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Journal articles on the topic 'Genres of modern sacred music'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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1

Ritzarev, Marina. "King David and the Frog." Musicological Annual 50, no. 2 (2015): 31–42. http://dx.doi.org/10.4312/mz.50.2.31-42.

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The interrelations between the liturgical and paraliturgical genres of sacred music in both live practice and in historiography are explored. Parallels are found between eighteenth-century Russian and modern Hebrew religious music. The author's theory of the vernacular in music is applied to explain the stylistic openness in paraliturgical music (as a parallel to onto-vernacular folklore).
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Beck, Guy. "Sacred Music and Hindu Religious Experience: From Ancient Roots to the Modern Classical Tradition." Religions 10, no. 2 (2019): 85. http://dx.doi.org/10.3390/rel10020085.

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While music plays a significant role in many of the world’s religions, it is in the Hindu religion that one finds one of the closest bonds between music and religious experience extending for millennia. The recitation of the syllable OM and the chanting of Sanskrit Mantras and hymns from the Vedas formed the core of ancient fire sacrifices. The Upanishads articulated OM as Śabda-Brahman, the Sound-Absolute that became the object of meditation in Yoga. First described by Bharata in the Nātya-Śāstra as a sacred art with reference to Rasa (emotional states), ancient music or Sangīta was a vehicle
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HERISSONE, REBECCA. "““Fowle Originalls”” and ““Fayre Writeing””: Reconsidering Purcell's Compositional Process." Journal of Musicology 23, no. 4 (2006): 569–619. http://dx.doi.org/10.1525/jm.2006.23.4.569.

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ABSTRACT Purcell's surviving autographs have long been a source of fascination, and the extensive evidence they preserve of his working methods has been examined in several academic studies. However, methodology has focused on analyzing notational changes within the sources, and neither the appropriateness of the standard labels ““working draft”” and ““fair copy”” nor the directness of the relationship between the creation of a composition and its encoding in notation has been questioned. This article challenges current assumptions about Purcell's compositional processes, arguing that because
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Purciello, Maria Anne. "Early Modern Comedy and the Politics of Religion: Reconsidering Comedy in Rospigliosi's Il Sant'Alessio." Journal of the Royal Musical Association 143, no. 1 (2018): 51–87. http://dx.doi.org/10.1080/02690403.2018.1434341.

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ABSTRACTGiulio Rospigliosi and Stefano Landi's 1634 revisions of Il Sant'Alessio for the Barberini stage expanded the role of comedy within the opera. These revisions reveal an important juncture in the history of religious comedy and lay the foundation for the development of a comic rubric for the still-developing operatic genre. This article examines the legend of St Alexis and its potential for historic reinterpretation in light of the Barberini family's religious and political goals. Its consideration of the interrelationship of religion and comedy in early modern sacred drama provides the
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Rathey, Markus. "CARNIVAL AND SACRED DRAMA: SCHÜTZ’SCHRISTMAS HISTORIAAND THE TRANSFORMATION OF CHRISTMAS IN THE SECOND HALF OF THE SEVENTEENTH CENTURY." Early Music History 36 (September 12, 2017): 159–91. http://dx.doi.org/10.1017/s026112791700002x.

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The celebration of Christmas in Early Modern Europe underwent a significant transformation in the second half of the seventeenth century. Even after the Protestant Reformation, European Christmas traditions maintained numerous features of their medieval practices, such as carnivalesque celebrations, processions, masks, and riotous behaviour. This changed during the seventeenth century. Popular carnivalesque Christmas plays were prohibited and replaced with a more internalized devotion that emphasized the individual’s relationship with the newborn Child. This transformation was part of a larger
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Климбус Ірина Михайлівна. "ЦИКЛ «ПАРНАС» ВІТАЛІЯ МАНИКА ДЛЯ СКРИПКИ СОЛО: ПРОГРАМНИЙ СЮЖЕТ ІЗ АНТИЧНОЇ МІФОЛОГІЇ В СУЧАСНІЙ ІНТЕРПРЕТАЦІЇ". World Science 3, № 8(48) (2019): 54–57. http://dx.doi.org/10.31435/rsglobal_ws/31082019/6648.

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 Vitali Manyk is a modern composer from Ivano-Frankivsk who productively works in various music genres. He is the author of works for symphony orchestra, vocal and chamber instrumental tracks, music background of theatre performances. Lack of critical analysis of his art has caused the topicality of this article. Its main objective is to reveal basic features of the programming principle application in the «Parnassus» cycle which consists of nine pieces for violin solo.Having chosen the figurative music plot which originated from Ancient Greece, V. Manyk declares his intere
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Smith, Norman E. "The Earliest Motets: Music and Words." Journal of the Royal Musical Association 114, no. 2 (1989): 141–63. http://dx.doi.org/10.1093/jrma/114.2.141.

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The birth of a genre surely is one of the most fascinating occurrences in the history of music, and no genre of medieval music had a more interesting birth than the motet. Study of the motet in modern times found special impetus and direction in 1898 when Wilhelm Meyer announced his discovery of the origin of the motet in the discant clausulae of the Notre Dame organa. Demonstrating the musical identity of certain Latin motets and discant clausulae, he concluded that the motet arose through the addition of Latin texts to the melismatic upper voices of the two-voice clausulae and was thereby ab
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Arefieva, Anna. "Dialogue of cultures as a synthesis of arts: experience of formation of integrative poetics in Diaghilev's seasons." Filosofiya osvity. Philosophy of Education 26, no. 2 (2021): 100–108. http://dx.doi.org/10.31874/2309-1606-2020-26-2-7.

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The article is devoted to the definition of the synthesis of arts in Serge Diaghilev's seasons as a dialogue of cultures. In contrast to the interpretation of the dialogue of cultures as a sociological phenomenon, which has become a truism, when the dialogue of cultures in the Diaghilev's seasons is seen as a dialogue of French and Russian cultures, it is provided the interpretation of the dialogue of cultures in a work of art. In particular, in Ihor Stravinsky's "Sacred Spring" staged by Waclaw Nizynski, scenography by Nikolay Rerich, there is a dialogue between pagan and Christian cultures a
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Iațeșen, Loredana Viorica. "Number 13 / Part I. Music. 6. Requiem by Karl Jenkins. An Analytical Approach to The Interweaving of Various Traditions in Music." Review of Artistic Education 13, no. 1 (2017): 43–59. http://dx.doi.org/10.1515/rae-2017-0006.

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Abstract In the diverse space of contemporary music, the fascinating and controversial personality of the Welsh composer Karl Jenkins, which is surprising from several perspectives, stands out. Open to assimilating and processing music from various sources (academic, liturgical, folk, entertainment, oriental, exotic), the all-round musician Karl Jenkins impresses the public with unexpected artistic choices, giving up the hypostasis of instrumentalist of the jazz-rock band Nucleus and of the group Softmachine in favour of the postmodern creator he has become today, synthetizing trends from musi
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10

Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari
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Devyataikina, Nina Ivanovna, and Svetlana Aleksandrovna Lyashova. "“Partisan requiem” by H. Sommerro: the peculiarities of interaction between liturgical and author’s verses in the context of the musical drama." PHILHARMONICA. International Music Journal, no. 6 (June 2020): 45–60. http://dx.doi.org/10.7256/2453-613x.2020.6.33160.

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The research object is the sacred music of a well-known Norwegian composer Henning Sommerro (born 1952), one of the bright components of his multifaceted creative work. The present article is the first work within the Russian scientific literature analyzing this aspect through the prism of one of the key works of the composer. The authors are also the first to introduce the complete musical score of the composition into the scientific discourse. Along with the recordings, it helps to understand how the composer manages to successfully combine the liturgical and secular components, the poetical
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BACCIAGALUPPI, CLAUDIO. "CLASSIFYING MISATTRIBUTIONS IN PERGOLESI’S SACRED MUSIC." Eighteenth Century Music 12, no. 2 (2015): 223–29. http://dx.doi.org/10.1017/s1478570615000329.

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On 16 March 1736 Giovanni Battista Pergolesi died from consumption at age twenty-six in the Franciscan monastery of Pozzuoli near Naples, leaving a considerable number of compositions in all genres: stage works, cantatas, instrumental music and sacred music. On account of the success these compositions had enjoyed in Italy during his life, and the extraordinary fame they achieved in the rest of Europe after his death, a multitude of works bearing his name continued to be disseminated, many of which had little, if any, connection with Pergolesi himself. This phenomenon invites us to question wh
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Jonāne, Jūlija. "Sacred Music – a Forbidden Fruit: Musical and Non-musical Ways of Survival." Musicological Annual 50, no. 2 (2015): 127–35. http://dx.doi.org/10.4312/mz.50.2.127-135.

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Prohibition of sacred music during the period of Soviet Latvia was exerted like a syndrome of forbidden fruit, that was breached in the underground way and developed in secret and complicated forms, in which the central is secular music genres’ and radical musical language’s using. A re-reading of texts will lead to a more nuanced understanding of the development of sacred music in Latvia and other countries.
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14

Dueck, Byron. "North American Indigenous song, the sacred and the senses." Body and Religion 2, no. 2 (2018): 206–23. http://dx.doi.org/10.1558/bar.36490.

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How does music shape the experience of the sacred? This chapter looks at two genres of North American Indigenous singing – drum song performed at powwows and gospel singing associated with funerary wakes – and it explores music’s capacity for mediating sacred presences and processes.
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Leverett, Adelyn Peck. "Song masses in the Trent Codices: the Austrian connection." Early Music History 14 (October 1995): 205–56. http://dx.doi.org/10.1017/s0261127900001479.

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The seven Trent Codices preserve much of the sacred vocal polyphony that has survived from the middle decades of the fifteenth century. With some 1500 individual pieces, the collection is a rich compendium of liturgical and paraliturgical genres, large and small. The codices are perhaps most valuable, however, as sources for the cyclic mass Ordinary, the most ambitious of fifteenth-century polyphonic forms.
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16

Caldwell, Mary Channen. "Troping Time: Refrain Interpolation in Sacred Latin Song, ca. 1140–1853." Journal of the American Musicological Society 74, no. 1 (2021): 91–156. http://dx.doi.org/10.1525/jams.2021.74.1.91.

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Abstract This article explores a practice in evidence across Europe from the twelfth to the nineteenth century involving the singing of a brief refrain within sacred Latin songs and hymns. Tracing the circulation of the two-part refrain “Fulget dies … Fulget dies ista” across multiple centuries, in both song-form tropes of the office versicle Benedicamus Domino and as a trope interpolated into hymns, I chart its unique movement between genres and in and out of written record. Examining the unusual origins, transmission, and function of the refrain, I begin with its emergence in twelfth-century
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Williams, Sean. "Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997-2001." Australian Journal of Anthropology 21, no. 3 (2010): 396–97. http://dx.doi.org/10.1111/j.1757-6547.2010.00095.x.

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18

Mirea, Ruxandra. "Mirroring the Authorʼs Personality in Composer Carmen Petra-Basacopolʼs Sacred Music". Artes. Journal of Musicology 21, № 1 (2020): 169–92. http://dx.doi.org/10.2478/ajm-2020-0010.

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AbstractFor centuries, the study of personality has been a need for understanding human nature, but it also has become a scientific endeavour, starting with the first half of the twentieth century. Research in this matter has materialised through papers by important psychologists, who considered the unitary study of human beings, the understanding of their motivation, as well as the understanding of the psychological differences that make us unique. Thus, personality is a dynamic concept which reveals the behaviour of a person that allows the possibility of adapting to the environment. While h
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19

Manuel, Peter. "From Scarlatti to “Guantanamera”: Dual Tonicity in Spanish and Latin American Musics." Journal of the American Musicological Society 55, no. 2 (2002): 311–36. http://dx.doi.org/10.1525/jams.2002.55.2.311.

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Abstract This essay explores the sense of dual tonicity evident in a set of interrelated Spanish and Latin American music genres. These genres include seventeenth-century Spanish keyboard and vihuela fandangos, and diverse folk genres of the Hispanic Caribbean Basin, including the Venezuelan galerón and the Cuban punto, zapateo, and guajira. Songs in these genres oscillate between apparent “tonic” and “dominant” chords, yet conclude on the latter chord and bear internal features that render such terminology inapplicable. Rather, such ostinatos should be understood as oscillating in a pendular
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Aitimov, М., and G. Karimova. "NATIONAL AND CIVIL VIEWS IN AITYS OF POETS - A TRADITIONAL SPHERE OF THE HISTORY OF KAZAKH LITERATURE." BULLETIN Series of Philological Sciences 75, no. 1 (2021): 187–93. http://dx.doi.org/10.51889/2021-1.1728-7804.31.

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The article analyzes the traditional essence of modern poetry - the proud glorification of the Kazakh clan, national history, as well as the fact that national pride is a sacred feeling passed from generation to generation. It is also worth to note that the works of the poets of the ancient Turkic kaganates, indigenous peoples, which are presented to sacred generations in the form of embroidered genres, are a powerful tool of our spiritual culture. We see that representatives of modern poetry continue to sing critical poems of modern poets in the development of their views on the national inte
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Siuta, Bohdan. "Notion “Genre Type” as the Metalіngual Unit of the Modern Musical Theory". Terminological Bulletin, № 5 (2019): 188–95. http://dx.doi.org/10.37919/2221-8807-2019-5-25.

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The notion “genre type” is actual metalіngual unit of the modern musicology and musical theory. The theoretical comprehension of this term is connected with the problem of the theory of the musical genre, which is actual for contemporary musicology. This term (as far as its correspondences in musicological discourse of the countries of Eastern, Central and Western Europe) in Ukrainian musicology is still totally uncertain and not codified. This creates an obvious metalіngual lacuna. In the adequate theoretical representation, the term “genre type” outlines the higher level of the hierarchical
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Westrol, Michael S., Susmith Koneru, Norah McIntyre, Andrew T. Caruso, Faizan H. Arshad, and Mark A. Merlin. "Music Genre as a Predictor of Resource Utilization at Outdoor Music Concerts." Prehospital and Disaster Medicine 32, no. 3 (2017): 289–96. http://dx.doi.org/10.1017/s1049023x17000085.

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AbstractObjectivesThe aim of this study was to examine the various modern music genres and their effect on the utilization of medical resources with analysis and adjustment for potential confounders.MethodsA retrospective review of patient logs from an open-air, contemporary amphitheater over a period of 10 years was performed. Variables recorded by the medical personnel for each concert included the attendance, description of the weather, and a patient log in which nature and outcome were recorded. The primary outcomes were associations of genres with the medical usage rate (MUR). Secondary o
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Tracy, Steven C. "Sonny in the Dark: Jazzing the Blues Spirit and the Gospel Truth in James Baldwin’s “Sonny’s Blues”." James Baldwin Review 1, no. 1 (2015): 164–78. http://dx.doi.org/10.7227/jbr.1.10.

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The webs of musical connection are essential to the harmony and cohesion of James Baldwin’s “Sonny’s Blues.” As a result, we must explore the spectrum of musical references Baldwin makes to unveil their delicate conjunctions. It is vital to probe the traditions of African-American music—Spirituals, Blues, Jazz, and Pop—to get a more comprehensive sense of how Baldwin makes use of music from the sacred and secular continuum in the African-American community. Looking more closely at the variety of African-American musical genres to which Baldwin refers in the story, we can discern even more the
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Vladimirovna Karkina, Svetlana, Nelya Khabibullovna Nurgayanova, and Manpreet Kaur. "TRADITIONAL MUSIC AND POETRY OF THE TATARS-MISHARS: MODERN FORMS OF EXISTENCE." Humanities & Social Sciences Reviews 7, no. 6 (2019): 477–80. http://dx.doi.org/10.18510/hssr.2019.7673.

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Purpose: The Tatars-Mishars are an ethnographic group of the middle Volga and Ural Tatars. Their speech is based on a special dialect and belongs to the Western group of the Tatar language. The Tatars-Mishars were settled on the Right Bank of the Volga in Mordovia, Chuvashia, Tatarstan, Bashkortostan, as well as in the Nizhny Novgorod, Penza, Ryazan, Samara, Saratov, and Ulyanovsk regions. The Mishar sub-ethnic group is divided into three ethnographic components – Sergach, Temnik, and lambir, each of which has its own linguistic and ethnocultural features. The object of our attention is the tr
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Coster (book editor), Will, Andrew Spicer (book editor), and Nicholas Terpstra (review author). "Sacred Space in Early Modern Europe." Renaissance and Reformation 41, no. 2-3 (2005): 226–28. http://dx.doi.org/10.33137/rr.v41i2-3.9538.

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Bowers, Roger. "The ‘votive antiphon’ among other sacred textual forms." Early Music 48, no. 2 (2020): 147–55. http://dx.doi.org/10.1093/em/caaa021.

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Abstract Alongside settings of liturgical texts effected in manners strictly consistent with liturgical performance, there survive large numbers of early vocal pieces engaging Latin words of a religious or devotional nature all commonly subsumed together, both then and now, under the ‘catch-all’ term of ‘motet’. These, however, encompassed a remarkably diverse range of textual content, each destined for a distinct performance occasion and purpose no less likely to have been domestic than ecclesiastical; and these textual types, in turn, possess potential to have been reflected in corresponding
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LITTLE, WALTER E. "Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997-2001 by Jeremy Wallach." American Ethnologist 37, no. 1 (2010): 194–95. http://dx.doi.org/10.1111/j.1548-1425.2010.01248_24.x.

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Spiller, Henry. "Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997-2001 by Jeremy Wallach." American Anthropologist 112, no. 1 (2010): 166. http://dx.doi.org/10.1111/j.1548-1433.2009.01213_12.x.

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Rathey, Markus. "Setting the Stage: Drama, Libretti and the ‘Invention’ of Opera in Leipzig in the 1680s." Cambridge Opera Journal 29, no. 3 (2017): 287–311. http://dx.doi.org/10.1017/s0954586718000010.

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AbstractThe opera house in Leipzig opened its doors in 1693. Operas had been performed in central Germany for quite some time but they were primarily confined to courts. With the founding of the opera, Leipzig, home of an important trade fair, provided an additional musical attraction that could entertain merchants coming for the fair. While the year 1693 marks the beginning of regular opera performances in Leipzig, the preceding decades saw an increased interest in dramatic genres in the realms of both secular and sacred music. The connection between these dramatic works and the opera house a
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Curtis, Liane. "Simon Mellet, scribe of Cambrai Cathedral." Plainsong and Medieval Music 8, no. 2 (1999): 133–66. http://dx.doi.org/10.1017/s0961137100001674.

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Simon Mellet, scribe and vicar at the cathedral of Cambrai, is among the best-known music scribes of the fifteenth century. Jules Houdoy's classic study of Cambrai Cathedral (1880) documented numerous payments made to Mellet for copying, payments which have remained an important source of information for our understanding of the career of Guillaume Du Fay and the role of the Cambrai Cathedral as a vital musical centre in the fifteenth century. Simon Mellet's thirty-six-year career dominates the study of the production of music manuscripts at Cambrai. Payments made to Mellet are mentioned in mo
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Laferrière, Carolyn M. "Sacred Sounds: The Cult of Pan and the Nymphs in the Vari Cave." Classical Antiquity 38, no. 2 (2019): 185–216. http://dx.doi.org/10.1525/ca.2019.38.2.185.

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Religious ritual in ancient Greece regularly incorporated music, so much so that certain instruments or vocal genres frequently became associated with the religious veneration of specific gods. The Attic cult of Pan and the Nymphs should also be included among this group: though little is often known about the specific ritual practices, the literary and visual evidence associated with the cults make repeated reference to music performed on the panpipes—and to auditory and sensory stimuli more generally—as a prominent feature of the worship of these gods. I consider the Vari Cave, sacred to Pan
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Imbir, Kamil, and Maria Gołąb. "Affective reactions to music: Norms for 120 excerpts of modern and classical music." Psychology of Music 45, no. 3 (2016): 432–49. http://dx.doi.org/10.1177/0305735616671587.

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It is well recognised in psychology that music has affective connotations and that musical stimuli can modify affective states. The aim of this study was to assess the affective connotations of 120 fifteen-second musical excerpts, covering both modern musical genres such as pop, rock, jazz, rap/R&B and electronic music (5 x N = 20), and classical music ( N = 20). Expert judges used predetermined criteria to select excerpts with positive or negative valence that induced high arousal or low arousal. The excerpts were assessed by 50 undergraduate students (25 women) from different academic de
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Antonenko, Margarita. "Orthodox Sacred Music in the Works of Modern Ukrainian Composers: Traditions and Transformations." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(46) (February 25, 2020): 78–88. http://dx.doi.org/10.31318/2414-052x.1(46).2020.198518.

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Scheinhardt, Anne. "Music, Performance, Architecture. Sacred Spaces as Sound Spaces in the Early Modern Period." Quellen und Forschungen aus italienischen Archiven und Bibliotheken 100, no. 1 (2020): 541–49. http://dx.doi.org/10.1515/qufiab-2020-0026.

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Itskovich, Tatiana Viktorovna. "Modern Orthodox sermon: categorical-textual aspect." Филология: научные исследования, no. 4 (April 2021): 1–8. http://dx.doi.org/10.7256/2454-0749.2021.4.35269.

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Examination of functionality of the genres of religious functional style is a relevant direction of modern linguistic research, which is substantiated by the change of social situation in Russia at the turn of the XX – XXI centuries, and thus, the growing role of religion as a form of public consciousness and a type of human activity. Sermon is a genre that functions in the Russian language, which makes it understandable and influential. The author applies the categorical-textual method, which gives an objective perspective and determines the characterological features of the genre,
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Honisch, Erika Supria. "HEARING THE BODY OF CHRIST IN EARLY MODERN PRAGUE." Early Music History 38 (September 11, 2019): 51–105. http://dx.doi.org/10.1017/s0261127919000032.

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The multi-confessional cities of early modern Central Europe resounded with sacred music. People sang to express faith, to challenge the beliefs of others, and to lay claim to shared urban spaces. This study considers how such music was heard in Prague, the capital of the Holy Roman Empire, during the reign of the Habsburg Emperor Rudolf II (1576–1612). During this period, the city’s Catholics jostled for supremacy with Czech-speaking Utraquists (followers of Jan Hus), who vastly outnumbered them, and a growing population of German-speaking Lutherans. Focusing on the sonically rich Corpus Chri
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Feldman, Walter Zev. "Klezmer Music in the Context of East European Musical Culture." Judaic-Slavic Journal, no. 1 (3) (2020): 231–70. http://dx.doi.org/10.31168/2658-3364.2020.1.11.

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The repertoire and social role of the klezmer musician in Eastern Europe can be best appreciated within the context of the broader “traditional” musical life of East European Jews. From the early seventeenth century onward the emphasis on the “Jewishness” and halakhic validity of all aspects of life now became fixed and part of local custom (minhag). This merging of the sacred and the secular came to affect music and dance just as it did costume, through the internal action of the Jewish community, not pressure from external sources. The instrumental klezmer music and the accompanying professi
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Daniels, Susan. "Louise Dyer’s Éditions de l’Oiseau Lyre and the Œuvres complètes de François Couperin." Early Music 48, no. 3 (2020): 347–58. http://dx.doi.org/10.1093/em/caaa052.

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Abstract In 1933 Louise Dyer launched her publishing company Les Éditions de l’Oiseau Lyre with the Œuvres complètes de François Couperin. The 12 volumes constituted a monument to France’s cultural patrimony in an age of growing nationalism. While Couperin’s harpsichord works had been available in modern editions for some time, it was the first modern printing of his sacred works, secular songs and chamber music. The article explores why Dyer settled on Couperin for her first project and how she negotiated her way through the varied interests and prejudices of those who held power within the F
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Nault, Jean-François, Shyon Baumann, Clayton Childress, and Craig M. Rawlings. "The social positions of taste between and within music genres: From omnivore to snob." European Journal of Cultural Studies 24, no. 3 (2021): 717–40. http://dx.doi.org/10.1177/13675494211006090.

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Are higher status cultural tastes in the modern United States better described as being inclusive and broad or exclusive and narrow? We construct an original dataset in response to conflicting answers to this question. We fill a major gap in the literature on cultural tastes by simultaneously considering taste for both musical genres and artists within genres. By examining the compositional balance of respondents’ taste portfolios, we reconcile seemingly incommensurate theoretical frameworks of class homology and omnivorousness. The results indicate that an omnivorous disposition to music is a
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Hidayatullah, Riyan. "SENI TARLING DAN PERKEMBANGANNYA DI CIREBON." Journal of Culture, Arts, Literature, and Linguistics (CaLLs) 1, no. 1 (2017): 52. http://dx.doi.org/10.30872/calls.v1i1.709.

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The varieties of tarling music which keep changing and developing nowadays have brought two main concerns in our society: lack of identity function and music distortion. These issues may affect the loss of the originality of tarling music itself. This study aimed at knowing the development of tarling Cirebon and the change of tarling music at present day. The method used in this study was descriptive qualitative. The data regarding the art and tarling music were collected through library research and interview. Generally, tarling music is divided into two types: classical tarling music and mod
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Arpaia, Maria. "Sounds on Stage: Musical and Vocal Languages and Experiences." Greek and Roman Musical Studies 7, no. 2 (2019): 346–69. http://dx.doi.org/10.1163/22129758-12341355.

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Abstract The twenty-four papers delivered at the graduate conference entitled “Sounds on Stage: Musical and Vocal Languages and Experiences” (L’Aquila, 14-16 November 2018) investigated the relationship between music and theatrical performances from a comparative perspective. The presentations dealt with the role of music in several theatrical genres from different cultures and times: ancient Greek drama, musical theater (especially opera), modern and contemporary theater and ancient ritual Sanskrit drama.
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Ridwan, Endrizal, and Bardi Rahmawan. "The heavy metal genre in an Islamic city of Padang: struggle and promotion." ATTARBIYAH: Journal of Islamic Culture and Education 6, no. 1 (2021): 1–14. http://dx.doi.org/10.18326/attarbiyah.v6i1.1-14.

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A qualitative research was conducted on how heavy metal survived and competed with other genres in a sacred city of Padang Indonesia, where metal and religion seemed to be unmatched. This research aims at understanding why heavy metal showed no significant progress despite its long existence in the city. An interview of five musicians from the five most popular metal bands in the city revealed that the metal music genre had struggled to survive for two reasons: the stigma of its negative influence on society and the failure of metal musicians in proving that metal symbols and lifestyle were ir
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Ferreirа, Manuel. "Beyond nations: A thematic history." Muzikologija, no. 27 (2019): 163–86. http://dx.doi.org/10.2298/muz1927163f.

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This paper describes an on-going project, the collaborative Thematic History of Music in Portugal and Brazil; it details its context, rationale, concept, structure and the process that led to its public presentation and preliminary development at CESEM/FCSH, Universidade Nova de Lisboa. The importance of Africa in the understanding of some facets not only of modern popular music, but also of 16th- 18th century genres in Portugal and Brazil is particularly stressed; examples of both polyphonic and instrumental music are given to illustrate this early influence.
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Strelchenko, K. M. "Modern arrangements and transcriptions of pieces for accordion in terms of sound timbre instruments specificity." Musical art in the educological discourse, no. 2 (2017): 92–96. http://dx.doi.org/10.28925/2518-766x.20172.9296.

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The article is devoted to comparative analysis of the characteristics and differences of sound and timbral features of accordion with other musical instruments in the creative process of arrangement and transcription of original music. This article has examples of some musical pieces for the practical examination of key aspects of this question. There were always many aspects of the problems of concert performance of accordionists. However, the problem of music genres of repertoire, that helps to achieve impressive effect of performance and sense of confidence in broader stylistic possibilitie
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De Ferranti, Hugh. "‘Japanese music’ can be popular." Popular Music 21, no. 2 (2002): 195–208. http://dx.doi.org/10.1017/s026114300200212x.

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Traditional genres, modern popular music, ‘classical’ concert music and other styles of music-making in Japan can be viewed as diverse elements framed within a musical culture. Bourdieu's concept of habitus, and Williams' of dominant, residual and emergent traditions, are helpful in formulating an inclusive approach, in contrast to the prevailing demarcation between traditional and popular music research. Koizumi Fumio first challenged the disciplinary separation of research on historical ‘Japanese music’ and modern hybrid music around 1980, and the influence of his work is reflected in a smal
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Hung, Ning-Hui. "Transmission and Innovation of Kasidah (Lagu Islam) in Indonesian (1975~) Take a Case Study on Nasida Ria Kasidah Modern in Semarang." International Journal of Creative and Arts Studies 4, no. 1 (2017): 49. http://dx.doi.org/10.24821/ijcas.v4i1.1954.

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Indonesian Islamic music has its own performance occasion, musical function, music characteristic, and the style of musical performance. It has lyrics that represent direct relationship between Moslems and God in religion ceremonies. However, the musical structures are changed due to external stimulation coming along with the changes of Indonesian social structure during its development especially in 1975. Kasidah, a sort of Indonesian Islamic music, is the best exemplification to manifest the interaction between social development and music cultural changes, peculiarly performed by the music
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Beck, Guy L. "Theology of Music and Hindu Religion: From Divine Origins to Classical Songs." Religions 12, no. 8 (2021): 663. http://dx.doi.org/10.3390/rel12080663.

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As a subfield in the study of religion and music, the theology of music is generally understood in Western terms. Yet to fully encompass the rich heritage of music in world religions, the theology of music must welcome non-Western traditions. After introducing ancient Greek and Biblical narratives regarding the origins of music, including metaphysical concepts, narratives of music as Divine Gift, musical angels, and the sacred origin of the notes and scales, this article explores music in Hindu religion through the lens of theology. We find that Indian music is also ‘given by the gods’ (i.e.,
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Inna, Uspenskaya. "Typology of genres of concert music for violin: classification criteria." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 150–62. http://dx.doi.org/10.34064/khnum1-57.09.

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The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of t
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Trachtenberg, Marvin. "Architecture and Music Reunited: A New Reading of Dufay's Nuper Rosarum Flores and the Cathedral of Florence." Renaissance Quarterly 54, no. 3 (2001): 741–75. http://dx.doi.org/10.2307/1261923.

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The proportions of the voices are harmonies for the ears; those of the measurements are harmonies for the eyes. Such harmonies usually please very much, without anyone knowing why, excepting the student of the causality of things.—Palladio(1567)The chiasmatic themes of architecture as frozen music and music as singing the architecture of the world run as leitmotifs through the histories of philosophy, music, and architecture. Rarely, however, can historical intersections of these practices he identified. This study proposes a transient nexus of architecture, sacred music, and theology in early
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Morabito, Fabio. "Theatrical Marginalia: Pierre Baillot and the Prototype of the Modern Performer." Music and Letters 101, no. 2 (2020): 270–99. http://dx.doi.org/10.1093/ml/gcz110.

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Abstract In Western art music, the idea of the professional performer as a versatile interpreter of someone else’s music consolidated around the turn of the nineteenth century. The institutionalization of instrumental training in dedicated schools (such as the Paris Conservatoire, established in 1795) favoured an increasing specialization of composers and performers in their respective tasks. Scholars have often traced the development of these modern professional identities to fundamental innovations in the fabric and conceptions of musical notation. The newly detailed scores by Haydn, Mozart,
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