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Journal articles on the topic 'Musical album'
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1
Goldberg, Halina. "Chopin's Album Leaves and the Aesthetics of Musical Album Inscription." Journal of the American Musicological Society 73, no. 3 (2020): 467–533. http://dx.doi.org/10.1525/jams.2020.73.3.467.
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Abstract During the nineteenth century, major composers—such as Schubert, Schumann, Wieck Schumann, Mendelssohn, Mendelssohn Hensel, Liszt, and Chopin—contributed musical compositions to a kind of volume known as a friendship album (also keepsake album, album amicorum, or Stammbüch). Album inscriptions penned by Fryderyk Chopin provide a lens through which we can study these compositions, thereby gaining an understanding of the ways in which musical meaning, genre, and text were governed by conventions of gift exchange. Complete compositions, musical fragments, and performative flourishes left in albums by music lovers as well as professional composers and performers took on the function of secular relics that were understood to preserve metaphysical traces of the inscribers, while handwriting was believed to represent the writer's character or momentary state of mind. These ideas intersect with a broader Romantic culture of collectorship. To invoke experiences and memories shared by the inscriber and the dedicatee, some composers engaged in dialogic relationships with mementos inscribed by others or employed intertextual references. An examination of these forms of interplay adds to our knowledge of the way context can shape the use and meaning of musical borrowing and allusion. The authors of inscriptions also employed intrinsically musical vocabulary to impart the sense distortions that neuroscientists and scholars of memory describe as typical of a recalled experience. Moreover, albums provided a censorship-free private venue for political and national discourses. These musical texts constitute a separate class of presentation manuscripts that serve a specific social function and audience.
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Jovanovic, Jelena. "The appearance of concept albums in Yugoslav popular music: Kamen na kamen - long play records." Muzikologija, no. 17 (2014): 167–94. http://dx.doi.org/10.2298/muz1417167j.
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It is commonly understood that a concept album is ?a studio album where all musical or lyrical ideas contribute to a single overall theme or unified story? (Shuker 2002: 5). In this paper this term will be used to denote an album containing extra-musical themes and not simply collections of compositions defined only by genre or theme. In order for an album to belong to this category, it must have taken a thematic unity realized by the common content (thematically) of its compositions and common musical means. Although the beginnings of such creative trends can be traced from 1940, the 1960s and 1970s brought the most influential releases of this kind, especially The Beatles? album Sgt. Pepper?s Lonely Hearts Club Band (1967), which has had a great impact on many authors. As far as is known, the topic of concept albums in Yugoslavia has not yet been elaborated, so this article seems to be the first dedicated to this subject. It seems that in Yugoslavia there had been albums with elements of concept released before the appearance of the Kamen na kamen group album in 1973, entitled LP-60993 (Zagreb: Jugoton). The author of the album was Nikola Borota Radovan. After that, a double LP by the same ensemble and songwriter appeared in 1975 entitled OOUR/AVNOJ (RTV Ljubljana), with even more clearly expressed characteristics of concept. The aim of this article is to show that the thematic and conceptual elements of these editions are firmly connected to those of the concept album. These LPs were formed within the following thematic and contextual frames: 1) Borota`s general inclination towards folklore tradition(s) as a permanent source of inspiration, 2) models among the greatest popular music works that influenced his writing projects, primarily The Beatles? concept albums, and 3) social, economic and political circumstances in Yugoslavia at the time when these albums appeared. Even if it is not strictly a concept album in the full sense, the album LP- 60993 might be regarded as the first album with elements of concept published by a Yugoslav author, according to all the criteria and analyzed results. The elements that show a clear connection to the concept are as follows: leading subject(s)/idea(s) that demand(s) the order of compositions, organization of musical elements and motives on macro- and micro-levels (to produce formal and thematic unity), elements of narrative and musical/sound symbols, including elements of musique concr?te.
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Neimoyer, Susan. "The Cyclic Nature of Joni Mitchell's Court and Spark." Articles 34, no. 1-2 (May 26, 2015): 3–32. http://dx.doi.org/10.7202/1030868ar.
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Current scholarship recognizes several of Joni Mitchell’s albums as being cyclic, or based on a unifying concept. Court and Spark (1974), however, is not numbered among them, despite Mitchell’s having described it as “a discourse on romantic love.” Following the inference that this album may have been conceived as an extended, multi-movement work, this article examines both its textual and musical aspects, seeking unifying characteristics. The cyclic nature of the album is uncovered, showing it to be more unified from a musical perspective than a textual one. This approach is the opposite of Mitchell’s perceived norm, suggesting her compositional process may have been more sophisticated than is currently thought.
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Goldberg, Halina. "Review: Album musical de Maria Szymanowska." Music and Letters 83, no. 4 (November 1, 2002): 671–73. http://dx.doi.org/10.1093/ml/83.4.671.
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Sa Dias, Fernanda. "Album Apps: A New Musical Album Format and the Influence of Open Works." Leonardo Music Journal 24 (December 2014): 25–27. http://dx.doi.org/10.1162/lmj_a_00191.
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Since 2011, the term “album app” has been used more frequently by journalists in the music and technology fields. It refers to a new album format that at first seemed an invitation to improvisation; one could re-create a musical piece while listening to it. The result is that the roles of composing, performing and listening become nearly indiscernible in the album app context. The author also discusses the album app’s relationship to “open works,” a term that was coined and investigated by Eco in 1959, a period that disposed of different technologies to apply very similar statements.
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Gusans, Ingars. "DESIGN OF LATVIAN METAL MUSIC ALBUM COVERS IN 2019." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 661. http://dx.doi.org/10.17770/sie2020vol5.5054.
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Latvian metal music has a small but stable place on the map of the metal music world. Each year several music albums of this genre are issued in Latvia. With the decrease in demand for physical data storage devices, brochures and well designed back covers are no longer popular; however the only remaining album cover has gained even more importance – the image, photograph, picture that represents the musical material and acts either as a reflection of the content or as an element for attracting attention and is published on the Internet as well as in printed press as a concrete symbol of the album. The research aim is to describe the design of Latvian metal music album covers in 2019 in the visual context of the albums issued in the world. The research was conducted using the comparative method, looking for the local and global, the typical and different in the visualisation of album covers on the basis of not only theoretical literature but also the many years of experience of the author as a musician and a collector of music records. In general, the visual look of album covers issued in Latvia is typical for heavy metal music and fits in with the visual design of metal band albums in the rest of the world. However, there have been attempts to include eye-catching accents using national or pseudo-national elements or colours.
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Malawey, Victoria. "Musical Emergence in Björk's Medúlla." Journal of the Royal Musical Association 136, no. 1 (2011): 141–80. http://dx.doi.org/10.1080/02690403.2011.562717.
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Björk's 2004 album Medúlla offers listeners radical and new combinations of vocal sounds in pop music. The album features emergent processes ranging from textural emergence, as in standard pop-rock formulas for song introductions, to less common emergent and transformative processes involving metrical, tonal, motivic and phrasal structure. When such processes involving different parameters are combined, other (non-emergent) processes recede to the background, and the effect of emergence assumes a fundamental role over the course of the composition as a whole. Recognizing emergent processes opens up connections with song lyrics and possibly also extra-musical narratives which can enrich our analytical understanding and ultimately our listening experiences of these songs. Furthermore, Medúlla models ways in which other contemporary songwriters could develop sophisticated emergent processes that disturb conventional understandings of popular music as simplistic and formulaic.
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Alexeyeva, Irina V., and Olga Yu Kirsanova. "The “Notebooks” of Leopold Mozart (“Die Notenbücher der Geschwister Mozart”) As a Specimen of Instructive Compositions." ICONI, no. 1 (2019): 92–101. http://dx.doi.org/10.33779/2658-4824.2019.1.092-101.
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One of the interesting realms of contemporary musicology is the issue of study and evaluation of the historical musical text of the early classical period, remote from us in terms of time. No less significant is the comprehension of its didactic potential, as well as the adaptation of scholarly results of research and their application in pedagogical practice. More relevant is the study of the techniques of interaction on the part of the performer with this musical text. The article acquaints the readers with the unique album for clavier, absent in Russian performing and instructive practice — “Die Notenbücher der Geschwister Mozart” in its original version. Its study presents the possibility to immerse into the specificity of the artistic content and pedagogical “secrets” of one of the opuses of the instructive direction reflecting the specificity of 18th century instrumental music-making. Analytical immersion into the musical text of the “Notebooks” (such is the version of the translation of the title of the analogous albums of J.S. Bach, according to Russian publishers) as a historical document of the epoch is aided by turning to its “intonational-lexical vocabulary” stipulated by culturological context. The album discloses the practical secrets of adaptation of the musical score form of notation in its transcription into two-lined form and demonstrated signs of the reduction of the musical text in correspondence with the peculiarities of keyboard instruments. For a present-day beginning performer, the creative potential of the pieces in the collection consists in the possibility of reverse unfolding of two-line keyboard music into an ensemble score the means of which have been fixated into the musical text.
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Stimeling, Travis D. "‘Phases and stages, circles and cycles’: Willie Nelson and the concept album." Popular Music 30, no. 3 (September 21, 2011): 389–408. http://dx.doi.org/10.1017/s0261143011000213.
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AbstractWhile many rock artists explored the compositional possibilities of the concept album in the 1960s and 1970s, Nashville's country music community largely ignored the format. But a few artists working on the fringes of country music – and who, notably, aligned themselves with the countercultural images and attitudes of the time – did begin to experiment with the format in the first years of the 1970s. Chief among them was country songwriter and recording artist Willie Nelson who, by the dawn of the 1970s, was on the verge of breaking away from Music Row to seek more lucrative opportunities in Texas. This article explores the role that Nelson's experimentation with the concept album played in his efforts to adopt a countercultural image, develop a younger audience and challenge the hegemony of the country music industry. Moreover, close examination of Nelson's compositional approach to three albums – Yesterday's Wine (1971), Phases and Stages (1974) and Red Headed Stranger (1975) – reveals that Nelson consciously blended the singles-based approach to songwriting that predominated in 1960s and 1970s Nashville and the extended narrative and musical forms of contemporaneous rock music to create musical products that suited the needs of country radio and rock fans alike.
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PALMER, JOHN R. "Yes, ‘Awaken’, and the progressive rock style." Popular Music 20, no. 2 (May 2001): 243–61. http://dx.doi.org/10.1017/s026114300100143x.
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Going for the One was a good rebirth of Yes at that time, to find its feet and really know what it wanted to do. And we made ‘Awaken’ . . . (Morse 1996, p. 58).Since the release of their third recording, The Yes Album, in March 1971, the music of the English band Yes has been associated with the rock music substyle called ‘progressive rock’. The first two Yes albums showcase a very capable, inventive group of musicians who drew freely from the multitude of sounds around them, emulating aspects of the various musical styles they found engaging. However, it was not until they composed the works appearing on The Yes Album that the band coupled this eclecticism with a quest for originality to develop a voice highly idiosyncratic when judged against prevailing popular music styles. Subsequent albums reveal a predeliction for experimentation and expansion, and successful record sales in both the UK and US encouraged further development in the same direction. Although not members of the ‘first wave’ of progressive rock bands, Yes became ‘codifiers’ and for many, especially later detractors, the flagship of the ‘progressive' fleet. Before I go on to describe and illustrate, through the analysis of a particular song, aspects of Yes's musical language, I will briefly describe the environment in which it appeared and flourished.
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Vivian, Yovi Irvan. "KARAKTERISKTIK MUSIKAL PADA ALBUM KOMPILASI KARYA KOMUNITAS JAZZ JOGJA." Journal of Culture, Arts, Literature, and Linguistics (CaLLs) 1, no. 2 (February 24, 2017): 20. http://dx.doi.org/10.30872/calls.v1i2.689.
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The musician and jazz musical lovers in Yogyakarta are stated in a music group named Jogja Jazz Community. Jogja Jazz Community community often presents the shows that are showed every week (Jazz Mben Senen and Etawa Jazz) and every year (NgayogJazz). This community existence isn’t only performed in live concert, but also by producing compilation album every year. Compilation album consists of some projects which participate in it. This research focuses on compilation album entitled Jazz Basuki Mawa Bea (2009) and Jazz
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Bronfman, Alejandra. "Medical debates and musical interpretations of vibroacoustic disease in Vieques, Puerto Rico." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 1 (August 1, 2021): 5246–52. http://dx.doi.org/10.3397/in-2021-3020.
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In 2001 the band Cornucopia (Puerto Rican musicians Jorge Castro and Claudio Chea) released an album called "Vibroacústica". The title refers to a disease that allegedly afflicts people who have been exposed to loud noise over long periods of time. The vibrations thicken the walls of the heart, so the theory goes, and damage the immune, gastrointestinal, and neurological systems. This is noise as toxin, entering and sickening the body. The album takes the disease as its point of departure, and using location recordings of the coast of Puerto Rico, analog synthetic manipulations and digital processing, both recreates and protests the noise and its impact on human beings in Vieques, Puerto Rico, which was the target of bombing practice for over sixty years. This paper argues that the album subverts the idea of the preservation of a soundscape and instead reinterprets the sonic violence of occupation with the tweets, chirps and burbles of its soundtracks.
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Simonett, Helena. "Giving voice to the ‘dignified man’: reflections on global popular music." Popular Music 30, no. 2 (May 2011): 227–44. http://dx.doi.org/10.1017/s0261143011000043.
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AbstractAs music increasingly links the global and the local and vice versa, fusions of diverse musical genres and styles burgeon. Globalisation theory (specifically Appadurai) has spurred explorations of musical hybridity and cross-fertilisation among scholars from different academic fields focusing on music. In this essay, I argue for the necessity of understanding global cultural interactions and musical appropriations or exchanges in the context of the ambivalences of the globalised mass diffusion and the power asymmetries involved. The purpose of this paper is to contextualise contemporary theoretical considerations by describing the Yoremensamble project – a government-sponsored cultural project in which a group of urban mestizo musicians from northwestern Mexico appropriated local indigenous musical expressions to produce an album titled ‘Hombre digno’ (‘Dignified man’). The album is just one of many projects around the globe in which artists self-consciously re-localize global popular music styles. The resulting sonic fusions point to the need for a critical cultural analysis of such translocal and global phenomena which is rooted in ethnography.
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LAMBERT, PHILIP. "Brian Wilson’s Pet Sounds." Twentieth-Century Music 5, no. 1 (March 2008): 109–33. http://dx.doi.org/10.1017/s1478572208000625.
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AbstractPet Sounds, the landmark Beach Boys album of 1966, has received wide acclaim as one of rock’s first ‘concept albums’. It also represents a milestone in the artistic evolution of the group’s primary creative force, Brian Wilson. A thorough examination of the texts and music of the songs of Pet Sounds reveals a unified art work projecting a coherent textual narrative. Songs are associated and interrelated via recurrent motives and harmonic patterns, expressing extremely personal themes of romance and heartbreak. The musical ideas are mostly culminations of Brian Wilson’s earlier work – they are the ‘pet sounds’ that he had been raising and nurturing since the early 1960s – but they appear here in an unprecedented artistic context. Despite Wilson’s continued, if sporadic, productivity in the decades that followed, including the ill-fated Smile project, Pet Sounds stands as his crowning artistic achievement, an album with vast appeal and broad influence.
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BARRETT, SAMUEL. "Kind of Blue and the economy of modal jazz." Popular Music 25, no. 2 (May 2006): 185–200. http://dx.doi.org/10.1017/s0261143006000857.
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Kind of Blue has been misrepresented by its promoters. The roots in the blues of the best-selling jazz album have repeatedly been obscured in favour of modal features whose associations are less problematic for those coping with the realities of racial injustice. The case that the blues underpins the modal language of the album is made through reconsideration of the claims made for compositional features of individual tracks. Recognition of the transformed blues language that lies at the heart of the album places questions of its significance on a new footing, opening up the mix of musical languages on the album to interpretation within the context of integrationist ideals of the late 1950s. A critical reading of the album against this backdrop leads to the suggestion that the ongoing commercial success of the album can be partly attributed to a retention of integrationist ideals that masks the reality of persistent inequalities in race relations.
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Hill, Matthew, Barry Hill, and Robert Walsh. "Conflict in collaborative musical composition: A case study." Psychology of Music 46, no. 2 (May 21, 2017): 192–207. http://dx.doi.org/10.1177/0305735617704712.
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In collaborative musical composition, such as those used frequently in popular music styles, conflicts between band members are commonplace. This article seeks to examine how task-based and interpersonal conflicts between band members impact on the creation of collaborative compositions, utilising a case study of a band composing music for an album recording. This paper reports on research that tracks the process of the creation of songs for a fourth album recording by a three-piece ensemble who have worked together since 1999. The composition process is marked by numerous disputes and arguments among the band personnel and the interactions between the band members move fluidly between phases of instruction, cooperation, collaboration and conflict. The authors (also the band’s members) analyse video and audio recordings of rehearsals, making observations based in grounded theory in relation to verbal and nonverbal interactions and offering personal reflections on these interactions. Drawing on theoretical perspectives in relation to communication, conflict and group dynamics such as group flow and empathetic creativity, individual and group behaviour are examined with emphasis on the impact of such behaviour on the collaborative process.
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Bown, Oliver, and Sam Britton. "An Album in 1,000 Variations: Notes on the Composition and Distribution of a Parametric Musical Work." Leonardo 47, no. 5 (October 2014): 437–41. http://dx.doi.org/10.1162/leon_a_00866.
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The authors discuss the making and distribution of an audio album that was created using parametric techniques and released in 1,000 distinct variations, as a kind of limited edition for the age of digital distribution. After describing the project, they discuss how the project has affected their thinking about the production of electronic music, the process of musical distribution and the concepts of tracks, musical works and uniqueness.
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Marienberg, Evyatar. "Bible, religion and Catholicism in Sting’s album and musical The Last Ship." Studies in Musical Theatre 12, no. 3 (December 1, 2018): 319–35. http://dx.doi.org/10.1386/smt.12.3.319_1.
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Sting, aka Gordon Sumner (b. 1951 in Wallsend, close to Newcastle upon Tyne), is a famous songwriter and performer who grew up in a Catholic environment. Although he does not identify as Catholic anymore, the religious images and notions he grew up with appear rather frequently in his work. This article explores examples of religious imagery in his album The Last Ship (2013), and in the musical of the same name based on the album. To date, the musical has been produced from two very different books: a US version by John Logan and Brian Yorkey (2014), and a UK one by Lorne Campbell (2018). The US version includes many religious notions, and in particular, includes a priest as one of its central figures. The UK version has little to no religion in it. The article suggests that each of these versions reflects a certain historical moment in the life of Wallsend, from where, supposedly, the ‘last ship’ was launched.
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McLaughlin, Fiona. "Youssou N'Dour's Sant Yàlla/Egypt: a musical experiment in Sufi modernity." Popular Music 30, no. 1 (January 2011): 71–87. http://dx.doi.org/10.1017/s0261143010000656.
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AbstractIn collaboration with the Cairene composer Fathy Salama, Youssou N'Dour released an album that appeared in Dakar in 2003 as Sant Yàlla (‘Praise God’), and internationally in 2004 as Egypt. Sung in Wolof to the accompaniment of an Egyptian orchestra, the album consists of a suite of eight interrelated pieces, seven of which are praise songs to Senegalese Sufi shaykhs, while the remaining piece praises God, the Prophet Mohammed, and some important Mauritanian shaykhs. In this essay I argue that in bringing Senegalese Islam to the international arena, N'Dour uses his stature as a world-class musician to both articulate and participate in the creation of a Sufi modernity, namely a way of being a Sufi Muslim in a globalised world. In addition to being a personal journey for Youssou N'Dour, both musically in its orientation towards the East rather than the West, and in his own religious faith, Sant Yàlla/Egypt also echoes many of the current preoccupations of Muslim intellectuals and artists as they seek to renew and reinterpret their own local religious traditions for a global audience.
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Ban, Hye-sung. "The Musical Characteristics and Significance of the 『First Album of Gwangbokgun’gajip』(1943)." STUDIES IN KOREAN MUSIC 68 (December 31, 2020): 347–76. http://dx.doi.org/10.35983/sikm.2020.68.347.
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Buchok, Lianna. "V. Telychko’s “Children’s Album” as an example of the modern tonal image of the world: peculiarities of the musical vocabulary and melodic ideas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 70–84. http://dx.doi.org/10.34064/khnum2-49.05.
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Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.
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Szeman, Ioana. "“Gypsy Music” and Deejays: Orientalism, Balkanism, and Romani Musicians." TDR/The Drama Review 53, no. 3 (September 2009): 98–116. http://dx.doi.org/10.1162/dram.2009.53.3.98.
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In the current wave of successful “Gypsy music” in the West, Romani bands Taraf de Haïdouks and Fanfare Ciocărlia present themselves as “authentic” Gypsy musicians. In Germany, Shantel's latest album proclaims a Gypsy theme, but without Romani musicians. With or without Romanis, “Gypsy” means “exotic” in these musical exports.
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Koehler, Katelyn, and Mary C. Broughton. "The effect of social feedback and social context on subjective affective responses to music." Musicae Scientiae 21, no. 4 (September 21, 2016): 479–98. http://dx.doi.org/10.1177/1029864916670700.
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Previous research suggests that music listening influences individual affective responses. However, there is scant research examining how social factors might interact to influence subjective affective responses to music. This study investigates the effects of social feedback and social context on subjective affective responses to music. In a between-subjects experiment, participants (N = 120) listened to unfamiliar music from various genres either alone or with another participant. For each musical example, participants received positive and negative social feedback, derived from a pilot study, or factual album information. After listening to each musical example and reading the provided social feedback or album information, participants reported their subjective valence, arousal, subjective affective intensity, concentration, music liking and familiarity. There was no effect of social feedback on subjective valence responses. Positive and negative social feedback influenced subjective arousal responses positively and negatively, respectively. Subjective affective intensity was not influenced by social feedback. Social context did not influence subjective affective responses to the musical examples. Lower concentration was reported in social listening conditions compared to solitary conditions. Greater familiarity with the musical examples was reported when social feedback was provided. The findings of the present study suggest that social feedback can influence particular affective responses to, and familiarity with, music. However, social listening might reduce concentration, especially in the absence of social feedback. These findings highlight issues warranting consideration for how music is affectively experienced in everyday life, as well as purposely used in varied contexts.
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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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Starnawski, Marcin. ""Któż tam będzie wisiał?" – Bunt chłopski w miejskiej wyobraźni." Studia Litteraria et Historica, no. 1 (December 31, 2012): 1–52. http://dx.doi.org/10.11649/slh.2012.003.
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“Who’s going to dangle there?” – Peasant revolt in urban imagination. On the Gore album by R.U.T.A. and on its receptionThe author presents a review of a recent album “Gore: Songs of Rebellion and Misery from 16th to 20th Century” by a Polish punk rock / hardcore group R.U.T.A. The album, which combines traditional peasant lyrics with modern arrangements and folk instruments, has received acclaim from both fans and critics, while the band declared their commitment to struggles of contemporary progressive social movements. The author analyses the lyrics situating his reflection in sociological-historical framework to discuss realities of peasants’ lives and revolts during the second serfdom in early modern Poland. The author interprets the musical form of the songs as “punk-rock assimilation” of folklore themes. The final section contains critical reflection on the album’s marketing strategy and reception with the key dissected categories being “rebellion” and “authenticity.”
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González Hernández, José Omar. "Appropriating the extreme: Interculturality and the decolonization of the image in extreme metal in México and Colombia." Metal Music Studies 7, no. 1 (March 1, 2021): 119–28. http://dx.doi.org/10.1386/mms_00036_1.
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In this short article, I engage in a musical iconographic analysis of album covers from extreme metal bands, specifically those belonging to the subgenres of death metal and grindcore, in both México and Colombia. Both countries have gone through socio-historical processes marked by violence, which, by extension, have resulted in the popularization of consumer media products based on said violence (e.g. war against drug traffickers). My analysis rests on a transhistorical outline of the constant forms of domination that both countries have suffered since the conquest of the American continent and the ways in which Latin American extreme metal represents these experiences through the artwork of their albums, thus engaging in a process of decolonization of the imaginary through the reappropriation of imagery traditionally used in extreme metal.
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Amenorvi, Cosmas Rai. "Exodus In ‘Exodus’: A Multimodal Analysis of Bob Marley’s Lyrics." International Journal of Language and Literary Studies 1, no. 3 (December 21, 2019): 20–29. http://dx.doi.org/10.36892/ijlls.v1i3.90.
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This paper employs a multimodal analytical approach in analyzing the theme of exodus in Bob Marley’s ‘Exodus’ album where attention is given to four main areas, namely, the album’s cover design, the employment of lexical items, the use of literary devices as well as aesthetics by which Marley conveys the theme of exodus throughout the album. Findings show that the album’s cover design is symbolically employed to project the theme of exodus. The choice of the gold color as the background as well as the inscription of ‘EXODUS’ in red in the heart of the golden background equivocally reveals Africa’s ‘golden’ contributions to the West while the Africans in the West are ‘bleeding’(red), a reason for which they must embark on an exodus. Lexically, Marley employs content emotion-packed lexical items, namely nouns, verbs, adjectives and adverbs, to project the theme of exodus. Besides, Marley relies heavily on literary devices such as allusion, equivocation, metaphor, repetition and rhyme as tools for the projection of the theme of exodus in his ‘Exodus’ album. Finally, by deliberate design, the names of the songs of the album, their arrangement as well as their number all aesthetically tell a conscious but beautiful story in the name of the overall theme of exodus in the album by the same name, making Marley’s ‘Exodus’ album not merely a classical musical piece but a discourse masterpiece equivalent to one from a skilled troubadour.
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Decker, Todd. "Fancy Meeting You Here: Pioneers of the Concept Album." Daedalus 142, no. 4 (October 2013): 98–108. http://dx.doi.org/10.1162/daed_a_00233.
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The introduction of the long-playing record in 1948 was the most aesthetically significant technological change in the century of the recorded music disc. The new format challenged record producers and recording artists of the 1950s to group sets of songs into marketable wholes and led to a first generation of concept albums that predate more celebrated examples by rock bands from the 1960s. Two strategies used to unify concept albums in the 1950s stand out. The first brought together performers unlikely to collaborate in the world of live music making. The second strategy featured well-known singers in songwriter-or performer-centered albums of songs from the 1920s, 1930s, and 1940s recorded in contemporary musical styles. Recording artists discussed include Fred Astaire, Ella Fitzgerald, and Rosemary Clooney, among others.
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LOVE, JOANNA. "From Cautionary Chart-Topper to Friendly Beverage Anthem: Michael Jackson's “Billie Jean” and Pepsi's “Choice of a New Generation” Television Campaign." Journal of the Society for American Music 9, no. 2 (May 2015): 178–203. http://dx.doi.org/10.1017/s175219631500005x.
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AbstractIn 1984 Pepsi-Cola released two groundbreaking commercials for its “Choice of a New Generation” campaign. Marketers reimagined Pepsi's product alongside superstar Michael Jackson's most iconic visual “symbols” and composed a slogan to be sung over fragments of the backing-track to his then-hit song, “Billie Jean.” Although merely replacing Jackson's original lyrics about lust and revenge with a family-oriented slogan had the potential to change meaning potentials the song held in other contexts, it was the re-working of Jackson's celebrity image and omission of key musical structures present within the original that allowed “Billie Jean” to acquire new meanings in the commercials. On the album, careful voice leading practices that pivot precariously between the natural and flat-VI underpin the score's complex harmonic structures to reinforce Jackson's cautionary tale. Pepsi's commercials, on the other hand, skillfully pick “Billie Jean” apart, extract its most memorable themes, and stitch the fragments back together. Consequently, when paired with Pepsi's overtly positive images, the reworked track noticeably diffuses the tension expressed in the original. By incorporating formal musical analysis, musicological inquiry, and formative cultural theory on advertising, MTV, and musical meaning in multimedia, this article contributes to growing discussions about pre-existing popular music's roles in advertising.
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Woods, Peter J. "Mapping Critical Anthropocene Discourses in Musical Artefacts: Whiteness, Absence, and the Intersecting “-Cenes” in Prurient’s The History of Aids." Open Cultural Studies 3, no. 1 (January 1, 2019): 541–52. http://dx.doi.org/10.1515/culture-2019-0048.
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AbstractIn critiquing the humanism of the Anthropocene, scholars have proposed multiple “-cenes” of their own (i.e. the Capitalocene, Plantationocene, and Necrocene). However, authors often consider these formations in isolation rather than considering the intersection between them. To address this oversight, I propose the use of musical artefacts as a site of examination as the forces behind these “-cenes” embed traces of themselves into these recordings and performances. Power electronics, a subgenre of noise music, provides an exceptionally fruitful area of research because of its tendency towards disruption as both a musical and ideological gesture. This inclination creates space for artists to evoke non-dominant narratives, allowing for new forms of interaction between “-cenes” to emerge. By way of example, I analyse the album The History of AIDS by power electronics artist Prurient. Utilizing Deleuze and Guattari’s notion of the rhizome as a framework for interaction, the album evokes the sexual and racial politics within the Capitalocene, Necrocene, and Plantationocene, allowing space for audiences to consider all three formations simultaneously. This manoeuvring between various “-cenes” highlights the ways in which music acts as a “-ceneic” meeting ground and implies new directions for research.
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Kaźmierczak, Joanna. "„Kadzidła i miętówki”. Orientalizm a psychodeliczne okładki płytowe w drugiej połowie lat sześćdziesiątych XX wieku." Prace Kulturoznawcze 21, no. 4 (October 30, 2018): 153–68. http://dx.doi.org/10.19195/0860-6668.21.4.9.
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“Incense and peppermints”. Orientalism and psychedelic album covers in the second half of the 1960sThe article focuses on three intertwining subjects: 1 psychedelic culture of the 1960s, 2 orientalism in culture and 3 album cover art. Its most important goal is to support the process of inclusion to the discussion about the orientalist phenomenon in popular music in the 60s the problematics of the design of album covers, which had been rarely taken into consideration in such context up to this day. Secondly, regarding the fact that the narration on the reflection about the album cover art of that decade tends to focus almost entirely on the artworks related to very few musical groups — most importantly The Beatles — another aim of this article is to point to the wider range of artists, who experimented with orientalist motives both in their music and in their professional image. Psychedelia can be seen in such context as an artistic current which produced the most fertile and culturally most significant fusion between orientalism and popular music in the 1960s. As the examples of this process, the album covers of such artists as The Byrds, Curved Air, The Jimi Hendrix Experience, The Moody Blues, The Rolling Stones or The Strawberry Alarm Clock, et al., are being named. The formal and contextual analysis of the presented spectrum of album covers here narrowed down solely to American and British editions rests upon the definition of psychedelic art as an artistic action inspired by the aesthetic components of psychedelic experience, rather than occurring under the direct influence of a psychedelic drug.
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Hudayah, Lutfy Fajar. "AN ANALYSIS OF INDONESIAN MORAL VALUES FOUND IN THE SONG LYRICS FORGIVE ME ALBUM BY MAHER ZAIN." UAD TEFL International Conference 1 (November 20, 2017): 330. http://dx.doi.org/10.12928/utic.v1.184.2017.
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Moral values are standard accepted principles of life. It is concerned with the principles of right and wrong behavior and the goodness or badness of human characters. Moral values from a subset of the set of all values, and value simply consist of the things that some people values. The purpose of this study were as follows (1) to find out the Indonesian moral value in song lyrics album by Maher Zain, (2) to find out the kinds of the moral values in the song lyrics album by Maher Zain and (3) to find out the most frequent moral values in the song lyrics album by Maher Zain. Subject in this study are song lyrics that consider and containing moral values. This study was qualitative descriptive because this study is aim to make systematic, factual, accurate description of the moral values in the song lyrics forgive me album. The data was analyzed systematically based on the data Moleong (2009: 6) who state that qualitative research is a kind of research carried out to understand the phenomena that occur in research subject such as musical note; intonation and meaning of song lyrics by describe it in words and using various scientific method. The result of this analysis is shown eleven moral values are found in Forgive Me album by Maher Zain songs. The similarities Indonesian moral values wih the moral values found n Maher Zain songs, and the moral values most frequent in forgive me album by Maher Zain song. The findings of the moral values in Forgive me album by Maher Zain are eleven. There are religiosity, love affection, loyalty, sincerity, thankfulness, steadfastness, humbleness, peace loving, brotherhood, respecting other, and optimism. The Indonesian moral values found in the song lyrics album are religiosity, communicative, and peace-loving. And the moral values most frequent in the song lyrics album are religiosity, love affection and loyalty.
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Aghoro, Nathalie. "Agency in the Afrofuturist Ontologies of Erykah Badu and Janelle Monáe." Open Cultural Studies 2, no. 1 (November 1, 2018): 330–40. http://dx.doi.org/10.1515/culture-2018-0030.
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Abstract This article discusses the visual, textual, and musical aesthetics of selected concept albums (Vinyl/CD) by Afrofuturist musicians Erykah Badu and Janelle Monae. It explores how the artists design alternate projections of world/subject relations through the development of artistic personas with speculative background narratives and the fictional emplacement of their music within alternate cultural imaginaries. It seeks to establish that both Erykah Badu and Janelle Monae use the concept album as a platform to constitute their Afrofuturist artistic personas as fluid black female agents who are continuously in the process of becoming, evolving, and changing. They reinscribe instances of othering and exclusion by associating these with science fiction tropes of extraterrestrial, alien lives to express topical sociocultural criticism and promote social change in the context of contemporary U.S. American politics and black diasporic experience.
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Brøvig-Hanssen, Ragnhild, and Paul Harkins. "Contextual incongruity and musical congruity: the aesthetics and humour of mash-ups." Popular Music 31, no. 1 (January 2012): 87–104. http://dx.doi.org/10.1017/s026114301100047x.
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AbstractThe academic literature on mash-ups has been dominated by discussions about issues relating to their illegal nature and infringement of copyright. We aim to appraise this musical style with a socio-musicological approach to focus on its aesthetics. We argue that mash-ups are characterised by two underlying principles, namely contextual incongruity of recognisable samples and musical congruity between the mashed tracks. Through our close analyses of The Evolution Control Committee's ‘The Whipped Cream Mixes’ and Danger Mouse's The Grey Album, we describe how contextual incongruity often creates a humorous effect, which explains why many listeners react with smiles and laughter when hearing a new mash-up. In successful mash-ups, the combination of musical congruity and contextual incongruity results in the paradoxical response: ‘these two songs should definitely not work together … but they do!’
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Vēvere, Velga. "Dispassionate Eroticism in “Either/or” by Søren Kierkegaard and Tiger Lillies." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 362–70. http://dx.doi.org/10.37384/aplkp.2020.25.362.
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The main focus of the present article is to research the specific reading of Søren Kierkegaard’s (1813–1855) philosophy by the British musical trio “Tiger Lillies” in their studio album “Either/or”. The questions to be answered are the following: (1) Was the choice of the Kierkegaard’s text of the accidental or rather conscious nature? (2) Does this interpretation shed new light upon Kierkegaard’s conception of the sensual-erotic phenomenon, in particular, and his strategy of existential communication, in general? The answer to the first question is that the choice if fully conscious and rational. The album works two-fold: first, it explores the themes and musings from the Danish thinker, second, it creates a backdrop for disclosure of the dark side of the human self, the despair, the impossibility of the existential choice that comes about in the result of the pursuit of instant gratification and boredom. Answer to the second research question is to be found when exploring principles of the Brechtian epic theatre in the music album “Either/or” and then applying them to Kierkegaard’s texts.
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Smilkova, Smilena. "IMAGERY AND EMOTIONS IN THE PIANO PIECE „THE SICK DOLL“ FROM CHILDREN’S ALBUM OF P . I TCHAIKOVSKY." Education and Technologies Journal 11, no. 1 (August 1, 2020): 110–13. http://dx.doi.org/10.26883/2010.201.2223.
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The proposed material examines the creative task of students majoring in Social Pedagogy at the University „Prof. Dr. Assen Zlatarov“ in Burgas, and studying the discipline Art Pedagogy – Part 1 – Music. In the course of the lecture course students get acquainted with the elements of musical expression, as a means of figurative representations and impact of music, with different techniques concerning individual musical activities, with the endless and diverse opportunities that music provides in the use of art pedagogy for social work teachers.Verbal interpretation of music is a necessary component when working with children with special educational needs, at risk and in the norm. Looking at Tchaikovsky’s short and extremely figurative piano piece „The Sick Doll“ from his charming „Children’s Album“, in the form of a short story, tale or essay, students express their personal vision, feeling and transformation of the musical image. The aim of the task is to transcribe the sound image into a verbal one. This requires speed, flexibility and logic in thinking, through imagination and creativity in its manifestation. Children love to listen, especially when they are involved. In search of the right way to solve problems and situations, future social educators could successfully benefit from the conversion of sound into words, according to the needs and deficits of the individual or group.
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Adams, K. "What Did Danger Mouse Do? The Grey Album and Musical Composition in Configurable Culture." Music Theory Spectrum 37, no. 1 (February 20, 2015): 7–24. http://dx.doi.org/10.1093/mts/mtv004.
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Fajaraditya Setiawan, I. Nyoman Anom. "Kajian Rancangan Promo Album Faito 61 Tahun 2008." Jurnal Bahasa Rupa 1, no. 1 (October 28, 2017): 1–10. http://dx.doi.org/10.31598/bahasarupa.v1i1.134.
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Music has many lovers, especially in Bali there are many bands from various musical genres. In the development of indie music labels required hard work in creativity as supporting the popularity and success in the field of music. Faito 61, the band that existed from many hardcore bands of Bali maintained its existence with it so it is known among hardcore music fans from 2004-2010. Efforts to improve creativity and quality, Faito 61 released its first album as proof of maturity to fans and the community in addition to the creations of musicians that can generate and increase the band's popularity. It utilizes visual communication media as a supporting tool to maximize the album promo and this can also increase the popularity and sales of Faito 61 album. The existing media is so diverse that it needs to be selective and in accordance with theories, concepts and field conditions. For such provision it must begin with research and theoretical review. The hardcore concept is lifted according to the flow of the band. The design of Faito 61 album promo media, applied hardcore elements ranging from illustrations, typography and colors. Data obtained from direct interviews with direct observation media that has been owned so far then compared with design theory. Further analyzed qualitatively so that it can be concluded as the basic design.
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Tyshchyk, V. "The system formation of professional accordionist’s skills on the example of V. Vlasov «Album for children and youth»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 172–87. http://dx.doi.org/10.34064/khnum2-49.12.
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Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.
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Givan, Benjamin. "“The Fools Don’t Think I Play Jazz”." Journal of Musicology 35, no. 3 (2018): 397–430. http://dx.doi.org/10.1525/jm.2018.35.3.397.
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Cecil Taylor (1929–2018), who was associated with the postwar black musical avant-garde, and Mary Lou Williams (1910–81), who had roots in jazz’s swing era, met in a notorious 1977 Carnegie Hall recital. These two African American pianists possessed decidedly different temperaments and aesthetic sensibilities; their encounter offers a striking illustration of how conflicts between coexisting performance strategies can reveal a great deal about musicians’ thought processes and worldviews. Evidence from unpublished manuscripts and letters, published interviews and written commentary by the performers, the accounts of music critics, and musical transcriptions from a commercial recording (the album Embraced) reveals that, in addition to demonstrating the performers’ distinct musical idiolects, the concert engaged longstanding debates over jazz’s history and definition as well as broader issues of black American identity. In particular, it dispelled still potent notions of jazz as a genre with a unilinear historical trajectory, and it encapsulated the inherent ambivalence toward the past often exhibited by the jazz avant-garde.
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Rowlands, Jonathan. "John Coltrane’s A Love Supreme as Prayed Glossolalia." Journal of Pentecostal Theology 28, no. 1 (March 20, 2019): 84–102. http://dx.doi.org/10.1163/17455251-02801007.
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In this article the author offers a theological reading of John Coltrane’s seminal 1965 album, A Love Supreme. He suggests it is feasible to interpret Coltrane’s work as a musical parallel of sorts to the phenomenon of praying in tongues. The author contends that such a reading is not only possible but also desirable, since it issues a challenge to the modern Church regarding its worship practices and the use of glossolalia, making the issue important for modern Pentecostal Christian communities.
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Papazova, Julijana Zhabeva. "The Analysis of the Album Tin Drum by Japan and its Intercultural and Musical Meaning." Journal of Creative Communications 7, no. 3 (November 2012): 191–95. http://dx.doi.org/10.1177/0973258613512444.
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Scahill, Adrian. "The Album and the Musical Work in Irish Folk and Traditional Music, ca. 1955–70." Éire-Ireland 54, no. 1-2 (2019): 17–45. http://dx.doi.org/10.1353/eir.2019.0005.
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Vargas, Herom, and Nilton Carvalho. "O ÁLBUM SANDINISTA!: AGENCIAMENTOS E FRONTEIRAS MUSICAIS DO GRUPO THE CLASH // THE SANDINISTA! ALBUM: AGENCEMENTS AND MUSICAL BOUNDARIES OF THE BAND THE CLASH." Contemporânea Revista de Comunicação e Cultura 15, no. 2 (November 10, 2017): 511. http://dx.doi.org/10.9771/contemporanea.v15i2.18243.
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O movimento punk inglês produziu rompimentos com o rock mainstream da indústria fonográfica, mas após algum tempo, sua estética se estabeleceu como fórmula cristalizada. No álbum Sandinista! (1980), a banda inglesa The Clash se afasta dessa rigidez musical ao movimentar-se para as fronteiras, em contato com outras culturas e seus agenciamentos textuais. Essa mudança é um aspecto fundamental na construção da linguagem híbrida do disco que difere dos moldes identitários do punk rock. Com base nos Estudos Culturais e na Semiótica da Cultura, este artigo visa demonstrar como o grupo propôs uma arte de fronteira musical e política com o chamado Terceiro Mundo, usando textos (dub, jazz, soul, hip hop, calypso) geradores de uma semiótica que difere do regime significante (DELEUZE; GUATTARI, 1995) do punk britânico.
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Schwarzbold, Elisandra Aguirre da Cruz, and Ivani Cristina Silva Fernandes. "Expressão de mim para mobilizar o sentimento do outro: considerações sobre o ethos discursivo em composições do letrista Nando Reis / Self-Expression to Mobilize the Feeling of the Other: Remarks on the Discursive Ethos in Nando Reis’ Songwriting." Caligrama: Revista de Estudos Românicos 24, no. 2 (August 12, 2019): 75. http://dx.doi.org/10.17851/2238-3824.24.2.75-94.
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Resumo: The objective of this article is to outline a discursive ethos profile from the meaning effects instituted by linguistic elements in two songs by the Brazilian singer, violinist and songwriter Nando Reis. For this purpose, two of the singer’s musical career albums were selected, being one from his career in the group Titãs and the other from his solo career. Subsequently, one song was randomly selected from each album and the linguistic mechanisms that possibly enhanced the speaker’s self-image construction were identified and analyzed. Finally, the discursive ethos profile that emerges from linguistic materialities was interpreted. In order to achieve such objective, the theoretical assumptions from the Linguistics of Enunciation were used as basis, mainly from Émile Benveniste’s theory and his definitions of “language”, “enunciation” and “subjectivity”. Moreover, other theoretical branches were adopted for the concept of ethos, from the Discourse Analysis perspective, by Dominique Maingueneau (2005) and debreagem, from Semiotics, by Greimas e Courtés (2008). To support the methodological parameter, Carlo Guinzburg’s (1989) indiciary paradigm was used. Lastly, enunciative matters were reflected upon, from the analysis of meaning production instituted by linguistic elements in the analyzed songs.Palavras-chave: ethos discursivo; enunciação; produção de sentidos.Abstract: The objective of this article is to outline a discursive ethos profile from the meaning effects instituted by linguistic elements in two songs by the Brazilian singer, violinist and songwriter Nando Reis. For this purpose, two of the singer’s musical career albums were selected, being one from his career in the group Titãs and the other from his solo career. Subsequently, one song was randomly selected from each album and the linguistic mechanisms that, possibly, collaborated for the speaker’s self-image construction were identified and analyzed. Finally, the discursive ethos profile that emerges from the linguistic materialities was interpreted. In order to achieve such objective, the theoretical assumptions from the Linguistics of Enunciation were used as basis, mainly from Émile Benveniste’s theory and his definitions for “language”, “enunciation” and “subjectivity”. Moreover, other theoretical branches were adopted for the concept of ethos, from the Discourse Analysis perspective, by Dominique Maingueneau (2005) and debreagem, from Semiotics, by Greimas e Courtés (2008). To support the methodological parameter, Carlo Guinzburg’s (1989) indiciary paradigm was used. Lastly, enunciative matters were reflected upon, from the analysis of meaning production instituted by linguistic elements in the analyzed songs.Keywords: discursive ethos; enunciation; meaning production.
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Coleman, Kwami. "Free Jazz and the “New Thing”." Journal of Musicology 38, no. 3 (2021): 261–95. http://dx.doi.org/10.1525/jm.2021.38.3.261.
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Ornette Coleman’s Free Jazz was at the center of controversy in early 1960s music journalism. Released in 1961, the album contains a single thirty-seven-minute performance that is abstract and opaque. Its presumed cacophony and lack of order made Free Jazz emblematic of the “new thing,” the moniker journalists used to describe jazz’s emergent avant-garde, and links were drawn between the album’s sound and the supposed anti-traditionalism and radical (racial) politics of its artists and their supporters. This article does three things. It examines prominent reportage surrounding the album and the “new thing,” outlining the analytical shortfalls that helped to promulgate common misunderstandings about the music. It presents a new analytical framework for understanding Free Jazz, and it explains how the performance was organized and executed by exploring the textural provenance of its abstraction: heterophony. Heterophony, a term commonly used in ethnomusicology but with various shades of meaning, is theorized here as an opaque, decentralized musical texture. It opens up new epistemological terrain in the context of experimental improvised music by affording multiple simultaneous subjectivities (i.e., different sonified identities), interpolating the listener into a dynamic and constantly shifting sonic mesh. The experiment that was Free Jazz, I argue, is one of collective musical agency, in which the opacity of that sonic mesh—woven by the musicians in coordinated action—subverts traditional expectations of clarity, cohesion, and order, beckoning the listener to hear more openly, or more “freely.”
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PLATOFF, JOHN. "John Lennon, ““Revolution,”” and the Politics of Musical Reception." Journal of Musicology 22, no. 2 (2005): 241–67. http://dx.doi.org/10.1525/jm.2005.22.2.241.
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ABSTRACT The Beatles recorded two starkly different musical settings of John Lennon's controversial 1968 song ““Revolution””: One was released as a single, the other appeared on the White Album (as ““Revolution 1””). Lennon's lyrics express deep skepticism about political radicalism, and the single, with its lines ““But when you talk about destruction/…… you can count me out,”” incited rage among critics and activists on the Left. Lennon appears less opposed to violent protest in ““Revolution 1””——recorded first, though released later——where he sang ““you can count me out——in.”” The reception of ““Revolution”” reflected a focus on the words and their apparent political meanings, largely ignoring the musical differences between the two recordings of the song. Moreover, the response to ““Revolution”” had much to do with public perceptions of the Beatles. Their rivals the Rolling Stones, seen as a more radical alternative voice, released the equally political ““Street Fighting Man”” at virtually the same moment in 1968. The much more favorable public reaction to the latter had at least as much to do with the way the bands themselves were perceived as with differences between the songs.
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Gusāns, Ingars. "ELEMENTS OF GLOACALIZATION IN LATGALIAN MUSIC." Via Latgalica, no. 7 (March 22, 2016): 24. http://dx.doi.org/10.17770/latg2015.7.1209.
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<p><em>Latgalian music has a distinct place within the Latvian music market, which has itself inhabited a niche within the global music marketplace; the various processes of globalization have influenced Latgalian music groups and their members to varying degrees. This article aims to assess which musical styles are most popular amongst Latgalian groups and whether there are parallels with tendencies in the global music world in order to identify which global and local features are typical of Latgalian groups, and describe characteristic Latgalian album design in comparison with that of world-famous groups.</em></p><p><em>The article discusses the following groups: “Borowa MC”, “Bez PVN”, “Dabasu Durovys”, “Laimas Muzykanti”, “Green Novice”, “Sacramental” and Sovvaļnīks. Due to limitations in length, this research does not focus upon text analysis.</em></p><p><em>Research was carried out using the following resources: conversations with group members, internet resources, album reviews, press materials, and the author’s own observations as a member of a Latgalian music group.</em></p><p><em>The research is conducted from a comparative perspective, with the goal of highlighting global and local features that characterize Latgalian groups.</em></p><p><em>According to music critic Sandris Vanzovičs, almost all global music styles are represented in the music of Latgale, each inhabiting their particular niche (Gusāns 2015, 1). Evaluating the musical styles and album packaging of select Latgalian groups, it is possible to conclude that Latgalian groups, in ways that are not connected to dance music, reflect the main global tendencies in music, confirming the global location of the Latgale region. The influence of globalization is noticeable in the English-language names of some groups, e. g. “Green Novice”, “Sacramental”. However, local elements in the music are also present: 1) the use of the Latgalian language, 2) folk song melodies and lyrics used with contemporary interpretations, revealing culturohistorical information, and 3) the desire to design original album covers, trying as much as possible to avoid typical clichés or frequently-used motifs, and highlighting the local area. However, Latgalians still need to overcome the lack of interest or support outside the region for Latgalian music.</em></p>
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Heller, Erga. "But Thou Shalt Go unto My Country and to My Kindred: Ambivalence about Family and Homeland in Israeli Songs about the Holocaust." Moreshet Israel 19, no. 1 (2021): 185–200. http://dx.doi.org/10.26351/mi/19-1/8.
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The themes of “homeland” and “a place where one belongs” are integral parts of literary works about the Holocaust, as well as of popular songs about the Holocaust. In 1988, two successful albums of Israeli popular music were released: Heat of July-August, by Shlomo Artzi and Ashes and Dust, by Yehuda Poliker. Both Artzi’s song “In Germany before the War,” and the title song of the latter album, written by Yaacov Gilad and Yehuda Poliker, describe a dialogue between sons and their mothers, Holocaust survivors. In both songs, the sons, now adult Israelis born after World War II, address their mothers, who seem to live or travel through their memories from or through a foreign land. The dialogue, which may be understood as a soliloquy, expresses ambivalent memories about belonging to a family, a nation, a homeland, and the Holocaust. This paper suggests an interpretive reading of these layers of ambivalent memories as part of the construction of a uniquely Israeli-Zionist-Jewish voice of remembrance that draws on biblical references, musical and prosodic structures and references, and Israeli cultural analysis.
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Mosman, Ekaterina V. "The musical image of Vajra Guru Mantra in &Sacred Chants of Buddha[ album by Craig Pruess." Journal of Siberian Federal University. Humanities & Social Sciences 9, no. 1 (January 2016): 203–9. http://dx.doi.org/10.17516/1997-1370-2016-9-1-203-209.
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