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Journal articles on the topic 'Horn (Musical instrument) Horn (Musical instrument)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

[黄羽], Huang Yu. "A Study of Musical Instrument Pictographs on Zuojiang Huashan Rock Arts." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 1–16. http://dx.doi.org/10.30819/aemr.6-1.

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The Huashan Rock Arts represent the rock pictographs in the Zuojiang River Basin. They record the unique sacrificial scenes by Luoyue people from the 5th century BC to the 2nd century AD. Historical materials, unearthed cultural relics and existing folk customs all prove that the distinguishable musical instrument pictographs on the rock arts include bronze drums, sheep-horn knob bells, ling (small bells with a clapper), etc. All of these also explains why these musical instruments appear on those pictographs, further emphasizing the importance attributed to them on dividing the history of the

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Morgan, Harry. "A Horn for Phemius." Mnemosyne 72, no. 2 (2019): 250–72. http://dx.doi.org/10.1163/1568525x-12342506.

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AbstractIn 51 BC, Titus Pomponius Atticus wrote to his friend Cicero with an unusual request: his musician Phemius needed a new instrument—a special ‘horn’ (κέρας) that could only be found in the region of Cilicia where Cicero was serving as governor. Several months later, the object in question was finally tracked down and an order placed. What exactly was this elusive piece of musical exotica, and why was Atticus so eager to get his hands on it? This article states a case for identifying Phemius’ κέρας with the Phrygian aulos/tibia, a species of pipe noted for its resonant ox-horn bell. Atti

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Hromchenko, Valerii. "Vocal instrumentality as the ethno-cultural feature of V. Martyniuk's composer style (the case of compositions for wind instruments)." Culturology Ideas, no. 20 (2'2021) (2021): 99–106. http://dx.doi.org/10.37627/2311-9489-20-2021-2.99-106.

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The article discloses the instrumental language nature of Dnipro composer Valentina Martyniuk from the perspective of the ethno-cultural features for master's author style. The investigation is being carried out on the basis of compositions for wind instruments, namely "Interview on a given topic" for clarinet solo, Vocalize for flute and piano, as well as Melody for horn (or flute) and piano. The investigation has established the defining foundation of the vocal of the composer's instrumental language to be the phenomenon of folk singing style of artistic instrumental creations. This phenomen

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BLUNDEL, RICHARD K., and DAVID J. SMITH. "“Imagined Outcomes”: Contrasting Patterns of Opportunity, Capability, and Innovation in British Musical Instrument Manufacturing, 1930–1985." Enterprise & Society 19, no. 3 (2018): 661–701. http://dx.doi.org/10.1017/eso.2017.65.

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By the mid-twentieth century in the United Kingdom, musical instrument manufacturing had become an increasingly mechanized activity. Craft skills had been displaced in many areas, yet remained a vital source of competitive advantage in local and international markets and were particularly valued by professional musicians. This article examines the contrasting experiences of two British musical instrument manufacturers, tracing the unfolding relationship between their pursuit of entrepreneurial opportunities and capability development. Boosey & Hawkes, a large, well-established manufacturin

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Sarkar, Joyanta, and Anil Rai. "An Analytical Study of the Folk Musical Instruments of Meghalaya." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (2021): 23–38. http://dx.doi.org/10.24193/subbmusica.2021.1.02.

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"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instr

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Sanjaya, Singgih. "New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra." International Journal of Creative and Arts Studies 5, no. 2 (2018): 75–85. http://dx.doi.org/10.24821/ijcas.v5i2.2413.

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this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment musi

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Tararak, Yu P. "The history of the origin and development of the trumpet: the organological aspect." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 123–37. http://dx.doi.org/10.34064/khnum1-54.08.

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Logical reason for research. Modern performance on wind instruments, in particular on the trumpet, is characterized by a powerful development. It is an object of listening interest and composing, and today it has a fairly large repertoire of both transpositions and original works in many instrumental compositions (from solo to various ensembles and orchestras) in different styles and genres. This situation in music practice requires theoretical understanding and generalization, however, we can state that at the moment, music science highlights the performance on the wind instruments without an

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Tsiuliupa, S. D. "Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 24–39. http://dx.doi.org/10.34064/khnum1-54.02.

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This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the le

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Nemoto, Koichi, and Hiroshi Arino. "Hand and Upper Extremity Problems in Wind Instrument Players in Military Bands." Medical Problems of Performing Artists 22, no. 2 (2007): 67–69. http://dx.doi.org/10.21091/mppa.2007.2014.

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This study examined the medical problems, especially of the hand and upper extremity, observed in wind instrument players from the military bands of the Japan Self-Defense Forces. The bands included 235 wind instrument players (184 men, 51 women), whose ages ranged from 18 to 57 yrs (average, 35 yrs). The length of their careers ranged from 6 to 41 yrs (average, 21 yrs). Methods: A questionnaire was distributed to the subjects for the health check. Results: From 235 wind instrument players, 71 (30% of the total players, 27% of the male players, and 41% of the female players) had hand and upper

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WASHINGTON, SALIM. "The Avenging Angel of Creation/Destruction: Black Music and the Afro-technological in the Science Fiction of Henry Dumas and Samuel R. Delany." Journal of the Society for American Music 2, no. 2 (2008): 235–53. http://dx.doi.org/10.1017/s1752196308080085.

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AbstractThis essay explores the thematic use of music in the science-fiction writings of two African American authors, Henry Dumas and Samuel R. Delany. Each author visited this theme in more than one work, and in at least one work centered the Afro-technological focus upon a special musical instrument: the “afro horn” in Dumas's story “Will the Circle Be Unbroken?” and a machete/flute in Samuel R. Delany's novel The Einstein Intersection. Both writers treat music itself, without regard to a material instrument, as a technology. Dumas depicted black music as a tool that enabled black people to

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Johnson, Christopher M. "Musicians' and Nonmusicians' Assessment of Perceived Rubato in Musical Performance." Journal of Research in Music Education 44, no. 1 (1996): 84–96. http://dx.doi.org/10.2307/3345415.

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The purpose of this study was to investigate musicians' and nonmusicians' assessment of perceived rubato in musical performance. Music majors ( n = 48) and nonmusic majors ( n = 48) listened to four different soloists' performances of the development section of Mozart's Concerto for Horn and Orchestra No. 2, movement 1. Subjects evaluated the degree of appropriateness/inappropriateness of each soloist's use of rubato using the Continuous Response Digital Interface (CRDI), an instrument that allows ongoing evaluation of specified performance variables. Using a Likert-type scale, subjects also a

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Santos, Bennatan Ferreira dos, and Thaís Branquinho Oliveira Fragelli. "Prevalence of temporomandibular joint disorders and neck pain in musicians: a sytematic review." Fisioterapia em Movimento 30, no. 4 (2017): 839–48. http://dx.doi.org/10.1590/1980-5918.030.004.ar02.

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Abstract Introduction: The instrumental practice for a long time, the high performance level, the strict technique and the specific shape of each musical instrument can take musicians to overcome their physiological limits, giving a high prevalence of musculoskeletal injuries. Objective: Investigate the prevalence of temporomandibular joint disorder and neck pain in musicians. Methods: Between August and September 2015 were reviewed five databases: LILACS, SciELO, Medline / PubMed, Scopus and Web of Science. The articles were read and evaluated by the criteria of the Strengthening the Reportin

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Clemente, Miguel P., André Moreira, Joaquim Mendes, Afonso P. Ferreira, and José M. Amarante. "Wind Instrumentalist Embouchure and the Applied Forces on the Perioral Structures." Open Dentistry Journal 13, no. 1 (2019): 107–14. http://dx.doi.org/10.2174/1874210601913010107.

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Introduction:The wind instrumentalist embouchure is probably one of the most demanding tasks that occurs during their musical performance. It is important to quantify the forces that are applied during the wind instrumentalist embouchure on the perioral structures.Objective:Quantify the force on the perioral structures involved during the embouchure mechanism of wind instrumentalists.Methods:Piezoresistive sensors of FlexiForceTMwere placed on the mouthpiece of 28 different wind instrumentalists, in order to obtain the applied forces transmitted to the upper lip or the lower lip. The applicati

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Swan, David. "THE CARNYX ON CELTIC AND ROMAN REPUBLICAN COINAGE." Antiquaries Journal 98 (September 2018): 81–94. http://dx.doi.org/10.1017/s0003581518000161.

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This paper explores the cross-cultural portrayals of an unusual and striking musical instrument, the carnyx, on the coinages of the Romans and the inhabitants of Iron Age Britain and Gaul. Fashioned as a snarling boar, the carnyx was a war horn used by the Gauls and Britons that not only captivated the minds of their artists, but also those of the Romans. This paper studies the cross-cultural phenomenon of its appearance in the coin iconography of the late second to late first centuriesbc. This simultaneous analysis of Roman, Gallic and British coinage reveals that while each culture had a sha

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Smetonienė, Anželika. "Analysis of a few verbs (based on the 16–17th century texts of the Grand Duchy of Lithuania)." Lietuvių kalba, no. 8 (December 22, 2014): 1–20. http://dx.doi.org/10.15388/lk.2014.22647.

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This article analyses a few borrowed verbs found in the ancient Lithuanian writings of the 16–17th century Grand Duchy of Lithuania. They are: bū̃bnyti, -ija, -ijo ‘to beat a drum, to beat or knock with something; fig. to speak widely', sū̃dyti, -ija, -ijo ‘to investigate a case in court, to judge; to condemn; to solve, consider; to advise', triū̃byti, -ija, -ijo ‘ to blow a trumpet, to tootle; to cry, to shout loudly; to gulp, to guzzle, to slurp. Their cognates bū̃bnas ‘a drum; fig. a bleak place with no grass, a shore, a bank; the colour of (playing) cards, sū̃das ‘a public, state body to c

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Ruswanto, Yohanes, and Juanita Theresia Adimurti. "Church music inculturation by way of an experiment of arrangement of Dolo-Dolo mass ordinarium accompaniment- composed by Mateus Weruin for woodwind quintet." Harmonia: Journal of Arts Research and Education 17, no. 1 (2017): 23. http://dx.doi.org/10.15294/harmonia.v17i1.8467.

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<p class="IsiAbstrakIndo"><span lang="EN-GB">Inculturation of Church music in an experiment of creating this arrangement aims to bring a different form of musical ordinarium accompaniment form of <em>Dolo-Dolo</em> Mass from Flores, with a different media that uses the woodwind quintet (flute, oboe, clarinet, French horn, and Basson). The experiment took one of the ordinary songs from <em>Madah Bakti</em> “<em>Tuhan Kasihanilah Kami</em>”. The harmonization fine-tunes to the chorus arrangement composed by Mateus Weruin. The literature study was c

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Stronsick, Lisa M., Samantha E. Tuft, Sara Incera, and Conor T. McLennan. "Masculine harps and feminine horns: Timbre and pitch level influence gender ratings of musical instruments." Psychology of Music 46, no. 6 (2017): 896–912. http://dx.doi.org/10.1177/0305735617734629.

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We examined whether timbre (instrument), pitch level, or both influence gender ratings of musical instruments. According to previous research, a variety of musical instruments are categorized or rated as masculine, neutral, or feminine in a relatively consistent way. Gender associations to musical instruments have been rather reliable across time and across participant populations. We investigated the gender ratings of nine musical instruments (three masculine, three neutral, and three feminine) each heard at low, medium, and high pitch levels within the playable range of each instrument. Both

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Varlamova, T. P. "CONCERTMASTER'S MULTIFUNCTIONAL ACTIVITIES IN THE DOMRA CLASS." Arts education and science 1, no. 1 (2021): 15–23. http://dx.doi.org/10.36871/hon.202101002.

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The article is dedicated to theoretical examination of psychological and pedagogical qualities and basic professional skills of a concert pianist. The complete musical creativity of a concert pianist assumes achieving the artistic result and creation of a qualitatively new product in any area of musical art. In this regard, the article reveals the forms and particularities of performing collaboration at the special instrument class; examines the basic functions of the interaction between the subjects of the pedagogical process; it highlights the problems of intensifying the creative work on a

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Vuksanovic, Ivana. "The fate of the postmodern world: On melancholy and rebellion by Milan Mihajlovic." Muzikologija, no. 21 (2016): 87–107. http://dx.doi.org/10.2298/muz1621087v.

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The musical oeuvre of Milan Mihajlovic (b. 1945) enjoys a high reputation and position in contemporary Serbian music. This has been proven by the many awards he has received, countless performances of his compositions at home and abroad, and especially by the warm and approving reactions of the audience. The stylistic consistency in his oeuvre is a result of his creative use of Scriabin?s scale. The concept of this scale was first theoretically elaborated in an extensive study written by Mihajlovic in 1980 and, since then the scale has been functioning as a crucial cohesive element in all Miha

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Purser, David. "Performers as teachers: exploring the teaching approaches of instrumental teachers in conservatoires." British Journal of Music Education 22, no. 3 (2005): 287–98. http://dx.doi.org/10.1017/s0265051705006546.

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This article was motivated by a staff development session when the brass faculty of a conservatoire were invited to share and discuss their approaches to teaching. It presents the results of interviews with six well known woodwind or brass players who have also taught at one or more conservatoires in London for periods of between one and 40 years. All are male. The six instruments represented are: trumpet, horn, trombone, flute, clarinet and bassoon. While there were commonalities in the approach of teachers, marked differences also emerged. Although some of these may reflect the particular de

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Beller-McKenna, Daniel. "Distance and Disembodiment: Harps, Horns, and the Requiem Idea in Schumann and Brahms." Journal of Musicology 22, no. 1 (2005): 47–89. http://dx.doi.org/10.1525/jm.2005.22.1.47.

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In his final book, Crossing Paths, John Daverio identified a common "Requiem Idea" in the music of Robert Schumann and Johannes Brahms. Both composers, Daverio argued, focused more on the survivors of the deceased than on the souls of the dead, and on consolation rather then grieving. Whereas works by Schumann and Brahms that represent Daverio's Requiem Idea take many forms and fall into various genres, a considerable number of these pieces are united by their use (literally or figuratively) of two distinctly romantic instruments-primarily the harp and secondarily the horn, instruments which D

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Galera Núñez, Mar. "Estudio sobre la efectividad de los editores de partituras y el instrumento, en el estudio de la lectura musical cantada." DEDiCA Revista de Educação e Humanidades (dreh), no. 10 (March 1, 2016): 79–89. http://dx.doi.org/10.30827/dreh.v0i10.6851.

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SSe realiza un estudio en el que se trata de evaluar qué medio (instrumento o editor) es el más efectivo para enfrentarse al estudio de partituras que han de ser posteriormente interpretadas vocalmente. El estudio se realizó con una muestra de 11 alumnos del grado de Maestro en Educación Primaria que cursaban la mención de Educación Musical. Los alumnos poseían diferentes conocimientos previos sobre lectoescritura musical y debían enfrentarse a partituras de dos niveles diferentes de dificultad. Las variables dependientes fueron: El tiempo invertido en el estudio, la justeza en la interpretaci

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Berezhnoy, V. Yu. "MODERN RUSSIAN MUSIC FOR A BAYAN DUET: NEW TRENDS (last third of the XXth — beginning of the XXIst century)." Arts education and science 1, no. 2 (2021): 15–22. http://dx.doi.org/10.36871/hon.202102002.

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The article analyzes the repertoire for a duet of bayan players, which had been created by Russian arrangers and composers since the second half of the 70s of the XXth century to the beginning of the XXIst century. The article considers the reasons for the later creation of the first original compositions for the modern bayan duet in comparison with the repertoire for solo bayan, and defines the concept of "modern repertoire". Comparisons are drawn between the possibilities of presenting musical fabric in the works created for a mono-timbre bayan with ready-made chords in the left half shell,

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Bjøntegaard, Bjørg Julsrud. "A combination of one-to-one teaching and small group teaching in higher music education in Norway – a good model for teaching?" British Journal of Music Education 32, no. 1 (2014): 23–36. http://dx.doi.org/10.1017/s026505171400014x.

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Instrumental teachers in higher music education in Norway and elsewhere traditionally organise their teaching as individual lessons with one teacher and one student. This paper takes a closer look at how a horn teacher at the Norwegian Academy of Music has organised her weekly teaching in individual, small group and master class lessons with all her students. The project being described in the paper has since been extended to other instruments, but this paper concentrates on the horn model. The main focus is on small group lessons where the students themselves play and comment on fellow studen

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Djekic, Djordje, and Milos Pavlovic. "Following the records of Theophylact Simocatta." Muzikologija, no. 24 (2018): 173–87. http://dx.doi.org/10.2298/muz1824173d.

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The earliest record that testifies to the South Slavic music is the one left by the Byzantine chronicler Theophylact Simocatta in his History. It is said that in 592, the emperor Maurice captured three Slavic men near Enaton, who did not have any weapons on them, but had only musical instruments, most probably lyres. Some written sources also mention the horns. Implementing the knowledge obtained through etymological analyses and the extant ethnological practice, as well as archaeological artefacts, it may be said that the Slavs of the said period used jingle bells, flutes and bagpipes. The mu

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Pejovic, Roksanda. "Musical instruments depicted in medieval Serbian art under oriental and western influences." Muzikologija, no. 5 (2005): 15–26. http://dx.doi.org/10.2298/muz0505015p.

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Researching musical instruments on frescoes, miniatures, icons and sculptural decorations of mediaeval Serbian art, painted and sculptured in the manner of Byzantine art, we discover Oriental and Western influences. Musical instruments arriving from the Orient were unchanged for centuries and those from West Europe were mainly used in the Middle Ages or the Renaissance. Oriental and Western influences can be observed on instruments of all families-idiophones, membranophones, bowed and string instruments, as well as on aero phones. The same form of some crotales and cymbals can be found both in

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Dutchak, Violetta, and Iryna Riabchun. "Carillon: History and Performing Capabilities of the Musical Instrument, its “Philosophy” and Prospects of Development in Ukrainian Culture." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (2021): 45–60. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233338.

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The article focuses on the history of origin, the specifics of sound production, the philosophy of performance of the carillon – a European musical instrument, which in recent decades has become active in Ukraine. The purpose of the research is to analyze the history of the carillon origin, its design, technical and expressive means of sound extraction and musical representation of composition and performance. Research methodology. The article uses historical, axiological, musicological and culturological approaches and corresponding methods. The historical-chronological method is used to cons

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Zekang, Chen. "JIA DAQUN CONCERTO ″FUSION II″: INTERPRETATION OF CHINESE PERCUSSION INSTRUMENTS." Arts education and science 1, no. 2 (2021): 136–43. http://dx.doi.org/10.36871/hon.202102017.

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The article introduces Jia Daqun's Concerto for Percussion and Symphony Orchestra "Fusion II" into Russian musicology for the first time. The work is considered as one of the illustrative examples of the inclusion of traditional Chinese percussion instruments in symphony orchestra. Following modern trends in unconventional ways of playing the tanggu solo drum, the composer achieves a timbre transformation which, along with rhythmic and dynamic qualities, allows to imitate the sound of Indian drums and African tambourines. The new sound created in this way becomes one of the indicators of the c

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Griffel, L. Michael, Ludwig van Beethoven, and Armin Raab. "Werke fur Klavier und ein Instrument; Horn (Violoncello), Flote (Violine), Mandoline." Notes 53, no. 1 (1996): 277. http://dx.doi.org/10.2307/900332.

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Lembke, Sven-Amin, Scott Levine, and Stephen McAdams. "Blending Between Bassoon and Horn Players." Music Perception 35, no. 2 (2017): 144–64. http://dx.doi.org/10.1525/mp.2017.35.2.144.

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Achieving a blended timbre between two instruments is a common aim of orchestration. It relates to the auditory fusion of simultaneous sounds and can be linked to several acoustic factors (e.g., temporal synchrony, harmonicity, spectral relationships). Previous research has left unanswered if and how musicians control these factors during performance to achieve blend. For instance, timbral adjustments could be oriented towards the leading performer. In order to study such adjustments, pairs of one bassoon and one horn player participated in a performance experiment, which involved several musi

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Vella Ramírez, Mercedes, and José Manuel Muñoz Muñoz. "LA ‘FUNCIÓN TEXTUAL’ EN LOS TEXTOS DE DIDÁCTICA MUSICAL: CONSECUENCIAS TRADUCTOLÓGICAS." Entreculturas. Revista de traducción y comunicación intercultural, no. 2 (December 27, 2010): 133–55. http://dx.doi.org/10.24310/entreculturasertci.vi2.11764.

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El enfoque metodológico empleado a la hora de realizar una traducción depende, entre otros factores, del tipo de texto al que nos enfrentamos. En el presente artículo se analiza la compleja función textual que subyace en los textos destinados a la didáctica de la interpretación músico-instrumental, y cómo esta función condiciona el tipo de lenguaje que se utiliza, otorgándole a este tipo de textos una tipología peculiar, que no está exenta de consecuencias traductológicas.

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Slim, H. Colin. "Dosso Dossi's Allegory at Florence about Music." Journal of the American Musicological Society 43, no. 1 (1990): 43–98. http://dx.doi.org/10.2307/831406.

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An examination of a dozen paintings and several woodcuts by the Ferrarese artist Dosso Dossi (ca. 1490-1542) suggests that he belongs to the select company of other doubly gifted painters of the sixteenth century who were also musicians. The evidence rests on the accuracy of Dosso's depictions of musical instruments, his knowledge of their symbolism, and above all, from his inclusion of two canons, one circular and the other triangular, in a painting (ca. 1524-1534) once at the Este castle in Ferrara, and now in the Museo Horne, Florence. Whereas the composer of the former canon remains unknow

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Del Giudice, Silvio, and Giancarlo Bernasconi. "Acoustic Response of a Sinusoidally Perturbed Hard-Walled Duct." Mathematical Problems in Engineering 2013 (2013): 1–6. http://dx.doi.org/10.1155/2013/267291.

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Acoustic wave propagation in hard-walled ducts is of interest in many fields including vehicle design, musical instruments acoustics, and architectural and environmental noise-control. For the case of small sinusoidal perturbation of the cross-section, it is possible to derive simple though approximate analytical formulas of its plane wave acoustic reflection and transmission spectral response that resembles the optical situation of uniform Bragg gratings. The proof is given here, starting from the “horn equation” and then exploiting the coupled-modes theory. Examples of the results obtained w

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González Royo, Aránzazu, and Alfredo Bautista. "Ideas de los profesores de instrumento de conservatorio sobre las funciones y finalidades de la evaluación." Foro de Educación 18, no. 1 (2020): 147–66. http://dx.doi.org/10.14516/fde.651.

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La mayor parte de la investigación sobre las ideas del profesorado acerca de la evaluación proviene de estudios realizados con profesores de educación general (p.ej. primaria, secundaria, universidad). En contraste, existen pocos trabajos realizados con profesores de enseñanzas artísticas, específicamente de interpretación musical en conservatorios. El objetivo de este estudio fue describir las ideas de profesores de instrumento acerca de las funciones y finalidades de la evaluación, comparándolas con las ideas propuestas en el currículo de enseñanzas musicales vigente. Los participantes fuero

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Wion, Anais, Anne Damon-Guillot, and Stéphanie Weisser. "Sound and Power in the Christian Realm of Ethiopia (Seventeenth–Eighteenth Centuries)." Aethiopica 19 (October 2, 2017): 61–89. http://dx.doi.org/10.15460/aethiopica.19.1.904.

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Musical instruments were used in the Christian realm of Ethiopia during the early modern period for proclamations, major religious celebrations, court ceremonies, and the movement of the king and his troops inside and outside of royal cities, as well as for signaling the start of battles. Only the powerful had the prerogative of having certain instruments played. The nägarit (kettledrums) were also insignia of power. Owning or displaying them was an expression of power as much as having them played. The nǝsǝr qana were doubel-reed instruments associated with the king. Originally insignia of Or

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Anderson, Julian. "HARMONIC PRACTICES IN OLIVER KNUSSEN'S MUSIC SINCE 1988: PART II." Tempo 57, no. 223 (2003): 16–41. http://dx.doi.org/10.1017/s0040298203000020.

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Songs without Voices, composed in 1991–2, is a set of four pieces for small instrumental ensemble comprising flute, cor anglais, clarinet, horn, piano, violin, viola and cello, lasting about eleven minutes. It follows on naturally from Knussen's Whitman Settings which preceded it, as three of its four movements derive their main melodic lines from purely instrumental settings of Whitman texts from the collection Leaves of Grass. Indeed the first movement's source text, Soon shall the winter's foil be here, is placed by Whitman in the collection immediately after The Voice of the Rain, the fina

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Xize, Chen. "ON THE CONDUCTOR TRAINING SYSTEM IN CHINA (methodological observations)." Arts education and science 1, no. 1 (2021): 24–29. http://dx.doi.org/10.36871/hon.202101003.

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The article, which has a historical and methodological orientation, focuses on issues that are indicative both for the development of orchestral music in China and for the training of students in conducting. This work reveals the typology of expressive possibilities of mono-timbre and poly-timbre folk orchestras, as well as certain provisions concerning the mutual influence of folk instrument orchestras and symphony ensembles. The conductor's curriculum adopted at The Central Conservatory of China is presented and its specific features are reviewed. It is noted that due to the intensive develo

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Sehmann, Karin Harfst. "The Effects of Breath Management Instruction on the Performance of Elementary Brass Players." Journal of Research in Music Education 48, no. 2 (2000): 136–50. http://dx.doi.org/10.2307/3345572.

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The present study is an investigation of the effects of breath management instruction on the performance of elementary brass players. The experimental group ( N = 32) received instruction on the use of air during brass performance. The control group ( N = 29) continued with instruction from their method books. Three measures for breathing (thoracic displacement, abdominal displacement, and lung capacity) and for performance (range, duration, and tone quality) were the dependent variables. The data were analyzed using multivariate and univariate analyses of covariance. Independent variables inc

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Friesenhagen, Andreas. "Haydns Sinfonien: Besetzungsprobleme und Aufführungstraditionen." Studia Musicologica 51, no. 1-2 (2010): 127–40. http://dx.doi.org/10.1556/smus.51.2010.1-2.9.

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To this day, Joseph Haydn’s symphonies are often performed and recorded in a way that does not meet the composer’s intentions. This concerns certain variants of instrumentation, e.g. the rendering of violoncello obbligato with a single instrument, the use of trumpets and timpani or of horns in high C, respectively. Using the violoncello part of the slow movement of symphony Hob. I:102 as example, it is argued that Haydn in spite of the “solo” mark at the beginning of the movement did not intend the part to be played by one instrument alone. The same applies to most of the passages for violonce

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Branco Ruiz, Renan. "MOBILE / ESTABILE." Fênix - Revista de História e Estudos Culturais 18, no. 1 (2021): 385–406. http://dx.doi.org/10.35355/revistafenix.v18i1.1067.

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Este artigo analisa a participação da banda instrumental de jazz fusion, Grupo Um no I Festival Internacional de Jazz São Paulo – Montreaux, em 1978. Inicialmente eles não se apresentariam, mesmo tendo enviado material aos organizadores. Em um segundo momento, foram convidados por Márcio Montarroyos e incluídos de última hora na programação. Durante a última apresentação da banda, no último dia de evento sofreram um boicote sonoro dos próprios técnicos de som. Esse caminho demonstra alguns dos elos e mediações entre a produção musical independente e as iniciativas de grande porte financeiro e

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Lien, Joelle L., and Jere T. Humphreys. "Relationships among Selected Variables in the South Dakota All-State Band Auditions." Journal of Research in Music Education 49, no. 2 (2001): 146–55. http://dx.doi.org/10.2307/3345866.

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The purpose of this study was to examine the effects of school enrollment, distance to audition site, sex of auditionees, and instrument type on the results of the 1992–97 South Dakota all-state band auditions. Results include the following: (1) total audition scores were better for students from larger schools and for those who traveled a shorter distance to the audition; (2) female students' scores were significantly better than those of male students, but there was no significant difference in the percentages of successful auditions between males and females; (3) scores differed significant

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Notley, Margaret. "Plagal Harmony as Other: Asymmetrical Dualism and Instrumental Music by Brahms." Journal of Musicology 22, no. 1 (2005): 90–130. http://dx.doi.org/10.1525/jm.2005.22.1.90.

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The late 19th-century dualism of Hugo Riemann exemplifies a widely recognized tendency in Western cultures to think in binary pairs. In recent theoretical writing the primary dualism between major and minor modes has provoked little or no controversy. But the attendant opposition between, respectively, authentic and plagal harmonic systems has not found widespread acceptance, because theorists have been unwilling to grant the latter equal status to the former. An alternative is to accept the validity of the two systems and at the same time to recognize the inequality that comes with any binary

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González Royo, Aránzazu, and Alfredo Bautista. "Ideas de los profesores de instrumento en conservatorios sobre cómo calificar: aspectos objetivos y subjetivos de la interpretación musical." PUBLICACIONES 48, no. 2 (2018): 127–48. http://dx.doi.org/10.30827/publicaciones.v48i2.8337.

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Existen pocos estudios que investiguen las propias ideas de los profesores de instrumento acerca de cómo calificar. Los objetivos de este estudio exploratorio fueron investigar las ideas de profesores de conservatorios de música sobre: 1) los aspectos que consideran objetivos y subjetivos a la hora de calificar las interpretaciones musicales de los alumnos; 2) los principales aspectos con los que caracterizan una interpretación de suspenso, de cinco y de diez; y 3) cómo concretan su juicio evaluador en una calificación numérica. Se realizó una entrevista semi-estucturada a 18 profesores de dis

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Abadzhian, Harrii. "The charming horn of Kumayri, conductor-researcher Shaliko‑dzhian (creative portrait of Shaliko Paltadzhian)." Aspects of Historical Musicology 23, no. 23 (2021): 143–59. http://dx.doi.org/10.34064/khnum2-23.09.

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Background. Topicality, objectives, methodology and novelty of the research. The creative achievements of the Honored Art Worker of Ukraine, Professor Shaliko Harehinovych Paltadzhian (1941–2020) are a significant contribution to the history of the development of Ukrainian musical culture and, of course, deserve special attention and thorough in-depth research. However, there is not still any fundamental work about this talented musician, brilliant French horn player and wonderful conductor. The author of this article was lucky to study together with Sh. Paltadzhyan at the Kharkov Conservatory

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Zaidel-Rudolph, Jeanne. "Lifecycle: Flute (piccolo), oboe, clarinet (bass clarinet), bassoon, horn, 2 percussionists, 2 violins and cello, Xhosa vocal ensemble and indigenous instruments." Journal of Musical Arts in Africa 3, no. 1 (2006): 80–81. http://dx.doi.org/10.2989/18121000609486710.

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Herrera Cedillo, Miriam, and Roberto Cremades Andreu. "Estudio descriptivo sobre el uso de la memoria musical en estudiantes de piano del estado de Chihuahua, México." DEDiCA Revista de Educação e Humanidades (dreh), no. 2 (March 1, 2012): 279–94. http://dx.doi.org/10.30827/dreh.v0i2.7134.

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La interpretación de memoria es uno de los aspectos básicos que un estudiante de piano debe asimilar para desarrollar plenamente su técnica instrumental y por ende, su nivel expresivo, a la hora de interpretar un concierto ante el público. A lo largo de este trabajo se realiza un análisis descriptivo y pormenorizado sobre la importancia que posee en la enseñanza del piano, el estudio de los diferentes tipos de memoria en estudiantes del Estado de Chihuahua, México. Para ello, se administró un cuestionario a 88 alumnos de piano, 44 hombres (50%) y 44 mujeres (50%), para averiguar su opinión sob

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Asaulyuk, I. O., та A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания". Health, sport, rehabilitation 5, № 1 (2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.

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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participat

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Leydon, Rebecca. "‘Ces nymphes, je les veux perpétuer’: the post-war pastoral in space-age bachelor-pad music." Popular Music 22, no. 2 (2003): 159–72. http://dx.doi.org/10.1017/s0261143003003106.

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Juan Garcia Esquivel's compositions and band arrangements of the late 1950s and early 1960s – his so-called ‘space-age bachelor pad music’ – feature exotic and futuristic instruments, dazzling stereo effects, textless vocalisations, and an array of colourful harmonic resources. This paper situates Esquivel's music within the venerable tradition of the Pastoral mode, a specialised narrative mode met in certain literary and musical works. I begin with an account of the musical pastoral, illustrated with reference to Renaissance madrigals, opera libretti, and especially French concert music from

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Miksza, Peter, and Leonard Tan. "Predicting Collegiate Wind Players’ Practice Efficiency, Flow, and Self-Efficacy for Self-Regulation." Journal of Research in Music Education 63, no. 2 (2015): 162–79. http://dx.doi.org/10.1177/0022429415583474.

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The purpose of this study was to determine whether students’ practice efficiency, flow during practicing, and self-efficacy for self-regulation varied as a function of their practice tendencies, their tendencies toward self-evaluation, their self-regulatory tendencies to be self-reflective when practicing, tendencies to exhibit grit in their learning, and their teachers’ methods of instruction in practicing. Participants were 52 studio lesson teachers and 241 of their students from 25 large collegiate music programs in the United States. Both the teachers and students represented a diverse ran

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Spasov, Miroslav. "Using Strange Attractors to Control Sound Processing in Live Electroacoustic Composition." Computer Music Journal 39, no. 3 (2015): 25–45. http://dx.doi.org/10.1162/comj_a_00313.

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This article explores the possibility of using chaotic attractors to control sound processing with software instruments in live electroacoustic composition. The practice-led investigation involves the Attractors Library, a collection of Max/MSP externals based on iterative mathematical equations representing nonlinear dynamical systems; Attractors Player, a Max/MSP patch that controls the attractors' performance and live processing; and the two compositions based on the software: Strange Attractions for flute, clarinet, horn, and live electronics, and Sabda Vidya No. 2 for flute, tenor saxopho

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