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Sutaryo, Haris Natanael, and Alexander Dewanta Candra Yogatama. "Bagatelle: Penciptaan Musik Dalam Format Duet Biola Dan Gitar." PROMUSIKA 8, no. 1 (2020): 36–41. http://dx.doi.org/10.24821/promusika.v1i1.3604.
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Bagatelle berarti sebuah komposisi musik yang pendek untuk piano. Namun demikain, dalam perkembangannya komposisi bagatelle tidak terbatas hanya digubah untuk piano saja, melainkan juga sudah digubah untuk instrumen selain piano. Bentuknya komposisinya adalah AB atau ABA. Pemakaian bentuk ABA biasanya untuk mewakili dua mood yang kontras antara yang ritmis A dengan yang B. Dengan kembalinya ke A karya ini bersifat melingkar, membuatnya balans dan simetris. Ide dalam penciptaan musik bagatelle ini muncul terinspirasi dari ketertarikan penulis dalam menyaksikan Ujian kompentesi di auditorium musik Fakultas Seni Pertunjukan ISI Yogyakarta. Salah satu repertoar yang dibawakan Bagatelle untuk piano op. 3, op. 119 karya Beethoven. Menurut pengamatan penulis bentuk musik bagatelle dari segi komposisinya sangat menarik, terdapat kebebasan dalam mengungkapan ide-ide kreatif dan imajinatif komponisnya. Perancangan komposisi bagatelle ini intinya menuangkan ide penulis dalam memadukan dua karakter instrument musik Biola dan Gitar, dengan penekanan pada penggarapan ritme, melodi dan harmoni sehingga menjadi sebuah integritas. Hasil karya ini nantinya selain sebagai apresiasi musik di multimedia, juga sebagai salah satu materi mata kuliah komposisi 1 pada prodi penciptaan musik FSP ISI Yogyakarta.AbstractBagatelle: The Creation of Music in Violin and Guitar Duet Format. Bagatelle is a short musical composition for piano. However, nowadays Bagatelle wrote not only for piano but for other instruments. The musical form of Bagatelle, either binary or ternary form. In the binary form of Bagatelle usually represents two contrasting rhythmic features which called A and B. This composition is a rondo, and it makes balance and symmetry. The idea of this Bagatelle inspired by Beethoven’s Bagatelle for solo piano Op. 119, no. 3. Bagatelle is an interesting musical composition because there is a freedom to representing the creative idea and imagination form the composer. The essence of its musical composition is representing the composer’s idea about two different characters of musical instruments: Violin and Guitar with emphasized the integration in rhythm, melody, and harmony. This Bagatelle not only can be used as a music appreciation but also as a material for Composition subject in Prodi Penciptaan Musik, Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta.Keywords: Bagatelle; violin and guitar; multimedia
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Jin, Cong, Tao Wang, Shouxun Liu, et al. "A Transformer-Based Model for Multi-Track Music Generation." International Journal of Multimedia Data Engineering and Management 11, no. 3 (2020): 36–54. http://dx.doi.org/10.4018/ijmdem.2020070103.
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Most of the current works are still limited to dealing with the melody generation containing pitch, rhythm, duration of each note, and pause between notes. This paper proposes a transformer-based model to generate multi-track music including tracks of piano, guitar, and drum, which is abbreviated as MTMG model. The proposed MTMG model is mainly innovated and improved on the basis of transformer. Firstly, the model obtains three target sequences after pairwise learning through learning network. Then, according to these three target sequences, GPT is applied to predict and generate three closely related sequences of instrument tracks. Finally, the three generated instrument tracks are fused to obtain multi-track music pieces containing piano, guitar, and drum. To verify the effectiveness of the proposed model, related experiments are conducted on a pair of comparative subjective and objective evaluation. The encouraging performance of the proposed model over other state-of-the-art models demonstrates its superiority in musical representation.
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Murcahyanto, Hary. "Aransemen Lagu Lembaga Kita Dalam Ansambel Campuran." PROMUSIKA 8, no. 1 (2020): 30–35. http://dx.doi.org/10.24821/promusika.v1i1.4196.
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Lagu Lembaga Kita karya TGKH. Muhammad Zainuddin Abdul Majid sebelumnya berbentuk musik kasidah kemudian diaransemen dalam musik electon. Lagu Lembaga Kita memiliki bentuk musik dan pola akor yang sederhana, tetapi cukup dikenal dan popular dikalangan masyarakat khusunya kalangan masyarakat Nahdlatul Wathan. Seiring perkembangan zaman dan sudah beberapa tahun belum ada bentuk aransemen yang baru, maka peneliti bertujuan untuk mengaransemen lagu tersebut dengan mendeskripsikan bentuk, struktur dan pola aransemen lagu Lembaga Kita dalam ansambel campuran. Jenis penelitian ini menggunakan metode deskriftif kualitatif, sedangkan tekhnik pengumpulan data dilakukan dengan tekhnik triangulasi data yaitu observasi wawancara, dan pengumpulan data dengan dokumen. Data yang didapat kemudian dikaji dan diaransemen atau digubah kedalam bentuk ansambel campuran. Dari hasil penelitian yang dilakukan maka dapat ditarik kesimpulan sebagai berikut: Lagu Lembaga Kita termasuk ke dalam struktur homophony, dilihat dari tekstur musiknya dan dilihat dari struktur aransemennya. Terdapat 88 birama pada lagu Lembaga Kita secara keseluruhan oleh beberapa instrument biola 1, biola 2, biola3, piano, bass, guitar elektrik, guitar klasik, drum dan paduan suara dan dimainkan dalam tangga nada E minor atau tangga nada 1# yang berarti G mayor.AbstractArrangement of Lembaga Kita Songs in Mixed Ensembles. Lembaga Kita song creat by TGKH. Muhammad Zainuddin Abdul Majid was previously in the form of Kasidah music then arranged in electone music. Lembaga Kita song has a simple form of music and chord pattern, but it is well known and popular among the people, especially the Nahdlatul Wathan people. Along with the times and there have been no new arrangements for several years, the researchers aim to arrange the song by describing the shape, structure and pattern of the arrangements of the Lembaga Kita song in a mixed ensemble. This type of research uses qualitative descriptive methods, while data collection techniques are carried out with data triangulation techniques, namely interview observation, and data collection with documents. The data obtained is then reviewed and arranged or changed into a mixed ensemble. From the results of the research conducted it can be concluded as follows: Lembaga Kita song is included in the structure of homophony, seen from the texture of the music and viewed from the structure of the arrangement. There are 88 bars on the Lembaga Kita song as a whole by several violin instruments 1, violin 2, violin 3, piano, bass, electric guitar, classical guitar, drums and choir and played on the E minor scale which means G majorKeywords: arrangement; Lembaga Kita Song; mixed ensemble
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Askenfelt, Anders, and Erik V. Jansson. "On Vibration Sensation and Finger Touch in Stringed Instrument Playing." Music Perception 9, no. 3 (1992): 311–49. http://dx.doi.org/10.2307/40285555.
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The vibration levels in four traditional stringed instruments during playing have been investigated, including the double bass, violin, guitar, and the piano. The vibration levels, which were measured at several positions and at different dynamic levels, were evaluated with respect to reported thresholds for detection of vibrotactile stimuli. The results show that the vibration levels are well above threshold for almost all positions on the instruments in normal playing. It is concluded that the perceived vibrations may be of some assistance with regard to intonation in ensemble playing, in particular for the bass instruments. The finger forces exerted when playing the bowed strings, as well as the touch forces in piano playing were studied briefly. It was concluded that the kinesthetic forces perceived in playing may assist the timing in performance.
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Deonarinesingh, Anastasia. "Climate Change and Caribbean Coral Reefs." Caribbean Quilt 1 (November 18, 2012): 24. http://dx.doi.org/10.33137/caribbeanquilt.v1i0.19043.
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Anastasia, a student at the University of Toronto, St. George, is pursuing a Bachelor of Science Double Major in Physics and Caribbean Studies and a Minor in Mathematics. She is a pianist, plays the guitar and steelpan and spends her free time arranging music. Her love for soca music and steelpan in no way takes away from her passion for classical piano and physics. As a person of the Trinidadian Diaspora with many interests, Ana has decided to look at the Caribbean from a different perspective by combining her love for science and the region.
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Doğan, Tekin, and Barış Erdal. "Which one is your the favoritte instrument? A Study on the demographic and socio-cultural factors that affect the instrument preferenceSenin favori çalgın hangisi? Çalgı tercihini etkileyen demografik ve sosyo-kültürel faktörler üzerine bir araştırma." Journal of Human Sciences 13, no. 3 (2016): 6050. http://dx.doi.org/10.14687/jhs.v13i3.4122.
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Music, which is a part of the cultural expression, can be seen in all of the communities or societies of the world. Undoubtedly, instruments are among the most important elements that put music into being. Every culture from past to present has produced numerous musical instruments depending on the geography inhabited, production format, level of access to the technology, their varied customs and traditions. This diversity was also contribute to the formation of various kinds of music in a sense. Especially during the last fifty years research on the diversity of music preferences/tastes gained great momentum but it is amazing that there is limited research on musical instrument taste. In this study, people's musical instrument tastes were examined in accordance with certain demographic and social variables. Research was conducted among participants of 130 female and 102 male who are 18-27 years old (n = 232). Participants were asked to evaluate the selected 10 different instruments from four different continents (Pan Flute, Violin, Sitar, Kavala, Morin Khuur, Classical Guitar, Flute, Erhu, Lute, and Piano) with four predetermined simple melodies. The melodies used were selected of 4 different audio systems (tonal, modal, modal, pentatonic). In addition, the instruments were also evaluated with authentic melodies of culture each one belongs to. As a result of the study, a significant relationship has emerged between the levels of musical instrument tastes of the participants and their age, gender, income level and choice of music genre. Based on the relationship between gender and the music genre listened to, it has been identified that women prefer more pop music, while men choose to listen to Turkish music. In addition, while most women prefer the Calssical Guitar, the Flute and Piano, the men chose the lute. The instrument that men and women have preferred least was Morin Khuur. The low-income participants preferred more piano, the middle-income participants preferred Classical Guitar, while high-income participants preferred Oud mostly. At the same time, across all income levels, Morin Khuur was the least popular instrument. As the average age of participants decreases, like for the guitar grows, but as the average age increases, like for the Kavala grows. Özetİfade kültürünün bir parçası olan müzik bütün dünya topluluk ya da toplumlarında görülebilir. Bunun yanı sıra kuşkusuz müziğe varlık kazandıran en önemli öğelerden biri de çalgılardır. Geçmişten günümüze her kültür, yaşadığı coğrafyaya, üretim biçimine, erişmiş olduğu teknolojik düzeye, birbirinden farklı adet, örf ve geleneklere bağlı olarak sayısız çalgı üretmiştir. Bu çeşitlilik bir anlamda bir çok müzik türünün oluşmasına da katkı sağlamıştır. Özellikle son elli yılda müzik tercihi/beğenisi üzerine yapılan araştırmaların büyük bir ivme ve çeşitlilik kazanmasına rağmen çalgı beğenisine yönelik araştırmaların sınırlı olması şaşırtıcıdır. Bu çalışmada, insanların çalgı beğenileri belirli demografik ve sosyal değişkenler çerçevesinde incelenmiştir. Araştırma 18-27 yaş arasında 102 erkek 130 kadın (n=232) katılımcı ile gerçekleştirilmiştir. Katılımcılardan belirlenmiş dört yalın ezgiyi, dört farklı kıtadan seçilen 10 farklı çalgı ile (Pan Flüt, Keman, Sitar, Kaval, Morin Khuur, Klasik Gitar, Yan Flüt, Erhu, Ud, Piyano) değerlendirmeleri istenmiştir. Kullanılan ezgiler 4 farklı ses sisteminden (tonal, modal, makamsal, pentatonik) seçilmiştir. Ayrıca çalgıların her biri ait olduğu kültürün otantik ezgileriyle de değerlendirilmiştir. Çalışma sonucunda katılımcıların çalgı beğeni düzeyleriyle yaş, cinsiyet, gelir düzeyi ve dinlenen müzik türü arasında anlamlı ilişkiler olduğu ortaya çıkmıştır. Dinlenilen müzik türü ve cinsiyet arasındaki ilişkiye göre kadınların daha çok Pop müzik, erkeklerin ise daha çok Türk müziği dinlemeyi tercih ettikleri tespit edilmiştir. Buna ek olarak kadınlar en çok Gitar, Yan Flüt ve Piyano’yu tercih ederken, erkekler Ud’u tercih etmiştir. Toplamda erkek ve kadınların en az tercih ettiği çalgı ise Morin Khuur olmuştur. Gelir düzeyi düşük katılımcılar daha çok Piyano’yu, orta gelir düzeyindeki katılımcılar daha çok Klasik Gitar’ı, yüksek gelir düzeyindeki katılımcılar ise daha çok Ud’u tercih etmiştir. Aynı zamanda tüm gelir düzeyleri arasında en az beğenilen çalgı Morin Khuur olmuştur. Katılımcıların yaş ortalaması küçüldükçe Gitar beğenisi, yaş ortalaması büyüdükçe Kaval beğenisi artmıştır.
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Pastore, M. Torben, and Nikhil Deshpande. "The evolution and maturation of the electric guitar as a system." Journal of the Acoustical Society of America 151, no. 4 (2022): A182. http://dx.doi.org/10.1121/10.0011034.
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The electric guitar came to its initial prominence in the 1940s when its volume allowed jazz guitarists like Charlie Christian to step out in front of the rhythm section like other soloists, competing with the brass, wind, and piano. Further changes in the playing and design of the instrument came with exploitation of the interaction of the electric guitar, tube amplifiers, and analog effects as a larger system. Especially in the rock and funk idioms, the playing and construction of the overall instrument evolved and expanded rapidly with the mainstream embrace of digital technology. This talk will consider the evolution of the electric guitar as a system up through today and consider why it seems the instrument has fully evolved and is unlikely to experience further seismic shifts, especially as the overall thrust of music has shifted to digitally-manipulated sound that is often entirely independent of the physical playing of any instrument.
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Heiderscheit, Annie, Stephanie J. Breckenridge, Linda L. Chlan, and Kay Savik. "Music Preferences of Mechanically Ventilated Patients Participating in a Randomized Controlled Trial." Music and Medicine 6, no. 2 (2014): 29. http://dx.doi.org/10.47513/mmd.v6i2.177.
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Mechanical ventilation (MV) is a life-saving measure and supportive modality utilized to treat patients experiencing respiratory failure. Patients experience pain, discomfort, and anxiety as a result of being mechanically ventilated. Music listening is a nonpharmacological intervention used to manage these psychophysiological symptoms associated with mechanical ventilation. The purpose of this analysis is to examine music preferences of 107 MV patients enrolled in a randomized clinical trial that implemented a patient-directed music listening protocol to help manage the psychophysiological symptom of anxiety. 1 Music data presented heretofore includes the music genres and instrumentation patients identified as their preferred music. Genres preferred include: classical, jazz, rock, country, and oldies. Instrumentation preferred include: piano, voice, guitar, music with nature sounds, and orchestral music. The analysis of three patients’ preferred music received throughout the course of the study is illustrated to demonstrate the details and complexity involved in assessing MV patients, which substantiates the need for an ongoing assessment process.
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Clark, Walter. "Of Self and Circumstance: Music and Representation in the Works of Rodrigo." Soundboard Scholar 7, no. 1 (2021): 1–17. http://dx.doi.org/10.56902/sbs.2021.7.5.
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Though Joaquín Rodrigo (1901-99) is renowned for his guitar works, especially the Concierto de Aranjuez, less well known is the fact that his compositions embrace a wide variety of genres, styles, and media, from piano solos to art songs and from orchestral tone poems to film scores. This article proposes a novel way of organizing and comprehending the roughly 200 works in his catalogue. Rather than the standard method of organization by chronology or medium, it surveys his oeuvre through multiple lenses, including literary, folkloric, virtuosic, sacred, historical, theatrical and descriptive. Each of these categories represents the salient dimension of a particular work, though it allows for the presence of two or more such traits. We are then in a position to make some generalizations about his basic stylistic orientation, which follows in the footsteps of Falla’s neoclassicism by incorporating national elements to produce a style often referred to as neocasticismo. The article concludes with a bibliography of writings, published and unpublished, about Rodrigo's guitar music, beginning with a general overview and proceeding to those devoted to the Aranjuez.
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Corrigall, Kathleen A., Barbara Tillmann, and E. Glenn Schellenberg. "Measuring Children’s Harmonic Knowledge with Implicit and Explicit Tests." Music Perception 39, no. 4 (2022): 361–70. http://dx.doi.org/10.1525/mp.2022.39.4.361.
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We used implicit and explicit tasks to measure knowledge of Western harmony in musically trained and untrained Canadian children. Younger children were 6–7 years of age; older children were 10–11. On each trial, participants heard a sequence of five piano chords. The first four chords established a major-key context. The final chord was the standard, expected tonic of the context or one of two deviant endings: the highly unexpected flat supertonic or the moderately unexpected subdominant. In the implicit task, children identified the timbre of the final chord (guitar or piano) as quickly as possible. Response times were faster for the tonic ending than for either deviant ending, but the magnitude of the priming effect was similar for the two deviants, and the effect did not vary as a function of age or music training. In the explicit task, children rated how good each chord sequence sounded. Ratings were highest for sequences with the tonic ending, intermediate for the subdominant, and lowest for the flat supertonic. Moreover, the difference between the tonic and deviant sequences was larger for older children with music training. Thus, the explicit task provided a more nuanced picture of musical knowledge than did the implicit task.
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Pendergast, Seth, and Nicole R. Robinson. "Secondary Students’ Preferences for Various Learning Conditions and Music Courses: A Comparison of School Music, Out-of-School Music, and Nonmusic Participants." Journal of Research in Music Education 68, no. 3 (2020): 264–85. http://dx.doi.org/10.1177/0022429420931826.
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This study was an investigation of middle and high school students’ preferences for various music learning conditions and secondary music course offerings. The stratified random sample included students who were and were not enrolled in school music classes ( N = 827). Participants represented secondary school music students ( n = 369), students who only participate in music outside of school ( n = 254), and nonparticipants in music ( n = 204). The research questions for this study concerned students’ preferences for teacher role, group size, and repertoire in the music classroom as well as interest in six different secondary music courses. Findings showed out-of-school music participants and nonparticipants had a stronger preference for small group learning environments and repertoire choice when compared to school music participants. In-school and out-of-school music participants expressed similar levels of interest in four music course offerings and ranked them as follows: (1) piano/guitar class, (2) music composition with technology class, (3) popular music groups, and (4) music history/theory class. In-school and out-of-school music participants differed on only two course offerings: large ensembles and world music groups. In-school music participants expressed high interest in large ensembles, whereas out-of-school music participants conveyed a lower interest in large ensembles.
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Christensen, Jean, Bent Lorentzen, and Ivar Lunde. "Paradiesvogel, for 7 Instruments: Flute/Piccolo, Clarinet, Violin, Cello, Guitar, Percussion, Piano (1983)." Notes 46, no. 1 (1989): 241. http://dx.doi.org/10.2307/940787.
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Allsup, Randall Everett. "Mutual Learning and Democratic Action in Instrumental Music Education." Journal of Research in Music Education 51, no. 1 (2003): 24–37. http://dx.doi.org/10.2307/3345646.
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This ethnography is an investigation of the notion of democracy as community-in-the-making. The researcher and nine band students came together to create music that was meaningful and self-reflective. The participants elected to split into two distinct ensembles. Group 1 chose not to compose on their primary band instruments, opting for electric guitar, bass, synthesized piano, and drums. Group 2 chose to create music using traditional concert band instruments. Choosing a genre and working with the traditions governing its creative processes seemed to be the largest determinant of a groups culture. The group members and researcher saw classical music as unproductive for group composing or community-making. Composing in a jazz or popular style was conceived of as fun, nonobligatory, self-directed, and personally meaningful. In such settings, there was an emphasis on interpersonal relationships, peer learning and peer critique, as well as an expectation that members will take care of each other.
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Klanjscek, Neva, Lisa David, and Matthias Frank. "Evaluation of an E-Learning Tool for Augmented Acoustics in Music Education." Music & Science 4 (January 1, 2021): 205920432110375. http://dx.doi.org/10.1177/20592043211037511.
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Augmented Practice Room is an e-learning tool, developed by the project team, that allows music students to practice in different acoustical environments while remaining physically in their classroom or at home. Music teachers and students from violin, ‘cello, piano, clarinet, guitar, and pop-singing classes have collaborated in testing it for a semester and giving the authors continuous feedback. In this exploratory phase, we used methods such as group discussion and semi-structured diary, with the purpose to gather as many different perspectives and reactions from participants as possible. The analysis of the collected data showed that the tool was in general positively perceived and considered useful. In particular, results merged into a four-dimensional model that describes the impact of the tool on practice: musical expressiveness, level of attention or arousal, instrument-specific technical issues, and emotional state.
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Lubet, Alex. "Disability Studies and Performing Arts Medicine." Medical Problems of Performing Artists 17, no. 2 (2002): 59–62. http://dx.doi.org/10.21091/mppa.2002.2009.
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My introduction to the emerging field of disability studies (DS) was not by accident, but by injury. A professor of music composition and theory who uses piano and computer keyboards extensively, performs on acoustic guitar, electric bass, and mandolin, and handwrites a great deal, I have coped with pain and functional limitations from spinal and upper limb injuries for years. In 1999, on disability leave, recovering from neurosurgery for cervical disk herniation, I read a call for papers on disability and the performing arts. Intrigued, I immersed myself in DS literature, and began to participate in the Society for Disability Studies and to engage in research, teaching, and creative projects on disability topics.
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Zhumsakbayev, Aman T., Kadisha R. Nurgali, and Zhanat A. Aimukhambet. "Musicality of Plays by A. P. Chekhov and G. M. Musirepov." Interdisciplinary Literary Studies 25, no. 2 (2023): 163–75. http://dx.doi.org/10.5325/intelitestud.25.2.0163.
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ABSTRACT The dramaturgy of Musirepov and Chekhov is very closely related to music. The writers understood that with the help of music, the problems posed by playwrights acquire philosophical depth, images and situations are voiced, and the composition of a play is built. The study of the musicality of Chekhov and Musirepov’s plays is an urgent problem for both Russian and Kazakh literature. To analyze the musicality of their plays, various methods of scientific knowledge were used. Particular attention is paid to the study of the sound of musical instruments in Chekhov and Kazakh drama. Guitar, piano, flute, and dombra are designed to create a unique atmosphere and enhance psychologism. Thus, musical motives not only have an auxiliary function, but they, along with dialogues, are an integral and equal part of the dramatic structure. The analysis of the role of music in the plays of Chekhov and Musirepov can be used to study the creativity of the authors. This work can be used by teachers and students of higher educational institutions to study the musicality of plays during lectures and practical classes.
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Budhiono, Sofia Shieldy, and I. Dewa Made Bayu Atmaja Darmawan. "Pitch Transcription of Solo Instrument Tones Using the Autocorrelation Method." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 3 (2020): 347. http://dx.doi.org/10.24843/jlk.2020.v08.i03.p18.
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Pitch transcription is basically identifying and copying pitch on an audio or music. In this case, the pitch of a solo instrument music is processed to find the composition of the music tones, the method used is autocorrelation. After processing, the system will produce pitch transcription results from the audio that has been processed. this research done digitalization of an old method of identifying pitches into an application that is able to transcribe pitches in an audio. This Pitch Transcription application was created using the Python programming language with Librosa library as a library for audio processing. The purpose of making this system is to facilitate the identification of pitch from a solo instrument music. This Application Feature itself besides being able to show the results of pitch transcription can also display the Onset Graph, Signal Graph play the results of the synthesis transcribed audio sounds. Testing in this study uses audio sourced from 4 single instruments, there are flute, piano, violin and acoustic guitar. The test results show that the implementation of the autocorrelation method in the solo instrument tone transcription application has an accuracy of 92.85%.
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Brenner, Brenda, and Katherine Strand. "A Case Study of Teaching Musical Expression to Young Performers." Journal of Research in Music Education 61, no. 1 (2013): 80–96. http://dx.doi.org/10.1177/0022429412474826.
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What does it mean to teach musical expression to child performers? Is it teaching how to interpret a piece of music “correctly,” or is there more involved? In this case study, we explored the beliefs and practices of five teachers who specialized in teaching children to perform in a variety of musical performance areas, including violin, cello, piano, guitar, voice, and musical theater. To discover their pedagogy for teaching musical expressivity, we asked the initial questions, “How do these teachers define musical expression?” “What are the characteristics of an expressive performance for children?” and “Can musical expression be taught to children?” Data were collected through interviews with teachers and students, observations of lessons with children, and archival materials about each teacher’s studio practice. Transcripts of interviews, artifacts, and observed lessons were analyzed through emergent category coding and axial coding, using member checking and negative case analysis. Findings are discussed in relation to extant literature. Implications for teacher training and future research are explored.
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Lu, Chien-Yu, Min-Xin Xue, Chia-Che Chang, Che-Rung Lee, and Li Su. "Play as You Like: Timbre-Enhanced Multi-Modal Music Style Transfer." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 1061–68. http://dx.doi.org/10.1609/aaai.v33i01.33011061.
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Style transfer of polyphonic music recordings is a challenging task when considering the modeling of diverse, imaginative, and reasonable music pieces in the style different from their original one. To achieve this, learning stable multi-modal representations for both domain-variant (i.e., style) and domaininvariant (i.e., content) information of music in an unsupervised manner is critical. In this paper, we propose an unsupervised music style transfer method without the need for parallel data. Besides, to characterize the multi-modal distribution of music pieces, we employ the Multi-modal Unsupervised Image-to-Image Translation (MUNIT) framework in the proposed system. This allows one to generate diverse outputs from the learned latent distributions representing contents and styles. Moreover, to better capture the granularity of sound, such as the perceptual dimensions of timbre and the nuance in instrument-specific performance, cognitively plausible features including mel-frequency cepstral coefficients (MFCC), spectral difference, and spectral envelope, are combined with the widely-used mel-spectrogram into a timbreenhanced multi-channel input representation. The Relativistic average Generative Adversarial Networks (RaGAN) is also utilized to achieve fast convergence and high stability. We conduct experiments on bilateral style transfer tasks among three different genres, namely piano solo, guitar solo, and string quartet. Results demonstrate the advantages of the proposed method in music style transfer with improved sound quality and in allowing users to manipulate the output.
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Sheludiakova, Svitlana. "The genre of the piano concerto in John Adams’s work on the example of “Must the Devil Have All the Good Tunes?”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 70, no. 70 (2024): 161–84. http://dx.doi.org/10.34064/khnum1-70.09.
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Statement of the problem. The genre of the instrumental concerto is an important part of the famous American composer John Coolidge Adams’s oeuvre. This is evidenced by the popularity of his concertos among performers and the ongoing interest of researchers in them. However, the composer’s piano concertos, especially the Third Concerto titled “Must the Devil Have All the Good Tunes?”, remains largely unexplored, which prevents the elucidation of the principles of interpreting the genre. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the genre and stylistic interaction in J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?”. For the first time the genre, stylistic, structural and dramaturgical features of this composition become the subject of analysis. The methods of structural and functional, genre and stylistic , and comparative analysis are used in the study. Research results and conclusion. The analysis of J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?” indicates a combination of classical principles with features of minimalism and elements of jazz (ragtime, swing and other) and rock and roll. The classical principles are evident in the three-part structure of the cycle, the use of sonata form in the first movement and variation form in the second, and the orchestration that predominantly adheres to academic traditions. At the same time, there are the features of music poem genre, an openness of forms that appeal to the late-Romantic tradition, alongside with fragmentation inherited in contemporary compositional approaches. These aspects are counterbalanced by timbre dramaturgy, which embodies the idea of continuous development through the gradual addition of new instruments and registers, from the lowest to the highest. Minimalist features are evident in the repetitiveness, the significant role of ostinato rhythms, in the structure of the theme of the second movement, and the use of variation form with the addition of new episode. They also interact with baroque stylistics, as evidenced by the use of short trill-like motifs reminiscent of ornaments found in French harpsichord music. Jazz features are embodied on the genre basis of ragtime, funk, and swing as the extensive use of syncopated formulas, accents, polyrhythmic combination of parts, quasi-improvised elements and the walking bass in the piano part, as well as the ensemble techniques borrowed from jazz-bands. The inclusion in the orchestra the bass guitar and the piano sampler with “Honky Tonk” timbre refers to the rock music, to the ragtime tradition and the honky-tonk bars’ music-making. The programmatic aspect of the Concerto is realized through the stylistic interaction between the Classical embodying tradition, balance, and restraint, and the “diabolical” embodying fearlessness, freedom, and boldness associated in the Concerto with jazz, rock, and pop elements. Therefore, these aspects define the stylistic and dramaturgical uniqueness of J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?”.
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Collins, John. "Ghanaian Christianity and Popular Entertainment: Full Circle." History in Africa 31 (2004): 407–23. http://dx.doi.org/10.1017/s0361541300003570.
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In this paper I look at the relationship between Christianity and popular entertainment in Ghana over the last 100 years or so. Imported Christianity was one of the seminal influences on the emergence of local popular music, dance, and drama. But Christianity in turn later became influenced by popular entertainment, especially in the case of the local African separatist churches that began to incorporate popular dance music, and in some cases popular theatre. At the same time unemployed Ghanaian commercial performing artists have, since the 1980s, found a home in the churches. To begin this examination of this circular relationship between popular entertainment and Christianity in Ghana we first turn to the late nineteenth century.The appearance of transcultural popular performance genres in southern and coastal Ghana in the late nineteenth century resulted from a fusion of local music and dance elements with imported ones introduced by Europeans. Very important was the role of the Protestant missionaries who settled in southern. Ghana during the century, establishing churches, schools, trading posts, and artisan training centers. Through protestant hymns and school songs local Africans were taught to play the harmonium, piano, and brass band instruments and were introduced to part harmony, the diatonic scale, western I- IV- V harmonic progressions, the sol-fa notation and four-bar phrasing.There were two consequences of these new musical ideas. Firstly a tradition of vernacular hymns was established from the 1880s and 1890s, when separatist African churches (such as the native Baptist Church) were formed in the period of institutional racism that followed the Berlin Conference of 1884/85. Secondly, and of more importance to this paper, these new missionary ideas helped to establish early local popular Highlife dance music idioms such as asiko (or ashiko), osibisaaba, local brass band “adaha” music and “palmwine” guitar music. Robert Sprigge (1967:89) refers to the use of church harmonies and suspended fourths in the early guitar band Highlife composition Yaa Amponsah, while David Coplan (1978:98-99) talks of the “hybridisation” of church influences with Akan vocal phrasing and the preference of singing in parallel thirds and sixths in the creation of Highlife.
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Cosynala, W. Ranta, and Ahmad Fajar Ariyanto. "THE INTERIOR DESIGN OF A MUSIC SCHOOL FOR PERSONS WITH VISION IMPAIRMENT WITH THE CONCEPT OF LANDMARK PERCEPTION IN SURAKARTA, INDONESIA." Pendhapa 11, no. 1 (2021): 18–23. http://dx.doi.org/10.33153/pendhapa.v11i1.3604.
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The Law of the Republic of Indonesia, article 5, paragraphs 1 and 2 concerning the education system, states that every citizen has the same right to obtain a good quality education. Citizens who have physical, emotional, mental, intellectual, and social disabilities are entitled to special education, including vision impairment. One of those people with vision impairment skills is their music expertise by maximizing touch and the sense of hearing. This work aims to realize the Landmark Perception concept by applying dynamic repetition by visualizing the repetition of several elements, such as line, shapes, textures, colors, dimensional gradations, shape gradations, and circulation patterns. These work results are the interior designs for the main facilities, including vocal classrooms, guitar classrooms, Violin classrooms, drum classrooms, piano classrooms, concert halls, and some supporting facilities such as cafeterias and libraries. The results of this work can be a reference for interior designers in designing interiors in a contemporary style based on the needs of people with vision impairment.
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Fitri, Putri Ariska, Jagar Lumbantoruan, and Irdhan Epria Darma Putra. "ARANSEMEN LAGU AYAH." Jurnal Sendratasik 8, no. 3 (2019): 9. http://dx.doi.org/10.24036/jsu.v7i3.103277.
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AbstractThe purpose of this work is to arrange Ayah song as a form of expression of the author's musical experience in arranging, making musical arrangements that are relevant to the works of musical works of students and maximizing the potential of human resources (students) in school. In this work, the author uses a mixed ensemble presentation format. The musical instruments used for accompanying vocals are pianika, piano, guitar, bass, and drum-set. This arrangement uses 2 parts, namely part A and part B with a time signature of 4/4. Part A starts from 1 time to 46 time and part B starts from the time of 47 to 103. The musical arrangement of this work contains lyrics that tell about the attitude of a father who loves and protects his child. The development techniques applied are (1) repetition melodically and rhythmically, (2) sequences, (3) augmentation, (4) diminution, and various other techniques without changing the essence of the song Ayah.Keywords: Arrangement, School Music, Father's Song.
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VERMAZEN, BRUCE. "“Those Entertaining Frisco Boys”: Hedges Brothers and Jacobson." Journal of the Society for American Music 7, no. 1 (2013): 29–63. http://dx.doi.org/10.1017/s1752196312000478.
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AbstractCharles Frederick (Freddie) Hedges (1886–1920), his brother Elven Everett Hedges (1889–1931), and Jesse Jacobson (1882–1959) converged as Hedges Brothers and Jacobson in 1910 in San Francisco. Elven played piano, saxophone, and guitar, and all three sang and danced. In 1910–11, critics in San Francisco, Chicago, New York, and smaller cities greeted the act as something new and exceptionally good. Instead of pursuing more general fame in North America, the trio accepted a music-hall contract in England, where they became leaders in creating a craze for American ragtime singing, a craze that prepared the English public for the momentous arrival of jazz after the First World War. The trio recorded eight released songs for Columbia in 1912–13. In 1913, they also performed in Paris and South Africa. In 1914, after eight months back in the United States, they returned to English success but soon dissolved the act and performed separately until 1919, when they reunited to accept an unprecedented contract (£30,000 for six years). Early in 1920, Freddie killed himself. Forest Tell (b. 1888) replaced him in the trio, and the new group recorded six released songs for Zonophone in 1920. The trio disbanded at the end of the contract. Elven retired shortly afterward, but Jesse stayed in show business at least through World War II.
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Purwanto, Adi, Ida Widaningrum, and Khoiru Nur Fitri. "Aplikasi Musicroid sebagai Media Pembelajaran Seni Musik Berbasis Android." Khazanah Informatika: Jurnal Ilmu Komputer dan Informatika 5, no. 1 (2019): 78–87. http://dx.doi.org/10.23917/khif.v5i1.7772.
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Musik merupakan salah satu cabang seni yang telah lama ada di dunia. Musik membuat hidup ini semakin berwarna, kemanapun dan dimanapun tanpa kita sadari berdampingan dengan musik. Penelitian ini tentang media pembelajaran yang menarik untuk pembelajaran seni musik, terutama guitar dan piano untuk membantu siswa yang kesulitan memahami konsep chord dan cara memainkannya. Chord Theory perlu dipahami siswa karena menjadi dasar permainan alat musik. Penelitian ini menggunakan model ADDIE, yang meliputi 5 tahapan yaitu: Analysis, Design, Development, Implementation dan Evaluation. Pengembangan media pembelajaran seni musik ini disebut “Musicroid”. Musicroid menggunakan sistem Android yang saat ini dikenal sebagai sistem operasi Open Source. Pengembangan dilakukan dengan menggunakan software Android Studio yang didukung dengan pemrograman bahasa Java. Hasil yang diperoleh dari hasil uji validasi ahli materi dengan nilai 4,6 dan ahli media dengan nilai 4,3 termasuk kategori sangat layak. Uji kelayakan faktor usability memperoleh nilai 5,8, dikategorikan sangat layak sebagai media pembelajaran musik.
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BODNAR, Oksana, and Qiuling XIONG. "THE SPECIFICITY OF FORMING AESTHETIC VALUES OF COLLEGE STUDENTS IN ACADEMIC DISCIPLINES WITH THE HELP OF MUSICAL INSTRUMENT." Dnipro Academy of Continuing Education Herald. Series: Philosophy, Pedagogy, Vol. 1 No. 1 (2024) (May 30, 2024): 66–77. http://dx.doi.org/10.54891/2786-7013-2024-1-8.
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This article expounds the particularity of the discipline setting of Chinese college students' aesthetic values from the perspective of the four disciplines of music history theory, music appreciation, music aesthetics and music practice offered in Chinese universities, the article also gives a detailed description of the musical instruments used by college students in the course of studying these disciplines. In Chinese colleges and universities, students form aesthetic values through Chinese musical art, mainly by studying some disciplines about Chinese music. After analyzing and reading the relevant literature, the authors find that, on the one hand, the music disciplines offered by the universities in China under the guidance of the state policy have common features, but because of the difference of the regional economic development, the local culture, the cognitive difference of the administrators, such as the president, and the difference of their own school-running conditions, the colleges and universities have different characteristics. After analysing the literature connected to the research, the authors find that, on the other hand, the types of musical instruments used by students are subject to the school's music public art curriculum resources. It is emphasised that many well-known universities and provincial key universities in China are rich in music public art teaching resources, students use more instruments, playing professionally. And in most local colleges and universities in ethnic minority areas, college students use fewer musical instruments, and more use of piano, guitar, Cucurbit Wire, harmonica, Zheng and other common fixed pitch, relatively easy to operate the instrument, the minority musical instruments which are special, rare or difficult to learn are seldom used even in universities in minority areas. The study is relevant for comparing the means of forming aesthetic values in different countries. Prospects for further research will be to analyse the methods and forms of forming students' aesthetic values in the educational process of colleges in China and other countries in a comparative aspect.
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Overholt, Dan, Edgar Berdahl, and Robert Hamilton. "Advancements in Actuated Musical Instruments." Organised Sound 16, no. 2 (2011): 154–65. http://dx.doi.org/10.1017/s1355771811000100.
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This article presents recent developments in actuated musical instruments created by the authors, who also describe an ecosystemic model of actuated performance activities that blur traditional boundaries between the physical and virtual elements of musical interfaces. Actuated musical instruments are physical instruments that have been endowed with virtual qualities controlled by a computer in real-time but which are nevertheless tangible. These instruments provide intuitive and engaging new forms of interaction. They are different from traditional (acoustic) and fully automated (robotic) instruments in that they produce sound via vibrating element(s) that are co-manipulated by humans and electromechanical systems. We examine the possibilities that arise when such instruments are played in different performative environments and music-making scenarios, and we postulate that such designs may give rise to new methods of musical performance. The Haptic Drum, the Feedback Resonance Guitar, the Electromagnetically Prepared Piano, the Overtone Fiddle and Teleoperation with Robothands are described, along with musical examples and reflections on the emergent properties of the performance ecologies that these instruments enable. We look at some of the conceptual and perceptual issues introduced by actuated musical instruments, and finally we propose some directions in which such research may be headed in the future.
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Astuti, Kun Setyaning, Fransisca Xaveria Diah Kristianingsih, Pujiwiyana Pujiwiyana Pujiwiyana, Cipto Budi Handoyo, and Lukas Gunawan Arga Rakasiwi. "Pengembangan Metode Pembelajaran Berbasis Modulasi sebagai Stimulus Kepekaan Musikalitas Anak." PROMUSIKA 11, no. 2 (2023): 75–81. http://dx.doi.org/10.24821/promusika.v11i2.10868.
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Penelitian ini untuk mengembangkan metode pembelajaran bernyanyi berbasis modulasi atau perubahan nada dasar pada anak. Metode ini dilakukan sebagai salah satu cara atau stimulus untuk meningkatkan kepekaan musikalitas anak. Melalui metode ini, anak dapat secara spontan, tepat, dan cepat merespon fenomena musikal. Penelitian dilatarbelakangi praktik pembelajaran musik terutama di Sekolah Dasar yang selama ini lebih bersifat teoritis. Pembelajaran lebih ditekankan pada kemampuan kognitif dibandingkan pengembangan psikomotorik. Dengan metode pembelajaran ini, anak diharapkan dapat berinteraksi dengan musik secara langsung sehingga hakikat substansi pembelajaran musik meliputi aktivitas mengapresiasi, mengkreasi, dan mengekspresikan musik tercapai. Metode penelitian yang digunakan Research and Development. Adapun tahapan penelitian yaitu: identifikasi kebutuhan, pengumpulan data, desain invention berupa pengembangan metode pembelajaran modulasi; uji coba terbatas, revisi, ujicoba metode pembelajaran berbasis modulasi. Hasil penelitian menunjukkan pembelajaran modulasi dapat dilakukan dengan tahapan 1) memperdengarkan iringan lagu saat modulasi menggunakan Do=C, Do=D, dan Do=E; 2) memberikan jembatan berupa akord pada nada dasar lagu yang akan dinyanyikan; 3) pengembangan Ritme lagu yang dapat digunakan sebagai tanda untuk memulai menyanyi; dan 4) pengiring dapat membantu anak-anak untuk menyanyi dengan lagu yang benar pada saat modulasi dari tangga nada mayor ke minor dan sebaliknya, 5) anak-anak usia antara 5-10 tahun dapat menyanyikan lagu anak-anak dengan mengikuti iringan baik dengan alat musik gitar maupun piano., 8) anak-anak usia antara 7-10 tahun dapat menyanyikan lagu dengan modulasi dan perubahan tangga nada dari mayor ke minor dan sebaliknya.AbstractDevelopment of Modulation-Based Learning Methods as a Stimulus for Children's Musical Sensitivity. This study aims to develop a singing learning method based on modulation or changes scale for children. This method is a way or stimulus to increase children's musical sensitivity. This method allows Children to spontaneously, precisely, and quickly respond to musical phenomena. This study is motivated by the practice of learning music, especially in elementary schools, which is more theoretical. Cognitive abilities are more emphasized than psychomotor development. This method involves children interacting directly with music. Thus, the essence of music learning includes appreciating, creating, and expressing. This study used the Research and Development method. The steps include identification of needs, data collection, design of developing modulation learning methods, tryouts, revisions, and implementation of modulation-based learning methods. There are five steps you can take to learn modulation: 1) Listening to the accompaniment of the song when modulating using Do=C, Do=D, and Do=E; 2) Providing a bridge in the form of song chords on the song's fundamental tone; 3) Creating a rhythm song that could be utilized as a signal to get people to sing, and 4) Accompaniment can help children to sing the correct song at the time of modulation from major to minor scales and vice versa; 5) children between the ages of 5-10 years can sing several songs by following good musical instrumental accompaniments played by guitar and piano. In addition, children between the ages of 7 and 10 can sing songs with modulations and changes in the pitch of the ladder from major to minor and vice versa.Keywords: modulation teaching and learning; Development of children's musicality; Singing
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Lederman, Richard J. "Tremor in Instrumentalists: Influence of Tremor Type on Performance." Medical Problems of Performing Artists 22, no. 2 (2007): 70–73. http://dx.doi.org/10.21091/mppa.2007.2105.
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Objective: To review the types of tremor seen in instrumental musicians and assess the impact on the musicians’ careers. Tremor of the limb, lip, jaw, or larynx can be particularly disruptive to an instrumentalist. Methods: Forty-six instrumental musicians were identified who specifically noted tremor interfering with musical activity. Tremor associated only with performance anxiety was excluded. Follow-up information was obtained by personal examination or telephone interview. Results: Twenty-six musicians (22 men, 4 women), aged 17 to 70 yrs at evaluation, had essential tremor. All had hand tremor; 2 primarily had lip tremor, and 1 vocal tremor. Instruments included 13 bowed strings, 5 woodwind, 3 keyboard, 2 guitar, and 1 each brass, percussion, and voice. Thirteen musicians currently use medication as needed; 1 is deceased; 1 no longer plays; and 4 were lost to follow-up. Sixteen with dystonic tremor (12 men, 4 women) were age 19 to 53 yrs at evaluation: 6 had embouchure tremor (4 brass, 2 woodwind) and 10 limb tremor (5 violin, 2 percussion, 1 each piano, banjo, and clarinet). Four play unimpaired; 3 remain mildly impaired; 5 remain in music but do not play; 3 have nonmusic careers; and 1 was lost to follow-up. Four patients had Parkinson's disease (2 men, 2 women), aged 34 to 71 at evaluation: 2 piano, 1 cello, and 1 bassoon. All had hand tremor and impaired dexterity that interfered with playing. One is deceased, another has stopped playing, and 2 continue to play with medication. Conclusions: Tremor can have a major impact on instrumental performance. Accurate identification of tremor type is critical for effective management and career counseling.
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Stanford, Sophia, Andrew Milne, and Jennifer MacRitchie. "The Effect of Isomorphic Pitch Layouts on the Transfer of Musical Learning †." Applied Sciences 8, no. 12 (2018): 2514. http://dx.doi.org/10.3390/app8122514.
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The physical arrangement of pitches in most traditional musical instruments—including the piano and guitar—is non-isomorphic, which means that a given spatial relationship between two keys, buttons, or fretted strings can produce differing musical pitch intervals. Recently, a number of new musical interfaces have been developed with isomorphic pitch layouts where these relationships are consistent. Since the nineteenth century, it has been widely considered that isomorphic pitch layouts facilitate the learnability and playability of instruments, particularly when a piece is transposed into a different key; however, prior to this paper, this has not been experimentally tested. To address this, we investigated four different pitch layouts to examine whether isomorphism facilitates retention and transfer of musical learning within and across keys. Both non-musicians and musicians were tested on two training tasks: two immediate retention tasks and a transfer task. Each participant played every task on two distinct layouts—one being an isomorphic layout (Wicki or Bosanquet), the other being a minimally adjusted non-isomorphic version. For musicians, isomorphism was found to facilitate transfer of learning to a novel task; for non-musicians, the results were mixed. This study provides insight into features that are important to music instrument design.
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Whalen, David S., Henry Lowengard, and Jonas Braasch. "Electronic wind instruments for mobility-restricted musicians." Journal of the Acoustical Society of America 155, no. 3_Supplement (2024): A149. http://dx.doi.org/10.1121/10.0027121.
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One of the earliest applications of analog music synthesizers was the simulation of orchestral instruments. Electronic wind instrument sounds were played through piano-like keyboards or interfaces with breath controllers that mimicked physical wind instruments. Synthesizers are also often the best alternative for artists with disabilities to play a musical instrument. This talk focuses on methods and experiences the authors were involved with to design electronic alternatives to wind instruments for people who lost control of their arms. The Jamboxx is a USB controller that was specifically designed as a head-only interface using a breath controller to simulate airflow but also operates as a suck/puff device to activate menus and buttons, a slider to manipulate pitch, and a tilt-sensor to control expression parameters. The Jamboxx also addressed musicians seeking a harmonica-type interface to augment their guitar performance. The AUMI instrument is a touchless device based on camera tracking. This talk will address different sound synthesis methods to achieve realistic wind instruments, the ability to integrate these instruments with other off-the-shelf products (e.g., VST plugins), and special requirements for artists with special needs to play these instruments without too much fatigue. [Work supported by the Craig H. Neilsen Foundation.]
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Culajara, Carla Jobelle. "Competency Level of MAPEH Teachers in Teaching Performing Arts Based on K to 12 Curriculum in Secondary Public Schools." Instabright International Journal of Multidisciplinary Research 3, no. 2 (2021): 23–36. http://dx.doi.org/10.52877/instabright.003.02.0036.
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The quality of education depends on the teacher as well as to the curriculum. As the prime movers to attain the addressed goals in the curriculum, teachers must have the desire to grow and improve through professional development and constant learning towards students ‘academic achievement. The descriptive method of research was utilized in this study to assess the competency level of the MAPEH teachers in teaching performing arts based on the K to 12 Curriculum. Results of the study revealed that majority of the respondents were females, married and 40 years old and below. They earned units/finished their master’s degree, held a teacher position, and had 10 years and below teaching experience. With regard to artistic inclinations particularly in terms of dancing, majority of them have potential in folk dance and modern dance. In terms of music, some teachers could play musical instruments skillfully such as guitar and piano/organ. They were highly competent in using assessment data, monitoring students’ data and achievement, using ICT resources for the teaching-learning process, giving feedbacks, making good use of allotted time and employing design. Individual or group experiential learning, cooperative learning, project method and collaborative activities were most commonly used strategies in teaching performing arts. Meanwhile, lack of facilities and equipment and limited seminars, workshops, and trainings attended were the common problems encountered.
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Melnik, V. Yu. "Aflamencado practice in the contemporary piano perfoming." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 266–80. http://dx.doi.org/10.34064/khnum1-56.17.
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Introduction. Flamenco is a cultural phenomenon that dates back to the 5–6th centuries. This artistic practice organically unites plastic, gesture, singing, word, instrumental play. It is difficult to determine the hierarchical relationships between these components. Each of them has its own “vocabulary”, its own laws of constructing the artistic whole, that is, its canons. In a wide artistic field, canons consider a set of certain rules, based on which creative activity is carried out, and the originality of its result is ensured by the specificity of their improvisational transformation by a particular performer. Any phenomenon that is subject to the action of a set of these specific canons acquires formal, stylistic, genre qualities that indicate the cultural and artistic environment from which they originate. Flamenco is developing dynamically and actively absorbing the experience of other musical cultures. Any phenomena that fall into the gravitational field of the flamenco canons acquire the specific traits inherent in this culture. This assimilation of alien elements is defined by the concept of aflamencado (“one that acquires the characteristic features of flamenco”). Theoretical background. Contemporary views toward flamenco culture are very different: the discrepancies are noticeable among flamenco fans, performers and scientists. The paper of Marta Wieczorec “Flamenco: Contemporary Research Dilemmas” (2018) considers disputes about the scientific issue of flamenco. She pays attention to the debatable side in science comprehension of this ethnic phenomena and its place in Spanish culture. This article also looks at the antagonism between traditional and contemporary, or, “pure” and commercial branches of flamenco. William Washbaugh in his book “Flamenco music and national identity in Spain” (2012) considers as a ambitious project the tendency to rethink Spanish national identity under the influence of the spread of flamenco music culture, its various forms. Among many contemporary musicians, he also calls Miriam Méndez. The purpose of this paper is to identify the basic strategies of aflamencado in piano art of the XX century (the ways of interaction flamenco and piano performance art of this period). Such study requires the use of musicological and performing analytical methods of scientific research, among them the methods of genre and style analysis, historical and comparative approach that are applied on this paper. The genre theory by E. Nazaykinskiy (1982) is used in this study. This theory defines genres as historically established types and kinds of musical creation, which divides according to number of criteria: by purpose (public, common, artistic function); by conditions and facilities of performing; by content and ways of creation. Aflamencado characterization using the theory of T. Cherednichenko (2002) about typologique of musical practices allowed considering different methods of adapting the flamenco ethnic elements to the academic traditions and to determine the degree of transformation of the constituent elements of the synthesis. Research results. Piano art began to embrace flamenco culture in the late XIX century. The pioneer along this path was maestro F. Pedrell and his students. One of them, І. Albenis, composed the cycles for piano “Spanish Music” No. 1 (1886), No. 2 (1889) and “Iberia” (1906–1908), where the piano pieces are enriched with the characteristic flamenco sound. The piano texture includes some elements of guitar technique: the “razguiado”, which involves repeated chords, the “punteado” – accenting performance of each sound. Melody line of Albenis’s piano works correlates with flamenco due to its generous embellishments, melismatics and hangs in detentions, which are also a projection of flamenco vocal art. The metro-rhythmic sphere of the Spanish opus by I. Albenis is often based on the typical flamenco-“compass” associated with changeable the dual and triple pulsations. Tonal and harmonic reliance on Lydian and Phrygian modes and the use of the so-called “Andalusian cadence” (t-VII-VI-D) complements the palette of flamenco expressive means of expression. These aflamencado examples have some contradictions. The nature of the pianoforte is extremely elitist and aristocratic. The “wild” and arbitrary art of Spanish Roma from the poorest regions of Andalusia, when it falls into the sound pianistic “wrapper”, is transformed significantly and acquires an academic taste. Authentic art with its oral tradition of imitation is engraved in the musical text, such fixation sends flamenco to “foreign” territory, creating grounds to believe that the cycles “Spanish suite” and “Iberia” are examples of “composer expansion” on the flamenco territory. In this example, the principles of aflamencado have a specific vector directed into the sphere of “opus- music”, and a set of tools and techniques that allow to attract the characteristic features of folk practice, with its oral and collective nature (according to T. Cherednichenko’s typology of musical practices), to creation of original, individual, non-canonical composer work. In such interaction the resources of one cultural layer allow to reach of new artistic content in other. In this sense, aflamencado acts as a means of simulating a particular object of reality in the individual perception of the author. Aflamencado in the works of contemporary composer, arranger and pianist Miriam Méndez is oriented in the opposite direction. She called her first album “Bach por Flamenco” (2005). The intertextuality of this musical experiment provides radically new content to the work that has long been canonized. J. S. Bach’s Fugue is transformed into a target. The rigid, immutable confines of the genre are being tested by the ever-changing, flamenco element. The timbre, the properties of the tools used, the built-in “cante” – all serve to update the original. The pianist, who, along with other musicians, created this genre mix, was guided, mainly, by the idea of flamenco. Conclusions. Thus, in the contemporary piano art, the aflamencado phenomenon reveals a dual nature that depends on the basic level of interaction between cultures. In one case, composer creativity engages a flamenco resource to implement authorial creative strategies. Otherwise, the composer’s work is being “prepared” for the purpose of immersing it in the primordial folk element. As a result, two fundamentally different models of pianism are formed – the academic and its flamenco variety adapted to the musical-linguistic canons. This version of piano performance in listening circles was called “flamenco-pianism”. The hybrid nature of this phenomenon now needs in further investigation.
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Rahayu, Made Lely, Eka Putra Setiawan, I. Ketut Sumerjana, et al. "Making tinnitus songs according to the frequency and amplitude of the sound of tinnitus sufferers that are safe and comfortable for sufferers." Indonesia Journal of Biomedical Science 17, no. 1 (2023): 28–32. http://dx.doi.org/10.15562/ijbs.v17i1.422.
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Background: Tinnitus is the perception of sound heard by a person without an external stimulus. About 10-14.5% of the world's population experience tinnitus, with the most common age group being 40-60. The management of tinnitus is still a challenge for researchers. Until now, there has been no effective management of tinnitus. The last therapy available is to make artificial sounds that imitate the tinnitus sound so that it can mask the actual tinnitus sound. In addition, music therapy is expected to reduce the stress level of tinnitus patients. Methods: This research is a follow-up study from previous research with 26 subjects. After getting the frequency and amplitude of tinnitus, a sound stimulus is made by combining tone variations and good generators obtained from audiometric masking. Tone variations are made using a basic tone that matches the patient's tinnitus frequency. After that, the patient will assess the results of the merger. Then all the participants will listen to dan evaluate the mixing song. Results: Of all subjective tinnitus sound generators, 3-5% have frequencies below 20 Hz and above 20,000 Hz. Songs made by recording in a soundproof room also have a frequency of 20 Hz and above 20,000 Hz, about 5 – 7%, where the song has an unnecessary frequency. The subjective tinnitus sound generator with the created song has an amplitude of < 85dB so that it can be adjusted with the volume control on the speaker. Conclusion: Tinnitus songs were made with the addition of Piano and Violin and Flute music, and Guitar, Bass and Balinese gamelan had a frequency of 20 – 20,000 Hz with an amplitude of < 85 dB, which can be adjusted with the volume so that it is safe and comfortable for tinnitus sufferers.
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Asaulyuk, I. O., та A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания". Health, sport, rehabilitation 5, № 1 (2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.
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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>
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As'ari, Andi Winata. "Living Hadits Oral, Lisan, dan Tulisan Jamaah Maiyah, Emha Ainun Najib, dan Gamelan Kyai Kanjeng." TARBIYA ISLAMIA : Jurnal Pendidikan dan Keislaman 7, no. 2 (2018): 188. http://dx.doi.org/10.36815/tarbiya.v7i2.224.
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This article aims to discuss the unique Living Hadis which exists on Gamelan Kiai Kanjeng and explains how hadis understood by Emha Ainun Najib as a speaker in every event they held. Thus, this research finds that some of the event held by Kiai Kanjeng and Emha Ainun Najib is an exspression of sunnah due to Emha always invites all audiences to be independence and teaches them how to face and manage problem in their life. Also, Emha and Kiai Kanjeng are able to give good interpretations to Holy Qur’an and Sunnah that agree with the conditions of Indonesians wihich have multicultured and multireligious nations. Throught metodological study, the author find that Kiai Kanjeng is one of organisations that practice and deliver sunnah for all classes and grades of society, such as: moslem or non moslem, college students, workers, public staff, teachers and many others.
 There are explanations of performance of Emha Ainun Najib that can be considred as living of sunnah, for instance: Having shalawatan together, problem solving, social respons, political education, and interpreations of normative text of Holy Qur’an and Hadis which is able to support and advise Indonesian people. Emha Ainun Najib is not only a pious speaker who practices living sunnah orally but also a character who can do living sunnah in writing. Gamelan Kiai Kanjeng with Emha Ainun Najib is a group of musical instrument which colaborated with some other music toos such as Guitar, Piano, band, and others. It can stimulate suciety to worship by listening and saying shalawat together in happy conditions and is going to produce good character of human being.
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Ivanova, Yuliia. "Children’s choir in MarkKarminskyi’s creativity." Aspects of Historical Musicology 19, no. 19 (2020): 29–43. http://dx.doi.org/10.34064/khnum2-19.02.
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Background. The article deals with the choral creativity by the famous Ukrainian composer Mark Karminskyi. The weight of M. Karminskyi’s choral works in the legacy of the composer and in choral art in general stimulates research interest in this area of his activity. However, there are relatively few scientific studies that examine the composer’s choral work; most of them are aimed at reconstructing his general creative portrait or at examining other pages of his heritage. The scientific novelty of this research is determined by the comprehensive coverage of children’s choral creativity by M. Karminskyi and the consideration of his unpublished choral works. The research methodology, synthesizing analytical and generalizing approaches, is based on the traditions of national musicology and is determined by the specifics of vocal and choral genres, first of all, by the inextricable link between musical drama and text. The purpose of the article is to recreate the most complete picture of M. Karminsky’s choral work for children and to determine its role in contemporary choral performing. The results of the research. The composer’s early works were distinguished by meaningfulness, optimism, brightness of musical images, which was embodied in easy, convenient and accessible tunes. Many Soviet-era songs created for children of different school age were included in the “Songs for Students” collections as a new program material for choral singing of Ukrainian secondary schools students in music lessons. Several works of the author became known throughout the country and published in the leading music publishers in Kiev and Moscow: “What Boys Are Made Of” (lyrics by R. Burns translated by S. Marshak), “Quicker to the Gathering” (by L. Galkin), “Balloons” (lyrics by Ya. Akim). The songs about Victory in the Second World War are popular: “Victory is celebrated by the people” (S. Orlova), “The soldier has forgotten nothing” (E. Berstein), “Red Poppies” (poems by G. Pozhenyan). The composer combines his songs into vocal-symphonic suites. One of the main genre of choral creativity of the author has become a miniature that is able to absorb a variety of musical expressive means to expand and deepen the content of the work in a small area of the form. The works by M. Karminskyi revealed such features of choral miniature as philosophicity, attentive attitude to the word, its emotional and semantic meaning, which is reflected in the detailed development of the thematic material. Most of the composer’s choral works are written for a cappella choir. The collections of “Choral Notebooks” (1988) and “Road to the Temple” (1995) have reflected the artist’s thoughts for several decades. The figurative content of “Choir Notebooks” includes the lyrical states caused by contemplation of pictures of nature; the collection “Road to the Temple” represents philosophical reflections not only of a personal nature, but also thoughts about the universal problems of today. The cycles reveal the principles of the composer’s thinking and are one of the pinnacles of his creative heritage. The article looks at one of the best works of the cycle “Road to the Temple”, the choir “Remembering Drobitsky Yar” (lyrics by E. Yevtushenko) for children’s choir, soloist (tenor) and piano. Also, the article deals with unpublished choral works by M. Karminskyi “Paraphrases on the Sonata of Mozart” and “Guitar” on F. G. Lorka’s poems. In the work “Guitar” on Lorca’s poem (translated by M. Tsvetayeva), the composer uses signs of Spanish color: imitation of techniques of playing the guitar, rhythmic copyism of the castanets playing and other. The poetic text “decorated” by flexible, broad, expressive melody that gives words greater emotion. The piece is full of sharp changes of genre signs of melodic structures (vocal without text, dance, austinous repetitions) revealing the semantic implication of the poem. The basis of the “Paraphrase on the theme of Mozart’s Sonatine” was the fourth part (Allegro) of Sonatina No. 1 in C Major from the Six Vienna Sonatas by W. A. Mozart. M. Karminskyi noticed the vocal nature of many parts of this cycle and skillfully made a “translation” of one of them for the children’s choir. Unlike many of his contemporaries, he wrote music that does not fundamentally claim to be innovative. As a true professional, he pays attention to the integrity of the compositions elaborating the smallest details. He strives for the laconism of expression and, at the same time, is able to saturate the choral texture with modern expressive means, if the artistic image of the work requires it. Natural expressive intonation, intonation as emotional content of vocal language distinguishes choral music by M. Karminskyi. A special role in intonation is played by breathing, it is inextricably linked with melodic movement and energy. The breath of the melodies of the author is enriched by the lively intonations of the language, which reveal her “soul”, give a feeling of warmth, strength, caress, greatness, truthfulness. Musical form of the composer’s works is determined by the intonation of the music. Based on linguistic-vocal intonations, most of the author’s works have strophic forms that follow from the semantic aspect of the literary text. Karminskyi is a master of choral unison. This mean of expressiveness, which is not often used by composers, in Karminsky’s works is a carrier of expressive melodism and suppose the performance with a great inner feeling. Features of declamation always find a place in his choirs, they reproduce the living human language, the spiritual experiences of a man. Conclusion. The works for the children’s choir have a special purity and cordiality that is so subtly perceived by children. Mark Karminsky’s music is capable of drawing children’s attention to musical values that purify the soul and nurture personality. His music makes you think and feel! M. Karminsky’s creativity has forever entered the concert practice of children’s choirs of Ukraine.
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Девятова, О. Л. "Classics and Mass Media Music in the Works of Sergey Slonimsky." OPERA MUSICOLOGICA, no. 1 (March 15, 2021): 6–25. http://dx.doi.org/10.26156/om.2021.13.1.001.
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Статья посвящена актуальной в ХХ–ХХI веках проблеме диалога элитарной и массовой культур. Теоретическую базу работы составляют труды видных современных ученых: О. Астафьевой, А. Костиной, Н. Кирилловой и других. В ее основу положена методология культурологического исследования, включающая комплексный, междисциплинарный и историко-сравнительный подходы, а также методы культурологической интерпретации и музыковедческого анализа. На примере творчества выдающегося русского композитора петербургской школы Сергея Слонимского — представителя поколения «шестидесятников» — исследуются его взгляды на конфликт «двух музык» — «серьезной» и «легкой», а также способы преодоления их противоречий (на примере Первой, Второй, Тридцать четвертой симфоний, Концерта для симфонического оркестра, трех электрогитар и солирующих инструментов, балета «Волшебный орех», вокальных сочинений, фортепианных пьес). В результате исследования делается вывод о двух путях, по которым шел композитор в решении данной проблемы: активного противостояния «музычке» масс-медиа и всей продукции псевдокультуры и органичного взаимодействия классических традиций и жанров массовой музыкальной культуры, поднимающего бытовую массовую стилистику на высочайший художественный уровень. The article is devoted to the problem of the dialogue between elite and mass cultures, in its own way manifested in music, which was topical in the XX and early XXI centuries. The theoretical foundation of the article is the culturological works of prominent modern scientists: O. Astafieva, A. Kostina, N. Kirillova, etc. It is based on the methodology of culturological research, including complex, interdisciplinary and historical-comparative approaches, as well as methods of cultural interpretation and musicological analysis. Using the example of the work of the outstanding Russian composer of the St. Petersburg school Sergey Slonimsky — a representative of the generation of the “sixties” — his views on the conflict of the “two musics”, “serious” and “light”, are investigated, as well as the ways of overcoming their contradictions (on the example of the First, Second, Thirty-fourth symphonies, the Concerto for a symphony orchestra, three electric guitars and solo instruments, “The Magic Nut” ballet, vocal compositions, piano pieces). As a result of the study, it is concluded that the composer follows two paths in solving this problem: the path of active opposition to the poppy “music” of the mass media and all the products of pseudoculture and the path of organic interaction of classical traditions and genres of mass musical culture, which raises the everyday mass stylistics to the highest artistic level.
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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE." Tempo 58, no. 229 (2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.
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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.
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Anderson, Martin. "Estonian Composers (combined Book and CD Review)." Tempo 59, no. 232 (2005): 60–66. http://dx.doi.org/10.1017/s0040298205210161.
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Ancient Song Recovered: The Life and Music of Veljo Tormis, by Mimi S. Daitz. Pendragon Press, $54.00/£36.00.The Works of Eduard Tubin: Thematic-Bibliographical Catalogue of Works by Vardo Rumessen. International Eduard Tubin Society/Gehrmans Musikförlag, E.57.TORMIS: ‘Vision of Estonia’ II. The Ballad of Mary's Land; Reflections with Hando Runnel; Days of Outlawry; God Protect Us from War; Journey of the War Messenger; Let the Sun Shine!; Voices from Tammsaare's Herdboy Days; Forget-me-not; Mens' Songs. Estonian National Male Choir c. Ants Soots. Alba NCD 20.TORMIS: ‘Vision of Estonia’ III. The Singer; Songs of the Ancient Sea; Plague Memory; Bridge of Song; Going to War; Dialectical Aphorisms; Song about a Level Land; We Are Given; An Aboriginal Song; The Estonians' Political Parties Game; Song about Keeping Together; Martinmas Songs; Shrovetide Songs; Three I Had Those Words of Beauty. Estonian National Male Choir c. Ants Soots. Alba NCD 23.TAMBERG: Cyrano de Bergerac. Soloists, Orchestra and Chorus of Estonian National Opera c. Paul Mägi. CPO 999 832-2 (2-CD set).ROSENVALD: Violin Concerto Nos. 11 and 2, Quasi una fantasia2; Two Pastorales3; Sonata capricciosa4; Symphony No. 35; Nocturne6. 1,2Lemmo Erendi (vln), Tallinn CO c. Neeme Järvi, 2Estonian State SO c. Jüri Alperten; 3Estonian State SO c. Vello Pähn; 4Valentina Gontšarova (vln); 56Estonian State SO c. Neeme Järvi. Antes BM-CD 31.9197.DEAN: Winter Songs. TÜÜR: Architectonics I. VASKS: Music for a Deceased Friend. PÄRT: Quintettino. NIELSEN: Wind Quintet. Berlin Philharmonic Wind Quintet, with Daniel Norman (tenor), c. Hermann Bäumer. BIS-CD–1332.TULEV: Quella sera; Gare de l'Est; Adiós/Œri Ráma in memoriam; Isopo; Be Lost in the Call. NYYD Ensemble c. Olari Elts. Eesti Raadio ERCD047.ESTONIAN COMPOSERS I: MÄGI: Vesper.1 KANGRO: Display IX.2 SUMERA: Shakespeare's Sonnets Nos. 8 & 90.3TAMBERG: Desiderium Concordiae.4 TULEV: String Quartet No. 1.5 EESPERE: Glorificatio.6 TORMIS: Kevade: Suite.71Estonian National SO c. Aivo Välja; 24NYYD Ensemble c. Olari Elts; 3Pirjo Levadi (soprano), Mikk Mikiver (narrator), Estonian National Boys' Choir, Estonian National SO c. Paul Mägi; 5Tallinn String Quartet; 6Kaia Urb (sop), Academic Male Choir of Tallinn Technical University c. Arvo Volmer; 7Estonian National SO c. Paul Mägi Eesti Raadio ERCD 031.ESTONIAN COMPOSERS II: TULVE: Traces.1 TALLY: Swinburne.2 KÕRVITS: Stream.3 STEINER: Descendants of Cain.4 KAUMANN: Long Play.5 LILL: Le Rite de Passage.6 SIMMER: Water of Life.71,5,6NYYD Ensemble c. Olari Elts; 2Ardo-Ran Varres (narrator), Iris Oja (sop), Alar Pintsaar (bar), Vambola Krigul (perc), Külli Möls (accordion), Robert Jürjendal (elec guitar); 3Virgo Veldi (sax), Madis Metsamart (perc); 4The Bowed Piano Ensemble c. Timo Steiner; 7Teet Järvi (vlc), Monika Mattieson (fl). Eesti Raadio ERCD032.ESTONIAN COMPOSERS III: GRIGORJEVA: Con misterio;1On Leaving. SUMERA: Pantomime; The Child of Dracula and Zombie. 1Tui Hirv (sop), 1Iris Oja (mezzo), 1Joosep Vahermägi (ten), 1Jaan Arder (bar), Hortus Musicus c. Andres Mustonen. Eeesti Raadio ERCD 045ESTONIAN COMPOSERS IV: KRIGUL: Walls.1 JÜRGENS: Redblueyellow.2 KÕRVER: Pre.3 KOTTA: Variations.4 SIIMER: Two Pieces.5 KAUMANN: Ausgewählte Salonstücke.6 AINTS: Trope.7 STEINER: In memoriam.81,6New Tallinn Trio; 2Liis Jürgens (harp); 3,8Voces Musicales Ensemble c. Risto Joost; 4Mati Mikalai (pno); 5Mikk Murdvee (vln), Tarmo Johannes (fl), Toomas Vavilov (cl), Mart Siimer (organ); 7Tarmo Johannes (fl). Eeesti Raadio ERCD 046.BALTIC VOICES 2: SISASK: Five songs from Gloria Patri. TULEV: And then in silence there with me be only You. NØRGÅRD: Winter Hymn. GRIGORJEVA: On Leaving (1999). SCHNITTKE: Three Sacred Hymns. Estonian Philharmonic Chamber Choir c. Paul Hillier. Harmonia Mundi HMU 907331.SCHNITTKE: Concerto for Chorus; Voices of Nature. PÄRT: Dopo la vittoria; Bogoróditse Djévo; I am the True Vine. Swedish Radio Choir c. Tõnu Kaljuste. BIS-CD-1157.PÄRT: Es sang vor langen Jahren; Stabat Mater; Magnificat; Nunc Dimittis; My Heart's in the Highlands; Zwei Sonatinen; Spiegel im Spiegel. Chamber Domaine; Stephen de Pledge (pno), Stephen Wallace (counter-ten), Choir of St Mary's Cathedral, Edinburgh c. Matthew Owens. Black Box BBM1071.
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Grytsun, Yuliia. "The reflection of fabulousness in Igor Kovach’s musical theatre (on the example of the fairy-tale ballet “Bambi”)." Aspects of Historical Musicology 23, no. 23 (2021): 78–91. http://dx.doi.org/10.34064/khnum2-23.05.
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Problem statement. Among Kharkiv composers, one of the significant places is occupied by Igor Kovach (1924–2003), a representative of the Kharkiv School of composers and Ukrainian musical culture of the 20th century. His works include music and stage, orchestra, concert, song, choral and literary-musical compositions, music for theatre performances, music for films and TV films. The creative legacy of Igor Kostyantynovych Kovach has a close connection with the children’s audience; it includes both instrumental music for young performers and theatrical music, where children from performers become listener, among them the fairy-tale ballets “The Northern Tale” and “Bambi”. The children’s music by I. K. Kovach did not receive proper consideration except for short newspaper essays and magazine notes, M. Bevz’s (2007) article devoted to children’s piano music. Thus, the problem of holistic study of children’s stage music by Igor Kovach still remains open. Objectives. The present article is devoted to the identification of musicalthematic, timbre-texture, genre-stylistic features, with the help of which the multifaceted figurative world of the ballet “Bambi” is embodied. The aim and the tasks of this research – to reveal the specifics of the figurative world of the fairytale ballet “Bambi” and to identify the musical means by which it is embodied. The role of the orchestra is established, the means of thematic characteristics of the characters are traced, and the peculiarities of the musical language stipulated by the requirements of the chosen genre are noted. Methodology. To achieve the aim we have used special scientific methods: genre, stylistic, intonation-dramaturgical and compositional ones. The presentation of the main material. The music for the fairy-tale ballet “Bambi” belongs to two authors: Igor Kovach and his son Yuri. The new features inherent in the sound palette are manifested in the instrumentation, where along with the usual composition of a modern symphony orchestra there are saxophones, rhythm- and bass-guitars, drums, which due to their timbres bring a sharp taste of emotional and behavioural looseness. Introducing the qualities of non-academic tradition into the academic orchestra, the authors, on the one hand, use them according to their origin, on the other – turn them into an organic part of the symphonic score. By making a “concession” to pop music, simplifying harmonious language, freeing it from the extreme manifestations of expanded tonality, bringing it closer, on the one hand, to classical-romantic, on the other – to jazz, Igor Kovach showed his inherent sense of modernity, “address quality” of creativity. Conclusions. Thus, the fabulous multifaceted world of “Bambi” is revealed in the ballet owing to the bright thinking and language of the composer. The action of the ballet takes place against the background of bright genre sketches, which are as if immersed in the very density of life. This impression arises due to the dynamics of rhythms, colourful orchestration, and a variety of styles, addressed to the sound world of today. Generalized intonations of academic art organically coexist with the turns of song quality of different origins, dance quality, march quality, jazz improvisations, which was facilitated by the co-authorship with Yuri Kovach.
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Stetsiuk, R. O. "Varietal instrumental style as a performance-related phenomenon (case study: saxophone)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 154–73. http://dx.doi.org/10.34064/khnum1-54.10.
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This article substantiates the legitimacy of using the notion of “instrument’s style” in music performance studies. It was noted that the global nature of the style aspect in the system of artistic work pre-envisages its application to the field of organology – the science of instruments as “tools” or “organs” of musical thinking – as well. It was emphasized that, being part of the man-made, “second” nature, instruments per se do not have a style but represent its determinants within the framework of the notional axiom “style is person” (according to Georges-Louis Leclerc, Comte de Buffon). The instrument’s style is represented by creative personalities who create and perform music. This article generalizes and systemizes information about musical style in its extension onto the level of varietal instrumental stylistics, where the main classification criterion is the ratio between universalism and specifics of performance-related sound image. The article offers an original notion of “varietal instrumental style” that provides basis for the study of particular varieties and representations (in this case, saxophone) of this phenomenon. It was noted that a new system of perceptions of musical interpretation arises within the framework of music performance studies, thus causing special interest in varietal specifics of an instrument as the most important component of interpretation performance process. Performance of music is thought of as a true creative act in which the figure of interpreter stands out, represented in several versions: performing as such, mixed (composing-performing or performing-composing), and improvising. It was emphasized that comprehensiveness of the “style” category allows to extend its applicability to all (without exception) means of expressive-constructive complex of music, which in a concrete composition are manifested at the stylistics level. Among the most important stylistic components of a piece of music are instruments which do not have a style themselves but represent its determinants objectively existing in the practice of public music playing of various eras and periods, countries and regions. Complex properties of instruments are studied within the framework of a relatively new field of music studies called “organology”. According to an organological approach, instruments appear in their wholesome quality that includes timbre-acoustic and image-semantic values and characteristics, enabling them to be considered at the level of varietal style – the style of any music varieties (according to Valentina Kholopova). It was noted that musical instruments are dual by their nature. On the one hand, they are artifacts of civilizational culture categorized as phenomena of the “second”, man-made nature. On the other hand, they require obligatory presence of a human being – a performer-interpreter in whose work they get “humanized” (according to Boris Asafyev) and attain the qualities of style. Such an interpretation of the “instrument’s style” category can be found more and more often in music study works devoted to particular varietal instrumental styles: piano, guitar, violin and other. This article notes that the notion of “instrument’s style” correlates not only with the generalized perception of musical style with its branching into hierarchical levels but also with stylistics of a musical composition perceived as the set of the means of implementing a genre-style idea in the text of a musical image: composing (notational) and performing (acoustic). As a result, we have the notion of instrument stylistics existing within the wholesome system “instrument = musical composition” (according to Boris Asafyev). It was emphasized that instruments, like the style in general, are “material”, i.e. they are perceived sensibly, acting as objects of reality embodying intentions of author’s and performer’s artistic design. It was proved that in varietal instrumental stylistics, the most important aspect is the belonging of an instrument to a particular family and its correlation with instruments of other families. As for the saxophone style, its distinctive features from this viewpoint will include: a) characteristic particularities of sound image reflected via timbre and semantics (“timbre labels” according to Alexander Veprik), b) interim position within the system of aerophones – brass and wooden wind instruments. It was emphasized that parameters of the stylistic structure of a musical composition always correlate with its texture measured vertically, horizontally and depth-wise. The textural “configuration” always includes an instrument as the carrier of its intrinsic stylistics: historical, genre-specific, national, “personal”. Therefore, when reviewing a varietal instrumental style, including the saxophone style highlighted in this article, one has to use the following criteria: a) organological, b) varietal, c) genre-stylistic. On that basis, the article offers an original definition of the saxophone style as a performance- and composing-related phenomenon aggregately reflecting timbre-acoustic and image-semantic properties of an instrument, distinguishable for: a) interim position between wooden and brass aerophones, b) peculiarity of sound image tending toward universalism, i.e. toward assimilation of properties of a whole number of other musical instruments, and of not only wind but also other groups. The article’s concluding remarks note that saxophone stylistics manifest themselves the most fully in jazz, where this instrument is represented in the entire diversity of its artistic and technical capacities at the level of improvisation art that revives, at the new “orbit” of historical-style spiral, the centuries-old practice of musical instrumentalism.
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Ван, Ч. "Performance and pedagogy of an ensemble of woodwind instruments." Management of Education, no. 2(48) (April 14, 2022): 37–43. http://dx.doi.org/10.25726/t5807-7274-9656-f.
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Кларнет – относительно молодой музыкальный духовой инструмент, который стал продолжателем исторического развития и начал активно использоваться в композиторском творчестве, а значит и в исполнительстве (создан этот музыкальный инструмент в середине XIX века). Для нашего исследования особенно интересным и значительным смысловым фактом является то, что использование этого колоритного по звучанию музыкального инструмента началось с ансамблевого исполнения, в группе духовых инструментов духового и оперного, а позже – симфонического оркестрах. Отечественная музыкально-исполнительская культура развивалась параллельно с мировыми жанрами, поэтому использование кларнета было естественным в ее исполнительской культуре, а с начала ХХ в. кларнет использовался в исполнении джазовой музыки, эстрадной и поп-музыки. В 20-е годы появляется промежуточный стиль между традиционным джазом и свингом, так называемый Чикагский стиль, в котором в оркестрах (этого музыкального направления) появляется (среди контрабаса, фортепиано, гитары) флейта. Выдающимся исполнителем стиля “free jass” (50-е – начало 60-х годов) был известный кларнетист Лео Райт, игра которого имела большое влияние на отечественных музыкантов. С целью реализации методики обучения игры на кларнете начинающих учеников было разработано компонентную структуру данного вида обучения, которое имело такие составляющие, а именно: познавательный ( что отражает потребность в коллективном исполнении музыкальных произведений и уровень овладения музыкально-историческими и музыкально-теоретическими знаниями), операционнотехнологический (овладение исполнительско-двигательными умениями и навыками, что отражает процесс "перекодировки звуковых образов в моторные", которые обеспечивают способность для создания условий для совместной ансамблевой деятельности; регулятивно-оценочный (отражает уровень сформированности способности к адекватной оценки результатов собственной деятельности ученика-кларнетиста, направленной на исполнение музыкальных произведений). The clarinet is a relatively young musical wind instrument, which became the successor of historical development and began to be actively used in composing, and therefore in performance (this musical instrument was created in the middle of the XIX century). For our research, a particularly interesting and significant semantic fact is that the use of this colorful-sounding musical instrument began with an ensemble performance, in a group of wind instruments of brass and opera, and later – symphony orchestras. The Russian musical and performing culture developed in parallel with the world genres, so the use of the clarinet was natural in its performing culture, and since the beginning of the twentieth century the clarinet has been used in the performance of jazz music, pop and pop music. In the 20s, an intermediate style appeared between traditional jazz and swing, the so-called Chicago style, in which the flute appears in orchestras (of this musical direction) (among the double bass, piano, guitar). An outstanding performer of the “free jass” style (the 50s - early 60s) was the famous clarinetist Leo Wright, whose playing had a great influence on Russian musicians. In order to implement the methodology of teaching clarinet playing to novice students, a component structure of this type of training was developed, which had such components, namely: cognitive (which reflects the need for collective performance of musical works and the level of mastery of musical-historical and musical-theoretical knowledge), operational-technological (mastery of performance-motor skills and skills, which reflects the process of "transcoding sound images into motor images", which provide the ability to create conditions for joint ensemble activity; regulatory and evaluative (reflects the level of formation of the ability to adequately assess the results of a clarinetist student's own activity aimed at performing musical works).
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Pipa, Luís. "As dedilhações do álbum Gradual para piano de Eurico Thomaz de Lima (1908–1989) como evidência de um pensamento técnico consolidado." Diacrítica 37, no. 1 (2023): 47–73. http://dx.doi.org/10.21814/diacritica.5203.
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A criação de peças e exercícios para jovens pianistas tem sido, ao longo da história, uma preocupação de alguns dos mais importantes autores. As obras intituladas Álbum para a Juventude de R. Schumann e P. Tchaikovsky são um perfeito exemplo da criação de peças acessíveis para alunos principiantes e mais avançados. O compositor, pianista, e pedagogo português Eurico Thomaz de Lima (1908–1989) criou Gradual. 28 Peças para a mocidade, um álbum organizado sequencialmente por critérios de dificuldade progressiva. Herdeiro de uma escola pianística de grande robustez, personalizada por A. Rey Colaço e J. Vianna da Motta, seus mestres no Conservatório de Lisboa, Thomaz de Lima incluiu em Gradual indicações exaustivas de dedilhação. Estas destinar-se-iam a guiar os jovens, proporcionando-lhes princípios sólidos desde uma fase precoce da sua aprendizagem. Neste artigo procura-se enfatizar a influência que figuras como A. Gilis, J. Barrozo Netto e J. Vianna da Motta exerceram nos métodos utilizados na conceção e organização de Gradual. Examina-se, paralelamente, dedilhações de Thomaz de Lima nas suas próprias composições e em obras que apresentava em concerto. Através de uma análise pormenorizada das minuciosas dedilhações para as vinte e oito peças do Gradual, verifica-se que estas revelam uma elevada consistência de princípios técnicos, lançando as bases para um crescimento harmonioso e sólido do jovem pianista.
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Criswick, Mary, and Wolf Moser. "Guitar Music." Musical Times 127, no. 1720 (1986): 443. http://dx.doi.org/10.2307/965165.
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Fragoulis, D., C. Papaodysseus, M. Exarhos, G. Roussopoulos, T. Panagopoulos, and D. Kamarotos. "Automated classification of piano-guitar notes." IEEE Transactions on Audio, Speech and Language Processing 14, no. 3 (2006): 1040–50. http://dx.doi.org/10.1109/tsa.2005.857571.
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Ferguson, Robert. "Return With Us Now... Featured Facsimile: Henry Worrall’s Spanish Retreat." Soundboard Scholar 2, no. 1 (2016): 20–24. http://dx.doi.org/10.56902/sbs.2016.2.5.
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Ferguson examines Henry Worrall's Spanish Retreat. Its origins go back to London, specifically to two guitar prints published there in the mid-1820s. Though the earliest of these (c.1826) states that the piece was "arranged for guitar" by Alexander Sosson, this does not necessarily indicate that it was originally written for a different instrument, such as piano. "Arranged" could mean the piece was already in circulation among guitarists, or another guitarist created or popularized it, and Sosson merely reworked it (and wrote it down). Moreover, imitating other instruments, at which the guitar proved particularly adroit, constituted the essence and charm of this piece for its listeners. Without comparable timbral resources, the piano could capture this dimension only faintly--further pointing to the guitar as the intended medium.
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Stimpson, Michael. "Guitar Music Surveyed." British Journal of Music Education 6, no. 3 (1989): 328–29. http://dx.doi.org/10.1017/s0265051700007373.
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Criswick, Mary. "Guitar." Musical Times 128, no. 1733 (1987): 392. http://dx.doi.org/10.2307/964544.
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Wade, Graham. "Guitar." Musical Times 129, no. 1744 (1988): 306. http://dx.doi.org/10.2307/964893.
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