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1
Gorbunova, Irina B., and Mikhail S. Zalivadny. "Music, Mathematics and Computer Science: History of Interaction." ICONI, no. 3 (2020): 137–50. http://dx.doi.org/10.33779/2658-4824.2020.3.137-150.
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The lecture “Music, Mathematics and Computer Science” characterizes by concrete examples various aspects of interaction of these studies with each other by incorporating the apparatus of corresponding scholarly disciplines (set theory, probability theory, information science, group theory, etc.). The role and meaning of these aspects in the formation of an integral perception about music and in the realization of practical creative musical goals are educed. Examination of these questions is what the lecture studies are devoted to as part of the educational courses “Mathematical Methods of Research in Musicology” and “Informational Technologies in Music” developed by the authors for the students of the St. Petersburg Rimsky-Korsakov State Conservatory and the Herzen State Pedagogical University of Russia. The lecture “Music, Mathematics and Computer Science” is subdivided into two parts. The fi rst part, “Music, Mathematics and Computer Science: History of Interaction” examines the processes of interconnection and interpenetration of various fi elds of music, mathematics and computer science, spanning the period from Ancient Times to the turn of the 20th and the 21st centuries. The second part of the lecture: “Music, Mathematics and Computer Science: Particular Features of Functioning of Computer-Musical Technologies” (due to be published in the journal’s next issue) is devoted to examining various aspects of developing and applying computer-musical technologies in contemporary musical practice, including musical composition, performance and the sphere of music education.
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Von Blumröder, Christoph. "Ende der Neuen Musik." Die Musikforschung 72, no. 3 (September 22, 2021): 201–13. http://dx.doi.org/10.52412/mf.2019.h3.44.
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The term "Neue Musik" was coined for a special concept of fundamental musical innovation within Austro-German music theory of the early 20th century, and it found no terminological equivalent beyond the German language. Established by Paul Bekker with his lecture “Neue Musik” in 1919, composers such as Stockhausen or Ligeti embraced the term with its emphatic claim to innovation and new departures. However, one hundred years on the term "Neue Musik" is often used mainly as a synonym for any type of contemporary music. This article questions whether the term "Neue Musik" is still an appropriate framework for a current theory of musical composition. Not only have the specific musical circumstances changed within the course of the 20th century, but also the political and social conditions have altered drastically after two world wars which had given special impulses to those composers who strove for a new foundation of music after 1918 and 1945 respectively. This article argues that the age of "Neue Musik" has come to an end in the late 20th century, and thus it is now necessary to introduce alternative terminological concepts and methodical directions for music historiography.
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Krims, Adam. "Music Theory as Productivity." Canadian University Music Review 20, no. 2 (March 4, 2013): 16–30. http://dx.doi.org/10.7202/1014455ar.
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The author here proposes Julia Kristeva's notion of "productivity" as a way of conceiving of the relations between different theories of music. By such a notion, rather than confirming, disconfirming, or exemplifying a theory, a particular musical work (or works) may redistribute the theory. The redistribution, in fact, might not only modify the initial theory—something certainly not original to productivity—but may also bring it into articulation with fundamentally opposed models of musical function, without which, nevertheless, the original theory remains incomplete. An extended example is adduced from Schubert's Schubert's Impromptu in G-flat Major, D. 899, in connection with, first, Schenker's Free Composition (Der freie Satz), and second, Schoenberg's Theory of Harmony (Harmonielehre); Schenker's inconsistent practice with respect to first-order neighbours, along with certain issues in the Impromptu, become the occasion for examining a case of productivity.
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Englin, Stanislav E. "History and Theory of Musical Writing as an Academic Discipline." Musical Art and Education 7, no. 1 (2019): 95–106. http://dx.doi.org/10.31862/2309-1428-2019-7-1-95-106.
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The article outlines the reasons why the modern musicologist must be competent in matters of history and theory of a notation. Results of research of the systems of graphical writing of music are proposed to be used in educational purposes. This is due to the fact that the notation is reflected some of the most important features of the musical thinking of the era of its formation. Therefore, knowledge of specific types of music semiography is a tool of obtaining objective data on the deep principles of music of the specific historical period (time of creation and at least, the initial existence of this notation). The interconnected subjects analyze the study of the notation and the basic tasks of musicology. Introduction of training course of music semiography be seen in the light of the multidimensional problem of music education and science. It is concluded that the implementation of educational subject “History and theory of musical writing” provided the coordination of efforts of scientists aimed at creating a modern concept of semiography, contributes to the attainment the essence of musical writing on the basis of generalization of the results of semiography studies. In turn, this will be a significant step on the path of knowledge absolutely patterns, reflected in the variety notations.
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De Prisco, Roberto, Delfina Malandrino, Donato Pirozzi, Gianluca Zaccagnino, and Rocco Zaccagnino. "Understanding the structure of musical compositions: Is visualization an effective approach?" Information Visualization 16, no. 2 (July 25, 2016): 139–52. http://dx.doi.org/10.1177/1473871616655468.
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Experienced musicians have the ability to understand the structural elements of music compositions. Such an ability is built over time through the study of music theory, the understanding of rules that guide the composition of music, and countless hours of practice. The learning process is hard, especially for classical music, where the rigidity of the music structures and styles requires great effort to understand, assimilate, and then master the learned notions. In particular, we focused our attention on a specific type of music compositions, namely, music in chorale style (four-voice music). Composing such type of music is often perceived as a difficult task because of the rules the composer has to adhere to. In this article, we propose a visualization technique that can help people lacking a strong knowledge of music theory. The technique exploits graphic elements to draw the attention on the possible errors in the composition. We then developed an interactive system, named VisualMelody, that employs the proposed visualization technique to facilitate the understanding of the structure of music compositions. The aim is to allow people to make four-voice music composition in a quick and effective way, that is, avoiding errors, as dictated by classical music theory rules. We have involved 40 people in testing VisualMelody in order to analyze its effectiveness, its usability, and the overall user satisfaction. We partitioned the people involved in the evaluation study into two groups evenly splitting the musical expertise. Then, we had one group use VisualMelody without the visualization facilities and the other using the tool enhanced with our visualization. On average, people in the group that used our visualization were 60% faster and produced music with less errors.
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Durman, Chris. "Psychedelic Popular Music: A History Through Musical Topic Theory." Music Reference Services Quarterly 21, no. 3 (July 2, 2018): 164–65. http://dx.doi.org/10.1080/10588167.2018.1490575.
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Sanfilippo, Dario, and Andrea Valle. "Feedback Systems: An Analytical Framework." Computer Music Journal 37, no. 2 (June 2013): 12–27. http://dx.doi.org/10.1162/comj_a_00176.
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The use of feedback-based systems in the music domain dates back to the 1960s. Their applications span from music composition and sound organization to audio synthesis and processing, as the interest in feedback resulted both from theoretical reflection on cybernetics and system theory, and from practical experimentation on analog circuits. The advent of computers has made possible the implementation of complex theoretical systems in audio-domain oriented applications, in some sense bridging the gap between theory and practice in the analog domain, and further increasing the range of audio and musical applications of feedback systems. In this article we first sketch a minimal history of feedback in music; second, we briefly introduce feedback systems from a theoretical point of view; then we propose a set of features that characterize them from the perspective of music applications; finally, we propose a typology targeted at feedback systems used in the audio/musical domain and discuss some relevant examples.
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Knittel, Krzysztof. "Some Remarks on my Composition Technique." Musicology Today 12, no. 1 (December 1, 2015): 74–79. http://dx.doi.org/10.1515/muso-2015-0008.
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Abstract Krzysztof Knittel’s text about his own composition techniques, also looking at such topics as: the influence of painting on his music (e.g. the works of Piet Mondrian and Paul Klee); truth in the musical work; the application of recycling ad re-use techniques to the form of the musical work; methods of constructing the sound of the composition; links between music and historical events; rollage - a technique borrowed from the painter Jiří Kolář for the needs of St. Matthew Passion; sound installations created by Knittel with sounds of nature and civilisation; Theodor Lipps’ theory of empathy (Einfuhlung), as well as intuitive and improvised music.
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Ghere, David, and Fred M. B. Amram. "Inventing music education games." British Journal of Music Education 24, no. 1 (February 9, 2007): 55–75. http://dx.doi.org/10.1017/s0265051706007224.
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The first British patent describing an educational game designed for musical ‘amusement and instruction’ was granted in 1801 to Ann Young of Edinburgh, Scotland. The authors' discovery of Young's game box has prompted an examination of the nature and purpose of the six games she designed. Ann Young's patent is discussed in the context of her cultural environment, the history of women inventors, and eighteenth century educational theory. The activities are compared with musical instruction games recently patented in the UK and the USA.
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Helweg, Kim. "Composing with quantum information: Aspects of quantum music in theory and practice." Muzikologija, no. 24 (2018): 61–77. http://dx.doi.org/10.2298/muz1824061h.
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Quantum Music is the title of a research project that opened up an opportunity to investigate the relationship between art and science - to be precise, between music and quantum physics. The idea was to create a platform for innovative work with musical composition and musical instruments inspired by the theories of quantum mechanics. The further development was carefully put into the hands of the different members of the project with such different competences as sound design, physics, musical live performance, composition, light design and musicology. In this connection, I fulfilled the role and interest of the composer as well as representing the performing arts (dance and acting). The aim of my participation was to show how collaboration between music and science could result in a development of different functional approaches to compositional strategies in general and give a new perspective for the artistic thinking in music as well as in the performing arts in general. This article is written as a part of an artistic research and the ideas, statements and conclusions presented in it are to be understood as being directly linked to creative work. But indeed, I also hope this text will provide inspiration to approach music in a new way, both for listeners, musicologists, musicians and other performing artists.
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Misson, Andrej. "O glasbeni terminologiji pri pouku glasbene teorije in kompozicije / Some Thoughts on Musical Terminology at Musical Theory, Composition and Counterpoint Teaching." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 16, no. 33 (January 10, 2021): 91–108. http://dx.doi.org/10.26493/2712-3987.16(33)91-108.
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Traditionally, music can be divided into musical theory, composition and musical performance. For an in-depth understanding, appropriate terminology is required, also in the Slovene language. Like all European nations, Slovenes based their musical terminology mainly and directly on the Greek and Latin languages, or otherwise indirectly, primarily through the German and Italian languages. The development of a relatively young Slovenian terminology is closely linked to music education. In his paper, the author briefly mentions some facts about musical terminology in general and some facts about Slovenian musical terminology. Today, it is quite comparable to foreign ones, but we face a number of translation and terminological challenges. Some of these challenges, found in the instruction of composition, musical theory and counterpoint, are also presented in the article. The success of musical theory and terminology is, after all, featured in musical practice.
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O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (May 14, 2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.
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Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.
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Deaville, James. "The Organized Muse? Organization Theory and "Mediated" Music." Canadian University Music Review 18, no. 1 (March 15, 2013): 38–51. http://dx.doi.org/10.7202/1014819ar.
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Throughout musical history, organizations have occupied a significant role in the production of music. The article explores how scholarship might approach the study of musical organizations through organization theory. After a discussion of modernist and postmodern paradigms in organization theory, the article applies those principles, as well as the thought of sociologist Pierre Bourdieu, to two case studies from the history of the New-German movement. The case studies illustrate how organization theory helps explain the failure of the Euterpe-Verein in Leipzig on the one hand, and the success of the Allgemeiner Deutscher Musikverein on the other.
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Duţică, Luminiţa. "Choose Music! A Consulting and Training Strategy for Admission to Higher Education in Music." Review of Artistic Education 17, no. 1 (March 1, 2019): 40–46. http://dx.doi.org/10.2478/rae-2019-0004.
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Abstract The educational project CHOOSE MUSIC!, subtitled “for counselling and training for admission to higher education in music”, was created many years ago, at the initiative of Prof. Univ. PhD. Luminiţa Duţică, with the main purpose of creating a bridge between the pre-university and academic musical education (through pupils - students, pupils - university professors, etc.). Another special objective was to promote the image and opportunities existing at “George Enescu” National University of Arts of Iași. In this respect, inter-institutional partnerships were established between the Faculty of Interpretation, Composition and Theoretical Music Studies within “George Enescu” National University of Arts of Iași and numerous art high schools/colleges, especially from the regions of Moldavia (Suceava, Botoșani, Bacău, Piatra-Neamț, Iași, Bârlad and Galați). In this study we will go into more detailed aspects related to teaching and art activities made for this purpose, diverse and attractive, evidenced by: demonstration lessons of Music theory, Classical composition / jazz – easy listening, Musicology, Choral/Orchestral Conducting, MasterClass for aspects regarding the perception and graphic representation of the sounds, as well as the specific musical skills training (held by professors Luminiţa and Gheorghe Duţică), to which educational concerts, book launches, special meetings with teachers from the pre-university education, additional training with students for admission to the academic musical education in Iași (especially in the contest subject called Theory - Solfeggio –Melodic Dictation.
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Maeda, Yoichiro, and Yusuke Kajihara. "Automatic Generation of Musical Tone Row and Rhythm Based on the Twelve-Tone Technique Using Genetic Algorithm." Journal of Advanced Computational Intelligence and Intelligent Informatics 14, no. 3 (April 20, 2010): 288–96. http://dx.doi.org/10.20965/jaciii.2010.p0288.
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Genetic Algorithms (GA) and Interactive Genetic Algorithms (IGA) used to generate sound in computer applications generating music are difficult to use, as is, in directly composing music. We propose music composition based on the 12-Tone Technique (TTT). In TTT composition, the melody and rhythm are usually created separately. The melody is created first to determine the musical subject and atmosphere. We design a fitness function based on the relationship between consonant and dissonant intervals that are a part of general musical theory and generate the 12-Tone (TT) row automatically by searching for consonant tone rows using the GA. We then set a fitness function for evaluating the rhythm we define, and obtained musical rhythm using the GA.
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Lecker, Robert. "Music in Michael Ondaatje’s Divisadero." Journal of Commonwealth Literature 54, no. 2 (April 5, 2017): 273–91. http://dx.doi.org/10.1177/0021989417696123.
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Michael Ondaatje’s Divisadero uses musical references to enhance our understanding of how the story’s characters inhabit time and place. The book’s three parts unfold against a varied musical backdrop that can be experienced as a kind of soundtrack. Although musical allusions appear in Ondaatje’s earlier work, Divisadero is marked by its range of musical references, which run from classical compositions to jazz, opera to rock ’n’ roll, reggae to blues and British new wave. This article examines the way music directs us to see different narrative options in each of the novel’s three parts. One impulse behind the narrative is to connect us to the immediate, to locate the story in mimetic terms that are rooted in the California and Nevada settings that form the backdrop to the first part of the book. The musical references in this part serve to reinforce this sense of presence, as if history could be located and understood in terms of the themes and issues conveyed in particular songs. But another impulse is to work against the immediate, to cast the characters and their experiences as part of an allegorical universe in which actions and choices are symbolic, metaphoric, transhistorical.
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Pereverzeva, M. V. "The Works of Contemporary Composers in the Teaching Repertoire of the Music Institutions: Mastering Problem." Contemporary problems of social work 6, no. 4 (December 30, 2020): 29–35. http://dx.doi.org/10.17922/2412-5466-2020-6-4-29-35.
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the article’s subject is avant-garde music of the 20th century and problem of its mastering in educational process in music institutions. The purpose of the work is providing the methodological recommendations for the mastering of avant-garde music in the training of music educators. The results of the work are follow: there have been detailed examination of the basic concepts and artistic and aesthetic principles, as well as the expressive means of this music, the problems of perception of modern compositions and its presentation in the educational process of institutions, the analysis and performance of avant-garde music, the theory of modern composition, the evolution of the piano performing style. Novelty of this article consists of scientific and practical results of music teachers’ work achieved by researchers, develops advanced ideas of domestic and foreign authors, but first of all it is designed to solve the main dilemma of art and education: the stylistic restriction of music, mastered by future music educators; the availability of highly artistic musical works that require conventional performing skills, and their absence in the teaching and concert repertoire of musicians; insufficient use of educational potential of avant-garde music in the training of music educators. Conclusions: piano music of American minimalist composers provides a comprehensive education of future music educators in the field of history and theory of music, the evolution of the musical language and performing style, students’ mastering of special competencies, thereby contributing to the formation of students’ universal professional performing skills and abilities.
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BOURA, VASSILEIA. "The Learning Effect of Electroacoustic Music in Secondary Education An Interdisciplinary Practice in Greek Schools." Volume 5 - 2020, Issue 9 - September 5, no. 9 (September 25, 2020): 562–74. http://dx.doi.org/10.38124/ijisrt20sep464.
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In the rise of the 21st century, the music educator in modern schools is challenged to educate and train students in both conventional and contemporary music theory and practice. The contemporary approach to music learning and composition requests knowledge and practical skills from interdisciplinary fields. Electronics, physics, mathematics, computer science and music are merged to produce different contemporary styles of music. Students, in secondary education, are challenged to develop listening, performing and computer music skills, to expand their musical aesthetics and culture, together with their musical memory. Music educators are expected to teach a wide range of musical styles and techniques. Science and technology are parts of the musical practice in schools. Music has become an interdisciplinary subject, capable, more today than ever, to educate and shape personalities in school and for preparing students to be strong and healthy for entering society. Scientific and empirical research continues to be conducted to provide helpful guidelines for teachers' intentional use of music, in every class. This paper provides music educators with successful and valuable methods for incorporating electroacoustic music into the teaching and learning school environment applicable to secondary school settings
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Siuta, Bohdan. "Notion “Genre Type” as the Metalіngual Unit of the Modern Musical Theory." Terminological Bulletin, no. 5 (2019): 188–95. http://dx.doi.org/10.37919/2221-8807-2019-5-25.
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The notion “genre type” is actual metalіngual unit of the modern musicology and musical theory. The theoretical comprehension of this term is connected with the problem of the theory of the musical genre, which is actual for contemporary musicology. This term (as far as its correspondences in musicological discourse of the countries of Eastern, Central and Western Europe) in Ukrainian musicology is still totally uncertain and not codified. This creates an obvious metalіngual lacuna. In the adequate theoretical representation, the term “genre type” outlines the higher level of the hierarchical category of the speech genre, which combines the characteristics of the speech and creative genres in music. Since the end of the 19th century phenomena musical forms / models / patterns (song form, form of rondo, etc.) and the content of music are the subject of studying and classification within the academic discipline “The doctrine of the musical form”. And in relation to the studying of genre types, other criteria are the determining factors: performance composition (instrumental, vocal, vocal-instrumental, musical and theatrical work), text, functions, place of execution, structure of construction. Additional factors of the systematic classification are periods (such as the Renaissance, Baroque, Viennese classicism) and styles (respectively, genres). The process of emancipation of functional music (which had certain social functions) determined the emergence in the 20th century so called “pure music”, almost unrelated to the primary circumstances of origin and existence. In 20th century composers begin to avoid the narrow qualifications of “genres” and established “genre types” and create “hybrid mixed forms” within the usual “classical genre types” (such as chamber symphony) or with the involvement of other types of art (for example, performances as a mixed form of art based on singing action of dance, theatre and music). In the middle of the 20th century began to differentiate musical-creative and musical-language genres within the T. Adorno’s classification of music practices for E-music, U-music and F-music. However, in contemporary Ukrainian musicology we have not a general acceptance of theoretical and methodological principles for the demarcation of classical music and entertainment. Accordingly, there is no proper musicology terminology. Working out of approaches and convincing criteria of the decision of these difficult theoretical and practical issues still continues. In connection with this, the necessity of introducing into the scientific circle the concept of “genre type”, as well as comprehension of its musical and speech nature is actualized.
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DEMEYERE, EWALD. "ON BWV1080/8: BETWEEN THEORY AND PRACTICE." Eighteenth Century Music 4, no. 2 (September 2007): 291–99. http://dx.doi.org/10.1017/s1478570607000966.
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The application of rhetoric to music had special significance in the seventeenth century and in the first half of the eighteenth century. The discipline of classical Greek oratory, originally dealing with how to make and execute a speech, formed the basis for the rules of composition and performance, especially in German-speaking lands. During this period the influence of rhetorical principles on all parameters of music was commonplace; not only did a vast number of treatises on rhetoric in music emerge, but the central educational programme taught in the Latin schools and the universities included both musica and rhetorica among the seven artes liberales. That rhetoric was also a fundamental part of Bach’s music-making is shown by the following testimony from Johann Abraham Birnbaum (1702–1748), Professor of Poetics and Rhetoric at Leipzig: ‘He so perfectly understood the resemblance which the performance of a musical piece has in common with rhetorical art that he was listened to with the utmost satisfaction and pleasure when he discoursed of the similarity and agreement between them; but we also wonder at the skilful use he made of this in his works’.
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Capuzzo, Guy. "Elliott Carter and Musical Silence." Journal of Music Theory 64, no. 1 (April 1, 2020): 37–61. http://dx.doi.org/10.1215/00222909-8033420.
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This article examines Elliott Carter’s most extensive forays into the theory and practice of musical silence: the 2005 composition Intermittences and the 1957 lecture “Sound and Silence in Time: A Contemporary Approach to the Elements of Music.” Taken together, the piece and the lecture present an opportunity to ask significant questions about the role of silence in Carter’s music. The evaluation of Carter’s lecture in this article situates his understanding of musical silence in the broader context of musical expectation and reveals the influence of Alfred North Whitehead. Analyses of passages from Intermittences clarify the interaction of notational and registral silence in the work. A comparison of four recordings of Intermittences explores how performers realize the work’s notational silences as acoustic ones.
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Мurtozova, S. B. "From the history of music education in Uzbekistan." International Journal on Integrated Education 2, no. 4 (October 3, 2019): 32–38. http://dx.doi.org/10.31149/ijie.v2i4.108.
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This article is devoted to the study of the history of music education in Uzbekistan. Generalized questions about the changes in the field of music that occurred after the establishment of Soviet power in Uzbekistan, the subordination of music education to the ideas of communist ideology, the organization of local music, choral schools, schools of folk music, which focused on the promotion of European music.
Analyzed information about the first institutions of music education organized in the region at the beginning of the 20th century, the representatives who carried out their activities there, as well as the transformation processes that took place in this area, the formation of the music education system, ranging from elementary schools to higher musical education.
Considered such issues as the creation of textbooks, textbooks on music education, the publication of collections of children's songs, other books for schools and kindergartens, since the 30s of the twentieth century.
The opening of musical institutions in a number of regions of the country in the 60s of the twentieth century was important in the positive solution of the personnel question in the musical sphere, the organization of special classes on Uzbek folk musical instruments in all these institutions were positive changes in the musical sphere, these data are highlighted based on archival sources.
At the same time, the article describes the changes that occurred during the years of Soviet power in the field of music education in Uzbekistan, in particular, the organization of primary music schools, music schools, changes in this area, problems, information about the material and technical base of music education institutions.
The essence of such issues as widespread promotion of music schools mainly in large cities of Uzbekistan, training in these educational institutions in most cases only urban children, problems existing in this field, the proportion of representatives of local nationalities, teaching music theory in secondary schools, special music schools, colleges and conservatories was one of the most serious problems.
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Barnett, Gregory. "Giovanni Maria Bononcini and the Uses of the Modes." Journal of Musicology 25, no. 3 (2008): 230–86. http://dx.doi.org/10.1525/jm.2008.25.3.230.
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Abstract The persistence of the modes in the seventeenth century, their significance in Baroque-era musical thought, and the impact of modal theory on composition are all exemplified in the work of Giovanni Maria Bononcini (1642––78), violinist, maestro di cappella, and energetic proponent of twelve-mode theory. He sought to incorporate modal technique in an unprecedented array of musical styles, and the realization of his modal principles in his duos, madrigals, and sonatas——motivated in part by professional circumstances and by the interests of his patrons——represents the most detailed demonstration of the modes in his time. As applied in his compositions, Bononcini's modal theory proves to be less a system of tonal organization than a musical symbol——of erudition, history, and Catholic tradition——whose meanings he could shape.
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Keren-Sagee, Alona. "JOSEPH SCHILLINGER – A DISCIPLE'S REMINISCENCES OF THE MAN AND HIS THEORIES: AN INTERVIEW WITH PROF. ZVI KEREN." Tempo 64, no. 251 (January 2010): 17–27. http://dx.doi.org/10.1017/s0040298210000033.
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Joseph Schillinger (1895–1943), the eminent Russian-American music theorist, teacher and composer, emigrated to the United States in 1928, after having served in high positions in some of the major music institutions in the Ukraine, Khar'kov, Moscow, and Leningrad. He settled in New York, where he taught music, mathematics, art history, and his theory of rhythmic design at the New School for Social Research, New York University, and the Teachers College of Columbia University. He formulated a philosophical and practical system of music theory based on mathematics, and became a celebrated teacher of prominent composers and radio musicians. Schillinger's writings include: Kaleidophone: New Resources of Melody and Harmony (New York: M. Witmark, 1940; New York: Charles Colin, 1976); Schillinger System of Musical Composition, 2 vols. (New York: Carl Fischer, 1946; New York: Da Capo Press, 1977); Mathematical Basis of the Arts (New York: Philosophical Library, 1948; New York: Da Capo Press, 1976); Encyclopedia of Rhythms (New York: Charles Colin, 1966; New York: Da Capo Press, 1976).
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Parncutt, Richard, and Graham Hair. "A Psychocultural Theory of Musical Interval." Music Perception 35, no. 4 (April 1, 2018): 475–501. http://dx.doi.org/10.1525/mp.2018.35.4.475.
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The Pythagoreans linked musical intervals with integer ratios, cosmic order, and the human soul. The empirical approach of Aristoxenus, based on real musicians making real music, was neglected. Today, many music scholars and researchers still conceptualize intervals as ratios. We argue that this idea is fundamentally incorrect and present convergent evidence against it. There is no internally consistent “Just” scale: a 6th scale degree that is 5:3 above the 1st is not a perfect 5th (3:2) above the 2nd (9:8). Pythagorean tuning solves this problem, but creates another: ratios of psychologically implausible large numbers. Performers do not switch between two ratios of one interval (e.g., 5:4 and 81:64 for the major third), modern studies of performance intonation show no consistent preferences for specific ratios, and no known brain mechanism is sensitive to ratios in musical contexts. Moreover, physical frequency and perceived pitch are not the same. Rameau and Helmholtz derived musical intervals from the harmonic series, which is audible in everyday sounds including voiced speech; but those intervals, like musical intervals, are perceived categorically. Musical intervals and scales, although they depend in part on acoustic factors, are primarily psychocultural entities—not mathematical or physical. Intervals are historically and culturally variable distances that are learned from oral traditions. There is no perfect tuning for any interval; even octaves are stretched relative to 2:1. Twelve-tone equal temperament is not intrinsically better or worse than Just or Pythagorean. Ratio theory is an important chapter in the history Western musical thought, but it is inconsistent with a modern evidence-based understanding of musical structure, perception and cognition.
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Williams, Richard David. "Playing the Spinal Chord: Tantric Musicology and Bengali Songs in the Nineteenth Century." Journal of Hindu Studies 12, no. 3 (November 1, 2019): 319–38. http://dx.doi.org/10.1093/jhs/hiz017.
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Abstract Across the nineteenth century, Bengali songbook editors applied musicological theory to their tantric religious practices. Responding to the new possibilities of musical publishing, these editors developed innovative techniques of relating the body to music by tying together tantric tropes with music theory and performance practice. Theories about the affective potential and poetic connotations of rāgas were brought into conversation with understandings of the yogic body, cakras, and the visualization of goddesses. These different theories, stemming from aesthetics and yogic philosophy, were put into effect through lyrical composition and the ways in which songs were set to music and edited for printed anthologies. This article considers different examples of tantric musical editorial, and explores how esoteric knowledge was applied in innovative ways through the medium of printed musical literature.
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Калицкий, V. Kalitskiy, Диденко, and N. Didenko. "Musical Communication: Problems of Theory and Practice." Modern Communication Studies 3, no. 4 (August 15, 2014): 10–16. http://dx.doi.org/10.12737/5396.
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The article considers the concept of musical communication as the content
of music and performing practice. Phenomenon of existence of a musical
work in miscommunication relationships. Reveals the importance of
an integrated approach for the most successful performance of a musical
work. The need detailed consideration of the phenomenon of musical communication
serves to update through a review and analysis as a means
of Humanities and art history. The essence and specific features of the
phenomenon are projected on specific examples of music: in the process
of composing musical works of the composer, his artistic interpretation by
the contractor and multifaceted perception of the recipient. The authors of
this article, with special emphasis on musical practice of the twentieth century
(especially in the field of writing and interpretation of piano works by
russian and western european composers and performers), allowing most
adequately and fully disclose material provisions of musical communication.
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Povilionienè, Rima. "Musica fibonacciana: Aesthetic and practical approach." New Sound, no. 50-2 (2017): 70–90. http://dx.doi.org/10.5937/newso1750070p.
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In the sphere of musical research, the intersection of two seemingly very different subject areas-music and mathematics is in essence related to one of the trends of music-attributing the theory of music to science, to the sphere of mathematica. It is regarded the longest-lasting interdisciplinary dialogue. The implication of numerical proportions and number sequences in the music composition of different epochs is closely related to this sphere. A significant role in creating music was attributed to the so-called infinite Fibonacci sequence. Perhaps the most important feature of the Fibonacci numbers, which attracted the attention of thinkers and creators of different epochs, is the fact that by means of the ratio between them it is possible to come maximally close to the Golden Ratio formula, which expresses the laws of nature. On a practical plane, often the climax, the most important part of any composition, matches the point of the Golden Ratio; groups of notes, rhythm, choice of tone pitches, a grouping of measures, time signature, as well as proportions between a musical composition's parts may be regulated according to Fibonacci principles. The article presents three analytical cases-Chopin's piano prelude, Bourgeois' composition for organ, and Reich's minimalistic piece, attempting to render music composition structure to the logic of Fibonacci numbers.
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Wallerstedt, Cecilia. "Experiencing and creating contrasts in music." International Journal for Lesson and Learning Studies 3, no. 1 (December 20, 2013): 46–65. http://dx.doi.org/10.1108/ijlls-06-2013-0036.
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Purpose – The purpose of this paper is to examine what are necessary conditions for learning the concept ABA form, a concept for analysing and composing music, and to discuss how the use of variation theory can contribute to the field of music education research. Design/methodology/approach – The method used is a form of lesson study, but with only one participating teacher. Three cycles are conducted with three small groups of children, aged eight to nine years old. Findings – The main findings are that the learning of ABA form requires first, awareness of the sequential form of the music, second, that the attitude to differences that appear between sequential parts of the music is consciously being re-direct from seen as “failures” to being interesting musical contrasts and third, that attention is being paid to different features within one musical aspect, that sounds (not only looks) different. It is found that a main contribution of applying variation theory to studies in the domain of music is the consideration of a part-whole relationship. When the teacher helps the children to create contrast and at the same time keeps focus on how it sounds, the children succeed in coming up with a composition in ABA form. To address the simultaneous relationship between acting and seeing, that is musical impressions and expressions, is crucial for learning. Originality/value – This study is pioneering since music teaching is studied with the point of departure in an intended object of learning.
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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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Giles, Roseen H. "The Inaudible Music of the Renaissance: From Marsilio Ficino to Robert Fludd." Renaissance and Reformation 39, no. 2 (July 27, 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 (1571–1630) and Marin Mersenne (1588–1648), regarding not the composition of art music but rather the understanding of the composition of the universe itself. The societal tensions evident in Fludd’s musical books reveal that it is not only musical practice but also broad scientific, medical, and philosophical conceptions of sound that comprise musical understanding in the early seventeenth century.
Cet article propose de réévaluer la signification des traités de musique du médecin ficinien Robert Fludd (1574–1637). En reconsidérant ce qu’implique l’interprétation par Fludd de la philosophie musicale de Marsile Ficin, il avance que cette « reconstruction » d’une perspective issue de la Renaissance au XVIIe siècle ne correspond pas seulement à un excentrique retour en arrière; elle réfère plutôt à la longue et omniprésente histoire de cette musique inaudible qu’est l’harmonie des sphères (comprise comme harmonie silencieuse de l’univers et du corps humain). La musique a en effet joué un rôle important dans les échanges polémiques entre Fludd, Johannes Kepler (1571–1630) et Marin Mersenne (1588–1648), qui ne portent pas tant sur la composition musicale que sur la compréhension de la composition de l’univers lui-même. Les tensions sociétales, bien perceptibles dans les traités de musique de Fludd, montrent qu’au delà de la pratique musicale, c’est une conception scientifique générale, médicale et philosophique qu’engage la pensée musicale du début du XVIIe siècle.
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Windsor, W. Luke, and Christophe de Bézenac. "Music and affordances." Musicae Scientiae 16, no. 1 (February 17, 2012): 102–20. http://dx.doi.org/10.1177/1029864911435734.
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This paper explores the extent to which ideas developed in The Senses Considered as Perceptual Systems and further refined in The Ecological Approach to Visual Perception ( Gibson, 1966 ; 1979 ) can be applied to the analysis of perception and action in musical settings. The ecological approach to perception has rarely been applied to music, although some recent work in ecological acoustics, music theory and music psychology has begun to show an interest in direct perception of events and objects. We would argue that despite this pioneering work, Gibson’s most radical and controversial idea, that of the direct perception of affordances ( Gibson, 1979 ), has not been adequately addressed in a musical context. Following an introduction to the theoretical background to affordances and a review of the ways in which previous authors have investigated ecological approaches to auditory perception, we show how both the production and perception of music can fruitfully be analysed using the concept of affordances, and how such an approach neatly integrates seemingly active and passive engagement with music. In addition, we place this ecological approach to music within a broader empirical context, giving examples of music-psychological, ethnomusicological and neuroscientific evidence which complement our more theoretical approach. In conclusion, we argue that the links between the performance, composition and reception are underpinned by the mutuality of perception and action.
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Sinaga, Theodora. "Music Composition of Accompaniment for Fusion Dance 8 Ethnics of North Sumatera." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 2 (May 15, 2019): 321–27. http://dx.doi.org/10.33258/birci.v2i2.266.
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This study aims to examine the process of creating musical accompaniment to dance composition and the function of music in a composition of dance works. This study is conducted by using qualitative descriptive method and systematic data analysis by using the concept of dance music creation theory to deepen and interpret data specifically, the answer are found that the process of creating a composition of dance accompaniment music with the theme of a combination of eight North Sumatra ethnic groups are as follows; 1) The creation process of the dance music is a process that involves intensely between dance stylists and dancers with music stylists along with music players, in adjusting between the gestures of the dancers and the form of music as a dance accompaniment. 2) Some important things done by the music stylist (composer) in the process of composing dance accompaniment music include; a) Conduct pre-composition, b) Perform initial composition, 3) Revise composition, 3) Perform final composition. 3) The function of music in dance works includes; a) Music functions in asserting movements in dance. b) Music functions as a marker in changing dance movements, c) Music functions as a marker of atmosphere in dance. d) Music functions to strengthen the emotions of dancer. e) Music functions to strengthen the picture of the atmosphere in parts of dance composition. f) Music functions to regulate the tempo, rhythm and dynamics of dance movements. g) Music functions to emphasize the accentuations of dance movements. h) Music functions as an introduction to the climax of dance work.
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Holbrook, Ulf A. S. "Sound Objects and Spatial Morphologies." Organised Sound 24, no. 1 (April 2019): 20–29. http://dx.doi.org/10.1017/s1355771819000037.
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One of Pierre Schaeffer’s achievements in his musical research was his proposal of the sound object as a basic unit of musical experience and his insistence on listening as a main focus of research. Out of this research grew a radical new music theory of sound-based composition. This article will draw on this extensive research to explore the spaces where this music is heard and present the claim that the space in which music is experienced is as much a part of the music as the timbral material itself. The key question here is the changes made to timbral material through acousmatic spatial listening and the subjective analysis affordance of the listeners’ placement and perspective. These consequences are studied from a phenomenological and psychoacoustic perspective and it is suggested that Schaeffer’s research on timbral and musical concepts can be extended to include spatial features.
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Han, Siuebin. "Sang Tong’s contribution to the development of the national theory of harmony." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 61–76. http://dx.doi.org/10.34064/khnum1-50.05.
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Background. The article is devoted to the study of the scientific works of Sang Tong in the field of the national theory of harmony. His studies has a leading role in the development theoretical thought in the area of Chinese musicology and composition. Sang Tong’s contribution to national music education is determined by clarity of presentation of his teaching materials supported by numerous examples that is motivation for students to comprehend the science of composition. Being an outstanding composer, Sang Tong talentedly integrated the dissonant and pentatonic writing, emphasizing in his writings the national specifics due to atonal organization of music. The works of Sang Tong sounds abroad, they are performed on a concert stage, occupies a worthy place in the educational process of students of conservatories from different countries. In this connection, seems to be relevant the purpose of this article is to identify the main provisions of the theoretical works of the outstanding Chinese composer in the field of the national science of harmony and their role in the development of Chinese musical art in the second half of the 20th century. The mastering of this information is extremely necessary for the performers of San Tong music, as well as for teachers who are studying this musical repertoire in a class with students. Finally, the information presented will provide an opportunity to comprehend the artistic value of the musical heritage of Sang Tong, as well as allow attract more wide circles of professional musicians and audiences to his works. The results of the study. The first theoretical work of Sang Tong was the article “Theory of chord application and their subordination” (1957), where the musician analyzes the views of various authors on the problem of harmonization in composer’s work, systematizes them, giving a personal assessment. He gives many examples of the use of one or another composition tool. The composer considers methods of textural complexity in the study “Parallels to historical evolution and its application in Chinese and foreign musical works combined with pentatonic melody” (1963). In searching for his own composer’s writing, Sang Tong wanted to find the perfect textural balance: on the one hand, not reaching the difficult to perceive linear polyphony, on the other – not simplifying the texture into primitive forms of contrasting polyphony (as a variation of heterophony). The research experience of the 1960s and the 70s Sang Tong summarized in the monograph “Discussion on the horizontal and acoustic structure of pentatonic” (1980), which became a quality-teaching tool in the field of secondary music education. University vocalists also study at lectures on harmony, which helps them to expand the horizons of knowledge about national music. In 1982, Sang Tong published the first comprehensive study of contemporary music in China entitled “Introduction to harmonic processing techniques” in the journal Musical Art. Since 1994, Sang Tong planned to write a fundamental work that sums up his research – the ontology of Chinese music, but from year to year, because of illness, postponed it. Finally, in 2004, the Shanghai Music Publishing House published a series of Sang Tong articles in the form of a monograph “The Historical Evolution of Semitones”. This work is a fundamental study of the history of the development of harmony in China, which provides answers to the questions of the evolution of Chinese semantics and, related to it, the theory of the acoustics of Chinese instruments. Thinking about the quality of secondary music education, Sang Tong decided to prepare a textbook for an initial five-year program of study. In 2001, he published the Harmony Course, submitting it to the state commission for consideration as a school textbook. The San Tong’s Course of Harmony has become a basic national textbook in China. To date, the level of this theoretical work is considered unsurpassed and attributed to masterpieces in the field of music education. It is distinguished by a solid theoretical foundation that allows the students to find any answers to questions concerning the principles of voce-leading, transport, rules of resolution of various intervals. Conclusions. The composer and theorist Sang Tong entered the history of Chinese music of the twentieth century as the founder in the field of the modern national theory of harmony. For more than fifty years of academic research, Sang Tong has made an outstanding contribution to the development of theory of harmony in China, was creating a number of musicological studies of harmony that demonstrate the highest theoretical level. He laid a solid foundation for the future development of the national school of harmony theory, bringing the younger generation of Chinese composers to a high professional level.
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Et.al, Mohd Azhar Abu Bakar. "The Symbiosis of Singing and Stage Performance in the Malaysian Music Industry." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 3 (April 10, 2021): 1221–29. http://dx.doi.org/10.17762/turcomat.v12i3.870.
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Malaysia is a developing country rich in its culture and traditions dating back for centuries. The evolution of music in Malaysia, unnoticed by many, plays distinctive notes inspiring and transforming the paradigm shift of its people. Malaysian music transcends from melismatic, organum and minimalism, to the current progressive intervals, modulations and eclectic variations of form, structure, rhythm, chords and melodies. Vast social and economic developments change the appreciation of music in its representation by the transportation of musical essences through the delicate sensory motors of the human mind and body via sight and sound. The overall composition of this journal is to provide a thorough overview of the integration and of vocal singing and performance through the spectacle of music. Results, data, musical notations, facts and figures pertaining to this study shall be derived through books, articles, internet (reliable sources with citations) and interviews from industrialists and professionals. Conservation efforts through innovations would evidently furnish new and innovative musical ideas blending in through the inevitable influx of American/European and global new-age music. Unlike some neighboring countries that prioritize national interests, Malaysia welcomes innovations and new musical ideas. Nonetheless, the essence of the Malaysian heritage should never be compromised. To date, the diminishing factor of traditional music is rather disheartening.
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Stefanou, Danae. "The way we blend: Rethinking conceptual integration through intermedial and open-form scores." Musicae Scientiae 22, no. 1 (August 22, 2017): 108–18. http://dx.doi.org/10.1177/1029864917727148.
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The article overviews the basic assumptions and limitations of conceptual blending theory (CBT) as applied to music, and reconsiders the implications of the theory for musical creativity. CBT accounts of music have until now relied quite extensively on examples of music-as-product, and rarely considered the various levels of mediation between composition, performance and listening. It is therefore argued that an investigation of more process-based paradigms could hold significant ramifications for CBT. This argument is elaborated through a discussion of three intermedial, open-form scores by Earle Brown, Pauline Oliveros and Jennifer Walshe. The scores are considered as documents of situations where one or more performers partake, as active agents, in the composition, completion and elaboration of new cross-domain blends, as well as in the disintegration of already blended concepts. This conscious disintegration or unpacking of blends in performance is discussed as a significant aspect of the musical blending process as such, and one that deserves further consideration in creative conceptual blending research.
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Miller, Kiri. "Americanism Musically: Nation, Evolution, and Public Education at the Columbian Exposition, 1893." 19th-Century Music 27, no. 2 (2003): 137–55. http://dx.doi.org/10.1525/ncm.2003.27.2.137.
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The Columbian Exposition (the World's Fair in Chicago, 1893) was intended to represent the entire progress of human history, with American civilization as its culminating triumph. The Exposition celebrated the four-hundredth anniversary of Columbus's discovery of the New World; it restaged that discovery in myriad ways: from the display of ““savage races”” on the Midway to the construction of an emergent American middle class as civilization's newest noble savages, hungry for education. Music was an integral part of the Exposition. America's musical elite took an active role in the fair's promotion and design. The Exposition also stimulated a flood of writing on the nature and future of ““truly American”” music. This article examines American musical culture at the Exposition, with attention to music as art, science, and commerce three categories at the heart of the Exposition's formal definition of music. The network of mutual reinforcements, contradictions and the related concepts of nation, race, and evolution has powerful implications for the ensuing history of music in America. Analysis of the educational agenda of music at the Exposition suggests it taught its visitors--5 to 10 percent of the American population--a great deal about race, class, nationhood, and their identity as consumers. Reading the musical criticism, speculative philosophy, and patriotic grandstanding that accompanied the fair shows how musical thought of the day relied on evolutionary theory.
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Volkova, Polina S., and Wu Xing. "Verbal Music as an Attempt to Enter the Child’s Sound Space: Theory and Practice." ICONI, no. 3 (2021): 153–72. http://dx.doi.org/10.33779/2658-4824.2021.3.153-172.
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The article researches the pedagogical potential of verbal music actualized in music classes. The authors focus their attention on the history of the question, suggesting to supplement the classification presented by S.P. Scher with such a type of interaction between words and music as words spoken during music (melo-recitation). While examining verbal music in the context of the art of music, the authors concentrate on Camille Saint-Saens’ composition “The Swan” from the suite “The Carnival of Animals,” suggesting not only variants of verbalization of the instrumental music itself by the example of Lev Druskin’s poem “The Swan Struggles with Human Anguish…”, Dmitri Bykov’s “The Swan and Archpriest Andrei Tkachev’s prose, but also the an attempt of verbalizing the plastic intonating of Saint-Saens’ piece realized in the work of Anna Pavlova, Galina Ulanova and Maya Plisetskaya. In addition, the authors bring into scholarly use the verbalization of music presented in Evgeny Vodolazkin’s novel “Brisbane.” Proposing a set of assignments aimed at the actualization of verbal music as a unique opportunity of re-expressing musical content into the spoken word presenting itself as a unit of speech of the studying youth, the authors turn to Russian scholarly literature, as well as to that of other countries. According to the authors, the inclusion of the phenomenon of verbal music into lessons provides a maximal problematization of the studied material, helps maintain the students’ interest in their music studies by stimulating children’s creativity, and also sets up the resultative qualities of communication of all the participants of the pedagogical process, enabling the musicians in their realization of the immutability of the following fact: music can be and must be talked about!
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BURTNER, MATTHEW. "Ecoacoustic and shamanic technologies for multimedia composition and performance." Organised Sound 10, no. 1 (April 2005): 3–19. http://dx.doi.org/10.1017/s1355771805000622.
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The author's close connection to traditional Alaskan culture has inspired the creation and implementation of new multimedia instruments based on the use of ritual objects in shamanic cultures of the far north. Simultaneously, the musical processes articulated by this music are structurally tied to environmental systems in a technique discussed here as ‘ecoacoustics’. In this work, performer/composer interaction, musical composition theory, multimedia performance, and musical instrument design have been transformed in response to these influences.
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VISELL, YON. "Spontaneous organisation, pattern models, and music." Organised Sound 9, no. 2 (August 2004): 151–65. http://dx.doi.org/10.1017/s1355771804000238.
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Pattern theory provides a set of principles for constructing generative models of the information contained in natural signals, such as images or sound. Consequently, it also represents a useful language within which to develop generative systems of art. A pattern theory inspired framework and set of algorithms for interactive computer music composition are presented in the form of a self-organising hidden Markov model – a modular, graphical approach to the representation and spontaneous organisation of sound events in time and in parameter space. The result constitutes a system for composing stochastic music which incorporates creative and structural ideas such as uncertainty, variability, hierarchy and complexity, and which bears a strong relationship to realistic models of statistical physics or perceptual systems. The pattern theory approach to composition provides an elegant set of organisational principles for the production of sound by computer. Further, its machine learning underpinnings suggest many interesting applications to emergent tasks concerning the learning and creative modification of musical forms.
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Whittall, A. "Elective Affinities: Musical Essays on the History of Aesthetic Theory. By Lydia Goehr." Music and Letters 91, no. 4 (November 1, 2010): 605–9. http://dx.doi.org/10.1093/ml/gcq066.
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Hill, Matthew, Barry Hill, and Robert Walsh. "Conflict in collaborative musical composition: A case study." Psychology of Music 46, no. 2 (May 21, 2017): 192–207. http://dx.doi.org/10.1177/0305735617704712.
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In collaborative musical composition, such as those used frequently in popular music styles, conflicts between band members are commonplace. This article seeks to examine how task-based and interpersonal conflicts between band members impact on the creation of collaborative compositions, utilising a case study of a band composing music for an album recording. This paper reports on research that tracks the process of the creation of songs for a fourth album recording by a three-piece ensemble who have worked together since 1999. The composition process is marked by numerous disputes and arguments among the band personnel and the interactions between the band members move fluidly between phases of instruction, cooperation, collaboration and conflict. The authors (also the band’s members) analyse video and audio recordings of rehearsals, making observations based in grounded theory in relation to verbal and nonverbal interactions and offering personal reflections on these interactions. Drawing on theoretical perspectives in relation to communication, conflict and group dynamics such as group flow and empathetic creativity, individual and group behaviour are examined with emphasis on the impact of such behaviour on the collaborative process.
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Grazio, Jelena. "Analyzing Musical Terminology in Slovene Music Textbooks up until the End of World War II: a case study of the term “note” and some other related terms." Musicological Annual 50, no. 1 (July 15, 2014): 107–38. http://dx.doi.org/10.4312/mz.50.1.107-138.
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The following article deals with technical terminology in the field of music. Its intention is to present a chronological-contrastive analysis of musical terminology in Slovene music theory textbooks written up until the end of the World War II, exemplified by the terms selected. The author emphasizes the importance of such research for musicology, presents current contributions in this area and describes the history of musical textbooks that have been used as corpus for the analysis.
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Veloso, Ana Luísa. "Composing music, developing dialogues: An enactive perspective on children's collaborative creativity." British Journal of Music Education 34, no. 3 (June 28, 2017): 259–76. http://dx.doi.org/10.1017/s0265051717000055.
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This study aims to provide new insights on the nature of the embodied and collaborative processes related to the emergence of new musical ideas that occur when children are composing in groups.Data was obtained by participant observation of the teacher/researcher and by ten videotaped one-hour musical sessions dedicated to the development of a music composition by two groups of children, all of whom were eight years old.It was found that when composing in groups a) children use embodied processes to transform what they experience on diverse realms of their existence into musical ideas, and that b) while creating music, children engage in several improvisatory moments where new ideas emerge through the diverse ways they enact the surroundings where the activity is occurring. Findings suggest a conception of music composing as a multidimensional phenomenon that entails cognitive processes that are distributed across and beyond the physical body. Findings also suggest that composing music in collaboration with others nurtures a set of creative possibilities that would otherwise, not occur. Considerations for music education theory and practice are addressed in the last section of the article.
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Traut, Don. "Psychedelic Popular Music: A History through Musical Topic Theory by William Echard." Notes 75, no. 2 (2018): 275–77. http://dx.doi.org/10.1353/not.2018.0100.
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Gorbunova, Irina B. "Musical Computer." ICONI, no. 2 (2020): 60–78. http://dx.doi.org/10.33779/2658-4824.2020.2.060-078.
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A new page in the manifestation and demonstration of expressive means of musical sound has been opened by the computer as a musical instrument, or the “musical computer.” Contemporary musicians have endeavored at the attempts at connecting composition with the theory of information, the unification of musical and acoustic parameters, having realized the idea of a regulated poly-dimensional sound space, a multilevel compositional model applied for sound generation with the use of concisely differentiated modulations of parameters of the level of frequencies, durations and dynamics. In the present lecture the author turns to the main stages of the evolution of the concept of “musical computer” reflecting the changes in the sound and the musical material during the course of the development of the practice of composition and music-making; questions are examined in connection with the particularities of development of the computer synthesis of sound; a retrospective analysis of technical and technological experiments made by musicians in their interactions with computer technologists, who have enhanced the development of the musical computer as a polyfunctional musical instrument, including the capabilities of its use as a means of providing the symphonic organization of music by means of stereophonic panorama setting of musical space; a broad range of issues is touched upon in connection with the peculiarities of musicians’ thinking and perception, including the impediments to a consistent acquisition of possibilities of the programmed musical instrument existent in the sphere.
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Stepanova, Anna. "MODERN SCIENTIFIC THOUGHT ABOUT THE DEVELOPMENT OF WIND MUSIC AND PERFORMANCE." Academic Notes Series Pedagogical Science 1, no. 192 (March 2021): 209–12. http://dx.doi.org/10.36550/2415-7988-2021-1-192-209-212.
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The purpose of the article is to review modern scientific works of a monographic nature, created on the basis of dissertation research, which is one of the main directions of scientific thought on the development of native wind music and performance in the history of European musical culture. The research methodology is based on the dialectical interconnection of historical, sociological and analytical methods; it allows the analysis of scientific achievements in the study of the development of wind music. The scientific novelty of the article is to identify the main scientific approaches of domestic and foreign scientists to research on historical and sociological processes that affect the development of Russian brass music against the background of European musical art. Conclusions. The current state of scientific and theoretical thought on the development of wind music and performance on wind instruments is characterized by four main areas, which cover the subject: the history of wind instruments development; improvement of game techniques and performance; vocational training of spiritual wind musicians and prospects for the development of wind music and its role in the world of music. Modern scientific works of a monographic nature, created on the basis of dissertation researches – is one of the main directions of research of the history and theory of wind music.
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Krumhansl, Carol Lynne. "Statistics, Structure, and Style in Music." Music Perception 33, no. 1 (September 1, 2015): 20–31. http://dx.doi.org/10.1525/mp.2015.33.1.20.
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This essay begins by reviewing issues in psychological measurement that motivated some of the research summarized in Cognitive Foundations of Musical Pitch (Krumhansl, 1990). These were challenges to geometrical models of similarity, asymmetrical measures of similarity, and contextual effects. It then considers the impact that statistical learning has had on research and theory about music cognition, suggesting this emphasis may have underestimated the importance of other psychological processes contributing to the experience of music. Finally, it discusses three problems with traditional analyses using unidimensional, sequential statistics. The first is that music is hierarchical, with important relationships between non-adjacent events. The second is that the dimensions of music, specifically, pitch and time, interact. The third is the assumption that probabilities remain constant throughout a composition. Rather, music contains artful deviations from normative probabilities contributing to the experience of tension and release.
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Butler, Gregory. "The Printing History of J.S. Bach's Musical Offering: New Interpretations." Journal of Musicology 19, no. 2 (2002): 306–31. http://dx.doi.org/10.1525/jm.2002.19.2.306.
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Evidence from the original printed edition not only supports Philipp Spitta's theory that Bach sent the print of his Musical Offering to Frederick the Great in Potsdam in two separate installments but further suggests that the work was also printed in two distinct sections, the first in Leipzig and the second possibly in the region of Halle. In Bach's earliest concept of the work, it was to have included only the three- and six-part ricercars; he subsequently enlarged the scope of the collection. A detailed examination of the engraving suggests why this was so, and it also reveals that a third Schüübler brother was involved in the engraving of the plates. Finally, the heterogeneous makeup of the surviving exemplars of the print hints at a novel strategy adopted by Bach for the marketing of the work.