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1
Frith, Simon. "Debate: Quote Unquote." Popular Music 14, no. 2 (May 1995): 257–60. http://dx.doi.org/10.1017/s0261143000007480.
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CAPDEVILA-WERNING, REMEI. "Can Buildings Quote?" Journal of Aesthetics and Art Criticism 69, no. 1 (February 2011): 115–24. http://dx.doi.org/10.1111/j.1540-6245.2010.01452.x.
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Jas, E. "What's in a quote? Josquin's (?) Jubilate Deo, omnis terra reconsidered." Early Music 37, no. 1 (February 1, 2009): 9–20. http://dx.doi.org/10.1093/em/can156.
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Martynenko, Elena P. "TECHNO-SYMPHONY “RETHINKING PROGRESS” BY VICTOR ARGONOV: CULTURAL CONTEXT AND FACETS OF POLYSTYLISTICS." Articult, no. 2 (2021): 36–48. http://dx.doi.org/10.28995/2227-6165-2021-2-36-48.
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The symphony “Rethinking Progress” by V. Argonov is considered to be the first techno-symphony in Russian musical culture. The origin of techno-symphony is connected to the process of convergence of academic and electronic music at the turn of the 20–21st centuries and the emergence of new techno-art forms. The conditionality is revealed between the style specifics of the symphony “Rethinking Progress”, the cultural context of the epoch and the influence of polystylistic trends. The musical text of the techno-symphony contains features of an academic symphonism, including the preservation of the cyclic structure and the dramaturgical functions of parts, the existence of the conflict between the main thematic areas, the elements of programme music and the system of leitmotifs. The composer follows the style of electronic music in general, however, in each of the five movements of the techno-symphony, different styles are found: “pixel music”, techno-trance and other styles. Also the polystylistics appears in the using of typical techniques – quote, auto-quote, allusions.
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Đorđević, Ana. "“The soundtrack of their lives”: The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies, no. 17 (October 16, 2018): 25. http://dx.doi.org/10.25038/am.v0i17.267.
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Crno-bijeli svijet [Black-White World, HRT, 2015–] is an on-going Croatian television series set in the early 1980s depicting the then-current pop music scene in Zagreb. The storyline follows several characters whose lives are intertwined by complex family relations, while also following the beginnings of new wave/punk rock bands and artists, and their influence on the Yugoslav youth who almost religiously listened to their music, like some of the series’ characters do.The role of music in television series is a complicated question that caught the attention of film music scholars in recent years. The significance – and, at the same time, the complexity – that music produces or can produce, as the bearer of cultural, social and/or political meanings in television series brings its own set of difficulties in setting out possible frameworks of research. In the case of Crno-bijeli svijet that is even more challenging considering that it revolves around popular music that is actively involved in, not just the series soundtrack, but several aspects of different narrative elements.Jon Burlingame calls the music of American television “The soundtrack of our lives”, and I find this quote is appropriate for this occasion as well. The quote summarizes and expresses the creators’ personal note that is evident in the use of music in this television series and myriad ways music is connected to other narrative and extra-narrative elements, and in a way, grasps the complicity of the problem I will address. Article received: March 31, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paper How to cite this article: Đorđević, Ana. “'The soundtrack of their lives': The Music of Crno-bijeli svijet." AM Journal of Art and Media Studies 17 (2018): 25−36. doi: 10.25038/am.v0i17.267
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Hess, Mickey. "“Don't Quote Me, Boy”: Dynamite Hack Covers NWA's “Boyz‐N‐The‐Hood”." Popular Music and Society 28, no. 2 (May 2005): 179–91. http://dx.doi.org/10.1080/03007760500045295.
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Atlas, Allan W. "Vaughan Williams's Songs of Travel: A Note on the Structural Role of the Thematic Recollections in Songs 4 and 9." Nineteenth-Century Music Review 7, no. 1 (June 2010): 105–19. http://dx.doi.org/10.1017/s1479409800001166.
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To begin with two observations: (1) of the nine songs that eventually came to comprise Vaughan Williams's Songs of Travel, two – Nos 4 (‘Youth and Love’) and 9 (‘I Have Trod the Upward and the Downward Slope’) – quote material from earlier songs; and (2) in an article published in 1897, Vaughan Williams criticized some of his predecessors for lacking a ‘nice sense of proportion’ in their music, surely implying, therefore, that he valued it in his own music. And it is with the interaction of those recollections and that ‘nice sense of proportion’ in songs 4 and 9 that we will be concerned.
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McConville, Brendan P. "RECONNOITERING THE SONIC SPECTRUM OF SALVATORE SCIARRINO IN ‘ALL' AURE IN UNA LONTANANZA’." Tempo 65, no. 255 (January 2011): 31–44. http://dx.doi.org/10.1017/s0040298211000040.
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The above quote, extracted from his L'Opere per Flauto (1977–1990), provides not only a colorful introduction to the effusive imagination of Italian composer Salvatore Sciarrino, but also a preview of what an unfamiliar listener may expect to find in his music. His largely unchanging musical language has slowly yet deliberately – like the four-minute unbroken cello glissando found near the end of his Vanitas for voice, cello and piano (1981)– captured the attention of composers, performers, scholars, and new music enthusiasts for over 30 years. Moreover, examination of Sciarrino's music provokes consideration for fascinating compositional comparisons, particularly in 20th-century Italian music, as his oeuvre demonstrates similarities with, and advancements of, the music of his compatriots. In this article, we will ‘reconnoiter’ the music of Sciarrino on two different levels, by: 1) contextualizing the formulization of his compositional language from developmental and sociological perspectives, and 2) conceptualizing these investigations in All'Aure in Una Lontananza (1977), a work which would perhaps forecast goals of his life output.
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Spencer, Piers. "John Paynter, 1931–2010: an appreciation." British Journal of Music Education 27, no. 3 (September 22, 2010): 221–23. http://dx.doi.org/10.1017/s0265051710000306.
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John Paynter's death this year has deprived British music education of its most inspirational advocate during the second half of the 20th century. John's teaching in primary and secondary schools during the 1950s played a major role in shaping his vision of music at the heart of the curriculum. With his ear for an apt phrase, John loved to quote American novelist Toni Morrison's description of the wonderful presence and power of music as ‘a way of being in the world’. During the 1960s, John trained teachers in colleges in Liverpool and Chichester, before joining the innovative music department at the University of York, where he remained until his retirement in 1997. It was with the publication in 1970 of Sound and Silence that his years of pioneering work with children and older students came to fruition and the force and originality of his ideas about music education made their first big impact.
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Edwards, Warwick. "Phrasing in medieval song: perspectives from traditional music." Plainsong and Medieval Music 5, no. 1 (April 1996): 1–22. http://dx.doi.org/10.1017/s0961137100001042.
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During the course of a series of articles relating medieval Italian songs to oral and unwritten traditions, Nino Pirrotta comments on a peculiar anonymous two-voice setting from the fourteenth century whose verses seem to have been broken and shattered by the music. Word repetition ‘does not result in a more effective or more understandable rendition of the text; on the contrary, it so fragments and stutters it that any meaning is lost, except as a pretext for the melody which submerges it’. The song in question, Dolce lo mio drudo, is part of a group of unica with Calabrian associations found in the oldest layer of the Reina manuscript. Pirrotta transcribes the song in full and analyses the text and its cognates in detail. It is a ballata with irregularities. I quote in Example 1 just the refrain, together with an indication of the syllable count, in order to facilitate comparison with what follows.
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Loewy, Joanne V., and Ralph Spintge. "If not now…if only for others-invisible risks?" Music and Medicine 13, no. 1 (January 23, 2021): 4–6. http://dx.doi.org/10.47513/mmd.v13i1.814.
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“If I am not for myself, who will be for me? If I am only formyself, what am I? If not now when?” How often I havereflected on this three-lined quote attributed to the great sageHillel. While it has been cited in the context of documentaries,speeches and in texts about spirituality and freedom, it is lessconsidered for its context in the framework of healthcare...
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MAGDANZ, TERESA. "“Sobre las olas”: Cultural Synecdoche of the Past." Journal of the Society for American Music 1, no. 3 (July 17, 2007): 301–40. http://dx.doi.org/10.1017/s1752196307070101.
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Composed in 1888 by Juventino Rosas, the waltz “Sobre las olas” (“Over the Waves”) soon made its way to North America and beyond, reverberating in the great spaces of the circus, fairground, skating rink, dance hall, and park. Recycled in cartoons and films, in television, and in various cover versions, Rosas's waltz has become a kind of popular liminal music. The complex, circuitous routes it has traveled have led to a present-day musical convention. This essay attempts to lay bare the mechanisms at work in the dissemination of such a widely known piece of music in three ways: 1) by accounting for the multiple themes related to “Sobre las olas”; 2) by considering the range of technologies through which Rosas's waltz has been disseminated; and 3) by theorizing public knowledge of the waltz as a musical “quote,” a snippet recognizable after a few notes.
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Fraser, Andrea. "“‘To quote,’ say the Kabyles, ‘is to bring back to life’”." October 101 (July 2002): 7–11. http://dx.doi.org/10.1162/octo.2002.101.1.7.
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Ginsborg, Jane. "“The brilliance of perfection” or “pointless finish”? What virtuosity means to musicians." Musicae Scientiae 22, no. 4 (November 13, 2018): 454–73. http://dx.doi.org/10.1177/1029864918776351.
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The concept of virtuosity has been explored by music historians and theorists from disciplines ranging from aesthetics and anthropology to semiotics. Its history goes back to ancient times, although it is often thought to culminate in the 19th century with Liszt and Paganini. Many historical sources quote well-known performers and composers but little is known as to how music students and professional musicians define virtuosity today, and what it means to them as performers and audiences. The present study was exploratory, employing a mixed methods approach. A total of 102 musicians provided open-ended responses to a short questionnaire. A keyword-in-context analysis of content was undertaken, followed by a more in-depth thematic analysis. Five main themes emerged: characteristics of virtuosity; relationship between virtuosity and (“magical”) music making; aspirations towards virtuosity; how virtuosity is achieved; and communication. Responses from students and professionals were compared and are discussed with reference to historical and current theoretical models.
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Van Dyk, Sian. "Peter Peryer (1941–2018)." Back Story Journal of New Zealand Art, Media & Design History, no. 6 (July 1, 2019): 43–53. http://dx.doi.org/10.24135/backstory.vi6.44.
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On his fridge, Peter Peryer kept a quote by Ansell Adams that read: “You don’t make a photograph just with a camera. You bring to the act of photography all the pictures you have seen, the books that you have read, the music you have heard, the people you have loved”. This photographic essay considers how Peryer’s personal experiences and passions became intertwined with his practice, and how his understanding of the photographic image saw him create enduring images that will continue to test our own observations of everyday life.
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Zotter, Franz, Markus Zaunschirm, Matthias Frank, and Matthias Kronlachner. "A Beamformer to Play with Wall Reflections: The Icosahedral Loudspeaker." Computer Music Journal 41, no. 3 (September 2017): 50–68. http://dx.doi.org/10.1162/comj_a_00429.
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The quote from Pierre Boulez, given as an epigraph to this article, inspired French researchers to start developing technology for spherical loudspeaker arrays in the 1990s. The hope was to retain the naturalness of sound sources. Now, a few decades later, one might be able to show that even more can be done: In electroacoustic music, using the icosahedral loudspeaker array called IKO seems to enable spatial gestures that enrich alien sounds with a tangible acoustic naturalness. After a brief discussion of directivity-based composition in computer music, the first part of the article describes the technical background of the IKO, its usage in a digital audio workstation, and psychoacoustic evidence regarding the auditory objects the IKO produces. The second part deals with acoustic equations of spherical beamforming, how the IKO's loudspeakers are controlled correspondingly, how we deal with excursion limits, and the resulting beam patterns generated by the IKO.
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BULANCEA, Gabriel. "CLASSICISM AND NEO-CLASSICISMS IN THE HISTORY OF MUSIC." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 5, no. 1 (November 24, 2021): 115–22. http://dx.doi.org/10.26520/mcdsare.2021.5.115-122.
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In one of his articles, Octavian Paler draws attention in a metaphorical-mythologizing manner upon one of the risks taken by those who chose tradition as their source of inspiration. The epigonic spirit, because this is what he refers to, cannot escape idolatrising tradition, phenomenon that happens within an alterity of the creative identity, within the pettiness of controlling the artistic means, within the infatuation of his own image which is placed under the protection of the great creative figures. The epigone masters in an embryonic form some techniques which, for various reasons, he cannot manipulate creatively. He is somehow suspended between two sensibilities, hence his failure. On the one hand, he is not aware of the risk of assuming past sensibilities, and on the other, he does not assume his contemporariness. Giving in to the temptation of looking too much into the past, the epigonic artist loses his identifying sensibility. “The mistake of neo-classicism, with its statues painted or sculpted based and antique models, is Orpheus’ mistake. As we no longer have the soul of the ancient Greeks, imitating their art is useless because in art too, looking back kills if there is no conscience of the irreversibility. From this point of view, there is no turning back unless in order to desolate everything” (Paler, 2016, pp. 189-190). This quote refers to neo-classicism perceived in its most rudimentary form, in which it would identify itself with the epigonic phenomenon. Of course, no relation of equality can be claimed between an epigone and a neo-classicist. If we are to give a brief definition in which to establish a relationship between these two terms, the epigone is a neo-classicist that lacks fantasy. Neo-classicism means to creatively take over technical means, past sensibilities in order to anchor them in the tumultuousness of contemporary times. Neo-classicism represents the happiest mixture between past and present, that form of artistic reverberation in which modernity still makes room for the seal of the past. Not servility, not obedience, not anachronism which denote the incapacity to assimilate new composing techniques or the lack of vigour of creative energies, but the power to adapt to new sensibilities through restorative interventions. Starting from here, we will trace a re-echeloning line of various types of neo-classic sensibilities specific to the end of the 19th century and to the entire 20th century
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Ursulesku, Oana. "In Between the ‘Brows’: The Influx of Highbrow Literature into Popular Music." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (June 20, 2016): 81–95. http://dx.doi.org/10.4312/elope.13.1.81-95.
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The global phenomenon of popular music from the middle of the twentieth century on played a pivotal role in the merging of what was traditionally deemed high and low cultures. Performers of popular music of different genres started including direct references to literary works from the Anglo-American literary canon, one of the most famous examples being Kate Bush’s 1989 single “The Sensual World,” in which she originally intended to quote verbatim from Molly Bloom’s soliloquy Bloom in James Joyce’s Ulysses; however, since permission from the Joyce Estate was not granted, the song did get recorded, but with lyrics that Bush wrote herself, inspired by Molly Bloom’s words on the page.This paper analyses the way ideas from the original literary work get transposed and adapted in the lyrics of the popular song, giving credit to the musicians as not only innovative creators of a new work of art, but creators of an adapted work of art that can be intertextually read in the context of the artist’s cultural heritage.
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Batstone, Leah. "A Dance from Iglau: Gustav Mahler, Bohemia, and the Complexities of Austrian Identity." 19th-Century Music 44, no. 3 (2021): 169–86. http://dx.doi.org/10.1525/ncm.2021.44.3.169.
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A survey of Mahler’s correspondents, especially his classmates at the University of Vienna in the 1870s, reveals a multifaceted identity he shared with them. Most of his fellow members of the Pernerstorfer Circle, young intellectuals who met to discuss art and politics during their university years, had a similar background: German-speakers with a Jewish heritage and an upbringing in one of the Eastern minority communities of the Habsburg Empire. While some of Mahler’s music has been examined with respect to his Jewish background, little has been said about the influence of Bohemia on the composer, and even less about how this Austrian configuration of identity influenced his worldview and composition. We often repeat Mahler’s famous quote that he was thrice homeless, as a Bohemian in Austria, as an Austrian among Germans, and as a Jew throughout the world, yet the meaning of being Austrian rather than German has been underexplored in Mahler’s music. In this article, I suggest that the mixture of ethnic identities was Austrian for the composer, placing Mahler within a group of like-minded Austrians whose complex allegiances to multiple traditions influenced their contributions to the field of politics, literature, philosophy, and music. Focusing on Mahler’s early symphonies, I demonstrate the interface between Jewish, Bohemian, and Austro-German musical characteristics, and I compare this musical synergy to similar interactions in the publications of members of the Mahler’s university peers, as well as other intellectuals of his generation including Karl Emil Franzos. This article reveals multiethnic networks of influence in Mahler’s music and reconsiders Austrian identity uncoupled from the traditional Austro-German formulation.
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Brandellero, Sara, and Derek Pardue. "Introduction: Revisiting culture and power in Brazil." Veredas: Revista da Associação Internacional de Lusitanistas, no. 27 (September 10, 2018): 5–11. http://dx.doi.org/10.24261/2183-816x0027.
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In the late 1970s and early 80s, as the grip of the Brazilian military dictatorship loosened slightly and civil society transitioned into a more favorable position, artists were at the forefront of defining a new society. Musical artists Rita Lee and Roberto de Carvalho asked foreigners to rethink their homeland paradise in the first quote, taken from their 1982 recording. On the other hand, fellow musical artists Aldir Blanc and Maurício Tapajós saw the essence of the country as a “quarrel”, an existential conflict over the debt due to Brazil’s indigenous roots and insistent presence. Two contrasting perspectives expressed through music with one underlying commonality. Brazil is a product of the encounter, one enmeshed in complex and violent hierarchies.
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Barlow, Jill. "London, King's Place: Nico Muhly and Alvin Curran." Tempo 67, no. 266 (October 2013): 82–83. http://dx.doi.org/10.1017/s004029821300096x.
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Born in Vermont in 1981, and raised in Rhode Island, then based in New York, the young post-minimalist composer Nico Muhly was, at the age of 20, commissioned by the Juilliard School to write Music in Transition for versatile pianist Bruce Brubaker. Later Brubaker and Muhly created a performance piece ‘involving electronic commentaries and “graffiti” overlaid on live performances of piano sonatas by Haydn’, to quote the Kings Place programme notes for Muhly's new piece Drones and Piano, which received its UK première on 19 May, with Brubaker at the keyboard. Again fragments of Haydn are used, ‘as well as lexia from John Adams’ Phrygian Gates, Janáček, … along with the eighth hymn by Thomas Tallis'.
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Peraino, Judith A. "I’ll Be Your Mixtape." Journal of Musicology 36, no. 4 (2019): 401–36. http://dx.doi.org/10.1525/jm.2019.36.4.401.
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This article tells the story of a cassette tape housed in the Andy Warhol Museum Archives, a set of never-released (and rarely heard) songs by Lou Reed, and the tape’s intended audience: Andy Warhol. Warhol and Reed are giant figures in the history of twentieth-century Pop Art and popular music, and their collaboration from 1966 to 1967 resulted in the acclaimed album The Velvet Underground and Nico. Based on extensive archival research and interviews, I discuss how this tape reflects Warhol’s and Reed’s failed attempt to collaborate on a stage version of Reed’s album Berlin (1973); Reed’s reaction to Warhol’s book, THE Philosophy of Andy Warhol (From A to B and Back Again) (1975); and how elements of Warhol’s own audio aesthetics and taping practices find their way into Reed’s recordings around 1975. I also place this cassette in the context of the emerging common practice of creating and gifting homemade mixtapes of curated music, and demonstrate how such mixtapes function as a type of “closet media” (to quote theater scholar Nick Salvato) marked by private audience, disappearance, and inaccessibility. Drawing on William S. Burroughs’s conceptual spliced-tape experiments and their challenge to unified subjectivity, I explore the epistemological and ontological ramifications of sonically entangling the self with another person, and the queer intimacies of doing so on cassette tape.
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Lone, Steinar. "The entry of the boyars." Romanian Journal for Baltic and Nordic Studies 7, no. 2 (December 15, 2015): 43–53. http://dx.doi.org/10.53604/rjbns.v7i2_4.
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In 1893, the Norwegian composer Johan Halvorsen, who had just been appointed as musical director at the theatre Den Nationale Scene in Bergen, received an offer. An offer to become professor at the Conservatory of Music in Bucharest, and head of a quartet. The pay was much higher than the one he had just accepted in Bergen. He was intrigued and flattered. He eventually turned down the offer, but not before having found out more about this far, but still European country. What he found out inspired him to write a march, The Entry of the Boyars, which has become one of the most beloved and popular pieces of Norwegian classical music. This story is used as a point of departure for a survey of Romanian history in the 1800s, a time when society and private life underwent thorough changes. To quote the writer Radu Rosetti, “I do not think that there is any other country in which all public and private life changed so rapidly and thoroughly as with us, and even more all traces of a past so relatively recent disappeared some completely and quickly as by us.”
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Meyer, Stephen C. "Parsifal's Aura." 19th-Century Music 33, no. 2 (2009): 151–72. http://dx.doi.org/10.1525/ncm.2009.33.2.151.
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Abstract ““Aura””——configured as an interplay of preservation and loss or——to quote the first version of Walter Benjamin's famous artwork essay——as an ““interweaving of space and time””——is central not only to sound recording, but also to the musical dramaturgy of Wagner's final work. This article examines ways in which this unusual alignment affected early (pre-1948) recordings of Parsifal. The potential contradictions implicit in the concept of aura are nowhere more strikingly revealed than in these early recordings. On one hand, they foreground the problems of reducing complex and lengthy works to easily recorded excerpts or arrangements. In this quasi-Adornian reading, early sound recordings of Parsifal manifest the inexorable power of the culture industry to undermine the authentic work of art. And yet sound recording can also be seen as the fruit of a different impulse, the impulse toward a fully transcendent work of art, the realization of the ““invisible theater”” for which Wagner himself supposedly yearned. Indeed, Parsifal (even more than Wagner's other works) was recorded primarily as a symphonic work, divested of what Adorno so tellingly called the ““phony hoopla”” of operatic production. Early sound recording of Parsifal thus amplifies the conflict between materialism and transcendence that forms the ideological substratum of the plot. This conflict manifests itself in the ““resistance”” that Parsifal offers up to the process of recording, a resistance that is ironically most audible precisely during the age in which the recordings themselves are most ““imperfect.”” It is in these traces of resistance, I will argue, that we may imagine the aura of Wagner's final work.
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Avins, Styra. "Brahms, Beethoven, and a Reassessment of the Famous Footsteps." Nineteenth-Century Music Review 18, no. 2 (January 13, 2021): 269–82. http://dx.doi.org/10.1017/s1479409820000270.
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To speak of Brahms and Beethoven in the same breath is almost a cliché: Brahms was intimately conscious of Beethoven's music from early youth. This article describes the details of his youthful involvement, the compositions he had in his repertoire as well as those other works which had a powerful effect on his development. By age 20, Brahms was frequently compared to Beethoven by people who met him or heard him play. My interest is in the way he was influenced by Beethoven and the manner in which he eventually found his own voice.The compositional history of his First Symphony provides the primary focus: its long gestation, and the alleged quote by Brahms given in Max Kalbeck's massive biography: ‘I'll never write a symphony, you have no idea what it feels like … to hear the footsteps of a giant behind one’. The reference is presumably to Beethoven, but there exists no corroborating evidence that Brahms ever said those words. They gained credence as one writer after another simply accepted Kalbeck's word. Yet substantial evidence exists that in writing his biography, Kalbeck distorted and even invented ‘facts’ when it suited his purposes, including a specific instance dealing with writing a symphony.An alternative view of the symphony's long gestation is based on a view of Brahms's compositional history. He wrote for musical forces he knew at first hand, and only from 1872 to 1875 did he have command of an orchestra. Intriguingly, while fulfilling the contemporary accepted demands of a symphony after Beethoven, Brahms devised an unusual strategy for the final movement, the basis of its great success.
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Хаздан, Евгения Владимировна. "“Yiddish Songs” of Mieczyslaw Weinberg: Finding a Jewish Idiom." Музыкальная академия, no. 3(775) (September 27, 2021): 142–55. http://dx.doi.org/10.34690/184.
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Два цикла Мечислава Вайнберга с одинаковыми названиями «Еврейские песни» (op. 13 и op. 17) были написаны в 1943 и 1944 годах. В обоих сочинениях Вайнберг обратился к поэзии на идише, выбрав стихи Ицхока Лейбуша Переца и Самуила Галкина. Первый цикл дважды был опубликован при жизни композитора, однако в программах концертов и на дисках он звучал в основном на русском языке. О его содержании тоже судили по переводам. Второй цикл до недавнего времени оставался в рукописи. Циклы объединяет также обращение композитора к модусу Adonoy Molokh, в котором звучат молитвы некоторых праздничных дней - Субботы и Новолетия. Вайнберг не цитировал синагогальные песнопения, но создавал новые мелодии по тем же законам, по которым возникали их многочисленные варианты в ашкеназ-ской культуре. Музыка «толкует» текст, в некоторых случаях заставляя его переосмысливать. Одновременно композитор использует арсенал средств из европейского академического словаря и отсылает к музыке классиков. Two cycles of Mieczystaw Weinberg with the same title “Jewish Songs” (op. 13 and op. 17) were written in 1943 and 1944. In both works, Weinberg turned to Yiddish poetry, choosing poems by Itschok Leibush Perets and Samuel Halkin. The first cycle was published twice during the composer's lifetime, but in concert programs and on CD's it sounded, mainly in Russian and was called “Children's Songs.” The second cycle remained in the manuscript until recently. These cycles are also united by the composer's use of the Adonoy Molokh modus, in which the prayers of Saturday and High Holidays are sung. Weinberg did not quote synagogal chants, but created new melodies under the same laws that gave rise to their numerous variants in Ashkenazic culture. His music “interprets” the lyrics, in some cases causing it to rethink. At the same time, the composer used techniques from European academic music and gave references to the music of the classics.
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Papatzalakis, Dimos. "The Amomos in the Byzantine chant: a diachronical approach with emphasis on musical settings of the 19th and 20th centuries." Artes. Journal of Musicology 17, no. 1 (January 1, 2018): 24–73. http://dx.doi.org/10.2478/ajm-2018-0002.
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Abstract The book of the Psalms constitutes the main source from where the Offices of the Orthodox church draw their stable parts. It has been diachronically one of the most used liturgical books of the cathedral and the monastic rite. In this paper we focus on the Psalm 118, which is well known under the designation “Amomos”. In the first part of our study we look for the origin of the book of the Psalms generally. Afterwards we present the Offices in which the Amomos is included, starting from the Byzantine era and the use of the Amomos in the cathedral and the monastic services. Then, we negotiate the question of its use in the post-Byzantine era. In the next section we quote the most important settings of the Byzantine, post-Byzantine and new-Byzantine composers in Constantinople, Smyrna and Thessaloniki, as well as some evidence of their lives and their musical works. In the next section we introduce some polyprismatic analyses for the verses of the first stanza of the Amomos, which are set to music in 19th and 20th centuries. After some comparative musicological analyses of the microform of the compositions or interpretations, we comment on the music structure of the settings of Amomos in their liturgical context. Our study concludes with some main observations, as well as a list of the basic sources used to write this paper.
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Milovanović, Dara. "Popular Dance as Archive: Re-imagining Keeps the Fosse Aesthetic Preserved." Dance Research 38, no. 2 (November 2020): 255–70. http://dx.doi.org/10.3366/drs.2020.0312.
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Bob Fosse's instantly recognisable iconographic style and visual aesthetic has often been quoted in music videos, TV shows, and films featuring dance, such as videos by Paula Abdul, Michael Jackson, and Beyoncé. Using Fosse's screendance as a focal point for analysis, this essay seeks to illustrate the dynamics with which subsequent cultural capital of examples of screendance creates a multivocal archive that blends choreographic and screen histories. The idea that popular dance on screen creates an alternative form of archival records challenges the traditional notion of archive as a collection of artefacts by concentrating on works by various artists that quote, borrow and recycle previously available works of popular dance on screen. Quoting and referencing previous dance works, although problematic in terms of copyright and authorship, creates an active process for historical archiving that brings choreographic style and aesthetic to contemporary audiences adjusted to the current socio-political needs of the audience and technological possibilities. Artists reclaim and reformulate the existing repertory to their own political and economic needs therefore creating a regenerative ideology of the way popular dance re-interprets the dances for the given time, space, and context. The examples of dance videos discussed in this essay act as an interpretation of numerous references found in popular culture and therefore challenge the rigid tropes of dance creators as sole producers of dance material and the meanings communicated. Directing attention on to the dance and the corporealities of dancers further questions ideas of authorship as it recognises the bodily history as a fundamental part of web of meanings presented in dance.
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Nikolenko, R. "The specifics of the ironic in the Marc-André Hamelin’s creativity on the example of “Variations on a Theme of Paganini”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 132–44. http://dx.doi.org/10.34064/khnum1-52.09.
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Background. From the era of romanticism to the present day there is a stable interest of world-renowned virtuoso musicians to such kind of creativity as transcription, which makes it possible to speak not only as a performer, but also to express themselves in the composer’s perspective. Many prominent pianists of different eras have made a significant contribution to this branch of musical art, we need only recall the names of F. Liszt, K. Tausig G. von Bulow, F. Busoni, L. Godowsky, Vladimir Horowitz, Glenn Gould. Among artists of our time, it should be noted the Canadian piano virtuoso and composer Marc-Andre Hamelin, for which transcriptions are characterized by a harmonious combination of technical complications and modernization of the selected thematic material, which provides his music a wide audience. A striking confirmation of this are the thousands of views of his transcriptions on the channel in YouTube. Perhaps one of the secrets of such popularity is not only the actualization of the musical language of the original, but also The article is devoted to the specifics of the ironic, as one of the manifestations of the comic, in creative heritage of the world-famous Canadian pianist and composer Marc-André Hamelin On material Of “Variations on a Theme of Paganini”, which are the most illustrative example in this perspective, the features of the artist’s work with a quote thematic material. Identifies certain dominants of the composer’s style, among them: the destruction elected canons, their modification and approach to the aesthetics of the modern world perception through the use of the musical language of the XX–XXI centuries, as well as the desire for harmonious unification, combining styles of different eras within one work. Objectives. The object of research is a musical composition; its subject of research is the identification of the specifics of the irony in the composer’s style. The purpose of the article is to consider the trends of manifestation of irony and the stylistic orientations in the composer’s work of Hamelin, referring to the most indicative in this aspect of the work “Variations on a Theme of Paganini”. Methodology. Structural-functional and genre-style methods are applied in the consideration of the compositional and stylistic specificity of “Variations on a Theme of Paganini”. To identify the peculiarities of the composer’s work with quotations, the method of comparative analysis was used. The methodological basis consists of the concepts of postmodern citation put forward by such leading researchers and representatives of postmodernism as Umberto Eco and Sigmund Bauman. Presenting the main material. The figure of Niccolo Paganini, enveloped in a mysterious halo, attracted the attention of contemporaries and many artists of subsequent generations, and his creative heritage found a significant response in the musical environment. One of the most famous works of N. Paganini has a cycle “Twenty-four capris” for solo violin, among which the most frequently used for a variety of composer’s interpretations was the theme of Caprice No. 24. Interesting is the fact that it remains relevant, continuing even in the twenty-first century to attract attention. A striking example of this is the Hamelin’s “Variations on a Theme of Paganini” (2011). This work, written for solo piano, is a dedication to the American composer, pianist, conductor, teacher Yehud Weiner and his wife Susan Dewen-Weiner. In his interpretation of Caprice 24, the composer chooses a free interpretation of his figurative and substantial side. This is evidenced not only by the increase in the number of variations (14 instead of 11), but also many other aspects that appear at different levels of composition of the whole. It turns out the specificity of the composer’s work with the quote material, which permeates the whole work, the tendency to its ironic interpretation, as well as harmonious coexistence within the work of styles of different eras, their combination. Results. This work is one of the most striking embodiments of the ironic in the work of the Canadian artist. Here is typical for his style work with the used material quote, the basis of which – the destruction of the selected sample, bringing atypical for the original harmonic, melodic, rhythmic turns. Most often such “curvature” is used at the first posted quote topics. The composer tends to synthesize several styles within the framework of the work, this is often achieved by combining one of the styles of past eras with the styles of modernity, while not contrasting, isolating, contrasting them, but creating a melodic, tonal-harmonic and compositional integrity. Conclusion. Hamelin’s “Variations on a Theme of Paganini” represent a vivid manifestation of the ideas of postmodern worldview in music, which is based on the ironic attitude to the sample of the past.
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Yosephine, Yosephine, Monty P. Satiadarma, and Yohana Theresia. "PENGARUH TERAPI MUSIK TERHADAP PENURUNAN PERILAKU AGRESI PADA REMAJA." Jurnal Muara Ilmu Sosial, Humaniora, dan Seni 3, no. 2 (October 14, 2019): 509. http://dx.doi.org/10.24912/jmishumsen.v3i2.3562.2019.
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Buss (dalam Baron & Richardson, 2004) mengatakan bahwa perilaku agresi merupakan sebuah tindakan yang bertujuan untuk menyakiti orang lain. Perilaku agresi paling tinggi berada pada masa perkembangan remaja, khususnya pada usia 14 sampai dengan 18 tahun (Farrel et al., 2005; Karriker-Jaffe, Foshee, Ennett, & Suchindran, 2009). Terapi musik merupakan proses penyembuhan yang menggunakan media musik untuk memenuhi kebutuhan fisik, emosional, kognitif, dan sosial pada individu di segala umur (AMTA, 2005). Terapi musik diprediksi dapat menurunkan perilaku agresi pada remaja, terbukti dari berbagai penelitian terdahulu. Tujuan penelitian ini adalah untuk mengetahui pengaruh terapi musik terhadap penurunan perilaku agresi pada remaja di Jakarta. Pada penelitian ini, peneliti menyertakan 30 siswa di SMA X, Jakarta dengan menggunakan teknik purposive-criterion sampling dan quota sampling. Partisipan dibagi menjadi 3 kelompok, yaitu (a) kelompok terapi musik aktif, (b) kelompok terapi musik pasif, dan (c) kelompok kontrol. Desain penelitian adalah true experiment dengan three-group pretest-posttest, yang menganalisis data dengan Uji ANOVA. Hasil penelitian menunjukkan terapi musik dapat menurunkan perilaku agresi secara signifikan (p<0.05). Hal tersebut menunjukkan bahwa baik terapi musik aktif maupun terapi musik pasif dapat diterapkan untuk menurunkan perilaku agresi pada remaja. Buss (in Baron & Richardson, 2004) says that aggressive behavior is an action that aims to hurt others. The highest aggression behavior is occur when the adolescence developed itself time to time, especially at ages 14 to 18 years (Farrel et al., 2005; Karriker-Jaffe, Foshee, Ennett, & Suchindram, 2009). Music therapy is a healing process that uses music media to meet physical, emotional, cognitive, and social needs in individuals of all ages (AMTA, 2005). Music therapy is predicted can be reduce aggressive behavior in adolescence, as evidenced by various previous studies. The purpose of this research is to determine the result of the decreasing aggressive behavior toward the adolescence in Jakarta. In this study, researchers included 30 students at SMA X, Jakarta using purposive-ciretrion sampling and quota sampling techniques. Participants were divided into 3 groups, and the groups are; (a) active music therapy group, (b) passive music therapy group, and (c) control group. The design of this experiment is using a true experiment with three-group pretest-posttest, which analyzes data with ANOVA test. The results showed that music therapy can significantly reduce aggressive behavior (p <0.05). This shows that both active music therapy and passive music therapy can be applied to reduce aggressive behavior in adolescence.
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Maximova, Alexandra E. "On the History of P.Chevalier de Brissol’s Ballet “The Village Heroine” (1800)." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 4–20. http://dx.doi.org/10.21638/spbu15.2021.101.
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The article is devoted to the history of the creation and compositional features of P.Chevalier de Brissol’s ballet to the music of G.A. Pari “The Village Heroine”. Information was collected and clarified on the performances of the play, its authors and performers. Discrepancies were revealed in the studies (the date and place of the premiere, the number of acts, the names of choreographers and composers do not match). The creative continuity of the choreographers in working with the plot is noted and documentary information on the resumption of the ballet performed by A. Poireau, I. Walberh and A. Glushkovsky is provided. The libretto compositions were found and studied. In the article, the history of the plot related to the opera of P.Monsigny “Deserter”, the ballet of the same name by J.Doberval and other works are considered. For the first time, little-known handwritten musical sources of the ballet and its musical material are discussed. Textual features were studied, including handwritten litters containing the names of the creators, the dates of the ballet, as well as a rare autograph of the composer and bandmaster I. F. Kerzelli. The place of the composition in the work of Pari is determined and the conclusion is made that the musical score was compiled from the well-known works of different authors. In search of the authors of musical fragments, a complete verification of the score of the opera by P.Monsigny “Deserter” and the musical source “Village Heroine” was conducted. In the course of checking the score, a quote from the opera “Orpheus and Eurydice” by C.W. Gluck was discovered. The advantages of instrumentation and musical drama of ballet, built on thorough development and a system of thematic reprise, are revealed. It is established that Pari wrote music for its sequel — the ballet in three acts “The Consequence of the Village Heroine” (1806?), choreographed by Poireau and Valberkh.
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Ismail, Mostafa Refat. "Soniferous Architecture." International Journal of Art, Culture and Design Technologies 4, no. 1 (January 2014): 42–62. http://dx.doi.org/10.4018/ijacdt.2014010104.
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“I call architecture frozen music” a quote by Johan Wolfgan von Goethe. It seems that his description of architecture will not be this much long lasting. Since many architectural structures now are considered soniferous. In an approach to rational the thinking of positive soundscape and move onwards in terms of systematic decision making, and creating tools for more creative planning techniques, this paper utilizes two methodologies in assessing soundscape impacts. One approach usually implemented in quality of manufacturing and product development, namely the Kano Model. The other approach deals with the case in the form of a wider scope which relates the design of the soundscape, and the effect of sound sculptures in objective terms. Due to the complexity of characterizing the soundscape, and its dependence on several of perceptual aspects and interventions, both models are mapped to form an evaluation tool for a specific sonic environment. It can be considered to be a complement along with previous frameworks that shed light on the emission of sound, and others on factors influencing the soundscape perception, or to be used as a tool for understanding and assessing individual responses and evaluation. In this case the importance of having a framework is to help evaluating the common effect of a successful intervention on the positive attributes of the soundscape.
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Tolbert, Elizabeth. "The Enigma of Music, the Voice of Reason: "Music," "Language," and Becoming Human." New Literary History 32, no. 3 (2001): 451–65. http://dx.doi.org/10.1353/nlh.2001.0049.
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Gintsburg, Sarali, Luis Galván Moreno, and Ruth Finnegan. "Voice in a narrative: A trialogue with Ruth Finnegan." Frontiers of Narrative Studies 7, no. 1 (July 1, 2021): 1–20. http://dx.doi.org/10.1515/fns-2021-0001.
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Abstract Ruth Finnegan FBA OBE (1933, Derry, Northern Ireland) took a DPhil in Anthropology at Oxford, then joined the Open University of which she is now an Emeritus Professor. Her publications include Oral Literature in Africa (1970), Oral Poetry (1977), The Hidden Musicians: Music-Making in an English Town (1989), and Why Do We Quote? The Culture and History of Quotation (2011). Ruth Finnegan was interviewed by Sarali Gintsburg (ICS, University of Navarra) and Luis Galván Moreno (University of Navarra) on the occasion of an online lecture delivered at the Institute for Culture and Society at the University of Navarra. In this trialogue-like interview, Ruth tells about the childhood experiences that were decisive for her interest in orality and storytelling, about her education and training as a Classicist in Oxford, the beginnings of her fieldwork in Africa among the Limba of Sierra Leone, and her recent activity as a novelist. She stresses the importance of voice, of its physical, bodily dimensions, its pitch and cadence; and then affirms the essential role of audience in communication. The discussion then touches upon several features of African languages, classical Arabic and Greek, and authoritative texts of Western culture, from Homer and the Bible to the 19th century novel. Through discussing her childhood memories, her assessment of the development and challenges of anthropology, and her views on the digital transformation of the world, Ruth concludes that the notion of narrative, communication, and multimodality are inseparably linked.
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Koza, Julia. ""Save the Music"? Toward Culturally Relevant, Joyful, and Sustainable School Music." Philosophy of Music Education Review 14, no. 1 (2006): 23–38. http://dx.doi.org/10.1353/pme.2006.0006.
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Popova, Liudmyla, and Olha Protsenko. "Genre and style features of creative heritage by Mark Karminskyi: educational and methodological aspects." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 65–79. http://dx.doi.org/10.34064/khnum2-19.04.
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Background. The article is a step towards a modern comprehension of the creative heritage by M. Karminskyi, whose work in the second half of the 20 century contributed to the development and international fame of Ukrainian music. Analysis of scientific publications (Heivandova, K., 1981; Ivanova, Yu., 2001; Kushchova, E., 2004 etc.), memoirs (Hanzburg, G., 2000) and a huge array of periodicals devoted to the composer allows us to single out the characteristic features of his creative personality, which determine the originality of his talent as a composer, explaining the constant demand for his music and its successful functioning in the pedagogical process, in particular, in children’s music schools. The purpose and objectives of this study – to consider the artistic and aesthetic orientation of the creative heritage by M. Karminskyi and identify its distinctive features, focusing on the genre and style aspect of his works for children and youth and their methodological significance in pedagogical practice. Research methods are based on general scientific principles of systematization and generalization. The most important role was played by the interdisciplinary approach to the analysis of the composer’s creative heritage from the standpoint not only of musicology, but also of history, culturology, and pedagogy. For reflecting the spiritual atmosphere, where the composer’s talent was formed, the historicalbiographical approach was of great importance. Research results. The way of formation of M. Karminskyi’s individuality, development of his innate musical inclinations to successful realization of talent is crowned with creation of compositions of various genres, both largescale – partitas, operas, music to performances, and chamber – vocal-choral and instrumental miniatures, among which the piano music for children and youth audiences appealed to the style of Ukrainian folklore occupies a significant place. Ukrainian literature, in particular, works by Taras Shevchenko, Lesia Ukrainka, and Ivan Franko, which were carefully studied by M. V. Karminskyi as a student of the Faculty of Journalism at V. N. Karazin Kharkiv State University, had a significant influence on the formation of the composer’s worldview and aesthetic priorities. Probably, it was the love for literature that determined the programmatic narrative nature of M. Karminskyi’s compositions. However, the love for music itself prevailed: M. Karminskyi continued his studies at the Kharkiv Conservatory in the class of Professor D. Klebanov possessed in perfection by the musical artistic heritage and was able to transfer creatively this knowledge to students. M. Karminskyi’s later applied the skills acquired from him in his work. In those years, the Kharkiv School of Composition stood out among other music unions of Ukraine with a high level of creative competence: composers sought their own way and artistic individuality, creating a modern musical language. However, even in this highly educated environment, the personal potential of Mark Veniaminovich, his highly artistic taste and erudition rose. Mark Veniaminovich is sometimes called “the knight of the country of childhood” thanks to his brilliant compositions for children. The composer speaks to the children’s audience with the help of intonations and artistic techniques available to the child’s worldview, but he does not adapt to the child, but teaches him to develop thinking, show strong emotions. Pupils like program music with interesting content that evokes familiar associations, specific ideas. Therefore, in many of his works M. Karminskyi turns to the literary basis, clear concrete and dynamic images, heightened emotionality (“Steppe, steppe...”, “Autumn Day”, “Lyrical intermezzo”, etc.). Such approach motivates children not to perform works abstractly and mechanically, but to bring their own emotions and understandings into them. M. Karminskyi uses clear three-part or couplet forms that contain repetition (the plays “Favorite Tale”, “Ancient History”, “Merry Trumpeter”, etc.), he is characterized by conciseness of melodic phrases. The texture is convenient for children’s hands: parallel intervals, counterpointing voices, organ points of the lower voice, melodic figurations and harmonic degrees sustained in the middle line, register dynamics are used. These and other techniques promote students’ technical capabilities by developing mobility and finger strength. Continuing the traditions of the Ukrainian singing school, M. Karminskyi pays a lot of attention to the techniques of cantilena performance, forcing students to master the art of playing the pedal, which requires careful sound control. Piano ensembles, unique in their poetic beauty, were created by the composer at the end of his not too long life. These plays use themes from the music to the play “Robin Hood”, and the musical images of the pieces are extremely clear even in the names: “Old Grandfather Kohl”, “Lady Tambourine”, “Road to the Temple”, “Crazy Waltz”. M. Karminskyi, feeling a passionate interest in theatrical action with its playful moments and the task of embodying specific images, created music for performances. The radio production “Robin Hood” with the participation of the country’s leading artists, based on the poems of the famous Scottish poet R. Burns translated by S. Marshak and imbued with romantic sublimity, lyricism and sincerity, received a special resonance; it contains expressive melodies that are quickly memorized. In 1978, the company “Melody” released a stereo disc “Robin Hood” with a recording of this radio show. The variety of artistic tasks of the ensemble music of M. Kaminskyi leads to the formation of a variety of pianistic skills. The predominance of playful, moving images in plays develops motor technic and synchronization in performing. The meter and the rhythm of the works are complicated using the measures 6/8, 9/8 or size change in one work: 2/4; 3/4; again 2/4; then 4/4. This technique allows you to transmit movement and free breath of a musical phrase. Karminskyi actively uses chords from fourths and fifths intervals characterized the repertoire of Ukrainian bandura players. Conclusions. The composer gave the children a lot of strength and inspiration, creating music for them in accordance with high moral and ethical criteria and filled with vivid emotions, theatricality, and visible concrete imagery. Miniatures for the children’s choir, the master’s piano pieces have a high spiritual meaning and are among the best achievements of Ukrainian children’s musical literature. The piano music of M. Karminskyi is marked by a tendency to search for a new national style: the composer does not quote folk melodies, creating original musical images in the spirit of folklore. The multi-genre works of M. Karminskyi embody the eternal themes of good and evil, love and death, betrayal and fidelity with the emotional strength inherent in his music, demonstrating the composer’s deep erudition and human decency, originality, uniqueness of his personality and his talent.
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HOWELL, STANDLEY. "The emergence of a medieval pitch concept." Plainsong and Medieval Music 29, no. 2 (September 15, 2020): 99–117. http://dx.doi.org/10.1017/s096113712000011x.
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ABSTRACTThe ninth century witnessed a fundamental change in the way Western musicians thought about music. Before the Carolingians assimilated ancient music theory, they had no functional concept of how the intervals between pitches of the scale differed from one another and how those differences affected melodic structure. The transition to interval-based thinking may be traced in writings about music. The first half of Aurelian of Réôme's mid-century Musica disciplina quotes from Boethius, Cassiodorus and other ancient authors, but fails to make sense of what they say about intervals. The second half describes the rise and fall of chant melodies without reference to intervals. Treatises of the later ninth century (the Enchiriadis treatises, Hucbald's Musica) are the first to treat music in terms of individual pitches and explain how patterns of whole tones and semitones define modes and scales. However, an early draft of Musica enchiriadis, the Inchiriadon, still displays no awareness of the role that semitones played. A parallel evolution occurred in notation. Neumes, which outline melodic direction but not precise intervals, can be documented from the second quarter of the ninth century and are likely older. They lack pitch content because musicians who invented them lacked a conceptual framework for understanding pitch. Pitched notations do not appear until late in the century and their use is confined to examples in theory treatises.
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Abreu, Christina. "Celebrity, "Crossover," and Cubanidad: Celia Cruz as "La Reina de Salsa," 1971-2003." Latin American Music Review 28, no. 1 (2007): 94–124. http://dx.doi.org/10.1353/lat.2007.0012.
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White, Bob W. "Modernity's Trickster: "Dipping" and "Throwing" in Congolese Popular Dance Music." Research in African Literatures 30, no. 4 (1999): 156–75. http://dx.doi.org/10.1353/ral.2005.0054.
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Amanda, Rissa. "Music streaming dalam industri musik era industri 4.0." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 6, no. 1 (March 20, 2022): 358–82. http://dx.doi.org/10.25139/jsk.v6i1.3772.
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Industrial era 4.0 shows that all human activities will be connected and dominated by digital media. Creativity and new ideas to innovate technology are the keys of this era. For example in the music industry 4.0, which develops music streaming technology products, trying to attract a lot of millennials generation. In the context of Indonesia, Langit Musik as a local product competes with Spotify as an international product. Therefore, through this literature review-based research and interview with some of the participants in Whatsapp phone call, researchers want to see what kind of music streaming platform in the industrial era 4.0 make many peoples interested, especially the millennials generation in Indonesia. The results show that the use of Spotify in Indonesia is still more popular than Langit Musik, because for most of the Indonesian millennial generation Spotify is already suitable for the music streaming criteria they want. These include a diverse and global selection of songs, from old songs to the latest songs that are always up-to-date, have a simple and eye-catching display, easy to use, clear sound quality, have lyrics for karaoke, integrated with social media for status updates, have playlist personalisation feature, and no need to use large mobile data internet quota. However, Spotify and Langit Musik are still not able to attract their customers to switch from free to premium services, due to different needs and there are people who are still comfortable downloading songs illegally even though they already had music streaming. Spotify has become more popular than Langit Musik because of consumer trust in its quality, besides that personal promotion by word-of-mouth from the closest people and status updates on social media, which also support the expansion of Spotify's popularity.
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Ortgies, I. "Not quite just." Early Music 35, no. 3 (June 4, 2007): 452–54. http://dx.doi.org/10.1093/em/cam068.
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Atkins, Gareth. "‘Idle Reading’? Policing the Boundaries of the Nineteenth-Century Household." Studies in Church History 50 (2014): 331–42. http://dx.doi.org/10.1017/s0424208400001819.
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In April 1805 the Christian Observer reviewed George Burder’s Lawful Amusements, a sermon preached earlier that year in London and recently published. Burder was a leading Independent minister, ‘a serious man, employed about serious things’, his son later recalled, and the Christian Observer might have been expected to approve. Yet it was clear that the reviewer thought he had gone too far. The sermon, he complained, ‘might more properly be entitled “Unlawful Amusements’”, given that only one out of its thirty-eight pages told readers what they could do with their leisure hours. Walking, riding, reading biography, history and natural philosophy, and music ‘in moderation’ were the only permissible pursuits. ‘Visiting the sick and poor in their abodes of penury and pain’ was, in Burder’s eyes, lawful, but the reviewer doubted whether it was, strictly speaking, an amusement. Nevertheless, to see Burder’s comments as symptomatic of a joyless religiosity in which every recreational minute was a minute wasted is to misunderstand them. For, as Evangelicalism gained a foothold in the Church of England during the 1780s and 1790s and came to thrive among well-heeled Nonconformist congregations, there was a growing consensus that leisurely pursuits were permissible and even necessary. However, not everyone agreed as to where the boundaries lay. Those who wrote for the Christian Observer, for instance, were clearly more relaxed about pastimes, but took a very dim view of Burder’s earthy vehemence. Indeed, one of the reviewer’s chief complaints about Lawful Amusements was the saltiness of its language, especially its ‘very strong, as well as coarse, Philippic against the theatre’, from which the reviewer fastidiously declined even to quote.
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Herissone, Rebecca. "Playford, Purcell, and the Functions of Music Publishing in Restoration England." Journal of the American Musicological Society 63, no. 2 (2010): 243–90. http://dx.doi.org/10.1525/jams.2010.63.2.243.
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Abstract During Purcell's lifetime the music-publishing business in England flourished, thanks mainly to John Playford. Since intellectual property rights did not yet exist, Playford and his successors were able to select music they were confident of selling, predominantly producing multicomposer anthologies of popular tunes. Composers may have benefited little from these publications so it is significant that some took the financial risk of printing their music without an established publisher's support. Analysis suggests that musical self-publication was undertaken for several quite specific purposes. Three self-published books stand out as the only operatic scores published in seventeenth-century England: Locke's The English Opera (1675), Grabu's Albion and Albanius (1687), and Purcell's The Vocal and Instrumental Musick of the Prophetess (1691). These substantial volumes had no obvious practical use and all sold poorly; put into political context, however, they reveal how printed music in England was developing from a purely practical performance tool into a medium through which statements could be made and musical works given monumental status. Yet Purcell's own management of the printing of The Vocal and Instrumental Musick of the Prophetess suggests that he was confused about the distinct and mutually exclusive functions of music printing in the period, which led him to misunderstand the nature of the market and how he might appropriate the medium for his own benefit.
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Putra, I. Pt Lukita Wiweka Nugraha. "Historical Aspects of Ketut Sumerjana’s “Yogyakarta Nyaman” (from Entertainment to Pre-Therapy Media)." Journal of Music Science, Technology, and Industry 2, no. 1 (January 15, 2019): 135. http://dx.doi.org/10.31091/jomsti.v2i1.609.
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In many music composition, history is often forgotten even though every music must be preceded by its historical events behind. Regarding such a problem, one form of music projects that is quite interesting for the author is “Yogyakarta Nyaman” (2011) created by musician and academician Ketut Sumerjana. It is a MIDI composition which then function as pre-therapy media. Based on that, the focus of this research is the historical aspects or background of “Yogyakarta Nyaman” both in the process of its creation and its functional shifting from profane thing (entertainment) to pre-therapy. This study uses a narrative qualitative method with data collection techniques in the form of interviews with primary informants. The results of the study show that the history or the background of the creation process of “Yogyakarta Nyaman” is as a description of the interpretation of the socio-cultural changes in Yogyakarta during the 1990s to 2000s, while the presence of subsonic and ultrasonic frequency components which became the background of the music has its own functional transformation to pre-therapy media. Dalam komposisi musik, sejarah seringkali terlupakan padahal setiap musik pasti didahului dengan peristiwa sejarah yang melatarbelakanginya. Terkait hal tersebut, salah satu musik yang cukup menarik perhatian bagi penulis adalah “Yogyakarta Nyaman” (2011) yang merupakan salah satu musik karya musisi sekaligus akademisi Ketut Sumerjana. Ini merupakan sebuah komposisi MIDI yang kemudian fungsinya sebagai media pra-terapi. Berdasarkan hal tersebut, maka fokus penelitian ini adalah mengenai aspek sejarah atau latar belakang musik “Yogyakarta Nyaman” baik dalam proses penciptaannya dan pergeseran fungsinya dari profan (hiburan) menuju pra-terapi. Penelitian ini menggunakan metode kualitatif naratif dengan teknik pengumpulan data berupa wawancara terhadap narasumber primer. Hasil penelitian menunjukkan bahwa musik “Yogyakarta Nyaman” secara aspek sejarah atau latar belakang proses penciptaannya merupakan deskripsi interpretasi mengenai perubahan sosio-kultur Yogyakarta tahun 1990-an menuju 2000-an sedangkan komponen frekuensi subsonik dan ultrasonik yang menjadi latar belakang karya ini mengalami transformasi fungsi menjadi media pra-terapi.
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Höge, Holger. "The Golden Section Hypothesis—Its Last Funeral." Empirical Studies of the Arts 15, no. 2 (July 1997): 233–55. http://dx.doi.org/10.2190/2pnh-8tt0-emc5-ftw5.
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Since the very beginning of experimental aesthetics with Fechner's investigation of the Holbein Madonna (1872) and the aesthetic pleasingness of the golden section (1865, 1871a, 1876/1925/1978) there have been reports with widely differing results on this hypothesis (to quote only a few: Benjafield, 1976; Boselie, 1992; Davis, 1933; Godkewitsch, 1974; Haines & Davies, 1904; Lalo, 1908; Piehl, 1976; Plug, 1980; Svensson, 1977; Thompson, 1946; see also the reviews of Green, 1995 and Höge, 1995). Thus, as there are so many results on the golden section hypothesis showing contradictory outcomes it seemed necessary to replicate Fechner's original study as far as possible: giving the same proportions, using white cards on black ground. Other specifics could not be kept constant because Fechner's report on the experiment is not very precise (cf. Fechner, 1876/1925/1997). As a complete replication is not possible, three experiments were carried out, each of them being slightly different in methodology. However, regardless of the conditions under which the choices were made, the golden section did not turn out to be the preferred proportion. The comparison with Fechner's results makes this research only quasi-experimental in character and, hence, inevitably there are some restrictions with respect to the strength of the conclusions to be drawn. But, nevertheless, the nice peak of preference Fechner reported for the golden section seems to be either an artifact or it is an effect of still unknown factors. Two possible hypotheses (change-of-taste and color-of-paper) are discussed. It is concluded that the golden section hypothesis is a myth.
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Yuehong, Ren. "The study of "music" in pre-qin works." Music Report 2, no. 1 (2020): 25–32. http://dx.doi.org/10.35534/mur.0201005c.
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Lam, Joseph Sui Ching. "Embracing "Asian American Music" as an Heuristic Device." Journal of Asian American Studies 2, no. 1 (1999): 29–60. http://dx.doi.org/10.1353/jaas.1999.0008.
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Peluse, Michael S. "Not Your Grandfather's Music: Tsugaru Shamisen Blurs the Lines Between "Folk," "Traditional," and "Pop"." Asian Music 36, no. 2 (2005): 57–80. http://dx.doi.org/10.1353/amu.2005.0024.
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Nurina, Lidya, Edlin Yanuar Nugraheni, and M. Budi Zakia Sani. "Eksistensi Musik Perkusi Cha Catuk Percussion di Kota Banjarmasin." Pelataran Seni 5, no. 2 (September 9, 2020): 111. http://dx.doi.org/10.20527/jps.v5i2.9127.
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Intisari Tulisan ini mengkaji topik tentang eksistensi kelompok musik perkusi Cha Catuk Percussion di Banjarmasin. Kajian atau penelitian ini menggunakan pendekatan deskriptif-kualitatif. Adapun teknik pengumpulan data yang digunakan adalah triangu-lasi, yang meliputi wawancara, observasi, dan analisis dokumen. Berdasarkan hasil kajian, dapat diketahui bahwa eksistensi musik perkusi dari kelompok Cha Catuk Percussion di Kota Banjarmasin cukup bernilai. Sejak beraktivitas di tahun 2010 hingga 2019, hampir satu dekade mereka memberi kontribusi bagi dunia per-tunjukan musik di masyarakat Kota Banjarmasin, bahkan lingkup Kalimantan Selatan. Ragam segmen acara dan bentuk kegiatan yang mereka ikuti menunjukkan kelompok Cha Catuk Percussion dapat diterima oleh publik Kota Banjarmasin, khususnya publik pertunjukan.Kata kunci: cha catuk percussion, musik perkusi, banjarmasin Abstract This paper examines the topic of the existence of the Cha Catuk Percussion music group in Banjarmasin. This study or research uses a descriptive-qualitative approach. The data collection technique used is triangulation, which includes interviews, observations, and document analysis. Based on the results of the study, it can be seen that the existence of percussion music from the Cha Catuk Percussion group in Banjarmasin is quite valuable. Since their activities in 2010 to 2019, almost a decade they have contributed to the world of musical performances in the people of Banjarmasin City, even in the scope of South Kalimantan. The various segments of the event and the forms of activities they participated in showed that the Cha Catuk Percussion group could be accepted by the Banjarmasin City public, especially the performance public.Keywords: cha catuk percussion, percussion music, Banjarmasin
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Cepeda, Maria Elena. ""Columbus Effect(s)": Chronology and Crossover in the Latin(o) Music "Boom"." Discourse 23, no. 1 (2001): 63–81. http://dx.doi.org/10.1353/dis.2001.0003.
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