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Journal articles on the topic 'Horn with orchestra'
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Johnson, Christopher M., Clifford K. Madsen, and John M. Geringer. "A Study of Music Students’ Tempo Changes of a Soloist’s Performance of Mozart’s 1st Horn Concerto." Journal of Research in Music Education 60, no. 2 (May 11, 2012): 217–31. http://dx.doi.org/10.1177/0022429412445486.
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The purpose of the present investigation was to investigate music students’ tempo changes of a soloist’s performance in an excerpt from Mozart’s Concerto No. 1 in D Major for Horn and Orchestra. We then compared the composite rubato pattern to tendencies found in a previous investigation using Mozart’s Concerto No. 2 in E ♭ Major for Horn and Orchestra. Data were collected directly from listeners’ Continuous Response Digital Interface (CRDI) dial movements, which controlled the instantaneous tempo of the solo horn performance. Some tendencies from previous rubato performances were replicated; however, overall performances more closely reflected the previous performances of the lowest rated horn performers than those judged as the highest caliber performers.
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Conway, Paul. "London, BBC Maida Vale Studios: Justin Connolly's Piano Concerto." Tempo 58, no. 228 (April 2004): 66–67. http://dx.doi.org/10.1017/s0040298204280159.
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Many of Justin Connolly's works have been premièred and recorded by Nicholas Hodges, whose musicianship provided the inspiration for Connolly's Piano Concerto (2001–2003). The form and character of the piece are influenced by the ancient idea of the labyrinth, the forces of soloist and orchestra being well suited to the roles of Theseus and the Minotaur, where one protagonist signifies the existence of the other and the distinction between hero and villain is not always apparent. The orchestral forces employed are unexceptional. Brass and percussion are divided into two separate groups to the left and right of the conductor, whilst the first horn player sits apart from his colleagues and is mirrored by a fourth, offstage, horn player.
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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 (March 26, 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 and to work with him until the end of life of this outstanding artist. This essay aims to capture some of the features of the creative portrait of Shaliko Paltadzhian, relying on the few existing reference sources and self-own memories about the artist, and also to emphasize his, in a sense, a unique role in the educational process at the Kharkiv National University of Arts and at Ukraine in general. Accordingly, touching upon the educational, methodological and sociological spheres, the study as a whole adheres to the chronological method of presenting events inherent in the genres of historical and biographical essays and portraits. The main results of the research. We traced the creative path of Shaliko Paltadzhian from his very appearance in Kharkiv in 1959 as an entrant at the Kharkiv Conservatory, where, despite the almost complete impossibility of communication due to the language barrier (the musician was born in Armenian city Gyumri, which was known as Kumayri from the period of the Kingdom of Urartu), he, nevertheless, charmed the examiners with the extra-ordinal expressive sound of his French horn, and until the last decade of fruitful work of this wonderful musician at Kharkiv National University of Arts and the “Slobozhansky” Youth Academic Symphony Orchestra . We consider Sh. Paltadzhian’s working with this orchestra as a new special stage in his conducting activities. Being, at the same time, the leader of the Student orchestra of the Kharkiv National University of Arts and the professional team of the “Slobozhansky” Orchestra, Sh. Paltadzhian, thus, makes the first in Ukrainian musical education sphere practical step in the implementation of a modern project on the introduction of so named “dual form” of vocational training, which joints the instructive process in an educational institution with the practice at the workplace. In addition, he does it long before the official directives (“Slobozhansky” Orchestra already exists 28 years). The example of the “Slobozhansky” Orchestra testifies that the organization of the educational process in a dual form gives a positive result and fully corresponds to modern educational methods: after graduating from the University, the musicians come to new teams as the very well prepared professionals, because they were passing through a “double” school as orchestra students. Shaliko Paltadzhian as a conductor proved this in practice. Conclusions. In perspective, the method of dual form of education can be adapted to any specialization. In our case, the practical bases for this are orchestras (symphony, wind), children’s music schools, music colleges, art faculties at other universities, and so on. “Slobozhansky” Orchestra partially solves the problem of mass moving abroad of the best domestic youth. The orchestra has an interesting creative atmosphere. World-famous conductors, soloists work with him; the collective tours in Denmark, Spain and Italy. Some graduates have already turned down foreign offers and stayed at home in Ukraine. Thus, Shaliko Paltadzhian played a key role in a landmark scientificeducation experiment conducted at the Kharkiv National University of Arts named after I. P. Kotlyarevsky. The weird and wonderful, versatile talent of this bright, charismatic musician is striking. As a Professor at the University, Sh. Paltadzhian taught various educational disciplines in the last decade of his life: opera and symphony conducting, musical instruments studies, arrangements, reading scores. He is also the author of scientific papers and manuals. His brilliant talent and clear human soul will forever remain in our memory.
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Currin, Tina Haver. "Sound Politics: The Air Horn Orchestra Blasts HB2." Southern Cultures 24, no. 3 (2018): 107–24. http://dx.doi.org/10.1353/scu.2018.0036.
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Carnovale, Norbert, and Gunther Schuller. "Three Concertos: Concerto no. 1 for Horn and Orchestra. Concerto for Piano and Orchestra. Concerto for Bassoon and Orchestra." American Music 15, no. 3 (1997): 413. http://dx.doi.org/10.2307/3052333.
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Mitchell, Donald. "‘Now sleeps the crimson petal’: Britten's other ‘Serenade’." Tempo, no. 169 (June 1989): 22–27. http://dx.doi.org/10.1017/s0040298200025122.
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Britten's Serenade, op.31, for tenor, horn, and strings, was first performed at the Wigmore Hall, London, on 15 October 1943, with Peter Pears, Dennis Brain and an ad hoc orchestra conducted by Walter Goehr. It was dedicated to Edward Sackville-West.
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Berque, Patrice, Heather Gray, and Angus McFadyen. "Inefficiencies in Motor Strategies of Horn Players with Embouchure Dystonia: Comparisons to Elite Performers." Medical Problems of Performing Artists 31, no. 2 (June 1, 2016): 78–86. http://dx.doi.org/10.21091/mppa.2016.2015.
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Many epidemiological surveys on playing-related musculoskeletal problems (PRMPs) have been carried out on professional musicians, but none have evaluated or confirmed the psychometric properties of the instruments that were used. The aim of the present study was to evaluate the prevalence of PRMPs among professional orchestra musicians and to gather information on pain intensity and pain interference on function and psychosocial variables, using a self-report instrument developed and validated specifically for a population of professional orchestra musicians. METHODS: Out of 183 professional orchestra players, 101 took part in the study (55% response rate) and completed the Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians (MPIIQM). RESULTS: Lifetime prevalence of PRMPs was 77.2%, 1-year prevalence was 45.5%, and point prevalence was 36.6%. Of the PRMP group, 43% reported having pain in three or more locations, most commonly the right upper limb, neck, and left forearm and elbow. However, predominant sites of PRMPs varied between instrument groups. The mean pain intensity score for the PRMP group was 12.4±7.63 (out of 40). The mean pain interference score was 15.2±12.39 (out of 50), increasing significantly with the number of reported pain locations (F=3.009, p=0.044). CONCLUSION: This study confirms that musculoskeletal complaints are common in elite professional musicians and that the use of an operational definition and a validated self-report instrument allows for more accurate and meaningful estimates of pain prevalence.
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Vastamäki, Martti, Heidi Vastamäki, Leena Ristolainen, Katrinas Laimi, and Mikhail Saltychev. "Violists and Violinists Report More Intense Hand Pain on NRS Than Other Orchestra Musicians." Medical Problems of Performing Artists 35, no. 3 (September 1, 2020): 162–66. http://dx.doi.org/10.21091/mppa.2020.3024.
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AIMS: Among musicians, string players have the highest prevalence for musculoskeletal overuse. Playing a violin or viola requires rapid, repetitive, and complicated movements of the hands and fingers. This cross-sectional study aimed to examine whether violin/viola, violin/cello, and violin/French horn players experience more intense musculoskeletal pain than other instrumentalists. METHODS: The study sample consisted of 590 orchestra musicians (354 male, 236 female, mean age 36 yrs). Self-administered questionnaires were used to assess pain of the back, neck, shoulder, face, jaw, and upper extremity. Pain intensity during the last 7 days was measured by an 11-point numeric rating scale (NRS) with a score from 0 to 10, as well as was disadvantage at work and leisure. RESULTS: Of the interviewed musicians, 20% presented playing-related musculoskeletal disorders at the time of the interview. Compared to other professional orchestra musicians, violin and viola players reported significantly more intense pain in the hand during the last week. Also, they had experienced more frequent neck pain ever and in 5 years than the others. During the past 30 days, violin and viola players had also perceived more harm in their upper limb joints. Violin/cello and violin/French horn players did not differ from the others. CONCLUSIONS: Our study showed that musicians playing the violin or viola have more intense hand pain and more frequent neck pain than other musicians, but these seem to disturb their daily tasks only a little.
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Kearns, William K., Richard Todd, and Michael Nowak. "Craig Russell. Rhapsody for Horn and Orchestra. Middle Earth. Gate City: A Methodist Hymn." American Music 24, no. 2 (July 1, 2006): 254. http://dx.doi.org/10.2307/25046027.
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Kramer, Richard. "Skizzen, and: Concerto for Horn and Orchestra in E-flat Major, K. 370 b + 371 (review)." Notes 57, no. 1 (2000): 188–93. http://dx.doi.org/10.1353/not.2000.0032.
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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 (December 26, 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 music. this becomes a driving force for the author to compose a special composition for keroncong music solo instrument. there is a new concept used in the arranging of this composition, as follows. this composition is designing a concerto, which is a type of the instrumental musics with a western diatonic instrument on the part-one of the solo oboe and an English horn in part-two, with keroncong music and orchestra. the conclusion of these designs are as follows. Keroncong music will be able to stand on its own as an instrumental music.
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Kashuba, Denis. "Chamberness in genre-stylistic field of Piano concertos by Johannes Brahms." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 207–24. http://dx.doi.org/10.34064/khnum2-16.12.
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Introduction. In recent years, there has been indefatigable interest of scholars in the concerto genre, and that can be proven by constantly appearing research article and dissertation, devoted to it. For example, in 2017 and 2019 candidate dissertation [Ph. D] have been published, that illuminated previously obscure pages of, respectively, French tradition of this genre, embodied in concertos for various instruments with orchestra by C. Saint-Saëns, and AustroGerman of the first decades of XIX century (including those by J. N. Hummel, I. Moscheles, F. Ris). Expansion of the knowledge about this genre in historical aspect is accompanied by refinements and changes of viewpoints on its essence, that allows, in particular, to comprehend the phenomenon of intersection of different traits of a symphony, a concerto and an ensemble in composers’ activity of XX – beginning of XXI century. A presumption is made, that between these stated genres there is some kind of interlocutor, that is dialogism. At the same time, it is noted, that various types of a dialogue in given work do not lead inevitably to some “mix” or ambivalence, but can contribute to realisation of the potential of the concerto genre. The last one can be applied to the Piano concertos by J. Brahms. Objectives. The goal of the given article is to reveal signs of chamberness in genre-stylistic field of Piano concertos by Johannes Brahms. Results and discussion. In spite of widely disseminated opinion that they belong to predominately orchestral type or even are “symphonies with piano obligato” (Kuznetsov, 1980; Beyer, 1897), they reveal influence of another essential characteristics of the genre, including chamberness. This can be explained either by classicism of J. Brahms’s composer style, who has always orientated towards tradition of his times or by integrativity, that is an iconic trait of late-Romantic music. The examples are given of grand-scale symphonic conceptions deriving from primal ensemble ideas. It is noted, that while the understanding of the genre’s nature remains stable, in each Concerto the proportion of symphonism, concertoness and chamberness is singular due to a significant time interval passing between them and noticeable difference in level of composer’s maturity. Both Concertos reveal the following attributes of chamberness: frequent usage of separate orchestra groups, eventual appearance of “ensemble of soloists” on the background of certain groups or without any accompaniment, significant dramaturgic role played by solos of the piano either slightly supported by sparse instruments while their parts are rather scattered or absolutely unaccompanied. It is stressed that regarding playing piano one should not equate one performer with one part as there are parts of right and left hands and dialogues appearing between them (Polskaya, 2001). On the other side, mono-pianistic expression doesn’t necessarily coincide with a monologue, as self-comprehension of a personality can be marked by a significant dialogism and even conflict (Misitova, 2004). The Piano concertos by J. Brahms can serve as an example for the last observation as appearances of the soloist (chiefly, solo) create additional thread of dramaturgy, sometimes governing the development of music and its images. In the First concerto, given its allusions to the Baroque era, one can discern frequent usage of chamber, sometimes exclusively string orchestra. It is pointed out that initial image of Maestoso, that is supposed to be portrayed by sonority of the accentuated brass group as it has tremendous and formidable mood, is in fact embodied by strings with occasional illuminations of another groups. In Adagio the archi section also plays the leading role, being in dialogue with two bassoons in the first orchestral episode, later entering compassionate dialogue with the piano. In both movements the full orchestra is used only in the climactic moments, often with the soloist involved. And the Finale is the only movement where the semantics of the competition and festivities of the masses urges the composer to use entire orchestra. The logic of changes of emotional states in the solo part is quite clear. It is a personification of a “lyrical hero”, who is in a state of an inner dialogue, and that engenders a conflict situation, largely contributing to the dramatism of further events in the music. Employments of the ensemble are sporadic and are usually illuminated by a background of the orchestra. In Second concerto, while the strategy of chamberness of orchestra and raising the significance of the soloist remains stable, on the contrary, different means of ensemble communication are developed, including those involving “satellite” instruments. Their activity is revealed in the very first bars of Allegro non troppo, where French horn and piano resemble quiet and leisurely conversation. This duet in its further appearances marks the borders of large chapters of the structure, therefore acquiring compositional significance. Ensemble qualities are intrinsic for Andante from this Concerto, where another soloist appears, singled out from the group of cellos, and later oboe, clarinets make their entrance, and the score turns into sheer dialogue of soloists. Conclusions. Comparison of two Piano concertos by J. Brahms allows to state that composer simultaneously has firm understanding of this genre and favours different traits of chamberness in each of them. In the latter one “satellite” timbres are used, ensemble structures are more significant. And this paves the way for ensemble differentiation of the orchestra, that can be regarded as one of the first portents of modern understanding of concerto genre and abovementioned processes of “mixing”.
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Asaulyuk, I. O., and A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания." Health, sport, rehabilitation 5, no. 1 (March 30, 2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.
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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>
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Hammond, Matthew. "Huddersfield Contemporary Music Festival: 21–23 November 2014." Tempo 69, no. 272 (April 2015): 63–65. http://dx.doi.org/10.1017/s0040298214001077.
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hcmf// 2014 kicked off with a typically tough and knotty concert from Petr Kotik's chamber orchestra Ostravská banda, who performed a collection of UK premieres for small ensemble by Christian Wolff, three Czech composers and another American. The concert was billed as a tribute to Wolff, who was in attendance and who celebrates his eightieth birthday this year, and this acknowledgement of his status as one of the few remaining high modernists allowed the festival to begin with a celebration of the music with which it has been most closely associated. First up was Wolff's 37 Haiku, a setting of a poem (or 37 poems) by John Ashbery, sung by Thomas Buckner with an accompanying ensemble of oboe, horn, viola and cello. Like the poems, Wolff's settings are self-contained but accumulative, and, as the composer says in the programme notes, the ‘may form’ a whole. Variety is achieved through shifts within the accompanying instrumentation (some settings having none), line and fragmentation, instrumental technique, suggestions of common-practice harmony, flashes of word painting and spoken accompaniment from the instrumentalists (one haiku is spoken by the violinist, another is spoken in fragments across the ensemble). Coherence across these fragments is created simply through the presence of Wolff's mature and distinctive post-Webern sound world.
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Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.
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Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.
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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 development of symphony orchestras and symphonic genres, as well as compositions for musical theater, the process of training conductors and composers in conservatories and music faculties of universities in China is being improved. The cumulative world pedagogical experience was selected to develop the conductor training programs in Chinese conservatories, taking into account the positions most important for national pedagogical adaptation. The educational program for conducting was created in China considering the practice of the Saint Petersburg and Moscow conservatories.
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Plumley, Sarah. "Coursing with Coils: The Only Orchestral Instrument Harder Than the French Horn." Musical Offerings 7, no. 1 (2016): 1–13. http://dx.doi.org/10.15385/jmo.2016.7.1.1.
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Rozwadowska, Alicja. "The French Art of the Natural Horn Playing and the Adaptation of Valve Mechanisms in the 19th Century." Kwartalnik Młodych Muzykologów UJ, no. 45 (2) (2020): 5–22. http://dx.doi.org/10.4467/23537094kmmuj.20.028.13901.
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The article is an attempt at identifying issues related to the problem of the adaptation of valve mechanisms in Parisian orchestras and Conservatoire. Opinions and postulates of supporters and opponents are being presented, as well as the concepts of combining the valve instrument with the use of the natural horn playing technique. In this context, the perspective of natural horn players, who contributed to the significant delay in the adaptation of valve horns in Paris, are being discussed. Further parts of the text explain the construction of natural horns commonly used in the discussed period in France (cor solo and cor d’orchestre), as well as various issues related to the specific playing technique. The differences between cor alto and cor basse are being examined as well as the concept of cor mixte proposed by Frédéric Duvernoy.
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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 (April 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 assessed soloists with regard to musicianship, expression, tone quality, and tempo. Results indicated significant differences for musicians compared to nonmusicians regarding rubato assessments. Musicians agreed with expert assessments, whereas non-musicians' scores seemed haphazard. When musicians were separated into two groups based on musical skill level, results from the “more proficient” musicians were in direct agreement with the panel of experts' evaluations. The “less proficient” musicians were much less discriminating across all dependent measures; rubato assessments disagreed substantially with those of experts. This study suggests that rubato is an extremely subtle musical nuance. Though nonmusicians and less proficient musicians seem to be able to assess performances on somewhat more obvious variables, it seems that only the most proficient musicians can evaluate the usage of rubato in performance. Based on the data from this study, it appears that a relationship exists between musicianship and the use of rubato and that use of rubato might well be one element that separates the very finest performance from the simply ordinary.
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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 (December 10, 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 leitmotif of the activity of a teacher of a higher art educational institution. The works of the leading scientists of Ukraine became the fundamental scientific researches of the evolution of spiritual musical performance. V. Apatsky in the doctoral dissertation “Theoretical foundations of playing the wind instruments (on the example of bassoon)” examines the acoustic nature of the instrument and the specificity of sound formation on it, the structure and functioning of the executive apparatus and methods of its formation, the basic means of expressiveness of the bassoonist and methods of development of performing skill. I. Yakustidi in the dissertation “The value of horn tone in the learning process” and by the method of numerical laboratory measurements explored the work of the sound-forming apparatus of the horn performer. Along with the experimental experiments, the dissertation covers the issues of performance history, theory and practice, methods of teaching horn performance. P. Krul in his study “Genesis of Wind and Percussion Instrumental Performance of Ukraine” traces the genesis of wind and percussion music in Ukraine. V. Posvaluk in the dissertation “Ways of Formation and Problems of Development of the Ukrainian Trumpet Performance School: Historical, Professional-Performing, Theoretical and Methodological Aspects” for the first time reveals the peculiarity of the historical way of formation and development of the national trumpet performance school and its regional peculiarities. V. Bohdanov dedicates his dissertation “Ways of Development of the Wind Musical Art in Ukraine (from the Origins to the Beginning of the XX Century) to the Study of the Wind Musical Art of Ukraine. Based on the systematization of actual data, the main directions of its evolution are highlighted. V. Kachmarchyk. The priority areas of the dissertation research “German flute art of the 18th – 19th centuries” were the creation of the historical periodization of the German flute art of the 18th – 19th centuries, and defining the role of J. J. Kwanz, J. G. Tromlits, A. B. Furstenau and T. Bohm in the formation of the German flute school. Y. Sverlyuk in his work “Theoretical and methodological bases of vocational training of conductor of an orchestra collective in higher art establishments” he explored methodological, theoretical and methodical bases of vocational training of conductor taking into account the specifics of future professional activity. A. Karpyak. In his Doctoral dissertation “Flutist’s Artistic Thesaurus as the Basis of Performing Skills” and for the first time in Ukrainian musicology, he provided a reasoned critical analysis of the key issues and problems in the development of contemporary flute art.
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Anderson, Martin. "London, Royal Albert Hall Proms 2003." Tempo 58, no. 227 (January 2004): 55–59. http://dx.doi.org/10.1017/s0040298204240050.
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Until the world première of Joe Duddell's Ruby on 25 July, I had yet to hear a percussion concerto which didn't trip itself up. I thought it was in the nature of the beast: the orchestra develops some material, which is then passed to the percussion, at which point all development perforce stops. Duddell (b. 1972) solved the problem by turning it on its head, and limiting the orchestral material to what the solo percussionist could handle; the downside is that he necessarily limits the expressive scope of the orchestra. Ruby – the title is simply a rhyming-slang working label that stuck: it's the final part of a trilogy of works written for the percussionist Colin Currie – opens with a vibraphone pattern that suggests a lyrical music-box and soon shows a stylistic affinity with American minimalism, which alternates with slabs of good-natured energy. The slow movement begins with tremolo marimba chords over string lines that drift aimlessly and agreeably, with a more active central section spurred by brief brass figures which trigger rising scalic patterns in the vibraphone. The initial material returns with soft-centred strings above hypnotic vibraphone figuration and is sung to a close by the rapturous sound of bowed vibraphone chords. The finale likewise deals in cheerfully mesmeric vibraphone patterns over a wash of strings and stuttering comment from horns and trumpets; the soloist then offers an improvised toccata on drum-kit backed by forceful rhythms from a near-tutti orchestra. The vibraphone resumes its jolly prattle until, seemingly having run out of things to say, the music just stops dead. Currie, supported by the Bournemouth Symphony Orchestra under the functional Marin Alsop, played it with obvious commitment, and from memory – no small achievement in such motoric music.
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Yalong, Yu. "DEVELOPMENT OF CELLO SCHOOL IN CHINA. CREATIVE AND PEDAGOGICAL ACTIVITIES OF WANG LIANSAN AND SITU ZHIWEN." Arts education and science 1, no. 2 (2021): 113–20. http://dx.doi.org/10.36871/hon.202102014.
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The article traces the development of Chinese cello tradition, the process of its formation in interaction with national European schools (Spanish, French, Russian, etc.) and the appearance of the first national musicians-performers who became founders of Chinese cello pedagogical system. The significance of the first major cello composition San Tung's Fantasia for Cello and Orchestra, was also emphasized. Presented are the portraits of outstanding instrumentalists — Wang Liansan and Situ Zhiwen, whose creative and pedagogical experience allowed not only to significantly renew the system for training young people, but also to enrich the performing repertoire of contemporary Chinese cellists, to improve their artistic and technical abilities. Wang Liansan's activity was not limited to teaching or performing. He was also active as a composer, considering the composing of national music for the cello as one of his main tasks. Some of his cello pieces were widely known and enjoyed great success not only in China, but far beyond. The work of Situ Zhiwen, known as an orchestral performer and soloist, was very important too. She also created many manuals and playbooks for musicians of all ages based on her great pedagogical experience.
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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 (December 10, 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 any system, mostly from the methodological viewpoint. Innovation. The article under consideration deals with the organological aspect of studying the specificity of the performance on the trumpet, which combines a number of historical and practical questions and allows them to be answered in connection with the requests of both music science and music practice (from the peculiarities of the sound production on various instruments of the trumpet family at different times (from the historical origins of trumpet performance to the present) to the technical and artistic tasks faced by the trumpet performer, as well as by the composers who create both transpositions of time-tested music for trumpet and original trumpet pieces that take into account technical, timbre, artistic and expressive capabilities of this instrument). Objectives. The purpose of research is to reveal connection between the historical-organological and practical specificity of the performance on the trumpet in the past and at present. Methods. The main methods of the research are historical and organological. Results and Discussion. Trumpet as a musical instrument is one of the oldest musical instruments in the world. Its earliest prototypes are revealed in archaeological studies of the historical past of humanity. The prototypes of embouchure instruments are horn, bone, and tusk pipes with conical bore, mostly curved, which are ancestors of the horn family; instruments with straight cylindrical pipes formed a family of trumpet. The art of playing wind instruments was a significant development in ancient Egypt, where the state placed musical art at the service of rulers and worship. Musicians in those days accompanied festive events and rituals; what is more, wind and percussion instruments became the basis for the creation of military orchestras. A straight metal trumpet appeared in Europe in the Middle Ages. In the countries of Central Asia, Iran, Tajikistan, Kazakhstan copper brass instruments were played. China’s music and performing culture employed bronze trumpets of various sizes. In the 14th-15th centuries the evolution of metal instruments underwent qualitative changes. Forms of curved trumpets were born. In addition to this, trumpets were split into low and high ones; later, middle-register instruments appeared. The so-called natural trumpets, used then, were very close in sound to the modern trumpet. In Europe there were masters who made metal instruments; eminent experts in this field, the Heinlein Schmidt family, the Nagel family, English masters Dudley, U. Bullem worked in Nuremberg from the 15th and up to the 19th century. The emergence of a slide trumpet, a trumpet with a sliding crook, is connected with the attempts to improve the instrument for the sound production of more chromatic sounds (we must distinguish the achievements of Anton Weidinger). An important step in the evolution of the chromatic trumpet was the use of horn invention (croooks). In the mid-nineteenth century, having improved the inventory system with a valve mechanism, the trumpet finally gained its place in the orchestra as a chromatic instrument. At the present time, a trumpet with a piston valve mechanism (in jazz, variety, modern music) has become very popular. At the turn of the 19th-20th centuries, trumpets of different structures, such as in C, in D, in Es, in F, were constructed; the designs of these trumpets are almost indistinguishable from the design of the modern trumpet. The piccolo trumpet was designed for a solo performance of ancient music (clarinet style); to amplify the low sounds, the alt trumpet in F and the bass trumpet became popular. Compared to fixed-mode instruments, the trumpet is a semifixed-pitch instrument. Therefore, a skilled performer is able to adjust the pitch within a certain area and correct defects in the setting of separate modeless sounds. The "planned" inaccuracy of the trumpet intonation is related to the use of a third valve. To correct the intonation associated with this, the trumpet has a device for extending an additional pipe of the third valve. There is no precise theoretical prediction of the given problem, so the correction of modeless sounds requires from the performer well-developed musical ear and knowledge of the specific features of their instrument. Conclusions. The summarized results of the presented article indicate that the organological aspect of the research in the field of performance on wind instruments, in particular, on the trumpet, is important and illustrative. It is an indispensable link that binds the theoretical and practical vectors of the study of trumpet art as a single set of knowledge; helps to identify the connection between the historical, organological and practical aspects of the performance on the trumpet, both past and present; promotes awareness of the specificity of playing a particular instrument, especially, understanding and assimilation of the design features of the trumpet in all its historical variants, and the corresponding principles of sound production with technical-acoustic and artistic effects; outlines the theoretical, scientific and methodological tasks for performers and composers whose work is related to the art of playing the trumpet. These are the directions in which further avenues for researching music related to the performance on the trumpet of different times, styles and genres can be seen.
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TALBOT, MICHAEL. "WILLIAM BATES AND HIS CONCERTOS IN TEN PARTS, OP. 2: AN ENTERPRISING EIGHTEENTH-CENTURY COMPOSER AND AN UNRECOGNIZED ORCHESTRAL SUBGENRE EMPLOYING HORNS." Eighteenth Century Music 14, no. 2 (August 30, 2017): 235–63. http://dx.doi.org/10.1017/s1478570617000069.
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ABSTRACTWilliam Bates, who died in 1778, was a prolific and, in his day, successful composer of stage music and concert songs performed in London in the 1760s and 1770s; but a scarcity of biographical information and uncertainties over his position vis-à-vis the new style introduced in the early 1760s by J. C. Bach and others have tended to disadvantage him in modern commentary. New facts about his life and background together with a recently discovered sale catalogue reveal him to have been a cultivated man of wide interests, with a sympathy for the ‘ancient’ style. His most substantial musical contribution, as regards its potential for modern revival, is a remarkable set of six concertos for strings with oboes, bassoons and horns (plus, in two concertos, trumpets and timpani) published in 1762. These concertos, related in style to contemporary overtures to stage works but making much greater use of concertante writing, form a high point in a peculiarly British tradition of concertos employing French horns. The cult of the horn in Georgian Britain that nourished this tradition is the subject of extended discussion.
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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 cross-cultural integration, which is accomplished not by mechanical borrowing of authentic musical material, but by developing a distinctive rhythmic pattern and sound production techniques. The combination of the timbres of Chinese gong and the vibrato of stringed instruments in Fusion II creates slowdowns and an "echo" effect typical for electronic music. In the Concerto all the features of the genre are observed, but the classical constant received a refraction in the light of modern processes, which required the composer to use new and sometimes harsh methods, almost completely eliminating the lyrical expression.
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Cicovacki, Borislav. "Zora D. by Isidora Zebeljan: Towards the new opera." Muzikologija, no. 4 (2004): 223–45. http://dx.doi.org/10.2298/muz0404223c.
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Opera Zora D., composed by Isidora Zebeljan during 2002 and 2003, and which was premiered in Amsterdam in June 2003, is the first Serbian opera that had a world premiere abroad. It is also the first Serbian opera that has been staged outside Serbia since 1935, after being acclaimed at a competition organized by the Genesis Foundation from London. Isidora Zebeljan was commissioned (granted financial backing) to compose a complete opera with a secured stage realization. The Dutch Chamber Opera (Opera studio Nederland) and the Viennese Chamber Opera (Wiener Kammeroper) were the co-producers of the first production. The opera was directed by David Pountney, the renowned opera director, while an international team of young singers and celebrated artists assisted the co-production. The opera was played three times in Amsterdam. Winfried Maczewski conducted the Amsterdam Nieuw Ensemble whereas Daniel Hoyem Cavazza conducted the Wiener Kammeroper on twelve performances. The Viennese premier of Zora D. opened the season of celebrations, thus marking the 50th anniversary of the Wiener Kammeroper. The libretto, based on the script for a TV film by Dusan Ristic, was co-written by Isidora Zebeljan, Milica Zebeljan and Borislav Cicovacki. Speaking of genre, the libretto represents a m?lange of thriller, melodrama and mystery, with elements of fiction. The opera consists of the prologue and seven scenes. The story, set in the present-day Belgrade, also goes back to the 1930?s and the periods interweave. The opera was written for four vocalists: the soprano, the baritone, and two mezzo-sopranos. The chamber orchestra has fifteen musicians. The story: One summer day in 1935, Belgrade poetess Zora Dulijan mysteriously disappears. Sixty years later, Mina, an ordinary girl from Belgrade, quite unexpectedly becomes part of an incredible story, which gradually unravels as time goes by. Led by a dream (recurring night after night, with some vague verses about poplar trees and contours of a mysterious woman with a silver scarf being all that Mina remembers) she sets out to solve the mystery that seems to haunt her for no apparent reason. Part of the secret is also an invisible force, which Mina uses to gradually piece together the story of a great love that was brutally brought to an end 60 years ago and now seeks fulfillment. At the same time, Vida, a woman in her 80s, who has just returned to Belgrade from a long exile, begins to feel tortured and haunted by ghouls from the past, the very same she has been trying to escape all those years. Mina, desperate to solve the mystery, and Vida, in search of final rest and redemption, meet to disclose to us the answer and tell us what really happened to Zora D. The leading characters of the opera, whose main attribute is illusiveness, undergo transformation that is something rarely found in opera literature. This quality of the characters and the story, as well as the absence of a real drama in the libretto, matches the specific idea of a contemporary opera. Unlike composers who insist on giving characters psychological quality, thus reducing their emotions to clich?s for reasons of clarity, Isidora Zebeljan demonstrates a need for a completely different type of opera. Her idea is to have an opera which focuses on the sensual exploits of music itself. This is the very type of opera sought after by Isidora Zebeljan. The first and most striking feature of her music is a very unique melodic invention. Opera Zora D. could be described as a necklace of thickly threaded music pearls. Microelements of the traditional music from Serbia (Vojvodina), Romania and the south of the Balkans give her melodies a very special quality. Those elements, however, have not been taken over in their entirety, nor do they exist in the form that would link this music to any particular type of folk music. Music elements of the traditional music, incorporated in the music expression of Isidora Zebeljan, provide additional distinctiveness and the colour, while being experienced as an integral part of Zebeljan?s creative being which carries within itself the awareness of the composer?s musical roots. Melodic elements of the opera expressed in such a manner give form to vocal parts, which require of performers great musicality and perfect technique without compromising the nature of their vocal expression. Specific chords with a diminished fifth, resulting from the use of folk music scales with augmented second, give the opera a distinct harmonic quality. The rhythmic and metric components of music are complex, naturally stemming from the melody and are characterized by a mixture of rhythms and changeable metrics. The rhythmic patterns of percussion are incorporated in the whole by parallel lining up of melodic and rhythmic layers, so that they produce sonorous multiplicity. Very often the rhythmic elements have characteristics of a dance. The chamber orchestra consists of flute (piccolo and alto), clarinet and bass-clarinet, saxophone (soprano and alto) bassoon, French horn, trumpet, harp, piano, percussion, and string quintet. By providing specific orchestration and coloring, Isidora Zebeljan manages to completely shift the real dramatic suspense from words to music particularly the orchestra, thus causing various emotional states to quickly change. Speaking of structure, the opera represents an infinite sequence of melodies. Although rarely, melodic entities have, in some places, the form of arias. There are no real recitatives in the entire opera. Each segment of the opera belongs to a corresponding melodic section of the stage that they are part of. The extraordinary quality of the music in Zora D. lies in the music surprise that it provides, which is an element of the composer?s language and style rarely seen in the music literature but is a symbol of a special talent. Emotional states are not merely evoked through particular musical clich?s, the unusual origin of which may be found in the exceptional parallel quality of states stemming from the very music. The listener, in his or her initial encounter with the music of the opera, will never hear dark and disconsolate music when tragic and dramatic happenings are taking place. Listening to the music will, however, help them feel the sound layer of the tragedy that is present in the offered sound. They will not follow it consciously but, instead, they will be leaded to the exact emotional stimulus that they will not be able to defy rationally. Such a music expression we call a music fiction. Artistic team involved in the first production of Zora D. has discovered a HVS technique, which helps shifting elements of scenography, from one set into the next, very efficiently and effectively. Isidora Zebeljan?s opera Zora D. represents a great success of Serbian music on the international scene, and undoubtedly the greatest success of Serbian opera. Her music liberates listeners from the compulsion of reflecting upon the content they are listening to. Instead, her music compels them to feel.
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Reynolds, Verne, Michael Haydn, and Robert Arpad Muranyi. "Concertino, D-dur; fur 2 Horner (oder Horn und Alt-Posaune) und Orchester." Notes 44, no. 4 (June 1988): 826. http://dx.doi.org/10.2307/941054.
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Iltis, Peter W. "Ventilation, Carbon Dioxide Drive, and Dyspnea Associated with French Horn Playing: A Pilot Study." Medical Problems of Performing Artists 18, no. 2 (June 1, 2003): 47–51. http://dx.doi.org/10.21091/mppa.2003.2010.
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Ventilatory measures, end-tidal carbon dioxide (ETCO2) levels, breathing patterns, and subjective measures of dyspnea were evaluated in professional French horn players (two men and one woman) to describe respiratory function during playing. A French horn was equipped with a flow sensor inserted into the bell to measure flow rates during playing and with a sampling tube at the mouthpiece to measure ETCO2 levels. Subjects performed three tasks: (1) maximal duration long tones on third space C at a dynamic level of p; (2) maximal duration long tones on third space C at a dynamic level of f; and (3) an orchestral excerpt consisting of a prolonged, repeated, single note pattern. Trial times and ETCO2 levels were greater during task 1 than task 2, but ventilatory volumes and dyspnea ratings were similar. For task 3, a strong correlation between ETCO2 values and dyspnea ratings and a strong inverse relationship between breathing frequency and ETCO2 levels were shown. These results suggest that ratings of dyspnea are affected by ETCO2 levels and that hypercapnia during certain types of playing may be prevented by more frequent small breaths.
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Leisner, David, Francesco Molino, and Ruggero Chiesa. "Concerto in mi minore per chitarra e Orchestra [2 Oboes, 2 Horns, Strings], op. 56." Notes 41, no. 4 (June 1985): 783. http://dx.doi.org/10.2307/940885.
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Izergina, A. R. "IN THE MIRROR OF A MASTERPIECE: "FIVE REFLECTIONS ON THE THEME OF THE 24TH CAPRICE OF PAGANINI" BY KUZMA BODROV." Arts education and science 1, no. 1 (2021): 131–40. http://dx.doi.org/10.36871/hon.202101015.
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Since the second half of the XXth century intertextuality has become a key feature of musical culture, bringing together compositions of different epochs, traditions, styles and authors. In this regard, the text of a masterpiece acquires special significance. Being an open and mobile system, it enters into various dialogues with the whole set of stylistic and genre forms of modern music. The article considers the work "Five Reflections on the Theme of the 2018th Caprice of Paganini" (61) for viola, five solo violins and chamber orchestra by the Russian composer Kuzma Bodrov. The concept of the work is based on the author's dialogue with outstanding compositions for violin of the XIXth and XXth centuries: concertos by Beethoven (D-dur Op. 77), Brahms (D-dur Op. 35), Tchaikovsky (D-dur Op. 1), Prokofiev (No. 19 D-dur Op. 24) and Berg ("To the Memory of an Angel"). Herewith, the key role in the composition is given to Paganini's Caprice for solo violin (No. 1 a-moll Op. XNUMX), which is treated as a universal lexical model. In the process of reinterpretation, masterpieces receive a new original reading and become part of modernity.
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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, and a multi-timbre free bass instrument. In modern music for a bayan duet, in contrast to the works of the 1940s – early 1970s, there are other ways of presenting melodic, figurative line, as well as harmonic background in the left half shell of the bayan. The author considers the role of the timbre palette in modern compositions for a bayan duet and reveals the performance capabilities of this ensemble, which caused numerous arrangements of works written for piano, organ, chamber ensemble and orchestra. The figurative sphere laid down by the authors in the works written for a duet of traditional bayan and a duet of modern instruments is compared. The modern repertoire for this instrumental duet is created by both bayan composers and composers writing music for other forms of performance.
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Chystiakova, Katerina. "Dramaturgical function of the orchestra in song cycle by Hector Berlioz – Théophile Gautier “Summer Nights”." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 190–206. http://dx.doi.org/10.34064/khnum2-16.11.
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Background. In recent scholar resources musicologists actively study the problem of typology of chamber song cycle. The article cites analytical observations of M. Kolotylenko on works in this genre by R. Strauss (2014), of I. Leopa – on G. Mahler’s (2017), of N. Vlasova – on A. Schoenberg’s (2007). It is stated, that unlike Austro-German phenomena of this kind have been studied to a certain degree, song cycle “Summer Nights” by H. Berlioz hasn’t received adequate research yet, although it is mentioned by N. Vlasova as on of the foremost experiences of this kind. It allows to regard the French author as a pioneer in tradition of chamber song cycle. The aim of given research is to reveal the essence of orchestration as a part of songs cycle’s artistic whole. In order to achieve it, semantical, compositionally-dramaturgical and intonational methods of research are used. Originally, “Summer Nights” were meant to be performed by a duo of voice and piano (1834). It was not until 1856 that composer orchestrated this cycle, similarly to the way G. Mahler and in several cases R. Strauss done it later. The foundation of cycle by H. Berlioz are six poems from a set by T. Gautier «La Comédie de la mort», published in 1838. In spite of having epic traits, this set is still an example of lyrical poesy, where subjective is being generalised, while chosen motive of death, according to L.Ginzburg, corresponds to existential essence of lyric (L. Ginzburg). French poet, prose writer, critic, author ow the poems set to music in “Summer Nights” by H. Berlioz – Théophile Gautier (1811–1872) – is one of the most enigmatic and singular figures in history of XIX century art. He was eclipsed by his contemporaries, although his creativity paved the way for upcoming symbolism, that incarnated in poetry of C. Baudelaire, and set “Émaux et Camées” became an aesthetic ideal for Parnassian School. A work by H. Berlioz on lyrics by T. Gautier consists of four songs: “Villanelle”, “Le Spectre de la Rose”, “Sur le lagunes”, “Absence”, “Au cimetiere. Clair de Lune” and “L`ile Inconnue”. It is founded on a plot of lyrical type, that is built according to the principle of appearing associations. Lyrical “I”, whose inner world is revealed during the cycle, provides logical congruity of the work. Each mélodie has its own spectrum of images, united by general lyrical plot. The first and last songs, grounding on a theme of nature, create thematic arch. The denouement of the plat falls on “L`ile Inconnue”, where hero’s conclusion about impossibility of everlasting love is proclaimed. The orchestra part is equal significance with the voice and intonated verbal text, simultaneously playing an important role in illuminating underlying meaning of the lyrics. H. Berlioz doesn’t tend to use supplementary woodwind instruments. Although, each instrument reveals its unique sonic and expressive possibilities, demonstrating its singular characteristics. Due to that an orchestra becomes differentiated, turning into a flexible living organism. Composer doesn’t use exceedingly large orchestra, moreover, each song has its unique set of performers. However, there are stable players: strings (including double basses), two flutes, 2 clarinets (in A and in B). Besides of that, H. Berlioz occasionally uses the timbre of solo oboe, bassoons, natural French horns in different keys, and in the second song he employs coloristic potential of the harp. From a standpoint of the semantics, the score is built according to the principle of the opposition between two spheres. The former one is attached to the motives of the nature and has pastoral mod. At the same time, it reveals idealistic expanse of dreams and vision, thus being above the existing realm. This sphere is represented by woodwinds and brass. The latter, on the contrary, places the hero in real time. It is a sphere of sensuality, of truly human, it also touches themes of fate and inevitable death. It is characteristic that this sphere is incarnated through string instruments. Although, the harp cannot be bracketed with either of the groups. This elusive timbre in instrumental palette is saved for “Le Spectre de la Rose” and creates unsubstantial image of a soul ascending to Heaven. H. Berlioz evades usage of mixed timbers in joining of different groups of the orchestra. Even when he does it, it has sporadic nature and provides emphasis on a particular motive. Orchestral tutti are almost non-existent. Composer uses concerto principle quite regularly as well. Additional attention must be drawn to psychologising of role of clarinet and semantisation of flute and bassoon. Clarinet becomes a doppelganger of lyrical “I” and, quite like a personality of a human, acquires ambivalent characteristics. Because of that, it interacts not only with its light group, but with low strings as well, thus demonstrating an ability to transformation of the image. Bassoon reflects the image of the death. This explains its rare usage as well as specific way of interaction with other instruments and groups. Flute is attached to the image of the nature, symbolises a white dove, that in a poetry of T. Gautier represents an image of beautiful maiden. Consequently, this allows to state that timbre of flute incarnates the image of lyrical hero’s love interest. The most significant instruments of string group are the low ones, accenting either the aura of dark colours or sensuality and passion. Neglecting the tradition requiring lyrical hero to be paired with a certain voice type, H. Berlioz in each mélodie uses different timbres, that suit coloristic incarnation of the miniature the most in the terms of tessiture and colour. A conclusion is made, that composer become a forefather of chamber song cycle of new type, with its special trait being equivalence of the voice and the orchestra, that allows them to create united multi-layered integrity
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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 pair, thus acknowledging the "otherness" or, to borrow a term from linguistics, the "markedness" of the plagal system. In an essay from 1889, Riemann explored striking harmonic effects in the Andante of the Fourth Symphony and another late orchestral movement by Brahms, discerning the same non-diatonic scale behind the (plagal) idioms in both. The Phrygian and Aeolian scales enable similar unusual plagal passages in two chamber movements by Brahms, the early Adagio mesto of the Horn Trio and the very late opening Allegro from the Clarinet Trio. In these movements plagal harmony appears in a strong sense as the other of authentic harmony and perhaps even of common-practice tonality itself. The semantic significance of certain plagal moments in both has to do above all with their ability to suggest something other than, outside of, or prior to tonal music.
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Morrison, Shaun F. "2010 Carl Ludwig Distinguished Lectureship of the APS Neural Control and Autonomic Regulation Section: Central neural pathways for thermoregulatory cold defense." Journal of Applied Physiology 110, no. 5 (May 2011): 1137–49. http://dx.doi.org/10.1152/japplphysiol.01227.2010.
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Central neural circuits orchestrate the homeostatic repertoire to maintain body temperature during environmental temperature challenges and to alter body temperature during the inflammatory response. This review summarizes the research leading to a model representing our current understanding of the neural pathways through which cutaneous thermal receptors alter thermoregulatory effectors: the cutaneous circulation for control of heat loss, and brown adipose tissue, skeletal muscle, and the heart for thermogenesis. The activation of these effectors is regulated by parallel but distinct, effector-specific core efferent pathways within the central nervous system (CNS) that share a common peripheral thermal sensory input. The thermal afferent circuit from cutaneous thermal receptors includes neurons in the spinal dorsal horn projecting to lateral parabrachial nucleus neurons that project to the medial aspect of the preoptic area. Within the preoptic area, warm-sensitive, inhibitory output neurons control heat production by reducing the discharge of thermogenesis-promoting neurons in the dorsomedial hypothalamus. The rostral ventromedial medulla, including the raphe pallidus, receives projections form the dorsomedial hypothalamus and contains spinally projecting premotor neurons that provide the excitatory drive to spinal circuits controlling the activity of thermogenic effectors. A distinct population of warm-sensitive preoptic neurons controls heat loss through an inhibitory input to raphe pallidus sympathetic premotor neurons controlling cutaneous vasoconstriction. The model proposed for central thermoregulatory control provides a platform for further understanding of the functional organization of central thermoregulation.
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Graubart, Michael. "Erwin Schulhoff, et al. - ‘Lost Generation’. ERWIN SCHULHOFF: Double Concerto for Flute, Piano and String Orchestra with Two Horns, WV 89, op. 63; Sonata for Flute and Piano, WV 86, op. 61; Three Pieces for String Orchestra, WV 5, op. 6. VIKTOR ULLMANN: Chamber Symphony, op. 46a (String Quartet No.3, op. 46) (arranged for string orchestra by Kenneth Woods). VILEM TAUSKY: Coventry – Meditation for String Orchestra. Ulrike Anton (fl), Russell Ryan (pno), English Chamber Orchestra c. David Parry. Exil.Arte Gramola 98964 – LC 20638." Tempo 67, no. 264 (April 2013): 105–7. http://dx.doi.org/10.1017/s0040298213000375.
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Finetti, Luca, Lasse Tiedemann, Xiaoying Zhang, Stefano Civolani, Giovanni Bernacchia, and Thomas Roeder. "Monoterpenes alter TAR1-driven physiology in Drosophila species." Journal of Experimental Biology 224, no. 1 (November 24, 2020): jeb232116. http://dx.doi.org/10.1242/jeb.232116.
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ABSTRACTMonoterpenes are molecules with insecticide properties whose mechanism of action is, however, not completely elucidated. Furthermore, they seem to be able to modulate the monoaminergic system and several behavioural aspects in insects. In particular, tyramine (TA) and octopamine (OA) and their associated receptors orchestrate physiological processes such as feeding, locomotion and metabolism. Here, we show that monoterpenes not only act as biopesticides in Drosophila species but also can cause complex behavioural alterations that require functional type 1 tyramine receptors (TAR1s). Variations in metabolic traits as well as locomotory activity were evaluated in both Drosophila suzukii and Drosophila melanogaster after treatment with three monoterpenes. A TAR1-defective D. melanogaster strain (TAR1PL00408) was used to better understand the relationships between the receptor and monoterpene-related behavioural changes. Immunohistochemistry analysis revealed that, in the D. melanogaster brain, TAR1 appeared to be mainly expressed in the pars intercerebralis, lateral horn, olfactory and optic lobes and suboesophageal ganglion lobes. In comparison to wild-type D. melanogaster, the TAR1PL00408 flies showed a phenotype characterized by higher triglyceride levels and food intake as well as lower locomotory activity. The monoterpenes, tested at sublethal concentrations, were able to induce a downregulation of the TAR1 coding gene in both Drosophila species. Furthermore, monoterpenes also altered the behaviour in wild-type D. suzukii and D. melanogaster 24 h after continuous monoterpene exposure. Interestingly, they were ineffective in modifying the physiological performance of TAR1-defective flies. In conclusion, it appears that monoterpenes not only act as biopesticides for Drosophila but also can interfere with Drosophila behaviour and metabolism in a TAR1-dependent fashion.
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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 (May 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 the turn of the twentieth century. In the music of ‘impressionist’ composers, pastoral conventions include a preponderance of ‘slithery’ sounds such as tremolo, trills, glissandi, gauzy timbres, colouristic harmonies and, especially, an over-abundance of motivic material. The steady parade of new themes, with little repetition, and rapidly changing orchestral colours impart a hedonistic atmosphere, consistent with the ‘fantasy of plenitude’ associated with the literary Pastoral. Esquivel's music, I claim, represents a transposition of this bucolic style, in which the ephemeral sounds of the flute and harp are transformed into their space-age counterparts: theremin, vibraphone, buzzimba, and the ‘zu-zu-zu’ of the Randy Van Horne Singers. Esquivel's music, I argue, reconstitutes the particular erotic configurations of classic pastoral: in place of fauns and nymphs are suave bachelors and their dates. The paper concludes with a discussion of representations of the ‘leisurely bachelor’ in other contemporaneous media.
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Reynolds, Peter. "Gavin Bryars, et al. - GAVIN BRYARS: The War in Heaven1; Epilogue from G2. 1Anja-Nina Bahrmann (sop.), 1Maarten Engeltjes (alto), 1Netherlands Radio Choir; Netherlands Chamber Philharmonic, c. Brad Lubman, 2Hans-Otto Weiss (bass-bar.) & 2Elmer Andree (bar.), 2Staats Philharmonic Mainz c. Gernot Sahler. GB Records BCGBCD19 - ‘HÖVDINGAR HITTAST (HEROES MEET) – MUSIC FROM THE FAROE ISLANDS’: GAVIN BRYARS. From Egil's Saga1 (2004); Hitt Blinda Iiðið2 (The Company of the Blind) (2011); Tróndur í Gøtu3 (2010). 1,3Rúni Brattaberg (bass), 3Eivør Pálsdóttir (sop.), 2Ólavur Jakobsen (guit.), 2Agnar Lamhauge (db), 1,2,3Eystanljóð (choir) c. 2Leif Hansen, 1,3Aldubáran (chamber orchestra) c. Gavin Bryars. GB Records BCGBCD20 - GAVIN BRYARS: The Sinking of the Titanic (1969–). Gavin Bryars Ensemble: Philip Jeck (turntables); Quartet 1: Nick Barr & Morgan Goff (vla), Nick Cooper (vc), Gavin Bryars (db); Quartet 2: Alexandra Maria Tchernakova (vla), Orlando Bryars & Ziella Bryars (vc), Yuri Bryars (db); Roger Heaton (cl.), Dave Smith (tenor horn, keyboard, woodblocks), James Woodrow (elec. guit.), Martin Allen (perc.), Bob Burnell (live sound), Chris Ekers (pre-recorded sound). GB Records BCGBCD21." Tempo 69, no. 272 (April 2015): 79–80. http://dx.doi.org/10.1017/s0040298214001168.
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Seeman, Sonia Tamar. "The Sounds of Actually-Existing Cosmopolitans: Music from Southeastern Europe at the Intersections of Oneselves, Western European, and Ottoman Turkish Legacies - The Last Balkan Tango—An Apocalyptic Dance Party, Boris Kovač and LaDaABa Orchest, 2001. Piranha CD 1573. Liner notes by Relja Knežević (8 page booklet). Published in Germany by Piranha. One compact disc, 13 tracks (69:19). US$19.98. ISBN 071870193926 - lag Bari: The Gypsy Horns from the Mountains Beyond, Fanfare Ciocărlia, with bonus video. 2001. Piranha CD 1577. Liner notes by Grit Freiedrich (12 page booklet). Published in Germany by Piranha. One compact disc, 18 audio tracks (54:02) plus DVD video excerpt from full-length documentary (2:41). US$19.98. ISBN 0718750194329." Middle East Studies Association Bulletin 38, no. 2 (December 2004): 208–13. http://dx.doi.org/10.1017/s002631840004699x.
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Searby, Michael. "Ligeti the Maverick? An examination of Ligeti’s ambivalent role in contemporary music." Journal of the Society for Musicology in Ireland, January 15, 2018, 3–15. http://dx.doi.org/10.35561/jsmi13171.
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The Hungarian composer György Ligeti is often described as a maverick by commentators on late twentieth-century music, and this article examines the evidence for using such a label. To what extent can Ligeti be genuinely considered a maverick? Or is this epithet an over-simplification of a more complex situation? The OED’s definition of a maverick (‘an unorthodox or independent-minded person: a person who refuses to conform to the views of a particular group or party: an individualist’) is close to the often stated view of Ligeti when compared with his peers, and it is also the view that Ligeti himself seemed to want to project in his many interviews. When accused by Helmut Lachenmann in 1984 of ‘selling out’—initiated by a performance of Ligeti’s rather postmodernist-sounding Horn Trio—Ligeti claimed that he was actually composing non-atonal rather than postmodernist music. This suggests that he felt that he was not following the prevailing new cultural movement of postmodernism, though works such as Hungarian Rock for harpsichord, with its use of tonality and influences of jazz, seem to undermine this assertion. When one compares Ligeti’s Apparitions for orchestra with Penderecki’s contemporaneous Threnody for the Victims of Hiroshima, it is possible to observe the similarities of approach, which hint that Ligeti’s music conforms to a more general approach to composing in the 1960s, focused on texture and timbre. When one views Ligeti’s entire oeuvre, one can see that he did in fact follow various contemporary compositional trends. Through a nuanced evaluation of Ligeti’s approach, the article concludes that the term ‘maverick’ does not do justice to the wide range of his output.
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Dimitriadis, Fotios, Chara Tsiampali, Nikolaos Chaliasos, Panagiota Tsounapi, Atsushi Takenaka, and Nikolaos Sofikitis. "The Sertoli cell as the orchestra conductor of spermatogenesis: spermatogenic cells dance to the tune of testosterone." HORMONES, December 15, 2015. http://dx.doi.org/10.14310/horm.2002.1633.
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Sawhney, Mohanbir, John Miniati, Patrick (Junsoo) Kim, and Pallavi Goodman. "Motorola's Droid 2: The Product Manager's Dilemma." Kellogg School of Management Cases, January 20, 2017, 1–11. http://dx.doi.org/10.1108/case.kellogg.2016.000219.
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After it introduced the extremely successful Droid smartphone into the market in 2009, Motorola quickly moved to develop the next-generation Droid 2 before the next wave of smartphones (including the rumored iPhone 4) flooded the market. The development process was moving smoothly for the company when Verizon, its biggest partner, dropped a bombshell. It wasn't happy with the mechanical camera button on the Droid 2 (citing customer feedback) and wanted it to be changed to a software button like the iPhone's. This request immediately placed Motorola in the proverbial horns of a dilemma. On the one hand, it couldn't brush away the request of its biggest and most important partner. On the other hand, changing the camera button now would mean delaying the Droid 2's entry into the market. Should the Droid 2 team remove the camera's hardware button in favor of a software button per Verizon's request, or not?John Smith, the product manager, leads the cross-functional Droid 2 team. The case setting is an emergency “war room” meeting to address this critical issue, just weeks prior to launch. John's objective is to obtain the salient facts and opinions of team members quickly so he can make an informed recommendation to his boss by the end of the day. He is concerned that this last-minute request for a design change will not only threaten to delay the launch, which would have significant financial implications, but could potentially create deep fissures in a hitherto effective team that had been running like a well-oiled machine.The case puts students in a situation that simulates a real-world discussion and allows them to experience what it is like, as a product manager, to orchestrate a meeting with cross-functional teams that have conflicting priorities and agendas. It illustrates the challenges a product manager faces while striving to make important decisions with little or no direct authority over the various teams.After reading and analyzing this case, students will be able to: Experience the dynamics of cross-functional teams in product management Practice running effective and productive meetings Practice bringing together various personalities and points of view Understand the importance of setting goals and clear expectations Internalize the importance of building relationships and influencing teams, even when you do not have direct authority