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Sarkar, Joyanta, and Anil Rai. "An Analytical Study of the Folk Musical Instruments of Meghalaya." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 23–38. http://dx.doi.org/10.24193/subbmusica.2021.1.02.
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"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instruments and folk songs. The Musical Instruments of Meghalaya are made from local materials. Meghalayan people honour powerful natural forces and aim to pacify animistic spirits and local gods. The instruments are made of bamboo, flesh, wood, and animal horn. Any one of these musical instruments is considered to have the ability to offer material benefits. The Meghalaya musical instrument is an essential part of traditional folk music in the region. In this article, we offer an overview of the folk musical instruments of Meghalaya. Keywords: Idiophone, Aerophone, Chordophone, Membranophone, Trumpet. "
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Tari, Lujza. "Musical Instruments and Music in Hungarian Folk Tales." Studia Musicologica Academiae Scientiarum Hungaricae 34, no. 1/2 (1992): 81. http://dx.doi.org/10.2307/902362.
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Zheng, Qian. "The Application of Piano Accompaniment in Folk Music." Frontiers in Business, Economics and Management 1, no. 1 (April 7, 2021): 5–7. http://dx.doi.org/10.54097/fbem.v1i1.11.
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Piano accompaniment has a history of more than one hundred years. Chinese national instrumental music has a long history and rich culture, which is an indispensable part in the history of Chinese folk music. With the development and change of modern music, Chinese folk music has entered an era of diversified development. As the "king of Musical Instruments", the combination of piano and Chinese national instrumental music was born by good luck. This paper mainly serious piano accompaniment used in folk music in the production, the status quo, so that more people understand, accept and pay attention to this new things, and even more to develop and innovation, to create more excellent works.
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ORUJOV, İgbal, and Taravat ORUJOVA. "ORTA ÇAĞ DÖNEMİ’NDE NEFESLİ ENSTRÜMANLAR SANATI." JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 7, no. 26 (February 20, 2021): 85–95. http://dx.doi.org/10.31623/iksad072607.
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Medieval musical instruments are closely related to the types of palace and city culture that were active at that time. Church rituals, music, song, and dance styles of the urban settlements were based on the vocal and instrumental skills of the musicians. The emergence of new instrument types compared to the heritage of antiquity was due to several factors. The most important change in the social status of the musician: the traveling artists are replaced by an instrumentalist striving for "establishedness". This trend led to the formation of professional-musicians working in the service of the city magicians and performing their duties in terms of "music economy". The oldest medieval musical instrument was the human voice. The spread of Christianity in the Dark Ages and early Middle Ages led to the popularity of hymns and secular songs. Many musical instruments of the Middle Ages were the predecessors of modern musical instruments. Wind instruments are the oldest type of musical instruments from the Ancient Ages to the Middle Ages. However, in the process of development and formation of medieval Western civilization, the scope of application of wind instruments greatly expanded: for example, some instruments such as the olifant belonged to the palaces of the nobility, others - the flutes - were used both in the folk setting and among professional musicians, while others such as trumpets were only become military musical instruments.
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Zabavskaya, E. "THE CONTRAST METHOD IN THE TRAINING OF DOMRIST." EurasianUnionScientists 4, no. 3(84) (April 15, 2021): 4–8. http://dx.doi.org/10.31618/esu.2413-9335.2021.4.84.1291.
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Domra is a musical instrument that is actively and productively developing today. In Russia, folk instruments are represented in every region in the leading music universities of the country, and are also developed to such an extent that they are ready to compete with the leading academic instruments.
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Anufrieva, N. I., and A. P. Efremenko. "Problem of Forming of Musical-Performing Competency of Pedagogue- Musicians on the Base of Vanguard Works for Folk Instruments." Uchenye Zapiski RGSU 19, no. 3 (September 30, 2020): 68–75. http://dx.doi.org/10.17922/2071-5323-2020-19-3-68-75.
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the article highlights the problems of developing the teacher-musicians’ performing skills on the material of works of avant-garde composers for folk instruments and proposes ways to solve them. Folk instruments and avant-garde music are still perceived as incompatible phenomenaby many contemporaries, and educational programs in the field of training “Pedagogical Education” (profile “Musical Education”) inherit the traditional approach, which implies the mastery of folk instruments by performers, primarily the classical repertoire, closely related to Russian folk culture. As a result, avant-garde compositions for an accordion or guitar remain out of the attention of both university teachers and their pupils, future specialists in the field of music pedagogy and cultural and educational activities. Conclusions of the study: it is necessary to change the attitude towards folk instruments and the educational potential of avant-garde music for folk instruments; training programs require improvement in the content and composition of disciplines, among which the analysis of musical works and the art of interpretation deserve particular attention; in the teaching methodology, preference should be given to the problematic method and the practice-oriented approach.
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[黄羽], Huang Yu. "A Study of Musical Instrument Pictographs on Zuojiang Huashan Rock Arts." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 1–16. http://dx.doi.org/10.30819/aemr.6-1.
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The Huashan Rock Arts represent the rock pictographs in the Zuojiang River Basin. They record the unique sacrificial scenes by Luoyue people from the 5th century BC to the 2nd century AD. Historical materials, unearthed cultural relics and existing folk customs all prove that the distinguishable musical instrument pictographs on the rock arts include bronze drums, sheep-horn knob bells, ling (small bells with a clapper), etc. All of these also explains why these musical instruments appear on those pictographs, further emphasizing the importance attributed to them on dividing the history of the rock arts into certain periods. This study has found out that after the Western Han Dynasty, the sheep-horn knob bells gradually lost the function of ceremonial and musical instruments due to the destruction of the rite system, thus withdrawing from the historical arena. On the other hand, the artisanship of bronze drums has become more and more exquisite, highlighting its three-fold use for rites, rituals and musical instruments. The drums also continue to occupy a significant part of the music history of the Luoyue ethnic group. Through an in-depth study of the musical instrument pictographs, the music history of the Luoyue is further, clarified and understood.
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Przerembski, Zbigniew Jerzy. "Kolberg’s opinions on changes in the choice of instruments in 19th century folk music." Musicology Today 11, no. 1 (December 1, 2014): 6–12. http://dx.doi.org/10.2478/muso-2014-0013.
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Abstract In the second half of the 19th century, when Oskar Kolberg conducted his folkloristic and ethnographic work, folk song and music were still alive and, to a great extent, functioned in their natural culture context. However, already at that time, and especially in the last decades of the century, gradual changes were taking place within folk tradition. Those changes were brought about by industrialization and factors in the development of urban civilization, which varied in intensity depending on the region. Folk music was also influenced by those changes and they themselves were further fuelled by the final (third) Partition of Poland by Austria, Prussia and Russia, declared in 1795 and lasting till the end of World War I. Oskar Kolberg noticed and described changes in the musical landscape of villages and little towns of the former Polish Republic in the 19th century, as well as in the choice of instruments. To be quite precise, musical instruments are not featured as a separate subject of his research, but various references, though scattered, are quite numerous, and are presented against a social, cultural and musical background, which provides an opportunity to draw certain conclusions concerning folk music instrumental practice. However, changes in the makeup of folk music ensembles resulted in the disappearance of traditional instruments, which were being replaced by the newer, factory-produced ones. This process worried Kolberg and he noticed its symptoms also in a wider, European context, where bagpipes or dulcimers were being supplanted not only by “itinerant orchestras” but also by barrel organs or even violins. Writing about our country, Poland, he combined a positive opinion on the subject of improvised and expressive performance of folk violinists with a negative one on clarinet players and mechanical instruments. Summing up, the musical landscape of Polish villages and both small and larger towns was definitely influenced in the 19th century by the symptoms of phenomena which much later acquired a wider dimension and were defined as globalization and commercialization. Sensing them, Oskar Kolberg viewed the well-being of the traditional culture heritage with apprehension.
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Çınar, Sevilay. "Female Representatives of Traditional Folk Instruments (Saz): in The Representation of Sipsili, Uyguncaklı Düdük, Delbek and Bağlama." Rast Müzikoloji Dergisi 1, no. 1 (April 15, 2013): 236–57. http://dx.doi.org/10.12975/rastmd.2013.01.01.0010.
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Folk instruments, which play an important role in the production and transferof music, are cultural products that sometimes give voice to non-expressible feelings,save time for remembering the lyrics, increase the joy by adding to the sound, andsometimes maintain the rituals and serves as a means of communication. Thematerials they are made from, their shape and sound, they bear the traces of societyand they are also the most important indicator of character of music. As ancient ashumanity in terms of existence, they are the proof of cultural values of humanity withtheir rich variety. Besides the variety of our traditional folk instruments that take onthe primary task in continuation of musical tradition, they have representatives too.Such representatives sometimes take the name of the traditional art which theyproduce and sometimes they are called by the name of the folk instrument they play;they show themselves by various names and qualities such as minstrel, bard,tambourine (tef/def) player, tabor (deblek/delbek) player, reed (sipsili) player,uyguncak playerThe representatives, who contribute to the creation and maintenance oftraditional music in company with the traditional folk instruments, represent theirinstruments by remaining loyal to their cultural identities as well as their social roles.The places where they produce music with such traditional instruments rangesdepending on mentioned indicative elements in indoor-outdoor verbal culturalenvironments such as village wedding, henna night, farewell ceremonies for soldiers,city/town festivals, culture houses, places of worship, high pastures, nomad campingsites, etc. In this point, when we look at the adventure of our traditional folkinstruments, we see that women take over the role of representative and even thoughthey create special expression styles in terms of music and lyrics during thisadventure, they do not have a room for themselves under such roof.In this context, considering the fact that although female representatives oftraditional folk instruments have moved to big cities or their local characteristicshave somehow changed even though they continue living in their hometowns, theyare a part of this tradition with their current characteristics and productions styles; wewant to keep such musical soul alive, which has existed in all periods and willcontinue to exist, to make artistic identities of female representatives visible and toaccompany to their existence stories. Date obtained via field records have beenanalyzed within the contexts of expression styles of female representatives oftraditional folk music in the 21stcentury, their playing techniques, creation process oftheir musical products, transfer methods, the function of music in the lives of suchfemale representatives and reflection of their female identities into music
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Kárpáti, János. "Music of female shamans in Japan." Studia Musicologica 54, no. 3 (September 1, 2013): 225–56. http://dx.doi.org/10.1556/smus.54.2013.3.1.
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There are two basic types of Japanese female shamans, representing two different categories regarding their social position and their musical activities. (1) The medium type shamaness, the itako comes from a stratum of the rural society which lives in relative modesty and whose musical activities belong to folk art. The ceremony takes place in the itako’s house, in front of the house altar, kneeling on tatami. She improvises dialogs with previously living persons who speak through her mouth, or recites stories, ballads to “entertain” the deities. Among her musical instruments, the weapon-like catalpa bow holds an outstanding place. (2) The other type of shamaness, the miko is connected with the functions of shrines, their social position is basically on par with that of priests active in Shintô shrines. The miko’s main musical activity is to perform ceremonial dances in front of the shrine. Their dances are accompanied by chant and/or small instrumental groups (flute, drum). The third, indispensable instrument is the sistrum, held by the dancers themselves. The paper is based on the author’s personal field research conducted in 1988 and 1994.
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Yulita, Birgita Iyona, Bagus Susetyo, and Irfanda Riski Harmono Sejati. "Exploration Of Lampung Traditional Music In Efforts To Preserve Culture By Kulit Tipis Community In Bandar Lampung." Jurnal Seni Musik 10, no. 1 (June 27, 2021): 47–56. http://dx.doi.org/10.15294/jsm.v10i1.46898.
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Traditional music is one of the elements of culture keeping the continuity, dynamics, cultural identity and also becoming a vehicle for transmitting the cultural values inherited from generation to generation. This study aims to identify and describe the exploration of traditional music Lampung as an effort to preserve music culture by the Kulit Tipis community in Bandar Lampung. This research was conducted using qualitative methods. Data collection techniques used literature study, observation, interviews, and documentation studies. The results showed that there were efforts to preserve Lampung traditional music by Kulit Tipis community in Bandar Lampung, namely: (1) Collaborating traditional Lampung musical instruments with modern musical instruments or traditional musical instruments from other regions. (2) Making musical compositions from Lampung folk songs or modern pop songs today. (3) Performing musical exploration performances in various festivals, regular bands, and competitions in Lampung or outside the Lampung area. (4) Creating and uploading their video recordings of musical composition performances from the Kulit Tipis community through social media, such as YouTube.
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Noya, Aksa. "City Branding Ambon City Of Music Sebagai Folk Identity Music Di Maluku." Resital: Jurnal Seni Pertunjukan 21, no. 3 (August 6, 2021): 138–49. http://dx.doi.org/10.24821/resital.v21i3.4488.
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The article of city branding on Ambon City of Music discusses the legalisation of folk music identity in Maluku. By using the qualitative research method with a case study approach. Data obtained were primary data in the field, and the secondary data were obtained from various media. Data was collected by doing direct interviews and essential documents. Ambon City of Music is an iconic branding that becomes the identity for the people of Maluku. The people of Maluku have music DNA so that it is worth mentioning as a City of Music. It can be seen through the selection of Ambon city as a City of Music by UNESCO in October 2019. Ambon City has become a new identity to introduce the musical culture of the Maluku people. Music is used as social capital in creating peace, while the acculturation of the folk music genre is a symbol of community identity in Maluku. The author argues that the branding of Ambon City of Music itself elevates the dignity of folk music identity. The people of Maluku are known as having the highly musical skills, singing, and experts in playing traditional instruments, such as tifa, totobuang, bamboo flute, tahuri, etc. The recognition by UNESCO strengthens the musical identity of the people of Maluku in the world. Ambon city branding is a legitimation of Maluku folk identity in music and singing and a city of peace because of the music, with the result of the people of Maluku collectively having an awareness of primordial relations.
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Rytov, Dmitrii. "Digital Transformations and Musical Education on the Traditions of Folk Instrumental Culture." Cultural and Historical Heritage: Preservation, Representation, Digitalization 5, no. 2 (2019): 46–54. http://dx.doi.org/10.26615/issn.2367-8038.2019_2_005.
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The paper presents the peculiarities of introduction of digital technologies in musical education on traditions of folk instrumental culture, the potentials of building an educational process on the basis of centuries-old traditions of the Russian people, its richest cultural heritage, in particular, folk art culture. Functions of folk art culture are shown and analyzed. The core viewpoint of the paper is showing the importance of knowledge and respect for own culture as a guarantor of self-preservation of the ethnic group, strengthening of social self-awareness, formation of tolerant relationships and relationships with other ethnic groups. The importance of folk instruments in children's musical education is considered. The possibilities of solving the problem of archiving of cultural heritage products and providing them with full access are explored. Modern opportunities of distance education and use of digital technology resources in music education are demonstrated. Keywords: folk art culture, cultural heritage, traditions of folk instrumental culture, translation of cultural values, digital technologies, information environment, distance education
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Georgieva Fileva – Ruseva, Krasimira. "MUSICAL MEANS OF EXPRESSION TAUGHT VIA AN ELECTRONIC TEXTBOOK FOR FOURTH GRADE OF THE GENERAL EDUCATION SCHOOL." Knowledge International Journal 34, no. 6 (October 4, 2019): 1697–702. http://dx.doi.org/10.35120/kij34061697g.
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Musical means of expression - this is the language of music, the materialization of the idea of the one who created the particular musical work, the means by which the listeners can reach the author's idea. Knowledge of some musical means of expression, such as harmony and polyphony, requires a long preparation, they are accessible to professionals. Others, such as dynamics (force of sounding), rhythm, metrum, timbre, the main characteristics of the melody, are accessible to any listener who is familiar with their possible meanings. Due to the great importance of the musical means of expression to understand the meaning, the message of the work, they are studied in music classes in the Bulgarian general education school in a form accessible to the age of the students. The music curricula require the teaching musical means of expression each school year. Initially, they are presented in the most elementary form without introducing terms, gradually, with each new school year, knowledge is upgraded and complicated. In this publication, I will present some of the tasks involved in teaching musical means of expression through the electronic textbook for fourth grade at Prosveta Publishing House.At first tasks are placed for mastering the new information. Such tasks are, for example:- Horizontal arrangement of dynamic signs, starting from the sign for quietest sounding to the sign for strongest sounding. Graphs of dynamic signs are offered that students to rearrange to the correct order;- Tasks of calculating durations, such as “at three-quarters size, which groups of note values make one beat?” Of the suggested answers, “a half and two eighths”, “a dotted quarter and three eighths” are true;- Tasks for arranging of photos of known for the pupils musical instruments in a table by indications: strings, plucked strings, wind instruments, keyboard instruments, percussion instruments; as well as "Bulgarian folk" and "classical".Later the tasks become more complicated. In another electronic resource the students listen to the piano piece "Bagpipe" by Bulgarian composer Dimitar Nenov, but the title of the piece does not reported. Fourth-graders, answering the following questions: what dynamics prevail in the play; whether a low voice that maintains the same tone sounds and for which Bulgarian folk instrument this is distinctive; in which folk musical instrument the initial tone of the melody is reached with a slight "sliding" in an upward direction; have to guess which Bulgarian folk music instrument is imitated.In a next task, students are asked to indicate by what musical means of expression - what size, character of melody, character of accompaniment - the characters of a child operetta on the Andersen story "The Brave Lead Soldier" are depicted.In other electronic resources, students are now required to compose a brief musical description of the characters of the fable "Grig and Ant". At first, students answer questions about what is the nature of each of the two characters - grig is cheerful, irresponsible, lazy, vain, party-goer and a little cheeky, and ant is hardworking, unpretentious, thrifty, even stingy, devoid of compassion. Through successive questions are clarified the appropriate dynamics, timbre, metrum, rhythm and character of the melody to "portray" the characters. Then pupils proceed to composing.
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Mambetova, Gulshen Rustemovna. "STRUCTURAL ANALYSIS OF THE CRIMEAN TATAR PEOPLE'S INSTRUMENTAL MUSIC." ASJ. 2, no. 38 (July 14, 2020): 4–12. http://dx.doi.org/10.31618/asj.2707-9864.2020.2.38.11.
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The study of Crimean Tatar musical folklore is one of the urgent scientific tasks of modern musicology, because, despite some existing studies, the musical culture of the Crimean Tatars is still poorly understood. The purpose of the article is to identify the belonging of the analyzed work to the genre of poppies. In the musical culture of the Crimean Tatars, a structural analysis of the Crimean Tatar folk instrumental music from the collection of F. Aliyev “Anthology of the Crimean folk music” has not yet been made, so the choice of topic is due to the need to fill in a significant gap. This study will provide an idea of the Crimean Tatar folk instrumental music.
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Khai, Mykhailo. "Musical and instrumental culture of Ukrainians as a component of the formation of national outlook." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 94–119. http://dx.doi.org/10.34064/khnum2-19.06.
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Background. One of the integrating, determining and identifying forces of the social progress of the entire human community is the custom and folklore tradition of the smallest sub-ethnic units / constituents individual nations and peoples, their verbal and ethno-cultural (including ethno-musical) sources, that, like rivers and brooks, fill the ocean of culture promoting for life and further development. The structure of the traditional Ukrainian musical culture, along with the well-known the old practices of group singing, itinerant kobzars and lira players, also consists of a powerful musical-instrumental component (herdsman’s folklore, calendarian-ritual chanting and dance). The aim and methods of the research. This article examines the phenomenon of traditional instrumentalism from the point of view of its fundamental influences on the worldviews regarding the formation and functioning of the ethnic sound of Ukrainians based on the longtime field-type, theoretical, pedagogical and practical (scientific and reconstructive musical performing) the experience of the author. The research results. Especially effective and such that, in recent years, was involved in the processes of salvation and “strengthening” (the term by S. Hrytsa) of traditional musical aesthetics, is the method of scientific and executive reconstruction of old folk music genres and forms. Systematic scientific-theoretical and structural-typological analytical work aimed at reproducing prototypes and structural details of reconstructed objects, forms, genres and actions of traditional Ukrainian musical culture, including instrumental, was reflected primarily in the research of S. Hrytsa (2000; 2002; 2015), A. Ivanytskyi (2007), I. Matsiievskyi (2012), B. Kindratiuk (2012), V. Yarmola (2014) and the author of these lines (Khai, M., 2011a; 2011b; 2013 and others). The author of the article thoroughly considers special issues of indexing musical instruments according to the system of E. Hornbostl – K. Sachs with the principle of division into classes, subclasses, categories, subdivisions; for the first time in Ukrainian ethnoorganology he carrys out a complete and consistent grouping of Ukrainian folk musical instruments. It is stated that the most important criteria of all classifications are: form, construction, structure, way of playing, repertoire, manner of performance. The criteria of traditionalism and functioning of folk instruments are determined separately (see: Khai, M., 2011a: 145–261). Based on this, Ukrainian folk musical instruments are considered in the following groups: 1) folk idiophones (self-sounding), 2) folk membranophones; 3) folk chordophones (strings); 4) folk aerophones (wind). Analyzing the existing classifications of national instrumental music, the author puts forward the thesis: areas of distribution and “density of ingrowth” of non-ethnic and authorial elements in the traditional centers of Ukrainian national instrumental music are mostly related to factors of geographical proximity, of natural extinction and administrative-repressive planting of alluvial and so-called “parallel” culture. Experiments on the instrumental traditions of Ukrainians, along with the autochthonous traditional instrumental repertoire, testify to the active functioning at the level of reception / ingrowth of works of other national origin. The interethnic and inter-genre transformation of the folk-instrumental style is connected with the spread of the Moscow, Polish, Romanian and Jewish intonation elements on the territory of the country. Touching the extremely complex and topical problems of archetypal traditional culture, interethnic relations of nations in the modern kaleidoscope of globalization processes, the article focuses on the negative (forced, administrative-aggressive absorption and destruction) and the positive (diversity, enrichment) interactions of the mentioned cultural elements. Characterizing from the positions mentioned here the main features of the ethnic sound ideal in the instrumental tradition of Ukrainians, the author defends its “European model” (tendency to cantilena sound of violin and flute ) as opposed to the type, which dominates the ethnosonic aesthetics of East – tremolo on one string. For the first time in these studies, the thesis is asserted that sounds that imitate the human voice or complement it predominate in Ukraine: flute cantilena, bandura-kobza and partly cymbal arpeggio, which differ significantly and fundamentally from the “Asian” coloristics of one-string tremolo. Conclusions. The final outcome of the study, about the cathartic function of traditional instrumentalism and musical culture in modern social-sublimation processes of human development and, conversely – about neglecting it as a manner to the complete destruction of human civilization as such, steers away from pessimism, inspiring hope for survival in the cataclysms of nature and society as a whole.
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Hromchenko, Valerii. "Vocal instrumentality as the ethno-cultural feature of V. Martyniuk's composer style (the case of compositions for wind instruments)." Culturology Ideas, no. 20 (2'2021) (2021): 99–106. http://dx.doi.org/10.37627/2311-9489-20-2021-2.99-106.
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The article discloses the instrumental language nature of Dnipro composer Valentina Martyniuk from the perspective of the ethno-cultural features for master's author style. The investigation is being carried out on the basis of compositions for wind instruments, namely "Interview on a given topic" for clarinet solo, Vocalize for flute and piano, as well as Melody for horn (or flute) and piano. The investigation has established the defining foundation of the vocal of the composer's instrumental language to be the phenomenon of folk singing style of artistic instrumental creations. This phenomenon is born on the productive basis of national genre, namely Ukrainian solo singing. V. Martyniuk realizes artistic creative potential in the singing expressive melody, improvisation, priority of solo representation of musical compositions, the composer removes the assignment of a certain instrument for a specific musical composition, creates the priority for secondo-third interval connections. The author of the article affirms the contemporary conception of Ukrainian instrumental solo singing in the academic instrumental music.
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Kurniawan, Rama, and Syeilendra Syeilendra. "BENTUK MUSIK SALUANG SIROMPAK VERSI ABAH EMI PADA ACARA ALEK PEMUDA DI PARIK DALAM NAGARI TAEH BARUAH KABUPATEN LIMA PULUH KOTA PAYAKUMBUH." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 1. http://dx.doi.org/10.24036/jsu.v9i2.110538.
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This study aims to describe Saluang Sirompak music of Abah Helmi version at Alek Pemuda event in Parik Dalam, Taeh Baruah village, Lima Puluh Kota regency, Payakumbuh City. This research belongs to a qualitative research using a descriptive approach. The main instrument in this study was the researcher itself and was assisted by supporting instruments such as writing tools and cameras. The data were collected through literature study, observation, interview, and documentation. The data analysis was conducted by collecting the data, clarifying the data, and summarizing the data. The results show that Saluang Sirompak of Abah Emi version is a folk performance art which is previously used as a ritual mean. Its song is in the form of a rhyme accompanied by Saluang and Gasiang Tangkurak musical instruments. There is no difference between the previous and current Saluang Sirompak song text anad between the old and present Saluang melodies. The use of the term Saluang Sirompak comes from the word Rompak /Rampok, so the lyrics are related to someone's desire to own someone by force. The musical form of Saluang Sirompak is a combination of Dendang accompanied by two musical instruments: Saluang Sirompak and Gasiang Tangkurak which form a complete unit. The music consists of three parts: part one (opening) of Saluang Sirompak and Gasiang Tangkurak instruments, part two (content) of Dendang accompanied by Saluang and Gasiang Tangkurak instruments, part three (closing) of saluang sirompak and gasiang tangkurak instruments. The music in Saluang Sirompak show has a minimum duration of 20 minutes. It starts with the Gasiang player who screams as a symbol of the beginning of part one. Dendang on Saluang Sirompak music is in the form of rhyme repeated alternately between one singer and another by singing one song, and this is the part two (content) of Saluang Sirompak music.Keywords: Saluang Sirompak music, Abah Emi’s version, Alek Pemuda event
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Dukaļska, Iveta. "MUSIC-MAKING IN A FAMILY – THE LIFELONG LEARNING TRADITIONS AND CHALLENGES OF HOME-LEARNING." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 78–89. http://dx.doi.org/10.17770/sie2021vol4.6424.
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The aim of the present study is to compare the training of folk musical instrument play within families until 1960s in the traditional cultural environment of Latvia’s countryside to the opportunities of the same training in the early 21st century – outside the formal education but within the context of life-long learning.Data for the research were acquired in field study, questionnaires in the virtual environment, and also the information from the Internet on the offer of music schools and institutions of non-formal education in the field of musical instrument play was used.Until 1950s and ‘60s the basics of the musical instrument play were acquired by children within their respective families, with the musicians of the elderly generation being their tutors. The aspirations to become a musician were sparked by family traditions, the high esteem of a musician as a personality by the local community, as well as the child’s own willingness and perseverance in acquisition of an instrument’s technique. The field-study interviews show musicians always referring to past experience and family tradition, namely, some member of the family already was a musician – granddad, dad, uncle – while granny or mother have been good singers. In the cultural environment of 1960s’ countryside the two traditions – singing and music-making – are separated. The tradition of singing (both everyday and church) and its functioning in the local community was mainly sustained by the women, while playing the instruments was the part of the men. The children started to acquire the technique of a musical instrument roughly at the age of 6–10 years, while the full status of a musician within a community could be acquired by the aspiring player as early as at the age of 16, after having played for several times at some community events (an open-air dance “zaļumballe” or an evening get-together „večerinka” in Latgale). During that period the playing skills were acquired without the ability to read score, based on musical memory.At the end of the 20th century and the early 21st most frequently the playing skills of an instrument (like violin, clarinet or accordion) are acquired attending some institution of music education, while both children and adults have an opportunity to learn the technique of some folk instrument (zither, harmonica, little drum, etc.) within some non-formal education setting or that of an amateur group.The present study analysis the factors either helping or hindering the continuation of the folk music- making tradition in the cultural environment of the 21st century, based on the opportunities for learning the techniques within the home-learning and life-long learning contexts.
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Talam, Jasmina, and Lana Paćuka. "Echoes of Forgotten Time: Professional Folk Musical Ensembles in Cafes of Bosnia and Herzegovina (1878–1918)." Musicological Annual 54, no. 1 (June 29, 2018): 75–87. http://dx.doi.org/10.4312/mz.54.1.75-87.
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Traditional folk music of Bosnia and Herzegovina can be best understood in light of the multicultural heritage of Bosniaks, Serbs and Croats, as well as many ethnic minority groups. But in the period 1878–1918, traditional music became open to Western European influences. Openness, as well as exposure, to the “new” becomes one of the characteristic signs of the Austro-Hungarian empire, whose new system of governance brought the unknown Western European cultural spirit to the population of Bosnia and Herzegovina. In the mentioned period, new musical instruments appeared, which were previously unknown (e.g. clarinet, accordion), as well as professional musical ensembles which were not common in Bosnian tradition. These and similar appearances made the period of Austro-Hungarian empire a unique turning point in the development of urban traditional music which was developed within the Bosnian and Herzegovinian cafes.
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Truyền], Nguyen The Truyen [Nguyễn Thế. "What is Known About Some Music Features and Song Lyrics of the Khmer Living in the South of Vietnam?" ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 7 (June 21, 2021): 55–68. http://dx.doi.org/10.30819/aemr.7-4.
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In this article, the author will present some research issues as follows: Musical expressions of love for the homeland, Love among men and women, family affection, and attachment to work. The Khmer inhabiting South Vietnam practice all these expressions. In another short section, common characteristics with the music of other ethnic groups in Vietnam include similar instrumental music, scales used and rhythmic structures applied. Thereby, the author reviews categorizations undertaken in the past demonstrating that Khmer music strictly belongs to one ethnic group in the country. Also, musical instruments have been categorized in similar ways, using the Hornbostel-Sachs descriptive tools: Chordophone, Arephones, Idiophones, Membraphones, which are using a variety of scales and modes. It is also said that the inheritance and promotion of the typical values of Khmer music into social life, was a very pragmatic fact, which needs more attention. The use of the term “Folk Music” is only reflecting on a certain approach supported by cultural policies toward minorities from the 1970s to 2010.
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Lipták, Dániel. "Hungarian Ethnomusicologist Oszkár Dincsér (1911–1977) as a Pioneer of Musical Anthropology." Studia Musicologica 59, no. 1-2 (June 2018): 79–97. http://dx.doi.org/10.1556/6.2018.59.1-2.7.
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There are marked differences between Hungarian and American ethnomusicology in incentives, aims, interests, and methods. Hungarian research was based in the early twentieth century on study of musical form, while the Americans approached music in terms of social context and functions. However, Hungarians from the mid-1930s onward moved toward an increasing interest in the social aspects of folk music. Oszkár Dincsér, a lesser known researcher of Kodály's school, exemplifies this trend in his 1943 study of chordophone instruments in the Csík (in Romanian: Ciuc) County region of Transylvania Két csíki hangszer. Mozsika és gardon (Two instruments from Csík. Fiddle and gardon). A comparison with Alan P. Merriam's fundamental work The Anthropology of Music (1964) reveals that Dincsér's study includes almost every topic and approach set out by Merriam twenty years later. Although Dincsér's scholarly career ended with his emigration in 1944, he remains an important forerunner of musical anthropology.
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Daniliuk, Ya V. "The development of the art of the domra playing in Ukraine in the context of the revival of folk musical-instrumental culture at the turn of the XX–XXI centuries." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 120–40. http://dx.doi.org/10.34064/khnum2-18.07.
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Formulation of the problem. The article contains the analysis of the problem of the domra performing development under conditions of strengthening the culture-creating role of folk instrumental art in the late XX – early XXI centuries. The analysis of historical and pedagogical sources ensured the authenticity of the author’s determining the prerequisites for the development of the domra art in the time studied. Among them there are: the deep historical folk and academic traditions of the domra playing, popularity of the amateur and professional domra performing and composer creativity, development of the process of teaching the domra, scientific research in the field of art history, pedagogy and methodology, and the like. It was established that the development of domra performing in the context of the general process of forming Ukrainian organology as an independent scientific and artistic field in the late XIX – early XX centuries was greatly contributed by the scientific and practical proceedings of scholars, such as the art historians, educators and artists P. Demutsky, K. Kvitka, M. Lysenko, S. Liudkevych, H. Khotkevych and others, who substantially studied the properties of various national musical instruments (domra, flute, trembita, kobza-bandura, lira, violin, cymbals, bassolia, tambourine, buhai, drymba, horseshoe, derkach and others). At the same time, there is a lack of elaboration of the problem of the development of domra art in Ukraine both in terms of studying the theory and methodology of modern folk instrumental performing, as well as in historical and pedagogical terms. In particular, the development of questions of the development of domra performing in Ukraine at the turn of the XX–XXI centuries remains not completely exhausted. Proceeding from this, the purpose of the article is to analyze the prerequisites and factors of the formation of domra performing in Ukraine in the context of the dynamics of the national folk musical and instrumental culture in the late XX and early XXI centuries. The appliance of problem-chronological, comparative historical and retrospective methods allowed the author to scientifically substantiate the facts of the national domra performing development in the late XX – early XXI centuries. The study’s results. An important factor in the development of domra performing art at the crossroads of the centuries was the rethinking of the existing and the creation of a new repertoire policy of performing activities. Traditionally, the repertoire basis of domra performing art was drawn from two key sources: the folk repertoire, which developed depending on the historical conditions specific to the folk instrumental genre, and from academic works that inherited the traditions of European and native cultures of the XX century. It was discovered that during the period under study, the development of domra’s performing was facilitated by the stylistic and substantial enrichment of the repertoire for solo and ensemble, the search for new timbre-articulation connections, new ensemble heterophony – co-creation of composers and performers-domrists, who provided the appearance of new original content, form, performing technique of composer discoveries, so that at the turn of the XX – XXI centuries appeared a significant number of modern compositions for domra. In the article it is noted that in the period under study, the musical and performing arts to a certain extent found independent status as a special field of identifying the musician’s artistic and creative abilities in terms of the original interpretation of musical works and masterly performance on the instrument. The development of the domra art was facilitated by the improvement of the process of preparing performers, the publication of teaching and methodic aids built on the fundamental musical and theoretical basis, the appearance of the constellation of new world-famous talented performers on this instrument. The level of professional training of performers on folk instruments had become so high that it allowed not only to widely adapt classical works created for other musical instruments, but also to successfully write and perform new original domra compositions. At that time, in Ukraine, original instrumental schools of folk-instrumental art were preserving and continuing to form, known both, locally and internationally, including the Kharkiv school (М. Lysenko, F. Kоrоvai, B. Mikhieiev, Ya. Danilyuk, N. Kostenko, I. Kononova and others), Donetsk school (V. Ivko, S. Bilousova, T. Lytvynets, T. Setti, I. Maksymenko and others), Kyiv school (S. Bilokoniev, V. Bilous, L. Matvyichuk and others), Odesa school (V. Kyrychenko, S. Murza, A. Oleinyk, D. Orlova, I. Formaniuk and others) and Dnipro school (N. Bashmakova, V. Kikas and others). Each school, while retaining its originality in approaching the repertory basis selection, the expansion of performing techniques, the development of teaching domra performing methods, was marked by significant achievements in the development of domra performance art in Ukraine in the period under study. A significant factor in the rise of the domra performing art was conduction of a wide concert and festival popularization activity aimed at promoting the national Ukrainian art in Ukraine and abroad. Analysis of concert-competitive programs, announcements, booklets, informational messages in Internet sources confirms the conduction in Ukraine at the turn of the XX – XXI centuries of a significant number of competitions of national and international level, where Ukrainian domrists demonstrated high skills in the nominations “Domra” and “Ensemble Performance”. Such as the International Competition of Performers on Ukrainian Folk Instruments named after Hnat Khotkevych, the International Folk Instruments Performers Competition “Art-Dominanta”, the Nationwide Festival-Competition of Performers on Folk Musical Instruments “Provesin”, the Nationwide Open Festival-Competition of Performing Arts and Play on folk instruments “Barvy Poltavy” (Poltava Colors), the annual Forum of performers on folk instruments within the International Festival of Musical Art “Music Without Borders” and others. Conclusion. Identified trends are a guarantee of further academicization of folk instrumental art (publication of teaching and teaching aids and methodical literature, development of research work, enrichment of the system of contests of performers, etc.), as well as the spread of the concert and festival movement aimed at promoting national Ukrainian art, search of its new identity and independence, where the domra music has its rightful place.
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Rikhter, Nina P. "Musical Education in Urban Primary Schools of Russia in the Second Half of the 19th – Early 20th Centuries." Musical Art and Education 7, no. 3 (2019): 151–62. http://dx.doi.org/10.31862/2309-1428-2019-7-3-151-162.
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In this article, in order to find ways to develop modern music education, the experience of musical education of pupils in primary schools in the second half of the 19th – early 20th centuries, in particular, in urban primary schools under the “Regulation of 1872”, is examined. Despite the fact that singing and playing musical instruments were not included in the curriculum of urban schools and were taught outside the classroom time, various examples of teaching singing and playing musical instruments to pupils of urban schools in different regions of Russia are given in the work. The work shows that in a number of schools, for example, in Moscow urban schools, serious attention was paid to music education, singing was a compulsory subject. In some schools, for those who wish, in addition to basic subjects and more often for a small fee, training in playing musical instruments was organized. The article addresses the purpose, content, methods, forms of teaching singing, teaching aids, the use of musical instruments in the lessons, the educational level of teachers, analyzes the change in the status of the subject of singing in the process of reforming the primary education system and transforming urban schools into higher primary schools. The study shows, for example, that one of the main goals of the training was to develop and strengthen the morals of pupils. The content of the training was composed of church chants, prayers, hymns, secular patriotic songs, folk songs, and musical deed. This article may be may be interesting to music education historians, scientists and teachers, university students.
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Dabczynski, Andrew. "Swinging on a Gate: Teaching Traditional Folk Music as Chamber Music." American String Teacher 42, no. 3 (August 1992): 78–80. http://dx.doi.org/10.1177/000313139204200333.
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Having raised their instruments to playing position, the ensemble members directed their eyes in anticipation toward the lead player. His bow poised above the strings, he dipped and raised his scroll, indicating a predecided tempo, and with his final, magnified preparatory gesture, the group began its well-rehearsed rendition of an often-performed selection from the standard literature. With energized precision, the players executed their individual roles; the harmonic structure became rarefied by way of carefully manicured intonation, contrasting rhythmic motives were meticulously manipulated one against another, and all in support of a shimmering melody which floated above the rest with a sense of ease belying its technical complexity. The performers never failed a moment in their communication with each other; eye contact was ever present, balance was adjusted by facial expressions recognized among the players, and spontaneous musical nuances were met with knowing smiles of approval. The audience became instantly engaged, responding to the familiar strains of the melody. Soon they were reacting physically to the rhythmic buoyancy of the music, becoming increasingly involved in this magnificent presentation. And with the final repeated chords of the coda, the crowd burst into joyous applause and shouts of praise, thrilled to have been able to take part in this encompassing artistic experience.
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Richter, Pál. "The Harmonization of Folk Songs in Kodály’s Workshop." Studia Musicologica 60, no. 1-4 (October 21, 2020): 265–79. http://dx.doi.org/10.1556/6.2019.00013.
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When Béla Bartók and Zoltán Kodály began systematically collecting folk songs, they almost exclusively encountered monophony, which subsequently featured as their compositional inspiration. As a musical phenomenon, monophony differed sharply from the harmonically based, often overharmonized, polyphonic universe of Western music. However, they also encountered coordinated folk polyphony, in the context of instrumental folk harmonizations. Taking into account the instrumental folk music both Kodály and Bartók collected, this study compares the two main types of folk harmonizations with folk song harmonizations in the works of Kodály, whose related theoretical statements are also considered. This study offers an in-depth analysis of six fragments from Kodály’s major folk-song arrangements to highlight the features of Kodály’s folk song harmonizations.
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Howard, Karen. "A Singing Dance From Bulgaria." General Music Today 32, no. 3 (March 12, 2019): 31–36. http://dx.doi.org/10.1177/1048371319834082.
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Folkloric music and dance in Bulgaria are performed as has been for generations, but also present are innovative hybrids in text, form, and instrumentation. Historically, traditional musical activities were divided by gender with singing a priority for women and playing instruments for men. This has been rapidly changing as in so many countries, and gender is no longer a hard and fast rule regarding specific means of music participation. This article will offer a brief description of particular musical traits from the different regions of the country, and it will then feature the score and teaching suggestions for a popular folk song and dance “Trâgnala Rumjana” that can be implemented in elementary and secondary general music classes.
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Yan, Yang. "The formation of the Chinese orchestra of traditional instruments of a new type in the 1920s-1930s." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 165–80. http://dx.doi.org/10.34064/khnum1-50.12.
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Background. The history of the development of orchestral music for Chinese traditional instruments covers more than a thousand years. During this time, the traditional orchestra has undergone significant changes. In the article the modern stage of the development of the orchestra of a new type is considered starting from the 1920s, when its modification began and integration with the principles of the Western Symphony Orchestra. The modernization of the Chinese orchestra of traditional instruments began in the twentieth century after the overthrow of imperial rule and the emerging changes in Chinese society. Nevertheless, the process of integrating the Western musical traditions was carried out in China for several centuries, which prepared the ground for the qualitative changes that began in the 20th century in the field of national musical art. The development of orchestral music for Chinese traditional instruments is not sufficiently studied today in musicology. One of the little studied periods is the initial stage of the formation of the Chinese orchestra of folk instruments of a new type in the 1920s – 1930s. Objectives. The purpose of the article is to reveal the prerequisites and specifics of the formation of the Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s, to determine the role of outstanding Chinese musicians in the process of modernizing the orchestra and creating the appropriate national repertoire. The methodology of research is based on musical-historical approach combined with musical-theoretical and performer analysis. Results. The first shifts in the integration of Western and national traditions in Chinese traditional orchestral music became possible thanks to the activities of the music society “Datong yuehui”, as well as the emergence of higher professional musical institutions in China and the training of Chinese musicians abroad. The most important role in the formation of the Chinese orchestra of traditional instruments of a new type was played by outstanding musicians Zheng Jinwen, Liu Tianhua, Zheng Tisi. Zheng Jinwen was the initiator of the creation of the society “Datong Yuhui” in 1920. He began the process of standardizing various Chinese instruments with the goal of unifying their sound tuning fork. This was necessary for a well-coordinated game in the orchestral ensemble. The musician modernized and developed new methods of tuning traditional instruments for flute dizi, multi-barrel sheng and expanded the orchestra to forty people. Zheng Jinwen adapted the national repertoire to a new type of orchestra, performing as an author of orchestral transcriptions of ancient music for traditional Chinese instruments. Liu Tianhua became the creator of the Society for the Development of National Music at Peking University (1927–1932). The musician reformed the old system of Chinese notation “gongchi” based on hieroglyphs, modernized it and adapted it to the Western musical notation. Substantial achievement of Liu Tianhua was a significant modification of the erhu with the replacement of strings by metal, changing the settings in accordance with the standards of Western stringed instruments. As a result, the erhu acquired the status of a leading or solo instrument in a new type of orchestra. The activity of the first modern Chinese orchestra of traditional instruments, the musical collective of the Broadcasting Company of China, created in Nanjing in 1935, had a great importance. In 1937, from the Second Sino-Japanese War, the orchestra was transferred to Chongqing, and after the victory of the Communists in 1949, he moved to Taiwan. One of the orchestral musicians, Zheng Tisi, played an outstanding role in the formation of this group. The musician carried out the reformation of this orchestra in the field of tuning instruments. The range of the orchestra was expanded by the introduction of additional wooden string instruments dahu and dihu, having a volumetric sound-board and tuned an octave below the violin erhu. Their purpose was to fill the lower register, alike to the cellos and double basses in Western orchestras. For the first time the post of conductor and his assistant was introduced by Zheng Tisi, which was also able to attract professional composers to create a multi-voiced orchestral national repertoire. The innovations of the outstanding musician made his orchestra a role model for all subsequent similar contemporary Chinese orchestras. Conclusions. The process of forming a Chinese orchestra of traditional instruments of a new type in the 1920s and 1930s made it possible to modernize Chinese traditional folk instruments and the ancient Chinese notation system in order to adapt Chinese orchestral music to the integrative processes in musical art. Orchestral music was reformed in accordance with the principles of Western European symphonic and conducting art. In this process, outstanding highly professional Chinese musicians who contributed to the development of orchestral music in their country and the creation of a corresponding national repertoire played the leading role.
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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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Minyakov, I. D. "The influence of folklore and genres in V. Bibergan’s music." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 59–63. http://dx.doi.org/10.30725/2619-0303-2020-4-59-63.
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Vadim Bibergan’s music for Russian folk orchestra is important artistic phenomenon and material for study of his musical style. The patterns that define this style are rooted in many of its aspects. Among them, two very noticeable ones can be distinguished: the influence of various genre models and the connection between the composer’s music and folklore, both Russian and foreign. The influence of folk music is determined by at least three parameters: attitude towards quotations from folklore primary sources, the formation and development of musical material, and the introduction of syncretistic features with other arts. The connection of the composer’s works with various genre models is defined as stable, organic and interpreted in different ways within the framework of the entire work of Bibergan. Both above influences are organically built into the style and are its substantial component. Their definition and description are the essence and task of the article, the implementation of which determines its originality and positivity from the point of view of subsequent research on the same topic. The study used the original compositions for the orchestra of Russian folk instruments, the analysis of which is an additional contribution to the study of the music of the St. Petersburg author
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Semergeev, Valery B., and Gennady K. Afanasiev. "TRADITIONS OF BALALAIKA ART IN OREL." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 197–202. http://dx.doi.org/10.17223/22220836/39/18.
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The role of a musical instrument in the development, preservation and revival of the native cul-ture, in the establishment of esthetic consciousness of multinational Russia’s peoples is difficult to overestimate. Balalaika has won the audience’s hearts, and today it is difficult to find balalaika admirers who are not familiar with performances of accomplished balalaika players – People’s Artist of the USSR, the laureate of state prize, Professor P.I. Necheporenco, People’s Artist of Russia, Pro-fessor E.G. Blinov, and their many students and followers. Orel is home of one of the oldest educational institutions in Russia – Orel Musical College, which, according to the archive documents of Orel and St. Petersburg, was founded in 1877. The good name of the College is supported by its today’s students and teachers. It is here where Orel’s balalaika education was established and developed. In August 1953, on the initiative of the Main Department for Arts of the Ministry of Culture of the Russian Federation, the graduate of the Department of String Musical Instruments of Oktyabrskaya Revolutsiya Music College (now “A.Schnittke Moscow State Institute of Music”) Vera Ivanovna Max-imova came to Orel. It was V.I. Maximova who took charge of creating the string folk music instru-ments class. She also taught domra and balalaika class and was the head of the folk music instruments orchestra of the College. She traveled a lot seeking out young talents in the districts of the Region. Lukonina Lubov Ivanovna, a famous teacher in Orel, combines her work in the ensemble “Or-lovski Suvenir” (“Orel Souvenir”) with educating younger generation of musicians and teachers of Orel. Following their teacher’s traditions, L.I. Lukonina’s students participate in various contests and become laureates. The graduate of Orel Music College, Nadezhda Mikhailovna Kovaleva carries on the work of A.V. Dorofeev and V.I. Maximova. In 1969 she enters the Tambov Branch of Moscow Institute of Culture. For family reasons she interrupts her studies and continues her education at the Orel Branch of Moscow Institute of Culture (now Orel State Institute of Culture). Alexander Alexandrovich Somov is one of the few balalaika players who, for many years, is demonstrating excellent performing skills, stability, brilliant virtuoso technique, impeccable musical taste, artistry. It is amazing how sonorous the voice of the balalaika becomes when it is in the hands of the virtuoso performer and propagandist of this Russian beauty. Stacatto dance tunes and brooding reverie, vigorous energy and strict simplicity fill the musician’s play. Graduating from V.S. Kalinnikov Music School in Orel, balalaika class of N.M. Kovaleva, he entered Orel Music College, the class of L.I. Lukonina. After the graduation A.A. Somov served his military service and entered Rostov State Music Institute (now Rostov State Conservatory. Rachmaninov). He was enrolled in the class of the famous balalaika player, Honored Artist of Russia, rector – А.S. Danilov. At the Institute he worked in the ensemble “Dontsi” (artistic director – Honored Worker of Culture of the Russian Federation, A.P. Kolontaev). Selina Galina Ivanovna is one of those prominent musicians-teachers who are capable of encouraging love for music in their students. She is sincerely involved in her work, which is aimed at bringing both professional skills and rich musical knowledge to students. In Orel there is a professional orchestra of folk music instruments, which is the first orchestra of this kind in the history of the Orel Region. It engages Orel’s best musicians and teachers. The first performance of the professional orchestra of folk music instruments took place in Orel on November 5, 1987. The orchestra was created on the basis of the Region’s musical society. In January 1991, by the decision of the administrative bodies of Orel, it received the status of the munici-pal orchestra. The founder and artistic director of the ensemble is Honoured Art Worker of Russia, Professor of the Orel State Institute of Culture, Viktor Kirianovich Suchoroslov. Orel’s educators are trying to revive and spread the native Russian traditions of instrumental per-formance and enrich them with high performing culture. Creative and pedagogical activities of balalai-ka players in the Orel Region convincingly show the high professional level of musicians. Teachers of modern children's art schools, College of Culture and Arts, Music College and Orel State Institute of Culture are highly qualified, competent and dedicated professionals who inspire their students. Crea-tive and pedagogical activities of balalaika players in Orel contribute to further preservation and development of this type of performing art.
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Мurtozova, S. B. "From the history of music education in Uzbekistan." International Journal on Integrated Education 2, no. 4 (October 3, 2019): 32–38. http://dx.doi.org/10.31149/ijie.v2i4.108.
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This article is devoted to the study of the history of music education in Uzbekistan. Generalized questions about the changes in the field of music that occurred after the establishment of Soviet power in Uzbekistan, the subordination of music education to the ideas of communist ideology, the organization of local music, choral schools, schools of folk music, which focused on the promotion of European music.
Analyzed information about the first institutions of music education organized in the region at the beginning of the 20th century, the representatives who carried out their activities there, as well as the transformation processes that took place in this area, the formation of the music education system, ranging from elementary schools to higher musical education.
Considered such issues as the creation of textbooks, textbooks on music education, the publication of collections of children's songs, other books for schools and kindergartens, since the 30s of the twentieth century.
The opening of musical institutions in a number of regions of the country in the 60s of the twentieth century was important in the positive solution of the personnel question in the musical sphere, the organization of special classes on Uzbek folk musical instruments in all these institutions were positive changes in the musical sphere, these data are highlighted based on archival sources.
At the same time, the article describes the changes that occurred during the years of Soviet power in the field of music education in Uzbekistan, in particular, the organization of primary music schools, music schools, changes in this area, problems, information about the material and technical base of music education institutions.
The essence of such issues as widespread promotion of music schools mainly in large cities of Uzbekistan, training in these educational institutions in most cases only urban children, problems existing in this field, the proportion of representatives of local nationalities, teaching music theory in secondary schools, special music schools, colleges and conservatories was one of the most serious problems.
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Cellini, Gianluca. "Some Analytical Consideration on Indonesian Metal Music." International Journal of Creative and Arts Studies 4, no. 1 (June 1, 2017): 71. http://dx.doi.org/10.24821/ijcas.v4i1.1956.
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The widespread of metal music had crossed the borders of its native lands as a musical and socio-cultural phenomenon that emerged many studies mostly starting from sociological standpoint. By emphasizing the musicological aspect, this paper tried to show how the theoretical proposals of some scholars may be reflected in particular metal music through structural analysis approach. The analysis of a particular folk metal music in Indonesia showed the inclination of its instruments to mimic the interlocking of Balinese Gamelan in terms of patterns, hierarchy, and scale. The character of folk metal music in Indonesia was explained as the rebellion against a world unrestrained consumerism yet in the same time was an attempt to follow the post-modern need to find meeting points that is practicable. This paper suggested to insert the phenomenon of Indonesian metal music in the broader framework of worldwide expansion of this genre.
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Palubinskienė, Vida. "Some Aspects of Schoolchild’s and Students’ Ethnic Identity Development Though Ethnic Instrumental Music." Pedagogika 117, no. 1 (March 5, 2015): 98–109. http://dx.doi.org/10.15823/p.2015.070.
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One of the basic objectives of contemporary pedagogy is developing youth’s national musical culture. In the course of history, when the idea of Lithuanian independence used to become realistic and tangible, special attention was paid to identity issues. The efforts to sustain and to thoroughly foster our traditions, customs, language and ethnical music had the greatest impact on the development of Lithuanian people’s national awareness. The essential categories characterizing the Lithuanian national identity have been and remained self-awareness, language, customs, folk art, and ethnical instruments. Playing instrumental music in ensembles using ethnical instruments has also greatly contributed to preserving of Lithuanian traditions and national identity, as a way of national awareness.
Object of research: Some aspects of schoolchild’s and students ethnic identity development through ethnic instrumental music.
Aim of research: investigate of the meaning of teaching ethnic instrumental music in the process of developing the knowledge of the ethnical identity.
Methods of research: questionnaire scientific methodological literature review, questionnaire and a summary of comparison.
The traditions of playing instrumental music in ensembles are quite old and deep-rooted in Lithuania. Ethnical instruments (the kanklės, reed-pipes, pan flutes, etc.) have been always regarded as a symbol of national awareness. Therefore, continuity and dissemination of related traditions and their application in various aspects contributes, at least partially, to the possibility of preserving national values and developing national identity.
Playing instruments in ensembles helps young people develop their musical listening skills and memory, get more matured spiritually, as well as form aesthetic feelings and artistic understanding of music.
For educators, the ability to play different ethnical instruments is helpful in the respect of having more variety in their classes, involving the learners in extracurricular activities, and making closer acquaintances with the pupils and their parents.
The possibility to develop the national identity of young people by means of playing in ensembles is exploited not only in Lithuania. This kind of experience has been used quite long in the practices of other countries. Therefore, in the rapid course of globalisation processes, it is of great importance to educate the young generation in the spirit of national traditions.
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Jekiel, Mateusz. "Comparing rhythm in speech and music: The case of English and Polish." Yearbook of the Poznan Linguistic Meeting 1, no. 1 (December 1, 2014): 55–71. http://dx.doi.org/10.1515/yplm-2015-0003.
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Abstract The point of departure for the following study is Patel and Daniele (2003), who suggested that the rhythm of a culture’s language is reflected in its instrumental music. The former study used the normalised pairwise variability index (henceforth nPVI), a measure of temporal patterning in speech, to compare the variability of vocalic duration in recorded speech samples with the variability of note duration in music notation on the example of English and French speech and classical music. The aim of this experiment is to test whether the linguistic rhythm conventionalised in the language of a community affects the rhythm in the musical practice of that community, by focusing on English and Polish speech and classical, as well as folk music. The nPVI values were obtained from a set of English and Polish recorded news-like sentences, and from musical notation of English and Polish classical and folk musical themes. The results suggest that reflections of Polish speech rhythm may be more apparent in folk music than in classical music, though more data are needed to test this idea. This initial study suggests that the method used might bring more fruitful results when comparing speech rhythm with less formalized and more traditional musical themes.
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Propst, Tonya Gray. "The Relationship between the Undergraduate Music Methods Class Curriculum and the Use of Music in the Classrooms of In-Service Elementary Teachers." Journal of Research in Music Education 51, no. 4 (December 2003): 316–29. http://dx.doi.org/10.2307/3345658.
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The purpose of this study was to determine which experiences in undergraduate elementary music methods curricula were the strongest predictors of the amount of time elementary classroom teachers used music weekly in their classrooms. A discriminant analysis procedure was used to determine whether the variable clusters considered simultaneously were significant predictors of the amount of time elementary classroom teachers ( n = 297) use music in their classrooms. Of the three variable cluster groupings, two were found to contribute uniquely to the definition of the discriminant function. More than 42% of the subjects were correctly classified as to the amount of time they used music in their classroom by simultaneously considering Variable Cluster 1 (participating in folk dances, singing games, movements; integrating music with academic subjects; creating songs, rhythms, movements) and Variable Cluster 3 (developing call charts; teaching lessons on musical concepts; practicing solfege; reading music notation; playing musical recordings as background music; identifying names of instruments in the orchestra).
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Shemet, L. "Genre and style priorities of accordion performance in traditional common culture of USA." Culture of Ukraine, no. 72 (June 23, 2021): 150–55. http://dx.doi.org/10.31516/2410-5325.072.21.
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The relevance of the study is determined by the wide popularity of accordion in various genres and styles of American folk music, significant achievements of American accordionists in preserving and developing performing traditions in accordance with the ethnocultural specifics of a particular region of the country and presentation of creative achievements of famous American folk groups in the world music space, as well as by lack of the studies on this issue in the field of musicology in Ukraine.
The aim of the study is to define the genre and style priorities of accordion performance in the traditional common culture of Americans, highlight the regional specifics of styles and genres of American folk music, in the reproduction of which the accordion is directly involved, as well as describe textural, articulatory and picking, metric and rhythmic features of playing the instrument.
The methodology. The methodological basis of the study is the interaction of scientific approaches, among which an important place is occupied by historical, cultural, systemic, structural and functional, musicological methods.
The results. In the traditional common culture of Americans, the performance on the accordion is presented quite diversely in terms of the instruments, distribution areas, genre, and style palette of music performed. Historical, sociocultural and geopolitical factors, ethnocultural influences, multicultural tendencies determined the regional specificity of the instruments. The Cajun accordion, the diatonic button accordion, and the chromatic piano accordion have gained considerable popularity in the traditional common culture of various regions of the United States. Each of them took leading positions in the reproduction of a certain musical style: Cajun accordion — Cajun and Zydeco, diatonic button accordion — Cojunto, chromatic piano accordion — Zydeco. The button (diatonic or chromatic) and piano accordions were mainly used in the instrumental composition of dance music groups, in particular in the genre of polka, depending on the region with the corresponding ethnic specificity. The accordion performance vividly embodies the genre and style features of American folk music in the context of its historical dynamics and capability of artistic expression, including intonation expressiveness and characteristic techniques of playing, inherent in a certain design model of the instrument.
The topicality of the study is to reproduce the genre and style specifics of accordion performance in the traditional common culture of Americans.
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Sari, Ayuthia Mayang. "Tradisi Tale Dalam Kehidupan Masyarakat Kerinci." Gelar : Jurnal Seni Budaya 17, no. 1 (August 6, 2019): 44–52. http://dx.doi.org/10.33153/glr.v17i1.2600.
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ABSTRAK This research focuses on the subject matter of Tradition of tale (Traditional Song) in the life of Kerinci People. It aims to see and formulate the existence of Tale. In understanding it, qualitative research methods are used so that the data obtained is descriptive of the behavior of those observed. This study uses a phenomenological point of view that is seeing phenomena as appear appropriate in the field. From the result of the study, it was found that tale is a song of the Kerinci folk in the form of a rhyme. Tale is present in various traditional arts in Kerinci. The tale tradition can be classified according to how to sing it; they are tale that is sung without equipping by music instrument, tale in dancing and tale that is sung equipped by using music instrument. Keywords: Tradition, Tale, Kerinci. ABSTRACT This research focuses on the subject matter of how the tale tradition in the lifes of people in Kerinci. It aims to learn and formulate the existence of tale. The qualitative research method is used to examine the problem in order to present descriptive data relating to the behavior of the people observed. This study uses a phenomenological point of view, namely seeing the phenomena as they appear in the field. The result of the study shows that the tale represents Kerinci folk song in the form of a rhyme. The tale is present in various traditional arts in Kerinci. The tale can be classified based on how it is sung, namely the tale that is sung without musical instruments, tale in the dance and tale that are using musical instruments. Keywords: Tradition, Tale, Kerinci
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Ozer, Burcu. "Analysis of high school students’ cognitive structures related to musical genre via word association test." Cypriot Journal of Educational Sciences 15, no. 1 (February 29, 2020): 127–43. http://dx.doi.org/10.18844/cjes.v15i1.4557.
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The aim of this study, via the Word Association Test, an alternative assessment and evaluation technique, to reveal the cognitive structures by determining high school students' perceptions about music genres. For this purpose, in the spring semester of 2015–2016 academic year, Data in the study is obtained with the participation of 100 students in 11th and 12th. Independent word association test was used to collect data. In order to create the test, music genres, namely, Turkish Folk Music, Turkish Art Music, Pop Music and Classical Western Music, were chosen as key concepts. The data were evaluated according to the content analysis; frequency values were given and divided into categories. In line with the findings of the research, the categories of ‘cultural’ related to the concept of Turkish Folk Music, ‘instrument’ about Turkish Art Music, ‘rhythmic’ about Pop Music, and ‘instrument’ related to Classical Western Music, answer words were produced.
Keywords: Concept, cognitive structure, musical genres, word association test.
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Anufrieva, N. I., and T. A. Lomakina. "Avant-Garde Appearance of Russian Folklore in the Vocal and Instrumental Works of Composers of the Second Half of the ХХth Century." Uchenye Zapiski RGSU 19, no. 3 (September 30, 2020): 137–44. http://dx.doi.org/10.17922/2071-5323-2020-19-3-137-144.
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in the second half of the twentieth century, when the avant-garde proposed truly revolutionary principles for organizing the sound environment, not only the treasures of ancient Russian church music were rediscovered, but also the interest in Russian spiritual culture as a whole, including musical folklore, significantly increased. Russian society at the end of the century was engulfed in disbelief, disappointment, fatigue. Hence there are images of the “decaying” world, the end of the world. The apocalyptic situation manifested itself not only in the fire of civil wars, but also in the feeling of disharmony of people with themselves and with others. As a result, domestic culture began to return to the fold of universal human values, eternal problems and traditional ideas about peace and good. This article considers the basic principles of the implementation of musical folklore in the vocal and instrumental works of domestic avant-garde composers of the second half of the twentieth century. It is noted that neo-folklorism, which arose in domestic music in the 1980–1990s in connection with the idea of national revival, through the semantics of rite, cult archaic, means of folk musical language, strengthened the Russian roots of domestic culture and strengthened the national philosophical heritage embedded in folk music.
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Danylets, Viktoriia. "The hutsul music features in the structural and stylistic context of the performing folkloryzm." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 77–88. http://dx.doi.org/10.34064/khnum1-57.05.
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Research objective. The article aims to describe the structural and stylistic components of performing folklorism and consideration regarding the existing definitions of multifaceted concept «performing folklorism», which represents theoretical and methodological tools for deep analysis of stylistics, genre, technical and performing elements and musical features that folklore expresses, their extrapolation to performing interpretative diversity in the context of Ukrainian music art. The methodology of the research is based on the theoretical, historical, comparative and analytical methods. The scientific novelty outlines structural and stylistic components of performing folklorism, which significantly affect the expression of national features in modern Ukrainian performing art. Conclusions. In a concept “performing folklorism” are two ponderable constituents in the dialogic form of intercommunication of these systems: professional academic performing art and folklore in his various palette of expression. Performing interpretation is a main point of arranged and ethnographic folklorism, that present performing folklorism. An important value in the context of modern national performing style belongs to the Hutsul instrumental traditional music, which is the unique artistic phenomenon of the Ukrainian musical culture. In general, the Hutsul genres played an important role in the formation and development of Ukrainian instrumental music, even though the Hutsul performance tradition mostly has an instrumental type of music presentation. The Hutsul region presents a numeral musical tool, ramified genre palette, and original stylish description that is provided due to the whole complex of structural and performing elements (strokes, articulation, fingering principles, timbre descriptions of sounding, dynamic). The outlined lines of the Hutsul folklore are traced in academic performing art. It follows to underline the originality of artistic expression and stylish originality of musical art of the Carpathian region, that predefined by the row of objective structural and style components: 1) maintenance and functioning of archaic elements of musical structure, such as a variant, improvisation, repetition; 2) considerable genre variety of executable music (kolomyjka, hutsulka, Ukrainian dance, hopak, snowstorm); 3) rhythms, as a cementing factor of musically-composition structure; 4) ornamental melodious line. The outlined structural and style components of the Hutsul folklore present wide interpretation multiplicity within the performing folklorism. The ponderable constituent of traditional music is the various system of technically-performing features. On technically-performing and genre-stylish levels, violin traditional art of the Hutsul region presents all system of the musical expressive features, presents traditional professional school of the violin performing art with a clear vector on the maintenance of archaic structures of musical compositions and them highly-artistic interpretation based on a wide palette of the whole complex of technical possibilities, that crystallized in the folktraditional performing. Ukrainian vocal, instrumental and vocally-instrumental collectives reconstruct an authentic genre-stylish model within the performing folklorism. Underlined the diversity of folk styles, symbiosis of the folk manner of singing with the academic vocal art. Thus, the national performing style provides an intelligent and deep interpretation of authorial works of folklore maintenance, a study of a wide palette of the traditional music that is characterized by ethnic characteristic intonation (concept of O. Kozarenko) musicians. The stylish component of performing folklorism presents differentiation of folk styles of implementation, following regional features, genres, forms, features of the traditional musical expressiveness. Performing folklorism, as a highly artistic phenomenon in Ukrainian music art, opened new possibilities for the representation of folk-instrumental and vocal traditions in the context of the national professional academic performing. Review and learning of the structural and stylistic components of performing folklorism, such as ethnic-regional style, genre characteristics, details, articulation, fingering, manner of play, vocal manner, dynamic nuances, timbral coloristic palette, determines the quality of the performing interpretation of the music compositions with the brightly national dominant. Within the performing folklorism crystallized appropriate professional repertoire, which comprises genres of vocal, choir, and instrumental music with the bright images and symbols of Ukrainian national folklore.
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Rytov, Dmitry. "Improvement of the Qualification of Music Teachers with the Use of Remote Digital Educational Technologies." Cultural and Historical Heritage: Preservation, Representation, Digitalization 7, no. 1 (2021): 11–21. http://dx.doi.org/10.26615/issn.2367-8038.2021_1_001.
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The potential of digital technologies in the system of professional development of music teachers using remote digital educational technologies is revealed. The tendencies of modern use of distance educational technologies, e-learning in solving the issues of preserving the traditions of folk instrumental culture have been demonstrated. Problematic issues of distance education organization have been identified. The resources of the information and educational environment in the system of professional development of music teachers are analyzed. A comprehensive analysis of the main functions of applying digital technologies involved in the preparation of a musician-performer has been identified and made: information, creative, methodological and educational. Specificity of digital educational resources in music-performing activity, in conducting and fixing of researches in the field of performing technique, organology, musical pedagogy, dissemination of pedagogical experience is shown. The competence orientations of performing activity, creative selfregulation are determined. The potential and tendencies of the use of remote forms of conducting scientific and methodological events, the use of electronic training tools, the organization of distance education of the performer on musical instruments are revealed. Keywords: Bulgarian Exarchate, Bulgarian Proto-State, Tarnovo Constitution, Constituent Assembly, Cultural Heritage
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Sandgren, Maria. "How modes of instrumental practice are distributed in three musical genres and among vocalists and instrumentalists at music colleges." Psychology of Music 47, no. 5 (April 10, 2018): 767–78. http://dx.doi.org/10.1177/0305735618765299.
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The present study investigates whether past and present instrumental practices differ across musical genres (jazz, folk music, classical music) and vocalists in relation to instrumentalists ( N = 108). New findings were that vocalists and instrumentalists differed significantly in all practice experiences ( p < .05–.001), whereas fewer differences were found across genres. In line with previous research, classical musicians engaged more in solitary practice than folk music and jazz musicians did ( p < .001), yet jazz and folk music students practiced more in ensemble compared to classical musicians ( p < .05). In addition, the results contrasted with the general view of solitary practice as a demanding and unpleasant activity, as all groups of music students found solitary practice to be a more positive than negative experience. Future studies are warranted to more closely and empirically investigate vocalists’ practice habits, and to examine how emotions are related to instrumental practicing in music education.
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Doroha, Alla. "Activity of Public Organization as a Phenomenon of Ukrainian Cultural Heritage." Culturology Ideas, no. 14 (2'2018) (2018): 117–22. http://dx.doi.org/10.37627/2311-9489-14-2018-2.117-122.
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The article analyses the activities of the Musical Society of Ukraine from 1969 to 1973. Attention is drawn to things of historic importance: creation of new professional groups (folk instruments orchestra, male choir, chamber choir), Renaissance of the kobza-playing, building the Song festival grounds, building of new music schools, creation of a network of musical-production activities. In the proposed approach, the concept of cultural heritage will be reduced to a lively, inspired, creative process, marked by high professionalism, indifference and non-material interest in the result. This page in the history of Music and choral society is a vivid example of the tradition of social activity and convincing proof of the possibilities of public organizations. It was the Music and choral society that initiated and organized the collection of ancient musical instruments, embroideries and towels in those years. Unique findings became the objects of serious research; the best examples served as an example for the creation of new ones. The author offers a unique perspective on the vision of cultural heritage. The peculiarity lies in the approach to heritage assessment not only from the viewpoint of the result. The principles of activity and the nature of the processes can be significant for history. It is especially true for the processes taking place in the bowels of totalitarian systems.
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Syroezhko, Olga. "PEDAGOGICAL CONDITIONS OF FORMATION OF MUSIC-AESTHETIC EDUCATION OF ADOLESCENTS IN INSTITUTIONAL EDUCATION INSTITUTIONS BY MEANS OF PLAYING ON FOLK INSTITUTES." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 118–23. http://dx.doi.org/10.36550/2415-7988-2021-1-195-118-123.
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The leading trend of modern education of young people in Ukraine is a harmonious combination of interests of adolescents striving for free self-development and preservation of their individuality; a society that ensures the comprehensive development of their personality and the state, which sets before education the task of educating future patriotic citizens who are able to provide it with a worthy place in the world community. Pedagogical conditions are a component of the pedagogical system of out-of-school education and a set of possibilities of its educational environment, which effectively functions, develops and optimally influences the musical and aesthetic education of adolescents. Based on the analysis of the current state of musical and aesthetic education of adolescents, the study of practical pedagogical experience of out-of-school educational institutions, taking into account the requirements of state regulations on education, identified the following pedagogical conditions that optimize this pedagogical activity: – implementation by the teacher of a personality-oriented approach to interaction with students in the process of their involvement in folk instrumental performance; – introduction of the method of contextual music making by the head of the circle in the process of musical and aesthetic education of teenagers; – formation of adolescents' need for creative self-development from the standpoint of their focus on learning the experience of musical activities and integration into the socio-cultural environment. The organization of the educational process in the circles of out-of-school educational institutions on playing folk instruments is based on the interrelation of individual, group and collective forms of activity and in parallel or in the variant of interpenetration (individual-pair classes). The optimal combination of individual, group and collective forms of musical activity of adolescents provides their psychological and emotional comfort. Due to the use of the method of contextual music making by teachers of out-of-school education, the possibility of effective adaptation of individual features of the pupil, traditional and innovative methods of musical and aesthetic education of teenagers is realized, the level of theoretical knowledge increases. An important stimulus for the formation of musical and aesthetic taste of adolescents by means of folk instrumental performance are public performances of pupils-participants of musical groups, participation in competitions, festivals of creative projects, flash mobs. Further development of out-of-school education institutions requires a variety of forms and methods of organizing specialized cognitive and practical activities of students; optimization of conditions to ensure subject-subject relationships; increasing the role of out-of-school educational space - spatial and environmental association of subjects of activity, between which close relationships have been established that ensure the effectiveness of educational and creative interaction.
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PRUETT, LAURA MOORE. "Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk'sThe Banjo." Journal of the Society for American Music 11, no. 2 (May 2017): 155–83. http://dx.doi.org/10.1017/s1752196317000050.
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AbstractThis article reconsiders the cultural significance and historical impact of the well-known virtuosic piano compositionThe Banjoby Louis Moreau Gottschalk. Throughout the early nineteenth century, the banjo and the piano inhabited very specific and highly contrasting performance circumstances: black folk entertainment and minstrel shows for the former, white middle- and upper-class parlors and concert halls for the latter. InThe Banjo, Louis Moreau Gottschalk lifted the banjo out of its familiar contexts and placed it in the spaces usually privileged for the piano. Taking its inspiration from both African American and minstrel banjo playing techniques, Gottschalk's composition relaxed and muddled the boundaries among performance spaces, racial and class divisions, and two conspicuously different musical instruments in an egalitarian effort to demonstrate that, contrary to the opinions of some mid-nineteenth-century musical critics and tastemakers, both the piano and the banjo have a place in the shaping of American music culture.
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Cherkasov, Volodymyr. "MUSICAL EDUCATION OF STUDENTS IN SCHOOLS OF THE REPUBLIC OF IRELAND." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 40–46. http://dx.doi.org/10.36550/2415-7988-2021-1-195-40-46.
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The article examines and summarizes the experience of music education of students in schools of the Republic of Ireland, highlights the main trends and approaches to the content of lessons and extracurricular activities with students of different ages, aesthetic education through music and the formation of European and national values. Vocal and vocal-instrumental ensembles are created. Participation in such groups requires knowledge of musical notation, mastering the technique of reading notes, mastering the skills and abilities to use the means of musical expression. In addition to rock music, one of the most popular vocal genres in Ireland is shan-nose - highly ornamented improvisational singing (ie singing with a large number of chants), where there are several parts of voices, from which the overall composition is built. Over time, Irish folk music changed. Most of the songs are of rural origin and are associated with ancient Irish language traditions. More modern songs are performed in both Irish and English. Involvement of student youth in the performance of various genres of choral and vocal music promotes patriotic education and the formation of moral and aesthetic qualities that positively affect the worldview of young people, contribute to the involvement of world cultural values. Involvement of student youth in the performance of various genres of choral and vocal music promotes patriotic education and the formation of moral and aesthetic qualities that positively affect the worldview of young people, contribute to the involvement of world cultural values. A prominent place in the organization of musical and creative activities is given to independent work. To this end, teachers develop guidelines, conduct practical classes, which focus on methods and techniques of mastering the skills of playing a particular musical instrument. Using the methods of showing, explaining, demonstrating, illustrating, repeating individual musical episodes and overcoming performance techniques, students develop technical skills, memory, logical thinking, practice performance skills and gain experience in interpreting the content of a piece of music. It should be noted that musical education of students in schools of the Republic of Ireland has a stable approach and is based on the folk traditions of previous generations, meets modern requirements for the formation of musical culture of youth, aesthetic feelings and development of intellectual and creative abilities.
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Стшемжальска, Анэта. "The Azerbaijani Tar and Projects to Reconstruct National Music." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 1 (April 24, 2021): 53–64. http://dx.doi.org/10.26158/tk.2021.22.1.004.
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Тар - это струнный щипковый музыкальный инструмент с длинной шейкой, который играет важнейшую роль как в традиционной, так и в классической музыке Азербайджана, находится в центре дискуссий о природе национальной музыки и занимает важное место в культурной политике страны. В данной статье рассматриваются исторические и политические обстоятельства появления и распространения тара на Кавказе, а также анализируется современная практика игры на нем. Проведение в XIX в. музыкантом Садыхджаном реконструкции тара и введение новых приемов игры на нем способствовали популяризации инструмента в Азербайджане. В ходе этого процесса в первых десятилетиях ХХ в. тар стал основой национальной музыкальной школы, и под его звучание были настроены другие народные инструменты, входящие в состав профессиональных музыкальных коллективов. Однако приспособление азербайджанской модальной музыкальной системы к европейской 12-тоновой темперации потребовало последующей реконструкции тара, которая ограничила возможности создания микротоновых звуков на инструменте. В зависимости от уровня сохранения традиционной техники исполнения сегодня различают три главные школы исполнения на таре. Они обогащаются новыми проектами реконструкции инструмента, направленными на сохранение, возрождение, популяризацию досоветской техники игры на нем. The tar is a long-necked, stringed, plucked musical instrument that plays an essential role in both the traditional and classical music of Azerbaijan. In accordance with official cultural policy, the instrument is at the center of discussions about the nature of national music. This article describes the historical and political circumstances of the invention and popularization of the tar in the Caucasus, as well as the instrument’s main performance styles. The reconstruction of the instrument and the introduction of new techniques for playing it in the 19th century by the musician Sadigjan contributed to the popularization of the tar in Azerbaijan. During this process, in the first decades of the 20th century the tar became the basis of the national school of music, and other folk instruments included in professional musical groups were tuned to its sound. However, the adaptation of the Azerbaijani modal musical system to the European 12-tone scale required a further reconstruction of the tar, which, in turn, limited the creation of micro-tonal sounds on the instrument. Today there are three main schools of performance on the tar, which depend upon the degree that traditional performance techniques are preserved. These techniques are enriched by new projects for reconstructing the instrument that are aimed at popularizing the pre-Soviet method of playing.
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Taylor, Angela. "Using repertory grids to explore musical skills and attitudes in a mature-age adult at the early stages of learning for self-fulfilment: A case study of James." British Journal of Music Education 29, no. 2 (April 2, 2012): 233–50. http://dx.doi.org/10.1017/s0265051712000010.
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Repertory grids were used as a research tool to explore 73-year-old James’ musical development over two years. Choosing two music learning cultures for his instrumental learning, James learned the piano in a college workshop and the Appalachian dulcimer in his local folk group. There were clear changes in his musical skills and attitudes, particularly in relation to performing and practising, and an increase in his musical maturity as he transformed himself from a music listener into a musical performer, reconstructing himself as an amateur musician. The empowerment gained from his reconstruction was a critical factor in James’ self-fulfilment as a mature-age adult.
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Grond, Florian, Keiko Shikako-Thomas, and Eric Lewis. "Adaptive Musical Instruments (AMIs): Past, Present, and Future Research Directions." Canadian Journal of Disability Studies 9, no. 1 (February 27, 2020): 122–42. http://dx.doi.org/10.15353/cjds.v9i1.598.
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We review and discuss the literature related to adaptive musical instruments since 2000, focusing on the use of such instruments with children with disabilities. The aim of this review is to provide a synthesis of perspectives and answer the following questions: How have music technologies, including both software and hardware, been used for children with disabilities and how have they been tested and evaluated? What have been the research questions asked and outcomes evaluated concerning these instruments? The studies reviewed include intervention, narrative and descriptive studies. One observation is that adaptive instrument design and research cuts across many different disciplines including music therapy, education and engineering. We considered articles taking functional and rehabilitation informed perspectives as well as critical disability studies, for which music making is often discussed as a human right independently of potential benefits. We discuss methodological approaches used in these studies, and reports of user’s opinions concerning the use of AMIs. It is worth noting that most uses of AMIs by the population under consideration are highly improvisatory, and so a methodological challenge frequently reported is how can the effectiveness of AMIs be assessed without focusing only on easily measurable outputs? We reveal divisions existing between research focusing on the use of AMIs with precise therapeutic and pedagogic goals in mind, and that interested in more general positive effects of improvised collective creative activity and its role in community building. With this two-fold perspective, we analyse the limitations of current research and derive questions for future directions.