital and inherent role with this confronting problem, making it necessary to formulate ideological reconciliation through continuous critical dialectics. The innovative transformation of gamelan in any entity can ideally run consistently above dynamic establishment conservation. Every breath of novelty created is an innovative creation based on synthesis with dynamic, attractive, impressive and constructive intellectual progressions that enrich the existence of traditional art in the current era.Keywords: Confrontation, Composition, Transformation, Gamelan.
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WHALLEY, IAN. "Applications of system dynamics modelling to computer music." Organised Sound 5, no. 3 (December 2000): 149–57. http://dx.doi.org/10.1017/s1355771800005057.
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Based on a composer's psycho-acoustic imagination or response to music, system dynamics modelling and simulation tools can be used as a scoring device to map the structural dynamic shape of interest of computer music compositions. The tools can also be used as a generator of compositional ideas reflecting thematic juxtaposition and emotional flux in musical narratives. These techniques allow the modelling of everyday narratives to provide a structural/metaphorical means of music composition based on archetypes that are shared with wider audiences. The methods are outlined using two examples.
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Graakjær, Nicholai Jørgensgaard. "Nyhedernes musik." MedieKultur: Journal of media and communication research 20, no. 37 (September 5, 2004): 11. http://dx.doi.org/10.7146/mediekultur.v20i37.1258.
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På trods af, at funktionel musik spiller en vigtig rolle i medierne, er musik- kens ’strategiske’ funktioner ikke specielt vel belyst i hverken medieforsk- ningen eller markedsforskningen. Artiklen næranalyserer 23 sekunders underlægningsmusik til TV2 Nyhedernes introduktion en tilfældig aften og belyser i samklang med Jørgen Stigels artikel, hvorledes nyhedernes musik tager karakter af egenreklame: Musikken er ’lytfang’ og auditivt klister – en dynamisk instans, som skaber stemningsmæssig sammen- hæng i nyhedernes forskræp. Musikken må være distinktiv, skabe op- mærksomhed og gøre nyhederne identificerbare både i forhold til de om- givende reklamer på kanalen, andre tv-kanalers nyhedsudsendelser og hverdagslige gøremål i brugssituationen.
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Maciejewski, Marcin, Wojciech Surtel, and Krzysztof Nowak. "ANALYSIS OF ALL-PASS FILTERS APPLICATION TO ELIMINATE NEGATIVE EFFECTS OF LOUDNESS WAR TREND." Informatyka, Automatyka, Pomiary w Gospodarce i Ochronie Środowiska 10, no. 2 (June 30, 2020): 8–11. http://dx.doi.org/10.35784/iapgos.568.
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In this paper the influence of all-pass filters on musical material with applied hypercompression dynamics (loudness war trend) was analyzed. These filters are characterized by shifting phase in selected frequency band of signal, not by change of their amplitude levels. Because a lot of music information is present in music tracks, the dynamic range was tested together with influence of other sound parameters like selectivity or instruments’ arrangement on scene, by running subjective tests on a group of respondents.
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Leman, M. "Music and dynamic systems." Interface 19, no. 1 (January 1990): 1. http://dx.doi.org/10.1080/09298219008570552.
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Hope, Cat. "Electronic Scores for Music: The Possibilities of Animated Notation." Computer Music Journal 41, no. 3 (September 2017): 21–35. http://dx.doi.org/10.1162/comj_a_00427.
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This article argues that animated notations are the most exciting new direction for music notation since the conception of the real-time score. The real-time score revolutionized performance practices in new music, with the composer Gerhard E. Winkler calling it a “third way” between improvisation and fixed scores. Developing upon the idea of dynamic notation epitomized by the real-time score, animated notation features movement as its foundation, and may be presented as an interactive program, video, or application environment generated in real time or preset. It extends the possibilities presented by graphic notations, engaging the processing power of computing toward new complexities of shape, color, movement dynamics, form, synchronicity, and the very performability of music scores. Beginning with a brief historic overview of trends and background that may have informed the development of animated notation, I then examine contemporary practices and their application to a range of music. I will argue that animated notation brings particular benefits for scoring music featuring electronics and aleatoric elements.
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Gable, David. "Boulez's Two Cultures: The Post-War European Synthesis and Tradition." Journal of the American Musicological Society 43, no. 3 (1990): 426–56. http://dx.doi.org/10.2307/831742.
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Pierre Boulez is typical of a post-war generation of European composers known for its apparent repudiation of tradition, although the synthesis of such composers as Boulez, Berio, and Stockhausen can be shown to be firmly rooted in tradition. Tendencies within both Franco-Russian and Austro-German traditions merged in the formation of Boulez's style. This is reflected both in Boulez's first models, Messiaen and Webern, and by his life-long engagement with both Schoenberg's expressionism and the works of Stravinsky's Russian period. Wagner, Mahler, and Schoenberg had developed a continuous dynamic inflection that Stravinsky, by the 1920s, rejected in his neoclassical works. Boulez's generation reintegrated these tendencies within the absolutely smooth continuums to be found in many of their works. In Boulez's mature works, there is a continuous system of smoothly planing dynamics. No longer expressive inflection, these dynamics exhibit the clean objective character of Stravinsky's discrete dynamic planes. This dynamic continuum was crucial in creating the continuous through-composed forms of Boulez and Stockhausen. Boulez's rhythmic structures are ultimately rooted in Stravinsky's motor rhythms and Schoenberg's prose rhythms, an opposition he has exploited in many works. Schoenberg's and Stravinsky's essentially neutral tonal space furnished the background for the post-war European harmonic language in which harmonic tensions are diffused both by spacious effects of register and by the continuously graded dynamics. The floating stasis projected in Boulez's mature works is as much a culmination of certain trends within the French harmonic tradition as a natural development within the history of atonality. With the post-war generation in Europe, the French harmonic tradition enjoyed unprecedented influence.
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Koldau, Linda Maria. "Monotonie und Dynamik." Die Musikforschung 59, no. 4 (September 22, 2021): 328–45. http://dx.doi.org/10.52412/mf.2006.h4.591.
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"Tábor" ist die am schwersten zugängliche symphonische Dichtung in Bedrich Smetanas Zyklus "Má vlast". Dies liegt einerseits am historischen Kontext des Stückes, wird mit den Hussitenkriegen doch eine spezifisch tschechische Geschichtsepisode berührt. Andererseits behandelt Smetana das musikalische Material in einer Weise, die Kompositionstechniken des 20. Jahrhunderts vorwegzunehmen scheint: Der Hussitenchoral wird auf zwei Motivzellen reduziert, die geradezu minimalistisch das gesamte Stück prägen. Daraus entsteht eine eigentümliche Spannung aus Monotonie und Dynamik, die wiederum als musikalischer Reflex der Schlachtenpsychologie wirkt - "Tábor" verweist somit in musikalischer wie auch kriegspsychologischer Hinsicht geradezu prophetisch auf das 20. Jahrhundert.
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Golding, Dan. "Finding Untitled Goose Game’s Dynamic Music in the World of Silent Cinema." Journal of Sound and Music in Games 2, no. 1 (January 1, 2021): 1–16. http://dx.doi.org/10.1525/jsmg.2021.2.1.1.
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There are three unusual things about Untitled Goose Game’s music. First, for an independent video game produced by a small studio, the music is dynamic and reactive to a high degree. The game uses pre-recorded, non-generative musical performances and yet will respond to onscreen events within a buffer of only a few seconds at maximum. Second, the music takes inspiration not from other dynamic music systems in video games but from the varying practices of musical accompaniment for silent cinema and early comedy, aiming to replicate affect rather than process. Finally, the music for Untitled Goose Game takes the unusual step of adapting pre-existing classical music from the public domain—in this case, six of Claude Debussy’s Préludes for solo piano—rather than creating an original score intended from its conception to be dynamic. Accordingly, this article outlines the dynamic music system at work in Untitled Goose Game and the influence drawn on for this system from non–video game approaches to musical accompaniment. The article discusses the varying practices for music for the silent era of cinema, the theoretical frameworks used to conceptualize these many divergent approaches, and how closely we might recognize their legacy at work in Untitled Goose Game’s soundtrack. Ultimately, this article argues that by looking to approaches beyond more familiar debates about dynamic music for video games, Untitled Goose Game helped shortcut familiar problems that confront developers and composers when working with dynamic and reactive music.
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Zheng, Ervine, Gustavo Yukio Kondo, Stephen Zilora, and Qi Yu. "Tag-aware dynamic music recommendation." Expert Systems with Applications 106 (September 2018): 244–51. http://dx.doi.org/10.1016/j.eswa.2018.04.014.
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Velloso, Rodrigo Cicchelli, Frederico Barros, Orlando Scarpa Neto, Cláudio Bezz, and Jorge Ardila. "Theoretical Frameworks in Brazilian Electroacoustic Music." Organised Sound 21, no. 2 (June 30, 2016): 97–105. http://dx.doi.org/10.1017/s1355771816000029.
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This article is the final stage of seven years of research dedicated to understanding the theoretical backgrounds of Brazilian electroacoustic music in which a significant amount of data was gathered from a series of questionnaires and interviews with Brazilian composers. Our research focuses mainly on the influence of what we have called the historical matrices: musique concrète, elektronische musik and computer music. We were able to determine to some extent how much each of these matrices weigh on the poetic and poiesis of the Brazilian electroacoustic production. We were also able to shed some light on how (and if) Brazilian composers relate to these matrices aesthetically and if their relation to them is merely technical, as well as trying to understand how clear cut the borders are between these two aspects of musical creation. The concepts of oppositional culture (Ogbu 1978) and established and outsiders (Elias and Scotson 2000) also helped us understand the dynamics between academia and a certain anti-academic stance seen in some composers of the genre. Using these same concepts, we elaborate, in a final note, on some brief comments about a newer generation of composers who, due to various aspects, were filtered out during the early methodological stages.
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Skadsem, Julie A. "Effect of Conductor Verbalization, Dynamic Markings, Conductor Gesture, and Choir Dynamic Level on Singers' Dynamic Responses." Journal of Research in Music Education 45, no. 4 (December 1997): 509–20. http://dx.doi.org/10.2307/3345419.
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The purpose of this study was to determine the effects of conductor verbalization, dynamic markings, conductor gesture, and choir dynamic level on individual singers' dynamic responses in music. Singers (N = 144) sang along with nine renditions of a tune while watching a videotape of a conductor, listening to a choir through headphones, and referring to the music. Instructions regarding the dynamic level (soft or loud) were given under four conditions: (a) verbal instructions, (b) written instructions, (c) changes in conducting gesture, and (d) volume changes in the choir. Results indicated that verbal instructions from the conductor elicited significantly stronger dynamic performance responses (alpha = .05) than did the other three instructional conditions. Singers responded significantly better on instructions pertaining to soft singing than they did on instructions relating to loud singing. Comparisons were made between conductors, college singers, and high school singers, and eye contact was also examined.
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Witulski, Christopher. "Listening to Discourses of Ethics and Aesthetics." International Journal of Middle East Studies 44, no. 4 (October 12, 2012): 782–84. http://dx.doi.org/10.1017/s0020743812000888.
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Music, as sound, physically and figuratively transcends previously erected or conceptualized boundaries. Artists and listeners each have the ability to aurally extend their values into new spaces, where others hear them. Passions and ideas gain traction through a constant aural negotiation that exists within the music that individuals use to soundtrack their public and private lives. As argued by the contributors to this roundtable, music both resides within the larger societal and cultural constellations that surround it and helps to shape those dynamics in active ways. Music, as a loosely defined social practice, plays an important role in self-identification. Musical aesthetics provide an avenue through which listeners and performers place themselves within specific social groups. Al-āla and Andalusian genres typically associated with North African elite classes constitute one prominent example that is threaded throughout this roundtable. These social groups are rarely exclusive, however, and musical aesthetics provide a significant set of data through which scholars might read (or, perhaps better put, listen to) the dynamic nature of social institutions and the cultural formations that mold them.
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Ho, Wai-chung. "Between globalisation and localisation: a study of Hong Kong popular music." Popular Music 22, no. 2 (May 2003): 143–57. http://dx.doi.org/10.1017/s026114300300309x.
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Popular music in Hong Kong is the production of a multi-faceted dynamic of international and local factors. Although there has been much attention to its growth from different perspectives, there has been no single study that systematically addresses the complicated interplay of the two interrelated processes of globalisation and localisation that lie behind its development. The main aim of this paper is to explore how social circumstances mediate musical communication among Hong Kong popular artists and audiences, and contribute to its growing sense of cultural identity – how locality emerges in the context of a global culture and how global facts take local form. Firstly, I propose a conceptual framework for understanding the cultural dynamics of popular music in terms of the discourse of globalisation and localisation. Secondly, I consider local practices of musical consumption and production. Thirdly, this paper discusses the impact of the global entertainment business on local popular music. I conclude with a summary of the effects of the interaction between globalisation and localisation on Hong Kong popular music.
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Wang, Jin. "Research on the Multimedia Music Courseware Design Based on Internet Resource." Applied Mechanics and Materials 380-384 (August 2013): 2095–98. http://dx.doi.org/10.4028/www.scientific.net/amm.380-384.2095.
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With the advance of computer information science and technology, multimedia courseware has been widely used in the application and development of teaching practice. The multimedia music courseware has good auditory dynamic guide and vividness. It can produce very good teaching effect in the teaching process. Music lessons belong to audio-visual vocal class teaching, the abstract of course makes music teaching need to develop multimedia dynamic courseware. Music lessons belong to audio-visual vocal class teaching, the abstract of course makes music teaching need to develop multimedia dynamic courseware. According to this, the paper studies the design and development of multimedia music courseware which treats the internet resources as a platform. According to the signal theory of digital audio and spectrum and smart composer of musical notation system software, this paper converts the audio to MIDI format. Then, it processes the audio signal of the data through Fourier audio signal processing model and gets the format which is suitable to the play of multimedia music courseware. Finally, this paper establishes the interaction of multimedia music courseware and Internet resources using Dreamweaver Web development software and achieves Internet access of multimedia music courseware which provides a theoretical reference for the design and development of multimedia music courseware.
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Zappatore, Daniele. "Tarantism: The Italian Pizzica from Music Therapy to New Formsof Performance." International Journal of Creative and Arts Studies 4, no. 2 (March 9, 2018): 1–7. http://dx.doi.org/10.24821/ijcas.v4i2.1962.
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Far from being a mere historical reconstruction of the complex and culturally conditioned zymology of tarantism, the aim of this paper is to highlight its dynamic diachronically. Originally came from Italy, tarantism and its dynamics couldn’t be disjoined from its ancient concepts: cults, ritual possession, choral-music exorcism, that can be understood as a music therapy. In ethnomusicology standpoints, the particular significance would join the analysis of its from and its cultural aspect to elaborate the preservation of its choral nature or even its original ritual use in some maintained tarantellas. Through a cultural approach, this paper showed how, in the next period, political and economic development of these processes of capitalization resulting form of commodification focused in the aspects of dance and music. This lead to a decontextualization of the tarantula’s symbol into ideological discourse that transformed into cultural heritage in order to give it the status of capital goods, to be launched in cultural market.
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Zhao, Yi-Kun, Guo-Qing Wang, Xiao-Xiao Zhan, and Peng-Hui Yang. "Quantitative Analysis of Comprehensive Influence of Music Network Based on Logistic Regression and Bidirectional Clustering." Complexity 2021 (May 18, 2021): 1–15. http://dx.doi.org/10.1155/2021/2996750.
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This paper makes a quantitative analysis of the comprehensive influence of music networks. Firstly, 11 music features are selected from energy, popularity, and other aspects to build a comprehensive evaluation index of music influence, and the PageRank algorithm is used to quantify the music influence. Secondly, the multiobjective logistic regression is used to construct the music similarity measurement model and, combined with music influence and music similarity, to judge whether the influence of different musicians is the actual influence. Thirdly, the influence and similarity of the same music genre and different music genres are analyzed by using the two-way cluster analysis method. Finally, the lasso region is used for feature selection to obtain the change factors in the process of music evolution and analyze the dynamic changes in the process of music development. Therefore, this paper uses network science to build a dynamic network to analyze the similarity of music, the evolution process, and the impact of music on culture, which has certain research significance and practical value in the fields of music, history, social science, and practice.
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Schippers, Huib. "Tradition, authenticity and context: the case for a dynamic approach." British Journal of Music Education 23, no. 3 (November 2006): 333–49. http://dx.doi.org/10.1017/s026505170600708x.
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The encounter – and sometimes confrontation – of music with various cultural backgrounds challenges many preconceptions and prejudices on music making and learning. The rise of what is now often called ‘world music’ has not only brought new sound worlds to Western ears, but digs deep into existing systems of belief. In discussing both Western classical and world music, concepts such as tradition, authenticity and context are often used with firm conviction. On closer examination, however, they are applied with ambiguous or even contradictory meaning. A cross-cultural exploration of these concepts reveals that they are not nearly as clear, stable and value-free as they may appear. A more dynamic interpretation of these terms is needed to understand contemporary realities of music making and education at all levels, and to enable teachers to apply these concepts to everyday studio and classroom practices.
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Deruty, Emmanuel, and Damien Tardieu. "About Dynamic Processing in Mainstream Music." Journal of the Audio Engineering Society 62, no. 1/2 (February 3, 2014): 42–55. http://dx.doi.org/10.17743/jaes.2014.0001.
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Barrington, Luke, Antoni B. Chan, and Gert Lanckriet. "Modeling Music as a Dynamic Texture." IEEE Transactions on Audio, Speech, and Language Processing 18, no. 3 (March 2010): 602–12. http://dx.doi.org/10.1109/tasl.2009.2036306.
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Hidayatullah, Panakajaya. "The dynamic phenomena of strékan music from colonial to contemporary era in Situbondo." Harmonia: Journal of Arts Research and Education 17, no. 1 (August 15, 2017): 1. http://dx.doi.org/10.15294/harmonia.v17i1.9398.
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<p class="IsiAbstrakIndo"><span lang="EN-GB">This research is an anthropology of music which discusses the dynamics of <em>strékan </em>music from colonial to contemporary era in Situbondo. In Situbondo, <em>strékan </em>is a term which refers to music for welcoming guests. By ethnography method and postcolonial perspective, this research will discuss social problems and phenomena of <em>strékan </em>music. The result of this research shows that a change of <em>strékan </em>music signifies a change of social condition in Situbondo. In colonial era <em>strékan </em>is assumed by people like music for elite class. The field data show that there is unequal power relation between colonized and colonizer. In pasca-colonial era the hierarchy relation becomes ambivalent. It appears negotiation space between colonial signs and Madurese culture of Situbondo people, considered to be symbolic resistance. <em>Strékan </em>music is reinterpreted as music for low class. In the contemporary era, <em>strékan </em>music tends to market oriented. <em>Strékan </em>music includes <em>dangdut</em> music, following market taste as a consequence of commercialization of art.</span></p>
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Kai, Hong. "Optimization of Music Feature Recognition System for Internet of Things Environment Based on Dynamic Time Regularization Algorithm." Complexity 2021 (May 24, 2021): 1–11. http://dx.doi.org/10.1155/2021/9562579.
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Because of the difficulty of music feature recognition due to the complex and varied music theory knowledge influenced by music specialization, we designed a music feature recognition system based on Internet of Things (IoT) technology. The physical sensing layer of the system places sound sensors at different locations to collect the original music signals and uses a digital signal processor to carry out music signal analysis and processing. The network transmission layer transmits the completed music signals to the music signal database in the application layer of the system. The music feature analysis module of the application layer uses a dynamic time regularization algorithm to obtain the maximum similarity between the test template and the reference. The music feature analysis module of the application layer uses the dynamic time regularization algorithm to obtain the maximum similarity between the test template and the reference template to realize the feature recognition of the music signal and determine the music pattern and music emotion corresponding to the music feature content according to the recognition result. The experimental results show that the system operates stably, can capture high-quality music signals, and can correctly identify music style features and emotion features. The results of this study can meet the needs of composers’ assisted creation and music researchers’ analysis of a large amount of music data, and the results can be further transferred to deep music learning research, human-computer interaction music creation, application-based music creation, and other fields for expansion.
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Hall, Donald E. "Musical Dynamic Levels of Pipe Organ Sounds." Music Perception 10, no. 4 (1993): 417–34. http://dx.doi.org/10.2307/40285581.
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The pipe organ offers the opportunity to conduct psychoacoustic experiments in which the sound of a natural instrument can be perfectly steady and reproducible. This study takes advantage of the pipe organ to concentrate on that aspect of musical dynamics determined by the physical parameters of steady sounds, leaving aside the admittedly important effects of other variables such as context and articulation. Juries of musicians and music students provided judgments of musical dynamic levels produced by steady sounding of various stops and combinations on two pipe organs. The physical strength of each of these sounds was measured, and they were analyzed in $\frac{1}{3}$ octave band spectra. Correlations between the physical parameters and the musical judgments were examined. Results of this study provide some support for the hypothesis that loudness calculated by a procedure such as Zwicker's will be a good predictor of the steady aspect of musical dynamic strength, whereas a simple unweighted sound level in decibels is rather poor.
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Elders, Bernadette, Pierluigi Ciet, Harm Tiddens, Wytse van den Bosch, Piotr Wielopolski, and Bas Pullens. "MRI of the upper airways in children and young adults: the MUSIC study." Thorax 76, no. 1 (October 29, 2020): 44–52. http://dx.doi.org/10.1136/thoraxjnl-2020-214921.
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RationalePaediatric laryngotracheal stenosis (LTS) is often successfully corrected with open airway surgery. However, respiratory and vocal sequelae frequently remain. Clinical care and surgical interventions could be improved with better understanding of these sequelae.ObjectiveThe objective of this cross-sectional study was to develop an upper airway MRI protocol to obtain information on anatomical and functional sequelae post-LTS repair.MethodsForty-eight patients (age 14.4 (range 7.5–30.7) years) and 11 healthy volunteers (15.9 (8.2–28.8) years) were included. Spirometry and static and dynamic upper airway MRI (3.0 T, 30 min protocol) were conducted. Analysis included assessment of postoperative anatomy and airway lumen measurements during static and dynamic (inspiration and phonation) acquisitions.Main resultsGood image quality without artefacts was achieved for static and dynamic images in the majority of MRIs. MRI showed vocal cord thickening in 80.9% of patients and compared with volunteers, a significant decrease in vocal cord lumen area (22.0 (IQR 17.7–30.3) mm2 vs 35.1 (21.2–54.7) mm2, p=0.03) but not cricoid lumen area (62.3±27.0 mm2 vs 66.2±34.8 mm2, p=0.70). Furthermore, 53.2% of patients had an A-frame deformation at site of previous tracheal cannula, showing lumen collapse during inspiration. Dynamic imaging showed incomplete vocal cord abduction during inspiration in 42.6% and incomplete adduction during phonation in 61.7% of patients.ConclusionsStatic and dynamic MRI is an excellent modality to non-invasively image anatomy, tissue characteristics and vocal cord dynamics of the upper airways. MRI-derived knowledge on postsurgical LTS sequelae might be used to improve surgery.
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Doğantan-Dack, Mine. "Tonality: The Shape of Affect." Empirical Musicology Review 8, no. 3-4 (October 24, 2013): 208. http://dx.doi.org/10.18061/emr.v8i3-4.3943.
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The last decade has witnessed an increasing interest in studying music as it relates to human evolution, leading to the establishment of so-called evolutionary musicology<em> </em>as a new field of enquiry. Researchers in this field maintain that music indeed played as crucial a role as the development of language in the evolution of humankind. The most frequently cited musical phenomena in relation to various adaptive functions include rhythm, meter, and melodic contour. In this connection, the universal phenomenon of tonal organisation of pitch in musical systems received no attention. This article provides a hypothesis regarding the evolutionary origins of tonality as a system for the dynamic shaping of affect, and establishes further connections between music and affective states by proposing a link between the emergence of tonality and of the human capacity to regulate inter-subjective dynamics by shaping the course of affect towards stable states. The article also proposes that tonality provides an archetypal psychological space within which the human ability to shape different paths towards stable affective states could evolve.
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Erlani, Lalan, Tati Narawati, and Zaenal Alimin. "Using AAC Media To Improve Dynamics Ability In Music Learning For Autistic Children." International Journal of Pedagogy and Teacher Education 2 (November 7, 2018): 12. http://dx.doi.org/10.20961/ijpte.v2i0.25140.
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This study aims to improve the ability of dynamics musical skills of autistic student using Augmentative and alternative communication (AAC) media. Augmentative and alternative communication (AAC) interventions have been shown to improve both communication and learning skills in children and youth with autism spectrum disorders and other developmental disabilities. There are many strategies educators use to aid a child to communicate. Visual aides have been used successfully in helping children with autism communicate. A picture system called AAC Media allows teachers to make pictures to help students on the spectrum communicate. The method that being used in this study is experimental method with single subject research approach and using the design of A–B pattern. Data collection technique that being used are observation and documentation. And data analysis technique that being used is visual analysis in condition. The results of this research indicate that musical dynamic skills in music subject could be improved by using AAC media. The use of AAC media brings positive impact towards autistic students skills in musical dynamic. Therefore, teachers can apply the using of AAC media on music subject activities in school.
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Schiavio, Andrea. "Action, Enaction, Inter(en)action." Empirical Musicology Review 9, no. 3-4 (January 5, 2015): 254. http://dx.doi.org/10.18061/emr.v9i3-4.4440.
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<p>Leman and Maes offer a comprehensive review of the main theoretical and empirical themes covered by the research on <em>music</em> and <em>embodied cognition</em>. Their article provides an insight into the work being carried at the Institute for Psychoacoustic and Electronic Music (IPEM) of Ghent University, Belgium - in which they work - and presents a theory of the main implications of embodiment for music perception. The present paper is divided into three parts. In the first one, I will explore the conceptual topography of embodied music cognition as maintained by the authors, to see whether the empirical research proposed fits the aims of this standpoint. In the second I will argue that while Leman and Maes are right to move towards a more dynamically implemented stance, the arguments used to justify this shift seem to be inconsistent with the framework they account for. In the third and final part of this commentary I will claim that if the authors wish to dedicate their work to develop a truly embodied, sensorimotor, and dynamic account to music cognition, they would need to abandon some of the assumptions defended in their work, searching for further empirical corroboration in the concrete dynamics of interactive, or <em>participatory</em>, musical sense-making.</p>
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Swartz, Paul. "The Swordsman at the Keyboard." Perceptual and Motor Skills 67, no. 2 (October 1988): 471–77. http://dx.doi.org/10.2466/pms.1988.67.2.471.
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The ability of music to install us in a continuous present is explored. Following Zuckerkandl, the musical whole is conceived as a field of forces, defined by the tensive relations among its constituent tones. Whether performing or only listening, in the true music experience our locus is always between tones, in the passage from one dynamic quality or state of incompleteness to the next. The moment-duration opens to cycle in tandem with the tonal design it embraces, tracking it from dynamic value to dynamic value, tracking “now.” Since waking time-outs from ordinary time may have a holistic healing function, music, as the most powerful medium of these events, may, after all, have survival value.
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Bishop, Laura, Freya Bailes, and Roger T. Dean. "Performing Musical Dynamics." Music Perception 32, no. 1 (September 1, 2014): 51–66. http://dx.doi.org/10.1525/mp.2014.32.1.51.
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Musicians anticipate and monitor the expressive effects of their actions during performance. Previous research suggests that the ability to imagine desired outcomes can partially compensate when auditory feedback is absent, permitting continued performance even though information about whether these outcomes are realized is unavailable. Research also suggests that musical imagery ability improves with increasing musical expertise. This study tested the hypothesis that expert musicians’ superior imagery abilities enable reduced reliance on auditory feedback, relative to novice musicians, during the performance of loudness changes (i.e., dynamics). Musicians reproduced the dynamic changes of sounded scales using a loudness slider as the availability of imagery and auditory feedback was manipulated. Contrary to expectations, only novices showed impairment in performing dynamics during imagery disruption and auditory feedback deprivation. Experts showed limited dependence on both sources of information, suggesting greater flexibility in how musical information is mentally represented, compared to novices, and an improved ability to adapt planning strategies.
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Sholl, Robert, Liszt, Carl Nielsen, and Kevin Bowyer. "Lyric & Dynamic." Musical Times 137, no. 1840 (June 1996): 42. http://dx.doi.org/10.2307/1003796.
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