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Journal articles on the topic 'Extended techniques in music'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Stokes, Jordan Camalt. "Max Steiner and Extended Tonality." Journal of Film Music 9, no. 1-2 (2022): 54–68. http://dx.doi.org/10.1558/jfm.20935.

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Since the revitalization of film music studies in the 1980s, the field has been dominated by musicological approaches, with music theory and analysis taking a back seat. As a result, film music scholars lack a common set of techniques for grappling with the harmony, rhythm, form, and melody of film music cues. But this situation is beginning to change: recent research by Frank Lehman and Scott Murphy offers powerful new tools for thinking about film music harmony. The purpose of this essay is to test the systems developed by these theorists against the music of Max Steiner, hopefully contribut

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Noble, Charissa. "‘Extended’ vocal techniques in the institution: The Extended Vocal Techniques Ensemble at the Center for Musical Experiment at UCSD." Journal of Interdisciplinary Voice Studies 7, no. 2 (2022): 137–62. http://dx.doi.org/10.1386/jivs_00062_1.

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In the decades following the Second World War, novel sound technologies and the proliferation of ethnomusicological field recordings ignited curiosity and experimentation among many musicians; these cultural phenomena also sparked a re-examination of conventional Euro-American musical sound sources. Classically trained instrumentalists and singers – particularly those associated with the ‘experimental tradition’ – cultivated intentionally idiosyncratic musical practices and widened their range of sonic possibility; this cultural zeitgeist included a heightened interest in so-called extended vo

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Greenacre, Luke, Lynne Freeman, Jared Filby, and Taryn Ostrovsky. "My-music my-self." Qualitative Market Research: An International Journal 18, no. 1 (2015): 145–60. http://dx.doi.org/10.1108/qmr-02-2014-0017.

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Purpose – The purpose of this article is to use an extended model of self to understand the consumption of music and similar entertainment products. Design/methodology/approach – In-depth interviews using experts within the music field were used to penetrate the private worlds of musical theatre enthusiasts. Multiple qualitative analytic techniques were used to explore the different aspects of the self underlying music consumption. Findings – Repeated exposure to musical theatre allowed subjects to refine their consumption of specific performances that reflect the preferred aspect of their ext

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Steinberg, Michael. "The Contemporary Violin: Extended Performance Techniques (review)." Notes 59, no. 2 (2002): 352–54. http://dx.doi.org/10.1353/not.2002.0194.

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N., V. S. V. Vijay Kumar, Raja Rajeswari K., and Rajesh Kumar P. "A Novel Extended Cyclic MUSIC algorithm using Wavelet Decomposition Technique." International Journal of Innovative Science and Modern Engineering (IJISME) 6, no. 8 (2020): 24–27. https://doi.org/10.35940/ijisme.E1194.076820.

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The study and analysis of direction of arrival(DOA) estimation has been a very challenging aspect in wireless communication systems, radar and sonar in the presence of a fading channel. Extended cyclic MUSIC subspace based method is reviewed for the DOA when noise is present. An extension of the Cyclic MUSIC algorithm is the Extended mode of the cyclic MUSIC which uses an extended version of the data array vector. Based upon the spectral correlation of the inbound signals these algorithms can estimate the signals’ direction of arrival. The spatially correlated noises, present degrade the

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Ferraz, Silvio, and William Teixeira. "EXTENDED TECHNIQUE AND POLYPHONIC WRITING IN LUCIANO BERIO'S SEQUENZA XIV." Tempo 77, no. 304 (2023): 73–83. http://dx.doi.org/10.1017/s0040298222001152.

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AbstractThis article discusses the use of extended techniques by Luciano Berio (1925–2003), focusing on his Sequenza XIV, for cello, finished in 2002. Our analysis attempts to demonstrate how Berio uses new ways of playing the instrument to create a kind of polyphony. The article references a large number of writings by Berio himself, including sketches, drafts and early manuscripts of Sequenza XIV, including exchanges between the composer and Rohan de Saram, for whom he wrote the piece.

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Bernstein, Tamara. "The Vocal Music of Ana Sokolović: Love Songs for the Twenty-First Century." Circuit 22, no. 3 (2013): 19–35. http://dx.doi.org/10.7202/1014226ar.

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Enchanted by the vocal music of Serbian-born Canadian composer Ana Sokolović, Tamara Bernstein visited the composer at her home in Montreal. Sokolović’s music draws on several sources, including the theatrical world and the culture of the Balkans. The extended vocal techniques in Sokolović’s music are rooted not in the avant-garde music of the twentieth century, but in the oral traditions and poetic voice of Serbia. It seems that the more the composer returns to her cultural roots, the more she embraces the universality of the human soul.

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Zappi, Victor, Andrew Allen, and Sidney Fels. "Extended Playing Techniques on an Augmented Virtual Percussion Instrument." Computer Music Journal 42, no. 2 (2018): 8–21. http://dx.doi.org/10.1162/comj_a_00457.

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Innovation and tradition are two fundamental factors in the design of new digital musical instruments. Although apparently mutually exclusive, novelty does not imply a total disconnection from what we have inherited from hundreds of years of traditional design, and the balance of these two factors often determines the overall quality of an instrument. Inspired by this rationale, in this article we introduce the Hyper Drumhead, a novel augmented virtual instrument whose design is deeply rooted in traditional musical paradigms, yet aimed at the exploration of unprecedented sounds and control. In

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Pàmies-Vilà, Montserrat. "Extended playing techniques as a source of unusual acoustic phenomena to explore with music students." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A194. http://dx.doi.org/10.1121/10.0027275.

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When teaching acoustics, instructors typically consider musical instruments to introduce students to the science of sound. Common examples, such as the flute as an open pipe or the behavior of a string fixed at both ends, are often used to illustrate the acoustics of musical instruments. In addition, when teaching acoustics to advanced musicians, one could take advantage of the precise prior knowledge that students have regarding both conventional and extended playing techniques. When using extended techniques, musicians may incorporate unusual ways of producing sound with their instruments, a

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Holovan, Yevheniia. "Extended piano techniques and their reproduction in Leonid Hrabovsky’s Trio for violin, double bass and piano." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 73, no. 73 (2024): 52–70. https://doi.org/10.34064/khnum1-73.03.

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Statement of the problem. The second half of the 20th century became a period of intense changes in musical language, leading to the emergence of new unique works that went beyond traditional forms. Chamber instrumental music proved especially receptive to these processes due to the flexibility of ensemble composition and the interaction between performers. One of the brightest examples of this direction is the Trio by L. Hrabovsky for violin, double bass, and piano, created between 1964 and 1975. The work features a wide sound range and extended performance techniques, including the use of di

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Pescada, Gonçalo. "Sequenza XIII (Chanson) - The Accordion Transfiguration, from Popular Music to Erudite Recognition." Athens Journal of Humanities & Arts 12, no. 3 (2025): 316–32. https://doi.org/10.30958/ajha.12-3-4.

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Luciano Berio, one of the most prolific composers of the 20th century, contributed with an enormous compositional legacy for several instruments and formations, namely through his famous Sequenze. These works resulted in a set of virtuous compositions for solo instruments, including idiomatic writing and extended techniques, with the aim of exploring the maximum, mechanical and technical capacities of instruments and instrumentalists, in a period of time that extended from 1958 to 2002. Sequenza XIII (Chanson), for Accordion, appeared in 1995 and reflects the evolution of a multitimbric instru

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Sanger, Annette, and James Kippen. "Applied Ethnomusicology: The Use of Balinese Gamelan in Recreational and Educational Music Therapy." British Journal of Music Education 4, no. 1 (1987): 5–16. http://dx.doi.org/10.1017/s0265051700005696.

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As an experiment, a Balinese gamelan was integrated with a summer music course for the physically handicapped. Two ethnomusicologists were invited to demonstrate playing techniques and to teach pieces of gamelan music which were later performed. This article documents the success of the experiment and describes the very considerable potential of the gamelan in general recreational and educational music therapy. More particularly, the essentially non-Western methods of learning and practising adopted on the course encouraged and engendered a broad range of skills in those with little or no prev

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Lynch, Hugh, and Robert Sazdov. "A Perceptual Investigation into Spatialization Techniques Used in Multichannel Electroacoustic Music for Envelopment and Engulfment." Computer Music Journal 41, no. 1 (2017): 13–33. http://dx.doi.org/10.1162/comj_a_00401.

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Composers of electroacoustic music have developed and creatively implemented various spatialization techniques for multichannel loudspeaker setups. What is not known is which of these spatialization techniques is most effective for exploiting the extended creative possibilities available in multidimensional sound. This article discusses an experiment investigating the perception of the spatial attributes of “envelopment” and “engulfment” within a high-density loudspeaker array. The spatialization techniques used in the experiment were timbre spatialization, spectral splitting, amplitude point-

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Augusto de Albuquerque Rossetti, Danilo, William Teixeira da Silva, and Jônatas Augusto Manzolli. "Emergent timbre and extended techniques in live-electronic music: an analysis of desdobramentos do contínuo performed by audio descriptors." Revista Música Hodie 18, no. 1 (2018): 16–30. http://dx.doi.org/10.5216/mh.v18i1.53568.

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   In this article, an analysis of the piece Desdobramentos do contínuo for violoncello and live-electronics is addressed concerning instrumental extended techniques, electroacoustic tape sounds, real-time processing, and their interaction. This is part of a broad research about the computer-aided musical analysis of electroacoustic mu- sic. The objective of the analysis of this piece is to understand the spectral activity of the emergent sound structures, in terms of which events produce huge timbre variations, and to identify timbre subtle nuances that are not percep- tible

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Carey, Christian. "A SENSE OF THE IRREVERSIBLE: AN INTRODUCTION TO THE MUSIC OF ANN CLEARE." Tempo 76, no. 302 (2022): 7–19. http://dx.doi.org/10.1017/s0040298222000304.

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AbstractThis article examines the music of composer Ann Cleare, focusing on representative works that display her use of microtonality, unconventional scoring, multimedia and extended techniques. It also discusses Cleare's connection to Irish language and poetry, environmentalism and visual art. Several chamber pieces are analysed. The article concludes with discussion of large-scale compositions, including the eyam cycle about the 1665 plague village in Derbyshire, England, and the forthcoming Brexit opera The Little Lives.

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Keillor, Elaine. "Perspectives on the Late Piano Music of Oskar Morawetz and John Weinzweig." Articles 33, no. 2 (2015): 35–52. http://dx.doi.org/10.7202/1032694ar.

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Oskar Morawetz and John Weinzweig were colleagues of Carl Morey at the Faculty of Music, University of Toronto. Each composed considerable piano music throughout his compositional career. In this article, the author examines the late piano compositions of Morawetz and Weinzweig, comparing approaches to the instrument, and how those approaches were reflected musically in this group of late compositions. Because Morawetz based his approach on the late Romantic piano compositions with which he was familiar, pianists do not encounter extended techniques in his works. Weinzweig, on the other hand,

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BEAUCHAMP, JAMES, and ANDREW HORNER. "Spectral modelling and timbre hybridisation programs for computer music." Organised Sound 2, no. 3 (1997): 253–58. http://dx.doi.org/10.1017/s135577189800908x.

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Software packages developed for visualising time-varying timbres, finding parameter settings for modelling acoustic instrument tones, and for synthesising timbres are described. The sndan package, written in C for Unix machines, provides spectrum analysis, pitch tracking, spectrum display, parameter modification, and additive synthesis. Other programs that estimate the best possible parameters for recreating acoustic sounds using techniques such as multiple FM and wavetable synthesis and extended nonlinear/filter synthesis are outlined. Hybrid instruments created by fashioning sounds out of th

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Moseley, Brian. "Transformation Chains, Associative Areas, and a Principle of Form for Anton Webern’s Twelve-tone Music." Music Theory Spectrum 41, no. 2 (2019): 218–43. http://dx.doi.org/10.1093/mts/mtz010.

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Abstract Much of Webern’s twelve-tone music relies on conventional formal types to structure extended composition and long-range compositional strategy. This article describes how these forms were absorbed into his personal twelve-tone style through an exploration of three entwined techniques. His techniques of serial row chaining and associative organization create a deep musical hierarchy that is frequently navigated by a formal principle of large-scale complementation. The analyses appearing here are drawn from across Webern’s twelve-tone period and are elucidated through spatial representa

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Bryan, John. "Extended Play: Reflections of Heinrich Isaac's Music in Early Tudor England." Journal of Musicology 28, no. 1 (2011): 118–41. http://dx.doi.org/10.1525/jm.2011.28.1.118.

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The so-called Henry VIII's Book (London, British Library Add. MS 31922) contains two textless pieces by Isaac—his three-part Benedictus and the four-part La my—together with a number of other Franco-Flemish “songs without words” typical of the contents of manuscripts copied for the North Italian courts where the earliest viol consorts were being developed in the 1490s and early 1500s. Alongside these pieces are works by native English composers, including William Cornyshe, whose extended three-part Fa la sol has a number of stylistic traits in common with some works by Isaac (for example, his

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Dyer, Mark. "HELMUT LACHENMANN'S SALUT FÜR CAUDWELL: AN ANALYSIS." Tempo 70, no. 277 (2016): 34–46. http://dx.doi.org/10.1017/s0040298216000176.

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AbstractThis analysis of Helmut Lachenmann's Salut für Caudwell (1977) for guitar duet is intended to add to the small amount of English literature that directly examines Lachenmann's music. A description of Salut's construction is offered, decrypting the extended techniques employed and outlining the work's formal design. The concept of ‘musical ruins’, namely degenerative yet familiar material, is deployed as a means to discuss specific moments of the music, and it will be demonstrated that moments of ‘musical ruin’ are inherently linked to aspects of instrumental technique as well as the mu

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Khuntajan, Jiranuwat. "A Study of Isan Folk Music Creation Using a Sampler for Music Education." Journal of Education and Learning 13, no. 2 (2024): 85. http://dx.doi.org/10.5539/jel.v13n2p85.

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This research represents a creative exploration in the field of music (Practice as Research: PaR) with the objectives of 1) studying the use of a sampler from Isan instruments and instruments from various cultures to create musical compositions using music software, and 2) examining the appropriate contexts for using a sampler in creative musical works. The research findings reveal that 1) Isan folk music possesses unique characteristics in terms of sound quality and performance techniques, while other musical elements can be combined with it in a technologically driven creative process. This

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MacRitchie, Jennifer. "Deciphering and Embodying Contemporary Piano Scores: A Commentary on Huisman, Gingras, Dhondt, and Leman (2017)." Empirical Musicology Review 12, no. 1-2 (2017): 75. http://dx.doi.org/10.18061/emr.v12i1-2.5304.

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Rehearsing a new contemporary notated piano score often requires the performer to dedicate a large amount of time to translating the notation: tasks may include interpreting new symbols, or old symbols in new contexts, learning new extended techniques, and learning the link between symbol and physical gesture. Huisman et al's article details an experiment that studies the use of various types of music editions and their effect on the practice and performance of contemporary piano music scores. This commentary considers the following issues when discussing the interpretation of unfamiliar piano

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Almaden, Antoniette M., Alex P. Ocampo, and Alexander Franco A. Delantar. "Harmonizing Narratives: A Qualitative Exploration of the Life Experiences and Challenges Faced by Music Core Groups in the Cebu Province Music Industry." International Journal of Multidisciplinary: Applied Business and Education Research 5, no. 10 (2024): 3889–904. http://dx.doi.org/10.11594/ijmaber.05.10.07.

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This study examined the intricate life experiences and challenges faced by music core groups within the ever-changing Cebu Province Music Industry. A qualitative multiple-case study technique was employed to harmonize narratives by revealing common experiences and challenges. Furthermore, the research aimed to provide interventions that might assist music core groups in effectively addressing their difficulties. Through cross-case analysis, the study uncovered underlying themes, such as Evolution and Growth, Challenges, Support Systems, and Passion and Personal Fulfillment, that transcended th

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Plsek, Thomas J. "Using the extended techniques on the trombone to demonstrate many of the basic principles of music acoustics." Journal of the Acoustical Society of America 141, no. 5 (2017): 3996. http://dx.doi.org/10.1121/1.4989156.

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O'Brien, Kerry. "JOAN LA BARBARA AND THE NEW WILDERNESS PRESERVATION BAND, 1973–74." Tempo 76, no. 301 (2022): 38–49. http://dx.doi.org/10.1017/s0040298222000043.

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AbstractJoan La Barbara's involvement in the New Wilderness Preservation Band is an often cited but virtually unknown period of her history. And yet it may have been one of the most generative periods of her early career. Drawing upon archival documents, unreleased recordings and interviews, I narrate the history of the band, including La Barbara's early use of extended vocal techniques. I argue that her work in the band reflected a mode of collaborative authorship that is often lost in retellings of her history, and that her emergence in 1974 as a composer reflected a broader tension around a

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Xueying, Wang, and Yap Jin Hin. "A PERFORMER’S INQUIRY INTO EXPRESSIVE QUALITIES IN LUAN KAI’S MY LOVE IS WAITING FOR YOU." Tamumatra : Jurnal Seni Pertunjukan 7, no. 2 (2025): 131–47. https://doi.org/10.29408/tmmt.v7i2.29327.

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Luan Kai's work has notably influenced contemporary Chinese music, contributing to the evolution of this genre within a global framework. His works are extensively performed in China and have achieved notable international recognition. Nevertheless, there is a scarcity of research focusing on the particular vocal techniques utilized, including modal interchange and extended interpretation that integrate Eastern and Western practices. A study is required to examine the execution of ornamental figures and expressive markings authentically, taking into account the integration of traditional Chine

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Palmer, Peter. "Heinz Holliger at Sixty." Tempo, no. 208 (April 1999): 29–32. http://dx.doi.org/10.1017/s0040298200007002.

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When I referred to Heinz Holliger's ‘maximalist’ oeuvre in a recent review, I was unaware that his Swiss colleague Armin Schibler (1920–86) had used the term ‘Maximal Music’ to describe his own stylistic catholicity. On reflection, however, the epithet seems apposite to each of these two uncommonly searching composers. Like Michael Tippett, whom he admired, Schibler was sometimes accused of squandering his talents in a constant quest to enlarge his range. Holliger's music, too, has been deemed wanting in individual personality because of its apparent preoccupation with extended techniques. It

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Masumim, Mohd Adam, and Tazul Izan Tajuddin. "Tazul Tajuddin’s Opera Serikandi Nusantara: The Diminution of Functional Tonality and Its Symbolic Role from an Esthesis Perspective." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 15 (May 30, 2025): 59–72. https://doi.org/10.30819/aemr.15-6.

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Music has become one of the essential communication forms used to evoke symbolic associations of the related extra-musicals, precisely to symbolise a series of events in a story by means of music composition. In the Malaysian context, there is a contemporary opera adaptation of short stories about the legendary Malaysian princesses entitled Opera Serikandi Nusantara, composed by Tazul Tajuddin. The music of this opera reveals a stylistic feature different from that of the existing local folktale-based musicals. It conjures up a sense of departure from the conventions of functional tonality in

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Zalkow, Frank, and Meinard Müller. "Learning Low-Dimensional Embeddings of Audio Shingles for Cross-Version Retrieval of Classical Music." Applied Sciences 10, no. 1 (2019): 19. http://dx.doi.org/10.3390/app10010019.

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Cross-version music retrieval aims at identifying all versions of a given piece of music using a short query audio fragment. One previous approach, which is particularly suited for Western classical music, is based on a nearest neighbor search using short sequences of chroma features, also referred to as audio shingles. From the viewpoint of efficiency, indexing and dimensionality reduction are important aspects. In this paper, we extend previous work by adapting two embedding techniques; one is based on classical principle component analysis, and the other is based on neural networks with tri

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Lill, Kája. "Serial Organization in Krzysztof Penderecki's Threnody to the Victims of Hiroshima." Music Theory and Analysis (MTA) 10, no. 2 (2023): 177–89. http://dx.doi.org/10.11116/mta.10.2.3.

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Krzysztof Penderecki and his renowned Threnody to the Victims of Hiroshima (1960) are typi cally associated with sound mass or sonorism. However, Penderecki's sonoristic approach does not necessarily exclude other post-war compositional techniques—Scott Murphy, Wolfram Schwinger, Nelson Mandrell, and Mariusz Kozak have all identified serial tech niques in Penderecki's music in general or in Threnody specifically. As the locus classicus of sound mass compositions, these studies of serialism in Threnody deconstruct rhetorized polarities of twentieth-century musical aesthetics and composition. Ne

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Blanaru, Monica, Boaz Bloch, Limor Vadas, et al. "The effects of music relaxation and muscle relaxation techniques on sleep quality and emotional measures among individuals with posttraumatic stress disorder." Mental Illness 4, no. 2 (2012): 59–65. http://dx.doi.org/10.4081/mi.2012.e13.

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Posttraumatic stress disorder (PTSD), an anxiety disorder with lifetime prevalence of 7.8%, is characterized by symptoms that develop following exposure to traumatic life events and that cause an immediate experience of intense fear, helplessness or horror. PTSD is marked by recurrent nightmares typified by the recall of intrusive experiences and by extended disturbance throughout sleep. Individuals with PTSD respond poorly to drug treatments for insomnia. The disadvantages of drug treatment for insomnia underline the importance of non-pharmacological alternatives. Thus, the present study had

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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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Nelson, Peter. "The Voice of the Upic: Technology and Virtual Agency." Studia Universitatis Babeş-Bolyai Musica 69, Sp.Issue 2 (2024): 91–102. http://dx.doi.org/10.24193/subbmusica.2024.spiss2.07.

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I have previously situated the UPIC of Iannis Xenakis, a computer music instrument of legendary intransigence, as set apart from the mainstream of electroacoustic technologies, developing its own “voice” as the utterance of “prophetic” traces: ancient, not modern. Here, I will approach the sound of the UPIC from the perspective of Robert Hatten’s recent theory of “virtual agency.” The sounds of the UPIC confound traditional notions of meaning in music as expressive – in a human sense and reconfigure what Brian Kane calls the “audile techniques” of a “community of listeners.” Yet the works made

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Lebon, Daniel-Frédéric. "Musical Speech Analogy in Ernő Dohnányi’s Der Schleier der Pierrette." Studia Musicologica 56, no. 1 (2015): 71–90. http://dx.doi.org/10.1556/6.2015.56.1.3.

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Following a brief survey into the history of the ballet d’action, the article examines the techniques of musique parlante Dohnányi used in his pantomime Der Schleier der Pierrette. The subcategories illustrated with music examples include the direct speech imitation (focusing on the syllabic and rhythmic structure of single words) and the musical analogy of the question-answer complex. The analytical overview is extended to further indirect categories such as the recitative-like structures (built up not merely on speech, but on an already emancipated equivalent, the instrumental recitative) an

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Wilcox, Felicity. "Emergence: Examining Gender in Music through Contemporary Opera." Sound Stage Screen 4, no. 1 (2025): 71–95. https://doi.org/10.54103/sss23971.

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What does it mean to be part of a music industry that, for centuries, has ignored your perspective, undermined your talent and confidence, objectified your body, and systematically erased composers like you from the canon? An acclaimed Australian composer here shares aspects of her current research project on contemporary opera, funded through the Australian Research Council. Incorporating research undertaken with leading practitioners of contemporary opera and data from the author's recent report, Women and Minority Genders in Music (Wilcox and Shannon 2023), this paper interweaves first-sour

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Deng, Weiming, Jianfeng Li, Yawei Tang, and Xiaofei Zhang. "Low-Complexity Joint Angle of Arrival and Time of Arrival Estimation of Multipath Signal in UWB System." Sensors 23, no. 14 (2023): 6363. http://dx.doi.org/10.3390/s23146363.

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In an ultra-wideband (UWB) system, the two-dimensional (2D) multiple signal classification (MUSIC) algorithms based on high-precision 2D spectral peak search can jointly estimate the time of arrival (TOA) and angle of arrival (AOA). However, the computational complexity of 2D-MUSIC is very high, and the corresponding data model is only based on the dual antennas. To solve these problems, a low-complexity algorithm for joint AOA and TOA estimation of the multipath ultra-wideband signal is proposed. Firstly, the dual antenna sensing data model is extended to the antenna array case. Then, based o

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Meihuan, Liu. "THE DEVELOPMENT OF CULTURAL LITERACY AND AESTHETIC THINKING OF MUSIC TEACHERS IN CHINESE UNIVERSITIES." Scientific Journal of Polonia University 56, no. 1 (2023): 148–53. http://dx.doi.org/10.23856/5621.

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This article aims to explore artistic techniques, education cognition and culture experience constitute the main system of music education. Based on numerous teaching practices of college music teachers, the development of culture literacy and aesthetic thinking are of great importance at present. Thus teaching space and application range can be extended while creation and deepening of teaching materials would be increased. This work was the result of a scientific and historical study, before which the goal was to determine the quality of musical training in China. The article shows the impact

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Bussu, Anna, and Marta Mangiarulo. "Playing music together: Exploring the impact of a classical music ensemble on adolescent’s life skills self-perception." PLOS ONE 19, no. 7 (2024): e0306326. http://dx.doi.org/10.1371/journal.pone.0306326.

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This paper explored the effectiveness of ensemble performance on the development of adolescent’s life skills. An explorative qualitative study investigated young musicians’ self-perception about the benefits and challenges of learning and playing music together. A convenience sampling technique was adopted for interviewing 15 adolescents (12–18 years old) who participated in a long-term music education programme led by a charity in the North-West of England. The data were analysed using NVivo, employing a thematic analysis approach. Two main themes emerged from the analyses: (1) the main benef

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Pham, M. Nhat, and Arne F. Jacob. "High-performance MIMO imaging radar with hybrid transmit and receive arrays." International Journal of Microwave and Wireless Technologies 8, no. 4-5 (2016): 807–13. http://dx.doi.org/10.1017/s1759078716000386.

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In this study, a sparse multiple-input multiple-output radar system with difference co-array processing is presented. It consists of two non-uniform transmitter arrays in split configuration and a symmetrical hybrid receiver array. A combination of a periodically thinned array and two non-uniform sub-arrays is used to construct the receiver structure. A low-cost three-step optimization procedure is proposed to synthesize the array arrangement with system constraints. In addition, a combination of fast Fourier transform (FFT) and MUltiple SIgnal Classification (MUSIC) techniques is applied for

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Xu, Jing, Yanan Zhang, Jindong Zhang, and Jiarui Chen. "Range Sidelobe Iterative Suppression Algorithm for Extended Target with Non-Grid Multiple Scattering Points." Remote Sensing 15, no. 19 (2023): 4811. http://dx.doi.org/10.3390/rs15194811.

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This paper concentrates on extended targets to suppress high sidelobes in non-grid multiple scattering points. Notice that the problem essentially resolves the high sidelobes of the non-grid multiple scatterers after locating positions; we proposed a novel iterative algorithm based on an adaptive pulse compression algorithm on the basis of an off-grid position estimation. First, the grid offsets of the multiple scattering points through decoherence and super-resolution techniques are estimated by employing an enhanced MUSIC algorithm. Then, an optimization model is constructed for the non-grid

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Brook, Taylor. "ORCHESTRATION AND PITCH PRECISION IN THE ORCHESTRAL MUSIC OF MARC SABAT." Tempo 75, no. 295 (2020): 17–30. http://dx.doi.org/10.1017/s0040298220000650.

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AbstractThis article examines the relationship between orchestration and microtonality in the music of Marc Sabat through a score-based analysis of two recent works, Asking Ocean (2016), for string quartet and large ensemble, and The Luminiferous Aether (2018), for large orchestra. Excerpts from these two compositions are discussed to highlight the challenges of composing for orchestral forces in a musical style that demands a high degree of microtonal pitch precision. Through retuning, alteration, and a sensitivity to the construction, techniques and performance practices of orchestral instru

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Syahbandi, Heri. "ANALISIS POLA TABUHAN BERUAS PADA MUSIK IRINGAN TARI JEPIN TALI BINTANG DI DESA KALIMAS KECAMATAN SUNGAI KAKAP KABUPATEN KUBU RAYA." TACET Jurnal Pendidikan dan Kajian Seni 3, no. 2 (2024): 65–73. https://doi.org/10.26418/tacet.v3i2.86569.

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Background of this research is that there are no Beruas musical instruments as accompaniment to Jepin Tali Bintang Dance music, especially in Kalimas Village, Sungai Kakap District, Kubu Raya Regency. This has become an issue and concern of the supporting community for traditional arts because it can experience extinction if it is not maintained and preserved. Through the analysis of Beruas drumming patterns in Jepin Tali Bintang dance accompaniment music, this research aims to describe the variety of drumming patterns in the form of transcripts so that it can be a means for Beruas players and

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Agustin, Ismar, Prahardian Putri, Muliyadi Muliyadi, Lukman Lukman, Azwaldi Azwaldi, and Dhea Lyra Firnanda. "Implementasi Keperawatan Terapi Musik Pada Pasien Hemodialisa Dengan Masalah Keperawatan Ansietas." JKM : Jurnal Keperawatan Merdeka 4, no. 2 (2024): 125–31. https://doi.org/10.36086/jkm.v4i2.2576.

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Background : Hemodialysis is one of the therapies for patients with kidney failure to remove metabolic waste and excess body fluid by circulating blood into a device that consists of two compartments: blood and a dialyzer, to eliminate the metabolic waste and excess fluid. The repetitive hemodialysis process over an extended period can cause anxiety in patients. Method: This study utilizes a descriptive research design with a case study approach involving the nursing process. The case study subjects are two patients with kidney failure undergoing hemodialysis who are experiencing anxiety. Musi

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Swara, Lintang Pramudia. "Navigating the Aesthetics Landscape of Chopin's Largo From Sonata for Cello and Piano Op. 65." Tonika: Jurnal Penelitian dan Pengkajian Seni 7, no. 2 (2025): 142–55. https://doi.org/10.37368/tonika.v7i2.789.

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The realm of musical aesthetics offers an endless source of exploration and interpretation. Within the Romantic era, Frédéric Chopin stands as a towering figure, renowned for his piano masterpieces. Yet, his genius extended beyond the piano, as he also crafted exquisite works for cello and piano. This article delves into the aesthetic landscape of Chopin's Cello Sonata, Op. 65, specifically focusing on the Largo movement. Employing a qualitative approach, the study examines the musical score, engages in historical and literary analysis, and observes live performances. This multifaceted approac

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Féron, François‐Xavier. "Categorising Instrumental Playing Techniques in Terms of Gestures: the Case of Pression for One Cellist by Helmut Lachenmann." Music Analysis 43, no. 3 (2024): 422–58. https://doi.org/10.1111/musa.12239.

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ABSTRACTPression (1969–70; rev. 2010) for one cellist, by Helmut Lachenmann, features a wide variety of extended playing techniques. The goal of the composer was to develop his concept of musique concrète instrumentale based on the organisation of complex sound structures and to highlight the energy hidden behind sound production. The score, which is essentially prescriptive, indicates via detailed schemes and textual information the actions to be performed by the musician. The physical instrument itself is meticulously scrutinised by the cellist, who plays sometimes with the bow, sometimes di

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Son, Min Hye, Eun Hye Lee, and Sun Do Chung. "Musical Division and Juxtaposition in Sondheim’s Musical Sunday in the Park with George." Institute of Art & Design Research 27, no. 1 (2024): 209–18. http://dx.doi.org/10.59386/jadr.2024.27.1.209.

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The musical Sunday in the Park with George (1984) is based on the pointillist painting A Sunday Afternoon on the Island of La Grande Jatte and portrays the life and art of the painter Georges Seurat. Composer Stephen Sondheim adapted the concept of ‘dots' from the painting into the elements of the musical, including stage design, drama, and music, creating a new form of musical distinct from traditional ones. This study analyzes how the techniques of division and juxtaposition in Sunday in the Park with George enable new artistic expressions through the fusion of music and painting. Focusing o

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LIVINGSTON, HUGH. "Paradigms for the new string instrument: digital and materials technology." Organised Sound 5, no. 3 (2000): 135–47. http://dx.doi.org/10.1017/s1355771800005045.

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The applications of technology in instrument design contribute to the resulting sound on many levels, particularly in the context of new evolutions representing the traditional instruments of our culture. Materials technology is seldom given consideration in the description of Western string instruments, but our choices of woods, metals and synthetics can dramatically alter the sound without altering the substance of instrumental performance. In the design of modified string instruments which mimic features of natural acoustic predecessors, new technology is applied on many levels. A taxonomy

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Weber-Lucks (TU Berlin), Theda. "Electroacoustic voices in vocal performance art - a gender issue?" Organised Sound 8, no. 1 (2003): 61–69. http://dx.doi.org/10.1017/s1355771803001079.

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In my dissertation Gender Perspectives in Vocal Performance Art, I examine the history and aesthetics of the genre. The core of my work is a vocal database that focuses especially on the extended vocal techniques of the natural voice. In this article, I concentrate on the electronic aspect of vocal performance art. While I provide a brief historical overview of the developments of vocal performance art and its technological developments from the 1970s to the 1990s, the central question of this article is whether gender patterns exist when these practices are combined with electronic sound tech

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Noone, Matthew James. "Electroacoustic Improvisation and the Metaphysical Imaginary." Organised Sound 27, no. 2 (2022): 172–81. http://dx.doi.org/10.1017/s135577182100056x.

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In a previous edition of Organised Sound, I discussed the potential for using the North Indian sarode in electroacoustic music. In that article, I explored how electroacoustic music artists manage to integrate multiple cultural frameworks, while also acknowledging the importance of personal artistic agency. The primary question that emerged from that research is extended in this article: how does an electroacoustic performer of a non-Western instrument improvise outside the idiom of their tradition? In order to address this question, I draw on Tomlinson’s concept of the metaphysical imaginary.

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SHUIB, NUR SYAFIQAH, MD JAIS ISMAIL, and TAZUL IZAN TAJUDDIN. "GAMELBATI: HYBRID ELEMENTS IN CONTEMPORARY WORK." Quantum Journal of Social Sciences and Humanities 3, no. 6 (2022): 132–52. http://dx.doi.org/10.55197/qjssh.v3i6.168.

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This paper is focusing on a work called Gamelbati–Mediasi Ukiran III for gamelan and chamber orchestra by Tazul Tajuddin, one of the Malaysian leading composer and pioneer in Malaysian art-music, combining local Malaysian elements and Western contemporary classical ideals. His work is one of the examples of hybridity in contemporary music in Malaysia. The analysis of the work is concentrating on the introduction, the first and second sections only out of seven sections within the analytical framework of tempo, instrumentation, time signatures, textures, pulses, center (internal drone), ornamen

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