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1
Blackburn, Manuella. "Instruments INDIA: A sound archive for educational and compositional use." Organised Sound 19, no. 2 (June 30, 2014): 146–53. http://dx.doi.org/10.1017/s1355771814000089.
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This article documents the evolution of the ‘Instruments INDIA’ project, which led to the creation of an online sound archive of Indian musical instruments. Recording work with approximately 27 musicians provided material for this interactive resource (which functions as an educational tool and concertgoer's guide), and also for compositional work, where culturally tied sound material formed the basis for two new works; Javaari (acousmatic) and New shruti (mixed work) for sarod and electronics. Trialling a variety of methods for gathering and then subsequently integrating sounds from Indian musical instruments into electroacoustic compositions provided a framework for the exploration of hybridity and intercultural sound interactions, while observing the translation and transference of highly emblematic sounds from one musical tradition to the next also led to unique artistic and theoretical outcomes. Curatorial decisions made with my project partners, Milapfest (the UK's leading Indian Arts Development Trust) regarding the participating musicians and their sound contributions posed further considerations for the representative quality of each instrument showcased on the archive. Gathering appropriate material for users of the archive (young learners, audience members and interested laypeople) while capturing sounds suitable for compositional purposes presented new challenges within the recording environment. Further complexities surfaced when this challenge was coupled with a lesser degree of familiarity with instrument capabilities, playing styles and cultural traditions. This unique collaboration with cultural sounds and performance practices raised questions about my compositional intentions, cross-cultural borrowing, respectful practice, and the unavoidable undertones of cultural appropriation and colonial attitude.
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Dehideniya, I. "Evolution of the Kandyan Vina of Sri Lanka with Special Reference to the Contemporary Usage." Vidyodaya Journal of Humanities and Social Sciences 07, no. 01 (2022): 125–47. http://dx.doi.org/10.31357/fhss/vjhss.v07i01.08.
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The string instrument, the Kandyan vina (Uḍaraṭa Vīṇā), once portrayed in the book by John Davy as “Venah”, shares close resemblance with the Coconut shell fiddle instruments in India, in terms of their inherent form, structure, cultural peculiarities and playing posture. Such similarities serve to confirm that the prototypic musical instrument – the Kandyan vina, originated from the Coconut shell fiddle instruments of India. According to sources, the prototype instrument of the Kandyan vina arrived with the gypsy groups who migrated to Sri Lanka from Andhra Pradesh or Tamil Nadu during the Kandy period of 1600-1750 AD. Since then, until 1980-1990 AD, the prototype instrument was developed by the influence of the Western musical instruments and musical intelligence, available material, creative methods inherent in the aristocratic, villagers, beggars, Veddas, and gypsy communities. Therefore, the rise of the Kandyan vina is proven to have originated within Sri Lanka as a unique native string instrument. Research objectives of this study are: firstly, to re-introduce a native string instrument according to its true historic trails; secondly, a modern Kandyan vina is constructed using the modified knowledge discovered through exploring the ancient Kandyan vina instruments; and thirdly, to assimilate knowledge of a musical instrument based on its historical literature and archaeological data from an Archaeomusicological perspective. With this in mind, Frescoes/murals, artefacts, legal documents and primary books were used as the primary sources, while journal articles and secondary books were used as secondary sources.
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Naylor, Steven. "Borrowed for Permanent Use: The Instruments INDIA commissions." Organised Sound 24, no. 02 (August 2019): 121–29. http://dx.doi.org/10.1017/s1355771819000165.
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This article reflects on a number of issues surrounding the appropriation of culturally identifiable sound material for artistic purposes – both overall or broader concerns and those that may arise particularly in conjunction with electroacoustic musical composition. More specifically, we explore questions potentially raised by three electroacoustic compositions recently commissioned by the Instruments INDIA project, a unique cultural partnership between Liverpool Hope University (represented by Dr Manuella Blackburn) and Milapfest (represented by Alok Nayak). Those three compositions were created exclusively with materials from an extensive library of Indian music performances, curated and recorded by Blackburn specifically for Instruments INDIA, and premiered in concert in Liverpool, UK, 20 January 2017. Following the broader discussion of relevant concerns, we briefly review some perspectives offered by the three composers (one of whom is the author), as they relate to cultural appropriation in general, and working with the Instruments INDIA sound library in particular.
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Kartashova, Tatiana Viktorovna, and Viktoriia Yurevna Antipova. "Cyclicity as a Leading Structural Parameter of Musical Compositions in Cultures of South and South-East Asia." Ethnic Culture, no. 1 (1) (December 26, 2019): 45–47. http://dx.doi.org/10.31483/r-64075.
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The article is devoted to the identification of conceptually identical perceptions of musical time in the cultures of India and Indonesia. The paper considers tala, the Indian category of time, in the context of structuring the parameters of musical compositions in Indian art. Gamelans (Indonesian ensembles of musical instruments) are described in detail as well as the basic principles of organizing musical material in the compositions they perform. The aim of the work is to compare the patterns of perception of the category of time in the cultures of India and Indonesia. The research methodology is based on the principles of an integrated approach that considers the musical traditions of these countries from theoretical and historical-cultural positions. In the process of working on this article, the key role was played by the experience of studying Indian and Indonesian cultures obtained by the authors during scientific internships in India and Indonesia (T.V. Kartashova – institute Shriram Bharatiya Kala Kendra in 2004–2006 and in 2009 (New-Delhi, India); V.U. Antipova studied at the Indonesian Institute of Arts in Yogyakarta under the Darmasiswa Indonesian Scholarship program in the 2017–2018 academic year). The result of the study is the identification of the cyclical nature of musical time in the art of India and Indonesia. It is concluded that in the coordinate systems of different civilizations there are certain intersection points, and often they appear at a conceptual level. The identification of common interpretations of various categories makes it possible to comprehend deep intercivilizational ties, which makes it possible to identify the relatedness of the basics of world understanding in the cultures of South and Southeast Asia.
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Uddhav, Pravin. "Origin, Development, Classification and Historicity of Ancient Percussion Instruments." Journal of Fine Arts Campus 3, no. 1 (December 31, 2021): 23–30. http://dx.doi.org/10.3126/jfac.v3i1.42492.
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Music has a prominent place in fine arts. This art has been considered as a means of spiritual satisfaction. Apart from material excellence and fame, music has an important place in all the different ways of devotion or worship in India. There have been two main types of worship since ancient times as Vedic and Tantric. The Avanaddha instrument maintains the rhythm in singing, dancing and instrument-playing. Different opinions, legends, stories, statements of the origin of instruments are prevalent but differences are found in them. The article describes the method and material of ancient Avanaddha instruments on the basis of various texts. Thereafter, under the classification of instruments opinion of various scholars on Tat, Ghan, Sushir, and Avanaddha instruments and the various classifications have been mentioned and discussed in detail. The origin and association of ancient Avanaddha instruments is described with reference to various deities. The article lists ancient and medieval Avanaddha instruments. The use of instruments by gods, demons, human beings in various ceremonies, events, worship lessons, war sites, on auspicious occasions is evidently shown with their importance, use and antiquity. A musical instrument with serious sound was used at warrior sites and Yagna. From different sources like; ancient texts & other facts, it can be concluded that since ancient times eastern musical instruments have been used in music right from the beginning of the era. Avanaddha vadya were invented to support the singer, accompany his song, engage his mind more, cover up his faults, and measure his singing activity in Taal.
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Nicolas, Arsenio. "Gongs, Bells, and Cymbals: The Archaeological Record in Maritime Asia from the Ninth to the Seventeenth Centuries." Yearbook for Traditional Music 41 (2009): 62–93. http://dx.doi.org/10.1017/s0740155800004148.
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The growth and expansion of maritime trade in the first millennium CE altered the musical landscape of Asia, from earlier Austronesian and Austroasiatic migrations, to the early contacts with India, China, Arabia, and the continuing navigation towards the Pacific and Oceania. Much later in the tenth century, Chinese chronicles describe that peoples from the south called Luzoes (Luzon, Philippines) had invaded its southern shores, while Indian histories record the voyages of sailors from western Indonesia. By the eighth century, Austronesian languages from Borneo had spread towards Madagascar. A trade centred on beads, tin, copper, pottery, ceramics, natural products, and food also carried musical instruments and musicians bearing new ideas in music making and ritual life.
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He, Jingyin, Ajay Kapur, and Dale A. Carnegie. "Contemporary Practices of Extending Traditional Asian Instruments Using Technology." Organised Sound 19, no. 2 (June 30, 2014): 136–45. http://dx.doi.org/10.1017/s1355771814000077.
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Ongoing development of audio and informational technology has had an impact on almost every aspect of the musical arts. Cultures and subcultures have cross-pollinated through the rapid exchange of information and have metamorphosed into new fields of technology-based art forms, one of which is the integration of technology in Asian ethnic musics. This article specifically focuses on the integration of technology with the traditional music of India, Indonesia, China, Japan and Korea. By reviewing the history of this metier, we explore the various applications of technology in traditional Asian music and its future.
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KABIR, ANANYA JAHANARA. "Rapsodia Ibero-Indiana: Transoceanic creolization and the mando of Goa." Modern Asian Studies 55, no. 5 (January 11, 2021): 1581–636. http://dx.doi.org/10.1017/s0026749x20000311.
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AbstractThe mando is a secular song-and-dance genre of Goa whose archival attestations began in the 1860s. It is still danced today, in staged rather than social settings. Its lyrics are in Konkani, their musical accompaniment combine European and local instruments, and its dancing follows the principles of the nineteenth-century European group dances known as quadrilles, which proliferated in extra-European settings to yield various creolized forms. Using theories of creolization, archival and field research in Goa, and an understanding of quadrille dancing as a social and memorial act, this article presents the mando as a peninsular, Indic, creolized quadrille. It thus offers the first systematic examination of the mando as a nineteenth-century social dance created through processes of creolization that linked the cultural worlds of the Indian and Atlantic Oceans—a manifestation of what early twentieth-century Goan composer Carlos Eugénio Ferreira called a ‘rapsodia Ibero-Indiana’ (‘Ibero-Indian rhapsody’). I investigate the mando's kinetic, performative, musical, and linguistic aspects, its emergence from a creolization of mentalités that commenced with the advent of Christianity in Goa, its relationship to other dances in Goa and across the Indian and Atlantic Ocean worlds, as well as the memory of inter-imperial cultural encounters it performs. I thereby argue for a new understanding of Goa through the processes of transoceanic creolization and their reverberation in the postcolonial present. While demonstrating the heuristic benefit of theories of creolization to the study of peninsular Indic culture, I bring those theories to peninsular India to develop further their standard applications.
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Carterette, Edward C., Kathryn Vaughn, and Nazir A. Jairazbhoy. "Perceptual, Acoustical, and Musical Aspects of the Tambūrā Drone." Music Perception 7, no. 2 (1989): 75–108. http://dx.doi.org/10.2307/40285453.
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The basso continuo principle, as embodied in Rameau's theory of functional harmony, was paralleled by the introduction of drone instruments in the classical music of India. In order to understand how these two systems are tied together in human music perception, we studied the role of tambūrā interactions with North Indian rags played on the sitār. Raman (1914-1922) had applied his theory of discontinuous wave motion to mechanical and musical properties of the strings of the violin. He noted the remarkable, powerful harmonic series that arose from the nonlinear interaction of the tambürã string and grazing contact with its curved bridge. We analyzed the waveforms of the most common drone tunings. Each of the four strings was played with and without juari ("life-giving" threads). The upward transfer and spread of energy into higher partials imparts richness to tambūrā tones and underlies the use of different drone tunings for different rags. Specific notes of rāg scales are selectively and dynamically enhanced by different drone tunings. Based on coincident features of spectral and musical scale degrees, we computed an index of spectral complexity of the interactions of tambūrā tunings with rãg scales. We speculate that the use of juari contributes to stable pitch centers, implied scale modulation, and an improvisational flexibility.
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Gupta, Vivek. "Images for Instruction: A Multilingual Illustrated Dictionary in Fifteenth-Century Sultanate India." Muqarnas Online 38, no. 1 (December 6, 2021): 77–112. http://dx.doi.org/10.1163/22118993-00381p04.
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Abstract This article focuses on the Miftāḥ al-Fużalāʾ (Key of the Learned) of Muhammad ibn Muhammad Daʾud Shadiyabadi (ca. 1490). The Miftāḥ is an illustrated dictionary made in the central Indian sultanate of Malwa, based in Mandu. Although the Miftāḥ’s only illustrated copy (British Library Or 3299) contains quadruple the number of illustrations as Mandu’s famed Niʿmatnāmah (Book of Delights) and is a unicum within the arts of the Islamicate and South Asian book, it has received minimal scholarly attention. The definitions in this manuscript encompass nearly every facet of Indo-Islamicate art history. The Miftāḥ provides a vocabulary for subjects including textiles, metalwork, jewelry, arms and armor, architecture, and musical instruments. The information transmitted by the Miftāḥ is not limited to the Persian, Hindavi, Turki, and Arabic language of the text, but also includes the visual knowledge depicted in paintings. Through an analysis of this manuscript as a whole, this study proposes that the Miftāḥ’s manuscript was an object of instruction for younger members of society and utilizes wonder as a didactic tool.
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Panda, Taranisen, Nirlipta Mishra, Shaik Rahimuddin, Bikram K. Pradhan, and Raj B. Mohanty. "Bamboo: A Source of Multiple Uses for Adoption as an Alternative Livelihood in Odisha, India." Journal of Tropical Biology & Conservation (JTBC) 19 (October 15, 2022): 47–65. http://dx.doi.org/10.51200/jtbc.v19i.3937.
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Despite becoming one of the most valuable resources, the role of bamboo in livelihoods and rural development is poorly understood. The present study documents the indigenous utilization pattern of bamboo (Bambusa vulgaris Schrad ex Wendl.) and its significance in the social, cultural and religious life of the people of Bhadrak district, Odisha, India. An exploratory assessment was made from 71 informants through field surveys, literature consultations and key informant interviews. Plant parts such as culms are used for various purposes including construction, handicraft, fencing, musical instruments, as well as in rituals and ceremonies. Leaves are mostly used as fodder. This plant has been instrumental for indigenous people by providing them substantial livelihood through their own indigenous wisdom, from collection to the processing of products. Proper training with modern technology, financial assistance to develop infrastructure, as well as proper marketing of products will encourage more earning opportunities among rural people of the said district.
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Ariesta, I. Made Jacky, Ni Wayan Ardini, I. Komang Darmayuda, and Ketut Sumerjana. "Analisis Bentuk dan Struktur Komposisi “Morning Happiness” Gus Teja." Journal of Music Science, Technology, and Industry 1, no. 1 (August 31, 2018): 35. http://dx.doi.org/10.31091/jomsti.v1i1.504.
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ABSTRAKKomposisi musik “Morning Happiness” (2008) Gus Teja World Music terinspirasi saat komposernya Agus Teja Sentosa (Gus Teja) tertegun bahagia melihat anaknya di pagi hari tiba-tiba sembuh dari sakit dan bisa tersenyum. Muncullah nada-nada kebahagiaan yang dituangkan dalam karya musik instrumental “Morning Happiness” atau kebahagiaan di pagi hari yang dimasukkan dalam album “Rhytm of Paradise”. Permasalahan penelitian ini adalah bagaimana bentuk dan struktur komposisi “Morning Happiness” Gus Teja. Metode penelitian yang digunakan adalah kualitatif. Teori yang digunakan untuk mengupas permasalahan adalah teori analisis bentuk dan struktur lagu. Sumber data primer diperoleh dari hasil wawancara, pengamatan, dan diskografi (VCD). Data sekunder diperoleh dari sumber buku, jurnal, dan internet. Hasil penelitian menunjukan instrumen musik yang dipakai pada komposisi ini, yaitu suling, selokro, tingklik baro, gitar, bas, kendang angklung. Pada komposisi “Morning Happiness”, suling sangat banyak berperan yaitu sebagai melodi pokok lagu. Instrumen ini terbuat dari bambu, dan suling yang dipakai dalam komposisi ini yaitu bisa dikatakan perpaduan suling Bali dengan suling India dan Bandung. Dari aspek musikalnya, terdapat kaidah-kaidah seperti ketentuan jumlah birama, tanda sukat, progress chord di mana pola ritme dibawakan sesuai dengan yang ditentukan. Komposisi ini menggunakan nada dasar D=do, dengan tempo allegro (120MM), dan memakai sukat ¾ dan berbentuk tiga bagian yaitu A, B, C, C’, yang diawali oleh introduksi. Kata kunci: analisis bentuk dan struktur, komposisi musik, “Morning Happiness”, Gus Teja.ABSTRACTGus Teja World Music’s musical composition "Morning Happiness" (2008) was inspired when its composer Agus Teja Sentosa (Gus Teja) had been suddenly stunned to see his child smile after being recovered from illness in one morning. The sounds of happiness or the morning bliss was then poured into the instrumental musical composition which was put in his group’s first album "Rhytm of Paradise". The problem of this research is how the form and structure of the composition was. The research method used is qualitative. The theory used to solve the problem is the form and structure analysis theory of song. Primary data sources were obtained from interviews, observations, and discography (VCD). Secondary data were obtained from books, journals, and internet sources. The result of the research showed the musical instruments used in this composition, are flute, selokro, tingklik baro, guitar, bass, kendang angklung. In this composition, the flute plays an important role as the main melody of the song. The instruments are made from bamboos, and the flute used in this composition is a blend of Balinese flute with Indian and Bandung ones. From the musical aspects, there are rules such as the provisions of number of bars, sukat, progress chord in which rhythm patterns are played in accordance with what are usually determined. This composition uses the basic tone D = do, with an allegro tempo (120MM), and uses a ¾ and a three-part shaped A, B, C, C', started with an introduction. Keywords: form and structure analysis, musical composition, "Morning Happiness".
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V. Chitre, Abhijit, Ketan J. Raut, Tushar Jadhav, Minal S. Deshmukh, and Kirti Wanjale. "Hybrid Feature Based Classifier Performance Evaluation of Monophonic and Polyphonic Indian Classical Instruments Recognition." Journal of University of Shanghai for Science and Technology 23, no. 11 (November 2, 2021): 879–90. http://dx.doi.org/10.51201/jusst/21/11969.
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Instrument recognition in computer music is an important research area that deals with sound modelling. Musical sounds comprises of five prominent constituents which are Pitch, timber, loudness, duration, and spatialization. The tonal sound is function of all these components playing critical role in deciding quality. The first four parameters can be modified, but timbre remains a challenge [6]. Then, inevitably, timbre became the focus of this piece. It is a sound quality that distinguishes one musical instrument from another, regardless of pitch or volume, and it is critical. Monophonic and polyphonic recordings of musical instruments can be identified using this method. To evaluate the proposed approach, three Indian instruments were experimented to generate training data set. Flutes, harmoniums, and sitars are among the instruments used. Indian musical instruments classify sounds using statistical and spectral parameters. The hybrid features from different domains extracting important characteristics from musical sounds are extracted. An Indian Musical Instrument SVM and GMM classifier demonstrate their ability to classify accurately. Using monophonic sounds, SVM and Polyphonic produce an average accuracy of 89.88% and 91.10%, respectively. According to the results of the experiments, GMM outperforms SVM in monophonic recordings by a factor of 96.33 and polyphonic recordings by a factor of 93.33.
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Taylor, Sharmila, and Kamna Sisodia. "HISTORY OF INNOVATION IN MUSIC, WITH REFERENCE TO DHRUPAD SINGING STYLE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3406.
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Changing the tradition of history is a natural process of nature. In the context of the Dhrupad singing style in the Indian classical music world, if we take a historical view, the practice of singing Dhruva and Prabandha songs before this style was prevalent. The ritual form of Dhruva songs is found in Sanskrit drama texts from pre- to late India. Dhruva has an important place in terms of song composition.Even in the exorcisms used in the puvarang before the Natyarambha, the Dhruvas have special importance due to the use of musical instruments. Originally, the verses of songs which are used within the play are called Dhruva to make those situations intensified or to intensify the character of the characters in various situations of the play. They are also related to the lyricists due to their use of various parts of the lyricists.
इतिहास की परम्परा में परिवर्तन होना प्रकृति की स्वाभाविक प्रक्रिया है। भारतीय शास्त्रीय संगीत जगत में ध्रुपद गायन शैली के सन्दर्भ मं हम ऐतिहासिक दृष्टि डालें तो इस शैली के पूर्व ध्रुवा एवं प्रबन्ध गीतों को गाने का प्रचलन था। ध्रुवा गीतों की परम्परा का क्रियात्मक रूप भरत के पूर्व से लेकर परवर्ती संस्कृत नाटक ग्रंथों में पाया जाता है। गीत रचना की दृष्टि से ध्रुवा का महत्त्वपूर्ण स्थान है।नाट्यारम्भ से पहले पूर्वरंग में प्रयुक्त बहिर्गीतों में भी ध्रुवाएं वाद्यप्रयोग की उपरंजक होने के कारण विशेष महत्व रखती हैं। मूलतः नाट्य की विभिन्न परिस्थितियों में रसानुभूति करा कर उन परिस्थितियों को तीव्र बनाने अथवा पात्रों के चरित्र को उभारने के लिए जिन छन्दोबद्ध गीतों का प्रयोग नाट्य के भीतर किया जाता है वे ध्रुवा कहलताी है। गीतकों के विभिन्न अंगों का इनमें प्रयोग होने के कारण ये गीतकों से भी सम्बन्ध है।
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Sidyawati, Lisa, Joni Agung Sudarmanto, Abdul Rahman Prasetyo, and Encik Muhammad Hawari Bin Berahim. "NUSANTARA MASK HERITAGE MALAYSIA: INFOGRAPHIC APPLICATION DEVELOPMENT OF MASKS OF MALAYSIAN INDIGENOUS TRIBES AT THE MUSEUM OF ASIAN ART MALAYSIA BASED ON AUGMENTED REALITY AS MEDIA OF TOURISM EDUCATION." Jurnal IPTA 7, no. 2 (December 30, 2019): 163. http://dx.doi.org/10.24843/ipta.2019.v07.i02.p07.
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The museum is a fun learning tool for the community. The Museum of Asian Art is one of the museums in Malaysia which was founded by Malaya University. The museum has three showroom floors and represents three civilizations; India, China and Islam. Every day the museum is very crowded by tourists to find information about artifact objects. Lots of artifacts stored in this museum include textiles, musical instruments, ceramics, masks, paintings, weapons and others. The museum itself is the right place to store and preserve ancient objects so they can still be seen and used as a source of learning and cultural preservation for the nation's next generation. This research takes the artifacts that are masks because the results of observations made by researchers, information about masks at the Museum of Asian Art Malaysia is very minimal compared to other artifacts, there are only name tags but there is no deeper information about the mask. So that it still cannot be used as a learning medium to the maximum. From this problem, researchers developed Nusantara Mask Heritage Malaysia (NUSMARI MALAYSIA) products based on Augmented Reality. The research method used is the development model into 4 steps: (1). Research and Information Collecting, (2). Planning, (3). Develop Preliminary Form Of Product, (4). Final Product Revision. The result of this development is a learning media application that can help tourists of all ages to more easily learn the mask of the Orang Asli Malaysia in the museum.
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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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Valipour, Mohammad, Rodney Briscoe, Luigi Falletti, Petri S. Juuti, Tapio S. Katko, Riikka P. Rajala, Rohitashw Kumar, Saifullah Khan, Maria Chnaraki, and Andreas Angelakis. "Water-Driven Music Technologies through Centuries." J 4, no. 1 (December 22, 2020): 1–21. http://dx.doi.org/10.3390/j4010001.
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Water-driven music technology has been one of the primary sources of human leisure from prehistoric times up until the present. Water powered, along with air pressure organs, have been used throughout history. One of them was an organ of fountains located inside a formal garden. Throughout ancient mythology, several different gods have been linked to music in many civilizations, in particular, Minoa, Mehrgarh, and Gandhara. Water deities were usually significant amid civilizations located next to a sea or an ocean, or even a great river like the Indus River in Pakistan, the Nile River in the Middle East or the Ganga River in India. These fountains performed a wide range of songs from Classical to contemporary Arabic, and even included other worldly music. The study of water-driven music technology demonstrates the diachronic evolution and the revelation that ancient people had impressive knowledge of the engineering needed for water exploitation and manipulation. This revelation is still both fascinating and intriguing for today’s water engineers. This paper also shows the relationship between water in nature and music, and furthermore, how nature has inspired composers throughout history. This research shows the sustainability of different kinds of water-driven musical instruments, not only through their use in past centuries, but their relevance in music therapy and other purposes of today. This study is useful for researchers in the fields of history, music, engineering and sustainable development.
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Sarkar, Joyanta, and Anil Rai. "An Analytical Study of the Folk Musical Instruments of Meghalaya." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 23–38. http://dx.doi.org/10.24193/subbmusica.2021.1.02.
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"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instruments and folk songs. The Musical Instruments of Meghalaya are made from local materials. Meghalayan people honour powerful natural forces and aim to pacify animistic spirits and local gods. The instruments are made of bamboo, flesh, wood, and animal horn. Any one of these musical instruments is considered to have the ability to offer material benefits. The Meghalaya musical instrument is an essential part of traditional folk music in the region. In this article, we offer an overview of the folk musical instruments of Meghalaya. Keywords: Idiophone, Aerophone, Chordophone, Membranophone, Trumpet. "
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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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Sankaye, Satish R., Tandon U S, and Mehrotra S C. "Indian Musical Instruments Recognition Using LPC and LPI." IJARCCE 4, no. 12 (December 30, 2015): 431–35. http://dx.doi.org/10.17148/ijarcce.2015.412100.
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DAS, ATIN, and PRITHA DAS. "FRACTAL ANALYSIS OF DIFFERENT EASTERN AND WESTERN MUSICAL INSTRUMENTS." Fractals 14, no. 03 (September 2006): 165–70. http://dx.doi.org/10.1142/s0218348x06003192.
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In this paper, we attempt musical analysis by measuring fractal dimension (D) of musical pieces played by several musical instruments. We collected solo performances of popular instruments of Western and Eastern origin as samples. We attempted usual spectral analysis of the selected clips to observe peaks of fundamental and harmonics in frequency regime. After appropriate processing, we converted them into time series data sets and computed their fractal dimension. Based on our results, we conclude that instrumental musical sounds may have higher Ds than those computed from vocal performances of different types of Indian songs.
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R.Sankaye, Satish, Suresh C.Mehrotra, and U. S. Tandon. "Indian Musical Instrument Recognition using Modified LPC Features." International Journal of Computer Applications 122, no. 13 (July 18, 2015): 6–10. http://dx.doi.org/10.5120/21758-4991.
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Márquez Vázquez, Juan Manuel. "“Suite of Movements” de Castilla-Ávila. Movimiento, Emoción y Recursos Sonoros." Revista Vórtex 10, no. 2 (September 29, 2022): 1–28. http://dx.doi.org/10.33871/23179937.2022.10.2.7058.
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El movimiento y la emoción son términos que guardan una profunda relación desde el punto de vista musical. El intérprete necesita del movimiento de su cuerpo para producir el sonido con su instrumento y además el gesto indica las intenciones que quiere transmitir el intérprete. Algunas piezas musicales tienen como finalidad transmitir un mensaje que influya en las emociones del oyente. La obra Suite of Movements (2017) para violoncelo solo de Castilla-Ávila se aleja de la suite tradicional y trata de expandir las posibilidades sonoras del instrumento. La obra reflexiona en torno a la relación del movimiento y la música a través de la improvisación, el intercambio de técnicas instrumentales y la búsqueda de nuevos recursos sonoros.
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Niranjan, Sujatha. "How to Read Carnatic Music on Violin." Shanlax International Journal of Tamil Research 6, no. 2 (October 1, 2021): 70–75. http://dx.doi.org/10.34293/tamil.v6i2.4349.
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The violin is a major stringed instrument in South Indian music. It is played as the main instrument in Carnatic music and as an accompaniment to musical performances such as vocals. This is not the heritage instrument of India. Today there is no concert without Carnatic music. Thus it plays an important role in Carnatic music.The present form of this violin was composed in 16th century Italy. The violin, a folk instrument, was first used in South Indian music in the 18th century. It is also more important than any other instrument. It also plays an important role in major concerts. There are many reasons why it is played as the main instrument in Carnatic music more than any other instrument. It has developed to the point where it can be read more than any other instrument in the 20th century for various performances such as vocals, other instrumental events, orchestras, and dance performances. It is also found that Carnatic musicians (male/female) can adjust their pitch to suit their convenience. Since its introduction to Carnatic music, many great scholars have read and succeeded in Carnatic music. In addition, it plays a very important role in Palliya music and has a wide place in Carnatic music.
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Akshay, Sundar, P. V. Hancel, Singru Pravin, and Vathsan Radhika. "Acoustic analysis and characterization of Indian musical instrument: Ghumot." Journal of Measurements in Engineering 4, no. 3 (September 30, 2016): 122–32. http://dx.doi.org/10.21595/jme.2016.16932.
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Chaudhary, Seema R., Sangeeta N. Kakarwal, and Jayashri V. Bagade. "FEATURE SELECTION AND CLASSIFICATION OF INDIAN MUSICAL STRING INSTRUMENTS USING SVM." Indian Journal of Computer Science and Engineering 12, no. 4 (August 20, 2021): 859–67. http://dx.doi.org/10.21817/indjcse/2021/v12i4/211204142.
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Chaudhary, Seema R., Sangeeta N. Kakarwal, and Jayashri V. Bagade. "FEATURE SELECTION AND CLASSIFICATION OF INDIAN MUSICAL STRING INSTRUMENTS USING SVM." Indian Journal of Computer Science and Engineering 12, no. 4 (August 20, 2021): 859–67. http://dx.doi.org/10.21817/indjcse/2021/v12i4/211204042.
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CRISTIANO NUNES ALVES and ADRIANA MARIA BERNADES DA SILVA. "TERRITÓRIO, ECONOMIA E CULTURA." Estudos Geográficos: Revista Eletrônica de Geografia 19, no. 2 (July 26, 2021): 25–41. http://dx.doi.org/10.5016/estgeo.v20i1.15673.
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Recife, aglomeração urbana extremamente desigual, é abrigo de uma intensa produção musical, resultante da diversidade cultural que lhe é característica. Indagando a respeito dos nexos entre território, cultura e economia, propõe-se uma análise da capital pernambucana. Em busca das tipologias e topologias do circuito sonoro recifense, destacam-se os fixos, os fluxos e os sujeitos organizados em torno: (i) do serviço de ensino musical; (ii) da comercialização e da produção fonográfica: venda e duplicação de suportes (CDs e discos), além de venda, fabricação e manutenção de acessórios e instrumentos musicais. Além de um levantamento bibliográfico e documental, o texto resulta da reunião de informações primárias obtidas em visitas técnicas e entrevistas semiestruturadas. A situação geográfica em tela indica uma frutífera entrada de método pela dimensão cultural do território, revelando como a grande cidade pode ter distintos significados de acordo com os distintos sujeitos que nela habitam.
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Sarker, Sukanya. "INDIAN INSTRUMENT MAKERS IN PERFORMING ARTS." ARTS ACADEMY 2, no. 2 (June 2022): 127–43. http://dx.doi.org/10.56032/2523-4684.2022.2.2.127.
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The currently popular Indian Musical Instruments have undergone tremendous changes during the passing of time. This has occurred in terms of its playing styles, modes of presentations and its architecture. What caused these changes is remained to be studied. There might be some inter-relationship between these four factors, namely, the changes/advancement occurred in playing techniques, picking preferences of playable materials, changes in execution styles and the changes of architecture of the instruments. Consequently, the effect of changes in the society which directly reflected on the patronization and general attitude of the people towards this art form may have played important roles in the changes in music. How the musicians felt the urge of widening its area of penetration amongst the masses of the world and what was the impact of globalization on this art and craft remained to be studied.
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Noone, Matthew James. "The North Indian Sarode and Questions Concerning Technology." Organised Sound 25, no. 1 (March 4, 2020): 116–25. http://dx.doi.org/10.1017/s1355771819000517.
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In three previous issues of OS (10/1, 2005, 13/3, 2008 and 19/2, 2014) a range of scholars explored non-Western instrumentation in electroacoustic music. These issues addressed concerns about sensitive cultural issues within electroacoustic music. This article builds upon this discussion through an examination of a number of electroacoustic composer-performers using non-Western instrumentation. This discussion will include the voices of ‘Western’ electroacoustic composers using non-Western instruments or sounds sources. It will also document some of the work of non-Western electroacoustic composers who incorporate traditional material or indigenous instruments in their music. Special attention will be given to the complexity of being in-between musical cultures through a critical engagement with theories relating to hybridity, orientalism and self-identity. In particular, this article will focus on my own practice of composing and performing electroacoustic music with the North Indian lute known as the sarode. It will discuss both cultural and artistic concerns about using the sarode outside the framework of Indian classical music and question whether Indian classical music can ever be ‘appropriately appropriated’ in an electroacoustic context. Two of my recent compositions will be explored and I will outline the development of my practice leading to the creation of a new ‘hybrid’ instrument especially for playing electroacoustic music.
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K P, Deshmukh. "A Standard Reference Audio Tone Generator for Tuning Indian Classical Musical Instruments." International Research Journal on Advanced Science Hub 2, no. 10 (October 1, 2020): 1–3. http://dx.doi.org/10.47392/irjash.2020.180.
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Basu, Medha, SHANKHA SANYAL, Archi Banerjee, Kumardeb Banerjee, and Dipak Ghosh. "Does musical training affect neuro-cognition of emotions? An EEG study with instrumental Indian classical music." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A60. http://dx.doi.org/10.1121/10.0010655.
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Music across all genres evokes a variety of emotions, irrespective of its timbre and tempo. Indian classical music (ICM) is no exception. Although being biased towards vocal musical styles, instrumental music forms one broad section of ICM. In this study, we have tried to compare the neural responses of music practitioners and non-musicians towards different emotions using audio clips from two popular plucked string instruments used in ICM, Sitar and Sarod. From pre-recorded performances of two eminent maestros, 20 clips of approximately 30 s duration were selected from the Alaap sections (initial introductory section without any rhythmic accompaniment) of different Raagas played in the two instruments. From an audience response assessment of 100 participants, a total of eight clips having maximum arousal for happy and sad emotions were identified from the 20 clips, using which EEG (Electroencephalography) recordings were collected from five musicians and five non-musicians. Robust nonlinear Multifractal Detrended Fluctuation Analysis technique (MFDFA) was applied to quantitatively measure the brain-state changes in different lobes for both categories of participants. In essence, this study attempts to encapsulate if and how prior musical training influences the brain responses towards two basic musical emotions in ICM using two instruments of same family.
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Pettan, Svanibor, and Lasanthi Manaranjanie Kalinga Dona. "Ethnomusicology of the Individual: Vishnuchittan Balaji between Tradition and Innovativeness." Musicological Annual 54, no. 1 (June 29, 2018): 107–22. http://dx.doi.org/10.4312/mz.54.1.107-122.
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The article presents the case of a creative Indian classical music artist respectful of tradition and open towards experimentation. Based on the interviews and participant observation, it presents the artist‘s views and his four innovative musical instruments. The article fits in the theoretical frame of ethnomusicology of the individual.
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Komangoda, Lahiru Gimhana. "Vinay Mishra and the Artistry of the Harmonium." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 39–46. http://dx.doi.org/10.30819/aemr.8-5.
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Vinay Mishra is an accomplished Indian solo and accompanying harmonium player born and brought up in Benaras and currently residing in Delhi serving as a faculty member of the Department of Music, Faculty of Music and Fine Arts, University of Delhi. The rigorous training of both vocal and instrumental music under veteran Hindustani Music virtuosos, the academic and scholarly scope built up till the degree of PhD in Music, the realizations, and understandings on music must have conspicuously made an impact of his practice and artistry as a harmonium player. Harmonium was originated in the west and adopted by Indian musicians in the colonial era which was brought up to the present day through many artistic, cultural and political controversies, and obstacles. This work focuses on discovering the insights of the harmonium art of Vinay Mishra. Hence, his academic background, musical training, musical career, his playing style as a soloist, general techniques and techniques of accompaniment, sense of machinery, perspectives on raga Taal, and thoroughly the tuning methods were studied in-depth through personal conversations and literature resources where it was observed that modern Hindustani harmonium artists favor a typical natural tuning method over the 12 equal temperaments of the common keyboard instruments. According to him, the stable sound of the harmonium was the reason to be vocal music- friendly in classical and light vocal music accompaniment which was only interrupted by the equal temperament earlier and was later overcome by the artists and harmonium makers. The idea was also raised that apart from gaining the basic command of an instrument, a Hindustani instrumentalist may learn and practice all other aspects of Hindustani music from the teachers of other forms too. Vinay Mishra’s thoughts of machinery, musical forms, compositions, applying Hindustani vocal, and plucking string instrumental ornamentations on the Harmonium were also reviewed.
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Kirillina, Kristina P. "Regional Component in Teaching Russian as a Foreign Language (Republic Sakha (Yakutia))." Proceedings of Southern Federal University. Philology 2021, no. 1 (March 30, 2021): 193–204. http://dx.doi.org/10.18522/1995-0640-2021-1-193-204.
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The regional component in teaching foreigners the Russian language is becoming increasingly important in the modern educational space. The article presents the methodology of teaching foreign students from China and South Korea to Russian phonetics using vargan, the national instrument of the Yakutia. The methodological basis of the study includes comparison, observation, study and summary of personal experience in a foreign audience. The indicated methods made it possible to prove the musical instrument vargan has a wide potential in teaching the phonetics of foreign students in the Russian language classes. It removes language difficulties, corrects the production of sounds, promotes the development of musical ear and motivation to learn the Russian language, relieve fatigue, and overcome the intercultural barrier. During the analysis of the main phonetic difficulties of students from China and South Korea, similar and distinctive features of the sound system of the native and Russian languages were highlighted, a system of training exercises was proposed that would interest students in pronunciation, practicing and correcting specific unpronounceable Russian sounds. Prospects for the study are the further use of the harbor in the classroom with students from countries such as Japan, Vietnam, India, Italy, Hungary, France, which have a similar musical instrument.
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Gihyun Kwon. "Archaeological Inquiry into Buddhist Music within Indian Art With Reference to the Musical Instruments." Journal of Indian Philosophy ll, no. 24 (February 2008): 83–110. http://dx.doi.org/10.32761/kjip.2008..24.004.
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Le Conte, Sandie, Stéphane Vaiedelich, and Philippe Bruguiere. "Acoustical measurement of Indian musical instruments (vina‐s): Towards greater understanding for better conservation." Journal of the Acoustical Society of America 123, no. 5 (May 2008): 3380. http://dx.doi.org/10.1121/1.2934019.
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Agustono, Budi, and Muh Takari. "CONTINUITIES AND CHANGES MUSICAL CULTURE OF MELAYU DELI." Grenek Music Journal 8, no. 2 (July 15, 2019): 78. http://dx.doi.org/10.24114/grenek.v8i2.14022.
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This paper analyze about continuities and changes Malay North Sumatra musical culture, with historical and ethnomusicological approach. We use the evolution theory, and qualitative methods in this research. Malay music North Sumatran begun in the early of Malay culture, in 1300 B.C. By this time to the first century, Malay musical culture basic on animism and dynamism, which use to ceremony activities. In firs to thirteen century Hinduism and Buddhism come to Malay culture. In this era musical culture from Hinduism and Buddhism absorbed by Malay North Sumatran, in the form as follows: raga and tala influence, some instrumets from India as tabla, mrdanga, sarenggi, and so on. Then, 13th century Islam adopted by North Sumatran in musical culture. The concep One God and adat bersendikan syarak, syarak bersendikan kitabullah has been make the main role in custom and music. The concept maqam and iqaat adopted to Malay musical culture. Th 16th century European come to Malay World, and some musical genres adopted by Malay, as dondang sayang (from branyo Portuguese), ronggeng, popular music, and so on. Today, all of musical element fusion to Malay culture with new development aesthetics.
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SENGUPTA, R., N. DEY, A. K. DATTA, and D. GHOSH. "ASSESSMENT OF MUSICAL QUALITY OF TANPURA BY FRACTAL-DIMENSIONAL ANALYSIS." Fractals 13, no. 03 (September 2005): 245–52. http://dx.doi.org/10.1142/s0218348x05002891.
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Tanpura is a multi-stringed accompanying drone instrument extensively used in classical music in India. The instrument is plucked by finger. We know that jitter, shimmer and complexity perturbations (CP) are found also in tanpura signals. The source of origin of these perturbations was reported to be related to some sort of nonlinearity associated with the strings and their mode of attachment. The objective of the present study is to see in what way fractal-dimensional analysis may be helpful to relate the apparent nonlinearity and also if there is any relation of these dimensions with different part of the signals like attack time, quasi-steady state and the decay. In the paper fractal dimension, D0 and generalized dimensions, D2 to D10 and their dynamic behavior over time are studied for 15 tanpuras having four strings each, tuned to Pa (5th note), Sa (tonic), Sa (tonic) and Sa′ (lower octave tonic). The obeying of power law indicates nonlinearity in the production source system. The presence of multifractality is studied through an examination of relationship between q and Dq and the functional relationship between Dqs.
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Karácsony, Noémi, Mădălina Dana Rucsanda, and Mihaela Buhaiciuc. "Indian Rhythmic Gesture and Tinta in French Operas of the Second Half of the 19th Century and Early 20th Century." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (December 20, 2022): 33–50. http://dx.doi.org/10.24193/subbmusica.2022.spiss2.03.
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"As part of a larger study which compresses three layers of analyses — dramatic, visual, and musical — the present article deals with the rhythmic component of the musical phenomenon in French operas within a half century timeframe, 1862–1923. Orientalism and exoticism were represented through melody, rhythm, timbre, and libretti in operas by F. David, G. Bizet, L. Delibes, J. Massenet, and A. Roussel. The melodic dimension, discussed in a previous study, offered perhaps more opportunities for the evocation of an allegedly oriental sound than rhythm and meter deliver within the operas, while the timbre of various instruments proposes the sensuality of the Orient — an accepted Western stereotype regarding the East. To identify certain rhythmic formulae of Indian inspiration and to understand the concept of tāla, several studies and works of Indian musicians and authors have been consulted, among these Sãrngadeva’s Sangītaratnākara, a thirteenth century treatise considered one of the most important Indian musicological texts. Whether invented or extracted directly from its original source, the article aims to identify composers’ rhythmic gestures. The blend of personal musical language with the Indian tinta reflected in rhythmic patterns create a romantic texture cognoscible to the discussed French exotic operas: David’s opéra-comique Lalla-Roukh, Bizet’s Les Pecheurs de perles, Delibes’ Lakmé, Massenet’s five-act grand-opéra Le Roi du Lahore, and Roussel’s opéra-ballet Padmâvatî. Keywords: Hindu rhythm, ethnomusicology, French opera, orientalism, Indian tinta, timbre "
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Sundar, Akshay, Hancel P V, Pravin Singru, and Radhika Vathsan. "Study of Sarasvati Veena – a South Indian musical instrument using its vibro-acoustic signatures." Journal of Vibroengineering 18, no. 5 (August 15, 2016): 3362–68. http://dx.doi.org/10.21595/jve.2016.16930.
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., Saurabh H. Deshmukh. "AUDIO DESCRIPTIVE ANALYSIS OF SINGER AND MUSICAL INSTRUMENT IDENTIFICATION IN NORTH INDIAN CLASSICAL MUSIC." International Journal of Research in Engineering and Technology 04, no. 06 (June 25, 2015): 505–8. http://dx.doi.org/10.15623/ijret.2015.0406087.
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Terada, Yoshitaka M., Gayathri Rajapur Kassebaum, Vadya Lahari, and Bob Haddad. "South Indian Instrumental Ensemble." Ethnomusicology 38, no. 3 (1994): 559. http://dx.doi.org/10.2307/852132.
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Blume, Gernot. "Blurred affinities: tracing the influence of North Indian classical music in Keith Jarrett's solo piano improvisations." Popular Music 22, no. 2 (May 2003): 117–42. http://dx.doi.org/10.1017/s0261143003003088.
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In the first forty years of his career, American pianist Keith Jarrett has established a reputation in multiple stylistic directions. Jarrett has typically incorporated influences as varied as bebop, country, rock, gospel, minimalism, baroque and classical styles into his often lengthy improvisations. Vital to his musical persona, but less obvious, is the influence North Indian classical music has had in shaping Jarrett's improvisatory strategies. Although he never formally studied Indian music, and although his instrument – the piano – is far removed from the conceptual backdrop of North Indian raga performance, Indian music was a central component in the artistic climate out of which his improvised solo recitals grew.A cultural climate of global influences was the backdrop to the development of Jarrett's solo concerts. Therein, perhaps, lies one key to understanding the spell that this music has cast on large and international audiences. With this format, Jarrett tapped into the ambiance of a particular historic moment, which combined a desire for change with the discovery of spiritual and musical traditions outside the Western world.In this paper I will demonstrate how explicit and implicit references to classical Indian principles of music making helped shape Jarrett's unique free solo concerts.
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KAPUR, AJAY, GE WANG, PHILIP DAVIDSON, and PERRY R. COOK. "Interactive Network Performance: a dream worth dreaming?" Organised Sound 10, no. 3 (November 29, 2005): 209–19. http://dx.doi.org/10.1017/s1355771805000956.
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This paper questions and examines the validity and future of interactive network performance. The history of research in the area is described as well as experiments with our own system. Our custom-built networked framework, known as GIGAPOPR, transfers high-quality audio, video and MIDI data over a network connection to enable live musical performances to occur in two or more distinct locations. One of our first sensor-augmented Indian instruments, The Electronic Dholak (EDholak) is a multi-player networked percussion controller that is modelled after the traditional Indian Dholak. The EDholaks trigger sound, including samples and physical models, and visualisation, using our custom-built networked visualisation software, known as veldt.
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Barros Cabral, Danilo Marcus, Rivadávia Porto Cavalcante, and Jair José Maldaner. "Canção popular brasileira como instrumento de ensino-aprendizagem de Língua Portuguesa no Ensino Médio Integrado." Revista Sítio Novo 4, no. 3 (July 1, 2020): 52. http://dx.doi.org/10.47236/2594-7036.2020.v4.i3.52-67p.
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<p>O presente artigo é fruto de um estudo do ementário da disciplina de Língua Portuguesa dos cursos técnicos de nível médio Edificações e Agropecuária do <em>Campus</em> Conceição do Araguaia - Instituto Federal de Educação Ciência e Tecnologia do Pará (IFPA). Seus objetivos estão direcionados à compreensão das proposições da Base Nacional Comum Curricular (BNCC) e das sugestões da Carta da Associação Brasileira de Educação Musical (ABEM), concernentes ao papel da música: “canção popular brasileira” em processos educacionais. Além disso, o estudo está direcionado a uma proposta de atualização da organização curricular dos cursos citados, com foco no ementário de Língua Portuguesa. A base teórico-conceitual do trabalho está fundamentada nos princípios de educação/formação integral segundo os princípios marxianos, de língua e de linguagens enquanto práticas sociais conforme os aportes vygostskianos e bakhtinianos. Trata-se de uma pesquisa documental que explorou textos oficiais do governo federal e textos de instituições educacionais. Realizou-se pesquisa bibliográfica sobre referenciais teórico-metodológicos sobre a temática. O resultado do trabalho analítico indica que as propostas da ABEM são mais inclusivas do que as da BNCC e que o ementário investigado contempla apenas conteúdos específicos de Língua portuguesa, os gêneros literários desvinculados da linguagem oral, normas gramaticais e ausência de articulação/integração com os gêneros musicais, o que sinaliza para o entendimento de que se faz premente a atualização do referido ementário em sintonia com eixos estruturantes de um currículo que integre conhecimentos condizentes com as dimensões da vida humana: trabalho, ciência, cultura e tecnologia, para o desenvolvimento pleno dos estudantes.</p>
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SENGUPTA, R., N. DEY, A. K. DATTA, D. GHOSH, and A. PATRANABIS. "ANALYSIS OF THE SIGNAL COMPLEXITY IN SITAR PERFORMANCES." Fractals 18, no. 02 (June 2010): 265–70. http://dx.doi.org/10.1142/s0218348x10004816.
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The sitar is perhaps the most well known of the Indian plucked string musical instruments. It has a varying number of strings but 16–20 is usual. When played by an expert, the sitar produces a melodious sound effect. The mode of attachment of strings and or the interaction of the large number of strings, some of them being playing strings, some drone and others sympathetic, create the total acoustic environment, which also includes the global resonance structure of the instrument. This creates a sound whose complexity is difficult to model by usual mathematical methods.Fractal dimension is an effective tool for analysis in such cases. In the present paper D0(fractal dimension), D2(correlation dimension) and also the higher moments are studied for acoustic signals obtained from actual sitar performances. Four such performances are used for the present study. The obeying of power law indicates the presence of non-linearity in the production system. The presence of multifractality is noticed through an examination of relationship between q and Dqand the functional relationship between the Dq's. It was observed that fractal dimension might be used as a measure of signal complexity.
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Ahisheva, Kseniia. "Three Preludes for piano by G. Gershwin in the context of the composer’s instrumental creativity." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 449–65. http://dx.doi.org/10.34064/khnum2-19.26.
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Background. George Gershwin is often considered as a composer who wrote mainly songs and musicals, but this is a misconception: beside the pieces of so-called “light” genres, among the composer’ works – two operas, as well as a number of outstanding instrumental compositions (“Cuban Overture” for a symphony orchestra, two Rhapsodies, Variations for piano and orchestra and Piano Concerto etc.). Gershwin had a natural pianistic talent, and there was almost not a single piece of his own that he did not perform on the piano, and most of them were born in improvisation (Ewen, 1989). The basis for the creation of this study was the desire to increase interest in the work of Gershwin as a “serious” composer and to draw the attention of domestic academic pianists to the value of his piano works, presented not only the “Rhapsody in Blue”, which has been mostly played lately. The purpose of our research is to prove the relevance of the performance of Gershwin’s instrumental works in the academic concert environment as the music of the classical tradition, tracing the formation of specific features of the composer’s instrumental creativity and their reflection in the cycle of “Three Preludes for Piano” in 1926. Studies of the life and work of G. Gershwin, illuminating a special path in music and the unusual genius of an outstanding musician, were created mainly in the 50–70s of the XX century. D. Ewen – the author of the most detailed biography of the composer (first published in 1956, the Russian translation – in 1989) – was personally acquainted with the great musician and his family, took numerous interviews from the composer’s relatives, friends and teachers, had access to his archives (Ewen, 1989: 3–4). The author of the book enters into the details of the life and creative work of the genius and creates a portrait of the composer as a person “in relationships” – as a son, brother, friend. A separate chapter devoted to the music of Gershwin is in the fundamental work of V. Konen (1965) “The Ways of American Music”, an extremely useful study of the folklore origins and musical foundations of jazz. Cognitive is the “popular monograph” by V. Volynskiy (1988) about Gershwin, carefully structured chronologically and thematically. The Internet-pages of A. Tikhomirov (2006–2020) on the resource “Classic Music News.ru” are also very valuable, in particular, thanks to retrospective photographs and audio recordings posted there. From the point of view we have chosen, the piano Preludes by G. Gershwin have not yet been considered by domestic researchers. Research methodology is based on comparative analysis and then synthesizing, generalization and abstraction when using data from biographical literature, and tested musicological approaches when considering musical samples and audio recordings of various versions of the Preludes (including the author’s playing). The results of reseaching. G. Gershwin, despite his Jewish-Slavic family roots (his parents emigrated to America from the Russian Empire at the end of the 19th century), is undoubtedly a representative of American culture. Outstanding artists have almost always turned to the folklore of their country. In Gershwin, this trait manifested itself in a special way, since American folklore, due to historical and political circumstances, is a very motley phenomenon. Indian, English, German, French, Jewish, African, Latin American melodies surrounded Gershwin everywhere. Their rhythms and intonations, compositional schemes were melted, transformed in professional music (Konen, 1965: 231–246). The first musical teacher of Gershwin was the sound atmosphere of New York streets. This is the main reason that the style of his musical works is inextricably linked with jazz: Gershwin did not encounter this purely American phenomenon, he grew up in it. Among the numerous other teachers of Gershwin who significantly influenced on the formation of his music style, one should definitely name the pianist and composer Charles Hambitzer, who introduced his student to the music of Bach, Beethoven, Chopin, Liszt, Debussy, Ravel (Ewen, 1989: 30–32). The most part of Gershwin’s creativity consisted of working on musicals, a typically American genre. The work with the musicals gave the composer the basis for writing his first jazz opera “Blue Monday“, 1922 (other name – “135th Street”), which became the predecessor of the famous pearl of the new genre, “Porgy and Bess” (1935). Following the production of “Blue Monday”, Gershwin began collaborating with the Paul Whiteman Orchestra, who was impressed by the piece. On the initiative of the latter, Gershwin created his masterpiece, “Rhapsody in Blue” (1924), which still remains a unique musical phenomenon, since the composer brought jazz to the big stage, giving it the status of professional music (Ewen, 1989: 79–85; Volynskiy, 1988: part 4). V. Konen (1965: 264–265) believes that Gershwin is a representative of symphonic Europeanized jazz, since he uses it in musical forms and genres of the European tradition. However, we cannot agree that Gershwin “used” jazz. For him, jazz was organic, inseparable from the author’s style, and this is what makes his music so attractive to representatives of both classical and pop traditions. For Gershwin, due to life circumstances, turning to jazz is not an attempt at stylization, but a natural way of expression. “Three Preludes for Piano” are significant in the composer’s work, because it is the only known concertо work for solo piano published during his lifetime. At first, Gershwin planned to create a cycle of 24 Preludes, but only seven were created in the manuscript, then the author reduced the number of works to five. A year after the creation of the Piano Concerto, in 1926, Gershwin presented this new opus. The pieces performed by the author himself sound impeccably technically and even austerely-strictly (audio recording has been preserved, see ‘Gershvin plays Gershvin 3 Preludes’, video on You Tube, published on 2 Aug. 2011). It can be noted that Gershwin is close to the European pianistic style with its attention to the accuracy of each note. The cycle is built on the principle of contrasting comparison: the first and third Preludes are performed at a fast pace, the second – at a slow pace (blues-like). The analysis of the cycle, carried out by the author of the article, proves that “Three Preludes” for piano reflect the main features of Gershwin’s creative manner: capriciousness of syncopated rhythms, subtle modulation play, improvisational development. Breathing breadth, volumetric texture, effective highlighting of climaxes bring the cycle closer to the composer’s symphonic works. Jazz themes are laid out at a high professional level, using traditional European notation and terminology. Thus, although Gershwin was a brilliant improviser, he made it possible for both jazz pianists and academic performers to master his works. Conclusions. The peculiarities of Gershwin’s development as an artist determined the combination of the jazz basis of his works with the compositional technique of European academic music. The versatility and musical appeal of the Preludes are the key to their long stage life. Plays are well received both in cycles and singly. Their perception is also improved by the fact that the original musical speech is combined in them with the established forms of academic music. The mastery of the Preludes by pianists stimulates the development of technical skill, acquaints with jazz style, sets interesting rhythmic problems. The pieces are bright and winning for concert performance. Thus, the presence of the composer’s piano pieces and other his instrumental works in the programs of classical concerts seems appropriate, useful and desirable.
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Zekang, Chen. "JIA DAQUN CONCERTO ″FUSION II″: INTERPRETATION OF CHINESE PERCUSSION INSTRUMENTS." Arts education and science 1, no. 2 (2021): 136–43. http://dx.doi.org/10.36871/hon.202102017.
Full textAbstract:
The article introduces Jia Daqun's Concerto for Percussion and Symphony Orchestra "Fusion II" into Russian musicology for the first time. The work is considered as one of the illustrative examples of the inclusion of traditional Chinese percussion instruments in symphony orchestra. Following modern trends in unconventional ways of playing the tanggu solo drum, the composer achieves a timbre transformation which, along with rhythmic and dynamic qualities, allows to imitate the sound of Indian drums and African tambourines. The new sound created in this way becomes one of the indicators of the cross-cultural integration, which is accomplished not by mechanical borrowing of authentic musical material, but by developing a distinctive rhythmic pattern and sound production techniques. The combination of the timbres of Chinese gong and the vibrato of stringed instruments in Fusion II creates slowdowns and an "echo" effect typical for electronic music. In the Concerto all the features of the genre are observed, but the classical constant received a refraction in the light of modern processes, which required the composer to use new and sometimes harsh methods, almost completely eliminating the lyrical expression.
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Lambri, Melania Lucila Lambri, Laura Weidenfeller Weidenfeller, Osvaldo Agustín Lambri Agustín Lambri, Bernd Weidenfeller Weidenfeller, Federico Guillermo Bonifacih Bonifacih, Griselda Irene Zelada Zelada, and Ana María Rocchietti Rocchietti. "DETERMINACIÓN DE LOS MATERIALES UTILIZADOS Y MÉTODOS DE FABRICACIÓN DE UN SAXOFÓN “WELTKLANG” MANUFACTURADO EN ALEMANIA ORIENTAL EN 1960 MEDIANTE TÉCNICAS ARQUEOMÉTRICAS." Teoría y Práctica de la Arqueología Histórica Latinoamericana 14, no. 1 (March 30, 2022): 155–69. http://dx.doi.org/10.35305/tpahl.v14i1.151.
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El presente trabajo muestra un estudio de caracterización mediante técnicas arqueométricas, de los materiales utilizados para la fabricación de un saxofón “Weltklang” proveniente de la, por entonces, República Democrática Alemana. Para tal fin se implementaron estudios de fluorescencia de rayos X, microscopía óptica, microscopía electrónica de barrido con análisis dispersivo de energías y termogravimetría. El saxofón fue fabricado en 1960, siendo parte de la línea de saxofones Weltklang (B&S) con el número de serie 32936, y permaneció en uso hasta el año 2002. Los resultados mostraron que el material base del ejemplar era el bronce, con una composición (Cu- 28% masa Zn); la cual se ajusta a las composiciones actuales para los bronces a nivel internacional. Con respecto al plateado observable en la superficie del instrumento, los análisis realizados permitieron determinar que éste se obtuvo probablemente mediante inmersión en un baño compuesto de cianuro de plata, cianuro de potasio y carbonato de potasio; pudiéndose determinar en consecuencia no sólo el método implementado sino también la composición del compuesto utilizado para dicho tratamiento. A su vez, se encontraron diferentes tipos de imperfecciones en las muestras que corresponden principalmente al lado interior del instrumento, lo que indica la existencia de zonas falladas en el proceso de bañado, las cuales probablemente fueron reparadas por fundición local de plata sobre esas mismas áreas defectuosas. Los datos obtenidos en este estudio muestran la potencialidad del uso de técnicas arqueométricas para poder inferir los métodos utilizados para la fabricación de instrumentos musicales antiguos, y, por consiguiente, la viabilidad de la arqueometría para la reconstrucción de modos de elaboración de aquellos instrumentos musicales que puedan recuperarse en contextos arqueológicos. Al mismo tiempo, los resultados provenientes de los análisis implementados en este trabajo demuestran la aplicabilidad de la arqueometría para casos de estudios relacionados con la arqueometalurgia histórica y la arqueología industrial.