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Journal articles on the topic 'Improvisation in antique style"'

Author: Grafiati

Published: 4 June 2025

Last updated: 15 July 2025

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1

Prokopovych, Lada. "Reflecting the theatralization of life in the prospects of transhumanism." EUREKA: Social and Humanities, no. 4 (July 30, 2021): 3–8. https://doi.org/10.21303/2504-5571.2021.001972.

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The crisis state of society at the beginning of the 21st century is increasingly described as chaos. At the same time, the desire of people to theatricalization of many types of their activities remains unchanged. This gives grounds to consider the theatricality of being as a sociocultural constant, immanently inherent in humanity. The fact that it persists even during periods of cardinal changes, social transformations, civilizational shifts, breaking cultural stereotypes, destruction of traditional institutions and discreditation of established ideals can be explained by the fact that theatr

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Tsebrii, I., and Y. Dudnyk. "THE IMAGE OF JAZZ IN UKRAINIAN POPULAR MUSIC AND THE SIGNIFICANCE OF SUBCULTURES IN IT." Philosophical Horizons, no. 48 (July 31, 2024): 70–80. http://dx.doi.org/10.33989/2075-1443.2024.48.308072.

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The image of jazz in Ukrainian pop music is reproduced, the subcultures that dominate its modern manifestations are shown: African music, Irish-European melodies and rhythms, the interaction between pop music and folklore, a diametrically symmetrical structure, the appropriate composition of variable phrases (voice-instrument), various combinations of timbre acoustic electronics, a fusion of Ukrainian folklore and rock music. But, first of all, it is a harmonious combination of Afro-European traditions with Ukrainian folklore, its best examples. The article also talks about the leading masters

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Kennedy, Raymond F. "Jazz Style and Improvisation Codes." Yearbook for Traditional Music 19 (1987): 37. http://dx.doi.org/10.2307/767876.

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Zhang, Qi. "Grover Washington Jr.’s style of improvisation on the saxophone." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 62, no. 62 (2022): 107–23. http://dx.doi.org/10.34064/khnum1-62.07.

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Statement of the problem. Creativity of Gr. Washington Jr. studied, although he was a very popular performer and improviser. The official site provides the most detailed material on the heritage of Gr. Washington Jr., a section is not well of A. West’s dissertation (Aaron J. West) is devoted to the method of his improvisation, Gr. Washington Jr. is mentioned in studies on the theory and history of jazz (Aebersold, 1992; Ellenberger, 2005; Levine, 1995) as well as in a research essay on “smooth” jazz (Flynn, 2014; Mader, 2012). The purpose of the article is to outline the main features of Grove

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Malcomson, Hettie. "Cuban Flute Style: Interpretation and Improvisation." Ethnomusicology Forum 24, no. 3 (2015): 478–80. http://dx.doi.org/10.1080/17411912.2015.1050434.

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6

Clogan, Paul M. "Lydgate and the Roman Antique." Florilegium 11, no. 1 (1992): 7–21. http://dx.doi.org/10.3138/flor.11.002.

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The obsession with Lydgate's style, according to Derek Pearsall, "is endless, and to some extent self-sufficient, for there is no other poet in whom 'style' becomes so nearly an end in itself, a fixed entity, whose relation to 'subject' is one of abstract congruence not expressive embodiment." For John Ganim Lydgate's "often prolix narrative style . . . can be understood as part of a process of literary history that begins to include an audience broader than the court or monastery. His style comes about from a union of the perspectives of the court and the cloister; . . . his creation of a voi

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Li, Tianchang. "Analysis of Electric Guitar Improvisation Techniques." Journal of Contemporary Educational Research 7, no. 9 (2023): 86–90. http://dx.doi.org/10.26689/jcer.v7i9.5350.

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As an important form of modern fusion music performance, electric guitar improvisation is widely praised and welcomed for its unique performance style. The main points and difficulties of its performance lie in tone switching, speed playing skills, and grasping the title, mood, and style of the music. Therefore, it is necessary to integrate the conventional techniques of string sweeping, pizzicato, and dotted strings with improvisation, applying differentiated rhythmic rhythms, timbre modulation, and special playing techniques to deepen the distinctive art-rock music characteristics.

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Liu, Yi. "THE "COMMONALITY" AND "DIVERSITY" OF THE IMPROVISED ELEMENTS IN WESTERN ORCHESTRAL MUSIC." Scientific heritage, no. 123 (October 23, 2023): 3–7. https://doi.org/10.5281/zenodo.10032897.

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For Western orchestral music, it not only plays an indispensable role in the world music field, but also because of its strong blending characteristics, improvisation elements are used by performers in their daily lives or performance activities. In fact, improvisation elements belong to local residents in a certain region or improvised tunes or lyrics created by Western orchestral performers based on the on-site atmosphere. This article will explore the commonalities and diversity in the improvisation components of Western orchestral music, focusing on the beauty of improvisation and the cont

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Burov, Andrey Mikhailovich. "Early Antique Imagery." Journal of Flm Arts and Film Studies 2, no. 3 (2010): 30–40. http://dx.doi.org/10.17816/vgik2330-40.

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The article deals with the early antique period of image functioning (Geometric art, Archaic Greece, Physis Philosophy, Pythagoras). The author reviews the main image strategies of the time, the key one being overcoming the featureless imagery and creating model image constructions, i.e. the initial stage in the history of image development (from Geometrics to the invention of photography in the early 1900s). The softening of linear configurations and shaping of large mental images parallel to ixed style forms make it possible to see the emergence of the exemplary image.

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Palmer, C. Michael. "Instrumental Jazz Improvisation Development." Journal of Research in Music Education 64, no. 3 (2016): 360–78. http://dx.doi.org/10.1177/0022429416664897.

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The purpose of this exploratory study was to examine the role aural imitation ability, jazz theory knowledge, and personal background variables play in the development of jazz improvisation achievement. Participants ( N = 70) included 26 high school and 44 college instrumentalists with varying degrees of jazz improvisation experience. Data were collected using four researcher-designed instruments: (a) Participant Improvisation Experience Survey (PIES), (b) Improvisation Achievement Performance Measure (IAPM), (c) Aural Imitation Measure (AIM), and (d) the Jazz Theory Measure (JTM). Results ind

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Kostenko, T. M. "Improvisation as a means of student creative potential development." Educational Dimension 26 (December 14, 2009): 176–81. http://dx.doi.org/10.31812/educdim.7009.

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In the article examined possibility of using the technique of improvisation as developing force, as the meaning of development creative potential of students. as possibilities of transformation previous experience in the new style. Accent belongs on the improvisation technique, which allows to set with itself and outward things to new. realized and more active relations.

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Pillai, Nicolas. "Filming improvisation: Jazz criticism’s neglect of film style." Soundtrack 6, no. 1 (2014): 5–20. http://dx.doi.org/10.1386/st.6.1-2.5_1.

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Jia, Qiong, Shan Wang, and Guanlin Wang. "Charismatic leadership influences employees’ improvisation ability: Harmonious passion as a mediator and job insecurity as a moderator." Social Behavior and Personality: an international journal 52, no. 7 (2024): 1–10. http://dx.doi.org/10.2224/sbp.13213.

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Improvisation ability has become an important competency for employees to adapt to dynamic, volatile work environments. However, the effect of charismatic leadership style on the improvisation ability of employees is yet to be revealed. We used self‐determination theory and conservation of resources theory to explore the effect of charismatic leadership on employees’ improvisation ability, with job insecurity as a moderator and harmonious passion as a mediator. Our goal was to enrich research on leadership styles shaping employee behavior and employee competencies. We collected 267 valid quest

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Stetsiuk, R. O. "Saxophone jazz improvisation: texture and syntax parameters." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 88–109. http://dx.doi.org/10.34064/khnum1-57.06.

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Thisarticle offers a comprehensive overview of the “saxophonejazzimprovisation” phenomenon. It was noted that in the contemporary jazz studies, the components of this notion are, as a rule, not combined but studied separately. This work is the first study that proposes to combine them based on the textureandsyntaxparameters. For that purpose, a number of perceptions already developed in academic music studies have been corrected in this work, including the perception of the instrument’s textural style (A. Zherzdev), specifics of its reflection in improvisation, syntax as a “system of anticipat

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Rowan, Brent D. "Talk, Listen, and Understand: The Impact of a Jazz Improvisation Experience on an Amateur Adult Musician’s Mind, Body, and Spirit." LEARNing Landscapes 10, no. 2 (2017): 257–69. http://dx.doi.org/10.36510/learnland.v10i2.814.

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This paper examines the impact of creating music in an improvisational jazz style on an amateur adult musician’s mind, body, and spirit. Learning jazz improvisation skills can help build more empathetic human beings, when the focus of improvisation is on reacting to what you hear in a clear and concise manner. Life skills are developed by focusing on deep listening and communicating with other musicians. Enabling a person to talk to, listen to, and understand those around them builds community and understanding, and lessens the likelihood of conflict. This allows growth and progress to take pl

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Gál, Eszter. "Kontaktimprovizáció Magyarországon (1986–2016)." Theatron 15, no. 2 (2021): 77–89. http://dx.doi.org/10.55502/the.2021.2.77.

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In my paper I examine the presence of contact improvisation in Hungary between 1986 and 2016. I divide the more than thirty years after the emergence of the dance style into four periods. The resulting thematic units partly follow one another chronologically, and are partly tied to significant individuals, educational programs, and community events. This work serves as a starting point for a complex and deep examination of the cultural history of contact improvisation in Hungary.

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Delia-Pietra, Christopher J., and Patricia Shehan Campbell. "An Ethnography of Improvisation Training in a Music Methods Course." Journal of Research in Music Education 43, no. 2 (1995): 112–26. http://dx.doi.org/10.2307/3345673.

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In the belief that the strengthening of secondary school music programs is at least partially linked to the training of prospective teachers in the techniques of improvisation, me have examined the process by which music education students reveal an understanding of improvisation, its relationship to analytical listening, the musical and social interactions that can result from its study and practice in a group setting, and ways to integrate it into the curriculum. A 5-week improvisation training segment was included in a secondary music methods course. Five 90-minute sessions were focused on

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Mazierska, Ewa. "Improvisation in Electronic Music—The Case of Vienna Electronica." Open Cultural Studies 2, no. 1 (2018): 553–61. http://dx.doi.org/10.1515/culture-2018-0050.

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Abstract The purpose of this article is to establish what improvisation means and how it is used by electronic musicians operating in Vienna from the late 1980s till the present day: Peter Rehberg, Peter Kruder, Rupert Huber, Patrick Pulsinger, and the members of the band Sofa Surfers. It attempts to find out whether they believe that their choice of electronic instruments enhanced or impeded their ability to improvise and their sense of artistic agency; what type of improvisation they favour and what are their views on the changing role of improvisation in producing electronic music. It also

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Wren, Toby. "Jazz Standard as Archive." Journal of Jazz Studies 13, no. 1 (2022): 1–19. http://dx.doi.org/10.14713/jjs.v13i1.190.

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The jazz standard remains an enduring part of the tradition of jazz performance and pedagogy. Contemporary jazz scholarship has tended to focus on improvisation as a practice and jazz-as-lived-experience and, while the jazz standard repertoire has occasionally been the subject of study the relationship between the standard repertoire and the ‘language’ or style of jazz has not been theorised. In this article I argue that the distinctive style of jazz improvisation is at least in part, determined by the characteristics of its shared repertoire and the statements that have accrued around that re

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Luo, Depeng. "Study on the Space Design of Cafe from the Perspective of Regional Culture." International Journal of Education and Humanities 19, no. 2 (2025): 169–72. https://doi.org/10.54097/fcszq494.

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With the development of the times, people's desire for income and consumption is growing. With the gradual expansion of people's consumption field, people's material demand and consumption demand have also been improved, which is not only reflected in food, clothing, housing and transportation, but also in consumption quality and consumption feelings ... Nowadays, many people go to cafes not only for tasting a cup of coffee, but also for paying attention to the atmosphere in cafes. In the decoration style of coffee shop, a novel, creative and effective decoration style can not only attract con

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SHEVTSIV, Halyna. "Genre-style features of the European antique autobiographic discourse." Humanities science current issues 4, no. 47 (2022): 147–52. http://dx.doi.org/10.24919/2308-4863/47-4-24.

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Palagia, Olga. "Sculpture grecque antique : développements récents et thèmes dominants." Histoire de l'art 86, no. 2 (2020): 15–24. https://doi.org/10.3406/hista.2020.3899.

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Cette brève enquête met au jour les tendances marquantes de la recherche en sculpture grecque antique, s’appuyant sur les plus récents catalogues de musées et manuels, ainsi que sur les expositions de récentes découvertes. Les thèmes aujourd’hui dominants sont la polychromie, la survivance des sculptures grecques à l’époque romaine et le début du style sévère. Les publications sur ces questions sont ici discutées, notamment celles sur les pigments des sculptures archaïques et des sculptures du Parthénon au musée de l’Acropole. Le déplacement et le remploi des sculptures grecques à l’époque rom

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Pierce, Walter J., and Sharron M. Singleton. "Improvisation as a Concept for Understanding and Treating Violent Behavior among African American Youth." Families in Society: The Journal of Contemporary Social Services 76, no. 7 (1995): 444–50. http://dx.doi.org/10.1177/104438949507600706.

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The prevalence of violent behavior among African American youth poses a serious threat to society in general and to the African American community in particular. Current efforts to stem the tide of violent behavior have focused primarily on mentoring and threat of punishment as deterrents. The authors present the concept of improvisation as a lens through which to view and analyze the behavioral style of African American youth. Information is presented relative to the use of improvisation as a preventive and rehabilitative strategy for intervening with African American youth.

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Agosti, Gianfranco. "Literariness and Levels of Style in Epigraphical Poetry of Late Antiquity." Ramus 37, no. 1-2 (2008): 191–213. http://dx.doi.org/10.1017/s0048671x00004975.

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Nowadays, scholars usually speak of a ‘renaissance’ of poetry in the Greek literature of late antiquity, underlining at the same time the new relevance of poetic communication in late antique society and the renewal of our interest in this not so well-known production of late Greek literature. Renaissance and related terms are, of course, effective ways to describe the flowering of Greek poetry from the fourth to sixth centuries CE, so long as this does not undervalue the importance of continuity (which is not the same as tradition). Even the most significant innovation in late antique Greek p

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Van Troyer, Akito. "Repertoire Remix: Integrating Musical Preferences from Remote Audience in a Live Networked Improvisation." ScientiaTec 2, no. 2 (2015): 38–48. http://dx.doi.org/10.35819/scientiatec.v2i2.1464.

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Repertoire Remix enables remote audience members to dynamically suggest their musical preferences for live web-streaming musical improvisation sessions. The semantic web interface encourages remote participants to collaboratively use “stirring” mouse gestures to influence the size of graphical bubbles that contain composers’ names. The accumulated weight is then interpreted by musicians to improvise. This paper documents the first pilot run of the Repertoire Remix system, explores challenges in designing a real-time shared music-style arranging system for networked live improvisation, and inte

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Delavaud-Roux, Marie-Hélène. "La Grèce antique connaissait déjà la Break Dance!" Dramaturgias, no. 7 (July 4, 2018): 529–40. http://dx.doi.org/10.26512/dramaturgias.v0i7.9536.

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Si la Break Dance, l'une des nombreuses disciplines du hip hop, est née au début des années 1970, dans le milieu urbain et défavorisé new-yorkais du quartier du Bronx, la Grèce antique connaissait déjà un amateur d'une discipline acrobatique que nous pourrions aujourd'hui qualifier de Break Dance. Ce per- sonnage, nommé Hippocleidès, se produisit dans les années 572-570 av. J.-C.1 à l'occasion d'une réunion organisée par le tyran de Sicyone pour remercier tous les aristocrates qui avaient prétendu à la main de sa fille et choisir son gen- dre. Hippocleidès fit scandale par sa

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Kruglova, Elena. "On Ornamentation and Improvisation in Baroque Vocal Performance." PHILHARMONICA. International Music Journal, no. 6 (June 2022): 13–23. http://dx.doi.org/10.7256/2453-613x.2022.6.39508.

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The rapid revival of baroque music in Russia places ever higher demands on singers regarding a historically grounded style of performance. This is manifested not only in the content of vocal and technical equipment (implying the presence of flexibility of the vocal apparatus, possession of a wide cantilena and light coloratura fluency), but also in the need to form your own creative approach in creating an original version, including ornamentation and improvisation in cadence, repeating parts of da capo arias. The proposed article is aimed at solving topical problems in the field of baroque pe

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Toiviainen, Petri. "Modeling the Target-Note Technique of Bebop-Style Jazz Improvisation: An Artificial Neural Network Approach." Music Perception 12, no. 4 (1995): 399–413. http://dx.doi.org/10.2307/40285674.

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In cognitive science and research on artificial intelligence, there are two central paradigms: symbolic and analogical. Within the analogical paradigm, artificial neural networks (ANNs) have recently been successfully used to model and simulate cognitive phenomena. One of the most prominent features of ANNs is their ability to learn by example and, to a certain extent, generalize what they have learned. Improvisation, the art of spontaneously creating music while playing or singing, fundamentally has an imitative nature. Regardless of how much one studies and analyzes, the art of improvisation

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Разиньков, Egor Razinkov, Чернышев, and Aleksandr Chernyshev. "Furniture history in style of classicism." Forestry Engineering Journal 5, no. 4 (2015): 129–37. http://dx.doi.org/10.12737/17411.

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Classicism (neoclassicism) of the end of the 18 century is a tribute of great century of furniture art to antique art forms. In France where new style is called as Louis 16´s style, classicism was the last among &#34;royal styles&#34;. The principle of a periodization &#34;on kings&#34; carries, naturally, very conditional character. For example, it is impossible to determine a chronological framework of classicism by the beginning of board and year of death of the king Louis 16 (1774-1789). The similar periodization is even less justified for other countries.

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Boiko, Martin. "Techniques of Melody Formation and Improvisation in Latvian Recitatives." Journal of Ethnology and Folkloristics 19, no. 1 (2025): 125–56. https://doi.org/10.2478/jef-2025-0007.

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Abstract The documentary material available for the study of recitatives (the dominant style of the older layer of Latvian folk song) mainly consists of field transcriptions from the late 19th and the first half of the 20th century. The material is fragmentary, although some of it when adequately read provides valuable insight into melody formation and improvisation. The study also points to findings in the rhythmic formation of Latvian recitatives, achieved through measurement of syllabic duration in audio recordings. A concept of melody formation techniques was developed, and two groups of t

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Hochard, Talal. "Improvisation in Jack Kerouac’s “Jazz” Writing: Intersubjectivity, Authenticity, and the Collectivist Utopia." Interdisciplinary Literary Studies 25, no. 4 (2023): 497–522. http://dx.doi.org/10.5325/intelitestud.25.4.0497.

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ABSTRACT Jack Kerouac’s “spontaneous” style has often been described as an anti-representational innovation that disrupts conventional narrative modes with multimedia features such as orality and jazz. This article outlines the aesthetics of Kerouac’s jazz writing, suggesting that its improvisational characteristic, in particular, functions as a tool for establishing intersubjective experiences, which contribute to the manifestation of authenticity and the construction and retrieval of empathetic opportunities with others. The jazz performances chronicled in On the Road could be regarded as th

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Zhang, Ru, Zhenhua Guo, and Yangfan Xu. "Design of an Intelligent Algorithm for Rural Antique Ceramic Bottom Pattern." Frontiers in Computing and Intelligent Systems 5, no. 3 (2023): 30–32. http://dx.doi.org/10.54097/fcis.v5i3.13839.

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The style of ancient ceramics has always been one of the most important factors affecting the sales of antique ceramic products. Although it has certain rules, due to the complexity of current product design and the limitations of designers in the design process, intelligent algorithms are needed to assist in design. In response to the diversity of intelligent design solutions for antique ceramic products, this paper proposes a research method for antique ceramic product design based on AGCGAN. Combining with the universal links in the process of intelligent product design, a generative advers

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BRACKETT, DAVID. "Improvisation and Value in Rock, 1966." Journal of the Society for American Music 14, no. 2 (2020): 197–232. http://dx.doi.org/10.1017/s1752196320000073.

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AbstractThe mid-1960s has figured as a central period in the historiography of popular music, but the role of improvisation has been little discussed. This article argues that issues of improvisation and value are crucial to understanding the emergence of a high-low split within popular music, a division that figures prominently in criticism and fan discourse up to the present day. This new stratification within popular music made it possible for rock to acquire critical prestige relative to other popular music genres. The formation of rock also relied on its association with a primarily white

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Magallanes, Vivian M., and Dexter Paul D. Dioso. "Leadership Style Practices of Principals and Organizational Commitment Profile of Employees of Dioceasan Catholic Schools." Philippine Social Science Journal 3, no. 2 (2020): 39–40. http://dx.doi.org/10.52006/main.v3i2.156.

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The principals play a vital role in the success of the schools. The leadership style practices of the principals can have a wedge on the commitment of employees. Keeping committed teachers is a challenge faced by educational leaders. Hence, the paper describes the extent of leadership style practices and employees' organizational commitment profile in Antique Diocesan Catholic Schools (ADCS) during the school year 2019-2020. Likewise, it explores the significant difference in principals' leadership style practices as perceived by the employees when grouped according to demographics. Also, it d

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Jiang, Jun An, Yi Ren Wang, Li Tao Zhao, Li Li, and Yu Liu. "Study on CNC System for Concave-Convex Surface Processing of Antique Style Flooring." Advanced Materials Research 904 (March 2014): 315–19. http://dx.doi.org/10.4028/www.scientific.net/amr.904.315.

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As a new emerging kind of flooring, antique style flooring has been warmly welcomed by the market. The production of the flooring is produced through artificial processing only and result in some problems. In this paper, a new patented CNC grinding system is introduced, which makes it possible to process concave-convex surface on flooring automatically. There were two major points in developing the system. Firstly, the concave-convex surface processed by this system must have the same visual effects as those processed in artificial way, denting and protruding randomly and maintaining the natur

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Kiilerich, Bente. "In Search of the Patron: Late Antique Styles in Context." Acta ad archaeologiam et artium historiam pertinentia 30 (March 20, 2019): 1–21. http://dx.doi.org/10.5617/acta.6865.

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The people who commissioned artworks and monumental decorations in late antiquity are for the most part unknown. Even when names are recorded, it is often difficult to tell to what extent the demands of the patron determined the visual characteristics of a given work. Since styles were tied to workshop traditions and contentions, it can be argued that in most instances, the patron had but limited influence on stylistic properties. Evidence actually suggests that the style of a work often came about independently of the one who commissioned or purchased it. The style was conditioned by function

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Čehovský, Petr. "Význam raně renesanční architektonické skulptury na lombardské a moravské umělecké periferii." Kultúrne dejiny 14, no. 2 (2023): 132–61. http://dx.doi.org/10.54937/kd.2023.14.2.132-161.

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This case study examines the importance of artistic periphery in the field of early Renaissance architectural sculpture in the years circa 1480 – 1550. The Renaissance style spread to Central Europe especially from Italy. In the older historical art literature opinions often emerged that Central European stonemasons did not understand the principles of Italian Renaissance art, and because of this misunderstanding they combined Renaissance style with Gothic. The author has undertaken long-lasting terrain research of early Renaissance architectural sculpture in one Central European and one Itali

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Taxel, Itamar. "Late Antique Ionic Column Capitals in the Countryside of Central Palestine between Provincial Trends and Classical Traditions." Studies in Late Antiquity 2, no. 1 (2018): 84–125. http://dx.doi.org/10.1525/sla.2018.2.1.84.

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This article provides the first comprehensive synthesis of one of the least studied styles of column capitals—the Ionic order—in the countryside of the central Palestinian hill country in Late Antiquity. In this study a suggested typology and chronology of the documented finds of Ionic capitals—all are made of local limestone—is presented, while taking into account the geographical distribution of the capital types, and their archaeological/architectural and cultural contexts. Ionic capitals in late antique central Palestine were almost exclusively used in rural settlements of various forms, m

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Szőke, Béla Miklós. "Spätantike Reminiszenzen im Karpatenbecken des 8.–9. Jahrhunderts?" Antaeus 35-36 (2018): 291–309. http://dx.doi.org/10.62149/antaeus.35-36.2018_13.

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Many dress adornments and costume accessories, and particularly the cast bronze belt fittings worn by the Avars of the Carpathian Basin, create the impression that they had been produced and/or designed and decorated in late antique workshops. Was there a cultural milieu in the eighth–ninth centuries that continued to transmit the spirit and taste of Late Antiquity, or are these articles merely reflections and products of late antique reminiscences? Can we speak of direct cultural, artistic and workshop connections with the Mediterranean existing up to the ninth century, as is often the case t

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Gainsford, Peter. "Homer and hip-hop: improvisation, cultural heritage, and metrical analysis." Melbourne Historical Journal 38 (July 1, 2010): 5–17. https://doi.org/10.5281/zenodo.343882.

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Homeric epic and modern hip-hop are discussed as performance poetry, with particular attention to how both genres construct the social identity of the community in which they are performed. Parallels are also drawn with slam poetry. The character of the oral accumulative style is outlined, with examples from both Homer and hip-hop.

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Goncharko, Oksana, and Dmitry Goncharko. "The Dialogue On Aristotle Categories by Porphyry as a Platonic Dialogue." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 13, no. 1 (2019): 83–93. http://dx.doi.org/10.25205/1995-4328-2019-13-1-83-93.

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The paper focuses on interactive dialogue-form strategies in the framework of the late antique Greek and early Byzantine logical traditions. The dialogue by Porphyry On Aristotle Categories is a perfect example of the Neoplatonic approach to build logic in a Plato style. The main protagonistresses of the dialogue are The Question and The Answer, who act as collocutors do in traditional Platonic dialogues. It is proposed to consider the dialogue in the context of three perspectives: in accordance with the tradition of the Platonic dialogue; in the light of Aristotle’s education system; in its r

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Kim, Sujin, and Yoonhan Jeon. "A Study on Improvisation Techniques Appearing in Keith Jarrett 《Koln Concert January 24, 1975, Pt. A》." Korean Society of Culture and Convergence 44, no. 6 (2022): 1079–106. http://dx.doi.org/10.33645/cnc.2022.6.44.6.1079.

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This paper focuses on the characteristics of improvisation among the various musical expression techniques of Keith Jarrett. The field of improvisation, which originated from the European classical tradition, is one of the ever-developing techniques in music history. Used as a tool to show the performer’s technical excellence by the musical styles of many eras, improvisation has been independent of musical structure since the 1960s, and has everything from creation to rhythm to form. It was a new concept that the performer’s will was reflected as it was. This is the 1960s free jazz and 1970s f

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Marino, Luigi. "New Technologies, Old Behaviours: Electronic media and electronic music improvisors in Europe at the turn of the millennium." Organised Sound 27, no. 2 (2022): 131–43. http://dx.doi.org/10.1017/s1355771823000109.

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Two improvisation scenes emerged in the late 1990s – Echtzeitmusik in Berlin, and in London the New London Silence – with similarities in aesthetic and approach. Among these is a tendency towards a more silent and less responsive style of improvising often referred to as reductionism, and the inclusion of electronic resources, with a complex interaction between the two. This article introduces these two scenes and their respective approaches, and uses interviews with key improvisors in each to interrogate the performers’ approaches to electronics, and whether this plays a role in determining a

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Niu, Zhen. "Research on Music Form in the Field of Ethnic Musicology: Analysis of the Music Culture Style of Southwest Lu." Journal of Education and Educational Research 7, no. 2 (2024): 258–59. http://dx.doi.org/10.54097/5gk5zp21.

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This paper explores its unique musical culture style through field research on the musical form of Southwest Lu's advocacy music. First, this article. The activities of advocacy music in folk etiquette, festival celebrations and other occasions are analyzed, and its diversified performance forms and repertoire selection are revealed. Secondly, this text, the improvisation and flexibility of advocating music in the process of playing are discussed, highlighting its unique charm in music expression. Finally, through an in-depth analysis of the musical culture style of advocating music, it is emp

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Shevock, Daniel J. "The Experience of Confident Music Improvising." Research Studies in Music Education 40, no. 1 (2018): 102–16. http://dx.doi.org/10.1177/1321103x17751935.

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Improvisation plays a substantial role within the world’s musical cultures. The purpose of this research was to explore the essence of the experience of confident music improvising. In this phenomenological study, confidence was considered a psychological experience and the confidence of improvisers the phenomenon under examination. The researcher compiled experiences through stories describing the phenomenon by interviewing three confident improvisers: a bluegrass fiddler, a jazz bassist and a baroque violinist. Vignettes portrayed the lifeworlds of these instrumentalists. The stories told we

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Galaicu, Violina. "Improvisation in religious music of Byzantine tradition." Arta 33, no. 2 (2024): 7–12. https://doi.org/10.52603/arta.2024.33-2.01.

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The sources that fueled Byzantine sacred music, mostly oriental, as well as the multi-secular orality of its circulation, made this art possess a vast and rich spectrum of improvisational forms. The improvisational spirit manifests itself especially in the solo intonation and the more evolved melodic idioms, i.e. in the stihiraric and papadic singing, but also the irmologic singing leaves the psalmists a margin for individual contribution and invention. In all traditional musical cultures - and even more so in Byzantine music - improvisation starts from established patterns, predetermined laws

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Mikó, Árpád. "Style and Inscription." Acta Historiae Artium 64, no. 1 (2024): 37–88. http://dx.doi.org/10.1556/170.2023.00011.

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The practice of using classical capital lettering was introduced north of the Alps from Italy in the second half of the 15th century, and appeared very early in the Kingdom of Hungary. The article contains six case studies on the problems of architectural carvings, stone tabernacles, tombstones and the classical inscriptions on them. I. Tabernacles. All’antica tabernacles were produced in large numbers in late mediaeval Hungary and survive in churches from monumental to very small. The tabernacle frames, which followed the antique architecture of the façade, were accompanied by inscriptions: q

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Wang, Cheng-i., and Shlomo Dubnov. "Guided Music Synthesis with Variable Markov Oracle." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 10, no. 5 (2021): 55–62. http://dx.doi.org/10.1609/aiide.v10i5.12767.

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In this work the problem of guided improvisation is approached and elaborated; then a new method, Variable Markov Oracle, for guided music synthesis is proposed as the first step to tackle the guided improvisation problem. Variable Markov Oracle is based on previous results from Audio Oracle, which is a fast indexing and recombination method of repeating sub-clips in an audio signal. The newly proposed Variable Markov Oracle is capable of identifying inherent datapoint clusters in an audio signal while tracking the sequential relations among clusters at the same time. With a target audio signa

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Zhou, Zi Chun, and Hong Gang Lei. "Seismic Analysis of a High Rise Antique-Style Pagoda with Steel Reinforced Concrete Composite Structure." Applied Mechanics and Materials 851 (August 2016): 733–38. http://dx.doi.org/10.4028/www.scientific.net/amm.851.733.

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In this paper, we analyze the dynamic and seismic performance of a high rise antique-style pagoda by using the response spectrum analysis and the time history analysis method, which are implemented in finite element software. The result of our system can provide a reference to the structural designer to ensure the structure of such architecture meets the seismic fortification requirements.

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DWORNIK, MARTA, ANNA ROŻAŃSKA, and PIOTR BEER. "Traditional ornaments of Świdermajers’ style windows in the town of Otwock." Annals of WULS, Forestry and Wood Technology 107 (September 30, 2019): 84–103. http://dx.doi.org/10.5604/01.3001.0013.7646.

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The paper provides an analysis of windows in antique Świdermajers’ style wooden buildings, located in Otwock. It has been discovered that many of them have been already replaced with new ones. Attention was paid to the traditional Polish casement window structure with transom and the main part below, additionally divided into smaller areas by wooden horizontal or vertical muntins. Analysis of traditional window carpentry elements such as shutters, window sills, cornices and batten frames was made together with their classification based on different kinds of decorative motifs.

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