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Journal articles on the topic 'Musical analysis'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Yanuar, Dani. "Interaksi musikal dalam pertunjukan Kesenian Topeng Betawi." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (2019): 10–18. http://dx.doi.org/10.33153/dewaruci.v14i1.2532.

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Penelitian ini membahas mengenai interaksi musikal dalam pertunjukan kesenian Topeng Betawi. Fokus permasalahan menitikberatkan tentang bagaimana jalinan interaksi musikal yang terjadi di antara para pemain musik dalam sajian gending pokok pertujukan kesenian Topeng Betawi. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis yakni metode dengan cara menggambarkan atau melukiskan objek yang dikaji berdasarkan data-data yang diperoleh, yang kemudian dilakukan analisis terhadap data tersebut. Penelitian ini menerapkan teori interaksi musikal yang dirumuskan oleh Benjamin Brinner

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2

Feng, Zimo. "Analysis of the Business Model of Chinese Musical Theater Based on Community Economy." Journal of Applied Economics and Policy Studies 12, no. 1 (2024): 77–82. http://dx.doi.org/10.54254/2977-5701/12/2024114.

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In recent years, the Chinese musical theater industry has developed rapidly, becoming an important component of the cultural industry. Compared to traditional musical theater production and distribution methods, the community economy offers a new business model for Chinese musicals. This paper aims to explore how the community economy, combined with self-media platforms, supports the promotion and profitability of Chinese musicals. It analyzes the factors behind its success, the challenges it faces, and its future development prospects. Through an in-depth analysis of the existing business mod

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3

Bondarenko, Andrii. "Musical As Intonation Practice." Bulletin of Kyiv National University of Culture and Arts. Series in Arts, no. 46 (May 22, 2022): 78–86. https://doi.org/10.31866/2410-1176.46.2022.258619.

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The purpose of the article is to identify the musical genre features and its development prospects in Ukraine in terms of intonation practices. Methods. The article is based on a comprehensive analysis of the temporal and spatial characteristics of the musical language used in musicals, which allows determining the nature of the intonation practices involved, identifying what is common and what is different in works of this genre. Results. The article analyses the characteristic musical language features of early film musicals of the USA and the UK, early musicals of the USSR and musicals of U

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4

Vukićević, Nataša M. "НАСТАВА МУЗИЧКЕ КУЛТУРЕ И ПОЗИТИВНО ОБРАЗОВАЊЕ – ОД ДОЖИВЉАЈА ДО ИСХОДА У ОБЛАСТИ МУЗИЧКОГ СТВАРАЛАШТВА И СЛУШАЊА МУЗИКЕ". Узданица XX, № 3 (2023): 241–56. http://dx.doi.org/10.46793/uzdanica20.s.241v.

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This paper analyses experiential aspects of teaching music in the context of the well-being education and creating a stimulating environment for learning, development and psychological well-being of lower-grade pupils. The analysis involves music classes held with fourth-graders who were expected to connect a literary text with a corresponding musical composition they listened to. The research was conducted in the primary school “17. Oktobarˮ in Jagodina in September 2023. In accordance with the research topic which encompasses pupils’ achievement in two areas, musical creativity and listening

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Xu, Yexiaxin. "Social Media Marketing Strategy in Chinese Musical Theatre Industry." Communication, Society and Media 6, no. 4 (2023): p15. http://dx.doi.org/10.22158/csm.v6n4p15.

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The usage of social media in the context of musical theatre marketing continues to grow. More and more musical theatre production companies in China are using social media tools such as Weibo to provide various services and interact with customers. In an effort to help understand how the current musical theatre industry conducts social media marketing and the future development direction, this paper describes a case study which applies content analysis to examined posts on Weibo sites of five top musical theatre production companies: Seven Ages, Shanghai Culture Square, Musicals, Focustage, an

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6

Kharlov, Andrei Vladimirovich. "INCANTATIONS: MUSICAL APPROACH TO NON-MUSICAL GENRES ANALYSIS." Manuscript, no. 4 (April 2019): 141–45. http://dx.doi.org/10.30853/manuscript.2019.4.29.

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7

Das, Joanna Dee, and Ryan Donovan. "Special Issue: Dance in musical theatre." Studies in Musical Theatre 13, no. 1 (2019): 3–7. http://dx.doi.org/10.1386/smt.13.1.3_2.

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This special issue of Studies in Musical Theatre examines the role of dance in musical theatre from a variety of perspectives. Given the scholarly turn from textual analysis to performance analysis, even studying musicals without extensive dance per se can benefit from understanding how movement shapes meaning. The introduction below explains some key themes that have emerged in the six articles that follow. One is the question of genre: what exactly is musical theatre dance? Another is auteurship: what is the role of the choreographer in shaping musicals? A third is technology, which reminds

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8

Jenkins, J. Daniel. "The Early Years of the American Musical in Vienna." Journal of Austrian-American History 6, no. 1 (2022): 89–103. http://dx.doi.org/10.5325/jaustamerhist.6.1.0089.

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Abstract The individual most responsible for bringing the American musical to the Viennese stage was Marcel Prawy (1911–2003). Born into a Jewish Austro-Hungarian noble family, Prawy moved to the US in the late 1930s. While his first love was opera, he also developed an appreciation for the Broadway musical. He returned to Vienna after World War II and produced musical revues in local theaters that included showtunes. Upon becoming a dramaturge at the Vienna Volksoper in 1955, he began overseeing productions of American musical theater, which were among some of the earliest productions of Amer

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9

Rigopoulou, Faye. "Still Here? Aging Female Vocalities in Musical Theatre." IASPM Journal 14, no. 1 (2024): 113–33. http://dx.doi.org/10.5429/2079-3871(2024)v14i1.8en.

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Musical theatre has a complex relationship with ageing (and especially female ageing). As youth has always been at the forefront of musicals, essentialist approaches to ageing in articulation and enactment of ageing musical characters often lead to aesthetic peripheries and creative stagnation. Aiming for a deeper understanding of how female ageing vocalities are perceived, dramaturged and performed in musical theatre, the article takes under consideration viewpoints from ‘outsiders’/ageing performers who work ‘at the centre’ of the musical theatre industry (West End and Broadway).Through a cl

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10

Edgar, Andrew. "Adorno and Musical Analysis." Journal of Aesthetics and Art Criticism 57, no. 4 (1999): 439. http://dx.doi.org/10.2307/432150.

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11

EDGAR, ANDREW. "Adorno and Musical Analysis." Journal of Aesthetics and Art Criticism 57, no. 4 (1999): 439–50. http://dx.doi.org/10.1111/1540_6245.jaac57.4.0439.

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12

DeBellis, Mark. "Musical Analysis as Articulation." Journal of Aesthetics and Art Criticism 60, no. 2 (2002): 119–35. http://dx.doi.org/10.1111/1540-6245.00060.

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13

Firdhani, Aldhila Mifta. "Peningkatan Kemampuan Musikal Peserta Didik Melalui Aktivitas Musik Kreatif." Indonesian Journal Of Performing Arts Education 1, no. 1 (2021): 11–17. http://dx.doi.org/10.24821/ijopaed.v1i1.4915.

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AbstractThis study aims to determine the effectiveness of creative music to improve students' musical abilities in learning music. The research method uses this type of classroom action research conducted in 2 cycles. The research was conducted at SMP Sunan Averroes Sleman Yogyakarta for three months. The object of the study was 13 students of class VIII. Sources of data used in this study are the results of observations and test results of musical abilities. Data analysis techniques were carried out qualitatively, which were identified to see the achievement and improvement results in each cy

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14

Belymenko, Liliana. "Children's Musicals on the Stage of Modern Musical and Music and Drama Theatres in Ukraine." Bulletin of KNUKiM. Series in Arts, no. 47 (December 26, 2022): 110–16. https://doi.org/10.31866/2410-1176.47.2022.269609.

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The purpose of the article is to reveal the peculiarities of children’s musical productions on the stages of Ukrainian musical and music and drama theaters in dramaturgical, artistic-aesthetic, stylistic, and directing-production aspects. Research methodology. The systematic method (for researching the children’s musicals as an independent genre), the comparative method, the method of art history, and genre-style analysis (to identify the features of the domestic children’s musical development and the specific features of its productions on the stages of musical and

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15

Strutynskyi, Bogdan. "Some aspects of stage performances of musicals at Kyiv National Operetta Theatre in 2005-2021." CONTEMPORARY ART, no. 18 (November 29, 2022): 189–200. http://dx.doi.org/10.31500/2309-8813.18.2022.269728.

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The article is devoted to the peculiarities of staging musicals in the Ukrainian musical theatre of the beginning of the 21st century. Using the example of Kyiv National Operetta Theatre, the author analyses the problems faced by the theatre while staging a musical, investigates practical ways to solve problematic issues, and considers the prospects for further presentation of musicals to the audience. The author pays attention to the motivation of the theatre and production groups during the selection of material for the stage performance: the creative ability of the team, the relevance of th

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16

Aleshinskaya, Evgeniya. "Key Components of Musical Discourse Analysis." Research in Language 11, no. 4 (2013): 423–44. http://dx.doi.org/10.2478/rela-2013-0007.

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Abstract Musical discourse analysis is an interdisciplinary study which is incomplete without consideration of relevant social, linguistic, psychological, visual, gestural, ritual, technical, historical and musicological aspects. In the framework of Critical Discourse Analysis, musical discourse can be interpreted as social practice: it refers to specific means of representing specific aspects of the social (musical) sphere. The article introduces a general view of contemporary musical discourse, and analyses genres from the point of ‘semiosis’, ‘social agents’, ‘social relations’, ‘social con

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17

Zagozdzon, Agnieszka. "Backstage am Broadway: das Filmmusical 42ND STREET (USA 1933, Lloyd Bacon) zwischen musikpraktischem Realismus und choreografischen Fantasien." Kieler Beiträge zur Filmmusikforschung 14 (July 3, 2023): 72–89. http://dx.doi.org/10.59056/kbzf.2019.14.p72-89.

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The 1933 movie musical 42ND STREET is considered as a prototype of the so- called »Backstage Musicals« – a genre which puts the developmental process of a musical at the heart of the story. Due to the realistic portrayal of this process, 42ND STREET is seen as one of the most prominent and influential works in the history not only of movie musicals, but of staged musicals as well. One of the most decisive parts in this realistic portrayal is the almost entirely diegetical use of music within the movie, resulting from rehearsals or performances shown on the screen. Additionally, the songs withi

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18

Двоскина, Е. М. "Between “Musical Form” and “Analysis of Musical Works”. Georgy Catoire’s Doctrine of Musical Form." Научный вестник Московской консерватории, no. 1(36) (March 27, 2019): 148–63. http://dx.doi.org/10.26176/mosconsv.2019.36.1.007.

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Последняя, неоконченная книга Г. Л. Катуара— «Музыкальная форма»— была завершена и выпущена в свет его учениками. Один из них, Л. А. Мазель, стал основоположником нового курса— «Анализ музыкальных произведений»,— который заменил в советских консерваториях прежнюю «Музыкальную форму». Однако этот курс в известной степени восходит к идеям Катуара, которые получили в концепции Мазеля своеобразное преломление. Катуар, в отличие от своих предшественников А. Б. Маркса и Х. Римана, писал не учебник практической композиции, а теоретическое исследование. «Строение музыкальных произведений» Мазеля также

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19

Lima, Miguel F. M., J. A. Tenreiro Machado, and António C. Costa. "A Multidimensional Scaling Analysis of Musical Sounds Based on Pseudo Phase Plane." Abstract and Applied Analysis 2012 (2012): 1–14. http://dx.doi.org/10.1155/2012/436108.

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This paper studies musical opus from the point of view of three mathematical tools: entropy, pseudo phase plane (PPP), and multidimensional scaling (MDS). The experiments analyze ten sets of different musical styles. First, for each musical composition, the PPP is produced using the time series lags captured by the average mutual information. Second, to unravel hidden relationships between the musical styles the MDS technique is used. The MDS is calculated based on two alternative metrics obtained from the PPP, namely, the average mutual information and the fractal dimension. The results revea

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20

Мукманова and A. Mukmanova. "Communication Barriers in the Russian Market of Musicals." Modern Communication Studies 5, no. 2 (2016): 79–84. http://dx.doi.org/10.12737/18974.

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The article addresses the problem of adaptation of musical as a genre in the context of Russian musical theatre market. The study investigates the obstacles the genre faces, and focuses on finding efficient communication solutions for making musicals more accepted by the Russian audience. The author uses literature review combined with historical analysis and quantitative research in form of a poll to conceptualize Russian market of commercial musical theatre and understand how the audience perceives the genre and what expectations it has about it.

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21

Gang, Yi, and Bi Zhang. "A Study of Choreography Courses for Musical Theater Majors." Studies in Art and Architecture 1, no. 1 (2022): 8–13. http://dx.doi.org/10.56397/saa.2022.12.02.

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Musical theater education in Chinese universities is generally focused on training musical performance talents, and the dance courses involved are also set up to enhance dance performance. The dance styles learned are mainly ballet, modern dance, jazz dance and tap dance, which are common in European and American musicals. However, in the actual musical rehearsal process, the use of dance to create dramatic characters, develop dramatic events, and show dramatic emotions and conflicts requires the skilled creative ability of the musical choreographer. The educational process of musical choreogr

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22

Lee, Kihwan, and Inho Lee. "Analysis of Jukebox musical pattern." Korean Society of Culture and Convergence 43, no. 1 (2021): 225–46. http://dx.doi.org/10.33645/cnc.2021.01.43.1.225.

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23

Agawu, Kofi. "Music Analysis Versus Musical Hermeneutics." American Journal of Semiotics 13, no. 1 (1996): 9–24. http://dx.doi.org/10.5840/ajs1996131/42.

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24

Fine, Philip A., and Brian C. J. Moore. "Frequency Analysis and Musical Ability." Music Perception 11, no. 1 (1993): 39–53. http://dx.doi.org/10.2307/40285598.

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Soderquist (Psychonomic Science, 1970, 21,117–119) found that musicians were better than nonmusicians at separating out ("hearing out") partials from complex tones and proposed that this might be explained by the musicians having sharper auditory filters. In Experiment 1, the auditory filters of two groups, musicians and nonmusicians, were measured at three center frequencies by using a notched-noise masker. The filters were found not to differ in bandwidth between the two groups. However, the efficiency of the detection process after auditory filtering was significantly different between the

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25

Brown, Matthew G., Douglas J. Dempster, and Nicholas Cook. "A Guide to Musical Analysis." Journal of Music Theory 32, no. 1 (1988): 148. http://dx.doi.org/10.2307/843388.

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26

Smoliar, Stephen W., M. Baroni, and L. Callegari. "Musical Grammars and Computer Analysis." Journal of Music Theory 30, no. 1 (1986): 130. http://dx.doi.org/10.2307/843413.

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27

London, Justin, and Ronald Rodman. "Musical Genre and Schenkerian Analysis." Journal of Music Theory 42, no. 1 (1998): 101. http://dx.doi.org/10.2307/843854.

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28

Jordan, Stephanie. "Agon: A Musical/Choreographic Analysis." Dance Research Journal 25, no. 2 (1993): 1. http://dx.doi.org/10.2307/1478549.

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29

Janson, Thomas. "A Guide to Musical Analysis." Music Educators Journal 74, no. 1 (1987): 13–14. http://dx.doi.org/10.2307/3401230.

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30

Cope, David. "Computer Analysis of Musical Allusions." Computer Music Journal 27, no. 1 (2003): 11–28. http://dx.doi.org/10.1162/01489260360613317.

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31

Rossing, Thomas. "Modal analysis of musical instruments." Journal of the Acoustical Society of America 124, no. 4 (2008): 2509. http://dx.doi.org/10.1121/1.4782897.

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32

Howell, Tim. "Musical Analysis: Back to Basics?" British Journal of Music Education 13, no. 02 (1996): 123. http://dx.doi.org/10.1017/s0265051700003090.

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33

Rossing, Thomas D. "Holographic analysis of musical instruments." Journal of the Acoustical Society of America 107, no. 5 (2000): 2842. http://dx.doi.org/10.1121/1.429182.

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34

Adorno, Theodor W. "I. Pedagogical and MUsical Analysis." Musical Quarterly 78, no. 2 (1994): 327–35. http://dx.doi.org/10.1093/mq/78.2.327.

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35

Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 329–35. http://dx.doi.org/10.1093/mq/78.2.329.

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36

Adorno, Theodor W. "I. Pedagogical and MUsical Analysis." Musical Quarterly 78, no. 2 (1994): 335–39. http://dx.doi.org/10.1093/mq/78.2.335.

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37

Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 339–40. http://dx.doi.org/10.1093/mq/78.2.339.

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38

Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 340–44. http://dx.doi.org/10.1093/mq/78.2.340.

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39

Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 344–50. http://dx.doi.org/10.1093/mq/78.2.344.

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40

Adorno, Theodor W. "I. Pedagogy and Musical Analysis." Musical Quarterly 78, no. 2 (1994): 350–52. http://dx.doi.org/10.1093/mq/78.2.350.

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41

LoPresto, Michael C. "Fourier Analysis of Musical Intervals." Physics Teacher 46, no. 8 (2008): 486–89. http://dx.doi.org/10.1119/1.2999065.

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42

DeBellis, Mark. "The Paradox of Musical Analysis." Journal of Music Theory 43, no. 1 (1999): 83. http://dx.doi.org/10.2307/3090690.

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43

Ayari, Mondher. "Performance and Musical Perception Analysis." Intellectica. Revue de l'Association pour la Recherche Cognitive 48, no. 1 (2008): 51–80. http://dx.doi.org/10.3406/intel.2008.1240.

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44

Roozendaal, Ron. "Psychological analysis of musical composition." Contemporary Music Review 9, no. 1-2 (1993): 311–24. http://dx.doi.org/10.1080/07494469300640531.

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45

Panasiuk, Anton. "THEORETICAL ANALYSIS OF THE ISSUE OF DEVELOPING MUSICAL ABILITIES OF INDIVIDUALS." Personality and environmental issues 3, no. 2 (2024): 52–59. https://doi.org/10.31652/2786-6033-2024-3(2)-52-59.

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The article discusses various aspects and provides a theoretical analysis of research on the development of musical abilities and their impact on personality psychology. Several studies point to potential mechanisms underlying the development of musical skills and the influence of music on brain activity. The interest of scientists in the problem of developing musical abilities in personality is highlighted within the context of neuroscience, the influence of the emotional sphere on music perception, and the formation of musical preferences in both children and adults. The article examines the

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46

Shi, Weiting. "An analysis of the development of Russian "nationalist" music in the 18th-early 20th century." Transactions on Social Science, Education and Humanities Research 10 (August 29, 2024): 1–12. http://dx.doi.org/10.62051/x1fzjh83.

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In the study of Russian music in the 21st century, there are voices against "nationalism”. To make an objective and comprehensive evaluation, this paper reviews Russian music's development from the 18th century to the beginning of the 20th century according to the concreteness and variability of "musical nationalism". The paper believes that Russian "musical nationalism" sprouted in the 18th century, developed and matured in the 19th century, and then began to transform and change in the 1890s, showing different characteristics in three stages, with outstanding historical contributions.

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47

Earle, Ben. "Modernism and Reification in the Music of Frank Bridge." Journal of the Royal Musical Association 141, no. 2 (2016): 335–402. http://dx.doi.org/10.1080/02690403.2016.1216045.

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ABSTRACTDrawing on the tradition of Formenlehre, this article puts forward a methodological historicism as a means of mediating between the disciplinary expectations of musical analysis, on the one hand, and philosophical aesthetics, on the other. Stylistic developments in the later music of Frank Bridge, perhaps British music's best claim to a high modernist of the generation of Schoenberg and Stravinsky, are illuminated by means of Theodor W. Adorno's notion of musical ‘reification’. A comparative analysis of the complementary modernism of Bridge's contemporary Ralph Vaughan Williams is also

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48

Plemenitaš, Katja. "Songs as Elements in the Generic Structure of Film Musicals." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (2016): 31–38. http://dx.doi.org/10.4312/elope.13.1.31-38.

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The paper focuses on the description of film musicals as a subgenre of the genre family of musicals. Their dramatic structure is examined in terms of the generic elements that constitute the progression of a story expressed through the combination of spoken dialogue, songs and dance. The function of songs in the generic structure of film musicals is examined in the framework of the systemic-functional theory of register and genre. Special attention is given to the role of songs in the unfolding of the narrative. The theoretical observations about the role of songs in the register and genre of

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49

Bralović, Miloš. "Listening to the worlds far away: Josip Slavenski and the music of India." Kultura, no. 181 (2023): 59–70. http://dx.doi.org/10.5937/kultura2381059b.

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Josip Slavenski's opus displays the composer's infatuation with musical folklore, starting from his own folklore of Međimurje, and expanding to other nonEuropean (mostly Asian) folklore. In this paper I particularly studied the biographical background of Slavenski, which had led him to a meticulous research of musical folklore, via field recordings, in his mature years. It is worth noting that the folklore of Međimurje provided a basis for his musical language i.e. his musical mother tongue (while he later also studied the folklore of non-European peoples). Thus, for Slavenski, folklore became

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50

Born, Georgina. "Listening, Mediation, Event: Anthropological and Sociological Perspectives." Journal of the Royal Musical Association 135, S1 (2010): 79–89. http://dx.doi.org/10.1080/02690400903414855.

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ABSTRACTThis paper outlines an approach to listening drawn from the anthropology and sociology of music, arguing that there is a pressing need for comparative empirical studies of listening. I suggest that the terms of the discussion should shift from listening to the broader category of musical experience, in this way allowing questions of the encultured, affective, corporeal and located nature of musical experience to arise in a stronger way than hitherto. I propose a focus on the relations between musical object and listening subject, where this entails analysis of the social and historical

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