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Journal articles on the topic 'Musical bands'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

González Sánchez, Igael. "La tuba sinaloense en la renovación de la música regional mexicana del siglo XXI." Frontera norte 36 (January 1, 2024): 1–20. http://dx.doi.org/10.33679/rfn.v1i1.2371.

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This article reflects on the importance of tuba on banda and Mexican regional music, under the actual expansion of tuba and accordion bands. This approach retrieves documental sources and notes of participant observation about musicians of bands and conjuntos in Tijuana. In contrast to other studies concerning banda music groups in Mexico, the present work highlights the musical exchanges to and from the United States as catalysts for the technical development of the instrument and its adoption in popular bands. This vision brings a cross-border approach to the studies on the development of ba

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Gaggioli, Andrea, Alice Chirico, Elvis Mazzoni, Luca Milani, and Giuseppe Riva. "Networked Flow in musical bands." Psychology of Music 45, no. 2 (2016): 283–97. http://dx.doi.org/10.1177/0305735616665003.

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This study aimed at using the Networked Flow (NF) model to investigate group collaboration in the context of musical bands. We analyzed the relationship between flow, social presence, structural dynamics and performance as they related to 15 bands in a rehearsal room. Flow was measured using the Flow State Scale; social presence was assessed with the Networked Minds Social Presence scale; and interpersonal communication structure (exchange of gazes and verbal orders) was assessed by means of Social Network Analysis (SNA). In addition, we considered: (a) a subjective measure of performance, rat

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Snyder, Andrew. "Carnival Brass Bands in New Orleans and Rio de Janeiro: Disinheritance, Alternative Whiteness, and Musical Eclecticism." Ethnomusicology 65, no. 3 (2021): 519–48. http://dx.doi.org/10.5406/ethnomusicology.65.3.0519.

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Abstract This article explores the predominantly White brass band scenes of the carnivals of New Orleans and Rio de Janeiro as producing rituals of intensified social distinction. The bands’ musical practices realize aesthetic preferences of distinct racialized communities forged through relational positioning. Offering alternatives to the “heritage repertoires” of these carnivals based in musical Blackness, these bands’ musical eclecticism forms an aesthetic articulation of “alternative Whiteness,” which seeks to “disinherit” both hegemonic Whiteness of conservative cultural politics and comm

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Pacheco, Mike, Heather Glynn Crawford-Ferre, and Henry King. "Musical notes." Teaching Children Mathematics 24, no. 6 (2018): 358–59. http://dx.doi.org/10.5951/teacchilmath.24.6.0358.

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Mathematics provides an important way to inform and interpret music. For example, because of a mathematical breakthrough (better ways to calculate the twelfth root of 2), Johann Sebastian Bach was able to write in every key. This set of problems is intended to facilitate interdisciplinary connections and reasoning with music. Math by the Month features collections of short activities focused on a monthly theme. These articles aim for an inquiry or problem-solving orientation that includes four activities each for grade bands K–2, 3–4, and 5–6.

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Dordzro, John-Doe. "BRASS BAND MUSIC IN GHANA: THE INDIGENISATION OF EUROPEAN MILITARY MUSIC." African Music: Journal of the International Library of African Music 11, no. 2 (2020): 141–63. http://dx.doi.org/10.21504/amj.v11i2.2318.

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Local brass bands have become an indispensable factor in weddings, processions, rituals of birth or death, at Christmas and New Year festivities in many parts of the globe. Remains of European brass bands are widely distributed throughout Africa, India, Indonesia, Latin America, and the Caribbean. )ese bands are of both military and missionary origin. They are an important component of the nineteenth and early twentieth-century colonial expressive culture. Despite their uniqueness and widespread presence across the world, brass bands have received limited attention in Ghana. )is paper aims to

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Park, Sohyun. "Court Musical Bands of having been recorded in 『Yuan-shi』." Korean Association for Mongolian Studies 75 (November 30, 2023): 63–90. http://dx.doi.org/10.17292/kams.2023.75.63.

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The purpose of this study was to consider court musical bands (宫廷樂隊) in the Mongol(Yuan)empire. It is what interpreted a piece of music that is accompanied with Muscal performance procedures in Akeumwangdae (樂音王隊), Suseongdae (壽星隊), Yeakdae (禮樂隊), Seolbeopdae (說法隊), which are four court ‘musical bands’ (宮廷樂隊) of having been recorded in 『Yuan-shi(元史)』｢Liyuezhi(禮樂志)｣. In terms of 4 musical bands in the Mongol (Yuan) empire, first, Muscal performance procedures seems to having succeeded in the archetype of the previous generation, but has a difference in which a variety of mask dances appe

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Fei, Fei Zhang Yimiao Su. "The Development and Change of Three Local Yunnan Bands from the Perspective of Urban Music Anthropology." Multicultural Education 9, no. 5 (2023): 48. https://doi.org/10.5281/zenodo.7950574.

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<em>This paper selects three local bands from Yunnan Province whose music integrates innovation and heritage, focusing on the diversity of performance and music. The fusion of multi-ethnic folk tunes, songs and dances, and instrumental music frames the collision and fusion of tradition and modernity. With folk music as their foundation, the three bands have rich experience in arranging ethnic music during the transformation and change of the band's musical style, and have come out with a characteristic musical path, which has certain significance for the development of bands in Yunnan and

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8

O'Connor, Brian P., and Jamie Dyce. "Interpersonal rigidity, hostility, and complementarity in musical bands." Journal of Personality and Social Psychology 72, no. 2 (1997): 362–72. http://dx.doi.org/10.1037/0022-3514.72.2.362.

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Chapuis, Yves, Ondřej Daniel, Jakub Machek, and Phineas Magwati. "The (Un)popular Brass." Journal of World Popular Music 12, no. 1 (2025): 91–119. https://doi.org/10.1558/jwpm.33424.

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This article examines the (un)popularity of brass bands in Zimbabwe, Switzerland, and Czechia from a comparative transnational perspective. Although shaped by distinct histories and cultural frameworks, brass bands in each country face declining participation and limited appeal among younger generations. In Zimbabwe, brass music is largely confined to military and church institutions and has failed to permeate the broader popular music scene. In Switzerland and Czechia, brass bands have shifted from once central cultural practices to niche roles, despite various modernization efforts. Drawing

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Álvarez, Ricardo. "From the Streets to the Stage." Journal of World Popular Music 12, no. 1 (2025): 67–90. https://doi.org/10.1558/jwpm.33139.

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This article examines two professional brass bands from Central Chile, La Bandalismo from Valparaíso and Banda Conmoción from Santiago, which have built successful careers in the contemporary music scene by merging infectious dance rhythms and diverse musical styles with a strong commitment to activism. The study investigates how these bands’ artistic paths and public roles demonstrate a balance between entertaining audiences and engaging with social causes, positioning activism as a key, yet not exclusive, aspect of their identity within Chilean popular music. Drawing on fieldwork and semi-

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Byun, Karam, and Moo Young Kim. "Musical Genre Classification System based on Multiple-Octave Bands." Journal of the Institute of Electronics Engineers of Korea 50, no. 12 (2013): 238–44. http://dx.doi.org/10.5573/ieek.2013.50.12.238.

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12

Kelly, Steven N. "Effects of Conducting Instruction on the Musical Performance of Beginning Band Students." Journal of Research in Music Education 45, no. 2 (1997): 295–305. http://dx.doi.org/10.2307/3345588.

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The purpose of this study was to investigate the effects of conducting instruction on 151 beginning band students' individual rhythmic performance, group rhythmic performance, group performance of legato and staccato, and group performance of phrasing and dynamics. Eight beginning band ensembles, representing diverse cultural and ethnic backgrounds, were randomly selected for the study. Beginning band students and their ensembles were randomly assigned to experimental and control groups. After all subjects were pretested, the experimental bands received 10 minutes of basic conducting instructi

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Zhang, Shuo. "Exploring the origins and early development of Chinese military bands." Культура и искусство, no. 5 (May 2024): 139–49. http://dx.doi.org/10.7256/2454-0625.2024.5.70749.

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Chinese military music plays a significant role in cultural and historical traditions, serving not only as a means of communication during war but also as a vital component of national identity. Studying military music reflects the changes in China's political structures, technological advancements, and international influences, providing deep insights into the socio-political history of China. By analyzing military music, we can trace the impact of cultural exchanges and interactions with other nations and cultures on Chinese musical traditions. This research explores the origins and early de

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Mohammadi, Mohsen. "Marche Triomphale: A Forgotten Musical Tract in Qajar-European Encounters." Iranian Studies 55, no. 3 (2022): 765–76. http://dx.doi.org/10.1017/irn.2021.65.

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AbstractThis article introduces Julius Heise’s Marche Triomphale which reveals a history that was eliminated during the nineteenth century race theory publications. Beginning with an account of Iranians’ encounters with European military music, this article provides a brief history of Iranian military bands in European style, or the bands of muzikānchiān. It then addresses racial motivations behind a short account on Iranian music in 1885 by Victor Advielle, a French administrator. Arthur de Gobineau’s race theories were fashionable in nineteenth century Europe, and Victor Advielle used his fe

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Berezhnyk, Sviatoslav. "Modern Music Bands in the Festival Movement of Ukraine." Bulletin of KNUKiM. Series in Arts, no. 34 (June 5, 2016): 5–9. https://doi.org/10.31866/2410-1176.34.2016.158192.

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The article concerns the modern landscape of music festivals in Ukraine. The author examines the creative work of the new bands in the festival movement and traces their impact on the development of national musical culture.

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Westerlund, Heidi. "Garage rock bands: a future model for developing musical expertise?" International Journal of Music Education 24, no. 2 (2006): 119–25. http://dx.doi.org/10.1177/0255761406065472.

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Gorbal, Y. M. "Professional Training of Military Musicians in Ukrainian Lands at the Turn of the XIX–XX Centuries." Culture of Ukraine, no. 71 (April 2, 2021): 75–81. http://dx.doi.org/10.31516/2410-5325.071.09.

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Abstract. The Armed Forces of Ukraine have strong traditions of musical bands that date back to princely and Cossack times. The task of their orchestras is to boost the morale of servicemen, to strengthen the power of the Ukrainian army by means of musical arts, as well as to perform at festive events (both at the local and the state level). However, despite the importance and diversity of creative and educational activities of the Military Orchestra Service of the Armed Forces of Ukraine, no comprehensive study of historical aspects of the functioning of music and military bands in national m

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Ray, Daniel E. "Military Bands and Government Documents." DttP: Documents to the People 44, no. 4 (2017): 27. http://dx.doi.org/10.5860/dttp.v44i4.6227.

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Since before the founding of the United States, musicians have been an integral part of the military. Throughout history armies have used trumpets and drums to enhance communication and assist the movement of mass forces. Over time, the military has influenced both the makeup of musical ensembles, and styles of popular music. The modern American wind band featuring brass, woodwinds and percussion, is modeled after British military bands. And the marches of John Phillip Sousa, who served as the director of the President’s Own Marine Band for twelve years, remain popular to this day. His “Stars

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De Siqueira Tiné, Paulo José. "La Jazz Band y la orquesta típica en el Frevo. Procesos creativos en arreglos y composiciones." Clang, no. 5 (June 28, 2019): e001. http://dx.doi.org/10.24215/25249215e001.

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El artículo analiza resultados parciales de los últimosproyectos de investigación del autor referidos a losprocesos creativos en los arreglos musicales del frevo,género musical del nordeste de Brasil. Estos proyectosestán destinados a registrar la producción para unformato idealizado (ensamble brasilero), que entraen tensión con sus antecedentes históricos (orquestastípicas brasileras / jazz bands), así como con lasagrupaciones posteriores llamadas Big Bands.

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20

Sarkar, Joyanta, and Anil Rai. "An Analytical Study of the Folk Musical Instruments of Meghalaya." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (2021): 23–38. http://dx.doi.org/10.24193/subbmusica.2021.1.02.

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"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instr

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Barrantes, Mariela Agüero. "The underground: Alternative scenes and clothing styles in Costa Rica during the 1990s." Fashion, Style & Popular Culture 11, no. 2 (2024): 341–53. http://dx.doi.org/10.1386/fspc_00252_1.

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During the 1990s, Costa Rica experienced a growth in young bands performing emergent music genres. From a post-subcultural approach, this article argues that a varied array of young bands from different musical genres and scenes created a sense of unity and support that led to the creation of what was known as ‘the underground scene’ during the 1990s. The ‘underground scene’ served as a platform that opened up a series of spaces that were alternative to the mainstream, where youth groups were able to perform their music and create new styles. In these new spaces, members of the underground dev

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22

Gheorghiţă, Nicolae. "Military Bands in the Romanian Principalities between 1821 and 1878." Nineteenth-Century Music Review 14, no. 3 (2017): 367–89. http://dx.doi.org/10.1017/s1479409817000180.

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The abandonment in the early nineteenth century of the Ottoman military bands (mehterhâne and tabl-khāne) that had provided ceremonial music for the Romanian princes, and the establishment of Western-style military bands in the newly formed army, brought about a radical shift in the cultural paradigm that was to have an effect upon the entire spectrum of musical life in the capitals of the Romanian provinces of Wallachia and Moldavia. This change occurred at two levels: on the one hand, musicians and the repertory current in noble salons were imported from the West, and, on the other, a native

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Ueno, Fuyu, and Sotaro Shimada. "Neural Mechanism of Musical Pleasure Induced by Prediction Errors: An EEG Study." Brain Sciences 14, no. 11 (2024): 1130. http://dx.doi.org/10.3390/brainsci14111130.

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Background/Objectives: Musical pleasure is considered to be induced by prediction errors (surprise), as suggested in neuroimaging studies. However, the role of temporal changes in musical features in reward processing remains unclear. Utilizing the Information Dynamics of Music (IDyOM) model, a statistical model that calculates musical surprise based on prediction errors in melody and harmony, we investigated whether brain activities associated with musical pleasure, particularly in the θ, β, and γ bands, are induced by prediction errors, similar to those observed during monetary rewards. Meth

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Ferreiro, Carballo David. "Ni la batuta es una fusta ni esta música es erótica: Cincuenta sombras de Mi, la nueva obra de Johan de Meij para banda de música." Estudios Bandísticos - Wind Band Studies 1, no. 1 (2017): 21–33. https://doi.org/10.5281/zenodo.14710497.

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<strong>Español:</strong> El presente artículo explora, desde una perspectiva analítica, una de las obras más recientes del compositor holandés Johan de Meij. En este sentido, nuestro objetivo es doble: por un lado, presentar su nueva composición como un ejemplo de evolución en la concepción moderna de las bandas de música y su repertorio; y por otro, demostrar su contribución pedagógica a la función educativa de este conjunto musical. En primer lugar, examinamos el proceso creativo para entender las motivacion

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Wilson, Dave. "Not Different Enough: Avoiding Representation as “Balkan” and the Constrained Appeal of Macedonian Ethno Music." Arts 9, no. 2 (2020): 45. http://dx.doi.org/10.3390/arts9020045.

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Since the early 1990s, interest in various forms of traditional music among middle-class urban ethnic Macedonians has grown. Known by some as the “Ethno Renaissance”, this trend initially grew in the context of educational ensembles in Skopje and gained momentum due to the soundtrack of the internationally acclaimed Macedonian film Before the Rain (1994) and the formation of the group DD Synthesis by musician and pedagogue Dragan Dautovski. This article traces the development of this multifaceted musical practice, which became known as “ethno music” (etno muzika) and now typically features com

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Weidner, Brian N. "A Grounded Theory of Musical Independence in the Concert Band." Journal of Research in Music Education 68, no. 1 (2020): 53–77. http://dx.doi.org/10.1177/0022429419897616.

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Defined as the ability to engage in music activities on one’s own, musical independence is a frequent goal of music education. This yearlong study investigated musical independence within concert bands through interviews and observations of participants of secondary programs that included musical independence as a primary objective. Constructivist grounded theory analyses of the participants’ experiences led to a model of musical independence that included three interrelated outcomes: student agency, critical decision making, and lifewide/lifelong musicianship. These outcomes were the result o

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El Harrami, Said, and Mohammed Yachoulti. "Youth Heavy Metal Bands in Morocco: Resistance and the Struggle for Change." European Scientific Journal, ESJ 20, no. 1 (2024): 84. http://dx.doi.org/10.19044/esj.2024.v20n1p84.

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In Morocco, Metal is a controversial genre of youth music that has usually been misinterpreted, marginalized and stigmatized by many individuals due to its transgressive sound, lyrical contents and visual codes. In this regard, the purpose of this paper is to explore the specific lyrical themes of Moroccan Metal bands concerning elements of symbolic transgression and musical activism. It also aims to the main motivations that push these bands to produce and sustain their musical discourse taking into account the conservative nature of the Moroccan context. Using both content analysis and semi-

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Rogatchevski, Andrei, and Yngvar B. Steinholt. "Pussy Riot’s Musical Precursors? The National Bolshevik Party Bands, 1994–2007." Popular Music and Society 39, no. 4 (2015): 448–64. http://dx.doi.org/10.1080/03007766.2015.1088287.

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Herbert, Trevor. "VICTORIAN BRASS BANDS: THE ESTABLISHMENT OF A 'WORKING CLASS MUSICAL TRADITION'." Historic Brass Society Journal 4, no. 1 (1992): 1–11. https://doi.org/10.2153/0119920011001.

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Hebert, David G. "The Tokyo Kosei Wind Orchestra: A Case Study of Intercultural Music Transmission." Journal of Research in Music Education 49, no. 3 (2001): 212–26. http://dx.doi.org/10.2307/3345707.

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Instrumental music education in Japan has long emphasized wind bands, and in recent decades, Japanese bands have achieved a level of performing excellence that arguably rivals all other nations. This case study of Japan s premier wind ensemble provides insights applicable to bands throughout the nation. The study explores the influence of the ensembles repertoire and educational activities, traces its religious origins, and examines Frederick Fennell's role as musical ambassador. The findings suggest that Japan has not only assimilated and mastered the band genre, but it has transformed the tr

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Pineda, Servando. "Una breve historia musical de Ciudad Juárez." Chihuahua Hoy 19 (2021): 127–57. http://dx.doi.org/10.20983/chihuahuahoy.2021.19.6.

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El texto tiene como objetivo realizar un breve repaso por la historia musical de Ciudad Juárez, de los siglos XX al XXI. Es un acercamiento a la reconstrucción de esta línea del tiempo por el que ha transitado la música en la frontera, desde los tiempos previos a la Revolución, pasando por la Ley Seca en los EE.UU., que se tradujo aquí en las big bands, hasta el rock and roll, la música latinoamericana, los narco-corridos, hasta el rap, el hip hop y más reciente, el auge de las orquestas sinfónicas.

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Campbell, Sean. "‘Agitate, educate, organise’: partisanship, popular music and the Northern Ireland conflict." Popular Music 39, no. 2 (2020): 233–56. http://dx.doi.org/10.1017/s0261143019000242.

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AbstractThis article explores popular-musical invocations of the Northern Ireland conflict (1968–1998), focussing specifically on the period between the IRA hunger strike of 1981 and the British Government's Broadcasting Act in 1988. Whilst most songs addressed to the ‘Troubles’ were marked by (lyrical) abstraction and (political) non-alignment, this period witnessed a series of efforts that issued upfront and partisan views. The article explores two such instances – by That Petrol Emotion and Easterhouse – addressing each band's respective views as well as the specific performance strategies

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Silva, Gleyber Eustáquio Calaça, Duval Magalhães Fernandes, and Leonardo Henrique Alves de Lima Nascimento. "Immigrant Song: a mobilidade internacional de bandas de Heavy Metal." REMHU: Revista Interdisciplinar da Mobilidade Humana 30, no. 66 (2022): 43–66. http://dx.doi.org/10.1590/1980-85852503880006604.

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Resumo O presente estudo objetiva analisar a mobilidade de bandas de Heavy Metal pelo mundo, valendo-se dos grupos que fizeram algum percurso migratório internacional no intuito de se inserirem no mercado musical. Para tal, a pesquisa buscou dados no site Metal-Archives, usados na construção de cartogramas e quadros, analisados conforme os conceitos de mobilidade migratória internacional e comunidade transnacional, permitindo chegar a alguns apontamentos gerais sobre fluxos do gênero musical. Os resultados indicam que as bandas migram preferencialmente para os grandes centros financeiros e art

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Mantie, Roger, and Leonard Tan. "A Cross-Cultural Examination of Lifelong Participation in Community Wind Bands Through the Lens of Organizational Theory." Journal of Research in Music Education 67, no. 1 (2019): 106–26. http://dx.doi.org/10.1177/0022429418820340.

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The purpose of this study was to investigate participant involvement in community wind bands through the lens of organizational theory to inform the music education profession about community wind bands as an “expressive” voluntary association with potential for lifelong participation. Twenty-eight informants were drawn from three community wind bands in the United States and four community wind bands in Singapore. Overall, responses between U.S. and Singapore informants shared many commonalities. Informants from both countries desired musical opportunities that aligned with their interests (i

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BERISH, ANDREW. "“I Dream of Her and Avalon”: 1930s Sweet Jazz, Race, and Nostalgia at the Casino Ballroom." Journal of the Society for American Music 2, no. 4 (2008): 531–67. http://dx.doi.org/10.1017/s1752196308080164.

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AbstractThe Casino Ballroom of Avalon, Catalina Island, is located about twenty miles off the coast of the metropolitan Los Angeles area. Completed in 1929 under the direction of chewing gum magnate William Wrigley Jr., the ballroom became a significant venue for dance bands of the 1930s and early 1940s. The Casino did not, however, feature any of the most familiar names of the era. Instead, it was designed as a state-of-the-art dance hall for the presentation of exclusively white dance bands playing “sweet” jazz, a style that avoided the most obvious musical signifiers of “hot” popular music.

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Rizzoni, Claudio. "Brass band music in Naples between the ritual dimension and innovation: the case-study of Madonna dell’Arco’s divisioni musicali." European Journal of Musicology 20, no. 1 (2022): 196–217. http://dx.doi.org/10.5450/ejm.20.1.2021.196.

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This article examines the musical practices enacted by informal bands active in ritual and festive contexts in the province of Naples (Italy) – in particular, those connected to the Catholic cult of the Madonna dell’Arco and to the Feste dei Gigli popular in several towns around Naples. My main purpose is to enlighten how the complexity of the stylistic background which characterises local bands’ musical practices undermines a number of supposed dichotomies – between folklore and pop culture; between local aesthetics and that of the wider global sphere –, and musicians emerge as key figures wh

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Yulita, Birgita Iyona, Bagus Susetyo, and Irfanda Riski Harmono Sejati. "Exploration Of Lampung Traditional Music In Efforts To Preserve Culture By Kulit Tipis Community In Bandar Lampung." Jurnal Seni Musik 10, no. 1 (2021): 47–56. http://dx.doi.org/10.15294/jsm.v10i1.46898.

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Traditional music is one of the elements of culture keeping the continuity, dynamics, cultural identity and also becoming a vehicle for transmitting the cultural values inherited from generation to generation. This study aims to identify and describe the exploration of traditional music Lampung as an effort to preserve music culture by the Kulit Tipis community in Bandar Lampung. This research was conducted using qualitative methods. Data collection techniques used literature study, observation, interviews, and documentation studies. The results showed that there were efforts to preserve Lampu

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Webb, John, Robert Garofalo, and Mark Elrod. "A Pictorial History of Civil War Era Musical Instruments and Military Bands." Galpin Society Journal 39 (September 1986): 137. http://dx.doi.org/10.2307/842144.

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Byrne, Frank, Robert Garofalo, and Mark Elrod. "A Pictorial History of Civil War Era Musical Instruments & Military Bands." American Music 5, no. 3 (1987): 323. http://dx.doi.org/10.2307/3051743.

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Souza, Jusamara, Liane Hentschke, Adriana Bozzetto, Elisa Cunha, and Karine Cunha Bonilla. "Práticas de aprendizagem musical em três bandas de rock." Per Musi, no. 07 (January 1, 2003): 68–75. https://doi.org/10.35699/2317-6377.2003.55944.

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This article presents part of the results of the research project entitled "Articulation of music pedagogical process outside the formal school setting: a multicase study in Porto Alegre, RS". The aim is to analyze specific musical practices of three rock bands in Brazil. Within this process we investigated the ways in which they develop activities such as composition, listening, performance as well as the practice of rehearsal and choice of repertoire. The study employed a multicase methodology using semi-structured interview and non-participant observation as data collection techniques. The

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Shaboyan, K. "DUDUK AS AN ENSEMBLE AND ORCHESTRAL MUSICAL INSTRUMENT." Sciences of Europe, no. 98 (August 8, 2022): 21–24. https://doi.org/10.5281/zenodo.6973742.

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The progress of the professional development of the duduk performing school in Armenia has led to the creation of duduk ensembles. Considering the compositions performed by this ensemble, it should be noted that the duduk performing monodies, in this case, is a performer of a polyphonical, homophonical-polyphonical mixed musical canvas. As an Armenian folk instrument, the duduk gradually spread throughout the world as a result of the extensive concert activity of master musicians. Representatives of different nationalities in many countries began to play this instrument. The duduk is also ofte

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Kaminski, Joseph S. "Retired Chinese Workers, Musical Education, and Participant-Observation in The Beijing Sunshine Wind Band Art Troupe." ICONI, no. 2 (2021): 75–93. http://dx.doi.org/10.33779/2658-4824.2021.2.075-093.

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The Beijing Sunshine Wind Band performs in community concerts in Beijing year round. The band began in 2007, founded by Lin Yi and her husband Zhao Yinglin. Lin Yi underwent cancer surgery in 1995 and recovered to form the band of around 100 retirees. Members begin musical training in retirement, and as adult learners practice hours gaining musical profi ciency. The music is Chinese and in jianpu numerical notation, but all of their instruments are Western woodwinds, brass, and percussion. The band performs at national events, museums and libraries, and toured Taiwan, Korea, Hong Kong, and Mac

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Plyachenko, T. M. "FORMATION OF PROFESSIONAL QUALITIES OF THE FUTURE STUDENT LEADER MUSICAL AND INSTRUMENTAL BANDS." Educational Dimension 25 (June 17, 2022): 315–20. http://dx.doi.org/10.31812/educdim.6938.

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The author of the article develop the complex of professional qualities of future leader of student's orchestras and instrumental bands. His constituents - personality qualities, capabilities , knowledges, skills, abilities are analysedю

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Breternitz, Christian. "Export von (Militär-)Musikinstrumenten von Berlin nach Zentral- und Südamerika um 1900." Die Musikforschung 74, no. 4 (2021): 308–17. http://dx.doi.org/10.52412/mf.2021.h4.3016.

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The article outlines the significance of Prussian military music of the 19th and early 20th centuries in an international context. It focuses on deliveries of musical instruments and sheet music by the Berlin company C. W. Moritz to Central and South America around 1900. The delivery lists of 1897/98 for the Colombian military bands show that they were equipped according to the Prussian model, which goes back to the ideas of Wilhelm Wieprecht. He reformed and standardised the Prussian military music system between the 1830s and 1860s, thus creating the basis for its success. The sheet music en

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Rudenko, Andrey Alexandrovich. "ASPECTS OF MUSICAL INTERACTION IN INSTRUMENTAL EN-SEMBLES (FROM CLASSICS TO JAZZ)." Вестник Восточно-Сибирского государственного института культуры 134 (April 24, 2025): 41–48. https://doi.org/10.31443/2541-8874-2025-1-33-41-48.

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The article considers the key aspects of interaction in the musical ensembles that cover both classical and jazz music. We analyze deep processes in different types of ensembles, psychophysical moments inherent to each individual per-former, as well as professional and personal aspects of the members’ interaction. The importance of the rhythm section, where drums and bass serve the basis that sets the tone for the entire ensemble, is emphasized based on the work experienc-ing with the famous musicians as John Feddis. The roles of guitar and piano as well as of the wind instruments that emphasi

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Rasimi, Adhurim H., and Faton Mazreku. "Graffiti, street art, murals and music." Street Art & Urban Creativity 9, no. 2 (2023): 46–57. https://doi.org/10.25765/sauc.v9i2.751.

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This research analyzes graffiti and murals made by young artists who are school students in Kosovo, and some of the professional artists, as a visual expressive description for certain purposes. Murals and graffiti which are made by students differ from those by professional artists in the field of visual arts, for the fact that naturally the graffiti made on the internal and external walls of schools display superficial and educational messages but still show creative aspects of the feeling for mural painting. A part of the graffiti were interwoven with musical art and represent the influence

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Szeman, Ioana. "“Gypsy Music” and Deejays: Orientalism, Balkanism, and Romani Musicians." TDR/The Drama Review 53, no. 3 (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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Ros-Morente, Agnès, Salvador Oriola-Requena, Josep Gustems-Carnicer, and Gemma Filella Guiu. "Beyond music: Emotional skills and its development in young adults in choirs and bands." International Journal of Music Education 37, no. 4 (2019): 536–46. http://dx.doi.org/10.1177/0255761419853634.

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Latest studies point out the importance of emotional competencies in young people’s education. Music is closely linked to people’s personal development and the evidence suggests that there are differences in young people who participate in group music-making activities and young people who do not. In the present study we analysed the socioemotional profile of sample of Spanish adolescent musicians who sang in choirs or played in bands. A total of 660 adolescent musicians and 655 non-musicians participated in the study, which evaluated emotional competencies, life satisfaction, motivation to st

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Nisenbaum, Andrey A., and Olga V. Sobakina. "The Peculiarities of Orchestration in Compositions for Parade Ground Concerts of Wind Bands: The Present-Day State of the Problem." Contemporary Musicology, no. 4 (2023): 104–21. http://dx.doi.org/10.56620/2587-9731-2023-4-104-121.

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The article examines the main structural elements of parade ground concerts, including compositions of various genres and styles which affect the musical stage dramaturgy and the peculiarities of orchestration of the musical set of the program. Very frequently in programs of parade ground concerts the attention of the audiences is drawn towards musical compositions of a pronounced national character, as well as the use of folk instruments, which supplement the program with a special color and emphasize the characteristic features of the performance of a wind band of any particular country. Bas

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Knobloch, Marie, Jesko L. Verhey, Michael Ziese, Marc Nitschmann, Christoph Arens, and Martin Böckmann-Barthel. "Musical Harmony in Electric Hearing." Music Perception 36, no. 1 (2018): 40–52. http://dx.doi.org/10.1525/mp.2018.36.1.40.

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A cochlear implant (CI) restores hearing for profoundly deaf patients by transmitting sound to an array of electrodes that stimulates the inner ear. The small number of frequency bands and limited transmission of temporal fine structure affects the music perception. The present work investigates the pleasantness of chords and chord sequences in adults using such electric hearing. In the first task, participants compared chord types according to their perceived pleasantness. Normal-hearing listeners judged the major chord and the minor chord as the most pleasant ones compared to other chord typ

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