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Journal articles on the topic 'Musical content'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

SALDAN, Svitlana. "CONTENT AND FORM – MUSICAL CONTEXT." Bulletin of the Lviv University. Series of Arts Studies 109, no. 21 (2023): 3–10. http://dx.doi.org/10.30970/vas.21.2023.12124.

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Some queStions of analysis of musical works from position of dialectics of maintenance and form are considered in the article. Their Study teStifies to impossibility to be limited to the aspects of internal conStruction of musically-artiStic object at determination of its maintenance and form. As a result of their relationship, their dialectical development, musical work is closely associated with an objective world, his part – musically-hiStorical process, development of which by subStantial appearance influences both on the Structure of musical whole and on its ideological-semantic, vividly-

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2

Medynska, Olesia, and Solomiia Hnatyshyn. "Radio «Kultura» Music Content." Obraz 44, no. 1 (2024): 136–49. http://dx.doi.org/10.21272/obraz.2024.1(44)-136-149.

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Introduction. Radio “Kultura” is a producer of musical intentions, a translator of traditions and innovations in modern musical art. The musical content of the analyzed media is characterized by a multifaceted musical palette. Informing about musical events and processes, radio “Kultura” becomes a unique platform for the actualization of musical culture, public discussion of musical issues, formation of worldview orientations and musical requests of the audience. Relevance and aim of the research. The relevance of scientific research is determined by the absence of research into the musical co

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3

Weiss, Susan Forscher. "Bologna Q 18: Some Reflections on Content and Context." Journal of the American Musicological Society 41, no. 1 (1988): 63–101. http://dx.doi.org/10.2307/831751.

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Bologna, Civico Museo Bibliografico Musicale, Codex Q 18 (olim 143) preserves various genres. Frottole and laude, many with complete texts, occupy the first nineteen folios; the remainder of the manuscript consists of approximately seventy textless pieces, one a 5, some a 3, the majority a 4. More than half of these textless pieces have not been found in any contemporary source. None of the pieces in the manuscript bears an attribution, although from concordant readings 45 pieces can be attributed to, among others, Isaac, Josquin, Compère, Tromboncino, Brumel, Cara, Caron, Busnois, and Agricol

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Karydis, Ioannis, Katia Lida Kermanidis, Spyros Sioutas, and Lazaros Iliadis. "Comparing content and context based similarity for musical data." Neurocomputing 107 (May 2013): 69–76. http://dx.doi.org/10.1016/j.neucom.2012.05.033.

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5

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

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

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Cuskey, Lusie. "Consent Based Considerations for the Musical Theatre." Journal of Consent-Based Performance 1, no. 2 (2022): 137–67. http://dx.doi.org/10.46787/jcbp.v1i2.2873.

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Musicals have always tended to center romantic relationships, engaging these relationships both as a plot in their own right and, often, as a metaphor for broader social considerations. Despite a historical understanding of the form as light, many contemporary musicals engage explicit sexual content, and the formal conventions of all musicals means that even non-sexual content may feel particularly intimate for performers. Musical theatre is a field that expects high levels of vulnerability and availability, but it also tends to magnify the broader industry’s challenges of scarcity thinking an

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Lena, J. C. "Social Context and Musical Content of Rap Music, 1979-1995." Social Forces 85, no. 1 (2006): 479–95. http://dx.doi.org/10.1353/sof.2006.0131.

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Zapevalova, Lyudmila Georgievna. "open form in the dialectic of Extra-musical and musical content." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 2(39) (June 1, 2018): 97–105. http://dx.doi.org/10.31318/2414-052x.2(39).2018.137145.

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Haladzhun, Zoryana, and Oleksandr Kondrashov. "MUSICAL CONTENT AS A MEDIA TEXT." Bulletin of Lviv Polytechnic National University: journalism 1, no. 1 (2021): 20–24. http://dx.doi.org/10.23939/sjs2021.01.020.

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The relevance of the chosen subject area is determined primarily by the complexity of structural, semantic and communicative organization of the media text phenomenon due to its sign character, plurality of sign systems, correlation of the author and his audience in terms of understanding and decoding textual information, lying in the planes of different approaches to defining the media text concept as well as its analysis. From the viewpoint of modern semiotics, each sign holds a special meaning, is used to store and transmit information, functions in a sign situation, interacts with other el

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10

DeBellis, Mark. "The Representational Content of Musical Experience." Philosophy and Phenomenological Research 51, no. 2 (1991): 303. http://dx.doi.org/10.2307/2108129.

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11

Brown, Helen. "The Interplay of Set Content and Temporal Context in a Functional Theory of Tonality Perception." Music Perception 5, no. 3 (1988): 219–49. http://dx.doi.org/10.2307/40285398.

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The purpose of this study was to provide evidence for the perceptual component of an analysis of pitch relationships in tonal music that includes consideration of both formal analytic systems and musical listeners' responses to tonal relationships in musical contexts. It was hypothesized (1) that perception of tonal centers in music develops from listeners' interpretations of time-dependent contextual (functional) relationships among pitches, rather than primarily through knowledge of psychoacoustical or structural characteristics of the pitch content of sets or scales and (2) that critical pe

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12

Pöhlmann, Egert. "Ἀνωνύµου σύγγραµµα περὶ µουσικῆς (Anonymi Bellermann)". Greek and Roman Musical Studies 6, № 1 (2018): 115–27. http://dx.doi.org/10.1163/22129758-12341315.

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Abstract In 1841, Friedrich Bellermann published two treatises about Greek music, the Anonymi scriptio de musica and Bacchii senioris introductio artis musicae (Bellermann 1841). While the second treatise belongs to some Dionysius, a Byzantine musicologist of the time of Constantine Porphyrogenetos (912-959; new edition Tertsēs 2010), the first treatise is an agglomeration of five musical handbooks (new edition Najock 1972 and 1975). The available manuscript tradition of the respective headings and the beginnings and the content of the different components make it possible to disentangle the a

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Vaseiko, Yulia, Ruslana Zinchuk, and Oksana Pryimachok. "Lexico-semantic Content of the Concept "Music" in Modern Polish Internet Media." Volyn Philological: Text and Context 31 (March 24, 2021): 219–26. https://doi.org/10.5281/zenodo.5248488.

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On the basis of journalistic texts taken from modern Polish Internet media “WP.PL muzyka” and “Onet muzyka”, was analyzed the lexico-semantic content of the concept “music” in Internet-mediated communication. Mass media have occupied their niche in virtual space, and hold to the great popularity among users, which accounts for the necessity to thoroughly examine of the linguistic peculiarities of such media in the dynamics of the lexical element of the Polish language of the early 21<sup>st</sup> century. The lexemes verbalizing the defined concept were grou

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Kavunnyk, Olena. "The artistic content in musical regional studies of Ukraine." Literature and Culture of Polissya 105, no. 15i (2021): 119–25. http://dx.doi.org/10.31654/2520-6966-2021-15i-105-119-125.

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The paper considers the art content of Nizhyn in the musical regional studies researching the prominent musician persons. It displays the studies by scholars in philology, history theory of music in the context of reflection of facts, events, tradition and innovation by artists. It also considers their contribution to the musical regional studies as the organized knowledge about creation of big and small towns in Ukraine. It mentioned importance of musical regional studies for systematic reflection throw the time and space, shapes and specific aspects of musical life of a town. There are three

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

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

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Inna, Synevych. "Structure and content of quasi-professional experience." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 2 (127) (2019): 53–60. http://dx.doi.org/10.24195/2617-6688-2019-2-8.

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The content of quasi-professional activity of future teachers of Musical Arts has been disclosed. It has been determined that students’ formation of quasi-professional activity through their quasi-professional activity within the educational process provides the modelling of situations where future specialists can practice in successful implementation of educational functions of the teacher on the basis of gained knowledge and experience. It has been noted that the process of quasi-professional experience formation also contributes to the growth of the creative and cognitive activities, stabil

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17

Kocaj, Agata, and Izabela Krasińska. "Musical education from the perspective "Musical news" (1925-1926)." Edukacja Muzyczna 15 (2020): 363–77. http://dx.doi.org/10.16926/em.2020.15.20.

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In Poland, over a hundred music magazines appeared in the interwar period. They were divided into several categories: subject and methodological, social and cultural music press, music and li- turgical magazines, regional music periodicals, as well as musicological and popular science mag- azines. The final group includes the subject of this article, “Wiadomości Muzyczne” (1925–1926), edited by the music collector and journalist Edward Wrocki. The article is the first attempt at a monograph elaboration of this periodical, both in terms of the formal and publishing aspects and its content. How

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18

Levchenkov, V. V. "The content of the stages of musical-animation activities of primary school children." Вестник Северо-Кавказского федерального университета, no. 1 (106) (2025): 173–80. https://doi.org/10.37493/2307-907x.2025.1.19.

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Introduction. In recent years, there has been a growing recognition of the role of music and visual arts in the development of creative and musical abilities of primary school children. Sand animation, which combines the synthesis of various types of art, is primarily a musical-animation activity, which makes it more attractive to elementary school students. Musical-animation activities contribute to the development of children’s cognitive abilities, improve social skills and develop creative abilities. Goal. To consider the stages of musical-animation activities of younger schoolchildren in t

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19

Чжоу, Чженьюй. "ОСОБЛИВОСТІ МУЗИЧНОГО ВИХОВАННЯ УЧНІВ У ШКОЛАХ КНР". Педагогіка та психологія, № 60 (15 січня 2019): 148–57. https://doi.org/10.5281/zenodo.2540197.

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On the basis of the analysis of scientific and methodological sources, the peculiarities of musical education in Chinese schools are determined; considered the aim (formation of the spiritual culture of the individuality), content (the assimilation of the foundations of musical literacy, familiarization with the classical world-famous musical works and the ability to classify them; mastering the knowledge that helps sing in the choir and play musical instruments; study biography of famous domestic and foreign musicians, etc.), forms (lessons and after-activity classes in music), methods (empat

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20

Yuan, Qianyun, and Wen Bin Ong. "An Analysis of Elementary Musical Creativity Contents in China." International Journal of Art and Design 8, no. 2 (2024): 18–31. http://dx.doi.org/10.24191/ijad.v8i2.1875.

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This study aims to examine and analyse the musical creativity content of elementary school music textbooks in China through qualitative document analysis. The selected materials are textbooks published by the People's Music Publishing House and People's Education Press for Grade 5 and 6 students. The frequency and percentage of musical creativity contents were recorded, and the corresponding musical elements and mediums were analysed. The results showed that the musical elements with the highest frequency are rhythm and melody, while the musical mediums with the highest frequency are vocal, bo

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21

Marčenoka, Marina. "Formation of the Artistic Image in the Music Perception Process." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 30, 2015): 467. http://dx.doi.org/10.17770/sie2013vol1.578.

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Musical art, which clears vast possibilities for cognition of the man’s internal world, develops feelings of empathy and tolerance, facilitates the creative comprehension of personal, moral and aesthetical values of micro and macro social media. Musical art, while reflecting the reality by means of the artistic image, the system of musical expression means, has its own specificity in development of universal values. This specificity consists in development of personality’s aesthetical and moral needs and in recovery of the spiritual culture; and only music with high spiritual contents is able

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22

Regev, Mor, Andrea R. Halpern, Adrian M. Owen, Aniruddh D. Patel, and Robert J. Zatorre. "Mapping Specific Mental Content during Musical Imagery." Cerebral Cortex 31, no. 8 (2021): 3622–40. http://dx.doi.org/10.1093/cercor/bhab036.

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Abstract Humans can mentally represent auditory information without an external stimulus, but the specificity of these internal representations remains unclear. Here, we asked how similar the temporally unfolding neural representations of imagined music are compared to those during the original perceived experience. We also tested whether rhythmic motion can influence the neural representation of music during imagery as during perception. Participants first memorized six 1-min-long instrumental musical pieces with high accuracy. Functional MRI data were collected during: 1) silent imagery of m

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23

Sonnett, John. "Musical boundaries: intersections of form and content." Poetics 32, no. 3-4 (2004): 247–64. http://dx.doi.org/10.1016/j.poetic.2004.05.007.

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24

Park, Eun-Ji, and Tan-kyCo GWon. "Status of Metaverse Performance With Musical Content." Journal of Digital Contents Society 24, no. 10 (2023): 2547–58. http://dx.doi.org/10.9728/dcs.2023.10.24.10.2547.

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Park, Eun-Ji, and Tan-kyCo GWon. "Status of Metaverse Performance With Musical Content." Journal of Digital Contents Society 24, no. 10 (2023): 2547–58. http://dx.doi.org/10.9728/dcs.2023.24.10.2547.

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26

Park, Moon Hee. "The Definition of Concept and the Role of the Audience in Concept Musicals." Liberal Arts Innovation Center 9 (May 30, 2022): 259–82. http://dx.doi.org/10.54698/kl.2022.9.259.

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The purpose of this paper is to define the term ‘concept’ as it is used in conceptual musicals and to investigate what the role of the audience is. So far, there have been efforts by several scholars to define the concept of concept musicals; however, existing definitions are limited to the subject or focus on form, making it difficult to understand the concept musicals properly. Further, because the meaning and relationship of the attributes that make up the concept are not clear, definitions are bound to suffer confusion. The concept musical’ must create a new form to embody the theme

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27

Zhang, Ge, and Mingli Yang. "Beethovens Piano Sonata Dawn: Musical Content and Performance Analysis." Advances in Humanities Research 9, no. 1 (2024): 59–63. http://dx.doi.org/10.54254/2753-7080/9/2024111.

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The piano sonata Dawn is a significant work from the middle period of the renowned composer Beethoven, composed in 1804. Beethovens creation of numerous remarkable musical compositions has been indispensable to the development of modern music art worldwide, and as one of his renowned piano pieces, Dawn holds great value for study in terms of its musical content and performance approach. From the perspective of Beethovens compositional journey, Dawn plays a transitional role within his evolving creative thought, embodying both Classical and Romantic musical elements. This study focuses on Dawn,

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Solomonova, Olga, Olha Ohanezova-Hryhorenko, Viola Demydova, Yurii Kuchurivskyi, and Volodymyr Bordonyuk. "Interpretive Content of a Musical Work: The Performing Aspect." Convergences - Journal of Research and Arts Education 16, no. 32 (2023): 125–38. http://dx.doi.org/10.53681/c1514225187514391s.32.218.

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The relevance of this study is determined by the urgent importance the issues of training the musicians in the context of qualitative nurturing their abilities for music interpretation in accordance with the author's main ideas. The purpose of this study lies in the analysis of the main features of the problem of interpretation of musical works by different composers, in terms of the development of the performing skills of musicians, as a major constituent of qualitative perception of a musical piece. The leading methodological approach to consideration within the scope of the research combine

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Olena, Burska. "THE PHENOMENON OF THE MUSICAL FEELING AND MUSICAL IMAGE: THE ESSENCE, CONTENT AND PSYCHOLOGICAL PROCESS IN THE PERFORMING CONTEXT." Scientific Issues of Vinnytsia State M. Kotsyubynskyi Pedagogical University. Section: Pedagogics and Psychology 216, no. 58 (2019): 189–95. http://dx.doi.org/10.31652/2415-7872-2019-58-189-195.

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30

Hongwei, Wu. "CONTENT OF INFORMATION COMPETENCE OF FUTURE TEACHERS OF MUSIC ARTS." Вісник Національного університету "Чернігівський колегіум" імені Т. Г. Шевченка, no. 185-186(29-30) (February 18, 2025): 83–86. https://doi.org/10.58407/visnik.242915.

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The purpose of the article is to theoretically substantiate the content of informational competence of future teachers of musical art in the conditions of the development of a digital society. Methodology. The research uses problem and systemic approaches, as well as general scientific methods of analysis, synthesis, comparison and generalization. This contributed to the study of the features of the informational competence of future teachers of musical art. Scientific novelty. The article reveals the content of informational competence of future teachers of musical art in the conditions of th

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31

Kerékfy, Márton. "‘A “new music” from nothing’: György Ligeti’s Musica ricercata." Studia Musicologica 49, no. 3-4 (2008): 203–30. http://dx.doi.org/10.1556/smus.49.2008.3-4.1.

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The beginning of the 1950s marks a turning-point in György Ligeti’s early career. By that time Ligeti had become disappointed regarding his rather marginal position in Hungarian musical life, and he might well have felt some dissatisfaction with his own artistic output, as well. He recognized that he should leave his former style and build up his own expressive means and musical language from elementary material. For this purpose, he set himself certain compositional tasks, and imposed restrictions on pitch content, intervals, and rhythms ‘as if to build up a “new music” from nothing’. Accordi

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Huovinen, Erkki, and Kai Tuuri. "Pleasant Musical Imagery." Music Perception 36, no. 3 (2019): 314–30. http://dx.doi.org/10.1525/mp.2019.36.3.314.

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This article introduces the notion of pleasant musical imagery (PMI) for denoting everyday phenomena where people want to cherish music “in their heads.” This account differs from current paradigms for studying musical imagery in that it is not based a priori on (in)voluntariness of the experience. An empirical investigation of the structure and experiential content in 50 persons’ experiences of PMI applied the elicitation interview method. Peer judgments of the interviews helped to bridge a phenomenological investigation of particular experiences with systematic between-subjects analysis. Bot

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Riddell, Alistair. "Data Culture Generation: After Content, Process as Aesthetic." Leonardo 34, no. 4 (2001): 337–43. http://dx.doi.org/10.1162/00240940152549294.

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The concepts of process and data, inherent in the technology of contemporary music, are contributing to a new musical practice and aesthetic. The role of technology in musical production has cast music into data (a tangible entity, commodity or product) and thus made data a kind of cultural object itself in certain contexts (LPs, CDs, MP3 files). This condition suggests that a rethinking/transformation of contemporary audio arts based on process is taking place. Increasingly, sound may be only one of several simultaneous and expressive components constituting a cultural experience. Here proces

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Kim, So Hyung, and Su-Young Bae. "Utilization of Short-form Music Content and Musical Experiences: A Comparative Analysis Across University Students." Korean Society of Music Education Technology 62 (January 31, 2025): 1–18. https://doi.org/10.30832/jmes.2025.62.1.

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This study aims to analyze the usage patterns of short-form music content among university students and to explore the differences in musical experiences and activities based on viewing time, major, and user characteristics. Analysis of data from 182 university students revealed that more than 65% of the respondents watched short-form content for more than one hour per day, and longer viewing times were associated with more active engagement in musical discovery, creation, and interaction. A comparison between music majors and non-music majors showed that music majors utilized short-form conte

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Koryakin, Olexiy. "ТHE METHODOLOGICAL SUPPORT OF SOUND ENGINEERING TRAINING OF FUTURE MASTERS OF MUSICAL ART". OPEN EDUCATIONAL E-ENVIRONMENT OF MODERN UNIVERSITY, № 8 (2020): 26–33. http://dx.doi.org/10.28925/2414-0325.2020.8.4.

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The article is devoted to specifying the basics of methodological support of sound processing training of future masters of musical art of performing specializations in the specialty «Musical Art». The article analyzes the general direction of professional training in the specialty «Musical Art» and defines the main content of sound processing training of future masters of musical art of performing specializations; outlines the conditions for incorporating computer information technology into the content of professional training of future masters of musical art of performing specializations. T

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Montassir, Hmala, and Nemar Houda. "Exploring the Sociocultural Extensions of Changing Musical Taste: A Sociomusicological Study of Morocco's Social Dynamics." Journal of Social and Political Sciences 6, no. 4 (2023): 124–37. https://doi.org/10.31014/aior.1991.06.04.449.

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This article proposes a sociomusicological exploration of Moroccan music, specifically highlighting how musical taste can be a strong tool for analysing social change. Using a qualitative design, the study focuses on two main variables: identity and social values. Moreover, it examines two key sociomusiocological dimensions: music diffusion and consumption. Eighteen artists, including music composers, lyricists, and singers participated in the study through semi structured interviews. The content analysis of transcriptions revealed seven main themes: music's function as entertainment, the hybr

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Okada, Keisuke, Manami Kanamaru, Phan Xuan Tan, and Eiji Kamioka. "Exploiting MUSIC model to solve cold-start user problem in content-based music recommender systems." Intelligent Decision Technologies 15, no. 4 (2022): 749–60. http://dx.doi.org/10.3233/idt-210196.

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The new user cold-start problem is a grand challenge in content-based music recommender systems. This happens when the systems do not have sufficient information regarding the user’s preferences. Towards solving this problem, in this study, a rating prediction framework is proposed. The proposed framework allows the systems to predict the user’s rating scores for unrated musical pieces, by which good recommendations can be generated. The core idea here is to leverage the so-called MUSIC model, i.e., a five-factor musical preference model, which is characterized by Mellow, Unpretentious, Sophis

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Cherniak, Evgeniia B., Juliia V. Volskaya, Svetlana P. Mishchenko, and Vladimir V. Yorkin. "METHODICAL ASPECTS OF DEVELOPMENT OF MUSICAL-AUDITORY IMAGES OF PUPILS OF MUSIC SCHOOLS." Bulletin of Alfred Nobel University Series "Pedagogy and Psychology" 2, no. 20 (2020): 89–100. https://doi.org/10.32342/2522-4115-2020-2-20-10.

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In modern music pedagogy the development of artistic qualities, creative thinking, creative abilities of future musicians is important. Mastering the skills of playing musical instruments is in line with modern trends in performance - the introduction of innovative methodological technologies, adapting the achievements of outstanding music teachers to modern conditions. The methodological foundations of the study were culturological, aesthetic-philosophical, musical- psychological works of leading scientists, which carefully outlined the problem of development of musical and auditory images as

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Block, Geoffrey. ""Reading Musicals": Andrea Most's Making Americans: Jews and the Broadway Musical (Cambridge: Harvard University Press, 2004)." Journal of Musicology 21, no. 4 (2004): 579–600. http://dx.doi.org/10.1525/jm.2004.21.4.579.

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Andrea Most's Making Americans: Jews and the Broadway Musical studies eight musicals (The Jazz Singer, Whoopee, Girl Crazy, Babes in Arms, Oklahoma!, Annie Get Your Gun, South Pacific, and The King and I) in an effort to explore "how first- and second-generation American Jewish writers, composers, and performers used the theater to fashion their own identities as Americans."Most offers imaginative and often insightful sociological readings of musical librettos, lyrics, even stage directions, but virtually ignores music. That music can sometimes elucidate or contradict an exclusively social or

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Seaton, Douglass. "Conventional Wisdom: The Content of Musical Form (review)." Notes 57, no. 3 (2001): 593–96. http://dx.doi.org/10.1353/not.2001.0057.

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Mair, Elizabeth. "Prince Edward Island / 1: Theatre: Who’s It For?" Canadian Theatre Review 48 (September 1986): 19–22. http://dx.doi.org/10.3138/ctr.48.003.

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The Charlottetown Festival at PEI’s Confederation Centre promotes itself as the Canadian home of Broadway-style musical theatre. With the exception of Anne of Green Gables and Johnny Belinda, however, few shows done at the Centre have reflected substantial Canadian content. Although the festival has been active for over 20 years and is technically the foremost producer of all-Canadian musicals, it has yet to evolve a distinctively Canadian form of musical theatre, preferring to make use of the ready-made Broadway structures transplanted, with minor adaptations, to accommodate Canadian content

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Custodero, Lori A., and Elissa A. Johnson-Green. "Passing the Cultural Torch: Musical Experience and Musical Parenting of Infants." Journal of Research in Music Education 51, no. 2 (2003): 102–14. http://dx.doi.org/10.2307/3345844.

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Using a regionally focused national survey of parents with 4–6-month-olds (N = 2, 250), we addressed associations between musical experience and the frequency and content of playing music and singing for infants. The possible mediation of a classical CD distribution to new parents in hospitals was also investigated. Five variables of experience were considered: (1) respondents' recollections of their mother or (2) father singing to them, (3) playing an instrument, (4) singing in a choir, and (5) taking music lessons. Chi-square analyses indicated that musical experience was highly associated w

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DeNora, Tia. "The Musical Composition of Social Reality? Music, Action and Reflexivity." Sociological Review 43, no. 2 (1995): 295–315. http://dx.doi.org/10.1111/j.1467-954x.1995.tb00605.x.

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Developments in the sociology of music during the 1980s have brought the sub-field more firmly in to the center of sociological concerns. The worlds' concept, and the concern with music and social status have helped to ground and specify links between music and society. Meanwhile however, questions concerning music's social content have been sidelined. This paper explores music as an active ingredient in the constitution of lived experience. As with other cultural/technical forms, music provides a resource for the articulation of thought and activity. Bodily conduct and movement, the experienc

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Kovalev, Andrei B. "YU. SHERLING. ORATORIO “EXODUS TRIADA”: FIGURATIVE CONTENT AND COMPOSITION." Arts education and science 1, no. 38 (2024): 117–25. http://dx.doi.org/10.36871/hon.202401117.

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The article focuses on analysing the figurative content and composition of Yu. B. Scherling’s oratorio “Exodus Triada”. This work, the title of which appeals to the Old Testament book “Exodus”, raises one of the eternal themes in art — the theme of protest against violence, enslavement and humiliation of one people by another. The article analyses the verbal texts taken from different, sometimes opposite ideological sources (quotations from books of the Old Testament and philosophical works of F. Nietzsche), the role of the cast of performers (orchestra, choir, soloists), the genre, style and

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Isabel Coryunitha Panis, Agustinus Beda Ama, and Stanis Sanga Tolan. "Content Analysis of Musical Art Materials In Arts and Culture Textbook." Jurnal Pendidikan dan Kebudayaan Missio 16, no. 2 (2024): 97–113. https://doi.org/10.36928/jpkm.v16i2.2399.

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Education is a conscious and planned effort to create complete learning outcomes to develop students' abilities. Effective and efficient learning can be realized if the availability of teaching materials. Teaching materials have a more effective role because they can facilitate the implementation of learning in the classroom. Teaching materials used during the learning process are called textbooks. The components of teaching materials in the curriculum must appear in the elaboration according to Competency Standards (SK), Basic Competence (KD) and Competency Achievement Indicators. The purpose

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Suranchieva, Gulzinat. "KYRGYZ MUSICAL INSTRUMENTS AND MUSICAL CULTURE IN MODERN CONDITIONS." Alatoo Academic Studies 23, no. 1 (2023): 406–13. http://dx.doi.org/10.17015/aas.2023.231.38.

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The article discusses the features and problems of using, creating musical instruments (traditional Kyrgyz and modern) and an attempt is made to determine their role and place in the national cultural and social sphere. It is indicated that the musical educational process is associated with the use of musical instruments. And, the quality of teaching musical art at all levels is determined by the effective element, which is a musical instrument. The article is devoted to the consideration of the patterns of evolution of musical instruments and the features of the Kyrgyz musical instrument and

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Svarovskaya, Violetta. ""WELL-TEMPERED CLAVIER" BY J.S. BACH: SEMANTIC FOUNDATIONS OF THE UNITY." Muzykal'nyj al'manah Tomskogo gosudarstvennogo universiteta, no. 11 (2021): 51–62. http://dx.doi.org/10.17223/26188929/11/8.

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The article focuses on a number of musical "hints" about the content and semantic guidelines contained in the "Well-tempered Clavier" by J.S. Bach. The fact that most of his works do not have programs or verbal references and titles was pointed out. The religious subtext of the content of the musical unity is emphasized. The rows of accordance of semantic and musical series are given.

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Kasianenko, Liudmyla. "Chopin's Music: Understanding and New Insight into Its Content (the 210th Anniversary of the Composer's Birth)." Bulletin of KNUKiM. Series in Arts, no. 42 (July 14, 2020): 103–12. https://doi.org/10.31866/2410-1176.42.2020.207639.

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The purpose of the article is to consider the degree of music theory development on the interpreting issue of F. Chopin works in the context of understanding the melody semantics in his music; to provide theory base on methods for studying the emotional subtext of works by a comparison of melodies with musical rhetoric and sacred symbolism. Research methodology. The defining methodological principle was the method of analysing the construction of melodies through traditional musical symbols, as well as their texture for understanding the psychological states that music conveys. The method of s

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Cabacov, Dmitri. "PECULIARITIES OF THE MUSICAL LANGUAGE AND COMPOSITION IN SNEJANA PÎSLARI’S COMPOSITION FOR PIANO TREI PORTRETE MUZICALE: СHOPIN, SKRIABIN, RACHMANINOV". Studiul artelor şi culturologie: istorie, teorie, practică, № 1(42) (вересень 2022): 86–90. http://dx.doi.org/10.55383/amtap.2022.1.16.

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The author of the given article analyzes the piano composition by Snejana Pâslari „Trei portrete musicale” examined in terms of its content and form. The conclusion is made that the musical language and the specifics of composition and dramaturgy of this composition are determined by its artistic idea and the composer’s individual style related to the implementation of the late romanticism stylistic paradigm.

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Ding, Hao. "Another Approach to Musical Interpretation." Chinese Semiotic Studies 16, no. 3 (2020): 439–58. http://dx.doi.org/10.1515/css-2020-0024.

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AbstractMusic is neither a construction of pitches nor a linear arrangement of vocal parts, but rather an energetic shaping through time that integrates articulation, harmony, melody, and rhythm. Music expresses a kind of gesture in the dimension of sounds. In most cases, musical expressions, compared to linguistic expressions, are more like a state of motion or a behavior of sounds originating from physical sensations. Musical gesture can interpret the emotional expression and meaning of music from a perspective that is closer to the nature of music. Such an interpretation is not constrained

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