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Journal articles on the topic 'Interpretation of a musical composition'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

SAMOILENKO, OLEXANDRA, SVITLANA OSADCHA, ALLA CHERNOIVANENKO, JULIA GRYBYNENKO, and OLEXANDRA OVSYANNIKOVA-TREL. "MUSICAL COMPOSITION AS METONYMY OF CULTURE AND THE SUBJECT OF MUSICOLOGICAL STUDIES." AD ALTA: Journal of Interdisciplinary Research 12, no. 1 (2022): 190–92. http://dx.doi.org/10.33543/120125190192.

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The study of musical composition as a unique artistic phenomenon remains an urgent task of modern musicology. Despite the constant use of this concept, it did not acquire a sufficiently stable categorical status. Some ambiguities in the theoretical interpretation of the concept of musical composition are due to the complex nature of this phenomenon, in which the main principles of musical form and meaning formation are focused. It is found that, on the one hand, the temporal nature of music and its impact allows us to consider musical compositions as conditional chronotopic indicators of the h

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Shcholokova, Olha, Natalia Mozgalova, and Iryna Baranovska. "Interpretation of musical composition: a methodical aspect." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, no. 3 (128) (October 31, 2019): 151–58. http://dx.doi.org/10.24195/2617-6688-2019-3-21.

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The article presents the issue regarding activation of artistic and interpretative activities of the students majoring in musical specialties at higher pedagogical educational institutions. The artistic-interpretative activity is considered as a factor of students’ creative development, growth and self-realization. The method of categorical analysis of the issue “interpretation” facilitated the establishment of a number of its values which were considered and implemented in the step-by-step experimental methods of training future music teachers in interpreting musical works. The course and res

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Okhotnikov, Vladimir E. "The Semantic Explicitization of the Musical Text in Work with Beginner Guitarists." ICONI, no. 3 (2020): 107–20. http://dx.doi.org/10.33779/2658-4824.2020.3.107-120.

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The procedure of interpreting the content of the musical composition studied in a performance class is often reduced to reconstituting the version created by the instructor. The foundation of the joint interpretation with the pupil of the compositions may be served by the process of functioning of semantic fi gures in the context of the musical theme. Its semantic organization is impossible without turning to the foundational concept of semantic analysis — the intonational lexis, which summate the perceptions of the intonational vocabulary of the composer and the musical work he created. There

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Parson, Dale. "Quantum Composition and Improvisation." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 4 (2021): 21–25. http://dx.doi.org/10.1609/aiide.v8i4.12552.

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Quantum mechanical systems exist as superpositions of complementary states that collapse to classical, concrete states upon becoming entangled with the measurement apparatus of observer-participants. A musical composition and its performance constitute a quantum system. Historically, conventional musical notation has presented the appearance of a composition as a deterministic, concrete entity, with interpretation approached as an extrinsic act. This historical perspective inhabits a subspace of the available quantum space. A quantum musical system unifies the composition, instruments, situate

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Beličová, Renáta. "Musical Idioms as Meaningful and Expressive Constants. Marek Piaček: Apolloopera - A Melodrama about Bombing for the Choir, Actor and Trombone." ESPES. The Slovak Journal of Aesthetics 7, no. 2 (2018): 4–13. https://doi.org/10.5281/zenodo.6377497.

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Musical idioms may appear side by side in a wide variety of historical, group-based or individual compositional styles used in the postmodern compositions. The reception interpretation of musical works is based on the idioms of musical speech as meaningful and expressive constants. Not only do the reveal the positive or negative ties of current musical language to the musical poetics from previous periods, they also update their meanings. The idiomatic musical structures naturally grow into the social system of music and thus become part of the deeper levels of European compositional tradition

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Herliana, Emmelia Tricia. "ANALOGI MUSIK-ARSITEKTUR MELALUI PROSES TRANSFORMASI PADA SIMULASI PERLUASAN GEREJA KATEDRAL BOGOR." Jurnal Arsitektur KOMPOSISI 10, no. 1 (2017): 57. http://dx.doi.org/10.24002/jars.v10i1.1054.

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The selection of appropriate approaches for specific design project is the most creative step in a design process. In the recent research report (Herliana 2010), the approach which is derived from auditorial sensation through a conceptual interpretation of the characteristics of liturgical music in the Catholic Church explores the analogy of the musical composition elements and the architectural elements of design. The aim of this study is to implement the interpretation of the analogous of musical composition elements to the simulation in designing the extension of Cathedral Church in Bogor.

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Варганич, Г. О. "ОСОБЛИВОСТІ ВИКОНАВСЬКОЇ ІНТЕРПРЕТАЦІЇ ХОРОВОГО ТВОРУ". Spiritual-intellectual upbringing and teaching of youth in the 21st century, № 4 (2022): 251–55. http://dx.doi.org/10.34142//2708-4809.siuty.2022.59.

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Article considers the concept of interpretation in music, analyses modern scientific views on the problem of musical composition interpretation, reveals the essence of performance interpretation of choral composition and the specifics of the embodiment of interpretation in the choir

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Górny, Tomasz. "Związki retoryki i muzyki – kantata Christ lag in Todesbanden Jana Sebastiana Bacha / Rhetoric And Music: Johann Sebastian Bach’s Cantata Christ Lag in Todesbanden." Ruch Literacki 53, no. 6 (2012): 731–43. http://dx.doi.org/10.2478/v10273-012-0045-8.

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Summary The first part of the article outlines the tradition which gave shape to the Baroque musical rhetoric. Among its constitutive elements were the style of the Florentine Camerata with its insistence on the role of speech in musical composition; Athanasius Kircher’s doctrine of the affects (Affektenlehre); Johann Mattheson’s model of the aria and Joachim Burmeister’s idea of musical figures. The second part of the article contains a rhetorical interpretation of Johann Sebastian Bach’s Cantata No.4 BW V Christ lag in Todesbanden”. The interrelationship between the words and the musical str

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Song, Jinzhu. "Musical Characteristics and Playing Technique of Liszt’s Second Narrative." Journal of Social Science and Humanities 7, no. 2 (2025): 24–29. https://doi.org/10.53469/jssh.2025.7(02).04.

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Liszt was born in Hungary and is a representative composer of the age of romanticism. His creative style is innovative and personalized, and his outstanding compositions throughout his life are countless. The value of “Ballade No.2 in B minor” is one of Liszt’s relatively underestimated compositions. Firstly, this article analyzes the musical structure of the composition. Secondly, an analysis is conducted on the themes that occupy a significant amount of space, as well as the thematic transformation of each theme, in terms of musical image and. Finally, a more detailed explanation of the five

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Domokos, Zsuzsanna. "Gretchen’s figure in Liszt’s musical interpretation." Studia Musicologica 54, no. 4 (2013): 389–96. http://dx.doi.org/10.1556/smus.54.2013.4.5.

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The salvation role of Gretchen, embodying the “Ewig-Weibliche,” has already been mentioned by several scholars analyzing Liszt’s “Faust” Symphony. According to them, Liszt found the most direct models to the characterization of the female protagonist of his work in Wagner’s operas. This interpretation can be made more differentiated in the view of another musical quotation of the “Gretchen” movement of the Symphony. I would like to go further on the basis of some concrete musical analogies, following the genesis of the composition and Liszt’s writings. I seek to answer the following questions:

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Чжау, Лі. "КЛЮЧОВА РОЛЬ ІНТЕРПРЕТАЦІЇ МУЗИЧНОГО ТВОРУ У ПРОЦЕСІ ФАХОВОЇ ПІДГОТОВКИ МАЙБУТНІХ СПІВАКІВ З КНР". Педагогіка та психологія, № 50 (5 листопада 2015): 127–36. https://doi.org/10.5281/zenodo.33287.

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<em>In article, on the basis of the analysis of the literature regarding the definition of "competency in interpretation" and having studied the experience of leading Ukrainian and Chinese music teachers, are proved that the creative activities in the process of interpreting a musical compositions which encourages the development of musical abilities and artistic creative thinking, performance skills, creative vision and intuition, musical culture and artistic taste of the student generates an adequate self-assessment of professional and personal qualities of future musicians from Ch

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Vereshchahina-biliavska, Olena, Nataliia Mozgalova, Olena Burska, Tetiana Hrinchenko, and Yaroslav Novosadov. "FORMATION OF ANALYTICAL THINKING THROUGH THE ANALYSIS OF INTERPRETATIONS OF MUSICAL WORKS IN THE PROCESS OF TRAINING A SPECIALIST MUSICIAN." Yegah Müzikoloji Dergisi 8, no. 1 (2025): 812–62. https://doi.org/10.51576/ymd.1628706.

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The purpose of the study was to reveal the key aspects of the formation of analytical thinking through the analysis of interpretations of musical works. In the process of conducting this study, such methods as monitoring and surveys were used, as well as the identification of key analytical aspects of performers and their systematization. As a result of the study of the processes of forming analytical thinking based on listening to musical interpretations, its components were revealed. These are the skills of artistic perception of music, the system of comprehension of works, and the component

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Malakhova, Margaryta. "STUDENT’S FOLK MUSIC BAND: TECHNOLOGY OF GROUP INTERPRETATION OF MUSICAL COMPOSITION." Educological discourse, no. 3-4 (2019): 100–109. http://dx.doi.org/10.28925/2312-5829.2019.3-4.100109.

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The article deals with the problem of collaboration and group interaction during the production of a musical composition. The terms “music band”, “pedagogic technology” and “interpretation” are revealed. Based on author’s experience, the technological dimensions in the activity of student’s folk music band are shown. These dimensions are aimed at performance of musical compositions during collective interactions. According to this problem the four main stages are market out, such as familiarization with a musical composition, technical mastering, realization of artistic content and music perfo

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Malinkowskaya, Augusta V. "PEDAGOGICAL ASPECTS OF THE PERFORMING INTERPRETATION OF A MUSICAL COMPOSITION." Musical Art and Education 9, no. 3 (2021): 29–47. http://dx.doi.org/10.31862/2309-1428-2021-9-3-29-47.

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Handelman, Eliot, Andie Sigler, and David Donna. "Automatic Orchestration for Automatic Composition." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 4 (2021): 43–48. http://dx.doi.org/10.1609/aiide.v8i4.12562.

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The automatic orchestration problem is that of assigning instruments or sounds to the notes of an unorchestrated score. This is related to, but distinct from, problems of automatic expressive interpretation. A simple algorithm is described that successfully orchestrates scores based on analysis of one musical structure -- the "Z-chain."

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Anggara, Rama, and Asril Asril. "Tornado In The Sea: A Media Transposition of the Barracuda Series Painting into a Musical Composition." Gondang: Jurnal Seni dan Budaya 7, no. 2 (2023): 403. http://dx.doi.org/10.24114/gondang.v7i2.53754.

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This work is the manifestation of the transformation of Zaimie bin Sahibil’s painting, Barracuda Series, into musical form. The Barracuda Series painting presents the beauty and richness of the ocean bed as a utopian paradigm of the maritime ecology of the coastal community of Sabah, Malaysia. The composer was inspired by his own aesthetic experience when appreciating the painting. This aesthetic experience became the material object that was treated with the concept of media transposition and turned into a musical composition. The media transposition was implemented through the interpretation

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Giles, Roseen H. "The Inaudible Music of the Renaissance: From Marsilio Ficino to Robert Fludd." Renaissance and Reformation 39, no. 2 (2016): 129–66. http://dx.doi.org/10.33137/rr.v39i2.26857.

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This article revaluates the significance of musical treatises written by the Ficinian physician Robert Fludd (1574–1637). By reconsidering the implications of Fludd’s interpretation of Marsilio Ficino’s musical philosophy, I propose that his “reconstruction” of the Renaissance outlook in the seventeenth century is not merely a backward-looking oddity, but is rather indicative of a long-standing and pervasive history of inaudible music (i.e., the “silent” harmony of the universe and of the human body). Music played a central role in Fludd’s polemics with the scientists Johannes Kepler (1571–163

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Desainte-Catherine, Myriam, Antoine Allombert, and Gérard Assayag. "Towards a Hybrid Temporal Paradigm for Musical Composition and Performance: The Case of Musical Interpretation." Computer Music Journal 37, no. 2 (2013): 61–72. http://dx.doi.org/10.1162/comj_a_00179.

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In this article, we consider the possibility of mixing two main paradigms of electroacoustic music: the writing-oriented and the performance-oriented paradigms. We show that these two opposing paradigms are the consequence of two corresponding conceptions of time. In addition, we assume that the temporal aspects of a performer's interpretation of a musical composition can be linked to both paradigms. Based on this theoretical study, we propose a formalism for composing pieces of electroacoustic music that can be interpreted in performance.

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Kashyrtsev, Ruslan. "The composer’s interpretation: the dialectic of inner and outer factors." Aspects of Historical Musicology 21, no. 21 (2020): 193–217. http://dx.doi.org/10.34064/khnum2-21.13.

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Background. Consideration of a composer interpretation is an important sphere for investigation in the Ukrainian musicology. In this article, attention focuses on the interaction of a composer’s artistic individuality (the inner factor) and objective prerequisites of creation a musical piece (the outer factor) in the process of a composer interpretation. Their dialectical interaction is showed on the designed models-scenarios, which display typical situations a composer may encounter in his/ her work. Special attention is paid to differentiation of procedures of the actual composition art and

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Ushakova, Dar'ya Alekseevna. "Aesthetic Interpretation of Musical Composition as a Subject Area of Hermeneutics." Manuskript, no. 4 (April 2020): 93–97. http://dx.doi.org/10.30853/manuscript.2020.4.18.

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His, Isabelle. "Italianism and Claude Le Jeune." Early Music History 13 (October 1994): 149–70. http://dx.doi.org/10.1017/s0261127900001339.

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In section iii of his paper ‘Ut musica poesis’, Howard Mayer Brown remarked upon Italian musical presence in France in three main areas: music theory, techniques of composition and interpretation, and poetry. The works of Claude Le Jeune (c. 1530–1600) seem to me to illustrate his comments in a particularly striking fashion, and although my study of Italian influence on Le Jeune's work is incomplete, I think it is possible to make some preliminary observations.

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Vybyvanets, Eleonora V. "The “Fandango” Ballet by L. Lubovitch in the Light of Mythos-Rituality: the Comprehension Experience." Observatory of Culture, no. 5 (October 28, 2015): 44–49. http://dx.doi.org/10.25281/2072-3156-2015-0-5-44-49.

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The article analyzes the dependence of the musical composition by M. Ravel’s ideological and imaginative interpretation on the contemporary context. For the first time ever, a substantial interpretation of the “Fandango” ballet is given in two different perspectives - theatrical-scenic and ritual. The author makes an attempt to reveal the complex of semantic meanings of musical, dance-plastic and scenographic texts of the ballet. As a result of intersection of the above mentioned semantic meanings, the whole artistic meaning comes to light.

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Purwanda, Sandy, Desmawardi Desmawardi, and Asep Saepul Haris. "Komposisi Musik Semarak Sipai Bersumber Dari Beruji Dol Dalam Upacara Tabot Di Kota Bengkulu." Jurnal Musik Etnik Nusantara 4, no. 1 (2024): 67. http://dx.doi.org/10.26887/jmen.v4i1.4223.

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Music is a means of expressing the soul to communicate and interact between living creatures. Through music we can express various ideas with various colors of sound produced by any object that can accommodate the idea itself. Sounds and voices are arranged well so that a musical work is created as a harbor for ideas that are full of messages and meaning. This work begins with research on the Bruji Dol performance and from the results of the analysis, a conclusion is drawn to take one part, namely the song Girik" which is contained in the Bruji Dol performance in the Tabot ceremony in the city

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Campău, Elisabeta Firtescu. "Improvised musical performance as conversational language in jazz." Artes. Journal of Musicology 26, no. 1 (2022): 235–49. http://dx.doi.org/10.2478/ajm-2022-0015.

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Abstract Musical interpretation, in the form of the act of spontaneous composition, defined jazz throughout its stylistic evolution. Unlike other serious music, jazz has crystallised mainly due to the creative act of musical interpretation and less to the process of written musical construction. Within this cerebral musical genre, the act of performing took over as the fundamental role in the artistic communication between jazz musicians and audience but it especially took the form of an interrelation in the collective musical interpretation. The act of musical improvisation, in terms of jazz,

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Gita, Gede Risa Sutra, and I. Ketut Sudhana. "Introduction to the Musical Composition "Tirtha Nadi" | Pengantar Karya Komposisi Karawitan "Tirtha Nadi"." GHURNITA: Jurnal Seni Karawitan 1, no. 2 (2023): 75–83. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i2.151.

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Tirtha Nadi is a work of new musical compositions of karawitan. In this creation the composer is inspired to take the theme of Tirtha which means the water of life. Through this theme the composer interpretation water as a source of life in terms of the sustainable ecosystem of living things in their natural environment, the composer's aesthetic experience of the natural nuances and beauty of the stylist at that time and lake water flowing in various directions as a source of community life in carrying out various daily activities, which is poured into Part 1, Part 2, and Part 3. The structure

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Jing, Xiao. "The Performance Practice and Musical Analysis of Ignaz Moscheless Etude Op.105." Archives of Humanities & Social Sciences Research 1, no. 3 (2024): 01–06. https://doi.org/10.64030/3065-3568.01.03.01.

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This paper explores Ignaz Moscheles›s Etude Op. 105 by conducting a detailed examination of its performance practices and musical analysis. Moscheles, a notable figure bridging the Classical and Romantic periods, crafted this composition in 1841, showcasing advancements in technique and a unique musical approach. The research investigates the historical context surrounding the composition, encompassing various facets such as technical challenges and articulation. The musical analysis focuses on aspects of tonality and phrasing. In addition, the paper concludes with the method of interpretation

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Kurlenya, Konstantin. "Xenakis and Cage: Two Nothings – Two Non-Existences – Two Beginnings of Music." Ideas and Ideals 17, no. 1-2 (2025): 375–99. https://doi.org/10.17212/2075-0862-2025-17.1.2-375-399.

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The article examines the origins of the philosophical foundations of music in the artistic worldview systems of J. Xenakis and J. Cage, outstanding representatives of the Western musical avant-garde of the second half of the 20th century. Both authors started from a personal interpretation of the categories “nothing” and “non-existence”, leaving to being only the ontological status of “a specific something – a piece of music”. The unique interpretations of the substantial status of “nothing” and the process of “nothing” transitioning into something, as well as individual versions of the semant

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Hadžajlić, Hanan. "Composition-Interpretation-Improvisation Processes in XO pt. II by Dino Rešidbegović: Comparative Analysis of two Interpretations." INSAM Journal of Contemporary Music, Art and Technology, no. 1 (December 15, 2018): 56–71. http://dx.doi.org/10.51191/issn.2637-1898.2018.1.1.56.

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The composition XO pt. II for flute with processors, amplified cello, amplified piano and analog sound synthesizers, by Dino Rešidbegović, was published in 2016 as an electroacoustic adaptation of its previous version, XO for undetermined instrumentation. The phenomenon of the notation of both versions, presented through the graphic score, comes from the very idea of/about the composition. The score is divided into nine squares which form a network with incorporated abstract shapes of different colors. In the middle of the score is a chart of a spectral analysis of the composition The Impact o

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Dominiak, Barbara. "Realization of a task as a method of work on the movement interpretation of a musical work." Konteksty Kształcenia Muzycznego 5, no. 1(8) (2018): 45–57. http://dx.doi.org/10.5604/01.3001.0012.8033.

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The article discusses the issue of a realization of movement interpretation of a musical work in accordance with the Emil Jaques-Dalcroze method. It gives a definition of the notion of movement interpretation, considers the role of a performer as an essential link between the author and a recipient, the existence levels of a musical-movement composition in view of Mieczysław Tomaszewski’s concepts as well as methods of work with a group of performers on the realization of kinesthetic interpretation of a musical work. The theoretical part has been supplemented with a description of a movement i

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Swanwick, Keith, and June Tillman. "The Sequence of Musical Development: A Study of Children's Composition." British Journal of Music Education 3, no. 3 (1986): 305–39. http://dx.doi.org/10.1017/s0265051700000814.

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A musical development sequence is proposed based on the psycho-logical concepts of mastery, imitation, imaginative play and meta-cognition, drawing on the work of Moog, Piaget and the observations of British writers. An interpretation of over seven hundred children's compositions is undertaken yielding an eight-mode spiral of development that may have consequences for music teaching; for overall music curriculum planning, for appropriate responses to individuals, for generating progression in a session or project.

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Kow Arkhurst, Richmond Amoh-Yeboah., and Adjei Dickson William. "MODERN INTERPRETATIONS OF NKETIA'S AFRICA PIANISM: CONTEMPORARY PERFORMANCES AND ADAPTATIONS." International Journal of Education Humanities and Social Science 08, no. 02 (2025): 31–52. https://doi.org/10.54922/ijehss.2025.0906.

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J.H. Kwabena Nketia's idea of African Pianism combines African musical heritage with Western classical methods, resulting in a distinct cultural and musical fusion. This review examines current interpretations and performances of Nketia's African Pianism, emphasizing cultural authenticity, pedagogical consequences, and rhythmic interpretation. The research relies on current literature to explore how pianists from various cultural backgrounds address rhythmic complexity, phrasing, and cultural translation in the compositions of Nketia. Results indicate that cultural closeness significantly infl

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Ровенко, Е. В. "On the Comprehension of the Phenomenon of Musical Time in Vincent d’Indy’s ‘Cours de composition Musicale’." Журнал Общества теории музыки, no. 4(28) (December 28, 2019): 59–70. http://dx.doi.org/10.26176/otmroo.2019.28.4.004.

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Интерпретация категории музыкального времени и связанной с ней категории ритма выявляет специфику художественного мышления в рамках определенной эпохи и национальной культуры. Венсан д’Энди, известный своим негативным отношением к проблеме проникновения метра в музыку, предлагает вернуться к «свободному ритму» древности и строить на его основе «истинное искусство». В настоящей статье концепция д’Энди рассматривается с онтологической (философской) и технической (практической) точек зрения. The interpretation of the category of musical time and the category of musical rhythm, connected with the

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Limitovskaya, A. V. "ABOUT THE INFLUENCE OF THE TIMBRE OF THE SINGING VOICE ON THE PERCEPTION OF THE CONTENT OF A VOCAL WORK (on the example of the performances of S. V. Rakhmaninov's romance "It's Good Here")." Arts education and science 3, no. 32 (2022): 113–19. http://dx.doi.org/10.36871/hon.202203014.

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The article presents the results of the research on the influence of the timbre of the singing voice on the listeners' perception and interpretation of musical content of a vocal work. The author considers timbre as one of the main instruments to transmit semantic and aesthetic information, fixed in detail in the musical text. The peculiarities of this process are revealed by means of interdisciplinary methodology combining the approaches of psychoacoustics, as well as the methods of performing and timbre analyses. The musical samples were the soprano singers' interpretations of S. V. Rachmani

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Saigushkina, Olga P. "KONSTANTIN NIKOLAYEVICH IGUMNOV: THE GERMINATION OF TRADITIONS." Arts education and science 2, no. 39 (2024): 6–18. http://dx.doi.org/10.36871/hon.202402006.

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The article describes the multifaceted activities of Konstantin Nikolayevich Igumnov. It reviews the main sources, which reflect the personality traits of the outstanding Russian musician, as well as the principles of his performing and teaching work. The composer’s holistic approach to working on the embodiment of a musical composition is analyzed. Integrity is considered as an aesthetic category, which is a criterion for the artistic value of a work and its interpretation. A comparative analysis of the 1947 audio recording of Tchaikovsky’s cycle “The Seasons” performed by Igumnov with the in

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Sukma Priyambodo, Bagas, I. Ketut Ardana, and Sutrisni -. "Aswamedha: A Legitimation of Leadership Based on The Kitab of Aswamedha Parwa | Aswamedha: Sebuah Legitimasi Kepemimpinan Berbasis Kitab Aswamedha Parwa." GHURNITA: Jurnal Seni Karawitan 2, no. 2 (2022): 105–15. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i2.1456.

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The legitimacy model with ceremonial means is rarely done nowadays, therefore it is necessary to re-narrate the legitimacy model with ceremonial means. The purpose of this creation research is to reveal the content and interpret the leadership legitimacy model in the Aswamedha Parwa book through musical compositions. This creation research uses Art Transformation Theory, which is to transform original works (literature) into new works (karawitan composition). The research method used is Practice as Research through Performance. This practice is analogous to a representation of the musical cont

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Windleburn, Maurice. "THE MUSICAL DEPICTION OF A DISTORTED PLACE, SPACE AND TIME: AN INTERPRETATION OF JOHN ZORN'S INTERZONE." Tempo 75, no. 296 (2021): 34–45. http://dx.doi.org/10.1017/s0040298220000935.

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AbstractThis article interprets John Zorn's composition Interzone (2010) by comparing it to the eponymous place that is found throughout William S. Burroughs’ early novels. This is done through linking some of the ‘sound blocks’ that make up Zorn's composition to selected passages from Burroughs’ books as well as to specific events from the lives of Interzone's two dedicatees: Burroughs, and his associate, the writer and painter Brion Gysin. Zorn's disjointed, chaotic arrangement of sound blocks, and by extension their extra-musical associations, is then shown to emulate the dream-like structu

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Vorobeva, Lidiia V. "“THE CLIFF” BALLAD BY C. A. CUI: ON THE PROBLEM OF GENRE INTERPRETATION." Arts education and science 3, no. 40 (2024): 62–66. http://dx.doi.org/10.36871/hon.202403061.

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The article examines the genre canon of the ballad and its reflection in C. A. Cui’s piano opus “The Cliff” from the cycle In Argenteau. The history of the creation of the work is revealed. The influence of the programme content and plot on the dramaturgy and composition of the work is noted. The role of the anagram AGEEA (ArGEntEAu), which coincides with the name of the castle of Argenteau in Belgium, is highlighted. Cui’s work is analysed in terms of its compliance with the parameters of the ballad genre canon at the level of content, dramaturgy, form, intra-genre structure, and means of mus

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I Made Yudi, Darmawan, and Sadguna I Gde Made. "Music Composition Banyu Milir | Komposisi Musik Banyu Milir." GHURNITA: Jurnal Seni Karawitan 3, no. 2 (2023): 138–45. http://dx.doi.org/10.59997/jurnalsenikarawitan.v3i2.2076.

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Subak is an organization owned by farming communities in Bali that specifically regulates the management or irrigation system/irrigation of rice fields traditionally. Banyu Milir composition uses instruments such as drums, reong, kajar, ceng-ceng ricik, jublag, jegog, gong, kemong, flute and there are two additional instruments, namely the kempur and cedugan drums. Through the creation of this work, the stylist wants to develop a pattern that has existed before, this development is in accordance with the musical elements of the stylist's interpretation, namely expressing something that is in t

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Opaley, Elena N. "Сathedral architectonics of the "Sacred Chant" by I. F. Stravinsky". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, № 54 (2024): 168–79. https://doi.org/10.17223/22220836/54/15.

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The article focuses on the text-musical and compositional form of I.F. Stravinsky's “Sacred Chant in honor of the name of St. Mark” and its analogies with the architectural model of St. Mark's Cathedral in Venice. The main analytical indicators are text primary sources, principles of shaping, ladoharmonic techniques, interpretation of performing compositions. In the spiritual work of I.F. Stravinsky, one can distinguish a number of compositions that the composer literally builds, like the image of a temple. The stylistic diversity of the architectural creation of St. Mark's Cathedral attracted

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SemaraBawa, Agung, and I. Ketut Sudhana. "Wisala Meru Musical Artwork | Karya Seni Musik Wisala Meru." GHURNITA: Jurnal Seni Karawitan 1, no. 3 (2023): 195. http://dx.doi.org/10.59997/jurnalsenikarawitan.v1i3.394.

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Wisala Meru Musical Artwork is a new creative composition that is packaged with a traditional nuance. The title Wisala Meru has the meaning of a sacred building or Meru, famous for its majesty, height, and splendor. This work is an interpretation of the Meru shrine, which has overlapping layers, getting smaller and smaller upwards until it rises to resemble the shape of a mountain. This work was inspired by the concept of Tri Angga (head, body, and feet) in Meru which later became the concept in Wisala Meru's musical composition. Wisala Meru's work uses the gamelan Semar Pegulingan as a medium

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Zhu, Fangzhen, Changhao Wu, Qike Huang, Na Zhu, and Tuo Leng. "Rhythm-Based Attention Analysis: A Comprehensive Model for Music Hierarchy." Applied Sciences 15, no. 11 (2025): 6139. https://doi.org/10.3390/app15116139.

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Deciphering the structural hierarchy of musical compositions is indispensable for a range of music analysis applications, encompassing feature extraction, data compression, interpretation, and visualization. In this paper, we introduce a quantitative model grounded in fractal theory to evaluate the significance of individual notes within a musical piece. To analyze the quantized note importance, we adopt a rhythm-based approach and propose a series of detection operators informed by fundamental rhythmic combinations. Employing the Mamba model, we carry out recursive detection operations that o

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MUNDYE, CHARLES. "‘Motz el Son’: Pound’s musical modernism and the interpretation of medieval song." Cambridge Opera Journal 20, no. 1 (2008): 53–78. http://dx.doi.org/10.1017/s0954586708002401.

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ABSTRACTThe article explores an interdisciplinary conjunction of music, literature and modernism. I examine the relationship between aspects of early music scholarship and modernism, with specific reference to Ezra Pound’s critical and editorial work on medieval song, and to the composition, in the 1920s, of his modernist opera Le Testament. This analysis places Pound’s work as editor and composer not only in the context of recent critical reflections on the idea of authenticity, but also in relation to the histories and methodologies of medieval music interpretation. First, in drawing attenti

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Habib, Muhammad Hadi, Elizar Elizar, and Andar Indra Sastra. "Satangah Tiang’ Re-interpretasi Prinsip Musikal Dendang Satangah Tiang pada Kesenian Bagurau Saluang Dendang Minangkabau." Jurnal Musik Etnik Nusantara 2, no. 1 (2022): 77. http://dx.doi.org/10.26887/jmen.v2i1.3087.

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ABSTRAK Karya komposisi karawitan yang berjudul Satangah Tiang ini bersumber dari kesenian saluang dendang atau sering disebut dengan bagurau. Terdapat tiga jenis yaitu dendang ratok, dendang hoyak dan satangah tiang. Satu jenis dendang yang menjadi landasan dalam penggarapan karya adalah dendang jenis satangah tiang, spesifiknya dalam repertoar dendang Ratok Taram dan Sabai Nan Aluih. Karakter melodi yang menarik dalam dendang ini yaitu terdapat unsur musikal ritmis dan non-ritmis. Rumusan penciptaan yang diajukan dalam penciptaan karya seni ini yaitu: Bagaimana mewujudkan karya komposisi kar

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OSADCHA, SVITLANA, ZHAO RONG, WU YUYANG, SAI CHULEI, and YANG HUIYAN. "FIGURATIVE AND LOGICAL COMPONENTS OF MUSICAL SEMANTICS AS FACTORS OF PIANO PERFORMANCE INTERPRETATION." AD ALTA: 13/01-XXXII. 13, no. 1 (2023): 81–83. http://dx.doi.org/10.33543/1301328183.

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The reproduction of a musical work by a performer forms a special sphere of his creative being transformative, perceived by him on a sensual level. The personified functions of performing interpretation come to the fore and acquire their own special meanings: suggestion, evaluation of the “event”, imitation, imitation, contemplation, “sensual deception”, actualization of the musical text into an aesthetic ideal for its subsequent reproduction. The artistic process of performing interpretation is considered in the article as its emotional and value meaning. This problematic area of performance

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Gorbunova, Irina B. "The Architectonics of Musical Sound." ICONI, no. 3 (2019): 112–28. http://dx.doi.org/10.33779/2658-4824.2019.3.112-128.

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At the turn of the 20th and 21st centuries there appeared a new trend in musical composition and musical pedagogy conditioned by the fast development of electronic musical instruments: from the simplest synthesizers to powerful musical computers. In the wide range contemporary electronic musical instrument the accumulated informational technologies in music and the art of music making have manifested themselves in the fullest and most perfect manner. The current and the subsequent issues of the journal shall provide a consecutive presentation of four lectures, compiling the basis of the discip

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Kim, Hyun Jung. "A Study on the Gayageum Byeongchang of An Sookseon : Focusing on the Sugungga." Korean Society of Human and Nature 6, no. 1 (2025): 159–98. https://doi.org/10.54913/hn.2025.6.1.159.

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The purpose of this study was to re-examine the artistic value of master Ahn Sook-sun’s Gayageum Byeongchang and analyze its musical characteristics, focusing on the newly arranged Sugungga. The study was conducted on the Sugungga performed at the planned performance of the Gayageum Byeongchang Preservation Society of An Sookseon on July 14, 2014, and selected a total of seven items: “Layered Rock Cliff”, “Listen to My Fundamentals”, “Owl’s Smiling”, “Wonhae Waterside”, “When Did You Listen to My Age”, “Matt Dot Hear and Come Out”. This study focused on editorial composition analysis, melody s

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Ivanova, Tsvetana, Leandar Litov, Rositza Marinova, Todor Ivanov, Mihail Iossifov, and Agnieshka Deynovitch. "The Music of Human Hormones." Leonardo Music Journal 28 (December 2018): 38–46. http://dx.doi.org/10.1162/lmj_a_01033.

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In this study, the authors take on the challenge to translate biological form (science) into musical form (art). Through scientifically developed methodology, the authors link two aspects of human experience that influence human emotions: hormones, from the inside, and music, from the outside. The authors develop an original algorithm, which they use to represent the properties and the effects of the human hormone oxytocin in a musical composition. The authors performed a neurological test to verify the accuracy of the musical interpretation and investigated the parallel neurological impacts o

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Iergiiev, Ivan. "New Ukrainian music in the modern media space («Far from the crowd» by Karmella Tsepkolenko)." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 138 (December 22, 2023): 28–37. http://dx.doi.org/10.31318/2522-4190.2023.138.294687.

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Relevance of the study is connected with the need for studying properties of the phenomenon "musical work" in its various hypostases-interpretations, the multiplicity of which is produced by the reality of the modern world cultural space, in particular such a phenomenon as multimedia. An art person creates art in conditions of powerful, communicative transformations of the world and has to take into account these circumstances, as well as at the same time the possibilities of the modern media space. It forces us to study the phenomenon of human professional activity-creativity — a musical work

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Wijananda, I. Made Rai wawan Sukma. "Merana Shanti: A Vocal Music Composition | Merana Shanti: Sebuah Komposisi Musik Vokal." GHURNITA: Jurnal Seni Karawitan 4, no. 3 (2024): 284–92. http://dx.doi.org/10.59997/jurnalsenikarawitan.v4i3.3347.

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The musical work "Merana Shanti" is an innovation in musical art combining Cak, Gongseng, and Punggalan Barong. The composer aims to create new works by exploring vocal work as the primary medium for creating passion and expanding the repertoire of vocal musical instruments. The focus is on developing vocal musical compositions that respect tradition and innovate. The method used in making this work follows the stages of the creative process outlined in the book "The Creative Process" by Brewster Ghiselin, which adopts Roger Session's creation method. The process is divided into three stages:

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Tsvetkova, E. O. "S. PROKOFIEV'S "FLEETING MOMENTS": CHOREOGRAPHIC INTERPRETATION OF THE PIANO MASTERPIECE." Arts education and science 1, no. 3 (2020): 115–25. http://dx.doi.org/10.36871/hon.202003014.

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The article analyzes two versions of choreographic interpretation of S. Prokofiev's piano cycle "Fleeting Moments". The first one belongs to the outstanding Russian ballet master K. Ya. Goleizovsky, the second — to the German choreographer of American origin J. Neumeier. Both compositions are considered in the context of such a trend as "plastic interpretation of non-ballet music". There is a special demand for S. Prokofiev's works (not only ballet scores, but also "non-ballet" opuses) among choreographers, who are attracted by the theatrical nature of the composer's talent: brightness and sha

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