Academic literature on the topic 'Harmonium (Groupe musical)'

The purpose of the present study was to investigate whether rhythmic beats only or music would be more effective as accompaniment for the motor performance of specific rhythmic-dance steps by 30 female students of physical education ( M age 20.1 yr.), without prior experience in music or dance. They performed a dance routine in synchronization with a musical phrase of eight rhythmical meters, with the general value of 4/4 each. Each meter involved representative steps of the rhythmical values of 4/4, 1/4, 1/8, and 1/16 like rhythmical walking, small kicks, galloping, chassé, cat leap, and different ways of balancing. Subjects performed these in synchronization to the rhythm played on a tambourine or to music played on an harmonium. All movement performances were registered using two video cameras. Differences between the two groups (“rhythm” and “music”) and across the different meters (4/4, 1/8, 1/8, 1/16, 1/4) were analyzed by a mixed between-within subjects 2 × 3 analysis of variance with repeated measures of “meter.” Students who performed with the tambourine showed better synchrony with that external auditory stimulus than students who performed the same routine guided by music played on the harmonium. Also, students showed better synchrony with the external rhythm when performing a whole (4/4 meter) than when performing either the 1/8 or the mixed 1/8–1/16–1/4 meters. These findings suggest that for highly complex artistic movements such as the ones involved in dance, beginners perform much better when their movements are guided by a rhythmical sequence of single beats than when guided by a musical phrase having identical metrical structure.

The purpose of the present study was to investigate the effect of harmonic expectancy violations on emotions. Subjective response measures for tension and emotionality, as well as electrodermal activity (EDA) and heart rate (HR), were recorded from 24 subjects (12 musicians and 12 nonmusicians) to observe the effect of expectancy violations on subjective and physiological measures of emotions. In addition, an electro-encephalogram was recorded to observe the neural correlates for detecting these violations. Stimuli consisted of three matched versions of six Bach chorales, which differed only in terms of one chord (harmonically either expected, unexpected or very unexpected). Musicians' and nonmusicians' responses were also compared. Tension, overall subjective emotionality, and EDA increased with an increase in harmonic unexpectedness. Analysis of the event-related potentials revealed an early negativity (EN) for both the unexpected and the very unexpected harmonies, taken to reflect the detection of the unexpected event. The EN in response to very unexpected chords was significantly larger in amplitude than the EN in response to merely unexpected harmonic events. The ENs did not differ in amplitude between the two groups but peaked earlier for musicians than for nonmusicians. Both groups also showed a P3 component in response to the very unexpected harmonies, which was considerably larger for musicians and may reflect the processing of stylistic violations of Western classical music.

The leading trend of modern education of young people in Ukraine is a harmonious combination of interests of adolescents striving for free self-development and preservation of their individuality; a society that ensures the comprehensive development of their personality and the state, which sets before education the task of educating future patriotic citizens who are able to provide it with a worthy place in the world community. Pedagogical conditions are a component of the pedagogical system of out-of-school education and a set of possibilities of its educational environment, which effectively functions, develops and optimally influences the musical and aesthetic education of adolescents. Based on the analysis of the current state of musical and aesthetic education of adolescents, the study of practical pedagogical experience of out-of-school educational institutions, taking into account the requirements of state regulations on education, identified the following pedagogical conditions that optimize this pedagogical activity: – implementation by the teacher of a personality-oriented approach to interaction with students in the process of their involvement in folk instrumental performance; – introduction of the method of contextual music making by the head of the circle in the process of musical and aesthetic education of teenagers; – formation of adolescents' need for creative self-development from the standpoint of their focus on learning the experience of musical activities and integration into the socio-cultural environment. The organization of the educational process in the circles of out-of-school educational institutions on playing folk instruments is based on the interrelation of individual, group and collective forms of activity and in parallel or in the variant of interpenetration (individual-pair classes). The optimal combination of individual, group and collective forms of musical activity of adolescents provides their psychological and emotional comfort. Due to the use of the method of contextual music making by teachers of out-of-school education, the possibility of effective adaptation of individual features of the pupil, traditional and innovative methods of musical and aesthetic education of teenagers is realized, the level of theoretical knowledge increases. An important stimulus for the formation of musical and aesthetic taste of adolescents by means of folk instrumental performance are public performances of pupils-participants of musical groups, participation in competitions, festivals of creative projects, flash mobs. Further development of out-of-school education institutions requires a variety of forms and methods of organizing specialized cognitive and practical activities of students; optimization of conditions to ensure subject-subject relationships; increasing the role of out-of-school educational space - spatial and environmental association of subjects of activity, between which close relationships have been established that ensure the effectiveness of educational and creative interaction.

Recent evidence indicates that synchronized brain oscillations in the low gamma range (∼33 Hz) are involved in the perceptual integration of harmonic complex tones. At this rate, reaction times (RTs) are faster to targets that are not harmonically related to the prime. In the current study, we investigated the presence of this rate-specific inharmonic pop-out in groups of musicians and nonmusicians. We found that rather than increasing the salience of inharmonic targets, 33-pps priming reduced the salience of harmonic targets. This effect was observed in nonmusicians only, suggesting that music training reduces the role of oscillatory coding mechanisms in the perceptual integration of harmonic information.

The tritone paradox is produced when two tones that are related by a half- octave (or tritone) are presented in succession. Each tone is composed of a set of octave- related harmonics, whose amplitudes are determined by a bell-shaped spectral envelope; thus the tones are clearly defined in terms of pitch class, but poorly defined in terms of height. When listeners judge whether such tone pairs form ascending or descending patterns, their judgments generally show systematic relationships to the positions of the tones along the pitch-class circle: Tones in one region of the circle are heard as higher and those in the opposite region are heard as lower. However, listeners disagree substantially as to whether a given tone pair forms an ascending or a descending pattern, and therefore as to which tones are heard as higher and which as lower. This paper demonstrates that the basis for the individual differences in perception of this musical pattern lies in the language spoken by the listener. Two groups of subjects made judgments of the tritone paradox. One group had grown up in California, and the other group had grown up in southern England. It was found that when the Californian group tended to hear the pattern as ascending the English group tended to hear it as descending, and when the Californian group tended to hear the pattern as descending the English group tended to hear it as ascending. This finding, coupled with the earlier results of Deutsch, North, and Ray (1990) that showed a correlate between perception of the tritone paradox and the pitch range of the listener's spontaneous speaking voice, indicates strongly that the same, culturally acquired representation of pitch classes influences both speech production and perception of this musical pattern.

Purpose: The use of specific frequencies for specific individual amino acids may increase the potential energy of protein molecules in the medium [1]. The resonance would also increase the movement of particles in the cytosol, increasing the collisions necessary for the conduction of protein expression. Methods: The clash of two waves that share frequencies will exhibit an increase in energy through an increase in amplitude [2]. The increase in energy would in turn increase the number of collisions forming the tRNA-amino acid, increasing the amino acid acquiry for ribosomes to improve intracellular efficiency in gene expression. To test the hypothesis, Red Fluorescent Protein (RFP) in transformated BL-21 strains of E. coli and p53 protein of MCF-7 were examined after exposure to sounds of specific frequencies. Results: Through the exposure of the experimental systems to a sequence of sounds that match the frequencies of specific amino acids, the levels of RFP exhibition respective to the control groups in the bacterial medium increased two-fold in terms of RFU. The experiments that targeted the p53 protein with the ‘music’ showed a decrease in the cell prevalence in the MCF-7 type breast cancer cells by 28%, by decreasing the speed of tumour formation. Conclusion: Exposure to ‘music’ that was designed through assigning a musical note for every single one of the twenty unique amino acids, produced both an analytical and a visible shift in protein synthesis, making it as potential tool for reducing procedural time uptake.

Formulation of the problem. The present article is devoted to the mental differences of the Chinese song tradition and analyzed the peculiarities of fret structures upon harmonizing the melody by modern authors. The musical stylistics of the Chinese folk song is based on the synthesis of the intonation (melodic, fret and rhythmic) features of traditional Chinese music with the lexemes of European classical music. Its content reveals the analysis of a major-minor functional system, qualitative (bar) rhythmics, containing genre formulas and techniques of the textural presentation (various forms of polyphony). The purpose of the article is to reveal the stylistic originality of the Chinese song – on the one hand; and on the other hand, to reveal the fret-harmonic features relating Chinese music with the folklore of other nations. For the European ear, the fret-harmonic originality of the Chinese melos, in addition to pentatonics, is marked by synthesizing various elements of the systems of the pitch-high organization which have set in the history of European music: archaic, modal, and tonal-functional. The relevance of the topic is due to the absence in the European theory of melody (“melos”, in the terminology by B. Asafiev) of the national-characteristic component. The study of the fret-harmonic content of the Chinese melos will partially fill in this gap. The purpose of the study is to reveal the stylistic originality of the Chinese song – on the one hand, and on the other, to discover the fret-harmonic parameters that relate Chinese music to the folklore of other nations. The object of the study is China’s song tradition in the diversity of authentic and modern samples of materials existing in the notation; the subject is the melos of the Chinese folk song in its relations with other principles of intonation. The presentation of the main material. In most of the samples of modern Chinese folk songs, the modal principle of the pitch-high organization, characteristic of folk music and European professional music of the pre-classical period, is combined with the tonal system of European classical music. For example, in “The Shepherd’s Song” exposition, not so much a single tonal center orientation (according to the European classical romantic tradition) was revealed, but rather the basis on several equal tones-foundations: h, e, a and d. If the fret-harmonic content of the entry is to be viewed from the angle of modality, then the fret structure of this tune turns out to be a mixed diatonics, combining the scale of the Ionian frets from c and the Dorian frets from d with the step rising in cadence VII, and from the point of view of the tonal principle of the pitch-high organization – as a movement from the tone C-dur to the tone d-moll. In song 15, the modal principle of the pitch-high organization is absent, although elements of the modality can be heard due to the use of side triads and seventh chords. With all the variety of melodic and rhythmic formulas, genre semantics, it is precisely the fret-harmonic content of selected song samples that reveals the general principles of the pitch-high organization. This is the archaic diatonic, based on the frets of the traditional musical cultures of the world; modal principle; European functional harmonic system; elements of the extended tonality from the experience of the music of the turn of the 19th and 20th centuries. Their interaction constitutes the fret-harmonic specificity of the Chinese folk song tradition. The harmonization of the melodies selected as the material differs from the original by the presence of authorship; the fret-harmonic content, first of all, serves as its embodiment. Conclusion. Composers – authors of the modern arrangement of authentic melodies – are in search of an organic synthesis of various pitch-high systems and principles of organization. Among the main ones there is the archaic diatonics, based on the frets of the traditional musical cultures of the world; the modal principle; European functional harmonic system; the elements of an extended tonality borrowed from the experience of the music of the turn of the 19th and 20th centuries. By the nature of the interaction of the components the analyzed samples of Chinese melodies can be divided into several groups: 1) the songs in which the modal principle of the pitch-high organization prevails over the tone-functional one; 2) the songs, where both of these principles act simultaneously: for example, modal elements arise on a tonal basis; or on a modal basis – orientation to a single tonal center; 3) the cases in which the tonal-functional principle in melodies unambiguously prevails over the modal one; 4) the songs in which these principles “divide the spheres of influence”, acting in different sections of the form; 5) the samples of songs where the modal and tonal principles are in the organic unity, and they are not separated in time and do not suppress each other. Thus, the Chinese folklore material can be perceived by the ear, brought up in other musical traditions, quite adequately thanks to the reliance on the pitch-high systems that are universal for all musical cultures.

This study evaluated the design of a teaching method to improve aural identification of harmonic intervals (m2–P8). Three groups of first-year professional-grade music theory students aged 11–13 ( N = 25) at the Girona Music Conservatory (Catalonia, Spain) were given 20 lessons. All groups were taught using the same method. Observational methodology was used, with teachers acting as participant observers who systematically registered their observations in field diaries and were then interviewed at the end of the experiment. Assessments confirmed that the proposal was generally effective, as the design allowed students to improve. However, the experiment highlighted the fact that difficulties lie mainly in the aural identification of the TT, m6, M6, m7 and M7 intervals. The relationship between this general difficulty and other, more specific patterns observed during this study suggests that the design of the teaching method requires more flexibility to be adaptable to the different nature of each interval and the way in which the intervals tend to be perceived and processed. Knowledge of the most difficult aspects of the teaching proposal that was tested may guide us in designing what, how and when to teach.

Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.

The purpose of this study was to determine the effects of age, sex and melodic/harmonic patterns on pitch-matching skills of children. Subjects were 128 talented singers, ages 8-11, equally divided among boys and girls, who sang 16 pitch-matching patterns; 4 patterns were melodic and 12 were harmonic. In 4 harmonic patterns, the upper tone was matched; in another 4, the lower tone was matched, and in the last set, the middle tone was matched. Two judges recorded correct/incorrect responses across 1,536 trials with 85% agreements. Results of a three-factor analysis of variance with repeated measures indicated no differences between age or sex groups and significant differences among pitch-matching tasks. More errors were made on matching the middle pitch of a chord than on any other trials. Singing the lower pitch of two tones was more difficult than matching the higher pitch of two tones or singing back a short melody. A task hierarchy for children's part-singing is suggested.