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Journal articles on the topic 'Musical cadence'

Author: Grafiati

Published: 8 September 2021

Last updated: 29 July 2025

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1

Кюрегян, Т. С. "Non-Musical Origins of Musical Categories." Научный вестник Московской консерватории, no. 1(40) (March 20, 2020): 96–111. http://dx.doi.org/10.26176/mosconsv.2020.40.1.007.

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Классические инструментальные формы справедливо трактуются как высшее выражение имманентно-музыкального начала в композиции. Однако многие их важнейшие категории очень долго и постепенно формировались в синкретичном искусстве, где музыка еще не получила автономию. Среди них мотив и каденция. Их происхождение обычно связывают со словесным текстом: предшественников одной сильной доли в мотиве находят в словесном ударении, в стихотворной стопе, а прообраз кадансового завершения видят в окончаниях словесных строк, предложений (в том числе стихотворных). Однако это был не единственный источник. Тан

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Smit, Eline A., Felix A. Dobrowohl, Nora K. Schaal, Andrew J. Milne, and Steffen A. Herff. "Perceived Emotions of Harmonic Cadences." Music & Science 3 (January 1, 2020): 205920432093863. http://dx.doi.org/10.1177/2059204320938635.

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Harmonic cadences are chord progressions that play an important structural role in Western classical music – they demarcate musical phrases and contribute to the tonality. This study examines participants’ ratings of the perceived arousal and valence of a variety of harmonic cadences. Manipulations included the type of cadence (authentic, plagal, half, and deceptive), its mode (major or minor), its average pitch height (the transposition of the cadence), the presence of a single tetrad (a dissonant four-tone chord), and the mode (major or minor) of the cadence’s final chord. With the exception

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Woolhouse, Matthew. "Probability and Style in the Chorales of J. S. Bach." Empirical Musicology Review 10, no. 3 (2015): 207. http://dx.doi.org/10.18061/emr.v10i3.4861.

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This paper discusses de Clercq&rsquo;s contribution to our understanding of the relationship between scale degree and cadence type within Bach chorales from the perspective of style and probability. De Clercq is applauded for the diligence of this research and for attempting to synthesize findings into a practical, working model of benefit to music-theory students and educators. A literal interpretation of a premise underpinning his model&mdash;that more common musical events are more indicative of a style&mdash;is, however, found to be inconsistent. A test is described in which un

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Zacharakis, Asterios, Maximos Kaliakatsos-Papakostas, Costas Tsougras, and Emilios Cambouropoulos. "Creating Musical Cadences via Conceptual Blending." Music Perception 35, no. 2 (2017): 211–34. http://dx.doi.org/10.1525/mp.2017.35.2.211.

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The cognitive theory of conceptual blending may be employed to understand the way music becomes meaningful and, at the same time, it may form a basis for musical creativity per se. This work constitutes a case study whereby conceptual blending is used as a creative tool for inventing musical cadences. Specifically, the perfect and the renaissance Phrygian cadential sequences are used as input spaces to a cadence blending system that produces various cadential blends based on musicological and blending optimality criteria. A selection of “novel” cadences is subject to empirical evaluation in or

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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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Gomeniuk, Svitlana. "Features of Cadences in Vocal and Choral Music of the Seventeenth Century (on the Example of Giovanni Palestrina’s Motets)." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 132 (November 29, 2021): 182–97. http://dx.doi.org/10.31318/2522-4190.2021.132.250002.

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The relevance of the study. The traditional idea of a cadence as a primarily harmonic phenomenon does not completely correspond to some musical styles, including Renaissance and early Baroque. Revealing the polyphonic essence of cadences in vocal works of the Renaissance, which is the aim of the article, allows deeper understanding peculiarities of musical thinking of that period. Scientific novelty. The historical approach to the analysis of cadences is quite common in foreign musicological works; this approach is still new for Ukrainian musicology. The research material is also new: th

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Vuvan, Dominique T., and Bryn Hughes. "Musical Style Affects the Strength of Harmonic Expectancy." Music & Science 2 (January 1, 2019): 205920431881606. http://dx.doi.org/10.1177/2059204318816066.

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Research in music perception has typically focused on common-practice music (tonal music from the Western European tradition, ca. 1750–1900) as a model of Western musical structure. However, recent research indicates that different styles within Western tonal music may follow distinct harmonic syntaxes. The current study investigated whether listeners can adapt their harmonic expectations when listening to different musical styles. In two experiments, listeners were presented with short musical excerpts that primed either rock or classical music, followed by a timbre-matched cadence. Results f

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Seger, Carol A., Brian J. Spiering, Anastasia G. Sares, et al. "Corticostriatal Contributions to Musical Expectancy Perception." Journal of Cognitive Neuroscience 25, no. 7 (2013): 1062–77. http://dx.doi.org/10.1162/jocn_a_00371.

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This study investigates the functional neuroanatomy of harmonic music perception with fMRI. We presented short pieces of Western classical music to nonmusicians. The ending of each piece was systematically manipulated in the following four ways: Standard Cadence (expected resolution), Deceptive Cadence (moderate deviation from expectation), Modulated Cadence (strong deviation from expectation but remaining within the harmonic structure of Western tonal music), and Atonal Cadence (strongest deviation from expectation by leaving the harmonic structure of Western tonal music). Music compared with

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9

Caplin, William E. "The Classical Cadence: Conceptions and Misconceptions." Journal of the American Musicological Society 57, no. 1 (2004): 51–118. http://dx.doi.org/10.1525/jams.2004.57.1.51.

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The article examines notions traditionally attached to the concept of cadence in general, retains those features finding genuine expression in "the classical style" (as defined by the instrumental works of Haydn, Mozart, and Beethoven), and investigates problematic ideas that have the potential of producing theoretical and analytical confusion. It is argued that cadence effects formal closure only at middle-ground levels of structure; a cadential progression is highly constrained in its harmonic content; cadential function precedes the moment of cadential arrival, whereas the music following t

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Гужва, О. П., and А. Р. Скрипник. "Cadence into the cello concerts by J. Haydn (history, analysis and principle of improvisation)." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 64–73. http://dx.doi.org/10.33287/221923.

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The purpose of this article is to identify the peculiarities of theinterpretation of cadences in cello concerts precisely C-dur and D-dur bycelebrated Joseph Haydn. In accordance with this goal, the following tasksof scientific research are defined, namely to identify the characteristicfeatures of cadence in a classical concert, to compare the features ofperformance by different performers. Discussion on the practice ofimprovising cadences in the 19th and 20th centuries. Methods of the studyare to apply comparative analysis of different approaches to improvisationin the 19th and 20th centuries

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Long, Michael. "Landini's Musical Patrimony: A Reassessment of Some Compositional Conventions in Trecento Polyphony." Journal of the American Musicological Society 40, no. 1 (1987): 31–52. http://dx.doi.org/10.2307/831581.

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The Landini, or under-third cadence functions at the contrapuntal level as the ornamentation of a sixth-to-octave expansion. At the same time, the melodic descent to the penultimate note of the cadence often serves as the completion, resolution, or extension of descending patterns set up earlier in a composition. In those cases where the cadence diverges from its standard form, deviations usually reflect a specific motivic pattern established at the outset of the work. When the development of the under-third cadence as a convention in Landini's ballatas is viewed from a predominantly melodic,

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O'Dwyer, Timothy. "Listening and Rhythmic Cadence in Online Musical Collaborations." ISSUE Special Vol (2022): 137–40. http://dx.doi.org/10.33671/isssiodw.

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13

DONALDSON, JAMES. "Reading the Musical Surreal through Poulenc's Fifth Relations." Twentieth-Century Music 17, no. 2 (2020): 127–60. http://dx.doi.org/10.1017/s147857222000002x.

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AbstractThis article develops a method of understanding concepts from the Parisian Surrealist movement in music using Poulenc's treatment of cadences and fifth relations as a case study. Although music was rejected by the group's figurehead André Breton as ‘the most profoundly confusing’ of all arts, many composers were keenly involved in Surrealist circles. Notably, Poulenc's acquaintance with major figures led him to set much of their literary work. But his engagement with their aesthetic principles extends deep into the musical form. After assessing Poulenc's flirtation with the movement's

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Lorenzoni, Valerio, Tijl De Bie, Thierry Marchant, Edith Van Dyck, and Marc Leman. "The effect of (a)synchronous music on runners’ lower leg impact loading." Musicae Scientiae 23, no. 3 (2019): 332–47. http://dx.doi.org/10.1177/1029864919847496.

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Running with musical accompaniment is becoming increasingly popular and several pieces of software have been developed that match the music tempo to the exerciser’s running cadence, that is, foot strikes per minute. Synchronizing music with running cadence has been shown to affect several aspects of performance output and perception. The purpose of this study was to investigate the effect of synchronous music on runners’ foot impact loading. This represents the ground reaction force on the runner’s lower leg when the foot impacts the ground and is an important parameter for the prevention of t

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Granot, Roni, and Neta B. Maimon. "Consonance Dissonance and Cadences." Music Perception: An Interdisciplinary Journal 40, no. 4 (2023): 293–315. http://dx.doi.org/10.1525/mp.2023.40.4.293.

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The musical surrounding typical of most non-European/North American population includes some mix of Western, local art or folk music, and hybrid forms combining the two. How do these various musical systems play out in the internalized musical mental schemes of their listeners? Have Western musical schemes been totally internalized in such populations? Here we ask this question in relation to Israeli Arabs (IAs)—one group within the highly understudied Arab musical world. Specifically, we compared the responses of 52 IAs and 34 Israeli Jews (IJs) to 11 harmonic dyads based on intervals from th

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Janata, Petr, and Hellmuth Petsche. "Spectral Analysis of the EEG as a Tool for Evaluating Expectancy Violations of Musical Contexts." Music Perception 10, no. 3 (1993): 281–304. http://dx.doi.org/10.2307/40285571.

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The generation and updating of expectancies is a crucial process for our understanding and appreciation of music. We present evidence that the dynamic process of musical expectancy can be studied by using several electroencephalographic (EEG) parameters such as amplitude or coherence in various frequency bands between 1.5 and 31.5 Hz. At specific electrodes (amplitude parameter) or electrode pairs (coherence parameter), values of these parameters depend on how an established musical context is completed, that is, if the expectancy generated by the context is violated, the pattern of the brain'

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17

Hoshi-Shiba, Reiko, Kiyoshi Furukawa, and Kazuo Okanoya. "Neural correlates of expectation of musical termination structure or cadence." NeuroReport 25, no. 10 (2014): 743–48. http://dx.doi.org/10.1097/wnr.0000000000000160.

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18

Siswanto, Silo, and Irfan Kurniawan. "Analisis Musikologis Struktur Lagu Gerobak Buruk Sapi Gile Kesenian Gitar Tunggal Sungai Pinang Kabupaten Ogan Ilir." Jurnal Sendratasik 10, no. 4 (2021): 61. http://dx.doi.org/10.24036/js.v10i4.115534.

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This study discusses the musical phenomenon of the reportoar song Gerobak Buruk Sapi Gile which is a characteristic of guitar tunggal art musicals in Sungai Pinang sub-district, Ogan Ilir district. The purpose of this research is to find out and understand more deeply the concepts of the single guitar musical culture. The approaches taken are; musicological analysis. This study uses qualitative methods with data collection techniques through observation, interviews and documentation. The results of interviews and documentation of guitar tunggal music were analyzed through laboratory work using

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MUTCH, CALEB. "BLAINVILLE'S NEW MODE, OR HOW THE PLAGAL CADENCE CAME TO BE ‘PLAGAL’." Eighteenth Century Music 12, no. 1 (2015): 69–90. http://dx.doi.org/10.1017/s1478570614000359.

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ABSTRACTThe plagal cadence has long been a significant concept within musical discourse, but that discourse contains no convincing explanation of why the progression should be characterized as ‘plagal’. This article elucidates the meaning of the term ‘plagal cadence’ by examining its introduction into a mid-eighteenth-century Parisian debate over the nature of what would come to be called tonality instigated by Charles-Henri de Blainville's proposal of the ‘mixed mode’, a supplement to the major and minor modes. Owing to the properties of his new mode's scale, which corresponds to the Phrygian

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20

Docherty, Barbara. "Sentence into Cadence: The word-setting of Tippett and Britten." Tempo, no. 166 (September 1988): 2–11. http://dx.doi.org/10.1017/s0040298200024256.

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When Addressing a text to be set a composer will, at the extremes, offer it violence or reverence, and a sharp-edged exchange was committed to print in the 1960's concerning the correct relation between parole and musica when sentence (or stanza) is made cadence. In his Conclusion to Denis Stevens's A History of Song, Michael Tippett stated that one of the attributes of the song-writer was the ability to destroy all the verbal music of the poetry he set and to substitute ‘the music of music’. Five years later, in his contribution to the Festschrift for Tippett's 60th birthday, Peter Pears made

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21

de Bruin, Natalie, Jon B. Doan, George Turnbull, et al. "Walking with Music Is a Safe and Viable Tool for Gait Training in Parkinson's Disease: The Effect of a 13-Week Feasibility Study on Single and Dual Task Walking." Parkinson's Disease 2010 (2010): 1–9. http://dx.doi.org/10.4061/2010/483530.

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This study explored the viability and efficacy of integrating cadence-matched, salient music into a walking intervention for patients with Parkinson's disease (PD). Twenty-two people with PD were randomised to a control (CTRL,n=11) or experimental (MUSIC,n=11) group. MUSIC subjects walked with an individualised music playlist three times a week for the intervention period. Playlists were designed to meet subject's musical preferences. In addition, the tempo of the music closely matched (±10–15 bpm) the subject's preferred cadence. CTRL subjects continued with their regular activities during th

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Firth, Ian C. "Musical Key Perception in Relation to Color." Psychological Reports 115, no. 3 (2014): 748–65. http://dx.doi.org/10.2466/03.49.pr0.115c30z3.

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A link between musical keys and colors is common among musicians, although there has never been any agreement about which color matches which key. This study tested two alternative key-color associations: E is red and E b is green, or vice versa. 21 participants (10 men, 11 women; M age = 20 yr., SD = 3.3) with absolute pitch listened to melodies beginning with an anacrusis and a perfect cadence which were played through in C major. Then the melodies began in another key, while four or two colored squares were displayed (in Experiments 1 and 2, respectively). Participants were asked to chose t

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Kaplan, Simon. "DIAHEMITONIC MODALITY: A QUARTER-TONAL COMPOSITION SYSTEM." Tempo 77, no. 306 (2023): 69–92. http://dx.doi.org/10.1017/s0040298223000359.

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AbstractThis article describes a design process for a composition system based upon the quarter-tone scale. As the semitone and quarter-tone scales share the same properties, a musical grammar based upon the former is used as a model to construct an analogous musical grammar based upon the latter. Within the scope of diatonic modal music, the organisation of pitches and durations is analysed from a scientific perspective. Several parameters are taken into consideration: scale, mode, chord, cadence, metre and rhythm. The one-to-one mapping of each facet of diatonic modality onto quarter-tonalit

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Babich, Babette E. "A musical retrieve of Heidegger, Nietzsche, and technology: Cadence, concinnity, and playing brass." Man and World 26, no. 3 (1993): 239–60. http://dx.doi.org/10.1007/bf01273394.

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IBĂNESCU, Corina. "Architectural and Harmonic Language coordinates in Sonata R6 by A. Soler." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (2020): 93–98. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.10.

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"We are interested in the coordinates of the formal analysis of Soler’s Sonata R6 and, in this respect, in the following we are analysing its particular aspects that are related to the polyphonic exposition, with imitative entries of the voices, the originality of the tonal level and the place of the dance interlude, placed between the bridge and the idea II, as a cadence-dancing appendix of the bridge. In a shape diagram, we are showing the correspondences made at the tonal level. From the point of view of the harmonic structure, we are dwelling on the explicit and implicit developments in th

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Kendall, Roger A., and Edward C. Carterette. "The Communication of Musical Expression." Music Perception 8, no. 2 (1990): 129–63. http://dx.doi.org/10.2307/40285493.

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This study focuses on the performer-listener link of the chain of musical communication. Using different perceptual methods (categorization, matching, and rating), as well as acoustical analyses of timing and amplitude, we found that both musicians and nonmusicians could discern among the levels of expressive intent of violin, trumpet, clarinet, oboe, and piano performers. Time-contour profiles showed distinct signatures between instruments and across expressive levels, which affords a basis for perceptual discrimination. For example, for "appropriate" expressive performances, a gradual length

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LAVACEK, JUSTIN. "Hidden colouration: deep metrical flexibility in Machaut." Plainsong and Medieval Music 31, no. 2 (2022): 143–67. http://dx.doi.org/10.1017/s0961137122000109.

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ABSTRACTThis article introduces a metrical adaptation to the contrapunctus method of pitch reduction commonly used to analyse Ars Nova counterpoint. Expanding the medieval concept of colouration from the mensural to the metrical, my contrapuncti highlight the flexible toggling between perfect and imperfect groupings at various rhythmic levels in selected motets by Guillaume de Machaut (c.1300–77). The viewpoint advanced here assumes no a priori metrical grid to parse the musical surface, but rather allows the articulation of sonority, cadence and form to reveal a fluid and unique metrical grou

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Barbosa, Tiago M., Vítor F. Sousa, António J. Silva, Vítor M. Reis, Daniel A. Marinho, and José A. Bragada. "Effects of Musical Cadence in the Acute Physiologic Adaptations to Head-Out Aquatic Exercises." Journal of Strength and Conditioning Research 24, no. 1 (2010): 244–50. http://dx.doi.org/10.1519/jsc.0b013e3181b296fd.

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Kim, Chan Hee, June Sic Kim, Yunhee Choi, et al. "Change in left inferior frontal connectivity with less unexpected harmonic cadence by musical expertise." PLOS ONE 14, no. 11 (2019): e0223283. http://dx.doi.org/10.1371/journal.pone.0223283.

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Miyazaki, Ken'ichi. "Absolute Pitch as an Inability: Identification of Musical Intervals in a Tonal Context." Music Perception 11, no. 1 (1993): 55–71. http://dx.doi.org/10.2307/40285599.

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Absolute pitch is generally believed to be a remarkable ability, whose possessors can quite accurately identify musical pitch characteristics (pitch classes) of single tones presented in isolation. However, identifying pitch out of context is irrelevant and even meaningless to music. It is unclear how listeners with absolute pitch process musical pitch information in more meaningful musical situations. The present experiment was done to examine how listeners with absolute pitch perform in a relative pitch task. Listeners tried to identify melodic intervals of various sizes (260–540 cents) pres

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Nahajowski, Marek. "Cadence formulas in instrumental music of the Renaissance and early Baroque in the context of that time’s theory of music and composition practice." Notes Muzyczny 1, no. 11 (2019): 9–27. http://dx.doi.org/10.5604/01.3001.0013.3519.

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Cadence (ending) formulas are one of the most intriguing phenomena in music. They occur in works of all historical periods and styles and they have a variety of forms: from melodic and harmonic turns to rhythmic or even dynamic ones. However, this issue is important not only from the perspective of theory of music or composition technique but also performance practice as the way how a singer or instrument player understands the functioning of separate elements of a piece will impinge on the sound shape of the work presented to the public. Reading the extramusical message hidden in the structur

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Santos, Rama, Marinho, Barbosa, and Costa. "Kinetic Analysis of Water Fitness Exercises: Contributions for Strength Development." International Journal of Environmental Research and Public Health 16, no. 19 (2019): 3784. http://dx.doi.org/10.3390/ijerph16193784.

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The evaluation of propulsive forces in water allows the selection of the most appropriate strategies to develop strength during water fitness sessions. The aim of this study was threefold: (i) to analyze the rate of force production; (ii) to analyze the rate of force variation; and (iii) to compare limbs’ symmetry in two water fitness exercises. Twenty-two young health subjects (age: 21.23 ± 1.51 years old, body mass: 67.04 ± 9.31 kg, and height: 166.36 ± 8.01 cm) performed incremental protocols of horizontal adduction (HA) and rocking horse (RHadd), from 105 until 150 b·min–1. Data acquisitio

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Wu, Jun, Jiede Wu, Chien-Wen Cheng, Chang-Chieh Shih, and Po-Hsien Lin. "A Study of the Influence of Music on Audiences’ Cognition of Animation." Animation 16, no. 3 (2021): 141–56. http://dx.doi.org/10.1177/17468477211052599.

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How do animation directors and music composers integrate personal creativity and expression into their work, and how do audiences understand and appreciate it as being important and worthy of discussion? This study explores the influence of music on audiences’ cognition of animation by using both quantitative and qualitative methods. Scholars specializing in aesthetics and music have conducted much research on music aesthetics and music itself. In recent years, further studies on music and film have also been carried out. However, there is a lack of research regarding audiences’ cognition of m

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Larsson, Matz, Joachim Richter, and Andrea Ravignani. "Bipedal Steps in the Development of Rhythmic Behavior in Humans." Music & Science 2 (January 1, 2019): 205920431989261. http://dx.doi.org/10.1177/2059204319892617.

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We contrast two related hypotheses of the evolution of dance: H1: Maternal bipedal walking influenced the fetal experience of sound and associated movement patterns; H2: The human transition to bipedal gait produced more isochronous/predictable locomotion sound resulting in early music-like behavior associated with the acoustic advantages conferred by moving bipedally in pace. The cadence of walking is around 120 beats per minute, similar to the tempo of dance and music. Human walking displays long-term constancies. Dyads often subconsciously synchronize steps. The major amplitude component of

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Shanahan, Daniel, and Joshua Albrecht. "Examining the Effect of Oral Transmission on Folksongs." Music Perception 36, no. 3 (2019): 273–88. http://dx.doi.org/10.1525/mp.2019.36.3.273.

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Sociolinguists frequently examine the nature of gradual, internal shifts in languages and dialects over time, arguing for both cognitive and cultural factors, as well as those that might be somehow internal to the language itself. Similarly, musicologists have often argued that musical genres and even specific songs can be examined through gradual diachronic shifts, which seem to be especially accelerated in traditions that rely on oral transmission. For example, Spitzer (1994) examined the stemma of “Oh! Susanna” and noticed that it tended to become more pentatonicized at cadence points by dr

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Rahman, Surya, Berlian Denada, and Abdul Rozak. "Musical Phenomenon in the Traditional Art of Alee Tunjang in Aceh." Grenek Music Journal 12, no. 2 (2023): 232. http://dx.doi.org/10.24114/grenek.v12i2.49597.

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Alee Tunjang is an art form originating from North Aceh Regency that consists of melodic and rhythmic music elements. The form of this art instrument is in the form of vocals that chant verses, and mortar beaten by alu/alee in the form of percussion rhythms with six sound colors. These two types of musical instruments form a distinctive musical fabric in the presentation of the performance, where melodic and rhythmic instruments are played not only as the main melody and melodic musical accompaniment, but the two elements become inseparable, as evidenced by the musical fills of Alee Tunjang th

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Kazantseva, Liudmila P. "Polystilistics as a Factor of Musical Form-Generation." Problemy muzykal'noi nauki / Music Scholarship, no. 4 (December 2023): 71–91. http://dx.doi.org/10.56620/2782-3598.2023.4.071-091.

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The article examines the particular features of form-generation that are stipulated by the application of polystilistics in the form of interactions of intonations and styles in a musical composition. Polystilistics is aimed at enhancing the contrasts. The reserves of musical forms genetically disposed towards contrast are disclosed, including contrast of style: the suite and sonata-symphonic cycles, the contrasting-composite form, as well as variations (a work composed collectively, or a compilation of stylizations), rondo and other rondo-based forms. In sonata form, the cadence provides fert

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Friedman, J. Tyler. "On Narrativity and Narrative Flavor in Jazz Improvisation." Philosophy of Music 74, no. 4 (2018): 1399–424. http://dx.doi.org/10.17990/rpf/2018_74_4_1399.

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This essay investigates an established question in the philosophy of music: whether, and in what respect, music may express narratives. However, this essay departs in two essential respects from traditional treatments of the question. First, the jazz tradition instead of European art music is used as the primary source material. Second, instead of merely posing the question of whether music can harbor a narrative, this essay is oriented by what it argues is a common experience of “narrative flavor” in music – the feeling of having heard a story in non-representational sound. The essay seeks to

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Cohal, Dragoș-Mihai. "Da Pacem Domine by Arvo Pärt. The Stylistic and Interpretative Analysis – Conductor’s Guide." Studia Universitatis Babeş-Bolyai Musica 69, Sp.Issue 1 (2024): 261–75. http://dx.doi.org/10.24193/subbmusica.2024.spiss1.16.

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The piece “Da pacem Domine” (Give us peace, O Lord), by Arvo Pärt was inspired by a Gregorian antiphon from the 9th century. Written in the original tintinnabuli style, the piece uses numerous compositional techniques belonging to the early Renaissance period called Cantus firmus, parallel organum, faux bourdon, Landini cadence or anticipations, but also and even a modern way of vocal scoring: the “pointillistic polyphony”. The work is divided into four sections, corresponding to the four verses of the prayer and the gravitational centre of the music is D. To impart expressive meaning to the m

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Krupina, Larisa Leonidovna. "The factor of musical form completeness: On the question of historical evolution." Pan-Art 4, no. 1 (2024): 15–19. http://dx.doi.org/10.30853/pa20240002.

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The study aims to substantiate that already in the early epochs (the Middle Ages, the Renaissance, the Baroque), there was a gradual birth of musical form functionality, one of the first signs of which was represented by composers’ awareness of the need to achieve the structural integrity and completeness of a work. The paper shows that the role of the main formative means was played by those compositional factors that were most actively developing in a particular epoch. The scientific novelty of the study lies in the specific identification of these compositional factors: the rhythmic one in

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Gon, Oleksandr. "PINK FLOYD’S «THE RED VIBURNUM IN THE MEADOW»: A NOVEL IN THE SCORE." CONTEMPORARY LITERARY STUDIES, no. 20 (December 20, 2023): 23–29. http://dx.doi.org/10.32589/2411-3883.20.2023.293536.

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The paper explores the design and structure of Pink Floyd’s single «Hey Hey Rise Up» in terms of a patterned plot in a work of fiction. The music and video of the single are contextualized in the field of comparative studies and problematized as a feasible intersemiotic approach to musical narrativity. The introduction by the folk choir in the video functions as the exposition to the main theme, and its break on D-sharp with the fermata functions as the tense suspense in a frustrated anticipation of the resolution into the tonic of C-sharp minor. Following a two-beat rest, the dignified drums

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Cedin, Luisa, Christopher Knowlton, and Markus A. Wimmer. "Exploring Musical Feedback for Gait Retraining: A Novel Approach to Orthopedic Rehabilitation." Healthcare 13, no. 2 (2025): 144. https://doi.org/10.3390/healthcare13020144.

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Background/Objectives: Gait retraining is widely used in orthopedic rehabilitation to address abnormal movement patterns. However, retaining walking modifications can be challenging without guidance from physical therapists. Real-time auditory biofeedback can help patients learn and maintain gait alterations. This study piloted the feasibility of the musification of feedback to medialize the center of pressure (COP). Methods: To provide musical feedback, COP and plantar pressure were captured in real time at 100 Hz from a wireless 16-sensor pressure insole. Twenty healthy subjects (29 ± 5 year

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MAW, DAVID. "The mimetic basis of pure music in Machaut's refrain songs: part 1, musical mimesis." Plainsong and Medieval Music 29, no. 1 (2020): 27–50. http://dx.doi.org/10.1017/s0961137120000054.

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ABSTRACTWord setting in Machaut's refrain songs poses a problem, for whilst it is clearly indicated in the manuscripts, it often does not comply with recognised principles or values. To understand the situation, a dualistic relationship of words and music is proposed. It is founded in the coordinated but independent operation of principles of musical mimesis and musico-poetic dislocation. The music is constructed at a primary level as an imitation of the poetic form; but it is fundamentally independent of this model and may thus be detached from it and displaced against it. Devices such as ‘cr

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Sears, David RW, Marcus T. Pearce, Jacob Spitzer, William E. Caplin, and Stephen McAdams. "Expectations for tonal cadences: Sensory and cognitive priming effects." Quarterly Journal of Experimental Psychology 72, no. 6 (2018): 1422–38. http://dx.doi.org/10.1177/1747021818814472.

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Studies examining the formation of melodic and harmonic expectations during music listening have repeatedly demonstrated that a tonal context primes listeners to expect certain (tonally related) continuations over others. However, few such studies have (1) selected stimuli using ready examples of expectancy violation derived from real-world instances of tonal music, (2) provided a consistent account for the influence of sensory and cognitive mechanisms on tonal expectancies by comparing different computational simulations, or (3) combined melodic and harmonic representations in modelling cogni

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Clifford, Robert. "PERENNIAL QUESTIONS." Tempo 59, no. 234 (2005): 29–33. http://dx.doi.org/10.1017/s004029820500029x.

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In his essay ‘What are twelve-note rows really for?’ (Tempo, Vol. 57, No. 225, July 2003, p. 36), Michael Graubart suggests that ‘twelve-note rows may give back to atonal music a goal-directed force and the possibility of closure’. He argues that by using a row, composers set up a pattern that can ultimately provide a sense of completion or closure to an atonal piece, although he admits that listeners may have trouble recognizing this completion. Closure in tonal music is in fact a powerful musical force, but one whose strength depends largely upon the hierarchy found in tonal melody and harmo

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Janaki Devi M and Baiju Krishnan. "Amit Chaudhuri: The Writer’s Writer." International Journal of Applied and Scientific Research 3, no. 5 (2025): 341–54. https://doi.org/10.59890/ijasr.v3i5.28.

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This study aims to examine Amit Chaudhuri’s dual identity as both a writer and a trained Hindustani classical musician, exploring how his musical sensibilities shape his literary style, thematic preoccupations, and narrative rhythm. Amit Chaudhuri is an acclaimed Indian novelist and essayist whose work often resists conventional narrative structures. His literary output—marked by lyrical prose, digressive form, and an acute attention to the everyday—is influenced by his background as a vocalist trained in Indian classical music. Understanding the intersection of these two artistic identities r

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Cha, Hyoungsuk. "Comparative Analysis of Musical Characteristics of Gyeongje Beompae "Bokcheongge" by Branch." National Gugak Center 48 (October 31, 2023): 281–303. http://dx.doi.org/10.29028/jngc.2023.48.281.

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Baggatchaebi-sori and anchaebi-sori in beompae (Buddhist chant) have been considered as having extremely different musical characteristics. However, as a result of taking a look at the hotsori Bokcheongge as the baggatchaebi-sori and the getakseong Bokcheongge as the anchaebi-sori , substantially similar musical characteristics have been discovered. In addition, the distinguishable musical characteristics have been found out in them. Based on the analysis results, the commonality and distinction can be summarized as follows. In the hotsori Bokcheongge

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Xiaolin, Zhu. "Zhu Shenghao as a translator of Shakespeare." Voprosy literatury, no. 4 (August 28, 2020): 204–16. http://dx.doi.org/10.31425/0042-8795-2020-4-204-216.

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The article gives an account of life and work of Zhu Shenghao (1912–1944), primarily known for his translation of the complete works of Shakespeare, the first and one of the most influential Shakespeare editions in the Chinese language. Between 1938 and 1944, he managed to translate 31 and a half plays out of the 37 plays in the First Folio. His translation, still widely acclaimed today, grants elegance to its language and musical cadence to its prosaic style and contains poetic processing in typical scenes according to Chinese lyrical traditions. Besides, Zhu Shenghao is celebrated as a cultu

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Jie, Ma Ping Heng Tsai. "Research on the Intangible Cultural Heritage: Musical Culture of Hebei Local Opera "Dizi Diao"." Multicultural Education 9, no. 6 (2023): 20. https://doi.org/10.5281/zenodo.8021636.

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<em>The flute tune, also known as Guanzuo tune, is an ancient local opera genre passed down in Guanzuo Village, Rao Yang County, Hengshui City, Hebei Province, China. It was named after the flute, which was the main playing instrument in the early stage of its formation. During the Zhengde period of the Ming Dynasty, the flute tune was taught to the village children by a private school teacher who taught in Guanzuo Village, and it has been sung to this day. Flute tune singing high, men and women with the same cavity in the same tune, witty and humorous language, singing lining words, false wor

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Coluzzi, Seth J. "Black Sheep." Journal of Musicology 30, no. 2 (2013): 129–79. http://dx.doi.org/10.1525/jm.2013.30.2.129.

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Modal theory has been fraught with shortcomings and inconsistencies from the Renaissance to the present, but the Phrygian mode has proven especially problematic, earning a reputation as the unruly black sheep of the modal family. Much of the difficulty stems from the inadequacy of the clausula in mi to serve as an effective terminal cadence, the threat of mi contra fa between scale degrees 5 and 2 (B and F), and the tendency of Phrygian works to prefer the fourth and sixth degrees (A and C) as cadential goals. Although recent studies have attempted to provide nonmodal explanations for the melo

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