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Darussalam, Najwa Leonita, and Joko Wiyoso. "Creating Process of Composition Of The “Kulino” Musical Drama At Theater Aura Indonesia." Jurnal Seni Musik 10, no. 2 (December 31, 2021): 150–59. http://dx.doi.org/10.15294/jsm.v10i2.45925.
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Music for the Aura Theater is not only a supporter of the presentation of the show, but also as a medium for conveying the core story in a performance that is packaged in the form of songs and becomes part of the storyline. This makes researchers interested in the process of creating songs in their musical dramas. This study aims to identify and describe the process of creating compositions for musical drama songs in Kulino scripts at the Aura Indonesia Theater performance. This study uses a qualitative descriptive method that produces descriptive data. The research location is in the center of theatrical activities of Theater Aura Indonesia with data sources from the chairman as well as the director of Kulino performances and composers. Data were collected by using observation, interview, and documentation techniques. The data analysis technique used in this study is an interactive model whose elements include data reduction, data presentation, and conclusions. The results showed that in the process of creating the composition of the Kulino musical drama song through stages (1) script review, namely the activities of appreciating, reviewing, discussing, or reviewing all the elements contained in the script to be worked on (2) observation, namely the stages carried out by the composer. to get musical inspiration which is then illustrated in the form of rough notes (3) pouring, namely pouring rough notes from observations into the form of musical compositions (4) embodiment, namely redeveloping the finished song by adding other musical instruments, namely keyboard, guitar melody, violin, cello, drum, bass, flute, and saxophone (5) presentation, in which the composer presents the finished song to the director and assistant director.
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Barber, Sarah B., and Mireya Olvera Sánchez. "A DIVINE WIND: THE ARTS OF DEATH AND MUSIC IN TERMINAL FORMATIVE OAXACA." Ancient Mesoamerica 23, no. 1 (2012): 9–24. http://dx.doi.org/10.1017/s0956536112000016.
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AbstractThis paper examines the social context of music and musical instruments in pre-Columbian Mesoamerica through the detailed analysis of a late Terminal Formative period (a.d.100–250) burial from the site of Yugüe in the lower Río Verde Valley of Oaxaca. The burial contained a sub-adult male interred with an incised bone flute and a plaster-backed iron-ore mirror. The Yugüe flute is the earliest reported bone flute from Mesoamerica and is incised and carved to create the bas relief image of a skeletal male figure. Based on the instrument's archaeological context and elaborate incising, we argue that the flute was categorized in pre-Columbian ontology as an animate object that actively participated in ceremonial action at Yugüe. While the nature of such ceremony remains unclear, the incising on the flute indicates that the instrument was capable of making manifest ancestral and divine forces affiliated with rain, wind, and agricultural fertility.
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Önal, M. Ayça. "A Research on the Content of the Flute Education Course Carried out in Faculty of Education Music Teacher Education Departments and Faculty of Fine Arts Music Departments in Turkey." International Education Studies 15, no. 5 (September 22, 2022): 59. http://dx.doi.org/10.5539/ies.v15n5p59.
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One of the most important areas of music education is instrument education. Vocational music education, which is within the scope of music education in Turkey, is carried out in Education Faculties, Fine Arts Faculties, and State Conservatories in order to provide individuals with music as a profession. In these institutions, flute education is also included within the scope of “Individual Instrument” courses, where many instruments are available. In the research, the opinions of the lecturers working in different institutions were taken regarding the content of the flute education courses conducted in the Department of Music Education of Fine Arts Education Department and the Music Department of the Faculty of Fine Arts in Turkey. The research is important in order to show whether the students studying flute have achieved the goals of the flute education program, which they must earn in the four-year period, and that the students’ success in this regard can be increased. In this context, interview questions developed by the researcher and receiving expert opinions were applied to the study group, and the data obtained were tabulated and presented using the content analysis method, one of the qualitative research methods.
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Kusz, Veronika. "“Pure music”? Dohnányi's Passacaglia for Solo Flute." Studia Musicologica 48, no. 1-2 (March 1, 2007): 79–99. http://dx.doi.org/10.1556/smus.48.2007.1-2.5.
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Abstract After his emigration from Hungary and a longer stay in Austria and Argentina, Dohnányi settled down in Tallahassee (USA) in 1949 and lived there until his death in 1960. Besides his professorship at the Florida State University (FSU) and his continuous concert-tours in the whole country, he was also very active as a composer in this decade. The ultimate composition of this period and his life is the Passacaglia for Solo Flute (op. 48. no. 2) which is a quite unusual piece of the composer, not only because of the choice of instrument, unprecedented in the œuvre, and its theme, partly dodecaphonic, but because of its significant source-material to be found in the Kilényi-Dohnányi Collection of the FSU. This paper attempts to study this last, odd piece of Dohnányi exhaustively through the investigation of its musical and non-musical sources in parallel with its analysis.
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Wei, Zhou. "Analysis on the Charm of Music Appreciation." Music Report 2, no. 3 (2020): 73–77. http://dx.doi.org/10.35534/mur.0203012c.
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Buel, Dona L., and Samuel C. Welch. "Improving Music Appreciation Class Using Cohort Analysis." General Music Today 13, no. 3 (April 2000): 13–15. http://dx.doi.org/10.1177/104837130001300304.
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Cinalli, Angela. "Some Additional Notes on the Ancient Side Flute." Greek and Roman Musical Studies 10, no. 1 (March 7, 2022): 78–98. http://dx.doi.org/10.1163/22129758-bja10035.
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Abstract Literary, archaeological, and iconographic testimonies attest to the side flute as an instrument that, from the 4th century BC to the 3rd century AD, played its part in the Greco-Roman musical landscape. Building on the conclusions of recent studies, this contribution aims to add to the discourse some further elements regarding both the panorama that the sources allow us to draw and the structural and acoustic features of the ancient side flute. A detailed analysis of the sources sheds light on more than a name, more than one typology, more than a performative context, for an instrument whose life extended far from the bucolic cliché. Plus, the side-blown reedless headjoint is a distinctive feature of the ancient side flute, documenting an experimental journey through acoustic effectiveness that sees eye to eye with the solutions adopted by modern craftsmanship to enhance sonority and focus.
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Gontovaya, Larisa, and Svetlana Kolimbet. "Minimalism and monotimbre flute ensemble in the creativeness of G. Beeftink (on the example of the composition „Birds”)." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 114–24. http://dx.doi.org/10.33287/222039.
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The purpose of the study includes coverage of the interdependence of the technique of minimalism and the timbre of the ensemble on the example of the work of Herman Beftink, a namely the composition „Birds” for flute, flute-piccolo and alto-flute. In accordance with the purpose, the task of the study is to consider the formation of minimalism in music and its features of development, the role of software and the function of timbres in relation to the tasks in minimalism. A study of the work of modern American composer G. Beftink and the role of the flute and flute ensembles in his art. Research methods used in the writing of the article: empirical methods (description, comparison, generalization), theoretical knowledge (from abstract to concrete), analysis of musical work, observation, analogy, systematic approach. Scientific novelty. For the first time in Ukrainian musicology the composer Herman Beеftinkʼs work and his flute music were explored. Consideration of the interaction of timbres, namely the flute and its varieties, with the tasks of minimalism. Conclusions. The minimum semantic volume, the absence of any claims to its versatility in minimalism is paradoxical: the listener is immersed in the contemplation of sound ornaments and discovers their infinity and symbolism. Sound patterns can be compared with well-known in musical history sound formulas, which were associated with other styles and tasks. In this case, it’s a kind of natural symbols, referring to the endless stay in nature. The interconnection of compositional technique and monotimbre composition is a consequence of influence of the aesthetics of the soundtrack in Beeftinkʼs works and the association with the eastern identity of music and treatment of which are relieving person from fear of everything material.
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Taylor, Donald M. "Support Structures Contributing to Instrument Choice and Achievement among Texas All-State Male Flutists." Bulletin of the Council for Research in Music Education, no. 179 (January 1, 2009): 45–60. http://dx.doi.org/10.2307/40319329.
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Abstract The purpose of this study was to examine social support structures that may contribute to instrument choice and achievement among successful high school male flutists. Participants included 18 males who earned a flute or piccolo position in a Texas All-State Band or Orchestra between 2003 and 2007. Each flutist participated in a semi-structured telephone interview that was recorded and transcribed for further analysis. Answers were coded to identify common experiences among the participants. Results demonstrated that most boys started playing the flute in conjunction with beginning band classes. Across all individuals interviewed, reasons frequently cited for choosing the flute included instrument timbre, physical appearance of the instrument y and social influences of friends who played the flute. Seventeen participants had studied with a private teacher, and most began instruction within 2 years of playing. The majority of flutists had multiple teachers throughout their years of study and participated in summer music camps. While most interviewees’ parents were not actively engaged in music making, the majority of flutists cited them as their strongest means of support. Conversely, almost every participant reported initial teasing from classmates which dissipated when they began winning competitions. While most reported knowing few other male flutists, nearly all cited professional male flutists as their favorite recording artists, including fames Galway, Jean-Pierre Rampal, and EmmanuelPahud. Almost all participants described the All-State experience as their greatest musical achievement in high school, which helped inform their future career choices.
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Arifa Hidayamastifa, Rini, and Jagar Lumbantoruan. "PEMBELAJARAN ETUDE FIFTY LITTLE FLUTE STUDIES OP25 PADA MAHASISWA INSTRUMEN FLUTE PRODI PENDIDIKAN MUSIK FBS UNP." Jurnal Sendratasik 9, no. 3 (September 1, 2020): 22. http://dx.doi.org/10.24036/jsu.v9i1.109380.
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Abstract The purpose of this study is to find out how the learning process of Etude Fifty Little Flute Studies is conducted in the flute instrument Major I course in the Music Education Study Program at FBS UniversitasNegeri Padang. This research is a descriptive analysis research by utilizing qualitative data. The implementation of Etude Fifty Little Flute Studies learning in flute instrument major I involved students of 2019 class who just took major I course which was played in 3 repertoires.The study examined the learning process of Etude Fifty Little Flute Studies Op 25 and Op 26 by looking for processes, learning experiences, and learning evaluations.Based on the results of learning conducted, Etude Fifty Little Flute Studies is very influential in the learning process.It is due to the fact that flute instrument major I studentsare still categorized as beginners and are new to the flute instruments and theoretical abilities such as using suspension, legato and staccato techniques.This is proven by students who carry out the process well and practice through the material given. Thus, these students get grades according to their processes.The relation between what is explained by the lecturer and the students theoretically and practically can be done well even though it is not that optimal because there is no direct control through face to face meeting.Keywords: Learning, Etude Fifty Little Flute Studies, Flute Instruments
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Lv, Hua. "Analysis of the Basic Characteristics and Teaching Environment and Mode of Music Appreciation Course Based on Core Literacy." Journal of Environmental and Public Health 2022 (July 31, 2022): 1–10. http://dx.doi.org/10.1155/2022/7709053.
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The main goals of a music appreciation course are to develop college students’ emotions, improve their musical abilities, and strengthen their conceptual framework. This essay primarily introduces the fundamental elements and instructional approach of a music appreciation course built on core literacy. In order to clarify the need for and orientation of basic literacy in college music appreciation teaching, as well as to understand the special value of the subject, we conducted research on the relationship between basic literacy and college music appreciation teaching. Based on this, a new detection algorithm that fuses feature fusion and AM (attention mechanism) is proposed, and visual AM is added to the algorithm based on AM features to help the agent learn the best course of action quickly. The findings indicate that this method’s cumulative normalized discount gain increases by about 0.07 and that the recommended list’s overall quality has significantly improved. The hit ranking is decreased by about 0.05 when compared to the collaborative neural network filtering method without AM.
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Said, Arini Nur, and Helena Evelin Limbong. "Teknik Permainan Beatbox Flute Dalam Box Karya Christopher Kuhns." Resital: Jurnal Seni Pertunjukan 22, no. 2 (December 22, 2021): 89–99. http://dx.doi.org/10.24821/resital.v22i2.5137.
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The composition of solo flute created by Christopher Kuhns entitled ‘BOX’ is interesting because it uses beatbox tecnique in playing the flute. beatbox technique in flute is not a new technique for flute, Greg Pattillo is one of the flutist has introduced this technique in 2009. This research aims to describe the beatbox flute technique used in Box coposition and how to produce beatbox technique through articulation and tonguing in flute. The method used by researcher is a qualitative descriptive research methode with a analysis approach. The data obtained though literature studies, music score of Box, collecting audio-visual documentation in the form of performing Box composition through the internet and interview with Christopher Kuhns, Greg Pattillo, and Willem Carolus Cristopherson Tamnge. The result of this research show that the flute not only can produce melodic sounds, but also can produce percussive sounds with many sound colors. Beatbox technique was imitating percussion sound such as; bass drum, hi-hat, and snare. In Box Composition, there are seven beatbox articulation techniques, such as classic kick, closed k hi-hat, closed t hi-hat, meshed snare, open t hi-hat, shaker, and classic inward snare. The flute articulation techniques are accent, legato, staccato, and slur, also tonguing techniques used in Box composition are single tonguing and double tonguing. The application of articulation and tonguing influence each other in beatbox flute palying to produce clear melody and rhythm.
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Rout, Pragyan P., Rageshree Swain, and Sanhita Padhi. "Effect of Synchronized Sound Waves in the form of Indian Classical Ragaas on Phytohormonal Analysis of Medicinal Plant Species." Scholars Academic Journal of Biosciences 10, no. 3 (March 9, 2022): 26–32. http://dx.doi.org/10.36347/sajb.2022.v10i03.001.
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Music, based on the synchronized sound waves has a tremendous impact on the living beings. Different frequencies of synchronized sound are now-a-days used in therapy (being popularly called as music therapy). However, the impact of music on physical and physiological processes of the living beings has been acknowledged since ages. Rhythmic and comforting music has an influence on behavior of all living organisms such as humans, plants and animals. According to various studies, Indian Classical music has been confirmed to encourage plant growth positively and it is observed to dominate the other important genres of music such as metal-rock, rock, rap, pop, and monotonous sounds. The present research work was aimed at finding the exclusive impact and effect of the synchronized sound waves and their frequencies in different strings and closed-pipe Indian classical instrumental music displayed through various Ragaas, viz: Raga Kedar (flute), Raga Kedar (santoor), Raga-Rageshree (sitar), Raga-Bhairavi (flute), Raga- Shree (Sarangi), Raga- Milan ki Todi (Sarod), Raga- Ramkali (Sitar) on phytohormonal analysis in Insulin (Chamaecostus cuspidatus) and stevia (Stevia rebaudiana). Enhanced phytohormonal levels were observed in the plant species treated with different Indian classical Ragaas. In both Chamaecostus cuspidatus and Stevia rebaudiana the total concentration of GA3 was found to be 37.33mg/ml and 96.77mg/ml in treated plants respectively. Similarly in Chamaecostus cuspidatus and Stevia rebaudiana the concentration of IAA at 222nm was found to be 2.33 and 7.71mg/ml and at 280nm was found to be 8.45mg/ml and 41.90mg/ml in treated plants respectively.
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Sinshaw, Girmaw Ashebir. "The analysis of Ethiopian traditional music instrument through indigenous knowledge (kirar, masinko, begena, kebero and washint/flute)." International Journal of Scientific Research and Management 8, no. 01 (January 2, 2020): 591–96. http://dx.doi.org/10.18535/ijsrm/v8i01.sh02.
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Abstract: This article aims to explore and analytics about Ethiopian traditional music instrument through indigenous knowledge (kirar, masinko, Begena, kebero and washint/flute). The researcher would have observation and referring the difference documentations. Kirar, and masinko are mostly have purposeful for local music including washint, the others which is Kebero, Begena have use full in the majority time for church purpose. Ethiopia has extended culture, art and indigenous knowledge related to original own music. Their studies have qualitative research design that has descriptive methodology to more exploring the traditional music’s free statement descriptions. Its researcher mainly has providing the descriptive information about the Ethiopian traditional music instrument as analytical finding out.
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Boldurescu, Yulia V. "Creative Flute Playing in Work with Beginners." ICONI, no. 1 (2020): 76–87. http://dx.doi.org/10.33779/2658-4824.2020.1.076-087.
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The article is addressed to faculty members of departments of wind and percussion instruments in children’s music schools and children’s schools for the arts for collaborative work with beginners in elementary fl ute classes. The article proceeds to describe and formulate questions and playing assignments with utilization of the repertoire of folk melodies for bringing out the instructor’s and pupil’s artistic approaches in working with original musical texts and cognizing its content-related side on the early stages of studies in children’s music schools and children’s schools for the arts. The term “playing assignments” presume role playing in the dialogues of two fl utes or fl ute and piano with a revision and transformation of the primary musical text (the arrangement). Due to the technique of semantic analysis, the instructor may demonstrate to children the secrets of arrangements; they will understand how to make use of various means of transformation of the musical texts, as well as the semantic fi gures involved, acquaint themselves with the peculiarities of construction of folk song melodies and learn to disclose the boundaries of musical retorts in musical dialogues.
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Zhang, Lei. "Analysis of Guzheng Music Style Transformation Based on Generative Adversarial Networks." Mobile Information Systems 2022 (September 22, 2022): 1–9. http://dx.doi.org/10.1155/2022/4950231.
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With the emergence of more and more new music styles, Guzheng, a traditional national musical instrument that has been handed down for thousands of years, also faces new challenges. However, with the development of the times and aesthetics, composers have created various modern Guzheng music, thus injecting new vitality into the development of Guzheng. In order to study the mutual conversion between Guzheng music and other music, this paper proposes a Guzheng music conversion model based on Star generative adversarial networks (GAN), which can convert any length of music and realize the music conversion between various styles. Based on the idea of star GAN, this model uses Mel spectrum of music and random target style tags to train a general generator to generate a specified music style. It is found that the model proposed in this paper has better conversion effect between similar styles of music; that is, when Guzheng music is converted into pop and flute, the effect is the best, the average accuracy is 89.62% and 90.32%, respectively, and the cosine similarity is also 15.8 and 20.5.
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Cho, Sung-gi, and YeoJin Hwang. "Status Analysis of Music Appreciation Education in the Secondary School." Korean Society of Music Education Technology 33 (October 16, 2017): 135–53. http://dx.doi.org/10.30832/jmes.2017.33.135.
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Jorgensen, Estelle R. "Percy Scholes on Music Appreciation: Another View." British Journal of Music Education 4, no. 2 (July 1987): 139–56. http://dx.doi.org/10.1017/s0265051700005908.
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Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.
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Zhang, Juzhong, Xinghua Xiao, and Yun Kuen Lee. "The early development of music. Analysis of the Jiahu bone flutes." Antiquity 78, no. 302 (December 2004): 769–78. http://dx.doi.org/10.1017/s0003598x00113432.
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The authors present the musical properties of well-preserved bone flutes recently recovered from Jiahu, an early Neolithic site in central China with a sequence beginning in the seventh millennium BC (Antiquity 77: 31–44). Tonal analyses of five of the flutes indicate a gradual development from four-tone to seven-tone scale. By adding more holes to the pipe, structuring the pitch intervals closer to each other, and by alternating the keynote, the prehistoric musicians could play increasingly expressive and varied music. In addition, the flutes became progressively standardised in pitch, presumably so they could play in harmony. The study shows that the Jiahu flute makers and their musicians became progressively familiar with acoustics and developed a cognitive scheme of music comparable to that of modern times.
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Li, Yi. "Digital Development for Music Appreciation of Information Resources Using Big Data Environment." Mobile Information Systems 2022 (September 10, 2022): 1–12. http://dx.doi.org/10.1155/2022/7873636.
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With the continuous development of information technology and the arrival of the era of big data, music appreciation has also entered the digital development. Big data essence is highlighted by comparison with traditional data management and processing technologies. Under different requirements, the required time processing range is different. Music appreciation is an essential and important part of music lessons, which can enrich people’s emotional experience, improve aesthetic ability, and cultivate noble sentiments. Data processing of music information resources will greatly facilitate the management, dissemination, and big data analysis and processing of music resources and improve the ability of music lovers to appreciate music. This paper aims to study the digital development of music in the environment of big data, making music appreciation more convenient and intelligent. This paper proposes an intelligent music recognition and appreciation model based on deep neural network (DNN) model. The use of DNN allows this study to have significant improvement over the traditional algorithm. This paper proposes an intelligent music recognition and appreciation model based on the DNN model and improves the traditional algorithm. The improved method in this paper refers to the Dropout method on the traditional DNN model. The DNN is trained on the database and tested on the data. The results show that, in the same database, the traditional DNN model is 114 and the RNN model is 120. The PPL of the improved DNN model in this paper is 98, i.e., the lowest value. The convergence speed is faster, which indicates that the model has stronger music recognition ability and it is more conducive to the digital development of music appreciation.
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URHAL, Necla, and Ümit Kubilay CAN. "ANALYSIS OF CELLO, PIANO, VIOLIN, VIOLA AND FLUTE SHEET MUSIC BOOKS PUBLISHED IN TURKEY." Online Journal of Music Sciences 3, no. 1 (July 15, 2018): 56–89. http://dx.doi.org/10.31811/ojomus.436905.
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Meehan, Sarah, Elizabeth A. Hough, Gemma Crundwell, Rachel Knappett, Mark Smith, and David M. Baguley. "The Impact of Single-Sided Deafness upon Music Appreciation." Journal of the American Academy of Audiology 28, no. 05 (May 2017): 444–62. http://dx.doi.org/10.3766/jaaa.16063.
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Background: Many of the world’s population have hearing loss in one ear; current statistics indicate that up to 10% of the population may be affected. Although the detrimental impact of bilateral hearing loss, hearing aids, and cochlear implants upon music appreciation is well recognized, studies on the influence of single-sided deafness (SSD) are sparse. Purpose: We sought to investigate whether a single-sided hearing loss can cause problems with music appreciation, despite normal hearing in the other ear. Research Design: A tailored questionnaire was used to investigate music appreciation for those with SSD. Study Sample: We performed a retrospective survey of a population of 51 adults from a University Hospital Audiology Department SSD clinic. SSD was predominantly adult-onset sensorineural hearing loss, caused by a variety of etiologies. Data Analysis: Analyses were performed to assess for statistical differences between groups, for example, comparing music appreciation before and after the onset of SSD, or before and after receiving hearing aid(s). Results: Results demonstrated that a proportion of the population experienced significant changes to the way music sounded; music was found to sound more unnatural (75%), unpleasant (71%), and indistinct (81%) than before hearing loss. Music was reported to lack the perceptual qualities of stereo sound, and to be confounded by distortion effects and tinnitus. Such changes manifested in an altered music appreciation, with 44% of participants listening to music less often, 71% of participants enjoying music less, and 46% of participants reporting that music played a lesser role in their lives than pre-SSD. Negative effects surrounding social occasions with music were revealed, along with a strong preference for limiting background music. Hearing aids were not found to significantly ameliorate these effects. Conclusions: Results could be explained in part through considerations of psychoacoustic changes intrinsic to an asymmetric hearing loss and impaired auditory scene analysis. Given the prevalence of music and its capacity to influence an individual’s well-being, results here present strong indications that the potential effects of SSD on music appreciation should be considered in a clinical context; an investigation into relevant rehabilitation techniques may prove valuable.
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Platz, Friedrich, and Reinhard Kopiez. "When the Eye Listens: A Meta-analysis of How Audio-visual Presentation Enhances the Appreciation of Music Performance." Music Perception 30, no. 1 (September 1, 2012): 71–83. http://dx.doi.org/10.1525/mp.2012.30.1.71.
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the visual component of music performance as experienced in a live concert is of central importance for the appreciation of music performance. However, up until now the influence of the visual component on the evaluation of music performance has remained unquantified in terms of effect size estimations. Based on a meta-analysis of 15 aggregated studies on audio-visual music perception (total N = 1,298), we calculated the average effect size of the visual component in music performance appreciation by subtracting ratings for the audio-only condition from those for the audio-visual condition. The outcome focus was on evaluation ratings such as liking, expressiveness, or overall quality of musical performances. For the first time, this study reveals an average medium effect size of 0.51 standard deviations — Cohen's d; 95% CI (0.42, 0.59) — for the visual component. Consequences for models of intermodal music perception and experimental planning are addressed.
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Osiebe, Garhe. "Electoral Music Reception." Matatu 49, no. 2 (December 20, 2017): 439–66. http://dx.doi.org/10.1163/18757421-04902011.
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Abstract Audiences in Africa are a grossly under-researched demographic. This paper centres on the comparative analysis of two electoral audience-based surveys conducted between April and September 2012 in the Nigerian states of Bayelsa and Lagos; following the April 2011 presidential election in Nigeria that ushered the erstwhile President Goodluck Jonathan into power. The surveys sought to know the electorates’ reaction to the electoral campaign songs that endorsed Jonathan and how these songs informed their choice of candidate. The paper’s analysis combines an appreciation of the surveys’ results and the surveys’ procedure while focusing on the middle-ground between aesthetics and politics in the context.
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Marín, Cristina, Ma Puy Pérez Echeverría, and Susan Hallam. "Using the musical score to perform: A study with Spanish flute students." British Journal of Music Education 29, no. 2 (April 2, 2012): 193–212. http://dx.doi.org/10.1017/s0265051712000046.
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Musical scores constitute a key element in the development of expertise in musicians from western tonal traditions, since they act as a mediator between the performer and the music itself. Our aim was to study the role of musical scores in instrumental performance practice by analysing the process of learning a new piece of music, as well as the frequency of activities related to that score, taking account of situations when studying alone and with a teacher. Sixteen flute students at two different education levels from conservatoires in Madrid participated in an individual semi-structured interview and completed a rating-scale questionnaire. Categorical analysis from interview data revealed differences between levels in relation to the activities they stated that they engaged in when learning new pieces. Results from the questionnaires showed that although students at both levels worked on playing the musical score correctly, higher-level students seemed to pay special attention to artistic issues. The findings are discussed in relation to previous research, as well as their implications for education.
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Sun, Bo. "Emotional Analysis and Personalized Recommendation Analysis in Music Performance." Scientific Programming 2022 (April 23, 2022): 1–9. http://dx.doi.org/10.1155/2022/9548486.
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Music performance belongs to music recreation activities, is through singing, musical instrument performance, and vocal conductor, including a variety of artistic means, to convey music to the audience with real sound effects that can be felt, and can play its social function. Emotional state is a part of the whole attitude, which is consistent with introverted feelings and intentions in attitude, and is a complex and stable physiological evaluation and experience of attitude in physiology. This paper first introduces the concepts of music performance from the perspective of music appreciation and music ability. Then based on the emotional feature learning of matrix factorization constrained nonnegative matrix factorization and model optimization algorithm are used to analyze the emotional aspects of music. Finally, through the experimental comparison of the difficulty of emotion in various artistic creations, a conclusion is drawn. The research involves matrix decomposition, mathematical modeling, model optimization, digital audio technology application, and other fields. In the third part of this paper, the constrained nonnegative matrix factorization, the constrained nonnegative matrix factorization with external information, and the model optimization algorithm are used to study the mathematical modeling.
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Tan, Siu-Lan. "Visual Representations of Music in Three Cultures: Commentary on Athanasopoulos and Moran." Empirical Musicology Review 8, no. 3-4 (October 24, 2013): 200. http://dx.doi.org/10.18061/emr.v8i3-4.3941.
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Athanasopoulos and Moran (2013) examined visual representations of brief melodic sequences (solo synthesized flute playing rising, falling, peak, and valley pitch contours) by British participants familiar with western standard notation, Japanese participants familiar with Japanese standard notation, and participants from the BenaBena tribe in Papua New Guinea who were unfamiliar with any literary or notational script. This commentary discusses the method, analysis, and implications of the findings, within the context of a multidirectional gain/loss perspective of the acquisition of skills in human development, as applied to musical notation.
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Wolf, Motje. "The Appreciation of Electroacoustic Music: The prototype of the pedagogical ElectroAcoustic Resource Site." Organised Sound 18, no. 2 (July 11, 2013): 124–33. http://dx.doi.org/10.1017/s1355771813000046.
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This article introduces research on the influence of teaching on the change of inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to make Key Stage 3 students (11–14 years old)1 familiar with electroacoustic music. The curriculum introduced music using concepts, such as music with real-world sounds and music with generated sounds. Presented in an online environment and accompanied with a teachers’ handbook, the curriculum can be used online or as classroom-based teaching resource.The online environment was developed with the help of user-centred design. Following this, the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester, UK. Data were collected using questionnaires, a listening response test and a summary of the teaching (letter written by participants). Qualitative content analysis was used for the data analysis.Results include the change of the participants’ appreciation of electroacoustic music during the study. Successful learning and a decrease in alienation towards electroacoustic music could be measured. The study shows that the appreciation of electroacoustic music can be enhanced through the acquirement of conceptual knowledge. Especially important was the enhancing of listening skills following a listening training as well as the broadening of the participants’ vocabulary that enabled them to describe their listening experience.
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Goatly, Andrew. "Locating stylistics in the discipline of English studies: a case study analysis of A.E. Housman’s ‘From Far, from Eve and Morning’." Journal of Literary Semantics 50, no. 2 (October 1, 2021): 127–49. http://dx.doi.org/10.1515/jls-2021-2034.
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Abstract Literary stylistics, whose subject matter is literary language, straddles the disciplines of literary criticism and linguistics, as Henry Widdowson pointed out 45 years ago. Since then, developments in discourse analysis and multimodal studies have had the potential to expand the map of the interactions between different disciplines. This case study performs a traditional stylistic analysis of the poem ‘From Far, from Eve and Morning’ from A E Housman’s A Shropshire Lad but also demonstrates the potential for a multimodal perspective on stylistics by relating it to a musical analysis of Vaughan-Williams’ setting of the poem. It begins with a linguistic analysis of phonology, graphology and punctuation, lexis, phrase structure, clause structure and clausal semantics. It proceeds to a discourse analysis of pragmatics and discourse structure. And it ends by relating the linguistic and discoursal analysis to the music through music criticism. By way of conclusion, it suggests that both linguistic analysis and appreciation of musical structure and mood are useful ways into Spitzer’s philological circle, by which linguistic analysis and musical appreciation can pave the way for literary appreciation.
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Zebua, Testi Bazarni, Julaga Situmorang, and R. Mursid. "PENGARUH STRATEGI PEMBELAJARAN DAN APRESIASI TERHADAP HASIL BELAJAR SENI MUSIK SISWA." Jurnal Teknologi Pendidikan (JTP) 11, no. 1 (November 2, 2018): 60. http://dx.doi.org/10.24114/jtp.v11i1.11197.
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Abstrak: Tujuan penelitian ini adalah: (1) untuk mengetahui apakah belajar seni musik siswa yang diajar dengan menggunakan strategi pembelajaran discovery learning lebih tinggi dari strategi ekspositori, (2) untuk mengetahui apakah hasil belajar seni musik siswa yang memiliki tingkat apresiasi tinggi lebih tinggi dari tingkat apresiasi rendah, dan (3) Untuk mengetahui apakah ada interaksi antara strategi pembelajaran dan apresiasi dalam memberikan pengaruh terhadap hasil belajar seni musik siswa. Metode penelitian menggunakan quasi eksperimen dengan desain penelitian penelitian faktorial 2 x 2. Teknik analisis data menggunakan ANAVA dua jalur pada taraf signifikan α = 0,05. Temuan penelitian menunjukkan : (1) Hasil belajar seni musik siswa yang diajar dengan strategi pembelajaran discovery learning dari konstruktivisme (79,67) lebih tinggi dibandingkan siswa yang diajar dengan strategi pembelajaran ekspositori (76,67). (2) Hasil belajar seni musik siswa yang memiliki tingkat apresiasi tinggi (79,50) lebih tinggi dibandingkan siswa yang memiliki tingkat apresiasi rendah (74,93). (3) Terdapat interaksi antara strategi pembelajaran dan tingkat apresiasi dalam mempengaruhi hasil belajar seni musik siswa. Siswa dengan apresiasi tinggi akan memperoleh hasil belajar yang lebih tinggi jika diajar dengan strategi pembelajaran discovery learning dari konstruktivisme. Demikian pula dengan siswa yang memiliki apresiasi rendah, akan memperoleh hasil belajar yangg lebih tinggi jika diajar dengan strategi pembelajaran ekspositori. Kata Kunci: strategi pembelajaran, apresiasi, hasil belajar seni musik Abstract: The purpose of this study are: (1) to find out whether learning music art students taught by using discovery learning learning strategies is higher than expository strategies, (2) to find out whether the results of students learning music are higher than low level of appreciation, and (3) To find out if there is an interaction between learning strategies and appreciation in influencing students' learning outcomes in music. The research method uses quasi-experimental research design with 2 x 2 factorial research. Data analysis techniques using two-way ANAVA at a significant level α = 0.05. The findings of the study show: (1) The results of learning the music arts of students taught by discovery learning learning strategies of constructivism (79.67) are higher than students taught with expository learning strategies (76.67). (2) The results of learning the music arts of students who have a high level of appreciation (79.50) are higher than students who have a low appreciation level (74.93). (3) There is an interaction between learning strategies and the level of appreciation in influencing students' learning outcomes in music. Students with high appreciation will obtain higher learning outcomes if taught with discovery learning learning strategies from constructivism. Likewise with students who have low appreciation, will get higher learning outcomes if taught with an expository learning strategy. Keywords: learning strategies, appreciation, learning outcomes of music art
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Robinson, Thomas O., James B. Weaver, and Dolf Zillmann. "Exploring the Relation between Personality and the Appreciation of Rock Music." Psychological Reports 78, no. 1 (February 1996): 259–69. http://dx.doi.org/10.2466/pr0.1996.78.1.259.
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Scores on five personality characteristics, extraversion, neuroticism, and psychoticism as well as reactive and proactive rebelliousness, and the appreciation of soft/nonrebellious and hard/rebellious rock-music videotapes were explored. After completing the personality tests, female and male undergraduates were exposed to rock-music videotapes and asked to rate various aspects of their enjoyment of each. Analysis indicated that psychoticism and reactive rebelliousness were associated with enjoyment in a parallel fashion. Specifically, respondents scoring high on psychoticism or high on reactive rebelliousness enjoyed hard/rebellious rock-music videotapes more than did their peers scoring low on psychoticism or low on reactive rebelliousness. The reverse was evident for the enjoyment of soft/nonrebellious rock-music videotapes. In contrast, scores on extraversion, neuroticism, and proactive rebelliousness were not associated with enjoyment. Gender differences emerged, however; women ( n = 78) enjoyed soft/nonrebellious rock music more than did men ( n = 60); and conversely, men enjoyed hard/rebellious rock music more than did women.
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Vinnicombe, Thea, and Pek U. Joey Sou. "Socialization or genre appreciation: the motives of music festival participants." International Journal of Event and Festival Management 8, no. 3 (October 9, 2017): 274–91. http://dx.doi.org/10.1108/ijefm-05-2016-0034.
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Purpose Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of motivation studies, music festivals, in order to see if this approach can elicit a consistent set of motivation dimensions for the sub-category, which can in turn be compared and contrasted with the broader literature. A new case study of motivations to attend the 28th Macau International Music Festival (MIMF) is included to complement the existing music festival sub-category by adding a classical music and music festivals in Asia. Design/methodology/approach Motivation dimensions important to music festivals are compared to dimensions across the broader festival motivation literature to find similarities and differences. Factor analysis is used to identify the motivation dimensions of attendees at the MIMF and the results are compared to those of existing music festival studies. Findings Music festival goers are shown to be primarily motivated by the core festival offering, the music, in contrast to festival attendees in general, where socialization has emerged as the primary motivating element. The results of the additional case study support these findings. Originality/value In contrast to previous research, this study examines the possibility of identifying common motivations among festival attendees through studying festivals by sub-categories.
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Bieńkowska, Irena. "Previously Unknown Sources for Johann Philipp Kirnberger’s Flute Sonatas Found in the Former Rzewuski Music Collection from Podhorce (Pidhirtsi)." Muzyka 66, no. 3 (October 19, 2021): 92–116. http://dx.doi.org/10.36744/m.974.
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The music-related sources kept at Tarnów Municipal Library (Department of Early Prints and Nineteenth-Century Books) include manuscripts (PL-TAb 44, PL-TAb 45) which once belonged to the music collection of Wacław Rzewuski’s court ensemble in Podhorce (Pidhirtsi in Ukrainian). These manuscripts contain anonymously entered sonatas for flute and basso continuo, one of which has been recognised as the Sonata in E flat minor by Johann Philipp Kirnberger, previously only known from a Berlin copy. On the basis of comparative analysis with other extant sources, the Sonata in F sharp major found in the same manuscripts can also be attributed to Kirnberger.
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Lee, Jooho. "A Study on the Development Plan through Analysis of the Status of the Middle School Gugak Education." National Gugak Center 46 (October 31, 2022): 131–54. http://dx.doi.org/10.29028/jngc.2022.46.131.
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Gugak (Korean traditional music) is a great legacy of the Korean people, which has developed creatively through the long history of contacting with foreign music. However, it has been neglected in school education, and its importance has gradually increased through the revision of the curriculum.
This study intends to figure out whether gugak education is actually expanding in the school field and to study development plans by analyzing the current status of gugak education in 10 middle schools located in Gangnam-gu, Seoul.
As a result of analyzing the gugak class hours in the 10 middle schools for three years, they are 24.7 hours on average, or 19.7% of the entire music class hours, which are considerably lower than the number of Western music class and far below the proportion of curriculum or textbooks. The distribution of the proportion of gugak class hours is 8.4% ~ 31.8%, which shows that there is a significant deviation by school. The intensive completion system is implemented by 8 schools, and the distribution by area is 41.9% for appreciation, 32% for instrumental music, 19.6% for singing, 5.8% for daily life, and 0.6% for creative writing. There is only one school that organizes all areas evenly. Moreover, due to the COVID-19, the vocal and wind instrument performance classes have decreased while the appreciation classes have increased relatively, for which alternatives are required.…
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Lv, Yang. "Influence of cognitive neural mechanism on music appreciation and learning." Translational Neuroscience 10, no. 1 (April 23, 2019): 57–63. http://dx.doi.org/10.1515/tnsci-2019-0010.
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AbstractBased on the related research results of the relationship between cognitive neural mechanism and music in recent years. In this paper, we study the relationship between the cognitive neurons and music from the overlapping and separation of brain neuro-mechanism and the significance of functional relationships between the two. Through analysis, it can be seen that the cognitive neural mechanism has a certain influence on music appreciation and learning and the studies on brain-damaged patients show that the two may have separate and independent neural bases. Finally, we find the influence of sub-consciousness on decision making through the measurement of SCRs (skin conductance responses), and thus propose a decision model modified by subconscious and make an outlook for future research trends.
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ÖNERTÜRK, Cem. "Analysis Of the Flute Techniques in the 20th Century Music With Suggestions to the Flutists and Composer." Akademik Müzik Araştırmaları Dergisi 1, no. 1 (January 10, 2015): 1–18. http://dx.doi.org/10.5578/amrj.8920.
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Pragyan Paramita Rout, Rageshree swain, and Sanhita Padhi. "Effect of synchronized sound waves in the form of Indian Classical Ragas on Phytochemical analysis of Chamaecostus cuspidatus (Nees & Mart.) C. Specht & D. W. Stev." International Journal of Frontiers in Biology and Pharmacy Research 3, no. 1 (July 30, 2022): 018–29. http://dx.doi.org/10.53294/ijfbpr.2022.3.1.0049.
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Synchronized sound waves in the form of Indian classical ragas have a remarkable impact on the living beings. According to various studies, Indian Classical music has been confirmed to encourage plant growth positively and it is observed that the sounds from metal-rock, rock, rap, pop, and monotonous sounds have a negative impact on plant growth. The present research work was aimed at finding the impact and effect of the synchronized sound waves and their frequencies in different strings and closed-pipe Indian classical instrumental music displayed through various Ragas, viz: Raga- Kedar (flute), Raga- Kedar (santoor), Raga-Rageshree (sitar), Raga-Bhairavi (flute), Raga- Shree (Sarangi), Raga- Milan kiTodi (Sarod), Raga- Ramkali (Sitar) on phytochemical analysis in the leaves of Insulin (Chamaecostus cuspidatus). The standard deviation values in all of the pure solvents indicates that the data were spread over a wider range of values, which further showed that the treated plants have higher concentration phytochemicals when compared to that of the untreated samples. The total phenol content was found to be 207.66±0.33 mg/GAE per gram extract and 113.33±3.33 mg/GAE per gram extract in case of treated and untreated plant samples of Chamaecostus cuspidatus respectively. Similarly, the total flavonoid content was found to be 37.66±0.33 mg QE/g extract and 26.66±0.33 mg QE/g extract in case of treated and untreated plant samples respectively and the total tannin content was found to be 843±1.99 mg TAE/g extract and 503±0.57 mg TAE/g extract in case of treated and untreated plant samples respectively.
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Kim, Joonhee. "Analysis on Music Meditation Research Papers and Critical Review: Focused on Research Papers from 2000 to 2021." Korean Society of Culture and Convergence 44, no. 7 (July 31, 2022): 623–32. http://dx.doi.org/10.33645/cnc.2022.7.44.7.623.
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One of the most noteworthy keywords in the 21th century is undoubtedly ‘meditation’. Also, along with meditation, 'music' began to attract attention, and music meditation became a trend. In this paper, academic papers published from 2000 to 2021 were divided into five categories and some major papers were reviewed. As a result, the papers lacked specific references to meditation music compared to the research process, or the distinction between music meditation and music appreciation was ambiguous, and the concept of music therapy was mixed. In addition, the setting of meditation music and control of experimental groups remained. In order to systematically practice meditation through music and to conduct more fundamental research, accurate understanding of music meditation and meditation music, establishment of terminology, understanding of instrumental functions of music, separation of music meditation and music therapy, and creation of meditation music to enhance the effectiveness of meditation. I suggest that we explore how to use music as a preliminary stage before meditation. It is also hoped that more music experts will participate in the study of music meditation.
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Cho, Sung-gi, and Seok-il Yun. "Analysis on the Effects of Music Appreciation Teaching Methods for Improving Musical Vocabulary Ability." Korean Society of Music Education Technology, no. 37 (October 16, 2018): 153–73. http://dx.doi.org/10.30832/jmes.2018.37.153.
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Jeong, Jaeeun. "An Implications through the Analysis of Appreciation Sections and Activities in Secondary Music Textbooks." Educational Research Institute 39, no. 2 (December 30, 2019): 317–36. http://dx.doi.org/10.34245/jed.39.2.317.
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Kodenko, I. I. "Specificity of performance of Еarly Music: historical aspect." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 93–105. http://dx.doi.org/10.34064/khnum1-56.06.
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Background. In today’s performing arts, more and more musicians are turning to the trends of historical performance. Therefore, musicology is actively searching for new approaches to the detailed study of authentic performance, to the reproduction of the most adequate ways of interpreting the music of previous eras. Among such methods of interest is the correlation of methods of reconstruction and deconstruction considered in this study. The object of the study is historically oriented performance of music works. The aim of the article is to determine the basic approaches of a number of modern scientific works to the reproduction and interpretation of old music and to identify the research position, which will play the role of methodological key to the analysis of the phenomenon of Early music. The methodology of the research based on analytical and comparative approaches applied to historical-stylistic phenomena, and emphasizes the methods of deconstruction and reconstruction for ancient music interpretation. Research results. The study identifies various approaches to studying the specificity of performing early music and to the interpreted compositional object of authentic performance. The latest scientific publications of musicians-researchers are analyzed: N. Sikorska, V. Kachmarchik, E. Kruglova. N. Sikorska (2016) have identified different approaches to musical Baroque legacy, implemented in nonauthorial editions of the Romanticism era. She presents in the form of a hierarchical system the stylistic parameters of the authentic performance of the Baroque style in the works for clavier of the late 16th – early 18th century. V. Kachmarchik (2003), in his scientific work, studied the historiography of flute art and determined the main stages of development of the flute design, also noted the basic principles of the formation of German flute pedagogy and determined the role of outstanding personalities in German flute art of the 18th – 19th centuries. E. Kruglova (2007) in her doctoral dissertation summarizes the artistic principles of Baroque vocal art: the vocal tradition of the Baroque era, the specifics of musical expressive means (dynamic, tempo, vocal-language articulation, ornamentation) and vocal technique (breathing, sound emission). She also conducts a comprehensive study based on the cultural-historical method that represent a culture as the key to interpreting a work of art and helps to understand comprehensively the bel canto singing tradition in the Baroque era. Also, she uses the theoretical and analytical methods, which provides a deep analysis of documents to identify the essence of the singing tradition, a thorough study of the means of musical expressiveness that make up its basis; the method of comparative analysis for determination the features of the most important parameters of performing interpretations of music by G. F. Handel in the period under review. However, these works did not pay due attention to the difference in the basic definitions of the very phenomenon of authentic performance: firstly, of the authentic performance as an instrumental accompaniment of vocal music, and secondly, of the ideas about the essence and nature of the instrumental version of historical performance itself. The author of the article formulates the methodological principles of studying the phenomenon of authentic performance, explains the attributes of the methods of “reconstruction” and “deconstruction” – in relation to the recreation of the historical interpretation of early music. Thanks to the methods of reconstruction and deconstruction, the historical image and meaning of the musical culture of the Baroque and the Renaissance may be recreated adequately. Need to take in account the uniqueness of each historical situation and the importance of the context of the era, in correlation with which the corresponding instruments, canons of musical writing and performance occur, are determined. The use of the reconstruction method led to the comprehension of the change of all means of expressiveness: tempo, motion, instrumentation, touch and strokes – even the tasks and meaning of music as an art form. Note that such an approach as deconstruction involves a “focus shift” to identify small details that will decipher the meaning of the work. The use of this method by authenticity scientists clarifies the incorrectness of the ideas about early music, helps the modern listener to improve the ideas about the relevant cultural era. With the help of scientific discourse, researchers and performers reconstruct the real meaning of early music, a new vision of historical performance as an artistic phenomenon is gradually emerging. Conclusions. The presented analysis of various approaches to the study and authentic reproduction of music by ancient composers reveals, from the author’s point of view, as a fundamental and promising approach based on the correlation of deconstruction and historical reconstruction methods. The Baroque era is characterized by the huge role of conventions and the careful study of details that are inextricably linked with canon and tradition. In this case, the use of the method of deconstruction destroys, first, the incorrect achievements and ideas about ancient music, which prevent the modern performer and listener from reaching its understanding. For an adequate restoration of ancient music, many factors must be taken into account, the main of which is the experience and achievements of pioneers of an authentic direction. The artistic practice of authentic performers should also be based on the achievements and conclusions of the relevant research work. Prospects for further research in this matter are a detailed study of works of ancient musical heritage and ways of their modern reproduction by talented musicians.
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Cheng, Min-Yu, Jaclyn B. Spitzer, Valeriy Shafiro, Stanley Sheft, and Dean Mancuso. "Reliability Measure of a Clinical Test: Appreciation of Music in Cochlear Implantees (AMICI)." Journal of the American Academy of Audiology 24, no. 10 (November 2013): 969–79. http://dx.doi.org/10.3766/jaaa.24.10.8.
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Purpose: The goals of this study were (1) to investigate the reliability of a clinical music perception test, Appreciation of Music in Cochlear Implantees (AMICI), and (2) examine associations between the perception of music and speech. AMICI was developed as a clinical instrument for assessing music perception in persons with cochlear implants (CIs). The test consists of four subtests: (1) music versus environmental noise discrimination, (2) musical instrument identification (closed-set), (3) musical style identification (closed-set), and (4) identification of musical pieces (open-set). To be clinically useful, it is crucial for AMICI to demonstrate high test-retest reliability, so that CI users can be assessed and retested after changes in maps or programming strategies. Research Design: Thirteen CI subjects were tested with AMICI for the initial visit and retested again 10–14 days later. Two speech perception tests (consonant-nucleus-consonant [CNC] and Bamford-Kowal-Bench Speech-in-Noise [BKB-SIN]) were also administered. Data Analysis: Test-retest reliability and equivalence of the test's three forms were analyzed using paired t-tests and correlation coefficients, respectively. Correlation analysis was also conducted between results from the music and speech perception tests. Results: Results showed no significant difference between test and retest (p > 0.05) with adequate power (0.9) as well as high correlations between the three forms (Forms A and B, r = 0.91; Forms A and C, r = 0.91; Forms B and C, r = 0.95). Correlation analysis showed high correlation between AMICI and BKB-SIN (r = −0.71), and moderate correlation between AMICI and CNC (r = 0.4). Conclusions: The study showed AMICI is highly reliable for assessing musical perception in CI users.
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Green, Emily H. "How to Read a Rondeau: On Pleasure, Analysis, and the Desultory in Amateur Performance Practice of the Eighteenth Century." Journal of the American Musicological Society 73, no. 2 (2020): 267–325. http://dx.doi.org/10.1525/jams.2020.73.2.267.
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Written in the form and style of the popular “novel of circulation” (or “it-narrative”), this article examines and provides an experience of the performance practices of eighteenth-century amateur music. It tells the typically complex history of a minor hit, “Come Haste to the Wedding,” a tune that was sung in a 1760s Drury Lane pantomime, rewritten as a rondeau for London publishers, danced as a jig in Irish and Scottish halls, transcribed as a fiddle tune by a captain in the Continental Army, circulated as a flute or guitar melody as far abroad as Calcutta, and collected by a young loyalist in Charleston, South Carolina. I argue that common to all these versions—and among many similar and neglected amateur genres, including sectional variation sets and dance collections—was the practice of desultory reading. The term “desultory” itself comes from the period, and the practice suggested here extrapolates from evidence of readers' experience of approaching literature and periodicals out of order. Many musical texts asked readers to skip between pages and sections, rondeaux chief among them but also instructional treatises. Some of those same treatises, by C. P. E. Bach (1753–62) and Quantz (1752), hint at desultory reading in subtle admonitions. Through a lively engagement with period style, this article outlines a new definition of music reading informed by eighteenth-century language and practical context, a definition attuned to the ocular and physical habits of the era's most plentiful practitioners: domestic performers of domestic music.
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Goad, Pamela J., and Douglas H. Keefe. "Timbre Discrimination of Musical Instruments in a Concert Hall." Music Perception 10, no. 1 (1992): 43–62. http://dx.doi.org/10.2307/40285537.
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The effects of musical context and musical instrument characteristics on timbre discrimination in a concert hall were examined. Isolated tones and six-tone melodies were recorded in two different locations of a concert hall using five musical instruments. Each trial consisted of either a pair of tones, or a pair of melodies, which had been recorded simultaneously at the two locations on the same instrument. No significant differences were found between responses for isolated tones and responses for melodies. Musical instrument characteristics did prove to be significant, with listeners best able to discriminate flute tones, followed in order by clarinet, trumpet, viola, and marimba. In a follow-up analysis, five physical attributes of each instrument were tested for their contribution to the predictability of the discrimination scores. Variance with respect to the mean power level of the sustained portion of a tone was found to be the dominant contributor of the total variance of subjective responses, and this implicates differences in the early reflection sequence of the room impulse response as a contributor to timbral discrimination.
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Pei, Zhaoliang, and Yan Wang. "Analysis of Computer Aided Teaching Management System for Music Appreciation Course Based on Network Resources." Computer-Aided Design and Applications 19, S1 (March 23, 2021): 1–11. http://dx.doi.org/10.14733/cadaps.2022.s1.1-11.
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Djuka, Ruth Regina. "ARANSEMEN LAGU ELE MOTO MEDLEY DENGAN DO DAE MATA B’ALE DALAM FORMAT COMBO BAND ADDITIONAL ALAT MUSIK TRADISIONAL." Tambur : Journal of Music Creation, Study and Performance 2, no. 1 (June 30, 2022): 45–74. http://dx.doi.org/10.52960/jt.v2i1.104.
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The research objective of arranging the songs of Ele Moto and Do Dae Mata Bale is to compose and describe the arrangement of the songs of ele moto medley with the song do dae mata bale in a combo band format so that the song can be an inspiration for the younger generation to continue to develop regional traditions through traditional music that there is. The research method used in this research is to use descriptive qualitative analysis techniques, namely searching, analyzing, describing data and compiling data systematically form interviews, field notes and documentation, by organizing data into categories such as: data reduction, data presentation, verification or data deduction to obtain correct data. The results of this study indicate the presentation of the music arranged in a combo band format, the song Ele Moto and Do Dae Mata B’ale into a pop music genre presentation. Instruments used in the combo band format arrangement are : Piano, flute, trumpet, trombone, bass, gong and drum.
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Kendall, Roger A., and Edward C. Carterette. "Perceptual Scaling of Simultaneous Wind Instrument Timbres." Music Perception 8, no. 4 (1991): 369–404. http://dx.doi.org/10.2307/40285519.
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Timbral similarities among wind instrument duos were studied. Flute, oboe, E♭ alto saxophone, B♭ clarinet, and B♭ trumpet instrumentalists performed in all possible duo pairings (dyads). Source material included B♭4 unisons, unison melody, major thirds, and harmonized melody. Nonunison combinations had each instrument of the pair as the soprano, creating a total of six contexts. Music major and nonmusic major subjects rated the similarity of all possible pairs of dyads in each of the six contexts. Classical multidimensional scaling (MDS) was performed; contexts were treated as " subjects" in an individual differences scaling (INDSCAL) analysis of composite data. The resulting spaces had two stable, interpretable dimensions. From verbal attribute rating experiments ( Kendall & Carterette, in preparation, a), these were identified as " nasal" vs. " not nasal," and " rich" vs. " brilliant." A third dimension was interpreted as "simple" vs. "complex."Extrema in the space were associated with three of the five instruments: Trumpet (brilliant), saxophone (rich), and oboe ( nasal). Data that were amalgamated over contexts and plotted in two dimensions yielded a circumplicial configuration. Implications for orchestration are discussed and a theoretical model of timbre combinations and groupings is presented.
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ÖNAL, M. Ayça. "A Research on the Use of the Alexander Technique in Flute Education Given in the Music Department and Music Teaching Departments of Faculties of Fine Arts in Turkey." International Education Studies 15, no. 4 (July 26, 2022): 67. http://dx.doi.org/10.5539/ies.v15n4p67.
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The Alexander Technique is a method that emerged as a result of Actor Frederick Matthias Alexander’s work on himself to solve the problems he had with his voice during his performance. This technique, which was effective for himself, rapidly became widespread because it was tried by different people over time and positive results were obtained. Today, it is effective not only for music but also for people from different disciplines to use their bodies more comfortably and thus have a natural posture. In this sense, in the study, ten different instructors working in various locations were selected as the study group to reach the findings related to the use of the Alexander Technique and the results of the technique in flute lessons given in the music departments of higher education institutions in Turkey. Framed by the researcher, interview questions with expert opinions were asked, and the data obtained were tabulated and presented with the content analysis method, one of the qualitative research methods.
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Zharkov, Oleksandr, and Iryna Kokhanyk. "The timbre composition of Claude Debussy’s “Prélude à l’Après-midi d'un faune”: stylistic aspect." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 135 (December 26, 2022): 96–111. http://dx.doi.org/10.31318/2522-4190.2022.135.271008.
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Relevance of the study. In the 20th–21st centuries art music the timbre component determines the processes of form creating, features of composition and dramaturgy, and becomes an essential component of a composer’s individual style system. This makes it necessary to distinguish and to define the concept of timbre composition, to study its functions in forming the text of a music work.
The purpose of the article is to study the timbre composition of “Prélude à l’Après-midi d’un faune” by Claude Debussy in the aspect of the composer’s individual style.
Methods. The methods of system and functional analysis are used, as well as the stylistic method, which gives possibility to determine the specific features of the timbre composition in the work.
The results and conclusions. The analysis of Debussy’s “Prélude à l’Après-midi d’un faune” score proves that the timbre composition clarifies the composer’s intention. The logic of the orchestral timbres changes is aimed at embodying the concept of dissolution, a gradual departure from the subjective through the dramaturgic idea of abandoning timbre solos (pure timbres), from the coloristics of one color to the diversity of all colors and shades, through the movement from pure timbre to doublings and mixes. The uniqueness of the composer’s timbre strategy is the chain of solos (flute — oboe — clarinet — violin — flute), which provides a colorful timbre development of the theme and the entire themes of the piece.
At the same time, the timbre composition deepens the three-part structure of the work. It is the timbre design that strengthens the gestural affinity of the themes and the gestural connections between the sections of the work. The study of the text confirms that the timbre composition–its exquisite structure, multilevel symmetry and perfection of proportions–reflects the main features of Debussy’s composing style. Even today, this work remains a source of inspiration for musicians of the 20th–21st centuries, who develop the timbral possibilities of sound, coloristic sound, and constructivism in the creating of music form. The experience of analyzing the timbre composition of “Prélude à l'Après-midi d'un faune” can be useful when studying modern art music works.
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Browning, Joseph. "Assembled Landscapes." Journal of Musicology 33, no. 1 (January 1, 2016): 70–91. http://dx.doi.org/10.1525/jm.2016.33.1.70.
Full textAbstract:
This article examines the folding together of music and landscape in some recent albums featuring the shakuhachi, a Japanese bamboo flute that today animates an active and international music scene. Through analysis of the texts, images, and sounds on these albums, I explore the re-imagining of the shakuhachi’s musical geography as the instrument reaches new players and places in Europe, Australia, and North America. Using recordings that incorporate environmental sounds alongside the shakuhachi, I examine ideas about the perceived authenticity of particular sounds, performance spaces, and recording aesthetics. These recordings unsettle our thinking about the relationship between music and landscape in several ways. First they document performers’ connections with particular sites, yet complicate any notion that the shakuhachi is related to a single place or nation, signalling a distinctly contemporary sense of place. Second, the centrality of mediation in these artistic projects makes technology crucial to the production of the natural and renders the naturalness of the shakuhachi audible in new ways. Third, the use of environmental sounds provokes questions about agency and the boundaries between human and non-human sound-making. By treating these albums as assemblages of material, social, technological, and natural elements, I reveal the lively and complex character of otherwise everyday musical objects.