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Journal articles on the topic 'Musical instruments collections'
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1
Myers, Arnold. "The Glen and Ross Collections of Musical Instruments." Galpin Society Journal 38 (April 1985): 4. http://dx.doi.org/10.2307/841275.
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Johnson, Henry. "Japanese collections of traditional Japanese musical instruments: Presentation and representation." Musicology Australia 22, no. 1 (January 1999): 46–62. http://dx.doi.org/10.1080/08145857.1999.10416563.
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McDowell, Peggy. "Roots of American Jazz: African Musical Instruments from New Orleans Collections." African Arts 29, no. 4 (1996): 75. http://dx.doi.org/10.2307/3337401.
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Quiles, A., S. Emerit, V. Asensi-Amorós, L. Beck, I. Caffy, E. Delqué-Količ, and H. Guichard. "NEW CHRONOMETRIC INSIGHTS INTO ANCIENT EGYPTIAN MUSICAL INSTRUMENTS HELD AT THE MUSÉE DU LOUVRE AND THE MUSÉE DES BEAUX-ARTS DE LYON." Radiocarbon 63, no. 2 (February 15, 2021): 545–74. http://dx.doi.org/10.1017/rdc.2020.135.
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ABSTRACTVery little is known about the manufacturing and use of ancient Egyptian instruments, and their discovery is very rare. An extensive radiocarbon (14C) dating program has been conducted on 25 ancient Egyptian musical instruments currently held at the Louvre Museum (musée du Louvre) and the Lyon Museum of Fine Arts (musée des Beaux-Arts de Lyon). This study includes cordophones (harps, lyres, lutes), membranophones (drums, tambourines), idiophones (clappers, crotales), as well as wind instruments (oboe) that have entered the museum collections during the 19th century or the first half of the 20th century; consequently, the original archaeological contexts of their discoveries are poorly understood. Approximately 50 14C dates enable drawing a general overview of the instruments manufacturing. A wide variety of wood material has been identified, representing both indigenous species and imported species. Results indicate that the native flora of Egypt was exclusively used until the Third Intermediate Period when the first imports could be identified. 14C results are not always consistent with relative dates previously thought, mainly based on stylistic criteria. They demonstrate these collections hold very well-preserved objects extending over 2500 years, from the Second Intermediate Period (ca. 1700 BCE) to the start of the Islamic Period (8th century CE). This project provides important results for the knowledge of ancient Egyptian musical instrument crafts.
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Răsvan, Cătălin. "Sound Banks – a Priceless Aid in Contemporary Music Writing." Artes. Journal of Musicology 20, no. 1 (March 1, 2019): 220–30. http://dx.doi.org/10.2478/ajm-2019-0012.
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Abstract Sound banks are collections of sound samples from musical instruments of the symphonic orchestra, traditional instruments from various areas of the world and sounds of virtual devices, such as synthesizers, which are increasingly present in contemporary musical creations. Sound banks are loaded in a device called sampler, which can edit and play them. The article describes analog and especially virtual samplers, complex devices that can store or play sounds from specific libraries of sound banks. It also defines and catalogs the main types of digital virtual instruments (that include traditional symphonic orchestra instruments, ones with modern electronic instruments/percussion instruments, and ethnic collections for various geographic areas. Our research on digital applications used in music writing relies on 20 years of experience. Currently, applications are valuable tools for composers and musicians, and for everyone in the contemporary music industry. In 2006, I created the first collection of sound banks made in Romania “The Essence of Panflute”, library containing sound samples 583, grouped in 33 virtual instruments. This is the most complex virtual version of the Romanian pan flute, played by the renowned Cătălin Tîrcolea. The library is designed and edited by Cătălin Răsvan, for the company S.C. Canira Music Internațional. This collection of sound banks presents in minute detail the laborious process of recording and editing this virtual library. “The Essence of Panflute” has seen international acclaim, is distributed by the German company Best Service, one of the major companies in the world, was reviewed in the most prestigious magazine in this field, Sound on Sound, and has opened the door for current/future creators of music. We hope that it is only the beginning for our work in the research and development of digital virtual sound, which is a special category for the instruments in our country.
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Martin, Cheryl. "The Music Collection of Thomas Baker of Farnham, Surrey." Royal Musical Association Research Chronicle 44 (2013): 19–54. http://dx.doi.org/10.1080/14723808.2012.730316.
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Thomas Baker's music collection is part of the special collections of the Music Library at Western University, Ontario. Thomas Baker (1719/20–94) lived mainly in Farnham, southwest of London, England, in the County of Surrey. His music collection remained largely intact, which is unusual for the library of an eighteenth-century man who lived in a small town in rural England. The collection at Western consists of 90 separate pieces of music, collections of music, and books of music theory, plus six manuscripts; an inventory of the collection illustrates the variety of musical forms that he collected. His purchase of an organ leads us to conclude that he played the organ and possibly other keyboard instruments; about 25% of his collection is for keyboard. However, he was also interested in a variety of other musical forms, either as a performer or as a collector. From the surviving information, we can create a basic portrait of Baker and his music collection, even if we can draw no definite conclusions about how it was used or if he was merely a collector, or also a performer or an organizer of concerts.
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Siti Mudawamah, Nita. "PENGELOLAAN KOLEKSI DI MUSEUM MUSIK INDONESIA SEBAGAI UPAYA PELESTARIAN WARISAN BUDAYA." Fihris: Jurnal Ilmu Perpustakaan dan Informasi 16, no. 1 (June 30, 2021): 1. http://dx.doi.org/10.14421/fhrs.2021.162.1-20.
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The Museum Music Indonesia is the only museum that houses a collection of music by Indonesian musicians. Located in Malang City, this museum has approximately 35.000 music collections of various types including cassettes, vinyl, compact disks, posters, magazines, musical instruments, audio equipment, and even artist/musician clothes. This paper aims to describe how the collection management at the Museum Music Indonesia uses a qualitative descriptive approach. The results found in the field include; Most of the collections contained in this music museum are obtained from grants from the music lovers community, collection management begins with the collection, data collection, presentation, and information to the public, the management is still done manually due to limited resources. With the cooperation and attention of all stakeholders, MMI can continue to live and develop as a preserver of the nation's treasures that are attractive to the community.
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Monson, Craig. "Elena Malvezzi's keyboard manuscript: a new sixteenth-century source." Early Music History 9 (October 1990): 73–128. http://dx.doi.org/10.1017/s0261127900001005.
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It is safe to say that the collections of the Museo Comunale Bardini, situated in Piazza dei Mozzi on the oltrarno in Florence, remain comparatively little known. The museum's vast store of paintings, sculpture, architectural ornament, rugs and tapestries, armour, bronzes, furniture and musical instruments all belonged to Stefano Bardini, the nineteenth- and early twentieth-century collector and art dealer. Born in 1836 in the province of Arezzo, Bardini came to Florence to study painting at the Accademia delle Belle Arti. After the political turbulence of the 1860s, when Bardini fought with the Garibaldini, the young painter turned to restoration, connoisseurship and art dealing. By the age of forty-five he had established his reputation and an extraordinary personal collection. At the height of his career his patrons included the Rothschilds, the Vanderbilts, Isabella Gardiner and J. Pierpont Morgan. Many objects now in some of the world's best-known public collections passed through his hands.
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Eyharabide, Victoria, Imad Eddine Ibrahim Bekkouch, and Nicolae Dragoș Constantin. "Knowledge Graph Embedding-Based Domain Adaptation for Musical Instrument Recognition." Computers 10, no. 8 (August 3, 2021): 94. http://dx.doi.org/10.3390/computers10080094.
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Convolutional neural networks raised the bar for machine learning and artificial intelligence applications, mainly due to the abundance of data and computations. However, there is not always enough data for training, especially when it comes to historical collections of cultural heritage where the original artworks have been destroyed or damaged over time. Transfer Learning and domain adaptation techniques are possible solutions to tackle the issue of data scarcity. This article presents a new method for domain adaptation based on Knowledge graph embeddings. Knowledge Graph embedding forms a projection of a knowledge graph into a lower-dimensional where entities and relations are represented into continuous vector spaces. Our method incorporates these semantic vector spaces as a key ingredient to guide the domain adaptation process. We combined knowledge graph embeddings with visual embeddings from the images and trained a neural network with the combined embeddings as anchors using an extension of Fisher’s linear discriminant. We evaluated our approach on two cultural heritage datasets of images containing medieval and renaissance musical instruments. The experimental results showed a significant increase in the baselines and state-of-the-art performance compared with other domain adaptation methods.
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Banar, Nikolay, Matthia Sabatelli, Pierre Geurts, Walter Daelemans, and Mike Kestemont. "Transfer Learning with Style Transfer between the Photorealistic and Artistic Domain." Electronic Imaging 2021, no. 14 (January 18, 2021): 41–1. http://dx.doi.org/10.2352/issn.2470-1173.2021.14.cvaa-041.
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Transfer Learning is an important strategy in Computer Vision to tackle problems in the face of limited training data. However, this strategy still heavily depends on the amount of availabl data, which is a challenge for small heritage institutions. This paper investigates various ways of enrichingsmaller digital heritage collections to boost the performance of deep learningmodels, using the identification of musical instruments as a case study. We apply traditional data augmentation techniques as well as the use of an external, photorealistic collection, distorted by Style Transfer. Style Transfer techniques are capable of artistically stylizing images, reusing the style from any other given image. Hence, collections can be easily augmented with artificially generated images. We introduce the distinction between inner and outer style transfer and show that artificially augmented images in both scenarios consistently improve classification results, on top of traditional data augmentation techniques. However, and counter-intuitively, such artificially generated artistic depictions of works are surprisingly hard to classify. In addition, we discuss an example of negative transfer within the non-photorealistic domain.
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Syvak, Oksana, and Daria Plokhotina. "Development of musical documents is in the conditions of informatization." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 9, no. 18 (2019): 85–92. http://dx.doi.org/10.34079/2226-2849-2019-9-18-85-92.
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In the article the described sphere of musical work is musically-computer technologies as a result of process of informatization, that is conditioned by mushroom growth of electronic musical instruments from the simplest synthesizers to the powerful musical computers. There was the new interdisciplinary sphere of professional activity, related to creation and application of the specialized musicalhardware and softwarefacilities that require knowledge and abilities both in a musical sphere, and in area of informatics. Such basic directions of introduction of information technologies are certain in music: the use in scientific researches, organization of academic association and work with a musical inheritance. Many-sided nature, global applicability of electronic and computer music, give new, essentially, boundless possibilities of self-realization, stimulate swift development of intellect, destroying music on a new level.Compatibility of electronic music with traditional musical technologies creates terms for the succession of musical epochs and styles, their interpenetration and synthesis, strengthening interest in a musical culture on the whole. Success with the modern use of the similar systems lies in integration of all computer possibilities. Investigating history of becoming of digital music, influence of MIDI- of technologies is described, as leading direction in a computer musical studio. MIDI- technology gave possibility to recreate a voice record in any rate and in any key, vocalists and bandsmen got possibility to conduct even independent employments after accompaniment and to do the detailed analysis of piece of music, that does irreplaceable the marked technology in musical educational establishments. Also, principle of transmission of audioinformation is explained for MIDI- of protocol. The marked home achievements of modern composers are in relation to embodiment of computer technologies in a musical art. Feather orientation of work of the Ukrainian composers from withstand general stamps on the deeply personality understanding of sociocultural processes is accompanied by the search of new intellectual senses in music. Influence of digital technologies is analysed onpublishing house of notes business and distribution of electronic editions, that assists distribution of musical information from one side, and from other, requires the specification of matter of authorial law and intellectual property. Advantage of new type ofto printed preparation of musical collections above an old method is undoubted, but the most valuable is seemed by that humanity got around the decision of question of the "unheard" piece of music.
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Robison, Andrew. "Curatorial Reflections on Print Rooms and Libraries." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 8, no. 1 (March 1, 2007): 35–44. http://dx.doi.org/10.5860/rbm.8.1.274.
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The general relationship between libraries and museums is simply too broad a subject for me to wrestle with, although I am very glad that Gerald Beasley in his article in this issue has done such an excellent job of it. I intend, therefore, to focus on something more immediately relevant to my position, namely the relationship between libraries and museum collections of prints, or print rooms. That relationship, as you might expect, is a very close one. Whatever else libraries may collect—from musical instruments to eyeglasses to stuffed animals to other artifacts—and whatever else print rooms may have . . .
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Green, Alexandra. "Koleksi Raffles Dari Jawa: Bukti Dari Eropa Tentang Sebuah Peradaban." PURBAWIDYA: Jurnal Penelitian dan Pengembangan Arkeologi 9, no. 2 (December 10, 2020): 165–82. http://dx.doi.org/10.24164/pw.v9i2.376.
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Stamford Raffles was promoted to Lieutenant Governor of Java when the island was taken from the Dutch by the British East India Company in 1811 as part of the Napoleonic warsin Europe. During Raffles’ years on Java, he collected substantial cultural materials,among others are; theatrical objects, musical instruments, coins and amulets, metal sculpture, and drawings of Hindu- Buddhist buildings and sculpture. European interest inantiquities explains the ancient Hindu- Buddhist material in Raffles’s collection, but thetheatrical objects were less understood easily. This essay explored Raffles’ s collecting practices, addressing the key questions of what he collected and why, as well as what were the shape of the collection can tell us about him, his ideas and beliefs, his contemporaries, and Java, including interactions between colonizers and locals. I compared the types of objects in the collections with Raffles’ writings, as well as the writings of his contemporaries on Java and Sumatra in the British Library and the Royal Asiatic Society. Raffles was one of the first people to apply the enlightenment notion of systematic collecting to cultural material, but his collections were not systematized by Javanese standards, indicating his incomplete understanding of the local culture. Instead, the objects demonstrated that Raffles chose items considered indicative of civilization according to European ideas, assembling objects to support his argument in favor of Java as a remaining of a British colony, as well as to promote his own image as a scholar- official.
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Litwinienko, Aleksandra. "The eighteenth century fife from the shipwreck of General Carleton of Whitby." Muzyka 65, no. 1 (April 2, 2020): 113–18. http://dx.doi.org/10.36744/m.298.
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In the course of the fatal voyage, General Carleton was transporting a cargo of tar and iron. This cargo facilitated the preservation of artefacts: the spilled tar formed a shell, which protected the artefacts from seawater. Therefore, the wood was not damaged nor deformed. These conditions allowed the divers to find another musical instrument, which happened to be a wooden fife. It was lying in the south-eastern part of the wreck, behind the mainmast step, where most personal belongings of the crew members were discovered.
The state of preservation of the flute is good. The X-ray photo confirmed the cylindrical cross section of the instrument. It’s dimensions indicate the C# or C tuning (transposed to B or Bb). Notwithstanding its atypical two-part construction, it should be classified, according to the Anglo-Saxon nomenclature as a fife, that is „a small cylindrical transverse Flute, but with a narrower bore and hence a louder, shriller sound than the flute proper”.
The maker’s marks are visible on the surface, under the embouchure hole and between the 3rd and the 4th finger hole. The name indicates that the fife was made by John Just Schuchart or Charles Schuchart. The dating suggests Charles (1720–65) as the maker. He had a shop on Chandois-street, Covent-garden, London, called “Two Flutes and Hautboy”.
Based on the signature type it can be said that the fife was produced in years 1759–65. The collections around the world include 8 recorders, 26 transverse flutes, 3 oboes, a clarinet and a bassoon from the workshops of father and son. It might be possible that there are no preserved analogies for the described instrument, which enriches the known collection of Schucharts’ instruments by one fife.
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Мurtozova, S. B. "From the history of music education in Uzbekistan." International Journal on Integrated Education 2, no. 4 (October 3, 2019): 32–38. http://dx.doi.org/10.31149/ijie.v2i4.108.
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This article is devoted to the study of the history of music education in Uzbekistan. Generalized questions about the changes in the field of music that occurred after the establishment of Soviet power in Uzbekistan, the subordination of music education to the ideas of communist ideology, the organization of local music, choral schools, schools of folk music, which focused on the promotion of European music.
Analyzed information about the first institutions of music education organized in the region at the beginning of the 20th century, the representatives who carried out their activities there, as well as the transformation processes that took place in this area, the formation of the music education system, ranging from elementary schools to higher musical education.
Considered such issues as the creation of textbooks, textbooks on music education, the publication of collections of children's songs, other books for schools and kindergartens, since the 30s of the twentieth century.
The opening of musical institutions in a number of regions of the country in the 60s of the twentieth century was important in the positive solution of the personnel question in the musical sphere, the organization of special classes on Uzbek folk musical instruments in all these institutions were positive changes in the musical sphere, these data are highlighted based on archival sources.
At the same time, the article describes the changes that occurred during the years of Soviet power in the field of music education in Uzbekistan, in particular, the organization of primary music schools, music schools, changes in this area, problems, information about the material and technical base of music education institutions.
The essence of such issues as widespread promotion of music schools mainly in large cities of Uzbekistan, training in these educational institutions in most cases only urban children, problems existing in this field, the proportion of representatives of local nationalities, teaching music theory in secondary schools, special music schools, colleges and conservatories was one of the most serious problems.
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Deaville, James. "Packing my Library." Journal of the Society for American Music 1, no. 2 (May 2007): 295–300. http://dx.doi.org/10.1017/s175219630707112x.
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In reviewing and packing my musicological library in preparation for a move, I came across documentation for a variety of studies and projects from the late 1970s and early 1980s that were based upon an electronic future for musical scholarship. Twenty years ago, such pioneering musicologists as Ian Bent, Barry S. Brook, Jan LaRue, and William Malm were assembling large searchable databases of writings, music, and instruments, even as theorists like Mario Baroni, Allen Forte, and Arthur Wenk were exploring computer technology to analyze and devise “grammars” of melodic construction and to identify and compare pitch-class sets. In those pre-Oakland (barely pre-Contemplating Music) days of the American Musicological Society, the gathering of such sources was considered an honorable practice—indeed, we owe the eminently useful RILM to the perspicacious Brook. While these collections of data ostensibly were to enable comprehensiveness in study and serve the purposes of comparative analysis, they ultimately did not lead to interpretation, not at least of the critical type that Joseph Kerman and later Lawrence Kramer and Susan McClary were advocating.
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Montagu, Jeremy, and Sumi Gunji. "The Collection of Musical Instruments." Galpin Society Journal 41 (October 1988): 137. http://dx.doi.org/10.2307/842735.
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Palmer, Frances, Sumi Gunji, Nakamizo Kazue, Mayumi Okada, and Nagasawa Tomoyu. "The Collection of Musical Instruments." Galpin Society Journal 51 (July 1998): 208. http://dx.doi.org/10.2307/842775.
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Yanuar, Dani. "Interaksi musikal dalam pertunjukan Kesenian Topeng Betawi." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 14, no. 1 (July 17, 2019): 10–18. http://dx.doi.org/10.33153/dewaruci.v14i1.2532.
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Penelitian ini membahas mengenai interaksi musikal dalam pertunjukan kesenian Topeng Betawi. Fokus permasalahan menitikberatkan tentang bagaimana jalinan interaksi musikal yang terjadi di antara para pemain musik dalam sajian gending pokok pertujukan kesenian Topeng Betawi. Metode yang digunakan dalam penelitian ini adalah deskriptif analisis yakni metode dengan cara menggambarkan atau melukiskan objek yang dikaji berdasarkan data-data yang diperoleh, yang kemudian dilakukan analisis terhadap data tersebut. Penelitian ini menerapkan teori interaksi musikal yang dirumuskan oleh Benjamin Brinner. Teknik pengumpulan data diperoleh melalui studi lapangan, perekaman audio-visual, dan studi pustaka. Hasil analisis dari penelitian ini dapat disimpulkan (1) Pemain rebab sebagai pimpinan yang memiliki kewajiban untuk mengkoordinasi jalannya pertunjukan. (2) Tata letak instrumen musik dari masing-masing penyaji didasarkan atas pertimbangan kelancaran pesan musikal. (3) Pesan musikal merupakan tanda yang kemudian mendapat respon dari pemain musik yang lain. (4) Struktur gending dipengaruhi jenis irama yang dimainkan. (5) Respon musikal merupakan wujud dari motivasi masing-masing pemain musik. ABSTRACTThis study discusses the musical interaction in Topeng Betawi art performances. The focus of the problem focuses on how the fabric of musical interaction that occurs between the musicians in the musical staple grain Performace Topeng Betawi arts. The method used in this research is a descriptive analysis of the methods by describing or depicting an object under study based on the data obtained, which then conducted an analysis of the data. This research applies the theory of musical interaction formulated by Benjamin Brinner. Data collection techniques gained through fieldworks, audio-visual recording, and literature. Analytical results from this study can be concluded (1) Player fiddle as a leader who has the obligation to coordinate the course of the show. (2) The layout of musical instruments from each presenter is based on the consideration of the smoothness of the musical message. (3) Book musicals is a sign that later received a response from the other music players. (4) The structure of the musical influenced the type of rhythm being played. (5) Response musical is a form of motivation for each music player.
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Sari, Dian Novita, and Desriyeni Desriyeni. "Klasifikasi Alat Musik Tradisional Minangkabau." Ilmu Informasi Perpustakaan dan Kearsipan 8, no. 1 (October 29, 2019): 88. http://dx.doi.org/10.24036/107301-0934.
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Abstract The writing of this paper aims to (1) find out the classification of Minangkabau traditional musical instruments; (2) knowing the process of classifying Minangkabau traditional musical instruments; (3) knowing the obstacles and efforts to overcome obstacles in the process of classifying Minangkabau traditional musical instruments. Writing this paper using descriptive research methods. Data was collected based on observations and interviews from various sources. Based on the results of the study it can be concluded as follows, first classifying the traditional Minangkabau musical instrument the first step taken is data collection and data compilation. Then classify musical instruments based on the types of musical instruments which are divided into five, namely striking, blowing, striking, picking and pressing musical instruments, but there are only four types of musical instruments in Minangkabau, namely striking, blowing, striking and picking instruments. The types of musical instruments are classified according to the guidelines on DDC (dewey decimal classification). The two processes of classifying traditional musical instruments have several parts, as follows: (1) Dewey's classification; (2) Determine the Main Class; (3) Determine Divisions; (4) Determine the Section. The three obstacles in the process of classifying traditional Minangkabau musical instruments are as follows: (1) lack of information regarding musical instruments in the Minangkabau Region including the area of origin of the musical instruments; (2) the difficulty of grouping musical instruments based on the type of musical instrument, because many names of musical instruments are almost the same. Efforts to overcome obstacles in the process of classifying Minangkabau traditional musical instruments are as follows: (1) conducting the process of collecting all data derived from several literatures and institutions that store traditional Minangkabau musical instruments; (2) pay close attention to musical instruments to be grouped according to the type of music.Keywords: classification; traditional musical instruments; minangkabau
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Hoover, Cynthia Adams. "Musical instrument collections: a special challenge." Museum International 48, no. 1 (March 1996): 4–5. http://dx.doi.org/10.1111/j.1468-0033.1996.tb01278.x.
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Hrvatin, Klara. "Alma Karlin’s Musical Miniatures." Poligrafi 24, no. 93/94 (December 18, 2019): 109–35. http://dx.doi.org/10.35469/poligrafi.2019.193.
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The following article serves as an introduction to one of the world’s greatest traveller Alma Maximiliane Karlin (1889–1950) and her music-religion related objects she probably brought from Japan, where she stayed from the beginning of June 1922 to July 1923. Not numerous, but in comparison to similar objects brought from other countries, the largest in number, the collection shows Karlin’s preference for simple instrument miniatures such as are models or miniatures of instruments shamisen, koto, yakumo-goto. Interesting are as well objects, which are indirectly related to Japanese music; ukiyo-e, postcards and small colored prins on postcards, depicting themes related to Japanese traditional instruments, small bronze tengu mask and others.
In order to better define those instruments and find a possible relation of these instruments and their religious practices to Karlin’s life, the article focuses as well on the Karlin’s non-classical travelogue, Slovenian translations of Einsame Weltreise: Die Tragödie einer Frau (Lonely Travel, 1929), in particular where she depicts her travel and stay in Japan. From her collection of instruments and her writings, the author searches how and to what extent Karlin developed a sense of, or was devoted to certain instruments which express some relation to Shinto or Buddhist religious practices.
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AYANGIL, RUHI. "Western Notation in Turkish Music." Journal of the Royal Asiatic Society 18, no. 4 (October 2008): 401–47. http://dx.doi.org/10.1017/s1356186308008651.
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The adoption of western notation (which is an example of graphic notation) as the “official system” in Turkey dates from after 1828. Sultan Mahmud II (reigned 1808–1839) abolished the Janissary force in 1826 and with it the musical unit of that army, it was a band for wind and percussion instruments (Mehterhâne-i Hümâyûn). He then organised his new army on western lines and thus introduced an institution of western origin, the military band, as the musical unit of his modern army. This new institution, which was European in its music system, instruments, repertoire and first and foremost its methods of education, was formed under the name Muzika-i Hümâyûn (the royal military band). Professional musicians were invited from Europe to participate and, with the foundation of Muzika-i Hümâyûn in 1827, the most far-reaching change in Turkish musical history took place. It was an outstanding manifestation of westernisation which necessarily made a deep impact on both the Turkish makam (modal) music system and the existence and the behaviour of the musicians who produced and performed it. The domination of makam music and its masters in court circles and their claim to be the sole and absolute system of taste was undermined, although the appreciation and respect of certain sultans and bureaucrats continued on a personal level. From that date on, a duality, an East-West dichotomy (the effects of which can still be seen), overtook the cultural sphere of which music was a part. Within this dichotomy, tonal polyphonic music of the West began to make its influence felt at least as much as, if not more than, makam based Turkish music both within the state framework and in the society at large. These dual concepts were referred to as Alla Turca and Alla Franga. While Alla Franga (alafranga in common parlance) came to symbolise modernity, change and the new life style, Alla Turca (alaturka in common parlance) became a manifestation of being archaic and conservative and of having a blind commitment to tradition and an under-developed taste (even no taste at all). Within this series of dichotomies, which took hold of every area of life (from literature to fashion also, eating habits, systems of beliefs, and education as well as government) makam based Turkish music received a large share of “cultural negation” with the judgement that it did not even have a decent notation system. It became marginalised and restricted to a narrow social group deeply and passionately devoted to it. Even during this process, makam music developed a dynamic of self-protection against “cultural negation” with its composers, theorists, publishers, performers and listening public. Makam music composers and performers learnt western notation, they wrote pieces down and deciphered music from that notation; a system of education based on modern methods developed while still preserving meşk (the traditional oral teaching method of Turkish music). These efforts were driven by the ‘ideal’ of transforming makam music, which was claimed to be archaic due to its monodic structure, into a polyphonic music. The musicians who knew western notation (such as Melekzet Efendi, Leon [Hancıyan] Efendi, etc.) were paid great amounts of money in order to record the works of the old masters in western notation and compile them, along with new compositions, into extensive note-collections (such as Muzika-i Hümâyûn Kumandanı [the commander of the royal military band] Necîp Paşa Collection and the Pertev Paşa Collection, etc.). Works were also published in note editions (such as Mâlûmat [literally meaning knowledge], Müntehâbât [literally meaning selections], Ûdî [lute-player] Arşak editions, etc.). Moreover, educational guides devoted to teaching makam theory and solmisation (such as Tanbûrî Cemîl Bey's Rehber-i Mûsikî [The Music Guide], Muallim [teacher] İsmail Hakkı Bey's Mahzen-i Esrâr-ı Mûsikî [The Cellar of the Secrets of Music], Muallim Kâzım Bey's Mûsikî Nazariyâtı [Music Theory], etc.) and the first methods for learning the instruments of makam music (such as Ûdî Salâhî Bey's Ud metodu [Lute Method], Seyyid Abdülkaadir Bey's Usûl-i Ta'lîm-i Keman [Method for Practising Violin, etc.], modelled on their European counterparts, were beginning to be published.
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Oliver, Paul. "The Tagore collection of Indian musical instruments." Popular Music 7, no. 2 (May 1988): 218–20. http://dx.doi.org/10.1017/s0261143000002798.
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Fearnley, Jolyon, and Clifford Bevan. "Musical Instrument Collections in the British Isles." Galpin Society Journal 44 (March 1991): 168. http://dx.doi.org/10.2307/842226.
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Lytvyshchenko, O. V. "O. I. Nazarenko as a coryphaeus of the Kharkiv accordion school: formation of the authorial style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 43–56. http://dx.doi.org/10.34064/khnum1-56.03.
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Problem statement. The pedagogical activity of the Merited Artist of Ukraine, Professor O. I. Nazarenko is more than fifty years old. The maestro’s name will become history of the Department of Folk Instruments of Kharkiv I. P. Kotliarevskyi National University of Arts. It is impossible to disregard O. Nazarenko’s creative achievements and multifaceted activity, first, because his enormous contribution to the development of the academic accordion in Kharkiv and his authority reaches far beyond Kharkiv and Ukraine. Well-known modern accordionists and orchestral ensembles perform the composer’s works with great respect and persistence. The artist’s pedagogical activity, his talent as a teacher and mentor was found itself in students who achieved outstanding success thanks to high-quality professional training. The object of the research is O. Nazarenko’s musical activity. The aim is to determine characteristic features of O. Nazarenko’s authorial style in the context of Kharkiv Accordion School traditions. Methodology. This study is based on historical, genre and stylystic as well as interpretive method. The methodological basis is formed by the works of Yu. Diachenko (2012), M. Pliushenko (2017), I. Sniedkov (2016), A. Strilets (2018), which partly appeal to O. Nazarenko’s work and the history of Kharkiv Accordion School. Presenting the main material. One of the brightest representatives of Kharkiv Accordion School is the teacher, performer, composer and conductor O. I. Nazarenko. In the context of Kharkiv Accordion School formation and development, O. Nazarenko was remembered for his networking with famous Kharkiv composers. From 1967 to 1987 O. Nazarenko performed many authorial programs of such Kharkiv composers as V. Bibik, F.Bogdanov, O. Zhuk, V. Zolotukhin, D. Klebanov, I. Kovach, T. Kravtsov, G. Finarovsky, S. Faintukh and N. Yukhnovska. Working as a solo accordionist and accompanist, O. Nazarenko gained richer experience and recognition of stage colleagues; he accompanied the People’s Artists of the USSR such as Ye. Chervoniuk, M. Manoilo, Yu. Bogatykov and N. Surzhina, People’s and Merited Artists of Ukraine as V. Arkanova, A. Rezilova, Yu. Ivanov and others. While setting piano vocal works by Kharkiv composers, O. Nazarenko made editions for accordion and enriched the texture of his own works in every possible way. Materials of arrangements, settings, transcriptions were periodically published in such publishing houses’ collections as “Music” (Moscow), “Musical Ukraine” (Kyiv). We cannot ignore the maestro’s creative contacts with V. Podgorny, who influenced his further activity and made a contributive mark on the path of his professional development. Mastering the technique of influencing the listener through emotional and expressive accordion playing was important for O. Nazarenko. V. Podgorny who possessed a brilliant technique of working with sound, was mentioned by O. Nazarenko as “the artist of sound”. It was communication and creative contact with V.Podgorny that enriched the professional background and stimulation of the composer’s talents in young Olexandr’s soul. O. Nazarenko’s specific performing and composing style was formed under V. Podgorny’s influence also. As one of his brightest students, he collaborated with him, was interested in new creative ideas and imitated the teacher’s manner. O. Nazarenko’s work is more connected with singing and folklore; Ukrainian, Russian, Gypsy, Georgian and Latin American motives became the basis of his musical compositions. Based on folk and authorial melodies, he created largescale complex structures with vivid musical images. A typical feature of topics for adaptation, transcription and arrangement was the idea of taking unfamiliar works, which no one had previously addressed to. This attracts performers to search for their own interpretations without imitating already known performer interpretations. Many works in the maestro’s interpretation are characterized by a waltz manner. During his life, from childhood, all the memories and experiences accumulated and became the basis for many of his works. According to his words, he actively attended music evenings in a village club and school after the war, where he could listen to modern waltz-like music by Soviet composers. The first author’s melody, “Elegy Waltz”, which represents lyrics and romantic images as memories, was a dedication to his brother Volodymyr. The author comments that it was his brother who showed him waltz and taught him to dance it in his childhood. Many accordion works by O. Nazarenko are characterized by symphonic principles of development, which are also used in fantasia genre. In this genre, a dramatic and deeply psychological work interpreting Russian folk song “Thin Rowan” was written, which absorbed the emotions of the author’s inner experiences (being a dedication to his mother Alexandra Monakova). Being an excellent accordionist, he is aware of the instrument’s possibilities and implements this knowledge in working on musical works. He pays much attention to image intonation and the specifics of imitation of other instruments. His performance methods were based on the works by S. Richter, E. Hilels, L. Kohan, Ya. Heifetz and many other maestros. These ideas gave him, as a performer, an extremely subtle feeling of timbre. In the manner of his performance, he made the audience not only listen, but also hear, which is very important for perception of musical work. O. I. Nazarenko managed to raise a large number of students for many years of pedagogical activity. They represent his name not only in Ukraine but also abroad. Conclusions. O. Nazarenko’s authorial style is original and multifaceted, it consists of composition, performance and pedagogical activities. The authorial style formation was greatly influenced by Kharkiv cultural environment, creative connection with V. Podgorny and performing traditions of Kharkiv Accordion School in general. O. Nazarenko’s original compositional style is manifested in the genres of transcription, fantasia and arrangement of folk songs for accordion. O. Nazarenko’s works include a number of ones written and dedicated to people who left a great dramatic imprint in his life. Works dedicated to his mother, father, wife and brother are a musical word where dramatic images emphasize the expression and specificity of addressing close people. Due to the bright timbres, rich texture and registers, the composer’s musical compositions become symphonic, going far beyond the basic thematic material. Based on folk and authorial melodies, he created large-scale complex structures with vivid musical images. O. Nazarenko’s works require a performer’s high level of technical training, an intellectual approach to understanding all the musical text details, fastidious work on the sound. These components of performing skills are inherent in the maestro as a representative of Kharkiv Accordion School.
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Topoğlu, Onur, and Evin Erden Topoğlu. "Examining perceived self-regulation beliefs of pre-service music teachers in musical instrument practice." Journal of Human Sciences 15, no. 4 (November 19, 2018): 2180. http://dx.doi.org/10.14687/jhs.v15i4.5535.
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The aim of this study is to investigate whether there are significant differences between perceived self-regulation beliefs of pre-service music teachers in their instrument practice and their genders, ages, universities, hours of daily practice, instruments and their career goals. Also under investigation is the correlation between perceived self-regulation beliefs of pre-service music teachers and their academic achievement scores of their principal instrument lessons. The study is a quantitative descriptive study. Participants of the study consisted of 249 pre-service music teachers (F=131; M=118). The participants were receiving education from the universities that are found in the western part of Turkey. Criterion sampling was used for the study. The Self-Regulation in Instrumental Practice Scale (Özmenteş, 2007) and a personal information form were used as data collection tools. The results showed that there are significant differences between levels of perceived self-regulation beliefs of participants and their career goals and the time they spent on instrument practice. Also discovered was a small positive significant correlation between perceived self-regulation beliefs of participants and their academic achievement scores on instrument practice/performance. The results were discussed in the light of the literature.
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Koskoff, Ellen, and Genevieve Dournon. "Guide for the Collection of Traditional Musical Instruments." Ethnomusicology 30, no. 1 (1986): 168. http://dx.doi.org/10.2307/851849.
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Gunji, Sumi. "Interpreting musical instruments: a university collection in Japan." Museum International 48, no. 1 (March 1996): 6–8. http://dx.doi.org/10.1111/j.1468-0033.1996.tb01279.x.
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YETTI, ELINDRA, and ICHA KHAIRIAH. "PENINGKATAN KEMAMPUAN MUSIKALITAS MELALUI BERMAIN ALAT MUSIK DOL." JPUD - Jurnal Pendidikan Usia Dini 11, no. 2 (November 30, 2017): 226–37. http://dx.doi.org/10.21009/jpud.112.03.
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Abstract: This study aims to know whether the use instrument dol can the ability of children in earlychildhood musical Paud Al-khair Air Napal Sub District, Bengkulu Utara Regency, BengkuluProvince, 2016. The method used is action research model Kemmis & Mc Taggart. The subjects of thisresearch were 17 children of group B in Paud Al-khair. The study was conducted in two cyclesconsisting of nine meetings in each the cycle. Techniques of data collection was done throughobservation, interviews and document study. Techniques of data analysis in this research is theanalysis of qualitative data and quantitative data analysis. The results showed that the musicalabilities of children in group B in PAUD Al-khair increased after they performed activities play amusical instrument dol. Scores of children's musical ability was recorded at 36.5 at the pre-cycle.Musical ability scores increased to 52.4 at the end of the first cycle, and continuously increased to59.2 at the end of the second cycle. The results of this study implies that playing a musical instrumentdol can be used as one way to improve musical ability in children early age.
Keywords: Ability Music, Playing musical instruments Dol Abstrak: Penelitian ini bertujuan untuk mengetahui proses dan hasil bermain alat musik dol untukmeningkatkan kemampuan musikal anak di PAUD Al-khair Kecamatan Air Napal KabupatenBengkulu Utara-Bengkulu, Tahun 2016. Metode penelitian yang digunakan adalah penelitian tindakandengan model Kemmis & Mc Taggart. Subjek penelitian adalah anak kelompok B sebanyak 17 orang.Penelitian dilakukan dalam dua siklus yang terdiri dari sembilan kali pertemuan pada setiap siklus.Tekhnik pengumpulan data dilakukan melalui observasi, wawancara dan studi dokumen. Tekhnikanalisis data dalam penelitian ini adalah analisis data kualitatif dan analisis data kuantitatif. Hasilpenelitian menunjukkan bahwa kemampuan musikal anak kelompok B di PAUD Al-khair mengalamipeningkatan setelah mereka melakukan kegiatan bermain alat musik dol. Skor kemampuan musikalanak tercatat sebesar 36,5 pada tahap pra-siklus. Skor kemampuan musikal meningkat menjadi 52,4pada akhir siklus I, dan terus mengalami peningkatan menjadi 59,2 pada akhir siklus II. Hasilpenelitian ini memberi implikasi bahwa bermain alat musik dol dapat dijadikan sebagai salah satu carauntuk meningkatkan kemampuan musikalitas pada anak-anak usia diri.
Kata Kunci: Kemampuan Musik, Bermain alat musik Dol.
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Koster, John. "Restoration, reconstruction and copying in musical‐instrument collections." Museum International 48, no. 1 (March 1996): 36–40. http://dx.doi.org/10.1111/j.1468-0033.1996.tb01285.x.
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Kjeldsberg, Peter Andreas, and Arnold Myers. "Historic Musical Instruments in the Edinburgh University Collection: Catalogue..." Galpin Society Journal 48 (March 1995): 216. http://dx.doi.org/10.2307/842821.
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MacMahon, Michael K. C. "The Collection of Musical Instruments of Sir Nicholas Shackleton." Henry Sweet Society for the History of Linguistic Ideas Bulletin 49, no. 1 (November 2007): 53–54. http://dx.doi.org/10.1080/02674971.2007.11827184.
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Kotašová, Daniela. "Erard Harps in the Collection of the Czech Museum of Music." Musicalia 10, no. 1-2 (December 1, 2018): 85–114. http://dx.doi.org/10.1515/muscz-2018-0003.
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Abstract The present harp collection of the National Museum – Czech Museum of Music contains Erard pedal harps from various periods of that famed Parisian company’s activity. In creating musical instruments, Sébastian Erard built upon the work of G. Cousineau and C. Groll and became the most successful manufacturer of double-action pedal harps with a fourchette (fork) mechanism (mécanique à fourchettes et à double mouvement). Erard’s work as an instrument maker influenced not only the historical development of the harp, but also the work of other instrument makers. In Bohemia, the Czech harp maker Alois Červenka (1858–1938) built upon Erard’s work with great success. The Erard harps in the collection of the Czech Museum of Music document the Czech socio-cultural context in which the harps of the French instrument maker were used from the late nineteenth century until the middle of the twentieth.
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RAMEL, SYLVIE. "Conservation and restoration of electroacoustic musical instruments at the Musée de la Musique, Paris." Organised Sound 9, no. 1 (April 2004): 87–90. http://dx.doi.org/10.1017/s1355771804000111.
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The Museum of Music in Paris possesses a collection of 280 instruments from the twentieth century. Most of them belong to the general families of electric and electronic musical instruments, which we will call ‘electrophones’, in deference to the name chosen by Curt Sachs (1940). The instruments are gathered in families so that the whole collection illustrates the milestones of the twentieth century; for instance, the museum has a large set of diverse Ondes Martenot. However, due to its scarcity, the Trautonium is represented by one of Oscar Sala's Mixtur-Trautonia.Like any museum, we have to encourage the conservation of this heritage. To maintain a large collection of electrophones like the one we have, a specific knowledge base has to be developed. We have been working on this aspect of the project for the past two years. From the onset, it was decided to start the collection with the Ondes Martenot. Our aim was to define a model approach that could also be applied to other electric and electronic instruments. This work involves organising the instruments, studying them in order to outline conditions of appropriate conservation, and determining which kind(s) of restoration should be undertaken.A first step has been to gather all information necessary to understanding the instrument and its mode of performance. With this goal in mind, we have taken a complete inventory of our collection with the aim of coming up with a first assessment of the state of the instruments and determining whether to allow performers to play them. Thanks to this work, we were able to start taking precautionary measures against degradation; we are now also able to answer many questions relevant to the restoration and conservation of this collection.
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Khakim, Moch Nurfahrul Lukmanul. "Museum Musik Indonesia sebagai Wisata Edukasi di Kota Malang." Jurnal Pendidikan Sejarah 8, no. 1 (September 26, 2019): 67–78. http://dx.doi.org/10.21009/jps.081.06.
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Malang as a city with many tourist destinations, has advantages in every field of tourism. Of the many tourist destinations, research on museums is very rare, even though museums can be interesting educational facilities for students or the general public. One of the museums in Malang City is the Indonesian Music Museum, this museum is relatively new so it is interesting to study. This museum has 26000 music collections. The details, as many as 16,718 are cassettes; 3,118 compact discs (CDs); 3,108 printed materials such as posters, books and leaflets; 2,985 LPs; 108 musical instruments (guitars, drums, etc.); 55 artist clothes; and 13 audio equipment. The Indonesian Music Museum can be used as an educational tour for the people of Malang to get to know the history of music in Indonesia. In addition, the potential to become one of the leading tours in Malang City is very open as long as it is done with active and attractive promotions.
Malang sebagai salah satu kota dengan destinasi wisata yang cukup banyak, mempunyai keunggulan dalam setiap bidang wisata. Dari sekian banyak destinasi wisata tersebut, penelitian tentang museum sangat jarang, padahal museum bisa menjadi sarana edukasi yang menarik untuk para pelajar ataupun masyarakat umum. Salah satu museum yang ada di Kota Malang adalah Museum Musik Indonesia, museum ini tergolong baru sehingga menarik untuk diteliti. Museum ini memiliki 26000 koleksi musik. Rinciannya, sebanyak 16.718 adalah kaset; 3.118 buah compact disc (CD); 3.108 barang cetakan seperti poster, buku, dan leaflet; 2.985 piringan hitam; 108 instrumen musik (gitar, drum, dan lain-lain); 55 baju artis; dan 13 peralatan audio. Museum Musik Indonesia dapat dijadikan sebagai wisata edukasi bagi masyarakat Malang untuk mengenal sejarah musik di Indonesia. Selain itu potensi untuk menjadi salah satu wisata unggulan di Kota Malang sangat terbuka luas asalkan dilakukan dengan promosi yang giat dan menarik.
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Wintgens, Veronique, and Malou Haine. "Musica. Les instruments de musique dans les collections belges." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 45 (1991): 227. http://dx.doi.org/10.2307/3686962.
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Bär, Frank P. "A curator's dearest child – examining musical instruments for collection catalogues." Journal of Cultural Heritage 27 (October 2017): S8—S16. http://dx.doi.org/10.1016/j.culher.2017.05.006.
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H. la R. "Historic Musical Instruments in the Edinburgh University Collection, Catalogue of the Edinburgh University Collection of Historic Musical Instruments, Volume 2, Part K, Ancillary Equipment." Journal of the History of Collections 8, no. 2 (January 1, 1996): 225–26. http://dx.doi.org/10.1093/jhc/8.2.225-a.
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Yatimin, Yatimin, and Santosa Soewarlan. "“PAMETHUK PARI” EKSPRESI MUSIKAL RITUAL PETHIK PARI DI DESA SUMBER ASRI KECAMATAN PURWOHARJO KABUPATEN BANYUWANGI JAWA TIMUR." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 20, no. 1 (April 16, 2021): 1–13. http://dx.doi.org/10.33153/keteg.v20i1.3564.
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Pamethuk Pari, a Musical Expression of the Pethik Pari Ritual, is a form of music based on the ethnic Banyuwangi music using Angklung Paglak as a performance art. Interest in the existence of this ritual is becoming unknown in society. The phenomenon that occurs in the Pethik Pari ritual is rarely done in Banyuwangi Regency. The concept of art used is a symbolic concept with an arrangement concept that emphasizes new music with Banyuwangi ethnic music media. The initial steps in the process of creating a musical work Pamethuk Pari include 1) observation to determine the possible limitations to be packaged in a musical piece. Observations were made by looking for information that reviewed the Pethik Pari ritual, 2) Search for materials looking for instruments whose sound characters could represent rural nuances, 3) Collection of Materials, 4) Methods and Stages of Material Processing so that the links between the musical instruments could complement one another 5) Technical arrangement of materials by means of instrument exploration. The philosophy of the musical Pamethuk Pari contains guidelines for community life that teach mutual respect, togetherness, and gratitude to God Almighty.
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Driscoll, Virginia D., Jacob Oleson, Dingfeng Jiang, and Kate Gfeller. "Effects of Training on Recognition of Musical Instruments Presented through Cochlear Implant Simulations." Journal of the American Academy of Audiology 20, no. 01 (January 2009): 071–82. http://dx.doi.org/10.3766/jaaa.20.1.7.
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Background: The simulation of the CI (cochlear implant) signal presents a degraded representation of each musical instrument, which makes recognition difficult. Purpose: To examine the efficiency and effectiveness of three types of training on recognition of musical instruments as presented through simulations of the sounds transmitted through a CI. Research Design: Participants were randomly assigned to one of three training conditions: repeated exposure, feedback, and direct instruction. Study Sample: Sixty-six adults with normal hearing. Intervention: Each participant completed three training sessions per week, over a five-week time period, in which they listened to the CI simulations of eight different musical instruments. Data Collection and Analysis: Analyses on percent of instruments identified correctly showed statistically significant differences between recognition accuracy of the three training conditions (p< .01). Results: those assigned to the direct instruction group showed the greatest improvement over the five-week training period as well as sustained improvement after training. The feedback group achieved the next highest level of recognition accuracy. The repeated exposure group showed modest improvement during the first three-week time period, but no subsequent improvements. Conclusions: These results indicate that different types of training are differentially effective with regard to improving recognition of musical instruments presented through a degraded signal, which has practical implications for the auditory rehabilitation of persons who use cochlear implants.
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Álvarez Arzate, María Dolores. "RECOPILACIÓN DEL CONOCIMIENTO ORAL DE LA LENGUA Y CULTURA GARÍFUNA." Revista Pueblos y fronteras digital 4, no. 8 (December 1, 2009): 85. http://dx.doi.org/10.22201/cimsur.18704115e.2009.8.173.
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El presente estudio trata de las tradiciones que configuran la identidad cultural de los garífunas/garinagu asentados actualmente en el territorio nicaragüense y tiene como finalidad apoyar a la revitalización de su lengua y cultura.
Se confirma la existencia de portadoras y portadores activos que contribuyen a la recopilación del conocimiento oral con quienes se abordan temas como: alimentación, vida cotidiana, juegos infantiles, organización social, relaciones de parentesco, economía, educación, fiestas y rituales, instrumentos musicales, manifestaciones artísticas, medicina tradicional, migraciones y vivienda.
ABSTRACT
The present study deals with the traditions that shape the cultural identity of the Gariphuna/Garinagu currently settled in Nicaraguan territory and are intended to support the revitalization of their language and culture.
It confirms the existence of active bearers that contribute to the collection of oral knowledge who covers topics like: diet, daily life, playgrounds, social organization, kinship, economy, education, festivals and rituals, musical instruments, artistic, traditional medicine, migration and housing.
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Tyshchyk, V. "The system formation of professional accordionist’s skills on the example of V. Vlasov «Album for children and youth»." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 172–87. http://dx.doi.org/10.34064/khnum2-49.12.
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Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.
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Simanjuntak, Bella Cindy Juwita, Pulumun Peterus Ginting, and Wiflihani Wiflihani. "Kolaborasi Alat Musik Tradisional dan Alat Musik Modern dalam Mengiringi Ibadah Minggu di HKBP Tanjung Sari Medan." Journal of Education, Humaniora and Social Sciences (JEHSS) 1, no. 3 (March 10, 2019): 170–76. http://dx.doi.org/10.34007/jehss.v1i3.35.
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This study discusses the collaboration of traditional musical instruments and modern musical instruments in accompanying Sunday services at HKBP Tanjung Sari Medan. The purpose of this study was to find out the background and process of collaboration of traditional musical instruments and modern musical instruments in the HKBP Tanjung Sari church in Medan. The method used in this study is qualitative descriptive. The location of the study was carried out at the Tanjung Sari HKBP church, Jl. Setia Budi No. 11, Medan. The population of this study is traditional musical instruments and modern musical instruments used in accompanying Sunday services at HKBP Tanjung Sari Medan. While the samples in this study were Taganing, drums, keyboards, acoustic guitars, bass guitars, saxophone which were used to accompany Sunday services at HKBP Tanjung Sari Medan. The data collection technique is through observation, interviews, documentation, and library studies. Based on the results of the study, it can be seen that traditional musical instruments and modern musical instruments used in accompanying Sunday services at HKBP Tanjung Sari Medan, namely: Taganing, drums, keyboards, acoustic guitars, bass guitars, saxophone. The songs used in accompanying Sunday Service at HKBP Tanjung Sari Medan, and the collaboration process of traditional musical instruments and modern musical instruments in the HKBP Tanjung Sari church in Medan.
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Bayuk, Dimitri. "Literature, Music, and Science in Nineteenth Century Russian Culture: Prince Odoyevskiy’s Quest for a Natural Enharmonic Scale." Science in Context 15, no. 2 (June 2002): 183–207. http://dx.doi.org/10.1017/s026988970200042x.
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ArgumentAn attempt to understand and analyze a unique nineteenth-century musical instrument – the enharmonic piano from the collection of the Glinka Museum of Russian Musical Culture in Moscow – directs a historian towards Prince Vladimir Odoyevskiy’s efforts to construct a special musical scale corresponding to the indigenous tradition of Russian music. Known today mostly as an author of Romantic short stories, Odoyevskiy was also an amateur scientist and musician, a follower of Schelling’s Naturphilosophie, and a mystic. He tried to design his new musical scale and instruments on the basis of experimental science and mathematics. Odoyevskiy’s life-long search for a synthesis of literature, music, positive science, and spirituality demonstrates how the adaptation and appropriation of European arts preceded and paved the way towards the appropriation of European sciences among the educated élite in nineteenth-century Russia. The tensions inherent in the process led to Odoyevskiy’s nationalist rebellion against the European musical standard, the equal temperament. His call for a different musical scale remained largely ignored in the nineteenth century, until the topic was raised anew by twentieth-century composers and musicians.
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Wafa, Mochammad Usman, Neli Purwani, and Abdul Malik. "Characteristics of Titounis Children Songs: A Study of Songs, Music Instruments and Onomatopoeia." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 161–66. http://dx.doi.org/10.15294/harmonia.v20i2.25539.
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The purpose of the study is to describe an analysis of children’s song characteristics Titounis. This study used a musicological approach to recognize songs’ characteristics. The data collection were document study and, listen and take note. This study used a content analysis technique. The analysis cover three aspects: (1) songs’ analysis, (2) instruments’ analysis, (3) Onomatopoeia. The songs that were analyzed were (1) Petit Escargot, (2) Le Roues de l Autobus, (3) Les Chiffres, (4) Un kilometer en Roulant. In the song analysis, the patterns used were general patterns, using fun and cheerful vocals, strong tonal stress, relatively limited variations in tones, slow, fast, and gradual tempo. The delivery style invites singing as well as dialogue or interaction. Then in musical instruments, the melody variations of each instrument form harmonization, the use of non-musical instruments emphasizes the theme of the song and provides the experience of hearing about the environment. The onomatopoeic analysis shows sound vroom (car), pataboum (jumping passengers), bip-bip-bip (serine), suisse-suisse (wiper). The onomatopoeia of Titounis songs serves to strengthen the song’s theme.
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Robinson, Richard. "The Faenza Codex." Journal of Musicology 34, no. 4 (2017): 610–46. http://dx.doi.org/10.1525/jm.2017.34.4.610.
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Owing to gaps in the documentary evidence, the study of medieval instrumental music remains beset with uncertainties. Yet once a context can be established for a given manuscript, it is often possible to establish where the manuscript was probably used, what function it performed, and for which instrument or instruments it was most likely intended. No example highlights this point more clearly than the Faenza Codex (FaenBC 117; henceforth Faenza), an Italian manuscript containing the largest surviving collection of instrumental music from before 1450. This article re-examines the repertorial context of Faenza, challenging in particular the widely held view that the manuscript contains distinct “secular” and “sacred” repertoire. When combined with the results of a comprehensive investigation of voice-crossings in the manuscript, it is possible to demonstrate beyond all doubt that the Faenza intabulations were intended for solo organ.
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Nur, M. Ridham, and Yensharti Yensharti. "ANALISIS BENTUK DAN STRUKTUR MUSIK PROGRAMA DANSE MACABRE KARYA CAMILLE SAINT-SAENS." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 35. http://dx.doi.org/10.24036/jsu.v9i2.110524.
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The study aims to analyze the shape and musical structure of Camille Saint-Saens's "Danse Macabre" programa, which looks at the extra elements of musicals and Intra musicals as a whole. This study uses a musical approach and the results are qualitative. The main instruments in this study are the researchers themselves. Data collection techniques are done by means of library studies and observations. The steps to analyze data are to collect data, describe data, analyze and make conclusions. The results showed that Danse Macabre is a free form of music composition in which this form of music is irregular/bound to any form of music seen working on melodies that flow just like that based on the story the composer describes can be seen based on the extramusical and intra musical elements. The integrity of Danse Macabre's programa music work is formed from the Intro section, part A, part B, part A1, part A2, part B1, part B2, part A3, part C, part C1, part A+B, and the Coda section with the kadens on the last two seasons. Introduction tells the story of the midnight time played by Harp, resulting in the sound of clocks that signify the day at exactly 00:00 or midnight and the Grimp Reaper begins summoning ghosts to party and dance.Keywords: Shape Analysis, Danse Macabre, Camille Saint-Saens
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Sulastri, Sulastri. "JURNAL INGGRIS ANGKLUNG TRAINING FOR PAUD TEACHERS." Empowerment 8, no. 1 (February 28, 2019): 30. http://dx.doi.org/10.22460/empowerment.v8i1p30-38.1155.
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West Java is the area that is rich in traditional music, one of them is angklung, which is a musical instrument made of bamboo and played by shaking . As one of the traditional musical instruments, angklung as musical instrument should be maintained by the community so that it can still be heard and played and even preserved to the next generation. One effort to appreciate and preserve angklung traditional music, IGTKI (Bandung Kindergarten Teachers Association) held a Training to improve the professional competence of early childhood education teachers as a target audience in mastering traditional angklung music to be able to transfer knowledge to children early age in PAUD. The purpose of this study analyzed the implementation of angklung extracurricular learning in PAUD in Bandung as a vehicle for the preservation of traditional music in West Java. This study uses qualitative descriptive as the method. Data collection techniques used were observation, interviews, and documentation. By preserving angklung traditional music, it is hoped that angklung music will remain a cultural heritage of West Java without fear of being seized by other countries.Keywords; Training, Education Teachers, PAUD, Angklung
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Diaz, Khaerul Umam, and Syahrul Syah Sinaga. "Kreativitas Kreativitas Bentuk IringanMusik Pada Paduan Suara Muslimat Desa Bergas Kidul Di Semarang." JURNAL SENI MUSIK 8, no. 1 (June 24, 2019): 43–48. http://dx.doi.org/10.15294/jsm.v8i1.28718.
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Muslimat Choir is an art that combines two elements of music namely Choir and regional Musical Instruments (Angklung) and has its own technique in using Angklung as a Choir Accompaniment. Muslimat Choirs Become One of the Icon of Tourism Village in Bergas Kidul Village, Bergas District, Semarang Regency. The purpose of this study was to find out and describe the creativity of the Muslimat choir musical accompaniment in the Bergas Kidul village in Semarang. This study was examined using a qualitative musicology approach. Data collection techniques include interviews, observation, and documentation. The data analysis technique used is interactive analysis techniques which include data reduction, data presentation, and conclusion drawing. This study shows that the use of traditional Angklung musical instruments is to use the A Man method. the composition of the music on the songs contained in the Muslimat Choir, using the Angklung instrument, using Arabic and Indonesian verses using melodies that move to jump and step up and down including in close harmony, have medium and fast tempo variations tend to be dynamically loud using the signal 4/4. Advice that can be given by the author is that the music will be more colorful if the addition of rhythmic instruments such as drums, because the drum can also keep the tempo more suitable and the music becomes more festive.