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Journal articles on the topic 'Musica insieme'
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1
Di Paoli Paulovich, David. "Musica e canti d’espressione popolare di area latino-veneta in Istria e a Zara. Generi vocali e bibliografia." Histria : the Istrian Historical Society review 2, no. 2 (2012): 173–203. http://dx.doi.org/10.32728/h2012.07.
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Il presente contributo traccia un quadro delle ricerche e degli studi compiuti negli ultimi due secoli sul canto popolare di matrice istro-veneta, diffuso sulla costa adriatica orientale (Istria e Zara), evidenziando i principali studiosi e i maggiori risultati conseguiti. Propone quindi una distinzione dei generi o forme vocali in cui tale repertorio si manifesta (villotte, bassi, bitinade, arie notturne o da nuòto, stornelli, inni corali, canti a contenuto politico, canti dell’esodo, canti religiosi) cogliendo lo stato attuale delle ricerche e degli aspetti esecutivi di tale canto nei vari contesti di riferimento. Degli studi e delle ricerche inerenti al canto popolare istro-veneto si propone, infine, anche una bibliografia aggiornata. La costa adriatica orientale denota una vivacità musicale ricca e diversificata, che, partendo dagli albori aquileiesi tocca profondamente gli aspetti folclorici popolari, riunisce un repertorio dai tratti originali e che, soprattutto, riferendomi agli aspetti musicali sacri (canto patriarchino) e profani (canto popolare), ha consentito il formarsi nei secoli di una sensibilità musicale ad ogni livello, tale da contribuire essa stessa al sentimento d’appartenenza ad una civiltà peculiare ed unica: nelle sue componenti istriana, quarnerina, fiumana e dalmata. Compito, certamente arduo, di una musicologia istriana dovrebbe essere oggi anche quello di trarre in salvo le ultime testimonianze della musica vocale popolare di derivazione istro-veneta e non soltanto quelle di derivazione croata o slovena, essendo tale musica vocale l’anima fondante dell’essenza istriana insieme con le altre anime etno-musicali della nostra penisola.
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Cogliani, Maurizio. "Musica e bellezza. Sinestesia etico-estetica e origine del pensiero creativo." EDUCAZIONE SENTIMENTALE, no. 16 (September 2011): 105–23. http://dx.doi.org/10.3280/eds2011-016008.
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La nota affermazione del principe Miskin nell'Idiota di Dostoevskij («La bellezza salverŕ il mondo»), offre una singolare chiave di lettura che, sulla base di un'interpretazione letterale del testo russo, conduce a invertire i termini della frase: "Il mondo salverŕ la bellezza". Affinché ciň sia possibile, č necessario che il mondo recuperi l'essenza del bello che consiste nella sua gratuitŕ; nell'essere, cioč, irriducibile a ogni definizione, e che pertanto trova un imprescindibile punto di riferimento nellaplotiniana, tradotta col termine "grazia". La grazia, per la sua neutralitŕ, rappresenta lo spazio aperto in cui far interagire la bellezza e il mondo: ciň che rende possibile un'esperienza che č insieme estetica ed etica. Il carattere immediato della grazia puň essere poi riferito sul piano psicoanalitico all'in quanto cognizione intuitiva propria del procedimento inconscio che attiva successivamente il processo consapevole su un piano culturale, linguistico, storico. Recuperando, quindi, nella gratuitŕ della bellezza anche la componente psicoanalitica che dall'inconscio arriva alla consapevolezza di sé, si amplia il significato stesso di bellezza e dell'esperienza estetica, la quale si contrassegna come conoscenza estesico-estetica che consiste primariamente nell'esercizio di una sensibilitŕ in grado di percepire ed elaborare sensazioni tramite l'. All'incrocio tra etica ed estetica si pone l'esperienza musicale. Nella sua sostanziale intraducibilitŕ, la musica č veicolo o "contenitore di risonanza" per le emozioni: il simbolo musicale appare oggettivamente come significante vuoto che mentre vanifica l'orizzonte dei concetti definiti, evoca quello indefinito dell'immaginazione e degli affetti. L'ascolto musicale, dunque, attiva una percezione interiore, una sorta di "insight estetico" (Di Benedetto, 2000) a livello inconscio, di per sé intraducibile in quanto proprio delle forme del pensiero simmetrico (Matte Blanco, 1981), suscettibile, poi, di essere dispiegato attraverso le relazioni asimmetriche proprie del pensiero logico. Č in questa chiave che puň essere interpretato il concetto di "tensione rinviante" (Morelli, 2010): qualitŕ evolutiva tipicamente umana che ci rende capaci di creare quello che ancora non c'č e di innovare l'esistente. Le esperienze estetiche che emergono dalle categorie a cui questa tensione rinvia hanno nella discontinuitŕ e nella creazione dell'inedito un fattore comune che in musica si ritrova a livello sia compositivo che improvvisativo. In conclusione, la musica, evocando e inducendo emozioni, rimanda a una dimensione di senso il cui nucleo č costituito dalla confluenza di sentire e pensare e che, nell'infinita combinazione di simmetrico e asimmetrico, rivela il vero volto della creativitŕ, in un processo che coinvolge anche la conoscenza e l'apprendimento.
3
Ho, Wai-chung. "Musical learning: Differences between boys and girls in Hong Kong Chinese co-educational secondary schools." British Journal of Music Education 18, no. 1 (March 2001): 41–54. http://dx.doi.org/10.1017/s0265051701000134.
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This paper presents an overview of boys' and girls' musical learning inside and outside school. This involves a sampling survey of 877 pupils (414 boys and 463 girls) in nine Chinese secondary schools. The paper argues that patterns of gender stereotyping associated with music among Hong Kong students have some similarities with those in the Western world. The impact of gender beliefs was most evident in types of instrumental learning, types of music activities, and listening and singing preferences. The subjects' attitudes towards the promotion of popular and Western classical musics in school emerged as statistically significant, while their attitude towards Chinese classical music was non-significant.
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Wallerstedt, Cecilia, and Monica Lindgren. "Crossing the boundary from music outside to inside of school: Contemporary pedagogical challenges." British Journal of Music Education 33, no. 2 (April 11, 2016): 191–203. http://dx.doi.org/10.1017/s0265051716000164.
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Music education in formal settings has the last decades been characterised by informal methods borrowed from outside school. In this study we analyse situations in Swedish secondary school where pupils’ experience of music outside school becomes visible in music class. Pedagogical challenges in these situations are identified that concern how to (i) coordinate perspectives on music in classrooms when arenas for learning music is increasing in number, (ii) make space for new musical movements in school, and (iii) consider the situated nature of learning that complicates the transfer from musical experiences outside to inside school.
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Fornäs, Johan. "Moving Rock: Youth and pop in late modernity." Popular Music 9, no. 3 (October 1990): 291–306. http://dx.doi.org/10.1017/s0261143000004104.
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What is moving in rock and pop? This question concerns both what levels change in the popular music arena, and how music can initiate changes inside and outside itself. Revolution in popular music can mean radical transformations of music itself, as well as the way in which social and psychic changes express themselves in music. Musical forms can go through revolutionary changes, and musical content can thematise revolutions.
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Fedotova, Tatiana Yurievna, and Iya Dmitrievna Nemirovskaya. "Integrative links in musical-theoretical and musical-historical cycles teaching." Samara Journal of Science 8, no. 3 (August 5, 2019): 329–33. http://dx.doi.org/10.17816/snv201983318.
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This paper deals with actual questions of modernization of musical pedagogical middle level teaching. Specific thinking features of contemporary students are marked, and problems of innovative development of information society are described. Difficulties of secondary professional musical education are shown. System thinking and scientific knowledge integration are pointed out as a basis of new ideological settings formation. Scientific researches in musical pedagogy about integrative links are analyzed. A use of integrative links in teaching musical-theoretical and musical-historical areas is marked as a necessary factor of solid and systematic music language image development. A language of music, as a complex of musical means of expression is named as an integrity factor. A system analysis of every element of music language aimed to discover their inner correlation and semantic role is named as a necessary clause, allowing to form a solid image of musical language and musical art in general. The authors justify a necessity of optimization and intensification of musical-theoretical schooling on the basis of integrative links inside the subjects of musical-theoretical and musical-historical cycles.
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Perrot, Sylvain. "The Apotropaic Function of Music Inside the Sanctuaries of Asklepios." Greek and Roman Musical Studies 4, no. 2 (September 1, 2016): 209–30. http://dx.doi.org/10.1163/22129758-12341276.
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Music obviously played a strong role in ancient Greek ways of healing the human body. However, although scholars have studied some aspects, there still is no comprehensive enquiry on the relationships between music and sounds in Asclepios’ sanctuaries. The purpose of this paper is first to combine all the sources on the soundscape of famous and minor sanctuaries, and secondly to give some new perspectives on the specificity of Asclepian soundscapes. Is there any relationship between environmental sounds, anthropic sounds and cultic music, especially paeans? We may find some clues in the texts related to the cult of Asclepios but also in the archaeological evidence, because some votive offerings have been unearthed, like votive ears and musical instruments. By examining the soundscape of Asclepian sanctuaries, I would like eventually to ask especially whether the link between the musical performances and sounds could be understood as apotropaic.
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Jung, Joo Yeon, Jihae Shin, and Soojin Lee. "The effect of participation in a popular band program on students’ musical and extra-musical outcomes in Korea." International Journal of Music Education 38, no. 3 (April 17, 2020): 370–82. http://dx.doi.org/10.1177/0255761420914668.
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The increased attention to the use of popular music within the classroom is not new. In fact, music educators in many countries have discussed the incorporation of popular music into mainstream music education for decades. South Korea is no exception, and the younger generation has a genuine interest in and sensitivity toward popular music. Yet, South Korea has been slow to incorporate popular music into its mainstream school music curriculum. Recently, the popular band has been gaining its popularity as a new kind of ensemble program inside and outside the school in South Korea. Thus, the purpose of this study was to analyze the effects of a popular band program, the “Little Bob Dylan Band,” on students’ musical and extra-musical outcomes. Thirty-five students participated in the program, and, in this study, both students and their parents completed a survey and were individually interviewed. Results indicated that the program enabled students to have new and deepened musical experiences in their lives. In addition, students were able to develop artistic originality through an integrated curriculum that involved cooperation with peers while creating and playing music together.
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Halliwell, Patrick. "Learning the Koto." Canadian University Music Review, no. 14 (February 22, 2013): 18–48. http://dx.doi.org/10.7202/1014309ar.
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This paper examines traditionally-oriented teaching and learning processes in Japanese koto music. Earlier evaluations (negative and positive) by Western scholars are introduced, together with a brief comparison to Western practices. A distinction is made between "inside" and "outside" students; the former have greater exposure to music and speech about music, and teaching methods also may differ. Traditional methods of learning through imitation are shown to have other musical goals besides the transmission of musical "text." Playing together is fundamental; teachers may use speech, shôga (oral representation of instrumental sound), or purely musical means to convey information to the student. Notation, often used nowadays, is nevertheless of relatively minor importance. The dominant values underlying traditional teaching methods are expressed through the phrase "if you can steal it, that's OK." Finally, concepts of "text" and "interpretation" are considered in relation to values concerning change in traditional koto music.
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Oudendijk, Rob, Yuka Hayashi, Camilo Arevalo, Julián Villegas, Peter Kudry, and Michael Cohen. "“Hyperwiper”: Dancing windshield wipers Synchronizing Windshield Wipers with Sound Entertainment System Inside Vehicles." SHS Web of Conferences 102 (2021): 04011. http://dx.doi.org/10.1051/shsconf/202110204011.
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Instead of adding to the driving cacophony, actively orchestrated windshield wipers can enhance musical audition, reinforcing a beat by augmenting the rhythm, increasing the signal:noise ratio by aligning the cross-modal rhythmic beats and masking the noise, providing “visual music,” the dance of the wipers. We recast the windshield wipers of an automobile with advanced multimedia technology, allowing wipers to dance to music.
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Sugiana, Dadang, and Hanny Hafiar. "Construction Of Self-Identity And Social Identity Of "Koes Plus" Music Fans." MIMBAR : Jurnal Sosial dan Pembangunan 34, no. 1 (June 19, 2018): 176–84. http://dx.doi.org/10.29313/mimbar.v34i1.3321.
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This research discusses about the construction of self and social identity of music fans community, Study on Community of Koes Fans Club-Jiwa Nusantara, intended to understand self-identity, and social identity, that develops inside the music fans community. The objective of this research is to find how member of musical group fans construct self-identity and social identity in the community. The research method is a qualitative with phenomenology tradition. As for the subjects of this study are the member of Koes Music Fans Club- Jiwa Nusantara that are domiciled in several cities, including Medan, Jakarta, Bogor, Bekasi, Karawang, Tangerang, Cimahi, Padalarang, Tegal, Banyumas, and Surabaya. The research results found that members of music fans community are constructing self-identity and social identity inseparable from the existence and activity of the community as well as the figure of their favorite musical group. Communication behavior that develops between individuals who are members of music fans community takes places in the context of togetherness as members of the community by developing typical symbols which only understood by fellow members of the community and leads to the preservation of musical group creations that became their idol.
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Sandrina, Milhano. "Fostering Meaningful and Creative Connections in Higher Education: Contributions from Music Education." European Scientific Journal, ESJ 17, no. 26 (August 8, 2021): 27. http://dx.doi.org/10.19044/esj.2021.v17n26p27.
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This paper focuses on contributing to the reflection on the importance of providing opportunities to foster meaningful and creative connections in higher education. In a context of growing plurality, heterogeneity and diversity of backgrounds, languages, cultures, identities, roles, and purpose influences the sociocultural relations and professional interactions that occur and are formed within higher education communities of knowledge and learning, which are explored from the perspective of music education. A narrative approach on participant’s views about their participation in an elective music program was developed inside the framework of informal education. Issues that were discussed the most across the datasets by participants individual accounts are expressed through themes that fall into three broad areas: previous musical experiences, significant influences for music participation, and perceptions of the participation in the music program. Results suggest that the informal music program provided participants with a context for a safe emotional, social, cultural, and musical experience, and thus heterogeneity and diversity are seen as enriching factors. Some considerations are made on the ways through which music can help to foster connections and sense of humanity in higher education. This provides some insights into the relevance of fostering musical participation as part of the cultural responsibility of higher education institutions for participants.
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Vasilchenko, Helena V. "Gender Theme in Musical Cultures of World Civilizations." Observatory of Culture, no. 1 (February 28, 2014): 48–55. http://dx.doi.org/10.25281/2072-3156-2014-0-1-48-55.
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Deals with the problem of gender and its interpretation in the musical culture of different civilizations, as well as analyses the problem of male and female musical professionalism and the social status of male and female musitions on the examples of world civilizations. The systematical construction «male and female», which is natural for every society, has to be implied in scientific research of the sound-musical tradition. The support on the anthropomorphous dichotomic idea of the Universe (Heaven and Earth, male and female, light and dark) in the symbolic structure of the musical instruments of many cultures is the universal principle in world music cultures. Thus, the mystical joining in the sect cosmic energy of the two opposite elements - a female and male - was reflected in the symbolic correlation and sounding of a number of Indonesian gamelan instruments. In a number of cultures the categories «male-female» was reflected in the type of the sounding. Generally, three main levels of the «Women - Society - Music» problem could be singled out: 1) participation of women in activities linked this way or another with music making along with men without apparent limitation; 2) female music making separated as a special socio-cultural niche as a result of discriminatory measures reflecting that or other ideology; 3) the moulding of a special layer of music (genres, styles, types, manners of performance) inside the established female music making tradition.
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Wi, Hyeongseok, and Wonjae Lee. "Stars inside have reached outside: The effects of electronic dance music DJs’ social standing and musical identity on track success." PLOS ONE 16, no. 8 (August 25, 2021): e0254618. http://dx.doi.org/10.1371/journal.pone.0254618.
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The social standing of an artist provides a reliable proxy for the value of the artist’s product and reduces uncertainty about the quality of the product. While there are several different types of social standing, we focus on reputation among professional artists within the same genre, as they are best able to identify the artistic value of a product within that genre. To reveal the underlying means of attaining high social standing within the professional group, we examined two quantifiable properties that are closely associated with social standing, musical identity and the social position of the artist. We analyzed the playlist data of electronic dance music DJ/producers, DJs who also compose their own music. We crawled 98,332 tracks from 3,164 playlists by 815 DJs, who played at nine notable international music festivals. Information from the DJs’ tracks, including genre, beats per minute, and musical keys, was used to quantify musical identity, and playlists were transformed into network data to measure social positions among the DJs. We found that DJs with a distinct genre identity as well as network positions combining brokerage and cohesion tend to place higher in success and social standing.
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Ivanova, Tsvetana, Leandar Litov, Rositza Marinova, Todor Ivanov, Mihail Iossifov, and Agnieshka Deynovitch. "The Music of Human Hormones." Leonardo Music Journal 28 (December 2018): 38–46. http://dx.doi.org/10.1162/lmj_a_01033.
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In this study, the authors take on the challenge to translate biological form (science) into musical form (art). Through scientifically developed methodology, the authors link two aspects of human experience that influence human emotions: hormones, from the inside, and music, from the outside. The authors develop an original algorithm, which they use to represent the properties and the effects of the human hormone oxytocin in a musical composition. The authors performed a neurological test to verify the accuracy of the musical interpretation and investigated the parallel neurological impacts of the hormone’s biological and musical form. This article describes the preliminary results of the study.
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Probst, Stephanie. "From Machine to Musical Instrument." Journal of Musicology 38, no. 3 (2021): 329–63. http://dx.doi.org/10.1525/jm.2021.38.3.329.
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Media histories of music often frame technological innovation in the early twentieth century within a general zeal for automated musical reproduction. The engineering efforts of the Aeolian Company and its Pianola counter such narratives by fostering active music-making rather than passive listening. As a pneumatically powered attachment to a piano, the Pianola was initially limited to reproducing strictly mechanical renditions of music from perforated paper rolls. But the invention of the Metrostyle in 1903, a hand lever to achieve tempo-specific effects, significantly refined the musical capacities of the instrument. It allowed for inscribing onto the music rolls authoritative performance instructions that could be enacted by the player. Revisiting the various places that the Metrostyle Pianola inhabited, from the manufacturing site to the concert hall and the bourgeois living room, I illuminate the different sociocultural relationships and musical experiences that it mediates. By relegating certain tasks of conventional piano-playing to the mechanical workings inside the instrument, the Pianola was marketed as facilitating simplified music-making in ever wider parts of society. The Metrostyle annotations served as a pedagogical device for instructing novice players in principles of nuanced and tasteful interpretation. My analysis exposes the reciprocal relationships between the instrument and its human players, from attempts to adapt the physical interface to human physiologies, to the ways in which the instrument, in turn, imposes certain mechanistic affordances on its players.
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Hoffman, Elizabeth. "“I”-Tunes: Multiple Subjectivities and Narrative Method in Computer Music." Computer Music Journal 36, no. 4 (December 2012): 40–58. http://dx.doi.org/10.1162/comj_a_00152.
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Representational aspects of a computer music composition may forge a perspectival conduit into the music, partly through conceptual boundary structures described here as “frames.” The perspectival conduit includes the illusion of subjectivities inside the music and is called here the work's “point of view.” These internal subjectivities shape a listener's sense of self, including role, location, and identity. Where and how does the given sound world let the listener in, conceptually, to interact with the work's point of view? This essay considers musical discourse that draws on literary theories of narrative, but it also examines techniques that derive directly from computer music's distinctive features and capabilities.
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Zarrin, Assist Prof Baqer Qorbani. "The music of Arabic poetry and moving beyond the prosodic measures." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 217, no. 1 (November 9, 2018): 1–18. http://dx.doi.org/10.36473/ujhss.v217i1.551.
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The music of poetry is one of the most prominent particularities which distinguishes the poetry from other types of speech. It also has been considered under different titles, by many literaties, just because the poetry would always need the music. A question would arise in here: is it possible to restrict the music of Arabic poetry only to prosodic rhythms and limit it to prosody, or could the poet just compose a poetry beyond the prosodic measures while still has its own music? This article tries to answer this question through inspecting some instances of poets works. These instances include: elegy or qasida_ muwashshah - zajal-band and blank verse. We can find the fact that the musical diversity can be achieved both inside and outside of the prosodic circles. It is also possible to synthesize prosodic meters with each other in an elegy to reach the purpose and experience novel meters called new-found meters. As the result of these experiences we can rely on the music of Taf’ilah (the formative basis of a verse) and by transforming the music of the poetry enrich the poetry songs. We shall notice this musical transformation in Arabic poetry which has passed through many changes from past times up to now. This is an important and necessary matter for any researcher who deals with any aspects of the poetry research and poetic cases.
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Pellegrino, Kristen. "Examining the Intersections of Music Making and Teaching for Four String Teachers." Journal of Research in Music Education 62, no. 2 (May 20, 2014): 128–47. http://dx.doi.org/10.1177/0022429414530433.
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The purpose of this phenomenological case study was to examine the intersections of music making and teaching for four string teachers. Data included background surveys, three interviews per participant, videotaped classroom observations (jointly viewed during the second interview), and a focus group interview that included music making. Findings revealed that the meanings participants attributed to their past music-making experiences mirrored their beliefs about why their students make music and informed their content knowledge. Music making outside the classroom had personal and professional benefits; participants described music making as something that provided renewed excitement and inspiration, increased compassion toward students as musical learners, was a catalyst for solving pedagogical problems, and maintained their ability to model for their students. Participants’ music making inside the classroom helped them to be more present in their teaching. They also used music making to inspire their students and themselves, to bring students’ attention to the teacher and the music, to gain credibility, to model technique and musicality, and to create a culture based on the love of making music.
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DOERING, JAMES M. "“I Never Planned Anything in My Life”: The Music ofCool Hand Luke." Journal of the Society for American Music 11, no. 3 (August 2017): 257–83. http://dx.doi.org/10.1017/s1752196317000219.
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AbstractCool Hand Lukehas a distinct soundtrack that features original music by composer Lalo Schifrin and an intriguing collection of traditional American music selected by director Stuart Rosenberg. The music emerged over an intense nine-month span in 1966–67, during which ideas flowed freely and original plans were often jettisoned. Rosenberg and Schifrin were the film's primary musical architects, but others contributed along the way, including screenwriters, actors, producers, folk music experts, and a trio of banjo players. Based on a wide range of primary sources, including documents in the Warner Bros. Archives at the University of Southern California, interviews with individuals involved in the production, the voluminous popular press about the film, and the film itself, this article is a rare glimpse inside the creative process that produced an unmistakably American soundtrack.
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Anggraini, Ajeng Cita, Rachmadi Nugroho, and Suparno Suparno. "APLIKASI ARSITEKTUR METAFORA PADA STRATEGI PERANCANGAN LEMBAGA PENDIDIKAN MUSIK DI SURABAYA." ARSITEKTURA 15, no. 2 (November 1, 2017): 333. http://dx.doi.org/10.20961/arst.v15i2.12460.
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<p><em>The design proposal of Music School in Surabaya arises from society’s increasing interest in the art of music, significant growth of Indonesian music industry which promises anyone involved likely gain, and underdeveloped infrastructure of the numerous, existing music school in Surabaya to cater the need in a bigger scale. Hence, the proposal focuses on the issue of designing Music School in Surabaya which provides space for music- and informal-music-education-related activities. It aims to serve as the place to learn music theories and perform musical art. The metaphorical architecture approach is applied to the design in order to reflect the function of the building. In other words, building observer will have ideas about the activities occurred inside through the façade which utilised the stated design approach.</em></p><p> </p><p class="Keywords" align="left"><strong><em>Keywords</em></strong><em>: Metaphorical Architecture, Education Institute, Music, Surabaya</em></p>
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MALL, ANDREW. "Music Festivals, Ephemeral Places, and Scenes: Interdependence at Cornerstone Festival." Journal of the Society for American Music 14, no. 1 (January 15, 2020): 51–69. http://dx.doi.org/10.1017/s1752196319000543.
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AbstractCornerstone was an annual four-day-long Christian rock festival in Illinois that ran from 1984 until 2012, first in Chicago's northern suburbs and then on a former farm in the rural western part of the state. Most attendees camped on-site, and many arrived one or two days early when the campgrounds opened before official programming started. Like many contemporary multi-day festivals in relatively rural or remote locations, Cornerstone's festival grounds and campsites functioned as a temporary village. For many attendees, music festivals have supplanted local scenes as loci of face-to-face musical life. Outside Cornerstone, participants’ musical lives might be curbed by family, professional obligations, geographic separateness, or cultural stratification. Inside the festival's physical, social, and cultural spaces, however, a cohesive music scene manifested for a brief time every year. This article examines the production of space and place at Cornerstone. In doing so, it contributes a vital link between scene theory and the growing ethnomusicological literature on festivals.
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Koops, Lisa Huisman. "Songs From the Car Seat." Journal of Research in Music Education 62, no. 1 (March 4, 2014): 52–65. http://dx.doi.org/10.1177/0022429413520007.
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The purpose of this qualitative case study was to investigate the musical “place” of the family vehicle by describing the music making of nine young children, ages 10 months to 4.5 years, that occurred in vehicles over the course of 9 weeks during which the children were enrolled in a researcher-led early childhood music course. Research questions examined the qualities of children’s music making in the car, optimal activities, and comparison of in-car and at-home music spaces. Data included parent journals on music activities that occurred in a vehicle, parent-filmed videos of children’s music-making activities both in and out of vehicles, videos of early childhood music classes, researcher field notes of music classes, and exit interviews with parents regarding their perceptions of music-making in the vehicles. The children sang, moved, listened to music, composed, and improvised while in the car, with activities mostly similar to those that occurred inside of the home. The family vehicle provided several advantageous characteristics as compared with the home, including reduced distractions; proximity to siblings, leading to increased sibling interaction at times; and opportunity for parent and child reflection.
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Raschieri, Guido. "Inside and Outside, Here and There - Music from Bosnian Posavina to Zagreb." English version, no. 10 (October 22, 2018): 182–99. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.182.
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The essay represents the synthesis of a fieldwork dedicated to the musical practices in use among the communities of Croatian refugees coming from Bosnian Posavina. It analyses the technical, stylistic and organological features of the expressive tradition, focusing primarily on the processes of transformation from the original rural custom to the current application within the urbanised communities. Finally, it looks at the role of making music as an antidote to the sense of material and human loss and of the loss of identity following the drama of the war and forced displacement.
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Rafailidis, Dimitrios, Alexandros Nanopoulos, and Yannis Manolopoulos. "Building Tag-Aware Groups for Music High-Order Ranking and Topic Discovery." International Journal of Multimedia Data Engineering and Management 1, no. 3 (July 2010): 1–18. http://dx.doi.org/10.4018/jmdem.2010070101.
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In popular music information retrieval systems, users have the opportunity to tag musical objects to express their personal preferences, thus providing valuable insights about the formulation of user groups/communities. In this article, the authors focus on the analysis of social tagging data to reveal coherent groups characterized by their users, tags and music objects (e.g., songs and artists), which allows for the expression of discovered groups in a multi-aspect way. For each group, this study reveals the most prominent users, tags, and music objects using a generalization of the popular web-ranking concept in the social data domain. Experimenting with real data, the authors’ results show that each Tag-Aware group corresponds to a specific music topic, and additionally, a three way ranking analysis is performed inside each group. Building Tag-Aware groups is crucial to offer ways to add structure in the unstructured nature of tags.
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Paşca, Eugenia Maria. "Number 13 / Part I. Music. 9. A Research of The Musical Education at George Breazul and Dmitri Borisovich Kabalevski." Review of Artistic Education 13, no. 1 (March 1, 2017): 79–85. http://dx.doi.org/10.1515/rae-2017-0009.
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Abstract The musical language structure consists of living elements (because inside them the human`s musical language is synthesized), rich elements (because through them, people expressed their ideas and feelings), various elements ( as all cultures have formed and developed throughout history, their own and inexhaustible structures, transmitted through the ages, taken over, selected, enriched, extended). George Breazul was the first Romanian musician, who tried to conceptualize the embodiment of musical education through song, music play, and listening, starting from the specific acoustic universe, namely, children‟s folklore. Dmitri Kabalevski propsed the accomplishment of the musical education, based on the interpretation and listening of songs, belonging to a group of genders, which could represent musical styles and forms organized on themes. Originality and viability of the two visions, can be further noticed, because the logical organization of the acoustic material creates the circumstances for the listener‟s emotional auditory perception of the artistic message. The mutual interrelation and conditioning of elements which form the musical language generated the emphasizing and prominence of each one, within the musical speech, which is reflected in the educational process.
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Wright, Robert. "‘I'd sell you suicide’: pop music and moral panic in the age of Marilyn Manson." Popular Music 19, no. 3 (October 2000): 365–85. http://dx.doi.org/10.1017/s0261143000000222.
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Music makes mutations audible. (Attali 1977)In his opening remarks as host of the 1998 Grammy Award Show, sitcom actor, substance abuser and convicted drunk driver Kelsey Grammer promised that Marilyn Manson's ‘skinny white ass’ would not be appearing on the show. It was a truly extraordinary moment. Referring explicitly to his own teenage daughter, Spencer, Grammer couched this slur in the form of an inside joke for the baby boomer parents of children with seemingly inexplicable musical tastes. In so doing, he affirmed not only the intractable conservatism of the Academy of Recording Arts and Sciences but also the arrogant hegemony of his own generation within mainstream musical culture. The show proceeded to reward Bob Dylan with Album of the Year, James Taylor with Best Pop Album and Elton John with Best Male Pop Vocal Performance, while lavishing unbridled approbation upon the newest crop of corporate hit-makers, including Babyface, LeAnn Rimes, Hanson and the ubiquitous Spice Girls. Mitch Miller could not have orchestrated a more thoroughgoing tribute to the pop music status quo in America.
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Harnish, David. "Music Education and Sustainability in Lombok, Indonesia." Celt: A Journal of Culture, English Language Teaching & Literature 19, no. 1 (July 31, 2019): 1. http://dx.doi.org/10.24167/celt.v19i1.2076.
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This article discusses the challenges of teaching and sustaining music and other performing arts on the island of Lombok in Indonesia. It follows my field research trajectory on the island over a period of 34 years and analyzes the efforts of government interventions, non-government actors, and teachers and educational institutions in the transmission and sustainability of the arts. Interpretations indicate that a combination of globalization, urbanization, social media, everyday mediatization, and Islamization over recent decades negatively impacted traditional musics in specific ways, by problematizing sustainability. However, several agents–individuals inside and outside the government who understood the situation and had the foresight to take appropriate action–developed programs and organizations to maintain or aestheticize the performing arts, sustain musician livelihoods, and engage a new generation of male youth in music and dance. These efforts, supplemented by the formation of groups of leaders dedicated to the study of early culture on Lombok and fresh initiatives in music education, have ushered in new opportunities and visibility for traditional music and performing arts and performing artists.
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Diallo, Souleymane. "The Dynamic Dialectic and the Eclectic Plaintive Rhythm in Bembeya Jazz’s, Black Beats Music." International Journal of Linguistics, Literature and Translation 4, no. 2 (February 27, 2021): 50–57. http://dx.doi.org/10.32996/ijllt.2021.4.2.7.
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The foremost line of the post-independent music evolves especially, from a simple to a more compound whole within the understanding of convention of representation and the association of experience become structural materials. Thereby, the basic component of conventional imagery, and the colonialist dynamic straightforward influences frame a new idiosyncratic type that evaluates the establishment of realty, memory and symbol. Correspondingly, through the foundation of intellectual and artistic image, the commensurate imagination of the musical nationalism schedule moves afar unconscious and insensate sensitivity. Indeed, the cultural and artistic body of the Bembeya Jazz and the Black Beats Band deconstruct the colonialist conventional perception of productivity; then, through extensive collective relation with their time and space, their nationalistic music exhibits boundaries of cross-examination regarding the realm of recombination, reconciliation and re-appropriation. Within the respect of material imagination and objective reality, verbal text, and contemporary Western musical instruments become the developing artistic cosmos within a new social and linguistic narrative is structured. Hence, the commitment of this article stands as a diagnostic process within we try to grasp the rapport of the indigenous value of imagination and the transcontinental stylistic effects inside the historio-context of redefining the self, sociolinguistic reflectivity, and perceptive sensibility in post-independent era.
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Macenka, S. Р. "Literary Portrait of Fanny HenselMendelssohn (in Peter Härtling’s novel “Dearest Fenchel! The Life of Fanny Hensel‑Mendelssohn in Etudes and Intermezzi”)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 195–212. http://dx.doi.org/10.34064/khnum2-17.13.
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Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on its communicative character, correlation between music and gender, establishment of autobiographical character of musical creativity, expression and realization of female creativity under conditions of burgher society. Additional attention is paid to family constellations: Robert and Clara Schumann, brother and sister Felix Mendelssohn Bartholdy and Fanny Hensel-Mendelssohn. A very close relationship between Felix Mendelssohn and Fanny HenselMendelssohn opens a new perspective on the dialogical history of music, i. e. the reconstruction of music pieces based on close personal and critical contact in the Mendelssohn family. All these ideas, which researchers started articulating and discussing only recently, found their artistic expression in the biographical novel “Dear Fenchel! The Life of Fanny Hensel-Mendelssohn in Etudes and Intermezzi” («Liebste Fenchel! Das Leben der Fanny Hensel-Mendelssohn in Etüden und Intermezzi», 2011) by the German writer Peter Härtling (1933–2017). Peter Härtling was attracted to the image of Fanny Hensel primarily because she was working in the Romantic aesthetics, which the writer considered the backbone of his own creativity. While working on the novel about Fanny Hensel, Peter Härtling was constantly reading her diaries and listening to her music as well as the music by her brother Felix Mendelssohn. He discovered “a fascinating composer” who was creating music “bravely” through improvisation, even more so, who improvised her own life in a similar fashion. Her “courageous steps” into “female reality” struck the biography writer. Objectives. The research aims at studying the literary image of Fanny Hensel using the ideas of contemporary music scholars regarding creativity of this still little researched artist. Literary reflection of the life and creativity of musician based on combination of fiction and real life is a productive addition to her creative image. Methods. Since the research is centered on the image of a female composer, in many respects it is following the theoretical premises of music gender studies. The complexity of literary recreation to the personality and creativity of composer in the novel was required the sophisticated narrative situation and structure, that justifies the use of narratology as a method of literary criticism’ analysis. Results. Peter Härtling is a well-known master of biographical novel, who has his own creative concept of re-construction the life story of famous artists. When creating a biographical novel, the writer walks on the verge of reality and fiction, rediscovering and creating. The artistic element serves the purpose of amplification and image-creation; it helps to reveal distinctive properties, characteristics and elements of personality of the biographic novel hero. Gaps in documented materials help the narrator behave freely, give a chance for open associations and subjective vision. When outlining the personality lineaments, the narrator follows chronology of the most important events. Yet, plot development in an autobiographical novel is based on separate motifs. Certain life stages and events of a person’s life are depicted in detail in specific chapters and are shown more accurately within the general plot. By running ahead and looking back, the narrator makes it clear that he is above the narrative situation and arranges the depicted events according to the principle of their development. The narrator plays the role of an accompanying of a person portrayed, helping the writer approach to latter in order to understand him. Peter Härtling defines the key narrative principle in the following way: the narration is centered on the relationship of the talented brother and sister, as well as the motives of a mothering care and self-assertion, which are creating the backdrop for the biography of Fanny Mendelssohn. As such, we can see the ways that helped a talented young woman stand against her competitor-brother and get out of his shadow. The author claims that since childhood, the brother and the sister got along with the help of music and it was music that created a tie between them. The novel pays close attention to their discussions of music and the Sunday concerts, which took place at their house. As it is known from letters, it was very important for Felix Mendelssohn to include music into private communication forms. Researchers emphasizes that it made hard for him to be involved in social processes, in which such form of communication was impossible. Based on what Felix Mendelssohn himself said, it is possible to conclude that he was making an opposition between private musical communication as “the world of music” and social music life “as the world of musicians”. Fanny Hensel was not the embodiment of “detached musical practice” of autonomous art for him; on contrary, her creativity was directly linked to real life. Inside the bourgeois home and amid “private circulation of texts”, Fanny Hensel’s music was directly connected to communication, holidays and family rituals, in which the roles of music performer and music listener were “not cemented”, presupposing active inclusion of “amateurs” into music. Private musical practice meant the successful musical communication, the direct communication in music, which was not possible in anonymous publicness. Composer individuality had a chance of growing without being stripped of meaning and understanding. Inside the burgher house and within her immediate circle, Fanny Hensel was the symbol of “illusion of non-detached music”. Peter Härtling attests to autobiographical character of Fanny Hensel’s musical writing. Conclusions. Peter Härtling’s novel shows a cultural change, which stipulated an extended understanding of music as a dynamic process of human activity in a specific, historically varied cultural field. In this respect, Fanny Hensel’s literary portrait touches upon important aspects of female music creativity, actualizing its achievements in contemporary cultural space. Approaching the talented artist in literature is a special combination of art and life, fictitious and real, past and present.
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Valipour, Mohammad, Rodney Briscoe, Luigi Falletti, Petri S. Juuti, Tapio S. Katko, Riikka P. Rajala, Rohitashw Kumar, Saifullah Khan, Maria Chnaraki, and Andreas Angelakis. "Water-Driven Music Technologies through Centuries." J 4, no. 1 (December 22, 2020): 1–21. http://dx.doi.org/10.3390/j4010001.
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Water-driven music technology has been one of the primary sources of human leisure from prehistoric times up until the present. Water powered, along with air pressure organs, have been used throughout history. One of them was an organ of fountains located inside a formal garden. Throughout ancient mythology, several different gods have been linked to music in many civilizations, in particular, Minoa, Mehrgarh, and Gandhara. Water deities were usually significant amid civilizations located next to a sea or an ocean, or even a great river like the Indus River in Pakistan, the Nile River in the Middle East or the Ganga River in India. These fountains performed a wide range of songs from Classical to contemporary Arabic, and even included other worldly music. The study of water-driven music technology demonstrates the diachronic evolution and the revelation that ancient people had impressive knowledge of the engineering needed for water exploitation and manipulation. This revelation is still both fascinating and intriguing for today’s water engineers. This paper also shows the relationship between water in nature and music, and furthermore, how nature has inspired composers throughout history. This research shows the sustainability of different kinds of water-driven musical instruments, not only through their use in past centuries, but their relevance in music therapy and other purposes of today. This study is useful for researchers in the fields of history, music, engineering and sustainable development.
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Balzano, Gerald J. "What Are Musical Pitch and Timbre?" Music Perception 3, no. 3 (1986): 297–314. http://dx.doi.org/10.2307/40285339.
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This article is addressed both to psychologists interested in theories of pitch and timbre perception and to musicians interested in exploring pitch and/or timbral structures on a computer. A central assertion of the article is that these two enterprises are closely related and that both have been dominated by Fourier-analytic metaphors. I claim that Fourier analysis provides an inadequate model for both sound perception and computer analysis/synthesis of sound. In particular, it has led us to misconceive the relationship between musical pitch and timbre. Rather than modify or augment a Fourier-based perspective on these matters, I propose a different way of thinking about pitch and timbre that highlights their differences from one another and suggests different mechanisms for perceiving them. A view of musical pitch is summarized that treats pitches not as analyzable in isolation but as specifiable only with respect to a larger structure that, in Western music anyway, corresponds to a mathematical group. Following this, a view of musical timbre is summarized that links timbre perception with the dynamic processes by which sound is created, processes that are encountered and initiated outside as well as inside musical contexts and that never lead to the static-spectrum idealization of Fourier analysis except in degenerate cases. Implications of these views for creation of musical sounds by computer are also discussed.
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d’Alessandro, Christophe, and Markus Noisternig. "Of Pipes and Patches: Listening to augmented pipe organs." Organised Sound 24, no. 1 (April 2019): 41–53. http://dx.doi.org/10.1017/s1355771819000050.
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Pipe organs are complex timbral synthesisers in an early acousmatic setting, which have always accompanied the evolution of music and technology. The most recent development is digital augmentation: the organ sound is captured, transformed and then played back in real time. The present augmented organ project relies on three main aesthetic principles: microphony, fusion and instrumentality. Microphony means that sounds are captured inside the organ case, close to the pipes. Real-time audio effects are then applied to the internal sounds before they are played back over loudspeakers; the transformed sounds interact with the original sounds of the pipe organ. The fusion principle exploits the blending effect of the acoustic space surrounding the instrument; the room response transforms the sounds of many single-sound sources into a consistent and organ-typical soundscape at the listener’s position. The instrumentality principle restricts electroacoustic processing to organ sounds only, excluding non-organ sound sources or samples. This article proposes a taxonomy of musical effects. It discusses aesthetic questions concerning the perceptual fusion of acoustic and electronic sources. Both extended playing techniques and digital audio can create musical gestures that conjoin the heterogeneous sonic worlds of pipe organs and electronics. This results in a paradoxical listening experience of unity in the diversity: the music is at the same time electroacoustic and instrumental.
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Krajewski, Marcin. "The Strategy of “Controlled Reception” in Witold Lutosławski’s Commentaries on his own Works." Musicology Today 12, no. 1 (December 1, 2015): 80–89. http://dx.doi.org/10.1515/muso-2015-0009.
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Abstract Witold Lutosławski’s commentaries on his own music are often defective in many regards. These defects could be explained as resulting from a strategy according to which the aim of a commentary is not to provide a truthful description of musical phenomena but to form a desired image of a composition or a musical style in the minds of the listeners. This idea of ‘controlled reception’ was clearly outlined by the famous Polish writer Witold Gombrowicz (whose writings Lutosławski knew and highly appreciated) and is especially noticeable in the composer’s remarks on “controlled aleatoricism”, “thin textures” and the connections between his music and the twelve-tone technique. The view of reception of art common to Gombrowicz and Lutosławski could be characterised in the writer’s own words: A style that cannot defend itself before human judgment, that surrenders its creator to the ill will of any old imbecile, does not fulfil its most important assignment. [...] the idiot’s opinion is also significant. It also creates us, shapes us from inside out, and has far-reaching practical and vital consequences. [...] Literature [art in general - note by M.K.] has a dual significance and a dual root: it is born of pure artistic contemplation [...], but it is also an author’s personal settling of accounts with people, an instrument in the battle waged for a spiritual existence.
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BILOTTA, ELEONORA, STEFANIA GERVASI, and PIETRO PANTANO. "READING COMPLEXITY IN CHUA'S OSCILLATOR THROUGH MUSIC. PART I: A NEW WAY OF UNDERSTANDING CHAOS." International Journal of Bifurcation and Chaos 15, no. 02 (February 2005): 253–382. http://dx.doi.org/10.1142/s0218127405012156.
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Modern Science is finding new methods of looking at biological, physical or social phenomena. Traditional methods of quantification are no longer sufficient and new approaches are emerging. These approaches make it apparent that the phenomena the observer is looking at are not classifiable by conventional methods. These phenomena are complex. A complex system, as Chua's oscillator, is a nonlinear configuration whose dynamical behavior is chaotic. Chua's oscillator equations allow to define the basic behavior of a dynamical system and to detect the changes in the qualitative behavior of a system when bifurcation occurs, as parameters are varied. The typical set of behavior of a dynamical system can be detailed as equilibrium points, limit cycles, strange attractors. The concepts, methods and paradigms of Dynamical Systems Theory can be applied to understand human behavior. Human behavior is emergent and behavior patterns emerge thanks to the way the parts or the processes are coordinated among themselves. In fact, the listening process in humans is complex and it develops over time as well. Sound and music can be both inside and outside humans. This tutorial concerns the translation of Chua's oscillators into music, in order to find a new way of understanding complexity by using music. By building up many computational models which allow the translation of some quantitative features of Chua's oscillator into sound and music, we have created many acoustical and musical compositions, which in turn present the characteristics of dynamical systems from a perceptual point of view. We have found interesting relationships between dynamical systems behavior and their musical translation since, in the process of listening, human subjects perceive many of the structures as possible to perceive in the behavior of Chua's oscillator. In other words, human cognitive abilities can analyze the large and complicated patterns produced by Chua's systems translated into music, achieving the cognitive economy and the coordination and synthesis of countless data at our disposal that occur in the perception of dynamic events in the real world. Music can be considered the semantics of dynamical systems, which gives us a powerful method for interpreting complexity.
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Schroedter, Stephanie. "Embodying Musical Space." Congress on Research in Dance Conference Proceedings 2012 (2012): 132–39. http://dx.doi.org/10.1017/cor.2012.17.
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The epoch-making dance reforms of the early twentieth century did not only lead to new dance techniques, styles, and movement concepts, but also to an intensive search for new dialogues between music/sound and dance/movement. These new interactions were notable for their reliance on pre-existing music that was usually not intended for dance. Analogous to the choreographers' search for new movements in new (sound) spaces, composers looked for a new physicality of sounds (musical gestures), as well as for new spaces inside and outside of these sounds. Following these mid-twentieth-century developments, choreographers have increasingly chosen “new music” for their creations—compositions beyond the classical repertoire. In my paper, I will explore the choreographic possibilities of “new (non-dance) music” by comparing two examples: Bill T. Jones' solo danced to Edgar Varèses' Ionisation and a solo created by Martin Schläpfer using György Ligeti's Ramification. These examples will serve as case studies to argue for my concept of “kinesthetic listening,” which can be applied to a more general approach to discussions of the embodiment of music. This concept includes not only the perspective of the choreographer and interpreter/dancer, but also the perception of the spectator/listener. As a precondition, music/sound is understood as movement: an audible but not visible, rather an imaginable/imaginary movement that can (but need not) interact with body movements. Body movements/dance, in turn, can interact with music according to different choreographic strategies. To analyze these choreomusical dialogues, a special combination of (and training in) listening to and watching movement is required—informed by models of analysis from musicology and dance studies as well as from phenomenology and cognitive sciences.
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BROWN, RICHARD H. "The Spirit inside Each Object: John Cage, Oskar Fischinger, and “The Future of Music”." Journal of the Society for American Music 6, no. 1 (February 2012): 83–113. http://dx.doi.org/10.1017/s1752196311000411.
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AbstractLate in his career, John Cage often recalled his brief interaction with German abstract animator Oskar Fischinger in 1937 as the primary impetus for his early percussion works. Further examination of this connection reveals an important technological foundation to Cage's call for the expansion of musical resources. Fischinger's experiments with film phonography (the manipulation of the optical portion of sound film to synthesize sounds) mirrored contemporaneous refinements in recording and synthesis technology of electron beam tubes for film and television. New documentation on Cage's early career in Los Angeles, including research Cage conducted for his father John Cage, Sr.'s patents, explain his interest in these technologies. Finally, an examination of the sources of Cage's 1940 essay “The Future of Music: Credo” reveals the extent of Cage's knowledge of early sound synthesis and recording technologies and presents a more nuanced understanding of the historical relevance and origins of this document.
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Penn, William, and Michael Fink. "Inside the Music Business: Music in Contemporary Life." Notes 47, no. 3 (March 1991): 803. http://dx.doi.org/10.2307/941925.
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Mollgaard, Matt. "New Zealand Music in the Popular Imagination 1988-2010: Revisiting a Moment for ‘Our Music’." Back Story Journal of New Zealand Art, Media & Design History, no. 5 (December 1, 2018): 49–69. http://dx.doi.org/10.24135/backstory.vi5.37.
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From the late 1980s until around 2010 a new type of national conversation arose around music created in Aotearoa/ New Zealand. This conversation was played out in popular literature, public forums, academic research and ultimately in government policy outputs. This period of energy and enthusiasm for claiming a unique musical heritage and in developing the cultural, social and economic potential of this music was brief, but notable. Looking back, we can clean interesting insights into a period of real enthusiasm for New Zealand music as an important signifier of what it meant to be ‘from New Zealand’ through books about New Zealand music aimed at mainstream audiences. This interest in discussing New Zealand music in new ways was also reflected in the academy, with attempts to deconstruct the popularity of New Zealand music and government involvement in it being published around the same time. This article is by no means an exhaustive history of this period in New Zealand music literature, but a review of key books and the common themes that strung them together in what represents not a canon, but a moment in New Zealand music that captured the popular imagination and was celebrated in print as well as discussed in broader academic forums too. This moment can be critiqued as gendered – dominated by male writers and therefore male perspectives, but that is not the purpose of this article. This flurry of publishing is cast here as a reaction to popular culture that was very much of its time and the wider contexts of New Zealand’s socio-political culture during that period. It is argued that ultimately, this rash of books about New Zealand music reflected an energy around trying to connect New Zealand music to the wider work of identifying and celebrating a maturing and definitive understanding of what it meant to be from New Zealand. This fed a wider interest in New Zealand music as significant inside the academy andalso within government agencies charged with supporting cultural work.
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Porębski, Adam. "Composition learning at a music school on the example of the School Composers’ Club at the K. Szymanowski Primary and Secondary Music Schools in Wrocław." Konteksty Kształcenia Muzycznego 7, no. 1(11) (December 31, 2020): 155–66. http://dx.doi.org/10.5604/01.3001.0014.6477.
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It is no use looking for the educated musicians who were given a chance to come into longer contact with composition as a school subject being part of their formal education. Meanwhile, fascination with an act of creation and willingness to get familiar with music “from the inside” accompany school-age people. It is then that first, bashful compositional attempts are made. Over time, pupils search for new sounds on their instruments, improvise, experiment, get familiar with music literature. Such attempts should not go unnoticed – an observant pedagogue will easily notice creative predispositions in their pupils. In this article, the author shares his pedagogical experiences gained while giving composition classes at the K. Szymanowski Comprehensive Primary and Secondary Music Schools in Wrocław. The idea of promoting the art of composition was fully implemented in the form of the School Composers’ Club, founded in the school year of 2016/2017, the activity of which is based on the author’s original school curriculum, a system of individualized education and various forms of young composers’ presentations. The Club’s activity assumes, on the one hand, preparing pupils to take up compositional studies and, on the other one, fostering their general musical development enriched with creative competences.
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Jackson, N. A. "Inside Music Therapy: Client Experiences." Journal of Music Therapy 42, no. 2 (June 1, 2005): 163–66. http://dx.doi.org/10.1093/jmt/42.2.163.
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Whalley, Ian. "GNMISS: A scoring system for Internet2 electroacoustic music." Organised Sound 19, no. 3 (November 13, 2014): 244–59. http://dx.doi.org/10.1017/s1355771814000235.
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The ‘comprovisation’ (Dudas 2010) of electroacoustic music in an affective manner through Internet2, using a directed dramaturgy approach, poses unique scoring problems. Building on prior work (Whalley 2009, 2012c), GNMISS (Graphic Networked Music Interactive Scoring System) was developed to address this. The system has four visual layers that illustrate the structure of works, represented on a circle with parts for each player. One layer maps emotions to colours based on associated words as a primary basis for gesture and timbre representation. A second layer gives musical motives and frequency information for participants to follow. A third allows for more detailed indications of gesture and sound archetypes through representative symbols. Finally, an inside layer represents macro key centres. For timing, the circle score turns in clock time with the current playing position always at noon, and a central metronome shows speed independent of clock time. Technically, client programs sit on distributed machines across the Internet, with data being coordinated by an OSC Server. Distributed scores can be built by a composer or by a team, and all content can be altered simultaneously across client machines. Two works are discussed as initial examples of its implementation: Sensai na Chikai and SymbolAct.
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Bythell, Duncan. "Provinces versus metropolis in the British brass band movement in the early twentieth century: the case of William Rimmer and his music." Popular Music 16, no. 2 (May 1997): 151–63. http://dx.doi.org/10.1017/s0261143000000349.
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In recent years, historians have belatedly recognised the growth of the British brass band as one of the most remarkable developments in the sphere of popular music-making in the second half of the nineteenth century. Not only did ‘banding’ provide an absorbing pastime for tens of thousands of amateur musicians, but brass band performances also fulfilled an important cultural and educational role in introducing the standard classics of the bourgeois musical canon to mass audiences who never saw the inside of an opera house or a concert hall. In addition, satisfying the needs of these new-style bands for music, instruments, uniforms and other impedimenta led to the growth of a group of small, specialised and resourceful enterprises which successfully developed a mass market for their wares in Britain and the colonies. By the end of the 1890s, there could have been few towns or villages, whether in the remoter parts of the British Isles or even the most far flung corners of the white dominions, where some kind of brass band did not add its distinctive tones to the annual cycle of formal and informal events which made up their community's social calendar.
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Gilroy, Paul, and Femi Oriogun-Williams. "The possibility of a creolised planet." Soundings 78, no. 78 (August 1, 2021): 124–37. http://dx.doi.org/10.3898/soun.78.11.2021.
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In this interview Paul Gilroy talks to Femi Oriogun-Williams about his love of folk music of all kinds. He discusses its songs of expropriation, suffering, soldiering, impressment and migration; its relationship to the countryside - often a dangerous and menacing place - and to Englishness, including English nationalism; and the role of Black performers inside the world of folk, including Nadia Cattouse, Dorris Henderson, and Dav(e)y Graham. He also discusses the cosmopolitan of musicians, and their appetite for music that operates across cultural and national boundaries; the plasticity, pliability and nomadic aspects of musical forms mean that Nina Simone can make a song by Sandy Denny her own, and Kathryn Tickell can experiment with South Asian sources; it allows songs to appear in many different versions, as with 'The Lakes of Pontchartrain'. The folk traditions of the Atlantic world exhibit all of the recombinant cultural DNA that went into them. This creates the possibility of reading the culture of the Atlantic world, North and South, with the idea of a Creole culture - and the possibility of thinking with a creolised planet in mind.
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Grothe, Timo, and Sebastià V. Amengual Garí. "Measurement of "Reed to Room"-Transfer Functions." Acta Acustica united with Acustica 105, no. 6 (November 1, 2019): 899–903. http://dx.doi.org/10.3813/aaa.919370.
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A method is proposed here to synthesize the acoustic response of a room to a musical reed wind instrument with tone holes played by a musician. The procedure uses convolution of a) two measured pulse responses and b) the mouthpiece pressure during playing. The novelty of the approach is to include the sound radiation directivity of the source in the impulse response measurement of the room by using the wind instrument's air column as an exciter. At the reed input end of the air column pressure pulses at typical peak pressures of several kilopascals are generated using a compressor and a solenoid valve, which provides a high SNR even at distant measurement positions. For auralization purpose, the source signal measurement is done very close to the sound generation locus, i.e. inside the mouthpiece. Because this measurement is largely insensitive to room acoustics, the proposed method can be considered a very convenient alternative to music recordings in anechoic conditions. As a proof of concept we report here experimental results for the case of a bassoon. The method can be extended to auralizations of reed and lip-reed musical instruments in virtual acoustic scenes, and sheds light on the importance of the reflective and radiative properties of the air column for the sound coloration.
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Moore, Tom, and Bernard D. Sherman. "Inside Early Music: Conversations with Performers." Notes 54, no. 4 (June 1998): 936. http://dx.doi.org/10.2307/900085.
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Neal, Jocelyn. "Inside the Music: Research and Theory." Imagine 6, no. 2 (1998): 6. http://dx.doi.org/10.1353/imag.2003.0268.
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York, Steve. "Music From the Inside Out (review)." Notes 63, no. 3 (2007): 677. http://dx.doi.org/10.1353/not.2007.0048.
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Richter, Pál. "ORGAN ACCOMPANIMENT PRACTICES OF UNEDUCATED CANTORS IN SMALL VILLAGES OF THE CARPATHIAN BASINPRAKSE ORGELSKE SPREMLJAVE PRI NEŠOLANIH KANTORJIH V VASEH PANONSKE NIŽINE." Traditiones 48, no. 2 (June 28, 2019): 133–47. http://dx.doi.org/10.3986/traditio2019480207.
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Cantors uneducated in music are usually outside the church hierarchy, but inside the community in small Christian villages of east-central Europe. Their organ playing and accompaniment may preserve characteristics from previous centuries and can be regarded as proof of a formerly widespread harmonization method, but may also appear within music learning as a certain degree of musical knowledge, offering an anthropological explanation of the entire phenomenon. Using the inductive method, the results of case studies from the Carpathian Basin can be considered more or less valid for the larger European region (i.e., east-central Europe) with similar history, social development, and cultural circumstances.***Glasbeno nešolani kantorji navadno niso del cerkvene hierarhije, so pa del skupnosti krščanskih vasic v vzhodni Srednji Evropi. Način njihovega igranja in spremljave na orgle lahko ohranja značilnosti igranja prejšnjih stoletij ter tako ponazarja nekdaj razširjeni način harmonizacije, lahko pa se pojavlja tudi pri samem učenju glasbe, in sicer kot določena raven glasbenega znanja, ki prispeva k antropološki razlagi celotnega pojava. Izsledki študij primerov v Panonski nižini, pridobljeni na podlagi induktivne metode, bolj ali manj veljajo tudi za druge kraje na širšem evropskem območju (tj. v vzhodni Srednji Evropi) s podobno zgodovino, družbenim razvojem in kulturnimi okoliščinami.
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Tronchin, Lamberto, and Antonella Bevilacqua. "Evaluation of Acoustic Similarities in Two Italian Churches Honored to S. Dominic." Applied Sciences 10, no. 20 (October 11, 2020): 7043. http://dx.doi.org/10.3390/app10207043.
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This paper compares two acoustical projects, applied to the S. Dominic church of Foligno and Imola, which are subject to a permanent and temporary conversion respectively, to places dedicated for listening to live music. Sets of measurements have been undertaken before the acoustical treatments in order to calibrate the digital model; in Foligno, the measurements have also been performed after the installation of the acoustical features, to check if the aims have been achieved. Between the proposed acoustical projects, only one has been realized in Foligno, with the artistic activity still running inside the auditorium. The challenge to adjust the acoustics of reverberant rooms like churches to host musical venues has been achieved with a good quality of sound perception. In particular, in S. Dominic church of Foligno, the goal has been hit after many digital simulations that calibrated the redirection of the sound towards the sitting areas.