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Journal articles on the topic 'Homophonic music'
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1
Long, Megan Kaes. "Cadential Syntax and Tonal Expectation in Late Sixteenth-Century Homophony." Music Theory Spectrum 40, no. 1 (2018): 52–83. http://dx.doi.org/10.1093/mts/mty004.
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Abstract This article explores the emergence of tonal languages in late-sixteenth-century homophony by considering the ways in which phrase structure, meter, and cadential rhetoric produce trajectories of expectation. Focusing on the English ballett and the French air de cour, two homophonic, secular, vernacular genres produced according to wildly different aesthetic criteria, it demonstrates how composers’ regulation of harmony and syntax transformed contrapuntal languages into tonal ones. Early tonal languages are thus defined here by the trajectories of expectation that such regulation establishes.
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Péter, Éva. "Jenő Ádám’s Church Music Compositions." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (2021): 265–76. http://dx.doi.org/10.24193/subbmusica.2021.2.19.
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"In the present study I intend to present the church music compositions of Jenő Ádám. I will analyze the choral works of the composer that were based on the melodies of Protestant church hymns. The composer was also active as a conductor, but his name is primarily known in the field of music pedagogy. He played an important role in the elaboration and implementation of the Kodály method. In his works pertaining to church music, he adapted the melodies of the most representative church hymns of different ages. He uses both homophonic and polyphonic approaches with his works that have strophic structure or are through-composed. Keywords: Genevan Psalter, Protestant hymn, Kodály method, strophic form, through-composed works, homophonic and polyphonic approaches in composition."
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Fábián, Apolka. "Analytical Aspects in Missa de Beata Virgine by Josquin des Prez." Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 2 (2023): 255–74. http://dx.doi.org/10.24193/subbmusica.2023.spiss2.16.
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"Josquin des Prez has composed at least 20 masses. This article focuses on the presentation and analysis of compositional techniques in Missa de Beata Virgine used by Josquin des Prez. He used different techniques from the XVI. century: paraphrased cantus firmus melody, tropus, imitative and polyphonic techniques. His early style testifies to the influence of Guillaume Dufay and Jan van Ockeghem. Following his Italian experience he mastered the homophonic compositional technique, which strengthened the text-music relationship in his works. Keyword: Renaissance music, Josquin des Prez, mass, church music, cantus firmus "
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Sabharwal, Sanket Rajeev, Matthew Breaden, Gualtiero Volpe, Antonio Camurri, and Peter E. Keller. "Leadership dynamics in musical groups: Quantifying effects of musical structure on directionality of influence in concert performance videos." PLOS ONE 19, no. 4 (2024): e0300663. http://dx.doi.org/10.1371/journal.pone.0300663.
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Music ensemble performance provides an ecologically valid context for investigating leadership dynamics in small group interactions. Musical texture, specifically the relative salience of simultaneously sounding ensemble parts, is a feature that can potentially alter leadership dynamics by introducing hierarchical relationships between individual parts. The present study extended previous work on quantifying interpersonal coupling in musical ensembles by examining the relationship between musical texture and leader-follower relations, operationalised as directionality of influence between co-performers’ body motion in concert video recordings. It was hypothesised that the directionality of influence, indexed by Granger Causality, would be greater for ‘homophonic’ textures with a clear distinction between melody and accompaniment parts than for ‘polyphonic’ textures with less distinction between melody and accompaniment. This hypothesis was tested by using pose estimation algorithms to track instrumentalists’ body movements in a string quartet and a clarinet quintet, and then applying Granger Causality analysis to their head motion to estimate directional influence between instrumentalist pairs for sections of the pieces that varied in texture. It was found that Granger Causality values were generally higher (indicating greater directionality of influence) for homophonic than polyphonic textures. Furthermore, considering melody and accompaniment instrument roles revealed more evidence for the melody instrument influencing accompanying instruments than vice versa, plus a high degree of directionality among accompanying instruments, in homophonic textures. These observed patterns of directional information flow in co-performer body motion are consistent with changing leader-follower relations depending on hierarchical relations between ensemble parts in terms of the relative salience of melodic material in the musical texture. The finding that automatic pose estimation can detect modulations of leadership dynamics in standard video recordings under naturalistic performance conditions has implications for investigating interpersonal coordination in large-scale music video datasets representing different cultural traditions, and for exploring nonverbal communication in group activities more generally.
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Mukuna, Kazadi Wa. "The evolution of harmony in the music of the Democratic Republic of Congo (DRC)." África, no. 42 (December 7, 2021): 20–38. http://dx.doi.org/10.11606/issn.2526-303x.i42p20-38.
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This article reveals the concept of music encapsulated in the 18th century Enlightenment definition of music that failed to recognize the existence of expressions outside Europe. In 1964, the American anthropologist Alan Merriam (1923-1980), provided a broad-based definition of music according to the substance of Franz Boas’ theory of “Cultural Relativism”, which empowers individual communities to define music within the frame of reference of their own cultural context. In the present article, I argue that there are three types of harmony in the music of the Democratic Republic of Congo reflected in: 1) The linear harmony encapsulated in Ensemble Thematic Cycle (ETC) of traditional music interpreted by drum ensembles, 2) The homophonic harmony of Western genre implemented in chord progressions by urban bands composed of a variety of musical instruments, 3) The parallel harmony of vocal singing as linguistically imposed to maintain the communicative significance of the message in lyrics
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Busch, Regina. "On the Horizontal and Vertical Presentation of Musical Ideas and on Musical Space (III)." Tempo, no. 157 (June 1986): 21–26. http://dx.doi.org/10.1017/s0040298200022312.
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An important factor in understanding the two kinds of presentation is that – seen historically – one or other has at different times moved into the foreground; moreover, that in connexion with the development of music and as a consequence of the continually progressing ‘conquest of the pitch-domain’, a mixing of the two kinds of presentation was arrived at. Here Webern above all follows Adler, who speaks in his book Der Stil in der Musik (1911) of ‘immensely multifarious intermediate and transitional stages from homophonic to polyphonic voice-leading’, of their mixing, of a ‘to and fro rich in variety, … continual exchange of the two basic kinds, homo – and polyphony’ (p. 246). As has already been said, Webern, going beyond this, assumes that the mixing up is caused by a tendency, on the part of the two kinds of presentation, ‘mutually (to) permeate each other more and more’ (Lecture IV).
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Huron, David. "Note-Onset Asynchrony in J. S. Bach's Two-Part Inventions." Music Perception 10, no. 4 (1993): 435–43. http://dx.doi.org/10.2307/40285582.
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Experimental evidence has shown that the perceptual segregation of concurrent auditory streams is enhanced when tone onsets are asynchronous rather than synchronous. Previous research has shown that the amount of onset synchrony is significantly less for polyphonic works than for homophonic works. In this study, an analysis of 15 polyphonic works by J. S. Bach shows that the amount of onset synchrony is significantly less than would be expected by chance, and so suggests that synchronous onsets are intentionally minimized by the composer. The results are consistent with the objective of maintaining the perceptual independence of the polyphonic voices.
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Huron, David. "The Ramp Archetype and the Maintenance of Passive Auditory Attention." Music Perception 10, no. 1 (1992): 83–91. http://dx.doi.org/10.2307/40285540.
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Research on physiological aspects of attention has shown an asymmetry in neurological arousal with respect to the direction of stimulus change. Increases of stimulus intensity level are more effective than equivalent decreases in evoking listeners' attention. Where musical resources limit a continual escalation of intensity level over the course of a work, it is theoretically possible to maintain attention by structuring the work as a sequence of stimulus "ramps"—where intensity increases are small and incremental, but stimulus decreases are large and abrupt. Scorebased studies of dynamics in homophonic music and voice entries and exits in polyphonic music show such an asymmetry. It would appear that for a large body of works of western art music, compositional practices are consistent with a theoretical strategy for maintaining passive auditory attention.
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Wan, Barry Yuk Bun. "Application of the Aesthetic of Guqin (古琴) for Contemporary Music Composition". Revista Vórtex 9, № 3 (2021): 1–15. http://dx.doi.org/10.33871/23179937.2021.9.3.2.
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The purpose of this research is to discover the application of aesthetic approach, performing technique and playing style of Guqin for contemporary music composition. Mentioned in documents dating from two millennia, Guqin is one of the oldest Chinese solo instruments. Moreover, Guqin music often is based on senza misurato (散板, without tempo) and it focuses on changing the colours of several notes, occasionally even a single note. This is accomplished by using an open string note (散音), stopped string note (按 音), harmonic note (泛音) as well as four main ornaments (綽注吟猱) to achieve the poetic mood. This asthetic is in direct contrast to western homophonic structure. These characteristic effects offer an attractive potential for their application to new compositional techniques and approach to contemporary music writing. This research will provide valuable information regarding employment of the Guqin’s philosophy for music composition.
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Péter, Éva. "János Jagamas’ Folk Song Arrangements." Studia Universitatis Babeş-Bolyai Musica 65, no. 2 (2020): 307–20. http://dx.doi.org/10.24193/subbmusica.2020.2.20.
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"The aim of the following study is to present János Jagamas’ vocal folk song arrangements by analyzing the melodies and the compositional methods used within the works. During his scientific work at the Folklore Institute of Cluj-Napoca, the outstanding folk music researcher uncovered and recorded reliable data by collecting, recording, analyzing, and classifying not only Hungarian but also Romanian and Bulgarian melodies. He processed some of the melodies he gathered using a variety of compositional procedures. The works are recommended for children, youth, and amateur choirs, so it is important to get to make them known among music teachers and conductors. Keywords: folk song adaptations, homogeneous and mixed choir works, polyphonic and homophonic editing techniques."
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Tereshchenko, L. V., L. A. Boyko, D. K. Ivanchenko, G. V. Zadneprovskaya, and A. V. Latanov. "Characteristics of musical performance and visual-motor interaction of sight-reading performance of pianists depending on texture of musical pieces." Experimental Psychology (Russia) 10, no. 2 (2017): 40–53. http://dx.doi.org/10.17759/exppsy.2017100204.
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We studied the basic characteristics of the music playback while sight-reading of three two-line musical selections of classic music of different textures and complexity–two-voice polyphonic musical piece, the theme and variation of homophonic-harmonic musical piece. The tempo of play and the number of errors depend on the texture of a musical selection. These characteristics are objective indicators of the skill of sight-reading of musicians, and the complexity of musical selection. Using an original technique of eye movement recording without head fixation we studied eye-hand span–the time from reading the text to music playback. According to our data, eye-hand span is dependent on the texture of the performed musical piece, correlated inversely with the number of errors and directly correlated with the rate of stability in the performance. This parameter is also the objective measure of sight-reading ability, and is connected with the complexity of a musical piece and, presumably characterizes the working memory capacity of musicians.
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Хилько, Н. П. "IMPROVISATION IN MODES AT SOLFEGGIO LESSONS." Music Journal of Northern Europe, no. 1(25) (April 8, 2024): 80–100. http://dx.doi.org/10.61908/2413-0486.2021.25.1.80-100.
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В статье рассматриваются формы импровизации в разнообразных ладах, которые можно использовать на уроках сольфеджио в средних и высших учебных заведениях при изучении ладов народной музыки, а также ладовых форм, характерных для современного композиторского творчества. Предлагаются приёмы, позволяющие создавать одноголосные и многоголосные композиции в полифонических и гомофонных фактурах для ансамблевого исполнения и в сопровождении инструмента. The article analyzes forms of improvisation in various modes that can be used in solfeggio lessons at secondary and higher educational institutions when studying modes in folk music, as well as modal forms typical for contemporary composing. The author suggests techniques that enable to create monophonic and polyphonic compositions in polyphonic and homophonic textures for ensemble performance and with instrumental accompaniment.
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Maeshiro, Midori. "Origem e consolidação do pianismo: expressão e cognição no desenvolvimento da performance solo." Percepta - Revista de Cognição Musical 9, no. 2 (2022): 59–82. http://dx.doi.org/10.34018/2318-891x.9(2)59-82.
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In the so-called classical period, music for an emerging piano developed a homophonic style that kept the textural functions of melody and accompaniment linked, generally, to the right and left hands, respectively. In the present study, I identify the emergence of the primary means by which composers and performers of that period expressively distinguished the aforementioned textural components within the repertoire for solo keyboard. Based on this, I discuss how the classical tradition of piano music bequeathed to romanticism the proce-dures of rubato (a concept originated in the textural pattern of two “layers”) and the treatment of Alberti’s bass (a performative device that introduced the textural pattern of three layers), main expressive resources of European written music for the instrument. The partial results of the research show the changes in the repertoire for piano, which made possible the defini-tive overlapping of harmonic-polyphonic components—of rhythmic-tonal events—consoli-dated in the same period in which the expressive resources of a highly touch-sensitive key-board started to demand from the performer the use of an increasingly severe cognitive load compatible with the complexity of the new compositional and expressive patterns.
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Arthur, Claire. "Taking Harmony Into Account." Music Perception 34, no. 4 (2017): 405–23. http://dx.doi.org/10.1525/mp.2017.34.4.405.
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Probabilistic models have proved remarkably successful in modeling melodic organization (e.g., Huron, 2006a; Pearce, 2005; Temperley, 2008). However, the majority of these models rely on pitch information taken from melody alone. Given the prevalence of homophonic music in Western culture, however, surprisingly little attention has been directed at exploring the predictive power of harmonic accompaniment in models of melodic organization. The research presented here uses a combination of the three main approaches to empirical musicology—exploratory analysis, modeling, and hypothesis testing—to investigate the influence of harmony on melodic behavior. In this study a comparison is made between models that use only melodic information and models that consider the melodic information along with the underlying harmonic accompaniment to predict melodic continuations. A test of overall performance shows a significant improvement using a melodic-harmonic model. When individual scale degrees are examined, the major diatonic scale degrees are shown to have unique probability distributions for each of their most common harmonic settings. That is, the results suggest a robust effect of harmony on melodic organization. Perceptual implications and directions for future research are discussed.
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Daugherty, James F. "Spacing, Formation, and Choral Sound: Preferences and Perceptions of Auditors and Choristers." Journal of Research in Music Education 47, no. 3 (1999): 224–38. http://dx.doi.org/10.2307/3345781.
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The purpose of this study was to assess preferences of auditors ( N = 160) and choristers ( N = 46) relative to choral sound of an SATB high school choir in two choral formations (block sectional and mixed) and three spacings (close, lateral, and circumambient). Six conditions of a 30-second homophonic choral excerpt were sung and recorded digitally. Auditors listened to 10 pairs of randomly ordered excerpts, expressing preference for most pleasing choral sound. Choristers completed the Singer Evaluation Form. Auditor results indicated consistently significant preference for excerpts sung with spread spacing and no consistent preference for formation per se. Choristers (95.60%) thought spacing influenced their choral sound. Singers consistently and significantly preferred spread spacing and attributed to it improved vocal production and ability to better hear both self and ensemble. Results suggested that choir spacing made a greater contribution to choral sound preferences of both auditors and choristers than did choral formation.
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Hatten, Robert. "The Role of Texture in the Expression of Musical Emotion: The Menuet from Bach’s Partita no. 4 in D Major, BWV 828." Roczniki Humanistyczne 72, no. 12 Zeszyt specjalny (2024): 153–60. http://dx.doi.org/10.18290/rh247212sp.12.
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Musical texture is a complex sign based on the functional interrelationship of all the “voices” in a given segment of music. In Bach’s era, textural categories were oppositionally conceived as primarily homophonic (block-chordal, or melody with chordal accompaniment) vs. polyphonic (linear-contrapuntal, often imitative). However, the Partitas, comprising the third and most compositionally advanced collection of his keyboard suites, exhibit an unusual variety of textures, both shifts among textures and imaginative blends of textural types. Since earlier suite dances are typically based on a single texture, Bach’s textural play suggests a deeper expressive motivation. I demonstrate how, in the Menuet from the Partita, Bach pioneers both textural contrast within phrases and an ongoing developing variation of texture to create a more highly nuanced expressive trajectory.
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Hong, Seungyoun. "An Analyzing Study of Partial 2 Part-Chorus in the 5th and 6th Grades’ Music Textbooks." Korean Society of Music Education Technology 30 (January 16, 2017): 55–72. http://dx.doi.org/10.30832/jems.2017.30.55.
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The preliminary purpose of the study is to analyse the partial 2 part- chorus appearing in 6 kinds of music textbooks for 5th and 6th grade in the elementary school. The study shows that how much portion of the partial 2 part-chorus music in the textbooks is and how much diversity of the music and in other aspects is. For the analysis, 9 criteria, quantitative portion, the meter, the key, the texture, the length of the chorus music, the relation of the tone intervals, vocal range of the parts, expression and the theme, were used. As a result, it is found that the portion was 16.5%, which means 1.5 piece of chorus music is dealt with in each semester. In terms of meter, 53.3% is 4/4 and 24.4% is 3/4. In terms of he key major keyality was used like F(31.1%), C(24.4%), and G(24.4%). In terms of musical texture, 80% of the pieces of music is homophonic texture. In the length of the 2 part-chorus 48.9% has 6~10 measures. The number of the tone intervals was various but under the 3 to 5 was 75.6%. In soprano part 86.7% of the music the vocal register was under an octave. The expressions used in the music textbooks were various, however, p, mp, mf, f, cresc. decres. appear in all textbooks. Through the study it suggests that the number of the chorus be doubled compared to the current textbooks. Various meters, keys(modes) and textures should be appeared in the new coming textbooks. Canon, songs used ostinato, echo-songs, and other simple type of chorus should be appeared before the 2 part chorus for students.
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Koto, Erizon. "Idiom Musikal Minangkabau dalam Komposisi Karawitan, Sebuah Analisis Konteks Adaptasi Musikal." Gondang: Jurnal Seni dan Budaya 1, no. 1 (2017): 12. http://dx.doi.org/10.24114/gondang.v1i1.7918.
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The study aims at understanding and analyzing (a) understanding of the terminology of the composition and method of cultivation so that the terms of composition and arrangement can be understood contextually, (b) the mustering of Minangkabau musical idioms developed using Western elements and instruments to become a work of music; (c) Adapting Minangkabau karawitan to Western music concepts in a musical work in Karawitan ISI Padangpanjang. This research is field work, field includes observation, interview, and recording. Work in the laboratory includes processing, selecting, and filtering field data. The method used is qualitative method verivikatif begins with data collection both field, interview, and library then looking for theoretical approach to analyze the data that have been obtained. The results of the analysis show (a) The existence of inappropriate perception of the term compositional terms to be confused with the term arrangement. Cultivation works tend to be done collectively, not purely from the creativity of the owner of the work, but the work of the music on behalf of a person alone. (b) There is the use of Western musical elements and instruments in musical works in the form of harmonious harmonies, homophonic textures and polyphony and the use of flute instruments, alto saxophone, tenor saxophone, trumpet, trombone, tuba, guitar, bass guitar, keyboard and drum set. (c) Minangkabau Karawitan adapts to Western music in an academic context, in ISI Padangpanjang on musical forms.
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Snetkova, Marina. "Linguistic Means of Expressing Humour in the Music Parodies by the Galician Project “Páramo Pictures”." Cuadernos Iberoamericanos, no. 2 (June 28, 2018): 73–77. http://dx.doi.org/10.46272/2409-3416-2018-2-73-77.
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The purpose of this article is to analyze the linguistic means of expressing the retranca – the subtle humour which is considered to be typical of the Galicians – in the music parodies by the project “Páramo Pictures”, whose video clips have become rather famous in the region during the last five years.The study method we apply is based on the linguo-stylistic, cultural and semiotic analysis of the audiovisual text.The songs, which “Páramo Pictures” choose to parody, are usually recent hits that have well-known video clips: “Despacito” by Luis Fonsi, “Súbeme la radio” by Enrique Iglesias, “Wrecking Ball” by Miley Syrus, etc. They film new videos trying to reproduce the elements of the original plot, but adapting both the lyrics and the scenery to rural Galicia.The success of the project can be explained by the perfect use of all the elements of the audiovisual text, stereotypes about rural Galicia, and – in terms of linguistics – of the wordplay and the homophonic translation, all of which shows the effective interaction of the analogy and the contrast, two essential components of the genre of the parody.
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Péter, Éva. "Theological, Literary, and Musical Knowledge, All in the Service of Sacred Music. The Psalm Arrangements Of Kálmán Csomasz Tóth." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (2022): 213–27. http://dx.doi.org/10.24193/subbmusica.2022.1.14.
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"The present study aims to present the work of Kálmán Csomasz Tóth in the field of sacred music. Having had a theological education, and literary and musical studies, following an in-depth and extensive research process, he edited the Reformed hymnal published in Hungary in 1948. In addition to this important work, he has published numerous books, articles, studies in the field of musicology, literary translations, and a few poems in various ecclesiastical and professional journals in Hungary and abroad. The example of Kodály as a composer and the choral singing movement of the 1930s also captivated him and encouraged him to adapt the melodies of the church hymnal. I will hereby present his work and a musical analysis of the choral arrangements pertaining to the melodies of the Genevan Psalter. Keywords: hymnological research, church singing, Genevan Psalter, praise, Hungarian folk melodies, male/female choir and mixed choir compositions, homophonic and polyphonic modes of composition. "
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Malyi, Dmytro. "The writing technique as a component of the compositional process (on the examples of creative practice of the second half of the 20th – 21st centuries)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (2021): 117–30. http://dx.doi.org/10.34064/khnum1-59.08.
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Background, objectives and methodology of the research. The social and cultural paradigm of the 20th century has given rise to a type of composing thinking that did not exist before – a scientific one. Thus, the evolution of the composer’s writing can be defined as a path from thinking by perfect consonance, emancipated dissonance to thinking by deterministic sound and its parameters (height, duration, dynamics, timbre, and articulation). The term of the «composer’s writing technique» means a set of techniques and methods of working with the musical material as a result of the activity of thinking/awareness. Therefore, the aim of this article is an attempt to explore the relationship between the compositional process and writing techniques of the 20th – 21st centuries (pointillism, aleatorysonorous, algorithmic composition), as well as the specifics of polyphonic, homophonic writing in a new context. The methodology of the study includes references to the scientific works by P. Boulez (1971), K. Stockhausen (1963), V. Medushevsky (1984), M. Bonfeld (2006), I. Beckman (2010), I. Kuznetsov (2011), K. Maidenberg-Todorova (2013), M. Vysotska and G. Grigoryeva (2014). Presentation of research results. The phenomenon of writing techniques is very important in the study of the specifics of the compositional process, as it is the technique, for the most part, becomes the goal of creation for many composers of the 20th century. In addition to new techniques, polyphonic and homophonic writing have undergone some changes. The polyphonic one has specific features that are manifested in linearity, part-writing, etc. Examples can be found in the works by D. Ligeti (micro-polyphony), R. Shchedrin, V. Bibik, V. Ptushkin, V. Sylvestrov, and O. Shchetynsky. Regarding the homophonic writing, we shall note that, first of all, it is an indicator of style and conceptual thinking of a composer (works by A. Pyart, J. Tavener, and L. Sumera). In pointillism, the sound is thought of as a deterministic, isolated structure, which is expressed by its various parameters. Here are the examples from the creative work by A. Webern («The Variations for the Piano»; «The Variations for the Orchestra»), by E. Denysov «DSCH». The aleatory-sonorous technique is associated with the operation of timbre sonorities, according to their specific patterns, and developed in the 50–60s of the 20th century in the works by I. Xenakis, V. Lyutoslavsky, Ksh. Penderetsky, and D. Ligeti. The algorithmic composition is an indicator of scientific and mathematical thinking, and is divided into: fractal, stochastic, spectral, concrete and electroacoustic music. The first was formed within the framework of the works by C. Dodge, G. li Nelson, D. Ligeti, and others (I. Beckman, 2010). Stochastic music is associated with the name of I. Xenakis, and the ancestors of the spectral school are the French composers G. Grisey and T. Murray. Conclusions. The article considers the writing techniques of the 20th–21st centuries as components of the compositional process. It can be concluded that the studied techniques are fundamentally interconnected, revealing the nature of the composer’s thinking/consciousness from different positions. The presented techniques are: the objectification of sound forms, the method of creation; the fact of the composer’s consciousness; the consequence of the historical and cultural evolution of the musical language and communication.
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Primov, Sardor Islom o'g'li. "THE ROLE OF UZBEK FOLK INSTRUMENTS IN THE FORMATION OF OUR SPIRITUALITY." Eurasian Journal of Academic Research 1, no. 1 (2021): 59–66. https://doi.org/10.5281/zenodo.4694173.
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<em>Music is one of the elements that convesy the speritualtity of humanity, the inner experiences of life, not only to humanity but also to all living beings.The heritage of our ancestors the performance of Uzbek fols instruments is one of the innovative ways of shaping our spirituality. This article discusses the development of orchestral performance.</em>
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Primov, Sardor Islom o'g'li. "THE ROLE OF UZBEK FOLK INSTRUMENTS IN THE FORMATION OF OUR SPIRITUALITY." EURASIAN JOURNAL OF ACADEMIC RESEARCH 1, no. 1 (2021): 246–53. https://doi.org/10.5281/zenodo.4715200.
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<em>Music is one of the elements that convesy the speritualtity of humanity, the inner experiences of life, not only to humanity but also to all living beings.The heritage of our ancestors the performance of Uzbek fols instruments is one of the innovative ways of shaping our spirituality. This article discusses the development of orchestral performance.</em>
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Desak, Suarti Laksmi. "CEREMONIAL SINGING: KIDUNG AS RELIGIOUS PRAXIS IN CONTEMPORARY BALI." Journal of the Institute of Oriental Studies RAS, no. 3 (21) (2022): 29–42. http://dx.doi.org/10.31696/2618-7302-2022-3-029-042.
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Kidung is Balinese ritual hymn or canticle, typically recited in a homophonic choir by a grop of local singers based on a pre-existing text to accompany religious celebrations. Selected lyric of kidung verse is deliberately recited for a number of ritual reasons. The role of kidung is to complete the ritual and religious celebration as the fifth Gita. The four related ritual gitas or sacred sounds include the sound of symbolic narrative forms (Swara Yantra Abinaya) of wayang puppetry, infused with edification and devine philosophy; the sound of Gamelan music accompanying temple dances (may it be a female Rejang dance, Makerab dance, Sutri, Pendet dance, or male Baris warrior dance, Sandaran dance, etc.); the sound of Kulkul wooden bell, and the sound of Veda / mantra incantation recited by the temple priest, who invariably leads the ritual ceremony. Kidung hymn and gamelan music together create Vadyagita. The dance and the mantra incantation together create Nertya Puja, which creates devine matrix of the on-going ritual ceremony. Almost no Hindu-Balinese religious ceremony (yadnya) is complete without kidung singing with lyrics drawn from Middle Javanese literature. Kidung is used for the panca yadnya (five ceremonies) namely: dewa yadnya (for god), bhuta yadnya (lower spirit), rsi yadnya (for priest), pitra yadnya (for ancestor), and manusa yadnya (for human), with the appropriate kidung text selection. This singing supports the solemnity of spiritual practice of singers and listeners, perfecting the ceremony as an offering of expressive communication.
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Krasnikova, Tatiana N. "Sergei Taneyev’s String Quartets in the Aspects of Interaction of Texture and Genre." Problemy muzykal'noi nauki / Music Scholarship, no. 4 (December 2023): 60–70. http://dx.doi.org/10.56620/2782-3598.2023.4.060-070.
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The article is devoted to the analysis of texture as the most important constituent of the style of Sergei Taneyev’s string quartets. Up to the present time in Russian musicology texture in the composer’s chamber instrumental music has not formed a subject for special study, which is what especially stipulates the relevance of the chosen theme. The aim of the article is to define the specificity of the genre revealing itself on the textural level of the quartet’s artistically organized integrality, which may shed light on the sphere of its evolution in Taneyev’s music. The following issues are resolved in correspondence with the aim: to establish the correlation of the texture with the form, to research the means of this interaction with the thematicism, to disclose the most characteristic indications of the individual authorial style, having examined them in the aspect of the processes of form-generation. The author arrives at conclusions about the formation of the styles of the quartets. It is indicated that the compositions absorb into themselves various types of polyphonic and homophonic expounding of the musical material, the varieties of its strata, as well as the modulation processes in the sphere of texture based both on the suppleness of its transitions and on the effects of suddenness and unexpectedness. Both types of textural modulations present a distinguishing feature of Taneyev’s artistic manner that is connected with the stages of formation of form.
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Mishyn, Viktor. "ORPHEUS: THE SYMBOL OF A NEW MUSIC ERA." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 20–28. http://dx.doi.org/10.30970/vas.20.2019.10649.
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The purpose of the article is to analyse the philosophical and aesthetical processes, which at the beginning of Modern Times had led to the formation of new musical-aesthetical paradigm, thereby changing the world of music and resulting in creating of the emotionally colored music as we know it. This belated Renaissance in music is inextricably linked to the emergence of opera and to the reconstructions of the antique musical-aesthetical philosophical ideas, attitudes and values in Northern Italy at the end of the 16th and beginning of the 17th century. One of the first scholars who appealed to the long-abandoned ancient Greek philosophical doctrine of ethos was Nicola Vicentino (1511-1572). In his magnum opus L’antica musica ridotta alla moderna prattica (1555) he insisted that music should be connected to the lyrics (i.e. to the passions and ideas contained in it). The same position defended Girolamo Mei (1519-1594), who clearly states on it in his multiple letters to Vincenzo Galilei (1520-1591). Vincenzo Galilei, in turn, was the mastermind and inspirer of famous Florentine Camerata (also known as Camerata de’ Bardi) – the club of thinkers, poets and composers, which was founded in 1573 in order to put into practice ancient Greek musical aesthetical principles. The most famous members of Camerata – Giulio Caccini, Jacopo Peri, Vincenzo Galilei, Giovanni Battista Doni, Ottavio Rinuccini, Piero Strozzi. Of course, the most visible result of the activity of Camerata was creating the first works of dramma per musica – “Dafne” (1598), “Euridice” (1600) by Jacopo Peri and “Euridice” (1602) by Giulio Caccini. But the most important and widely disseminated at the time experimenting in the field of new musical art was concentrated in the genre of madrigal. Due to such activity at the late XVI – early XVII centuries arises new musical-aesthetical paradigm, which on the external level has revealed itself in emerging of the new, mostly homophonic representative stile (stile rappresentativo) as opposition to the old polyphonic stile (stile antico, stile grave, stile osservato). In this new representative style musical content is subordinate to lyrics. Most clearly the switch of musical-aesthetical paradigm was manifested in the MonteverdiArtusi controversy between the greatest composer of the time Claudio Monteverdi and the scholar Giovanni Artusi, who was criticizing new music. Monteverdi, as an apologist of a new musicalaesthetical principles described his famous concept of Seconda pratica (the Second Practice) in the following texts: Afterword for the 5th Book of Madrigals (1605), Forward for the 8th Book of Madrigals, The Letters to Unknown, 22 October 1633 and 2 February 1634. But the most complete statement of his ideas can be found in Dichiarazione of his brother Giulio Monteverdi, which was published in the collection of pieces Scherzi musicali by Claudio Monteverdi (1607). As the result of such philosophical and practical activity at the late XVI – early XVII centuries, the emotionally neutral consonant church polyphony was replaced by new affective musical material based not on the perfect ratios and proportions, but on the affect as a reflection of the human nature. The article focused on the reflection of this transitional period in the history of music, which conditionally ends with the creation of the first-ever true musical drama – “L’Orfeo” by Claudio Monteverdi (1607).
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Jovanovic, Jelena. "Searching for the right form: A self-taught village player recalling performance live." Muzikologija, no. 8 (2008): 203–23. http://dx.doi.org/10.2298/muz0808203j.
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Repertoire of the excellent self-taught traditional dvojnice-player, Miladin Arsenijevic, from the vicinity of Topola (central Serbia) consists of lyrical songs of a newer rural repertoire. During a 'cognitive interview', in his attempt to recall and reconstruct old-time traveler's (putnicko) playing through performance, a 'real music situation', he has gradually condensed the developed form of the homophonic shepherd's song into the fragmentary form of heterophonic traveler's playing. In this paper the accent is on the player's search and creative process in his attempt to derive the right musical form of a piece, using his long-term memory, since he has not heard or played the piece for quite a long time. It is also a successful attempt to bring musical data from passive to active musical memory, and a transit from one collective semantic musical code to another. The motoric component plays an important role as well. The analysis of musical change shows that musical memory is a distributive system, and data is organized in groups. Musical parameters change: rhythm and tone are changed first, while other parameters seem to depend mostly on the shape of the melodic model; they gradually change while this element finds its right form.
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Belikova, Valentina. "«MUSIC FRESCOES» BY BOHDANA FILTS AS A FACTOR OF DEVELOPMENT OF CREATIVE AND POTENTIAL FORCES OF THE MUSICIAN'S PERSONALITY." Academic Notes Series Pedagogical Science 1, no. 190 (2020): 81–85. http://dx.doi.org/10.36550/2415-7988-2020-1-190-81-85.
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The activity of a teacher of music-pedagogical profile always involves the use of musical works. The latter makes it possible for teachers to use such musical works, the musical basis of which is available both for performance by the teacher and for perception by students. After all, students' perception of a teacher-performer will always be brighter than the perception of technical means for sounding a piece of music. In the classroom there is a kind of creative search for the teacher-performer (performance always requires considerable effort of imagination, creative inspiration). The teacher's verbal preface will help pupils to reproduce in their minds the necessary musical image, which serves to be a special coverage of the individual to whom there is a specific dedication of the cycle. The means of musical expression used by the composer influence the feelings of the listeners, develop their creative imagination, and the school lesson turns into a long-awaited musical meeting with the music of Bohdana Mykhailivna Filts. The piano cycle «Musical Frescoes» is an example of glorifying the musical impressions of the artist, which remained from the meeting with people of previous years, who became her friends and good acquaintances, with whom Bohdana Mykhailivna had to work in the field of Ukrainian musical art. Summing up the review of «Musical Frescoes» by Bohdana Filts, we highlight the general features of the musical language of the composer's works that influence and develop the creative potential of the future specialist, namely: application of traditional forms of musical expression (two-part and three-part musical forms); use of foreslags, soft syncopated rhythmic shifts; use of sound comparisons of polar registers; combination of homophonic-harmonic and polyphonic textures of representing musical material; emphasizing with a dynamic line the wavy development of musical phrases of the work, etc. The national character of the musical language of Bohdana Filts' works is manifested in the whole complex of expressive means of the composer's piano cycle, which provides a basis for the active use of the cycle in the educational process of various levels of musical institutions.
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Klepova, Anna V., and Leyun Xian. "Orchestral Texture in Wang Xilin’s Symphonic Works." Contemporary Musicology 8, no. 2 (2024): 104–28. http://dx.doi.org/10.56620/2587-9731-2024-2-104-128.
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Wang Xilin (born 1936) is a Chinese composer currently living in Germany. In his home country, he is known as a musician of the Western trend. His works are occasionally performed in China and are widely known abroad. He has written about one hundred works in various genres, among which orchestral music plays a key role. In his symphonies and symphonic suites, Wang Xilin reinterprets in a new manner the diverse traditions of the Russian and Western European classics. On the other hand, these works vividly express the national Chinese color, manifested in the figurative and emotional sphere, melodicism and textural techniques. The composer has turned towards the orchestral genres during the course of his entire life. They have become a peculiar brand of chronicles of his style and reflect the periodization of his musical output, in which it is possible to highlight three styles. Each of them has its own priorities in his choice of textural means. Thus, his early period (1961–1977) is marked by the study of the Russian and Soviet schools of composition at the Shanghai Conservatory and of Chinese folklore during his exile in the province of Shanxi. The list of textural techniques in the orchestral works of this period — the suite Poems of Yunnan and Symphony No 1 — is not marked by any originality: the composer uses doublings, imitations and canonic expositions most frequently. Wang Xilin bears a striking resemblance to Dmitri Shostakovich in his construction of monodic lines. In his second period (1977–1990) Wang Xilin expanded his arsenal of textural means, in particular creating original “figuration canons” based on pentatonic chants based on intervals of seconds and fourths. These were first used in the suite The Impressions of Mount Taihang and were subsequently widely used by him in his symphonies and suites of his later period. Despite the ban on Western music during the Cultural Revolution, Wang Xilin studied the scores of Charles Ives and Krzysztof Penderecki. This influenced the third period of his work (starting from 1990), marked by a general chromatization of the harmonies and thematicism and the creation of different types of sonorous textures in his music. Overall, the textural basis of Wan Xilin’s works examined here is polyphonic many-voiced texture, but it also includes some homophonic-harmonic sections. Among them there are pastoral fragments with static textures and dance sections with tutti-pizzicato in the strings.
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Гребнева, И. В. "МОДЕЛЬ DA CAMERA В CONCERTI GROSSI А. КОРЕЛЛИ". Традиції та новації у вищій архітектурно-художній освіті, № 4 (1 грудня 2018): 93–98. https://doi.org/10.5281/zenodo.1802908.
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The article is devoted to the peculiarities of the da camera model in concerti grossi of A. Corelli, the violin composer who was the actual “inventor” (N. Harnoncourt) of the “concerto grosso” in the instrumental music of Europe in the 17th-century. The study reveals and systematizes the general specifi c features of A. Corelli’s trans-formation of the Baroque dance suite genre, which formed the basis of the structure of four da camera concerts (9 to 12) in the cycle of 12 concerti grossi op. 6, intended by the author exclusively for the string orchestra. In the process of analysis, the issues concerning the form and drama of the “chamber” concerts are summarized, the leading significance of the main substance of the genre is highlighted, which is the texture principle of alternating concertino and grosso merged with the genre and dance base of the Baroque suite, as well as with the polyphonic logic of the old-time da chiesa model. In the conclusion, it is noted that the “chamber” concerts of A. Corelli in the historical and style aspects demonstrate a transitional stage in the development of the concert symphonic genre that embraces the “old” and “new” in the form of polyphony and homophony represented in a new, individually Corellian manner. It is noted that four “chamber” concerts (Nos. 9 – 12) are included in the grandiose cycle of 12 concerti grossi op. 6 created by Corelli in the fi nal version for the bowed string orchestra. By the genre, they are free variants of the Baroque dance suite consisting of a certain sequence of dance parts. It is emphasized that the composer acts freely within these genre frames. Each concert is individual in form, and changes have been made in the alternation of compulsory dances. It is noted that, creating a “chamber” model, A. Corelli uses the general principle of slow start and rapid conclusion of the cycle, with a tempo contrast between adjacent parts. It was revealed that in the “chamber” concerts (unlike the “church” concerts, in which the contrast-constituent parts are tonally and structurally open), the material for constructing the cycle is a homophonic suite, parts of which are tonally, structurally and texturally closed, unusually blending with “church” forms of unfolding type and with polyphony in texture. It is noted that in “chamber” concerts – suites, various types of “short form” are worked out, created on the dance genre basis. Within the framework of these “short forms” of Corellian “chamber” concerts, a pre-classical sonata form appears, in which there is still no side part, but there is tonal and textural development of the initial theme, which proves the primacy of the texture and violin attribute in the style of concerto grosso created by A. Corelli in the era of transition to a new musical style of Classicism. It is noted that the frequent duplication of the same-in-theme music between a group of soloists and full orchestra in a different textural presentation on the principle of antiphony is the prototype of the double exposure of the classical solo violin concert. It is also noted that the main dances in the cycles of the camera model – allemande, courante, gavotte, partially gigue, are characterized by a two-part structure, which is reflected in the tonal, textural processes, timbre balances. But the minuets by A. Corelli are written in a three-part form with an exact reprise, which was new for the Baroque music. It is emphasized that the composer’s use of “introductions” in all four concerts of op. 6 is associated with the idea of cycle formation and creates a contrasting dance manner of the subsequent parts, being, in addition, the “beginning” of the system of thematic links in the cycle. It is revealed that the “measure of order” and “measure of freedom” as the “poles” of the Baroque poetics in the “chamber” cycles of op. 6 correlate in the form of typical rhythm formulas of the given “dance” and “specific weight” of non-dance parts. In the conclusion, it is noted that by the structural and genre features, the four da camera concerts by A. Corelli are a free version of the Baroque dance suite. There are two structural principles acting in them: a) the number of parts, b) the genre inclination of the finales. As to the first criterion, there are two groups of concerts – four-part and fi ve-part concerts. The slow starting miniatures in the cycles are close to tutti, and the dances are dominated by homophonic-and-concert dialogue manner. Freely combining the dance and non-dance parts, A. Corelli blends the features of a solo violin sonata and ensemble. As to the second criterion – the genre interpretation of the finales – the “chamber” concerts are also quite free. The concerts Nos. 9 and 10 end with the minuets, and the absence of the traditional gigue is compensated by the sequence of allemande and courante. This freedom in the construction of the form required finding new types of timbre, texture and tempo contrasts. It is emphasized that the textural and compositional structure of the “chamber” concerts by A. Corelli allows us to see in them the shift from the “regulated suite manner” to the “free concert manner”, and this is also inherent to the instrumental violin component of the “chamber” cycles, in which component the “melodic violin style” created by A. Corelli emerges, having two interrelated qualities based, on the one hand, on the polyphonic system of thinking, on the other hand, on the homophonic-and-dance mechanics. It is noted that in A. Corelli’s da camera model, the ways of formation of a suite and a dialogue concert are combined. This is the initial symbiosis of the “suite” and “concert”, but with the prevalence of the “concert” and instrumental-and-concert style that comes from the violin – the instrument that has had a primary influence on this concert genre.
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STEPHENS, VINCENT. "Pop goes the rapper: a close reading of Eminem's genderphobia." Popular Music 24, no. 1 (2005): 21–36. http://dx.doi.org/10.1017/s0261143004000261.
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This article argues that controversial hip-hopper Eminem is more properly termed a genderphobe than a homophobe. Eminem consistently uses homophobic language to critique gender behaviour, not sexual orientation. Focusing on genderphobic lyrics more accurately reveals hip-hop culture's emphasis on gender behaviour rather than the emphasis on sexual object-choice that homophobia implies. The focus on genderphobia also highlights a discriminatory practice aimed toward external behaviour that is related to homophobia but operates differently in certain cultural realms. I ground my discussion by focusing on the centrality of authenticity in hip-hop and gender propriety's centrality in comprising hip-hop notions of authenticity. Additionally, I emphasise how all pop stars rely on personae to convey convincing images to the public. I conclude by analysing the Pet Shop Boys and Mariah Carey's ‘answer songs’, which directly address Eminem's genderphobia and authenticity.
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Blake, Thomas. "The Bottom Line." Pedagogy 25, no. 1 (2025): 37–57. https://doi.org/10.1215/15314200-11462975.
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Abstract Considering the recent erasure of LGBTQ+ representation in school curricula in states like Texas, this article explores the benefits of pairing medieval flytings (verbal battles with homophobic insults) in “Loki's Quarrel” from The Poetic Edda with recent homophobic discourse over rapper Lil Nas X's controversial music video “Montero.” It suggests that teaching such pairings of past and present queer texts and utilizing a range of inclusive practices and activities in the college classroom can highlight queer experiences and foster inclusion through representation. Through comparing insults that the trickster god Loki is ergi (a bottom) with Lil Nas X's Twitter defense reclaiming his agency as a “power bottom,” the article shows as well how homophobia and misogyny intersect in practices of medieval and modern bottom shaming. Moreover, it demonstrates how queer figures, whether in Viking culture or American pop culture, have always drawn power from queerness to challenge heteronormative masculinity.
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Koposova, Irina V. "A Glance at Cryptophony in Alexander Raikhelson’s Six Translations from Willi Melnikov for Theremin and Piano." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2024): 91–104. http://dx.doi.org/10.56620/2782-3598.2024.1.091-104.
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The technique of cryptophony, which was developed in the 1990s, presents a rare example of skill and knowledge formed in this country in the sphere of the newest methods of composing music. Its essence is connected with a consistent recoding of a verbal text into a musical text on the basis of correlations between letters and pitches chosen by the composer. The peculiarities of this technique have already been described in their general features, however analysis of the compositions connected with it has not lost its topicality, since it makes it possible to expand our perception of cryptophony and its potential. The object of study in the article is Alexander Raikhelson’s cycle Six Translations from Willi Melnikov for piano and theremin (1996), one of the composer’s first cryptophonic works. The article highlights the peculiarities of Melnikov’s poem, analyzes the principles of the composer’s work, and establishes that the latter’s approach is determined by the content and the capacity of the poems. The short texts that fixate one image each (Nos. 1, 3, 4, 5) are transformed into instrumental miniatures with the help of a simpler cipher (a chromatic or diatonic pitch set stemming from one definite pitch), and in them the syntax of the text is observed and a homophonic texture is used. The movements created from extended poems (Nos. 2 and 6) possess a polymelodic texture the lines of which sever the connection with the words; they make use of two ciphers each that possess individual structures. During the course of study of the cycle, elements of sound-figurativeness have been revealed, which appear in the Six Translations on various levels — from the peculiarities of the organization of the cipher and the textural regularities to the transmission of the poet’s voice by means of the timbre of the theremin. The undertaken analysis discloses the wealth of the possibilities present in the technique of cryptophony and convinces us that the action of the principle of recoding lying at its basis does not limit itself to the identification of the system of correlation between the letters and the pitches, but, spanning various strata, establishes numerous connections between the music and the text that generated it.
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Rawlings, Jared R., and Dorothy L. Espelage. "Middle School Music Ensemble Participation, Homophobic Name-Calling, and Mental Health." Youth & Society 52, no. 7 (2019): 1238–58. http://dx.doi.org/10.1177/0044118x19866071.
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Homophobic name-calling is commonplace in middle schools and is emerging as an antecedent to more serious, deleterious concerns, including depressive or anxious symptoms among youth. While music education researchers suggest that youth enrolled in music ensembles are targets for homophobic epitaphs, little is known about how experiencing homophobic teasing during early adolescence relates to their self-reported mental health. Using data from a large-scale investigation of middle school youth, we examined the prevalence of homophobic name-calling and its relationship on indicators of mental health, including depression and anxiety. Results indicate that being a target of homophobic victimization has significant mental health consequences for youth in the current sample, although differentially for youth participating in a music ensemble and those who do not. Music ensembles are complex social environments, and our results raise questions about how prevalent or localized homophobic epitaphs are for youth enrolled in music ensembles when compared with those who are not.
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Hubbs, Nadine. "Homophobia in Twentieth-Century Music: The Crucible of America's Sound." Daedalus 142, no. 4 (2013): 45–50. http://dx.doi.org/10.1162/daed_a_00237.
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Challenging notions of the composer as solitary genius and of twentieth-century homophobia as a simple destructive force, I trace a new genealogy of Coplandian tonal modernism–“America's sound” as heard in works like “Rodeo,” “Appalachian Spring,” and “Fanfare for the Common Man” – and glean new sociosexual meanings in “cryptic” modernist abstraction like that of Gertrude Stein and Virgil Thomson's opera “Four Saints in Three Acts.” I consider gay white male tonalists collectively to highlight how shared social identities shaped production and style in musical modernism, and I recast gay composers' close-knit social/sexual/creative/professional alliances as, not sexually nepotistic cabals, but an adaptive and richly productive response to the constraints of an intensely homophobic moment. The essay underscores the pivotal role of the new hetero/homo concept in twentieth-century American culture, and of queer impetuses in American artistic modernism.
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Ratushynskyi, Dmytro. "Keyboard fantasies by Georg Philip Telemann in the context of stylistic trends of the time." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 138 (December 22, 2023): 137–46. http://dx.doi.org/10.31318/2522-4190.2023.138.294804.
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The relevance of the study. It consists of considering the keyboard fantasies TWV 33 by Georg Philipp Telemann in the context of the author's creative searches, as well as of the stylistic trends in German music of the first half of the eighteenth century. The main objective of the study is to identify the main features of Georg Philipp Telemann's compositional style on the example of his 36 fantasies for keyboard. The methodology includes biographical (to highlight the main stages of Telemann's life and work), historical (to find out the evolutionary processes in the culture of the first half of the eighteenth century), genre-stylistic and structural-functional (for a comprehensive analysis of musical works), comparative (to compare Telemann's fantasies with each other and with examples of the genre in the works of his predecessors and contemporaries). 
 Results and conclusions. The cycle of keyboard fantasies TWV 33 by Georg Philipp Telemann is considered as an example of the embodiment of a new stylistic trend in German music of the first half of the eighteenth century. The reflection in these works of the influence of the "mixed taste" trend prevailing at that time is emphasized. The main stages of the formation and development of Telemann's creative guidelines are traced and the factors that directly contributed to the formation of his compositional style are identified. 36 fantasies included in the collection and differentiated by the author into "Italian" and "French" are analyzed. The main differences in their compositional organization and stylistic manner are revealed. On the basis of a detailed analysis of Fantasy No. 28 from the third part, the conclusion is drawn that the composer has a perfect command of the French and Italian styles of writing and their organic combination within one work. The author also points to the reflection in Telemann's keyboard fantasies of the "gallant style" that was formed in the music of the first half of the eighteenth century as opposed to the counterpoint and polyphonic style of the late Baroque. The features of the gallant style in Telemann's cycle TWV 33 are manifested in the elegance of melodic lines richly decorated with melismatics, the involvement of song themes, the dominance of homophonic composition, transparent, mostly two-voice texture, and the syntactic structure of themes by combining a number of small contrasting motifs. It is emphasized that the eighteenth-century understanding of the gallant style as a synonym for the "free style" resonates with the main vector of the evolution of the fantasy genre — from the centuries-old tradition of creating plays of this type within the strict framework of counterpoint writing to the natural manifestations of creative imagination.
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Uspenska, I. O. "Violin concerto principles as a way of musical thinking: semantic discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 169–88. http://dx.doi.org/10.34064/khnum1-56.11.
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Background. The history of concert music, separated from ritual and other non-musical functions, is closely connected with the art of violin. The violin was the leading instrument of the Baroque concert style, the examples of which are still unsurpassed. Despite the large amount of research on the formation and varieties of violin style, the concept of “concert” in combination with the concept of “violin” has not yet been considered separately, which determines the relevance of the topic of this article. The object of the research is a concerto principle of musical thinking in violin music; the purpose of the study is to identify the features of the phenomenon of concert in the system of music genres with the participation of the violin. Research methodology. To highlight the content of the stated topic, the article uses elements of both general and special musicological methods, including: historical genetic, deductive, comparative (general scientific approaches); organological, genre and stylistic analysis (musicological approach). Results. The article is devoted to the characterization of the “concerto principles” concept, which is the basis for the study of concert works for violin. It is noted that such phenomena and concepts as “concerto principles”, “concertіzing”, “concerto” are based on the reflection of the dialogue idea in its projection on the dialectic of musical formation (according to B. Asafiev). The author of the article identifies the main approaches to classifying the types of concerto as a musical genre, pointing out the following oppositions: “composer – performer-soloist”, “performer-soloist – orchestra”, and “structural canon – freedom of construction”. The significance of such attributes of concerto as virtuosity and improvisation inherent in any concert forms, including with the participation of the violin, is highlighted. It is noted that the implementation of the concerto principles, which come from large concert forms by J. S. Bach (according to Yu. Kholopov), is a prerequisite in the practical application of the concerto violin music models that are individually embodied in the work of modern masters, including Kharkiv citizens. In order to characterize the phenomenon of violin concerto principles, it was necessary to dwell on the nature of a whole complex of phenomena defined by B.Asafiev as “the basis and principle of concerto”. Based on the observations made by the founder of intonation theory, we can conclude that there is a common core of any concerto music – the idea of a dialogue that arises between the generating and generated intonational and thematic impulses that potentially contain a key to the dialectic of the musical process in its various structural formulations. The dialogue nature of concerto as a special musical genre also includes such attributes as virtuosity and improvisation. However, their presence in a concerto has various gradations and is not, as a rule, a foreground factor. At the same time, we cannot deny that the virtus aesthetics (lat. – valor, talent) is important within the system of concerto genres represented in music for a certain instrument, in particular, the violin. In this regard, a concerto is always a “competition and agreement” between the soloist and the orchestra accompanying him. As a result, and on this basis, we can say about the formation of the three main types of interaction between the participants in the concert dialogue: dominating solo, dominating orchestra, and parity (according to K. Kuznetsov). It should be noted that the improvisation clarifies the meaning of concerto as a performing genre, which is aimed at the free expression of a musician, unlimited by the existing canons and structural models. The genome of concerto (M. Bondarenko) is realized in a rather wide variety of musical forms and genre subtypes – from the standard model of a concerto for a solo instrument with orchestra, a concert for orchestra, a “concerto without orchestra” (R. Schumann), to any other genre forms containing signs of concerto (K. Bila). In evolutionary terms, the development of the concert dialogue idea went through several stages in which two multidirectional vectors are distinguished – centripetal (the way to concerto as a special kind of symphonic genre) and centrifugal (“dispersal” of concerto as a principle of musical thinking in different intonation systems – mono-, poly- and liberal-genre, according to G. Daunoravichene). The “Genre Explosion” (L. Shapovalova), inherent in Modern music, influenced concerto as a musical genre, where composers and performers can discover for themselves and for listeners the most diverse elements of language and technology, referring to different eras and genre styles. The absence of a unified concert model in modern composer and performing practice is largely due to the set of instruments. The instrumental component of concert genres (namely genres, not a genre) is in modern conditions a key determinant in implementing the principles of concerto, which fully applies to violin music. It was the violin that was one of the main instruments that determined the appearance of a solo concerto in the Baroque music, where the foundations of the entire subsequent development of instrumental genre traditions were laid in the direction from the typical vision to the author’s version – the hypothesis of the world (M. Starcheus), concentrated in the genre “matrix” (E. Nazaikinsky). The unsurpassed examples of a large concerto form, which composers of all subsequent eras have oriented themselves to, are found in the works of J. S. Bach, who was not so much an “inventor” as a “trend-setter”. In concertos by J. S. Bach, the severity and seriousness of thought are combined with a peculiar “neutralization” (Yu. Kholopov) of form elements that create a kind of its internal tonal and harmonic “frame”. At the heart of Bach’s concerto principles, which apply to all other manifestations of this principle, and to modern violin literature, there are two constructive standards – polyphonic (theme and interlude) and homophonic (theme and episode), in which Yu. Kholopov sees not only differences, but also similarities. The author of this article did not set the goal of illustrating these principles on the material of specific works from the creative portfolios of Kharkiv masters. At the same time, the three principles of constructing a large concerto form – alternative, developmental and reprise-repeated (Yu. Kholopov), developed by I. S. Bach, can be traced in a number of examples – from concertos for violin (violins) with orchestra – to concerto miniatures , where the “image” of the instrument is realized through various gradations of concerto as the basis and principle of musical thinking. Conclusions. The semantics of violin concerto is revealed in two meanings, concentrated in the components of this phenomenon. The main one is “concert” as a principle of musical thinking, based on a combination and different types of ratio of dialogicity (genre constant), virtuosity and improvisation (genre attributes). The second component of the phenomenon – “violin” – specifies the first at the level of the genre system, which is multifaceted and includes works of different models, classified on the basis of mono-, poly- and librogenre. The semantic “matrices” of violin concerto find expression in the corresponding genre forms, which was first demonstrated in the music of the late Baroque (J. S. Bach), where they were divided into two most common types of poetics: polyphonic (theme and interlude), homophonic (theme and episode). The article states that on this methodological basis it is necessary to approach the concert violin style in the works of both individual authors and regional schools, in particular, one of the leading in Ukraine – Kharkiv, which is the immediate prospect of further study of the topic.
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Rakochi, Vadym. "Mutual Influence of The Orchestra and Concerto Principle in The 16th – First Half of The 17th Centuries." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(50) (March 18, 2021): 49–63. http://dx.doi.org/10.31318/2414-052x.1(50).2021.233112.
Full textAbstract:
The interaction between the evolution of the orchestra and the concerto at the end of the late 16th — first half of the 17th centuries has been considered. Three levels of interaction are revealed. The first one is the basso continuo. There is little attention paid to the importance of this technique for the formation of the orchestra: the impact on the formation of instrumentalists’ collectives through the appearance of a homophonic way of presentation; combining different forces of sound of instruments; strengthening the bass line as a solid foundation for the entire vertical structure. The second level is the concerto principle. It is emphasized that during the 16th century the concerto meant ―ensemble‖ of any configuration. The strengthening of the instrumental component in the works of M. Uccellini, I. Baccusi, A. and J. Gabrieli, A. Banchieri had an impact on the transformation of the concerto principle. Initially, the principle appeared through the opposition of pitches and density of texture, eventually extends to the comparison of instrumental, mixed vocal-instrumental and vocal groups, thus stimulating contrast in the middle of an instrumental groups such as ensemble and orchestra. The third level of the interaction is embodied in the genre of madrigal (C. Monteverdi). It seems that the release of instruments, the diversification of their functions, the rejection of the permanent exact duplications and the increased role of the timbre obviously require an instrumental body as a stable structure for the implementation of all above mentioned. The development of musical instruments, the diversification of their functions, the use of sinfonia and ritornellos in the choral composition became a driven force for the modification of the concerto principle resulted in the intensification of the competitive origin in the orchestra with each decade. All the above encourages to revise the depth of interaction between the orchestra and concerto. The orchestra as an organized and multi-instrumental collective, designed to exhibit music beyond the church or theatrical genres, becomes the institutional basis for the embodiment of the concerto principle in a particular genre of the instrumental concerto.
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Jing, Yang. "Specificity and functions of texture in the piano music of modern Ukrainian composers (based on Z. Almashi’s and D. Malyi’s works)." Aspects of Historical Musicology 36, no. 36 (2024): 158–72. https://doi.org/10.34064/khnum2-36.09.
Full textAbstract:
Statement of the problem. The individualization of textural solutions actualizes the problem of classifying types of texture both, in the musicological-theoretical plane and in performance practice, because the multi-faceted understanding of texture is one of the necessary and very important components of a pianist’s work on a piece of music (Kasianenko, 2019; Nikitska, & Savchenko, 2024; Prykhodko, 1997; Chernyavska, 2015a, and others). In turn, the definition of texture functions in modern piano (and not only) music is both determined and complicated by the genre situation, the essence of which can be briefly characterized as principled freedom, multiplicity and individualization of genre solutions. Recent research and publications. Various approaches to the classification of texture types and composition types can be found in the scientific works of H. Ihnatchenko (1984), S. Kostka (2004), I. Tukova (2021), S. Shyp (1998) and others. A panoramic overview of the currently existing approaches to understanding the essence of the texture is presented in the dissertation research by R. Kashyrtsev (2021). About the functions of the musical texture H. Vynogradov (1977), H. Ihnatchenko (1984), I. Denisenko (2010), V. Moskalenko (2000), V. Prykhodko (1997), M. Chernyavska (2015b), S. Shkoliarenko (2017) and others wrote. Researchers emphasize the importance of logical (Ihnatchenko, 1984; Prykhodko, 1997), style-forming and genre-forming functions (Vynogradov, 1977; Prykhodko, 1997; Borysenko, 2005; Chernyavska, 2015b; Shkoliarenko, 2017), single out the artistic function (Moskalenko, 2000; Denisenko, 2010; Shkolyarenko, 2017) and the related function of implementing program of the work (Denysenko, 2010) and creating meanings (Prykhodko, 1997; Savchenko, 2021; Savchenko, 2023). Objectives, methods, and novelty of the research. The purpose of the article is to analyze the works of modern Ukrainian composers in terms of texture organization and texture functions. The material of the research is works for piano: Zoltan Almashi’s “The Bard’s Unfinished Song” (2011) and Dmytro Malyi’s “Diatonic Etudes” (2024). Systemic, functional, and genre research methods are used for studying named works. For the first time in Ukrainian musicology, the texture of the selected works is analyzed. Results and conclusion. In Z. Almashi’s “The Bard’s Unfinished Song” selected genre determines all the parameters of the composition, including the texture, which has the characteristics of both, the homophonic- harmonic, and the polyphonic-harmonic types, which belong to the common kind of the melodic-harmonic texture. The texture functions in this work are quite traditional. Let’s add to them the function of implementing the program idea, because the work is called not just “song”, but “The Bard’s Unfinished Song”, which imposes additional requirements of artistry on the performer. In the cycle “Diatonic Etudes” by D. Malyi there is a gap between the genre definition and the type of texture organization. The composer uses the following texture types: monophonic with hidden polyphony (“Olympus Mons”), monophonic-polyphonic with doubling of tones (“Aphrodite Terra"), mixed on the basis of monophonicpolyphonic with doubling of tones, adding the elements of contrasting polyphony and harmony (chords) (“Mare Tranquillitatis”), choral mono-rhythmic texture basing on the sonorous effects (“Pantheon Fossae”). The texture performs here all the traditional functions assigned to it, and, as in the previous example, the function of implementing the program idea. In this case, let’s emphasize the importance of impulse functions of the texture for creating a performer concept and orienting the listener’s perception.
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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.
Full textAbstract:
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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Dubka, O. S. "Sonata for the trombone of the second half of the 16th – the beginning of the 19th centuries in the context of historical and national traditions of development of the genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 55–70. http://dx.doi.org/10.34064/khnum1-54.04.
Full textAbstract:
The present article is devoted to the general characteristics of the historical process of the formation of the sonata for the trombone (or with the participation of the trombone) in the European music of the Renaissance – Early Classicism era. A particular attention in the research has been paid to the study of the national stylistic, which was the main driving force in the evolution of the trombone at the level of the chamber instrumental and concert genres. It has been noted that since the time of A. Willaert and A. and J. Gabrieli brothers, the trombone and trombone consorts have been the permanent components of the concerts da chiesa, and later – da camera. Due to its construction and melodic-declamatory nature of the sounding, the trombone was in good agreement with both the voices of the choir and other instruments. Gradually, along with collective (concert) varieties of trombone sonatas, solo sonatas with bass began to appear, and they reflected the practice of the Baroque-era concert style. The article reviews a number of trombone sonatas of the Italian, Czech, Austro-German schools, which later became the model for composers of the Newest Time, who fully revealed the possibilities of the trombone semantics and techniques in the sonata genre. The article has noted that the formation of the instrumental sonata in Europe was associated with the practice of concerts in the church, which was for a long time practically the only place where academic music could be performed. The term “sonata” was understood then as the music intended for the instrumental performance, which, however, was closely connected with the vocal one. Therefore, the first samples of sonatas with the participation of the trombone were mixed vocal-instrumental compositions created by the representatives of the Venetian school of the second half of the 16th century – A. Willaert and A. and J. Gabrieli brothers. It has been noted that the key and largely “landmark” composition opening the chronicle of a concert sonata with the participation of trombones was the sonata called “Piano e forte” (1597), where the functions of trombone voices are already beginning to the counterpoint independence, rather than to duplicating the vocal ones. G. Gabrieli is the creator of one of the most large-scale, this time exclusively trombone compositions – “Canzon Quarti Toni” for 12 trombones, cornet and violin – one of the first trombone ensembles based on the genre of canzone as the progenitor of all the baroque instrumental-concert forms. It has been emphasized that among Italian masters of the subsequent period (the early Baroque), the trombone received a great attention from C. Monteverdi, who in his concert opuses used it as the substitute for viola da brazzo (three pieces from the collection called “Vespro della Beata Vergine”). It is noted that in the era of the instrumental versioning, when compositions were performed by virtually any instrumental compound, the trombone was already distinguished as an obligate instrument capable of competing with the cello. Sonata in D minor Op. 5 No. 8 by A. Corelli is considered a model of such a “double” purpose. It has been proved that the Italian schools of the 16th – 17th centuries, which played the leading role in the development of the sonata and concert instrumentalism, mainly the stringed and brass one and the brass one as well, were complemented by the German and Austrian ones. Among the masters of the latter one can distinguish the figure of G. Sch&#252;tz, who created “Fili mi, Absalon” for the trombone quartet and basso-continuo, where trombones are interpreted as instruments of cantilena sounding, which for a long time determines their use in opera and symphonic music, not to mention the sonata genre (introductions and slow parts). Along with the chamber sonata, which was written in the Italian style, German and Austrian masters of the 17th century turn to “tower music” (Tower music), creating their own opuses with almost obligatory participation of one or several trombones. Among such compositions there are the collection by G. Reich called “Quatricinua” of 24 tower sonatas (1696) for the cornet and three trombones, where, modelled on A. Corelli’s string-and-bow sonatas, the plays of a homophonic and polyphonic content are combined. The article notes that the creation of a solo sonata with bass for the trombone was historically associated with the Czech composing school of the second half of the 17th century. The first sample of such composition is the Sonata for the trombone and the thorough-bass (1669), written by a certain monk from the monastery of St. Thomas in Bohemia, where the instrument is shown in a wide range of its expressive possibilities. A significant contribution to the development of a trombone sonata was made by the Czech composer of the late 17th century P. Y. Veyvanovsky, who created a number of sonatas, which, despite the typical for that time performing versioning (trombone or viola da brazzo), were a milestone in the development of the genre in question. The traditions of the trombone sonata-quality genre in its three main expressions – da chiesa, da camera, “tower music” – have been preserved for a certain time in the era of Classicism. This is evidenced, for example, by F. Schneider’s 12 “Tower sonatas” for 2 pipes and 3 trombones (1803–1804). In general, in the classic-romantic era in the evolution of the trombone sonata genre there is a “pause”, which refers to both its collective and solo varieties. The true flourishing of the trombone sonata appeared only in the Newest time (from the end of the 19th century), when the instrumental music of a concert-chamber type declared itself not only as the one demanded by the public, but also as the leading, “title” field of creativity of a number of the leading composers. Among the instruments involved in the framework of the “new chamber-ness” (B. Asafiev) was also the trombone, one of the recognized “soloists” and “ensemblers” of the music from the past eras. The conclusions of the article note that the path travelled by the sonata for the trombone (or with the participation of the trombone) shows, on the one hand, the movement of the instrument to the solo quality and autonomy within the framework of “little-ensemble” chamber-ness (the sonata duet or the solo sonata without any accompaniment), on the other hand, the sustainable preservation of the ensemble origins of this genre (the trombone ensemble, sometimes in combination with other representatives of the brass group).
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Onanuga, Paul Ayodele. "‘E Be Like Say Dem Swear for Me!’: Identity, agency and queerness in selected Temmie Ovwasa’s songs." International Journal of Media & Cultural Politics 19, no. 2 (2023): 161–81. http://dx.doi.org/10.1386/macp_00079_1.
Full textAbstract:
Spaces are central to identity-formation and public representation, and play key roles within narratives on queerness and self/other portrayal. In this study, focus is placed on popular culture with specific interests in the discography of Temmie Ovwasa, a self-outed queer-identifying non-binary Nigerian music artiste. I contend that Ovwasa’s songs represent a deconstruction of the homophobic and misogynist space that hip hop culture vaunts. Their discography further signals a disruption of heterosexual normativity within Nigeria’s contemporary popular music. Purposively selected songs are analysed with the application of the tenets of queer theory and critical discourse analysis. Close attention is paid to the thematic preoccupation of the songs as well as queer identity and agency. While there is a recognition of the limitations which a chronically homophobic milieu enforces on their agency, Ovwasa also acknowledges the redemptive role which their popularity and visibility through their discography enables in the politics of representation and conquering of hither-to disabling spaces.
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Stetsiuk, B. O. "Types of musical improvisation: a classification discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 178–96. http://dx.doi.org/10.34064/khnum1-57.11.
Full textAbstract:
This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).
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Zhu, Fengdaijiao. "The formation of the chamber-vocal style of Zhu Jian’er: early works." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (2019): 173–87. http://dx.doi.org/10.34064/khnum1-52.12.
Full textAbstract:
Background. The little-known pages of the work of an outstanding Chinese composer are presented. The genesis of chamber-vocal style is explored on the example of early chamber and vocal creativity of the 1940s. This is the stage in the formation of the musical language of the composer, which coincides with the “experimental” period of the formation of Chinese chamber vocal music of the twentieth century. Zhu Jiangier became one of the pioneers in the attempts of creative synthesis of national and European musical experience. Specificity of musical content and features of the intonational language, form, texture of the piano accompaniment of the cycle or. 1 (1940–1944) and two songs created in 1944 are considered. The characterization of the composer’s early song creativity, features inherent in his style, is generalized. It is proved that the earliest period of creativity, in particular, the sphere of chamber vocal music, which formed the personality of Zhu Jiangera style. Objectives. The purpose of this article is to consider and study the early period of the chamber-vocal creativity of Zhu Jian’er, the formation of his talent in his young years. The section of the creative biography of the composer, connected with the 1940s, has been least studied by researchers. At the same time, it was he who laid and formed the foundations of Zhu Jianar’s compositional personality in the field of vocal music. Methods. The methods of research are based on the scientific approaches necessary for the disclosure of the topic. The methodology is based on an integrated approach that combines the principle of musical-theoretical, musical-historical and executive analysis. Results. The specifics of the musical content, peculiarities of the intonational language, the composition form and texture of the piano accompaniment of the vocal cycle op. 1 (1940–1944) and two songs created in 1944 are considered. The subject content of the cycle songs covered a wide range of musical images. The central place in the songs is devoted to philosophical reflections on the meaning of life, the theme of love for the homeland, everyday sketches, and landscape and love lyrics, separation. The general composition of the first opus is of considerable interest – the first play is divided into four parts, which allows one to speak of such a structural phenomenon as a cycle in a cycle. There is clearly felt the influence of Western European compositional technology. At the same time, the song has features of traditional Chinese music, which is due, above all, to the elements of pentatonic in the melody of the vocal part of the work. The first song of op. 1 No. 1 “Memory” is a mini-cycle consisting of four parts. Poetic text determines the detailed nature of the musical composition with a pronounced ballad color and complex drama, the structure of the song is based on the principle of end-to-end development, the change of emotional mood occurs in one breath. Already on this composition it is clear that at the very beginning of his work Zhu Jian’er had the skill of a versatile depiction of inner experiences and difficulties encountered in the life of the hero. The second number or. 1 No. 2 “Waves washing sand” – imbued with a lyrical and philosophical mood. In the musical-figurative sphere, the landscape poetry occupies a central place with philosophical overtones, symbolically revealing the images of waves on the sand, characterizing the lyrical experiences of the hero and his sadness. op. 1 No. 3 “Lullaby” – the lyrical center of the cycle, a song of meditation with a predominant shade of sadness and philosophical overtones – the theme of enlightenment, the general meaningful canvas corresponds to the genre of lullabies, the appeal to the child, full of tender feelings. The fourth song Or. 1 No. 4 “I want to return to my homeland”, serves as a kind of finale. The basis of the song is the topic of separation, which is very popular in the songwriting of Chinese composers. The content of the song is symbolic: it is not only dreams of a distant friend, family and friends, but also a reflection of emotional feelings of separation from the motherland. Songs “Spring, when you return” and “Dream” were created by the composer in 1944, are devoted to events from the life of the composer. Zhu Jian’er saturates the musical fabric of the song with unstable harmonies, offers a more complex texture solution to the piano part (alternating polyphonic and homophonic-harmonious presentation) and gives it greater independence as an independent layer of musical tissue. The vocal melody also acquires a new look. An arioso-declamatory by nature, it embodies all the nuances of a poetic text that is pronounced with a special sentimental feeling (“Spring, when you return”) or a joyful hope (“Dream”). The analysis completes the generalized characterization of the composer’s early song-writing, in which the inherent features are distinguished. The skill and artistic significance of his songs testify to the fact that Zhu Jian’er succeeded in original compositions with vivid national characteristics. In the early chamber-vocal works of Zhu Jian’er, musical embodiment was achieved both in luminous, lyrical, and sad, even grim character themes related to the reflection of deep emotional, indeed – philosophical aspects of being revealed through a change of experiences. The theme of many songs is associated with the embodiment of the thoughts and feelings of a person, with the chanting of a beautiful nature. Conclusions. The least studied early period of creativity, in particular, the sphere of chamber-vocal music formed the individuality of the compositional style of Zhu Jian’er. Zhu Jian’er’s songs are characterized by vivid musical images and colorful writing, vividly representing the individuality of the composer’s musical language. These works alone allow us to say that in his early years the composer Zhu Jian’er was a high-level musician.
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Spiegel, Laurie. "Music as mirror of mind." Organised Sound 4, no. 3 (2000): 151–52. http://dx.doi.org/10.1017/s1355771800003046.
Full textAbstract:
Hierarchical and other historically dominant models of perceived musical organisation are increasingly inapplicable to new musical processes and repertoire. The next major paradigm shift for music models, structures and concepts, perhaps comparable in importance to that in which polyphony gave way to homophony, may be a shift of emphasis from means of acoustic production and the nature of sound per se to new musical models based on psychoacoustics, cognitive studies and subjective auditory experience.
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O’Rourke, Russell. "Armida on the Beach: A Cinquecento Rhetorical Model of the Emotions and Its Musical Reception." Journal of the American Musicological Society 76, no. 3 (2023): 587–644. http://dx.doi.org/10.1525/jams.2023.76.3.587.
Full textAbstract:
Abstract For music to arouse the emotions, observes the sixteenth-century Venetian music theorist Gioseffo Zarlino, four ingredients are required: harmony, rhythm, text, and “a well-disposed subject [soggetto ben disposto] fit to receive some emotion [passione].” The last point—that listeners must be properly “disposed” toward an emotion before they can be moved—features in contemporaneous writings as diverse as Torquato Tasso’s epic Gerusalemme liberata (1581) and Bartolomeo Cavalcanti’s manual on oratory La retorica (1558). The present article unveils this neglected aspect of Cinquecento theories of music and emotion and explores its relevance to the Italian madrigal. Specifically, I propose the importance to sixteenth-century conversations about music and the affetti of what I call the two-stage model of emotional arousal, a paradigm according to which the onset of emotion in any listener takes place in two phases: first, a subtle inclination toward a given emotion; and second, the true “movement” of the soul that constitutes the emotion itself. Hitherto unidentified in both musicology and the humanities in general, this model stems, I show, from the ancient rhetorical tradition, with Aristotle’s Rhetoric its probable fons et origo. After tracing the model’s influence across a corpus of literary and theoretical texts, I study its implications for musical analysis in a madrigal cycle by Giaches de Wert on stanzas by Tasso: “Vezzosi augelli,” “Qual musico gentil,” and “Forsennata gridava,” all from the composer’s Ottavo libro de madrigali (1586). This case study invites reconsideration of staple text-setting devices of the genre, including declamatory homophony and the madrigalism.
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Benjamin, Geoffrey. "Performance and Aesthesis in Malay-World Musics, Religious and Secular." Religions 13, no. 9 (2022): 852. http://dx.doi.org/10.3390/rel13090852.
Full textAbstract:
The Malay World has been home to a range of social formations, from nomadic hunter-gatherers on land and sea, through (semi-)sedentary swiddeners and forest traders, to state-incorporated peasants and aristocrats. In their religious and secular musics, these populations display differing performance manners and organisation that reflect their distinctive socio-cultural and religious orientations. The musics serve to embed those orientations as aesthetically felt rather than conceptually talked about. The differences are encoded mainly onto contrasts between, on the one hand, highly heterophonic and/or starkly non-melismatic performance and, on the other, more homophonic and/or melismatic styles.
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Khalid Ahmed, Abubakir, and Hatham Shaoobi Ibrahim. "The Role of the Composer in The Process of Composing." Journal of University of Raparin 12, no. 1 (2025): 61–80. https://doi.org/10.26750/vol(12).no(1).paper4.
Full textAbstract:
This research is based on a historical and descriptive methods, scientifically and includes several topics, generally discusses the role of composers in the process of composing music in the history of several different periods of music in Europe, and highlights the efforts of composers and the development of musical styles and forms. The content of this research consists of several articles: The first article is about the history of music in Europe and the composers who have performed in several schools of music in countries such as Italy, Germany, France, Austria, the Netherlands and Britain. Chapter 2 discusses the multidimensional aspects of the composer and the process of composing. The third chapter deals with the style of the composers. The fourth chapter discusses the types of textures in music, including monophony, homophony, polyphony and heterophony.
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Miller, C. F. B. "Surrealism's Homophobia." October 173 (September 2020): 207–29. http://dx.doi.org/10.1162/octo_a_00408.
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The primary document of Surrealist homophobia is a transcript, published in 1928 in the magazine La Révolution surréaliste, entitled “Research on Sexuality/ Extent of Objectivity, Individual Determinations, Degree of Consciousness.” The text records the first two of twelve closed, mostly men-only meetings, held in Paris between 1928 and 1932 by members and fellow travelers of the Surrealist group, at which the participants, according to the collective ethos of Surrealist practice, discussed their sexual preferences, experiences, and beliefs. In the published sessions, the group's leader, André Breton, who convened the meetings and edited the transcript, repeatedly denounced male homosexuality. The problematics of these repudiations are the topics of this article, the intention of which is to map the historical conditions of Breton's heteronormativity and to outline the latter's function in his theory of Surrealism. To this end, the essay displaces the psychoanalytic emphasis customary in Surrealism's reception in order to locate the movement in the historical discourse of sexuality. In the French culture wars of the 1920s, Surrealism mobilized a sexual negativity against the mainstream. Yet in certain key respects, Breton's thought preserved a heterosexist logic of conjugality. Ultimately, a historical reading of Surrealism's homophobia indicates the family ties between dialectical idealism and heteronormativity.
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Daly, Tim. "Megan Kaes Long. Hearing Homophony." Context, no. 47 (January 31, 2022): 75–77. http://dx.doi.org/10.46580/cx98123.
Full textAbstract:
A consistent problem in the analysis of changing musical technique is the temptation to apply anachronistic methods simply because they are well understood, or to measure the nascent style with tools designed for the mature form. This is especially the case when considering the development of tonal harmony, where the use of harmonic analysis well suited to common-practice music runs the risk of seeing earlier technique as an imperfect realisation of the later style: all roads lead to Beethoven! Hearing Homophony by Megan Kaes Long seeks to avoid this snare by taking a strictly circumscribed body of repertoire from the late sixteenth and early seventeenth centuries and examining it through the lens of expectation. In doing so, she demonstrates how the combined effect of this repertoire’s typical features conspires to produce an expectation of tonal resolution, even if this resolution is not yet completely functional in harmonic terms…