To see the other types of publications on this topic, follow the link: Musical composition|Music theory|Music.
Journal articles on the topic 'Musical composition|Music theory|Music'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Musical composition|Music theory|Music.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Krims, Adam. "Music Theory as Productivity." Canadian University Music Review 20, no. 2 (March 4, 2013): 16–30. http://dx.doi.org/10.7202/1014455ar.
Full textAbstract:
The author here proposes Julia Kristeva's notion of "productivity" as a way of conceiving of the relations between different theories of music. By such a notion, rather than confirming, disconfirming, or exemplifying a theory, a particular musical work (or works) may redistribute the theory. The redistribution, in fact, might not only modify the initial theory—something certainly not original to productivity—but may also bring it into articulation with fundamentally opposed models of musical function, without which, nevertheless, the original theory remains incomplete. An extended example is adduced from Schubert's Schubert's Impromptu in G-flat Major, D. 899, in connection with, first, Schenker's Free Composition (Der freie Satz), and second, Schoenberg's Theory of Harmony (Harmonielehre); Schenker's inconsistent practice with respect to first-order neighbours, along with certain issues in the Impromptu, become the occasion for examining a case of productivity.
2
De Prisco, Roberto, Delfina Malandrino, Donato Pirozzi, Gianluca Zaccagnino, and Rocco Zaccagnino. "Understanding the structure of musical compositions: Is visualization an effective approach?" Information Visualization 16, no. 2 (July 25, 2016): 139–52. http://dx.doi.org/10.1177/1473871616655468.
Full textAbstract:
Experienced musicians have the ability to understand the structural elements of music compositions. Such an ability is built over time through the study of music theory, the understanding of rules that guide the composition of music, and countless hours of practice. The learning process is hard, especially for classical music, where the rigidity of the music structures and styles requires great effort to understand, assimilate, and then master the learned notions. In particular, we focused our attention on a specific type of music compositions, namely, music in chorale style (four-voice music). Composing such type of music is often perceived as a difficult task because of the rules the composer has to adhere to. In this article, we propose a visualization technique that can help people lacking a strong knowledge of music theory. The technique exploits graphic elements to draw the attention on the possible errors in the composition. We then developed an interactive system, named VisualMelody, that employs the proposed visualization technique to facilitate the understanding of the structure of music compositions. The aim is to allow people to make four-voice music composition in a quick and effective way, that is, avoiding errors, as dictated by classical music theory rules. We have involved 40 people in testing VisualMelody in order to analyze its effectiveness, its usability, and the overall user satisfaction. We partitioned the people involved in the evaluation study into two groups evenly splitting the musical expertise. Then, we had one group use VisualMelody without the visualization facilities and the other using the tool enhanced with our visualization. On average, people in the group that used our visualization were 60% faster and produced music with less errors.
3
Gorbunova, Irina B., and Mikhail S. Zalivadny. "Music, Mathematics and Computer Science: History of Interaction." ICONI, no. 3 (2020): 137–50. http://dx.doi.org/10.33779/2658-4824.2020.3.137-150.
Full textAbstract:
The lecture “Music, Mathematics and Computer Science” characterizes by concrete examples various aspects of interaction of these studies with each other by incorporating the apparatus of corresponding scholarly disciplines (set theory, probability theory, information science, group theory, etc.). The role and meaning of these aspects in the formation of an integral perception about music and in the realization of practical creative musical goals are educed. Examination of these questions is what the lecture studies are devoted to as part of the educational courses “Mathematical Methods of Research in Musicology” and “Informational Technologies in Music” developed by the authors for the students of the St. Petersburg Rimsky-Korsakov State Conservatory and the Herzen State Pedagogical University of Russia. The lecture “Music, Mathematics and Computer Science” is subdivided into two parts. The fi rst part, “Music, Mathematics and Computer Science: History of Interaction” examines the processes of interconnection and interpenetration of various fi elds of music, mathematics and computer science, spanning the period from Ancient Times to the turn of the 20th and the 21st centuries. The second part of the lecture: “Music, Mathematics and Computer Science: Particular Features of Functioning of Computer-Musical Technologies” (due to be published in the journal’s next issue) is devoted to examining various aspects of developing and applying computer-musical technologies in contemporary musical practice, including musical composition, performance and the sphere of music education.
4
Knittel, Krzysztof. "Some Remarks on my Composition Technique." Musicology Today 12, no. 1 (December 1, 2015): 74–79. http://dx.doi.org/10.1515/muso-2015-0008.
Full textAbstract:
Abstract Krzysztof Knittel’s text about his own composition techniques, also looking at such topics as: the influence of painting on his music (e.g. the works of Piet Mondrian and Paul Klee); truth in the musical work; the application of recycling ad re-use techniques to the form of the musical work; methods of constructing the sound of the composition; links between music and historical events; rollage - a technique borrowed from the painter Jiří Kolář for the needs of St. Matthew Passion; sound installations created by Knittel with sounds of nature and civilisation; Theodor Lipps’ theory of empathy (Einfuhlung), as well as intuitive and improvised music.
5
Misson, Andrej. "O glasbeni terminologiji pri pouku glasbene teorije in kompozicije / Some Thoughts on Musical Terminology at Musical Theory, Composition and Counterpoint Teaching." Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 16, no. 33 (January 10, 2021): 91–108. http://dx.doi.org/10.26493/2712-3987.16(33)91-108.
Full textAbstract:
Traditionally, music can be divided into musical theory, composition and musical performance. For an in-depth understanding, appropriate terminology is required, also in the Slovene language. Like all European nations, Slovenes based their musical terminology mainly and directly on the Greek and Latin languages, or otherwise indirectly, primarily through the German and Italian languages. The development of a relatively young Slovenian terminology is closely linked to music education. In his paper, the author briefly mentions some facts about musical terminology in general and some facts about Slovenian musical terminology. Today, it is quite comparable to foreign ones, but we face a number of translation and terminological challenges. Some of these challenges, found in the instruction of composition, musical theory and counterpoint, are also presented in the article. The success of musical theory and terminology is, after all, featured in musical practice.
6
O., Justice, and Emmanuel O.A. "The Creation of Abelengro: A Cross-Cultural Art Music Composition." Journal of Advanced Research and Multidisciplinary Studies 1, no. 1 (May 14, 2021): 13–25. http://dx.doi.org/10.52589/jarms-mzflgssm.
Full textAbstract:
Ethnomusicology has an important mission of providing a body of musical knowledge that can be drawn on by artist-composers, performers, dancers as well as scholars in the field of music. The paper therefore presents an outcome of a creative ethnomusicological study of abele music among the Yeji people of the Bono-East Region in Ghana. Using Euba’s theory of creative ethnomusicology and Nketia’s concept of syncretism, the study highlights the indigenous elements of abele musical genre and unearths the process where these elements were used to create a musical artefact called Abelengro. Data for the study were collected through observation and adopted definitive analysis to provide the materials for the composition. The study revealed that Abele music contains rich source materials for creating a neoclassicism of African traditional music that could be enjoyed by a wide range of people. It is envisaged that these rich indigenous musical elements and idioms are harnessed by contemporary art musicians to achieve the uniqueness of African identity in art music compositions in Ghana.
7
Maeda, Yoichiro, and Yusuke Kajihara. "Automatic Generation of Musical Tone Row and Rhythm Based on the Twelve-Tone Technique Using Genetic Algorithm." Journal of Advanced Computational Intelligence and Intelligent Informatics 14, no. 3 (April 20, 2010): 288–96. http://dx.doi.org/10.20965/jaciii.2010.p0288.
Full textAbstract:
Genetic Algorithms (GA) and Interactive Genetic Algorithms (IGA) used to generate sound in computer applications generating music are difficult to use, as is, in directly composing music. We propose music composition based on the 12-Tone Technique (TTT). In TTT composition, the melody and rhythm are usually created separately. The melody is created first to determine the musical subject and atmosphere. We design a fitness function based on the relationship between consonant and dissonant intervals that are a part of general musical theory and generate the 12-Tone (TT) row automatically by searching for consonant tone rows using the GA. We then set a fitness function for evaluating the rhythm we define, and obtained musical rhythm using the GA.
8
BOURA, VASSILEIA. "The Learning Effect of Electroacoustic Music in Secondary Education An Interdisciplinary Practice in Greek Schools." Volume 5 - 2020, Issue 9 - September 5, no. 9 (September 25, 2020): 562–74. http://dx.doi.org/10.38124/ijisrt20sep464.
Full textAbstract:
In the rise of the 21st century, the music educator in modern schools is challenged to educate and train students in both conventional and contemporary music theory and practice. The contemporary approach to music learning and composition requests knowledge and practical skills from interdisciplinary fields. Electronics, physics, mathematics, computer science and music are merged to produce different contemporary styles of music. Students, in secondary education, are challenged to develop listening, performing and computer music skills, to expand their musical aesthetics and culture, together with their musical memory. Music educators are expected to teach a wide range of musical styles and techniques. Science and technology are parts of the musical practice in schools. Music has become an interdisciplinary subject, capable, more today than ever, to educate and shape personalities in school and for preparing students to be strong and healthy for entering society. Scientific and empirical research continues to be conducted to provide helpful guidelines for teachers' intentional use of music, in every class. This paper provides music educators with successful and valuable methods for incorporating electroacoustic music into the teaching and learning school environment applicable to secondary school settings
9
Duţică, Luminiţa. "Choose Music! A Consulting and Training Strategy for Admission to Higher Education in Music." Review of Artistic Education 17, no. 1 (March 1, 2019): 40–46. http://dx.doi.org/10.2478/rae-2019-0004.
Full textAbstract:
Abstract The educational project CHOOSE MUSIC!, subtitled “for counselling and training for admission to higher education in music”, was created many years ago, at the initiative of Prof. Univ. PhD. Luminiţa Duţică, with the main purpose of creating a bridge between the pre-university and academic musical education (through pupils - students, pupils - university professors, etc.). Another special objective was to promote the image and opportunities existing at “George Enescu” National University of Arts of Iași. In this respect, inter-institutional partnerships were established between the Faculty of Interpretation, Composition and Theoretical Music Studies within “George Enescu” National University of Arts of Iași and numerous art high schools/colleges, especially from the regions of Moldavia (Suceava, Botoșani, Bacău, Piatra-Neamț, Iași, Bârlad and Galați). In this study we will go into more detailed aspects related to teaching and art activities made for this purpose, diverse and attractive, evidenced by: demonstration lessons of Music theory, Classical composition / jazz – easy listening, Musicology, Choral/Orchestral Conducting, MasterClass for aspects regarding the perception and graphic representation of the sounds, as well as the specific musical skills training (held by professors Luminiţa and Gheorghe Duţică), to which educational concerts, book launches, special meetings with teachers from the pre-university education, additional training with students for admission to the academic musical education in Iași (especially in the contest subject called Theory - Solfeggio –Melodic Dictation.
10
Capuzzo, Guy. "Elliott Carter and Musical Silence." Journal of Music Theory 64, no. 1 (April 1, 2020): 37–61. http://dx.doi.org/10.1215/00222909-8033420.
Full textAbstract:
This article examines Elliott Carter’s most extensive forays into the theory and practice of musical silence: the 2005 composition Intermittences and the 1957 lecture “Sound and Silence in Time: A Contemporary Approach to the Elements of Music.” Taken together, the piece and the lecture present an opportunity to ask significant questions about the role of silence in Carter’s music. The evaluation of Carter’s lecture in this article situates his understanding of musical silence in the broader context of musical expectation and reveals the influence of Alfred North Whitehead. Analyses of passages from Intermittences clarify the interaction of notational and registral silence in the work. A comparison of four recordings of Intermittences explores how performers realize the work’s notational silences as acoustic ones.
11
Helweg, Kim. "Composing with quantum information: Aspects of quantum music in theory and practice." Muzikologija, no. 24 (2018): 61–77. http://dx.doi.org/10.2298/muz1824061h.
Full textAbstract:
Quantum Music is the title of a research project that opened up an opportunity to investigate the relationship between art and science - to be precise, between music and quantum physics. The idea was to create a platform for innovative work with musical composition and musical instruments inspired by the theories of quantum mechanics. The further development was carefully put into the hands of the different members of the project with such different competences as sound design, physics, musical live performance, composition, light design and musicology. In this connection, I fulfilled the role and interest of the composer as well as representing the performing arts (dance and acting). The aim of my participation was to show how collaboration between music and science could result in a development of different functional approaches to compositional strategies in general and give a new perspective for the artistic thinking in music as well as in the performing arts in general. This article is written as a part of an artistic research and the ideas, statements and conclusions presented in it are to be understood as being directly linked to creative work. But indeed, I also hope this text will provide inspiration to approach music in a new way, both for listeners, musicologists, musicians and other performing artists.
12
Povilionienè, Rima. "Musica fibonacciana: Aesthetic and practical approach." New Sound, no. 50-2 (2017): 70–90. http://dx.doi.org/10.5937/newso1750070p.
Full textAbstract:
In the sphere of musical research, the intersection of two seemingly very different subject areas-music and mathematics is in essence related to one of the trends of music-attributing the theory of music to science, to the sphere of mathematica. It is regarded the longest-lasting interdisciplinary dialogue. The implication of numerical proportions and number sequences in the music composition of different epochs is closely related to this sphere. A significant role in creating music was attributed to the so-called infinite Fibonacci sequence. Perhaps the most important feature of the Fibonacci numbers, which attracted the attention of thinkers and creators of different epochs, is the fact that by means of the ratio between them it is possible to come maximally close to the Golden Ratio formula, which expresses the laws of nature. On a practical plane, often the climax, the most important part of any composition, matches the point of the Golden Ratio; groups of notes, rhythm, choice of tone pitches, a grouping of measures, time signature, as well as proportions between a musical composition's parts may be regulated according to Fibonacci principles. The article presents three analytical cases-Chopin's piano prelude, Bourgeois' composition for organ, and Reich's minimalistic piece, attempting to render music composition structure to the logic of Fibonacci numbers.
13
His, Isabelle. "Italianism and Claude Le Jeune." Early Music History 13 (October 1994): 149–70. http://dx.doi.org/10.1017/s0261127900001339.
Full textAbstract:
In section iii of his paper ‘Ut musica poesis’, Howard Mayer Brown remarked upon Italian musical presence in France in three main areas: music theory, techniques of composition and interpretation, and poetry. The works of Claude Le Jeune (c. 1530–1600) seem to me to illustrate his comments in a particularly striking fashion, and although my study of Italian influence on Le Jeune's work is incomplete, I think it is possible to make some preliminary observations.
14
Williams, Richard David. "Playing the Spinal Chord: Tantric Musicology and Bengali Songs in the Nineteenth Century." Journal of Hindu Studies 12, no. 3 (November 1, 2019): 319–38. http://dx.doi.org/10.1093/jhs/hiz017.
Full textAbstract:
Abstract Across the nineteenth century, Bengali songbook editors applied musicological theory to their tantric religious practices. Responding to the new possibilities of musical publishing, these editors developed innovative techniques of relating the body to music by tying together tantric tropes with music theory and performance practice. Theories about the affective potential and poetic connotations of rāgas were brought into conversation with understandings of the yogic body, cakras, and the visualization of goddesses. These different theories, stemming from aesthetics and yogic philosophy, were put into effect through lyrical composition and the ways in which songs were set to music and edited for printed anthologies. This article considers different examples of tantric musical editorial, and explores how esoteric knowledge was applied in innovative ways through the medium of printed musical literature.
15
Siuta, Bohdan. "Notion “Genre Type” as the Metalіngual Unit of the Modern Musical Theory." Terminological Bulletin, no. 5 (2019): 188–95. http://dx.doi.org/10.37919/2221-8807-2019-5-25.
Full textAbstract:
The notion “genre type” is actual metalіngual unit of the modern musicology and musical theory. The theoretical comprehension of this term is connected with the problem of the theory of the musical genre, which is actual for contemporary musicology. This term (as far as its correspondences in musicological discourse of the countries of Eastern, Central and Western Europe) in Ukrainian musicology is still totally uncertain and not codified. This creates an obvious metalіngual lacuna. In the adequate theoretical representation, the term “genre type” outlines the higher level of the hierarchical category of the speech genre, which combines the characteristics of the speech and creative genres in music. Since the end of the 19th century phenomena musical forms / models / patterns (song form, form of rondo, etc.) and the content of music are the subject of studying and classification within the academic discipline “The doctrine of the musical form”. And in relation to the studying of genre types, other criteria are the determining factors: performance composition (instrumental, vocal, vocal-instrumental, musical and theatrical work), text, functions, place of execution, structure of construction. Additional factors of the systematic classification are periods (such as the Renaissance, Baroque, Viennese classicism) and styles (respectively, genres). The process of emancipation of functional music (which had certain social functions) determined the emergence in the 20th century so called “pure music”, almost unrelated to the primary circumstances of origin and existence. In 20th century composers begin to avoid the narrow qualifications of “genres” and established “genre types” and create “hybrid mixed forms” within the usual “classical genre types” (such as chamber symphony) or with the involvement of other types of art (for example, performances as a mixed form of art based on singing action of dance, theatre and music). In the middle of the 20th century began to differentiate musical-creative and musical-language genres within the T. Adorno’s classification of music practices for E-music, U-music and F-music. However, in contemporary Ukrainian musicology we have not a general acceptance of theoretical and methodological principles for the demarcation of classical music and entertainment. Accordingly, there is no proper musicology terminology. Working out of approaches and convincing criteria of the decision of these difficult theoretical and practical issues still continues. In connection with this, the necessity of introducing into the scientific circle the concept of “genre type”, as well as comprehension of its musical and speech nature is actualized.
16
Wallerstedt, Cecilia. "Experiencing and creating contrasts in music." International Journal for Lesson and Learning Studies 3, no. 1 (December 20, 2013): 46–65. http://dx.doi.org/10.1108/ijlls-06-2013-0036.
Full textAbstract:
Purpose – The purpose of this paper is to examine what are necessary conditions for learning the concept ABA form, a concept for analysing and composing music, and to discuss how the use of variation theory can contribute to the field of music education research. Design/methodology/approach – The method used is a form of lesson study, but with only one participating teacher. Three cycles are conducted with three small groups of children, aged eight to nine years old. Findings – The main findings are that the learning of ABA form requires first, awareness of the sequential form of the music, second, that the attitude to differences that appear between sequential parts of the music is consciously being re-direct from seen as “failures” to being interesting musical contrasts and third, that attention is being paid to different features within one musical aspect, that sounds (not only looks) different. It is found that a main contribution of applying variation theory to studies in the domain of music is the consideration of a part-whole relationship. When the teacher helps the children to create contrast and at the same time keeps focus on how it sounds, the children succeed in coming up with a composition in ABA form. To address the simultaneous relationship between acting and seeing, that is musical impressions and expressions, is crucial for learning. Originality/value – This study is pioneering since music teaching is studied with the point of departure in an intended object of learning.
17
Windsor, W. Luke, and Christophe de Bézenac. "Music and affordances." Musicae Scientiae 16, no. 1 (February 17, 2012): 102–20. http://dx.doi.org/10.1177/1029864911435734.
Full textAbstract:
This paper explores the extent to which ideas developed in The Senses Considered as Perceptual Systems and further refined in The Ecological Approach to Visual Perception ( Gibson, 1966 ; 1979 ) can be applied to the analysis of perception and action in musical settings. The ecological approach to perception has rarely been applied to music, although some recent work in ecological acoustics, music theory and music psychology has begun to show an interest in direct perception of events and objects. We would argue that despite this pioneering work, Gibson’s most radical and controversial idea, that of the direct perception of affordances ( Gibson, 1979 ), has not been adequately addressed in a musical context. Following an introduction to the theoretical background to affordances and a review of the ways in which previous authors have investigated ecological approaches to auditory perception, we show how both the production and perception of music can fruitfully be analysed using the concept of affordances, and how such an approach neatly integrates seemingly active and passive engagement with music. In addition, we place this ecological approach to music within a broader empirical context, giving examples of music-psychological, ethnomusicological and neuroscientific evidence which complement our more theoretical approach. In conclusion, we argue that the links between the performance, composition and reception are underpinned by the mutuality of perception and action.
18
Sinaga, Theodora. "Music Composition of Accompaniment for Fusion Dance 8 Ethnics of North Sumatera." Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 2, no. 2 (May 15, 2019): 321–27. http://dx.doi.org/10.33258/birci.v2i2.266.
Full textAbstract:
This study aims to examine the process of creating musical accompaniment to dance composition and the function of music in a composition of dance works. This study is conducted by using qualitative descriptive method and systematic data analysis by using the concept of dance music creation theory to deepen and interpret data specifically, the answer are found that the process of creating a composition of dance accompaniment music with the theme of a combination of eight North Sumatra ethnic groups are as follows; 1) The creation process of the dance music is a process that involves intensely between dance stylists and dancers with music stylists along with music players, in adjusting between the gestures of the dancers and the form of music as a dance accompaniment. 2) Some important things done by the music stylist (composer) in the process of composing dance accompaniment music include; a) Conduct pre-composition, b) Perform initial composition, 3) Revise composition, 3) Perform final composition. 3) The function of music in dance works includes; a) Music functions in asserting movements in dance. b) Music functions as a marker in changing dance movements, c) Music functions as a marker of atmosphere in dance. d) Music functions to strengthen the emotions of dancer. e) Music functions to strengthen the picture of the atmosphere in parts of dance composition. f) Music functions to regulate the tempo, rhythm and dynamics of dance movements. g) Music functions to emphasize the accentuations of dance movements. h) Music functions as an introduction to the climax of dance work.
19
Von Blumröder, Christoph. "Ende der Neuen Musik." Die Musikforschung 72, no. 3 (September 22, 2021): 201–13. http://dx.doi.org/10.52412/mf.2019.h3.44.
Full textAbstract:
The term "Neue Musik" was coined for a special concept of fundamental musical innovation within Austro-German music theory of the early 20th century, and it found no terminological equivalent beyond the German language. Established by Paul Bekker with his lecture “Neue Musik” in 1919, composers such as Stockhausen or Ligeti embraced the term with its emphatic claim to innovation and new departures. However, one hundred years on the term "Neue Musik" is often used mainly as a synonym for any type of contemporary music. This article questions whether the term "Neue Musik" is still an appropriate framework for a current theory of musical composition. Not only have the specific musical circumstances changed within the course of the 20th century, but also the political and social conditions have altered drastically after two world wars which had given special impulses to those composers who strove for a new foundation of music after 1918 and 1945 respectively. This article argues that the age of "Neue Musik" has come to an end in the late 20th century, and thus it is now necessary to introduce alternative terminological concepts and methodical directions for music historiography.
20
Holbrook, Ulf A. S. "Sound Objects and Spatial Morphologies." Organised Sound 24, no. 1 (April 2019): 20–29. http://dx.doi.org/10.1017/s1355771819000037.
Full textAbstract:
One of Pierre Schaeffer’s achievements in his musical research was his proposal of the sound object as a basic unit of musical experience and his insistence on listening as a main focus of research. Out of this research grew a radical new music theory of sound-based composition. This article will draw on this extensive research to explore the spaces where this music is heard and present the claim that the space in which music is experienced is as much a part of the music as the timbral material itself. The key question here is the changes made to timbral material through acousmatic spatial listening and the subjective analysis affordance of the listeners’ placement and perspective. These consequences are studied from a phenomenological and psychoacoustic perspective and it is suggested that Schaeffer’s research on timbral and musical concepts can be extended to include spatial features.
21
Stefanou, Danae. "The way we blend: Rethinking conceptual integration through intermedial and open-form scores." Musicae Scientiae 22, no. 1 (August 22, 2017): 108–18. http://dx.doi.org/10.1177/1029864917727148.
Full textAbstract:
The article overviews the basic assumptions and limitations of conceptual blending theory (CBT) as applied to music, and reconsiders the implications of the theory for musical creativity. CBT accounts of music have until now relied quite extensively on examples of music-as-product, and rarely considered the various levels of mediation between composition, performance and listening. It is therefore argued that an investigation of more process-based paradigms could hold significant ramifications for CBT. This argument is elaborated through a discussion of three intermedial, open-form scores by Earle Brown, Pauline Oliveros and Jennifer Walshe. The scores are considered as documents of situations where one or more performers partake, as active agents, in the composition, completion and elaboration of new cross-domain blends, as well as in the disintegration of already blended concepts. This conscious disintegration or unpacking of blends in performance is discussed as a significant aspect of the musical blending process as such, and one that deserves further consideration in creative conceptual blending research.
22
BURTNER, MATTHEW. "Ecoacoustic and shamanic technologies for multimedia composition and performance." Organised Sound 10, no. 1 (April 2005): 3–19. http://dx.doi.org/10.1017/s1355771805000622.
Full textAbstract:
The author's close connection to traditional Alaskan culture has inspired the creation and implementation of new multimedia instruments based on the use of ritual objects in shamanic cultures of the far north. Simultaneously, the musical processes articulated by this music are structurally tied to environmental systems in a technique discussed here as ‘ecoacoustics’. In this work, performer/composer interaction, musical composition theory, multimedia performance, and musical instrument design have been transformed in response to these influences.
23
Sanfilippo, Dario, and Andrea Valle. "Feedback Systems: An Analytical Framework." Computer Music Journal 37, no. 2 (June 2013): 12–27. http://dx.doi.org/10.1162/comj_a_00176.
Full textAbstract:
The use of feedback-based systems in the music domain dates back to the 1960s. Their applications span from music composition and sound organization to audio synthesis and processing, as the interest in feedback resulted both from theoretical reflection on cybernetics and system theory, and from practical experimentation on analog circuits. The advent of computers has made possible the implementation of complex theoretical systems in audio-domain oriented applications, in some sense bridging the gap between theory and practice in the analog domain, and further increasing the range of audio and musical applications of feedback systems. In this article we first sketch a minimal history of feedback in music; second, we briefly introduce feedback systems from a theoretical point of view; then we propose a set of features that characterize them from the perspective of music applications; finally, we propose a typology targeted at feedback systems used in the audio/musical domain and discuss some relevant examples.
24
Pereverzeva, M. V. "The Works of Contemporary Composers in the Teaching Repertoire of the Music Institutions: Mastering Problem." Contemporary problems of social work 6, no. 4 (December 30, 2020): 29–35. http://dx.doi.org/10.17922/2412-5466-2020-6-4-29-35.
Full textAbstract:
the article’s subject is avant-garde music of the 20th century and problem of its mastering in educational process in music institutions. The purpose of the work is providing the methodological recommendations for the mastering of avant-garde music in the training of music educators. The results of the work are follow: there have been detailed examination of the basic concepts and artistic and aesthetic principles, as well as the expressive means of this music, the problems of perception of modern compositions and its presentation in the educational process of institutions, the analysis and performance of avant-garde music, the theory of modern composition, the evolution of the piano performing style. Novelty of this article consists of scientific and practical results of music teachers’ work achieved by researchers, develops advanced ideas of domestic and foreign authors, but first of all it is designed to solve the main dilemma of art and education: the stylistic restriction of music, mastered by future music educators; the availability of highly artistic musical works that require conventional performing skills, and their absence in the teaching and concert repertoire of musicians; insufficient use of educational potential of avant-garde music in the training of music educators. Conclusions: piano music of American minimalist composers provides a comprehensive education of future music educators in the field of history and theory of music, the evolution of the musical language and performing style, students’ mastering of special competencies, thereby contributing to the formation of students’ universal professional performing skills and abilities.
25
Hill, Matthew, Barry Hill, and Robert Walsh. "Conflict in collaborative musical composition: A case study." Psychology of Music 46, no. 2 (May 21, 2017): 192–207. http://dx.doi.org/10.1177/0305735617704712.
Full textAbstract:
In collaborative musical composition, such as those used frequently in popular music styles, conflicts between band members are commonplace. This article seeks to examine how task-based and interpersonal conflicts between band members impact on the creation of collaborative compositions, utilising a case study of a band composing music for an album recording. This paper reports on research that tracks the process of the creation of songs for a fourth album recording by a three-piece ensemble who have worked together since 1999. The composition process is marked by numerous disputes and arguments among the band personnel and the interactions between the band members move fluidly between phases of instruction, cooperation, collaboration and conflict. The authors (also the band’s members) analyse video and audio recordings of rehearsals, making observations based in grounded theory in relation to verbal and nonverbal interactions and offering personal reflections on these interactions. Drawing on theoretical perspectives in relation to communication, conflict and group dynamics such as group flow and empathetic creativity, individual and group behaviour are examined with emphasis on the impact of such behaviour on the collaborative process.
26
Giles, Roseen H. "The Inaudible Music of the Renaissance: From Marsilio Ficino to Robert Fludd." Renaissance and Reformation 39, no. 2 (July 27, 2016): 129–66. http://dx.doi.org/10.33137/rr.v39i2.26857.
Full textAbstract:
This article revaluates the significance of musical treatises written by the Ficinian physician Robert Fludd (1574–1637). By reconsidering the implications of Fludd’s interpretation of Marsilio Ficino’s musical philosophy, I propose that his “reconstruction” of the Renaissance outlook in the seventeenth century is not merely a backward-looking oddity, but is rather indicative of a long-standing and pervasive history of inaudible music (i.e., the “silent” harmony of the universe and of the human body). Music played a central role in Fludd’s polemics with the scientists Johannes Kepler (1571–1630) and Marin Mersenne (1588–1648), regarding not the composition of art music but rather the understanding of the composition of the universe itself. The societal tensions evident in Fludd’s musical books reveal that it is not only musical practice but also broad scientific, medical, and philosophical conceptions of sound that comprise musical understanding in the early seventeenth century.
Cet article propose de réévaluer la signification des traités de musique du médecin ficinien Robert Fludd (1574–1637). En reconsidérant ce qu’implique l’interprétation par Fludd de la philosophie musicale de Marsile Ficin, il avance que cette « reconstruction » d’une perspective issue de la Renaissance au XVIIe siècle ne correspond pas seulement à un excentrique retour en arrière; elle réfère plutôt à la longue et omniprésente histoire de cette musique inaudible qu’est l’harmonie des sphères (comprise comme harmonie silencieuse de l’univers et du corps humain). La musique a en effet joué un rôle important dans les échanges polémiques entre Fludd, Johannes Kepler (1571–1630) et Marin Mersenne (1588–1648), qui ne portent pas tant sur la composition musicale que sur la compréhension de la composition de l’univers lui-même. Les tensions sociétales, bien perceptibles dans les traités de musique de Fludd, montrent qu’au delà de la pratique musicale, c’est une conception scientifique générale, médicale et philosophique qu’engage la pensée musicale du début du XVIIe siècle.
27
VISELL, YON. "Spontaneous organisation, pattern models, and music." Organised Sound 9, no. 2 (August 2004): 151–65. http://dx.doi.org/10.1017/s1355771804000238.
Full textAbstract:
Pattern theory provides a set of principles for constructing generative models of the information contained in natural signals, such as images or sound. Consequently, it also represents a useful language within which to develop generative systems of art. A pattern theory inspired framework and set of algorithms for interactive computer music composition are presented in the form of a self-organising hidden Markov model – a modular, graphical approach to the representation and spontaneous organisation of sound events in time and in parameter space. The result constitutes a system for composing stochastic music which incorporates creative and structural ideas such as uncertainty, variability, hierarchy and complexity, and which bears a strong relationship to realistic models of statistical physics or perceptual systems. The pattern theory approach to composition provides an elegant set of organisational principles for the production of sound by computer. Further, its machine learning underpinnings suggest many interesting applications to emergent tasks concerning the learning and creative modification of musical forms.
28
Veloso, Ana Luísa. "Composing music, developing dialogues: An enactive perspective on children's collaborative creativity." British Journal of Music Education 34, no. 3 (June 28, 2017): 259–76. http://dx.doi.org/10.1017/s0265051717000055.
Full textAbstract:
This study aims to provide new insights on the nature of the embodied and collaborative processes related to the emergence of new musical ideas that occur when children are composing in groups.Data was obtained by participant observation of the teacher/researcher and by ten videotaped one-hour musical sessions dedicated to the development of a music composition by two groups of children, all of whom were eight years old.It was found that when composing in groups a) children use embodied processes to transform what they experience on diverse realms of their existence into musical ideas, and that b) while creating music, children engage in several improvisatory moments where new ideas emerge through the diverse ways they enact the surroundings where the activity is occurring. Findings suggest a conception of music composing as a multidimensional phenomenon that entails cognitive processes that are distributed across and beyond the physical body. Findings also suggest that composing music in collaboration with others nurtures a set of creative possibilities that would otherwise, not occur. Considerations for music education theory and practice are addressed in the last section of the article.
29
Gorbunova, Irina B. "Musical Computer." ICONI, no. 2 (2020): 60–78. http://dx.doi.org/10.33779/2658-4824.2020.2.060-078.
Full textAbstract:
A new page in the manifestation and demonstration of expressive means of musical sound has been opened by the computer as a musical instrument, or the “musical computer.” Contemporary musicians have endeavored at the attempts at connecting composition with the theory of information, the unification of musical and acoustic parameters, having realized the idea of a regulated poly-dimensional sound space, a multilevel compositional model applied for sound generation with the use of concisely differentiated modulations of parameters of the level of frequencies, durations and dynamics. In the present lecture the author turns to the main stages of the evolution of the concept of “musical computer” reflecting the changes in the sound and the musical material during the course of the development of the practice of composition and music-making; questions are examined in connection with the particularities of development of the computer synthesis of sound; a retrospective analysis of technical and technological experiments made by musicians in their interactions with computer technologists, who have enhanced the development of the musical computer as a polyfunctional musical instrument, including the capabilities of its use as a means of providing the symphonic organization of music by means of stereophonic panorama setting of musical space; a broad range of issues is touched upon in connection with the peculiarities of musicians’ thinking and perception, including the impediments to a consistent acquisition of possibilities of the programmed musical instrument existent in the sphere.
30
Krumhansl, Carol Lynne. "Statistics, Structure, and Style in Music." Music Perception 33, no. 1 (September 1, 2015): 20–31. http://dx.doi.org/10.1525/mp.2015.33.1.20.
Full textAbstract:
This essay begins by reviewing issues in psychological measurement that motivated some of the research summarized in Cognitive Foundations of Musical Pitch (Krumhansl, 1990). These were challenges to geometrical models of similarity, asymmetrical measures of similarity, and contextual effects. It then considers the impact that statistical learning has had on research and theory about music cognition, suggesting this emphasis may have underestimated the importance of other psychological processes contributing to the experience of music. Finally, it discusses three problems with traditional analyses using unidimensional, sequential statistics. The first is that music is hierarchical, with important relationships between non-adjacent events. The second is that the dimensions of music, specifically, pitch and time, interact. The third is the assumption that probabilities remain constant throughout a composition. Rather, music contains artful deviations from normative probabilities contributing to the experience of tension and release.
31
Scott, Derek B. "The Sexual Politics of Victorian Musical Aesthetics." Journal of the Royal Musical Association 119, no. 1 (1994): 91–114. http://dx.doi.org/10.1093/jrma/119.1.91.
Full textAbstract:
A sexual division of musical composition emerged in nineteenth-century Britain: during that period, metaphors of masculinity and femininity solidified into truths about musical style. Contemporary social theory, domestic sphere ideology, the new scientia sexualis, and aesthetics of the sublime and the beautiful ensured that certain musical styles were considered unsuitable or even unnatural for women composers. Female creativity was also denied or inhibited by educational and socio-economic pressures born of ideological assumptions. In consequence, many women found themselves marginalized as composers, restricted to ‘acceptable’ genres such as the drawing-room ballad. Men, too, were affected by the sexual politics of the age, because the supposed revelation of biological truths in music meant that the presence of feminine qualities in their compositions could lead to invidious comparison with the less elevated output of women.
32
Keren-Sagee, Alona. "JOSEPH SCHILLINGER – A DISCIPLE'S REMINISCENCES OF THE MAN AND HIS THEORIES: AN INTERVIEW WITH PROF. ZVI KEREN." Tempo 64, no. 251 (January 2010): 17–27. http://dx.doi.org/10.1017/s0040298210000033.
Full textAbstract:
Joseph Schillinger (1895–1943), the eminent Russian-American music theorist, teacher and composer, emigrated to the United States in 1928, after having served in high positions in some of the major music institutions in the Ukraine, Khar'kov, Moscow, and Leningrad. He settled in New York, where he taught music, mathematics, art history, and his theory of rhythmic design at the New School for Social Research, New York University, and the Teachers College of Columbia University. He formulated a philosophical and practical system of music theory based on mathematics, and became a celebrated teacher of prominent composers and radio musicians. Schillinger's writings include: Kaleidophone: New Resources of Melody and Harmony (New York: M. Witmark, 1940; New York: Charles Colin, 1976); Schillinger System of Musical Composition, 2 vols. (New York: Carl Fischer, 1946; New York: Da Capo Press, 1977); Mathematical Basis of the Arts (New York: Philosophical Library, 1948; New York: Da Capo Press, 1976); Encyclopedia of Rhythms (New York: Charles Colin, 1966; New York: Da Capo Press, 1976).
33
Cockayne, Daniel. "Considering Matthew Shepard: normative and anti-normative queer spatial narratives and the politics of performance in choral music." cultural geographies 26, no. 4 (June 16, 2019): 471–85. http://dx.doi.org/10.1177/1474474019856409.
Full textAbstract:
I present a cultural geographical analysis of the recent choral composition Considering Matthew Shepard. I explore the cultural, musical, and emotional geographies of this piece of music, in terms of its content and my experience of rehearsing and then performing the piece as a member of the choir. Drawing on cultural geography, musical geography, and queer theory, I argue that the memorializing of Matthew Shepard’s killing through this musical setting both repeats and challenges the normative popular and academic framings of Shepard’s murder and, more generally, queer critiques of the memorialization and historicization of lesbian, gay, bisexual, transgender, and queer pasts. I explore this by examining three spatial themes in Considering Matthew Shepard: its representations of (1) Wyoming, (2) the fence (where Shepard was left by his assailants), and (3) universality. I also point to what musical geographies might gain in looking more closely at choral music performance.
34
Lefferts, Peter M. "Signature-systems and tonal types in the fourteenth-century French chanson." Plainsong and Medieval Music 4, no. 2 (October 1995): 117–47. http://dx.doi.org/10.1017/s0961137100000954.
Full textAbstract:
Beyond the standard and familiar theoretical instruction materials on notation and mensuration, on mode and hexachord, and on the rules of two-part counterpoint, information and insight about the techniques of musical composition in the later Middle Ages are hard to come by. From a modern vantage point, medieval music theory leaves many of the questions most interesting to us unanswered. And for our part, too, analysts of chansons and motets have yet to agree on many basic notions about how this music works, and therefore what is most necessary to talk about. It is symptomatic of this state of affairs that articles discussing analytical approaches to early music, even those addressed to specialists, do not start out in medias res but rather must begin with first principles, and that current textbooks ignore or skimp on all but the most superficial aspects of musical style. We need to establish for all genres the paradigms or fundamental givens, the constraints understood at the outset, the range of choices available to the composer.
35
Narmour, Eugene. "The Top-down and Bottom-up Systems of Musical Implication: Building on Meyer's Theory of Emotional Syntax." Music Perception 9, no. 1 (1991): 1–26. http://dx.doi.org/10.2307/40286156.
Full textAbstract:
The implication-realization model hypothesizes that emotional syntax in music is a product of two expectation systems—one top down, the other bottom up. Syntactic mismatch or conflict in realizations can occur either within each system or between them. The theory argues that interruption or suppression of parametric expectations generated separately by the two systems explains certain types of recurrent aesthetic strategies in melodic composition and accounts for the most common kinds of musical forms (AAA, AAB, ABB, ABC, and ABA).
36
Han, Siuebin. "Sang Tong’s contribution to the development of the national theory of harmony." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 61–76. http://dx.doi.org/10.34064/khnum1-50.05.
Full textAbstract:
Background. The article is devoted to the study of the scientific works of Sang Tong in the field of the national theory of harmony. His studies has a leading role in the development theoretical thought in the area of Chinese musicology and composition. Sang Tong’s contribution to national music education is determined by clarity of presentation of his teaching materials supported by numerous examples that is motivation for students to comprehend the science of composition. Being an outstanding composer, Sang Tong talentedly integrated the dissonant and pentatonic writing, emphasizing in his writings the national specifics due to atonal organization of music. The works of Sang Tong sounds abroad, they are performed on a concert stage, occupies a worthy place in the educational process of students of conservatories from different countries. In this connection, seems to be relevant the purpose of this article is to identify the main provisions of the theoretical works of the outstanding Chinese composer in the field of the national science of harmony and their role in the development of Chinese musical art in the second half of the 20th century. The mastering of this information is extremely necessary for the performers of San Tong music, as well as for teachers who are studying this musical repertoire in a class with students. Finally, the information presented will provide an opportunity to comprehend the artistic value of the musical heritage of Sang Tong, as well as allow attract more wide circles of professional musicians and audiences to his works. The results of the study. The first theoretical work of Sang Tong was the article “Theory of chord application and their subordination” (1957), where the musician analyzes the views of various authors on the problem of harmonization in composer’s work, systematizes them, giving a personal assessment. He gives many examples of the use of one or another composition tool. The composer considers methods of textural complexity in the study “Parallels to historical evolution and its application in Chinese and foreign musical works combined with pentatonic melody” (1963). In searching for his own composer’s writing, Sang Tong wanted to find the perfect textural balance: on the one hand, not reaching the difficult to perceive linear polyphony, on the other – not simplifying the texture into primitive forms of contrasting polyphony (as a variation of heterophony). The research experience of the 1960s and the 70s Sang Tong summarized in the monograph “Discussion on the horizontal and acoustic structure of pentatonic” (1980), which became a quality-teaching tool in the field of secondary music education. University vocalists also study at lectures on harmony, which helps them to expand the horizons of knowledge about national music. In 1982, Sang Tong published the first comprehensive study of contemporary music in China entitled “Introduction to harmonic processing techniques” in the journal Musical Art. Since 1994, Sang Tong planned to write a fundamental work that sums up his research – the ontology of Chinese music, but from year to year, because of illness, postponed it. Finally, in 2004, the Shanghai Music Publishing House published a series of Sang Tong articles in the form of a monograph “The Historical Evolution of Semitones”. This work is a fundamental study of the history of the development of harmony in China, which provides answers to the questions of the evolution of Chinese semantics and, related to it, the theory of the acoustics of Chinese instruments. Thinking about the quality of secondary music education, Sang Tong decided to prepare a textbook for an initial five-year program of study. In 2001, he published the Harmony Course, submitting it to the state commission for consideration as a school textbook. The San Tong’s Course of Harmony has become a basic national textbook in China. To date, the level of this theoretical work is considered unsurpassed and attributed to masterpieces in the field of music education. It is distinguished by a solid theoretical foundation that allows the students to find any answers to questions concerning the principles of voce-leading, transport, rules of resolution of various intervals. Conclusions. The composer and theorist Sang Tong entered the history of Chinese music of the twentieth century as the founder in the field of the modern national theory of harmony. For more than fifty years of academic research, Sang Tong has made an outstanding contribution to the development of theory of harmony in China, was creating a number of musicological studies of harmony that demonstrate the highest theoretical level. He laid a solid foundation for the future development of the national school of harmony theory, bringing the younger generation of Chinese composers to a high professional level.
37
Liu, Xia. "The ballad as a narrative genre of the chamber-vocal music." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 123–36. http://dx.doi.org/10.34064/khnum2-21.08.
Full textAbstract:
The ballad as a narrative genre of the chamber-vocal music. Logical reason for research. The relevance of the topic of the present research is due to the fact that in music the interaction of purely musical and extra-musical phenomena continues to remain in the focus of increased attention of the researchers who represent both musicology and other areas of humanitarian knowledge. This interaction has a synergistic effect, which lies in the fact that the combination of the simultaneous influence of words and music, integrated into a single whole, leads to a significantly greater effect of these factors together, rather than separately. Such emergence is clearly manifested during all types of musician’s activities – composing, performing, listening, but has not yet been sufficiently developed in musical science. And the need for a connection between musical science and practice directs our attention to such types of synergistic interaction in music, and one of the most basic is the interaction of music itself (of purely musical, sound patterns) and the verbal text (of the sphere of extramusical – specific images, characters, events, etc.). One of the concepts associated with the verbal text, which has its own specific qualities, is the “narrative”, and the study of the narrativeness as a special property (or a complex of properties) of a vocal musical composition with a narrative text, its potential, performance specifics and characteristics of perception by the listener seems relevant both in theoretical and practical directions. Innovation. The article is devoted to a chamber-vocal ballad, one of the genre indicators of which is the narrativeness. The narrativeness is understood as a special quality of a musical composition, in particular, a vocal one, which relies on narration (both verbal and achieved by means of musical expression). The narrative narration is connected, on the one hand, with eventfulness, plot; on the other hand, it is characterized by an emotional and ethical assessment of the reflected events. In the vocal music, the conductor of the narrative is the word, however, only those genres of the vocal music can be defined as narrative, where the verbal text itself has narrative qualities. The vocal ballad is such among the genres of the vocal music, and its literary origin and narrativeness as the main genetic trait determined the corresponding narrative specificity. The narrativeness as a genre factor in the ballad is the result of the synthesis of a narrative verbal text and the corresponding eventfulness of a vocal composition (an extra-musical component) and the specifics of their musical embodiment (a musical component). As one of its tasks the concert practice of a vocal ballad performer has the realization of the narrativeness as a quality of the performing-composing interpretation, which represents the understanding and presentation of the artistic potential of a musical composition. The narrativeness can manifest itself at different levels of the musical text of the ballad, usually enhancing the emotional and ethical assessment of the events. Objectives. The purpose of the present research is to reveal the specifics of the narrativeness of the chamber-vocal genre of the ballad. Methods. The main methods of the presented research are genre and systemic. The genre method is associated with the need to characterize the chamber-vocal genre of the ballad in connection with the chosen perspective of studying the meaning and action of the narrative in it. The systemic method makes it possible to identify and systematize the peculiarities of the interaction of the extra-musical narrative and the means of musical expression in a specific genre, namely, the chamber-vocal ballad. Results and Discussion. The movement into the inter-disciplinary field remains a promising growth point in modern research in the sphere of humanities, where different areas of knowledge actively interact and share their experience. This also applies to musicology. Active assimilation of knowledge from other sciences helps to see from a new perspective many problems, the study of which by traditional methods has practically exhausted its potential. One of the concepts that can help in the study of the patterns of interaction between words and music in musical art is the “narrative” as a special quality of the verbal text. The narrative involved in the field of musical science receives additional scientific “saturation”, scientific meanings and research perspectives. The development of an integrative scientific approach for two disciplines such as linguistics and musicology goes beyond their case studies and focuses on connecting the laws of “musical structures” to the analysis of the verbal text: for example, such concepts as tension and decline, open and closed form, the lyrical, harmonic content, etc. The need to comprehend the dynamic nature of the narrative text leads to an expansion of the horizon of research related to the concepts of the birth of the text and the perception of the text, and the theory of musical forms is the closest to the narratology in this regard. Indeed, the organization of verbal and musical communication obeys the general laws of dynamism and temporality: the basis of both linguistic and musical structures is the procedural nature of the development of information. The convergence of musicality and narrativeness has led to the development of such a concept as a “musical intrigue” in the works of the French narratologists R. Barony, F. Revaz and others. In musical science, there is a concept that, in our opinion, is associated with a “musical intrigue”, but is more capacious and better explaining the narrative in music of both, a purely musical and extramusical nature – this is musical “eventfulness” (N. Gerasimova-Persidskaya, A. Ivko, and A. Durnev), which is understood broadly and multi-dimensionally, both in connection with the events “introduced” to music with the word, and with purely musical “events” – harmonic, rhythmic, intonational, timbre-acoustic, etc. Such musical eventfulness, unfolded in the narration with a sequential presentation of the events from the “third” person and an emotional assessment of the happening things – both in the verbal and musical text, is most clearly represented in the chamber-vocal genre of the ballad. Owing to the literary origin of the genre and its original narrative nature, it has retained its narrative nature in music (this applies to both the vocal and instrumental ballads). Most often, the musical text in the vocal ballad is subordinated to the verbal one, it is an illustration of the events that are taking place and at the same time enhances their emotional assessment. Conclusions. The narrativeness in the vocal music is primarily related to its extra-musical source. The narrativeness as a special quality of a narrative eventful text is characterized by an emotional attitude and a corresponding assessment, which is dictated from the outside (by the “storyteller”) to the person at whom the narrative is directed – in the sphere of musical practice this is the listener. Since the text (the word) is used in the vocal music, here we should talk about the narrative with all the specifics of its action. Very various texts are used in the vocal music, and not all of them are narrative, therefore, the narrativeness as a genre quality in its pure form can be traced in the genre of the vocal ballad due to its literary origin and narrative character. That is why the most indicative vocal genre in the aspect of the narrativeness is such a genre of the chamber-vocal music as the ballad. The nature of the narrativeness: in the vocal ballad it determines the verbal text, and the means of musical expression, as a rule, embody both the events reflected in the text and their emotional assessment. The prospects for the study of the narrativeness in musical art are associated not only with the characteristics of the interaction of musical and extra-musical principles in the vocal music (both in the chamber music and in the large genres), but also with the study of manifestations of the narrativeness in instrumental music, especially in such compositions that are not associated with extra-musical manifestations even in minimal form (program headers and the like). In addition, since the narrativeness is associated with a “storyteller”-intermediary between the source of information and its recipient, it can be argued that the narrativeness in musical art is also associated with the performing art as one of its tasks, literally or figuratively.
38
Shakhmamedova, Naiba. "Modal Intonation Features of Crowd Scenes in the Operetta “O olmasyn, bu olsun” (“Not that, so this”) by U. Hajibeyli." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (June 4, 2021): 73–88. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233340.
Full textAbstract:
The article analyses the features of the crowd scenes’ structure in the operetta “O olmasyn, bu olsun” (1910) by the outstanding composer Uzeyir Hajibeyli (1885–1948), who founded the Azerbaijani professional composer school at the beginning of the 20th century. In this operetta rich in comic imagery, the composer’s style is reflected in choral scenes influenced by harmonious recitatives and musical patterns and analyzed as a philosophical sphere of reflection of events in the comical plane. He also interprets the development of the operetta genre as a genre of contemporary music in the professional traditions of Western European music in Azerbaijan, as well as the features of intonation that are relevant in Azerbaijani folk music in terms of its structure and thematic focus. The purpose of the research is to analyze the modal features of the operetta “O olmasyn, bu olsun”. For this, the variety of characters available in the work, the line of development of these characters as an issue to study the compatibility of the inner world of characters, given both emotionally and comically, come to the fore. It is also noteworthy that the comparison of moods and intonations in the events taking place in the crowd scenes is naturally reflected here. The research methodology draws attention to the comparative and historical analysis of music theory and history of music, axiological and cultural approaches. Here, the principle of using texts in musical scenes reflects the originality of the composer’s style. Our analysis made it important to consider the research of various researchers who adhere to the principle of secularism. The scientific novelty of the research lies in the fact that for the first time in U. Hajibeyli's operetta “O olmasyn, bu olsun”, an extensive analysis of fret features in crowd scenes with different editions was carried out. The emergence of these features also serves as an example for musicians and composers working in the field of musical composition. Conclusions. The analysis of the modal intonations’ features of crowd scenes in the operetta by U. Hajibeyli “O olmasyn, boolsun” shows the clarity of the intonation principles in Azerbaijani folk music from the point of view of the correspondence of images. This aspect also shaped the composer’s intonation concept. Musical materials suitable for the composer’s comedy scene explain the different situations of the protagonist. The article draws attention to the combination of images and choral performance used in public scenes, for example, the combination of mood and intonation. The use of historical, musical theory, composition, modal intonation features on the public stage is more consistent with the fret concept created by the composer U. Hajibeyli.
39
MUNDYE, CHARLES. "‘Motz el Son’: Pound’s musical modernism and the interpretation of medieval song." Cambridge Opera Journal 20, no. 1 (March 2008): 53–78. http://dx.doi.org/10.1017/s0954586708002401.
Full textAbstract:
ABSTRACTThe article explores an interdisciplinary conjunction of music, literature and modernism. I examine the relationship between aspects of early music scholarship and modernism, with specific reference to Ezra Pound’s critical and editorial work on medieval song, and to the composition, in the 1920s, of his modernist opera Le Testament. This analysis places Pound’s work as editor and composer not only in the context of recent critical reflections on the idea of authenticity, but also in relation to the histories and methodologies of medieval music interpretation. First, in drawing attention to Pound’s much–neglected collaborative edition of medieval songs entitled Hesternae Rosae, I contextualise his experiments in rhythmic reconstruction with reference to early and late twentieth-century musicologists working in this field. I make particular reference to the work of Pierre Aubry and rhythmic mode theory, and the later perspectives of Hendrik van der Werf. Secondly, I proceed to analyse Pound’s monophonic and dance song compositions in Le Testament, exploring the way in which serious medieval musicological scholarship prepared for, and is allied to, the development of a rhythmically and dramatically complex musical style.
40
THYWISSEN, KURT. "GeNotator: an environment for exploring the application of evolutionary techniques in computer-assisted composition." Organised Sound 4, no. 2 (June 1999): 127–33. http://dx.doi.org/10.1017/s1355771899002095.
Full textAbstract:
A computer-assisted composition tool for investigating the application of evolutionary techniques in the composition of music is presented. The nature of such an application is examined in terms of defining the possible mechanisms that provide a means for automated creativity. These mechanisms take inspiration from processes found in Darwinian-based evolution theory, genetic algorithm theory and similar aesthetically based uses of a genetic search heuristic in the visual arts. A formal model of ‘musical evolution’ is proposed, with particular emphasis placed on the ways in which a genetic algorithm can be used to effectively manipulate a variety of compositional structures within a hierarchical and generative grammar-based model of musical composition. The result is a prototype Windows MIDI application called GeNotator that allows composers to experiment with a range of musical structures by interactively ‘evolving’ them through a familiar and comprehensive graphical user interface.
41
Kritskiy, Aleksandr B., and Boris D. Kritskiy. "Phenomenon of Choral Sonority in the Context of Intonation Theory as a Component of the University Training of the Musician-Pedagogue." Musical Art and Education 8, no. 2 (2020): 54–71. http://dx.doi.org/10.31862//2309-1428-2020-8-2-54-71.
Full textAbstract:
The article was written based on the results of a theoretical study by Boris Dmitrievich Kritskiy, my father, who proposed to introduce scientific terms “musical phonics” into the spheres of musicology, pedagogy of music education and performing arts. In his view, “musical phonics” should be considered as a field of scientific and methodical research of audio (instrumental, vocal-choral) design of the process of music performed. And the audio embodiment of the musical text as a relatively independent phenomenon in a broad interpretation is a phonic form. Vocal design of choral sound is a necessary structural component of the performance. From the point of view of intonation theory of music, choral sonority – singing, vocal-choral materialization of the score – is a specially interpreted text. The audio quality is seen as a problem of vocal choral performance in the preparation of a future teacher-musician/choirmaster. There is a belief about the need for future teachers-musicians to understand the methods of constructing the audio matter of music. The methods transform the musical text in accordance with the form, logic of the development of the figurative and artistic meaning of the work and are aimed at the education of the audio culture among the choral collective. Work on the creation of a phonic form involves establishing intonation links between the performed work and the methods of its mastery. The leading role in its crystallization is played by a meaningful plan of music, which allows us to speak about it as a historical category, defined by genre-stylistic features of performed works. Built according to the laws of beauty and at the same time reflecting the spirit of its time, the era in which the performer creates, it reveals the changes that characterize the culture of vocal and choral performance. The performed composition, included in the context of broad cultural and life relations, is saturated with a new meaning. As an example, the phonic form in orthodox liturgical singing is considered.
42
Bourotte, Rodolphe, and Cyrille Delhaye. "Learn to Think for Yourself: Impelled by UPIC to open new ways of composing." Organised Sound 18, no. 2 (July 11, 2013): 134–45. http://dx.doi.org/10.1017/s1355771813000058.
Full textAbstract:
Originally designed by Xenakis to free him from traditional music notation while allowing a faithful execution of his musical thought, UPIC (Unité Polyagogique Informatique du CEMAMu) was quickly diverted from its original functions. Even if Xenakis recommended to apprentice composers who came to study with him ‘listen to a lot of music and write’ (Serrou 2003: 20), this machine, since its inception, has enabled a large number of people to access music composition, because it does not require any preliminary theoretical training. Based on this observation we ask how UPIC, capable of converting a drawing into sound in real-time, upset the perception of musical pedagogy not only in Europe but also worldwide, through the many workshops/concerts offered to a wide audience. Exchanges and emulation around this invention are discussed as well.After describing the technical development of this tool and, by extension, Xenakis's pedagogical thinking, we will highlight some of the most significant encounters between the machine and the public thanks to many unpublished sources found in the archives of the Centre Iannis Xenakis (CIX) recently deposited at the University of Rouen. We will highlight the pedagogical correlation between sound theory, gesture and image involved in the composition of a UPIC score. We will also approach other software applications that combine drawing and sound.
43
Brown, Jenine. "The Perception of Frozen Intervals in Anton Webern’s Concerto for Nine Instruments, Op. 24, Third Movement." Music Theory Spectrum 42, no. 1 (October 24, 2019): 38–53. http://dx.doi.org/10.1093/mts/mtz018.
Full textAbstract:
Abstract Many have described twelve-tone music as difficult to aurally comprehend (e.g., Huron, 2006; Meyer, 1967). This study addresses such claims by investigating what listeners can implicitly learn when hearing a recording of a twelve-tone composition. Krumhansl (1990) has argued that listeners unfamiliar with a musical style attune to the distribution of pitch occurrences, with the most frequent pitch providing a reference point. However, in Anton Webern’s Concerto for Nine Instruments, Op. 24/iii, each pitch occurs nearly the same number of times. Because the distribution of pitches in this twelve-tone work is flat, this study investigates whether listeners instead perceive its recurring intervals. After passive exposure to the composition, musician participants (n = 12) with no formal training in non-tonal music theory demonstrated learning of the frequent intervals (and pairs of intervals) in both forced-choice and ratings tasks. Nonmusicians (n = 13) did not. I then use these empirical findings to inform an interval-based analytical approach to Webern’s compositions.
44
Polashek, Timothy D. "Beyond Babble: A Text-Generation Method and Computer Program for Composing Text, Music and Poetry." Leonardo Music Journal 15 (December 2005): 17–22. http://dx.doi.org/10.1162/lmj.2005.15.1.17.
Full textAbstract:
The author presents a method for creating sound poetry and text/sound music. According to his theory on the musical nature of speech and through the quantification of syllabic stress, the author presents his aesthetics of text/sound music and a detailed description of his original algorithms for manipulating characters representing phonemes. Redefining compositional techniques through his Beyond Babble computer program, The Babble Poet, he synthesizes vocalisms that sound like speech, yet are not, allowing nonsensical words to exist without semantic content and its inherent perceptual baggage. He also explores the applications of his program in composition by composing text/sound études synthesizing well-known texts with his method.
45
Widodo, Tri Wahyu. "Pembelajaran Aransemen Musik Berbasis Teknologi Komputer di Jurusan Musik FSP Institut Seni Indonesia Yogyakarta." PROMUSIKA 3, no. 2 (November 23, 2015): 119–28. http://dx.doi.org/10.24821/promusika.v3i2.1695.
Full textAbstract:
Computer technology with its complex algorithms system made for a wide range benefits to support the efficiency of time and material of human labor. Because of that reason it has given a great contribution to the problem solving of human as its user, which commonly called the brain‐ware. Learning process is a human activity which is practiced on a daily basis. Various written and auditory obstacles faced by teachers and students. In music teaching, for example, a teacher gives examples by playing a musical instrument or through vocal practice. This activity is an example of manually teaching process that of course having some limitations. The purpose of this study is to provide an alternative in learning process that has interactive values. Computer technology will be contributed to make the learning process to be easier then mconventional way, for example, arranging or composing a piece of music in a form of large or small groups without requiring a huge cost. In order to fulfill musical creativity needs, current computer technology has been developing an intelligent electronic devices that can help users to access music menu application program by easily pressing buttons. Computer technology comprises unseparated parts of hardware and software due to their interrelated functions. The first as an electronic media while the second as a system for an operator person to command the computer in order to achieve his needs. This research has resulted an alternative formula in music learning‐teaching process by using computer technology, especially for several applied subjects such as arranging music and others theoretical subjects, for example music theory, harmony, counterpoint, and composition.
46
HARRIS, AMANDA. "Representing Australia to the Commonwealth in 1965: Aborigiana and Indigenous Performance." Twentieth-Century Music 17, no. 1 (October 24, 2019): 3–22. http://dx.doi.org/10.1017/s1478572219000331.
Full textAbstract:
AbstractIn 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formed Aboriginal Theatre, comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between the historical promotion of ‘Australianist’ art music composition that claimed to represent Aboriginal culture, and the denial of the right of representation to Aboriginal performers as owners of their musical traditions. Within the framing of Wolfe's settler colonial theory and ‘logic of elimination’, I suggest that appropriative Australian art music has directly sought to replace performances of Aboriginal culture by Aboriginal people, even while Aboriginal people have resisted replacement.
47
Volkova, Polina S., and Wu Xing. "Verbal Music as an Attempt to Enter the Child’s Sound Space: Theory and Practice." ICONI, no. 3 (2021): 153–72. http://dx.doi.org/10.33779/2658-4824.2021.3.153-172.
Full textAbstract:
The article researches the pedagogical potential of verbal music actualized in music classes. The authors focus their attention on the history of the question, suggesting to supplement the classification presented by S.P. Scher with such a type of interaction between words and music as words spoken during music (melo-recitation). While examining verbal music in the context of the art of music, the authors concentrate on Camille Saint-Saens’ composition “The Swan” from the suite “The Carnival of Animals,” suggesting not only variants of verbalization of the instrumental music itself by the example of Lev Druskin’s poem “The Swan Struggles with Human Anguish…”, Dmitri Bykov’s “The Swan and Archpriest Andrei Tkachev’s prose, but also the an attempt of verbalizing the plastic intonating of Saint-Saens’ piece realized in the work of Anna Pavlova, Galina Ulanova and Maya Plisetskaya. In addition, the authors bring into scholarly use the verbalization of music presented in Evgeny Vodolazkin’s novel “Brisbane.” Proposing a set of assignments aimed at the actualization of verbal music as a unique opportunity of re-expressing musical content into the spoken word presenting itself as a unit of speech of the studying youth, the authors turn to Russian scholarly literature, as well as to that of other countries. According to the authors, the inclusion of the phenomenon of verbal music into lessons provides a maximal problematization of the studied material, helps maintain the students’ interest in their music studies by stimulating children’s creativity, and also sets up the resultative qualities of communication of all the participants of the pedagogical process, enabling the musicians in their realization of the immutability of the following fact: music can be and must be talked about!
48
Fix, Adam. "Esperienza, Teacher of All Things." Nuncius 34, no. 3 (December 10, 2019): 535–74. http://dx.doi.org/10.1163/18253911-03403016.
Full textAbstract:
Abstract This paper reexamines the music and experimental science of Vincenzo Galilei through the lens of artisanal epistemology. Where previous scholars have questioned the veracity of Vincenzo’s experiments, I unpack how Vincenzo himself understood and utilized esperienza. Arguing against Cohen and Prins especially, I assert that Vincenzo’s esperienza functioned as a rational-empirical way of studying nature. I then show how esperienza played analogous roles in his science and practice. By treating his music as artisanal epistemology, I portray Vincenzo’s musical composition, like his experimentalism, as a form of natural knowledge-making. He deployed esperienza in science to capture knowledge of consonance and in art to express knowledge of music’s effects on passions. Finally, I situate Vincenzo within broader humanistic and artistic trends and consider his influence on Galileo. This study explores Renaissance music at the nexus of mathematical theory and empirical and instrumental practice while reinterpreting the early modern concept of esperienza.
49
Reif, Jo-Ann. "Music and grammar: imitation and analogy in Morales and the Spanish humanists." Early Music History 6 (October 1986): 227–43. http://dx.doi.org/10.1017/s0261127900000802.
Full textAbstract:
The relationship of mass composition to the study of rhetoric has occupied many writers interested in perceiving the two as analogous in organisation, vocabulary and persuasive goals. Grammar belonged to the choirboy's education but, more importantly, the method of grammar permeated the general teaching method for other subjects as well. Material, such as questions or disputations, was organised into the similar and the dissimilar, so that working from a model and transfer by analogy were the principal means of making connections between statements and ideas. This essay is concerned with the opportunities available in sixteenth-century Spain for the study of grammar and music and how these possibilities affected the leading Spanish composer of the time, Cristóbal de Morales. In this discussion, Juan Bermudo's treatiseDeclaración de instrumentsis important. Not only does it name leading humanists and composers, and present its theoretical remarks in the language of rhetoric; Morales, who had been in close contact with Bermudo at the Marchena estate of the Duke of Arcos, recommended the treatise. Thus Bermudo, a young Minorite monk, reveals a good deal about Morales by both direct quotation and analogy, and in effect provides a more rounded intellectual impression of the composer, who otherwise expressed himself only in his musical works and their dedications. It can be deduced from musical quotations that Morales is Bermudo's model composer, and by analogy that Morales, versed in rhetoric and imitation, understood the application of these rules in musical composition. In his thorough appraisal of musical tradition, theory and practice, Bermudo assumes the function of a critic in the modern sense.
50
Bregman, Albert S. "Progress in Understanding Auditory Scene Analysis." Music Perception 33, no. 1 (September 1, 2015): 12–19. http://dx.doi.org/10.1525/mp.2015.33.1.12.
Full textAbstract:
In this paper, I make the following claims: (1) Subjective experience is tremendously useful in guiding productive research. (2) Studies of auditory scene analysis (ASA) in adults, newborn infants, and non-human animals (e.g., in goldfish or pigeons) establish the generality of ASA and suggest that it has an innate foundation. (3) ASA theory does not favor one musical style over another. (4) The principles used in the composition of polyphony (slightly modified) apply not only to one particular musical style or culture but to any form of layered music. (5) Neural explanations of ASA do not supersede explanations in terms of capacities; the two are complementary. (6) In computational auditory scene analysis (CASA) – ASA by computer systems – or any adequate theory of ASA, the most difficult challenge will be to discover how the contributions of a very large number of types of acoustical evidence and top-down schemas (acquired knowledge about the sound sources in our environments), can be coordinated without producing conflict that disables the system. (7) Finally I argue that the movement of a listener within the auditory scene provides him/her/it with rich information that should not be ignored by ASA theorists and researchers.