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Journal articles on the topic 'Musical interpretations'
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1
Irizarry, Rafael A. "Parameters with Musical Interpretations." CHANCE 17, no. 4 (September 2004): 30–38. http://dx.doi.org/10.1080/09332480.2004.10554923.
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Strand, Katherine. "Teaching Musical Interpretations through Choral Rehearsals." Music Educators Journal 90, no. 1 (September 2003): 43–50. http://dx.doi.org/10.2307/3399976.
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Carlton, Lana, and Raymond A. R. Macdonald. "An Investigation of the Effects of Music on Thematic Apperception Test (TAT) Interpretations." Musicae Scientiae 7, no. 1_suppl (September 2003): 9–30. http://dx.doi.org/10.1177/10298649040070s101.
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This study investigated the effects of musical stimuli on Thematic Apperception Test (TAT) interpretations. Sixty participants created written interpretations of 8 TAT pictures. Twenty participants listened to music rated as having a positive emotional valence in a pilot study. 20 listened to music as having a negative emotional valence in a pilot study and a further 20 participants created TAT interpretations without musical stimulation. Results highlight that the emotional valence of background musical stimuli influenced the participants' interpretations of pictorial information. Specifically, the affective direction of participants' interpretations was found to be significantly related to the type of musical stimuli. Findings are discussed with reference to music and emotions literature highlighting the multifaceted way in which music impacts aspects of daily life.
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Zuk, Radoslav. "Three Musical Interpretations of Le Corbusier’s Modulor." Nexus Network Journal 15, no. 1 (January 18, 2013): 155–70. http://dx.doi.org/10.1007/s00004-013-0143-y.
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Shkapa, Ekaterina A. "About Expressive Opportunities of the Musical Tempo: Studying the Relationship of Author Text and Performance Interpretation in Music and Theoretical Education." Musical Art and Education 8, no. 1 (2020): 59–72. http://dx.doi.org/10.31862/2309-1428-2020-8-1-59-72.
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Musical tempo is one of the most important elements of musical language, the expressive meaning of which is determined both by the composer’s idea and the performer’s interpretation. The ambiguity of the author’s tempo designations and the lightness of perception of tempo changes by listeners explain the wide use of variability of tempo interpretations for the implementation of individual performance concepts. The article reveals the role of tempo in forming ideas about composing styles among listeners of different eras, in updating existing performance stereotypes, and reveals the relationship between the historical life of a work and the permissibility of its various tempo incarnations. Specific examples in the aspect of the problem of selecting audio materials for training courses in music-historical and music-theoretical disciplines show the expressive possibilities of musical tempo, its role in transmitting the genre, style, and image of musical works from the point of view of compliance of performing tempo solutions with the composer’s idea and artistic expediency. The possibility of including comparative characteristics of interpretations in the study of music-theoretical disciplines to reveal the diversity of music content is justified.
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Okhotnikov, Vladimir E. "The Semantic Explicitization of the Musical Text in Work with Beginner Guitarists." ICONI, no. 3 (2020): 107–20. http://dx.doi.org/10.33779/2658-4824.2020.3.107-120.
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The procedure of interpreting the content of the musical composition studied in a performance class is often reduced to reconstituting the version created by the instructor. The foundation of the joint interpretation with the pupil of the compositions may be served by the process of functioning of semantic fi gures in the context of the musical theme. Its semantic organization is impossible without turning to the foundational concept of semantic analysis — the intonational lexis, which summate the perceptions of the intonational vocabulary of the composer and the musical work he created. Thereby, the semantic explicitization must be the basis for objective analysis of the musical composition’s fi gurative-content aspect. The article examines the performers’ interpretations of musical compositions in beginners’ guitar classes on the basis of analyzing the musical text’s semantic structures in classical and contemporary music. For the beginner musician application of technique of semantic analysis will become a reliable source for a joint search for performance solution together with the instructor.
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Palmer, Caroline. "On the Assignment of Structure in Music Performance." Music Perception 14, no. 1 (1996): 23–56. http://dx.doi.org/10.2307/40285708.
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Cues for listeners' assignment of melodic structure are investigated in music performance. Performers' interpretations of musical structure can influence listeners' perceptions, especially when structural relations among musical events are ambiguous. Performances recorded on a computermonitored acoustic piano were compared with each performer's notated interpretations of melody. Small timing changes (20-50 ms) marked performers' melodic intentions; events interpreted as melody (the most important voice) preceded other events in chords (melody lead). The emergence of melody leads was investigated in successive performances of unfamiliar music: melody leads were larger in experts' than in students' performances, but students showed more increase with practice. In additional experiments, performances of the same music with different melodic interpretations displayed the melody lead in different amounts, which subsequently affected listeners' perceptions of melodic intentions. Subtle expressive cues in music performance arise from individual interpretations and can aid listeners in determining musical structure.
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Münzmay, Andreas, and Christine Siegert. "Phonographischer Text, Interpretation und Aufführungsmaterial als kritisch edierbarer Sachzusammenhang." Editio 33, no. 1 (November 1, 2019): 10–30. http://dx.doi.org/10.1515/editio-2019-0002.
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Abstract The article discusses possibilities and specific problems of including audio material in the realm of scholarly music editions. From this perspective, the authors propose to include the sounding manifestation of music both into the notion of the musical ‚work‘ and of the musical ‚text‘. The outcome of this thought experiment which considers music as performative art, Beethoven’s and other classical composers’ own wider notions of musical works as musical practice, phonographic recordings as text, different types of music as different types of data, programmed concordances as specific feature of digital editions, and musical interpreters as authors of musical interpretations is a theoretical model that for the first time makes record productions the object of scholarly critical edition.
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Ziv, Naomi, and Maya Goshen. "The effect of ‘sad’ and ‘happy’ background music on the interpretation of a story in 5 to 6-year-old children." British Journal of Music Education 23, no. 3 (November 2006): 303–14. http://dx.doi.org/10.1017/s0265051706007078.
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Children hear music in the background of a large variety of situations and activities. Throughout development, they acquire knowledge both about the syntactical norms of tonal music, and about the relationship between musical form and emotion. Five to six-year-old children heard a story, with a background ‘happy’, ‘sad’ or no melody. Results show that background music affected children's interpretation of the story: ‘happy’ background music led to positive interpretations, whereas ‘sad’ background music led to more negative interpretations of the story. The effect of ‘happy’ music was stronger than that of ‘sad’ music. Implications for education are discussed.
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Simpson-Litke, Rebecca. "Flipped, Broken, and Paused Clave." Journal of Music Theory 65, no. 1 (April 1, 2021): 39–80. http://dx.doi.org/10.1215/00222909-9124726.
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Abstract This article examines some of the complex interactions between salsa music and dance by focusing on physical interpretations of specific types of metric ambiguities and disruptions. It explores both the fairly frequent displacement dissonances that arise when the established clave pattern is flipped, paused, or broken and the grouping dissonances that are somewhat rare occurrences in salsa music, showing how dancers' responses to these metric disruptions depend heavily on the unique features of each musical context. Annotated videos break down salsa's fundamental dance and musical structures, encouraging readers to contemplate the artful interpretations presented by experienced dance practitioners and to engage with these interesting musical passages more intimately by trying out the dance steps for themselves.
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HAINES, JOHN. "Living troubadours and other recent uses for medieval music." Popular Music 23, no. 2 (May 2004): 133–53. http://dx.doi.org/10.1017/s0261143004000133.
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This essay aims to expand on existing narratives of medieval music performance by exploring recent interpretations of the troubadours. Recent advances in the field of ethnomusicology, popular music and medieval music reception suggest the need to view medieval music performance in ways other than the conventional narrative of early music performance. This article focuses on the troubadours, originally song-makers in the late medieval Midi, or South of France. Based on my interviews with recent ‘living troubadours’ in the United States and France, I present evidence for multifarious musical interpretations of the art de trobar, or medieval troubadour art. Living troubadours under consideration here include Eco-Troubadour Stan Slaughter from Missouri and Occitan rap group Massilia Sound System from Marseille. The latter claim a special distinction as living descendants of the original troubadours; the former views himself as more remotely related to medieval music. And while all the different musicians considered here offer widely contrasting interpretations of the medieval art de trobar, they do have in common certain recent musical influences, along with a view of folk music as an open-ended, and musically flexible category. All of these artists are also united in their belief that the essence of folk song is an urgent message which, though it may range from recycling to anti-centralist politics, consistently controls the musical medium. What the groups considered here have in common with traditional early music groups is their creative use of contemporary influences to evoke for their audience the Middle Ages.
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Butler, Gregory. "The Printing History of J.S. Bach's Musical Offering: New Interpretations." Journal of Musicology 19, no. 2 (2002): 306–31. http://dx.doi.org/10.1525/jm.2002.19.2.306.
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Evidence from the original printed edition not only supports Philipp Spitta's theory that Bach sent the print of his Musical Offering to Frederick the Great in Potsdam in two separate installments but further suggests that the work was also printed in two distinct sections, the first in Leipzig and the second possibly in the region of Halle. In Bach's earliest concept of the work, it was to have included only the three- and six-part ricercars; he subsequently enlarged the scope of the collection. A detailed examination of the engraving suggests why this was so, and it also reveals that a third Schüübler brother was involved in the engraving of the plates. Finally, the heterogeneous makeup of the surviving exemplars of the print hints at a novel strategy adopted by Bach for the marketing of the work.
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Tan, Siu-Lan, Elizabeth M. Wakefield, and Paul W. Jeffries. "Musically untrained college students' interpretations of musical notation: sound, silence, loudness, duration, and temporal order." Psychology of Music 37, no. 1 (August 12, 2008): 5–24. http://dx.doi.org/10.1177/0305735608090845.
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Bockareva, Ol'ga. "The interpretation of classical music in Polish and Russian animation as a basis for creative dialogue." Muzikologija, no. 21 (2016): 175–84. http://dx.doi.org/10.2298/muz1621175b.
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Animated musical film, lying at the intersection of the two creative worlds and representing a dialogue between the musician and painter, is a living process of the visual interpretation of the artistic image of a musical work. A dialogue between the director of an animated film and the composer of a musical masterpiece can take place only if there is intonational (term used according to B. Asaf?ev?s writing) ?equalization? of the artistic and validation determinants of merger-related, personal, emotional states. The author emphasizes that within the artistic image of an animated film, the inner essence of the ?I? is made on the basis of the artist?s expression, the unity and consistency of color, sound, plastic solutions, coupled with deep philosophical generalizations, cultural, and value-semantic in their nature. The article provides examples of interpretations of classical music masterpieces in animated films by Russian and Polish filmmakers.
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Gingras, Bruno. "Expressive Timing, Musical Tension, and Listener-Performer Synchronicity: Commentary on Ohriner." Empirical Musicology Review 9, no. 2 (September 24, 2014): 129. http://dx.doi.org/10.18061/emr.v9i2.4443.
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Ohriner (this volume) empirically investigated the ability of listeners to rhythmically entrain to performances of Chopin’s mazurkas and suggested that performers can manipulate listeners’ expectations and influence their perceived musical tension by using eccentric or unpredictable patterns of tempo variation. In this commentary, I attempt to situate Ohriner’s research in a broader context, while elaborating on his findings and proposing alternative interpretations in some cases. I suggest that, although mazurkas are particularly suitable for a study of entrainment due to their clear metrical structure, it would be appropriate to study musical genres in which the metrical structure is obscure or even absent. I also question Ohriner’s interpretation of a lack of synchronicity as being predominantly associated with negative emotions. Furthermore, in order to examine more rigorously the influence of synchronicity on perceived musical tension, I present a controlled experimental design to disentangle the effects of tempo and rubato, which would involve measuring both entrainment and musical tension while asking participants to rate the perceived eccentricity of the performances.
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Preti, Antonio, Francesca De Biasi, and Paola Miotto. "Musical Creativity and Suicide." Psychological Reports 89, no. 3 (December 2001): 719–27. http://dx.doi.org/10.2466/pr0.2001.89.3.719.
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The different abilities involved in artistic creativity may be mirrored by differences among mental disorders prevalent in each artistic profession, taking poets, painters, and composers as examples. Using suicide rates as a proxy for the prevalence of mental disorders in groups of artists, we investigated the percentage of deaths by suicide in a sample of 4,564 eminent artists who died in the 19th and 20th centuries. Of the sample, 2,259 were primarily involved in activities of a linguistic nature, e.g., poets and writers; 834 were primarily visual artists, such as painters and sculptors; and 1,471 were musicians (composers and instrumentalists). There were 63 suicides in the sample (1.3% of total deaths). Musicians as a group had lower suicide rates than literary and visual artists. Beyond socioeconomic reasons, which might favour interpretations based on effects of health selection, the lower rate of suicides among musicians may reflect some protective effect arising from music.
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Zhang, Ling. "The genre of folk song arrangements: the synthesis of composing and performing interpretations." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 92–104. http://dx.doi.org/10.34064/khnum1-53.06.
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Logical reason for research. The current state of music science indicates that for the vocal and instrumental performing there are both, a number of general questions and problems, and many specific ones. The theme of performing in musicology has both, practical and theoretical projections, the interaction of which in a single research process gives the most valuable scientific result. A serious issue in terms of the musical interpretation for a musician-vocalist is the specificity of vocal genres. One of the most common and popular vocal genres is the folk song genre, which in all world musical cultures is a source of the development of the national component – the intonation, genre, and figurative. In turn, a folk song now exists and sounds both, in an authentic form, and in the form of the composer’s arrangement. Innovation. The article is devoted to the genre of the folk song arrangement in the aspect of the synthesis of composers’ and performing interpretation. The genre of the folk song arrangement is the result of the processing of the folklore source by a composer; hence, it is the composing interpretation that understood as a genre indicator. The performance of any musical composition as a process and as a result also is an interpretation; therefore, the mentioned genre acquires yet another interpretative level – the performing one. Thus, the genre of the arrangement of a folk song in the aspect of musical interpretation is the product of the synthesis of the composers’ and performing interpretation, and in the process of the performance is a kind of interpretation of the interpretation, which dictates new aspects of its study. Objectives. The purpose of this study is to identify the specifics of the genre nature of the folk song arrangement in the aspect of the synthesis of composers’ and performing interpretations. Methods. The main methods of the presented research are the genre and interpretological ones. The genre method is necessary to characterize the main indicators of the genre of the folk song arrangement. The interpretological method allows to identify those features of the folk song arrangement genre that are associated with its interpretative nature, and to give an idea of its multilevel structure. Results and Discussion. As for today, a lot of attention is paid to the issues of musical interpretation in both theoretical and practical terms. On the chamber-vocal stage, the arrangements of folk songs sound quite often, they are loved and in demand by the public. Folk music is a concentrated embodiment of folk images and intonations, the features of worldview, and more broadly – the national picture of the world. The external form and content of folk songs, as a rule, are accessible to the widest public. Folk songs in terms of their vocal complexity are designed for the average performer, which allows extending the life of such songs in the folk everyday life. The bright and explicit genre affiliation of folk songs also contributes to their easy perception. However, the folk song in its authentic form on the concert stage sounds extremely rare, as it is tightly connected with special conditions and manner of the performance. A modern listener is most often familiar with a folk song in the genre of its arrangement. The question of preserving the intonational and figurative content of the original source in the genre of the folk song arrangement has been raised by scientists more than once. The analytical and composing work with the genre of the arrangement of a folk song, also related to referring to an authentic source, in practice encounters several serious questions, the answers to which must be identified for any further study of this genre in both theoretical and practical areas. The arrangement of a folk song is, in its essence, a kind of interpretation. The genre of the folk song arrangement combines the both subspecies of the composing interpretation (according to the classification by Moskalenko, V., 2013), being an interesting and promising material for any analyst both, in the field of theoretical and the practical performing musicology. The synthesis of musical and non-musical factors in a folk song is also one of the types of interpretation. This is another level of interpretation in the genre of the folk song arrangement, which relates to the original source. The oral tradition of the existence of a folk song gives rise to a huge number of its variants – the performing interpretations. The genre of a folk song is characterized by qualities that give it its original interpretative freedom. This is a collective authorship of both, music and verbal text; the oral and “variation” tradition of a folk song existence is, essentially, a tradition of interpretation. The genre of the arrangement of a folk song by a composer with the appropriate musical notation is another level of interpretation. The next level of interpretation is the performing one, where the vocalist is faced with additional tasks, since he/she deals with a musical object having the special multi-level interpretative nature. Conclusions. The genre of the arrangement of a folk song is associated with several levels of interpretation, coming both, from the nature of the original source and from the existence conditions of the composer arrangement of a folk song in the conditions of the vocal performance. This plurality creates new goals and opportunities for both the researcher and the composer and the performer. The special genre nature of the arrangement of a folk song, which was established in the process of the historical development and incorporates the interpretation nature of its composers’ and performing levels as a genre indicator, allows us to talk about the need to scientifically identify its genre characteristics in a projection on the needs of the composing and performing creative art in the modern cultural conditions. Prospects for any further research in this direction are associated with the consideration of the special genre nature of the folk song arrangement. It poses a number of special tasks for the composer, the performer and the listener, which should be solved in specific conditions, while taking into account the peculiarities of the composers’ and performing interpretation of the folklore original source.
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Bowling, Daniel L., and Dale Purves. "A biological rationale for musical consonance." Proceedings of the National Academy of Sciences 112, no. 36 (July 24, 2015): 11155–60. http://dx.doi.org/10.1073/pnas.1505768112.
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The basis of musical consonance has been debated for centuries without resolution. Three interpretations have been considered: (i) that consonance derives from the mathematical simplicity of small integer ratios; (ii) that consonance derives from the physical absence of interference between harmonic spectra; and (iii) that consonance derives from the advantages of recognizing biological vocalization and human vocalization in particular. Whereas the mathematical and physical explanations are at odds with the evidence that has now accumulated, biology provides a plausible explanation for this central issue in music and audition.
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Savage, Patrick E. "Alan Lomax’s Cantometrics Project." Music & Science 1 (January 1, 2018): 205920431878608. http://dx.doi.org/10.1177/2059204318786084.
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Alan Lomax’s Cantometrics Project was arguably both the most ambitious and the most controversial undertaking in music and science that the world has known. Its flagship component, Lomax’s “cantometric” analysis of approximately 1,800 songs from 148 worldwide populations using 36 classificatory features, sparked extensive debate. While Lomax responded to some criticisms, neither his final conclusions nor the evidence on which they were based were ever fully made clear. For decades, neither cantometrics nor Lomax’s related projects involving dance, speech, popular music, digital humanities, pedagogy, and activism were widely adopted by other researchers, but there has been a resurgence of interest since Lomax’s death in 2002. Here, I provide a comprehensive critical review of the Cantometrics Project, focusing on issues regarding the song sample, classification scheme, statistical analyses, interpretation, and ethnocentrism/reductionism. I identify misunderstandings, improvements that were made, and criticisms that remain to be addressed, and distil Lomax’s sometimes-conflicting claims into diagrams summarizing his three primary results: (1) ten regional song-style types, (2) nine musical factors representing intra-musical correlations, and (3) correlations between these musical factors and five factors of social structure. Although Lomax’s interpretations regarding correlations between song style and social structure appear weakly supported, his historical interpretations regarding connections ranging from colonial diaspora to ancient migrations provide a more promising starting point for both research and teaching about the global arts. While Lomax’s attempts to correlate features of social structure such as gender, religion, politics, and economics with stylistic features of musical performance largely failed to gain acceptance, the Cantometrics Project can still provide both inspiration and cautionary lessons for future exploration of relationships between music and culture.
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Bernstein, Jeffrey A. "Is History New? Recent Modernist Interpretations of Hegel." Journal of the Philosophy of History 6, no. 2 (2012): 283–98. http://dx.doi.org/10.1163/187226312x650773.
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Abstract This review explores a recent trend in commentary on Hegel’s philosophy of history which owes much of its interpretive substance to the aesthetic modernism of the Frankfurt School. This modernist trend emphasizes the interplay of form and content, material conditions of rationality, and the temporal disjunction between experiencing and cognizing history. In so doing, it produces a deeply political, psychoanalytic, and musical reading of Hegel.
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Gorbunova, Irina B. "The Musical Synthesizer." ICONI, no. 4 (2019): 111–29. http://dx.doi.org/10.33779/2658-4824.2019.4.111-129.
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The various aspects of formation and development of the musical instrumentarium disclose the main regular occurrences of functioning of musical instruments as synthesizers of musical sound in all its diversity, from the sources of their formation to the contemporary stage of the present process. In the fi rst lecture, “The Architectonics of Musical Sound” there was detailed examination of the particularities of the structure, the diversity and the various interpretations of the concept of “musical sound,” as well as the connection with the contemporary technical possibilities of notation, preservation and elaboration of musical sounds. In the present lecture the author turns to the main stages of evolution of the concept of “musical sound,” which refl ects the changes of sound material itself during the course of development of musical practice. The emergence of new musical instruments or musical synthesizers, according to the authorial conception, is stipulated by two main reasons. The fi rst of them is musicians’ aspirations of enriching the palette of their musical artistry. The second reason is connected with the historical perfections of the musical instrumentarium, which in its construction aspires to rely on contemporary achievements of science and technique in the domain of creation of sound. The level of development of contemporary program and machinery means of musical computer technologies (MCT) makes it possible to model diverse stages of development of systems of musical sounds.
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Brown, Helen. "The Interplay of Set Content and Temporal Context in a Functional Theory of Tonality Perception." Music Perception 5, no. 3 (1988): 219–49. http://dx.doi.org/10.2307/40285398.
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The purpose of this study was to provide evidence for the perceptual component of an analysis of pitch relationships in tonal music that includes consideration of both formal analytic systems and musical listeners' responses to tonal relationships in musical contexts. It was hypothesized (1) that perception of tonal centers in music develops from listeners' interpretations of time-dependent contextual (functional) relationships among pitches, rather than primarily through knowledge of psychoacoustical or structural characteristics of the pitch content of sets or scales and (2) that critical perceptual cues to functional relationships among pitches are provided by the manner in which particular intervallic relationships are expressed in musical time. Excerpts of tonal music were chosen to represent familiar harmonic relationships across a spectrum of tonal ambiguity/specificity. The pitch-class sets derived from these excerpts were ordered: (1) to evoke the same tonic response as the corresponding musical excerpt, 2) to evoke another tonal center, and (3) to be tonally ambiguous. The effect of the intervallic contents of musical excerpts and strings of pitches in determining listeners' choices of tonic and the effect of contextual manipulations of tones in the strings in directing subjects' responses were measured and compared. Results showed that the musically trained listeners in the study were very sensitive to tonal implications of temporal orderings of pitches in determining tonal centers. Temporal manipulations of intervallic relationships in stimuli had significant effects on concurrences of tonic responses and on tonal clarity ratings reported by listeners. The interval rarest in the diatonic set, the tritone, was the interval most effective in guiding tonal choices. These data indicate that perception of tonality is too complex a phenomenon to be explained in the time-independent terms of psychoacoustics or pitch- class collections, that perceived tonal relationships are too flexible to be forced into static structural representations, and that a functional interpretation of rare intervals in optimal temporal orderings in musical contexts is a critical feature of tonal listening strategy.
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Qianyi, Pan, Regina Savchenko, and Yuliia Savchenko-Shlapak. "EVELOPMENT OF THE CREATIVITY OF ADOLESCENTS IN LEARNING MUSICAL ACTIVITIES." Innovative Solution in Modern Science 5, no. 49 (August 22, 2021): 52. http://dx.doi.org/10.26886/2414-634x.5(49)2021.4.
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The article examines the specificity of the development of creativity of adolescent students in educational musical activities. Various interpretations of the concept of "creativity" in relation to the peculiarities of adolescence of schoolchildren are analyzed. The creative nature of educational musical activity and its connection with the artistic nature of musical art are traced. The influence of problem learning methods, in particular situations of choice in educational musical activity, on development of creativity of adolescent schoolchildren. A specially designed situation of choice puts adolescents in conditions associated with the need to give preference to one of the options, to make an independent conscious choice. Key words: creativity, adolescence, educational musical activity, problem learning, situation of choice.
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Roglieri, Maria Ann. "Twentieth-Century Musical Interpretations of the 'Anti-Music' of Dante's "Inferno"." Italica 79, no. 2 (2002): 149. http://dx.doi.org/10.2307/3655992.
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Зарубина, Наталья Юрьевна. "P. P. Ershov’s “Russian Song”: On the History of Musical Interpretations." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 3 (November 2, 2020): 118–31. http://dx.doi.org/10.26158/tk.2020.21.3.010.
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Статья посвящена истории музыкальных произведений, написанных на слова стихотворений П. П. Ершова. Автор рассматривает поэтическое наследие поэта в широком контексте музыкальной культуры первой половины XIX в. Акцентируется во- прос о роли и месте в ней жанра русской песни. Предметом специального изучения стали песенные варианты стихотворения «Русская песня» («Уж не цвесть цветку в пустыне»). Особое внимание уделено сопоставительному музыковедческому анализу двух интерпретаций рассматриваемого произведения, первое из которых принадлежат перу тобольского любителя К. Широкова, а второе - столичного композитора А. А. Вилламова. The article is devoted to the history of musical works written to P. P. Yershov’s poems. The author considers the poet’s poetic heritage in the broad context of the musical culture of the first half of the nineteenth century. She focuses on the role and place of the Russian song genre within it. The object of special attention is song versions of the poem “Russian Song” (“A Flower Won’t Bloom in the Desert”) and considers two musicological interpretations of the work; the first belongs to the pen of Tobolsk amateur K. Shirokov, and the second to the composer A. A. Villanov.
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Buck, Bryony, Jennifer MacRitchie, and Nicholas J. Bailey. "The Interpretive Shaping of Embodied Musical Structure in Piano Performance." Empirical Musicology Review 8, no. 2 (October 24, 2013): 92. http://dx.doi.org/10.18061/emr.v8i2.3929.
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Research has indicated that the magnitude of physical expressive movements during a performance helps to communicate a musician's affective intent. However, the underlying function of these performance gestures remains unclear. Nine highly skilled solo pianists are examined here to investigate the effect of structural interpretation on performance motion patterns. Following previous findings that these performers generate repeated patterns of motion through overall upper-body movements corresponding to phrasing structure, this study now investigates the particular shapes traced by these movements. Through this we identify universal and idiosyncratic features within the shapes of motion patterns generated by these performers. Gestural shapes are examined for performances of Chopin’s explicitly structured A major Prelude (Op. 28, No. 7) and are related to individual interpretations of the more complex phrasing structure of Chopin’s B minor Prelude (Op. 28, No. 6). Findings reveal a universal general embodiment of phrasing structure and other higher-level structural features of the music. The physical makeup of this embodiment, however, is particular to both the performer and the piece being performed. Examining the link between performers' movements and interpreted structure strengthens understanding of the connection between body and instrument, furthering awareness of the relations between cognitive interpretation and physical expression of structure within music performance.
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Palmer, Caroline. "Anatomy of a Performance: Sources of Musical Expression." Music Perception 13, no. 3 (1996): 433–53. http://dx.doi.org/10.2307/40286178.
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Research on music performance often assumes that a performer's intention to emphasize musical structure as specified in a score accounts for most musical expression. Relatively unstudied sources of expression in performance include notational variants of compositional scores, performer-specific aspects, and the cultural norms of a particular idiom, including both stylistic patterns that exist across musical works and expectations that arise from a particular musical context. A case study of an expert performance of a Mozart piano sonata is presented in which influences of historical interpretations of scores, performer-specific treatments of ornamentation and pedaling, and music- theoretic notions of melodic expectancy and tension-relaxation are revealed. Patterns of organization internal to the performance expression transcended the coarsegrained information given in scores, suggesting that performance is a better starting point than a musical score for testing theories of many musical behaviors.
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Konyakhina, Liudmila, and Andrey Ivanov. "Musical Competence and Second Language Learning." Nizhny Novgorod Linguistics University Bulletin, no. 54 (June 30, 2021): 149–64. http://dx.doi.org/10.47388/2072-3490/lunn2021-54-2-149-164.
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In recent years, we have witnessed a renewal of interest in the language — music relationship due to the development of cognitive science and the advent of brain imaging methods, such as positron emission tomography, functional magnetic resonance imaging, magnetoencephalography, electroencephalography, and event-related brain potentials, which has led to a number of major discoveries. The relationship between music and language has been examined from many different perspectives. Taken together, these findings indicate that musical competence positively influences some aspects of speech processing, from auditory perception to speech production and may benefit second language acquisition. In this review, we focus on the main results of the current research, discuss several interpretations that may account for the influence of musical competence on speech processing in native and foreign languages, and propose new directions for future research.
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Lonsdale, Adam J., and Adrian C. North. "Self-to-stereotype matching and musical taste: Is there a link between self-to-stereotype similarity and self-rated music-genre preferences?" Psychology of Music 45, no. 3 (July 18, 2016): 307–20. http://dx.doi.org/10.1177/0305735616656789.
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Musical taste is believed to function as a social “badge” of identity that might develop according to a process of “self-to-stereotype matching”. For this reason, individuals were expected to like musical styles that are stereotypically associated with fans that were similar to them. Three studies, each using a different measure of self-to-stereotype similarity, found that similarity to stereotypical music fans correlated significantly with participants’ self-rated musical tastes. These findings suggested individuals were more likely to prefer a musical style if they were similar, or at least perceived themselves similar, to the stereotypical fans associated with that musical style. In all three studies, evidence was also found to suggest that an individual’s similarity to stereotypical music fans might be used to predict their favourite musical style. Together these findings are argued to offer support for the idea that a process of self-to-stereotype matching might influence how individual musical tastes are formed, although alternate interpretations of this link between self-identity and musical taste (i.e., self-stereotyping) cannot be ruled out without further investigation.
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DESTREE, PIERRE. "LE PLAISIR ‘PROPRE’ DE LA TRAGEDIE EST-IL INTELLECTUEL?" Méthexis 25, no. 1 (March 30, 2012): 93–107. http://dx.doi.org/10.1163/24680974-90000598.
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In this article, I oppose ‘cognitivist’ interpretations of Aristotle’s Poetics (Belfiore, Donini, Gallop, Halliwell, Wolff) which defend the idea that the pleasure proper to tragedy is a pleasure of an intellectual nature, and I defend an ‘emotivist’ interpretation according to which this pleasure is essentially of an emotional nature. I pass in review the passages of chapters 4, 9, 14 and 26 wherein the question of the ‘pleasure proper’ to tragedy is dealt with, in comparing them with what Aristotle tells us about musical pleasure in Politics VIII.
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Bronfman, Alejandra. "Medical debates and musical interpretations of vibroacoustic disease in Vieques, Puerto Rico." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 263, no. 1 (August 1, 2021): 5246–52. http://dx.doi.org/10.3397/in-2021-3020.
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In 2001 the band Cornucopia (Puerto Rican musicians Jorge Castro and Claudio Chea) released an album called "Vibroacústica". The title refers to a disease that allegedly afflicts people who have been exposed to loud noise over long periods of time. The vibrations thicken the walls of the heart, so the theory goes, and damage the immune, gastrointestinal, and neurological systems. This is noise as toxin, entering and sickening the body. The album takes the disease as its point of departure, and using location recordings of the coast of Puerto Rico, analog synthetic manipulations and digital processing, both recreates and protests the noise and its impact on human beings in Vieques, Puerto Rico, which was the target of bombing practice for over sixty years. This paper argues that the album subverts the idea of the preservation of a soundscape and instead reinterprets the sonic violence of occupation with the tweets, chirps and burbles of its soundtracks.
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Aryutkina, A. N. "Communicative component of professional competence of a musician-performer." Vestnik of Samara University. History, pedagogics, philology 26, no. 4 (December 30, 2020): 38–43. http://dx.doi.org/10.18287/2542-0445-2020-26-4-38-43.
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At the present stage, musical and performing activity requires rethinking key concepts and identifying its new content. The article contains an analysis of modern professional training of a musician-performer at a university. Special attention is paid to the significance of interpretation in modern musical and performing activities. Long-term practice of concert performance creates a significant number of performing interpretations. A musician-performer must not only get acquainted and try to interpret the composer's text, but also try to understand this value content. The article offers an understanding of interpretation as a reinterpretation of the content of a work based on the artist's personal creative beliefs, which implies a different experience. This topic is also supplemented by the consideration of the act of joint activity of the participants in the performance, during which a common view of the ideas and images of a musical work is developed, as a result of which the audience's consciousness is transformed. This requires communicative competence. Thus, a musician-performer combines both communicative and interpretative abilities. The article considers the structure of professional competence of a musician-performer, taking into account the specifics of professional activity and based on the competence approach. The existing approaches to defining the essence of the concept of competence are analyzed. The structure of professional competence integrates musical and performing, interpretive, communicative, pedagogical, organizational and managerial competencies. Communicative competence is considered as a professionally significant personal property of a future musician-performer in the course of professional training at a university.
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Huberth, Madeline, and Takako Fujioka. "Performers’ Motions Reflect the Intention to Express Short or Long Melodic Groupings." Music Perception 35, no. 4 (April 1, 2018): 437–53. http://dx.doi.org/10.1525/mp.2018.35.4.437.
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Some movements that musicians make are non-essential to their instrumental playing, yet express their intentions and interpretations of music’s structures. One such potential interpretation is the choice to emphasize short melodic groupings or to integrate these groupings into a phrase. This study aimed to characterize the nature of head motions associated with either interpretation by having cellists play two versions of a musical excerpt: 1) with short groupings specified, and 2) with long groupings specified. Cellists were filmed by two video cameras (front and right-side perspective) and the positions of their forehead and cheek were analyzed in their respective two-dimensional spaces. We hypothesized that the amount and frequency of movements would change according to the intended grouping. The results show that, overall, participants’ heads move more frequently when intending short groupings compared to long groupings. However, the extent of the change in motion varied across different sections of the excerpt. It appears that performers may invest more effort to emphasize the intended interpretation when a given local pitch structure more easily affords alternative interpretations. Our results illustrate that performers can embody melodic groupings based on intended interpretation.
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Sviridova, Irina. "Features of the Implementation of the Conceptual Method of the Musical and Historical Analysis in the Choral Conducting Class." Musical Art and Education 7, no. 4 (December 30, 2019): 97–117. http://dx.doi.org/10.31862/2309-1428-2019-7-4-97-117.
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The significance of the indepth analytical work of future musicians and teachers with the artistic image and its need for the process of conducting training are considered in the article. As the most important mechanism for the formation of students’ analytical competencies, the conceptual method by A. I. Demchenko for musicalhistorical analysis of choral works is considered. The essence of the proposed method is to determine the leading idea of the work and its subsequent disclosure in the form of a plan of capacious theses that concentrate the musical content. The features of its application in the conditions of university conducting and choral training are examined on the example of an analysis of a Russian spiritual concert of the last third of the 20th century, represented in the works by A. G. Schnittke – “Concert on verses by Grigor Narekatsi”, “Penance poems” and G. V. Sviridov “Concert in memory of A. A. Yurlov”. Two interrelated directions for training are proposed in the conducting class: analysis of spiritual concerts through the prism of the genre and through the prism of musical drama. The twovector orientation of the study of compositions provides the opportunity for students to fully understand the phenomenon of a spiritual concert in modern musical art, not only to understand the trends leading to the emergence of its innovative models, but also to clarify students’ ideas about ways to discover musical content during performance. A direct study of the conceptual method of musical and historical analysis of choral works by students allows to avoid the narrowly professional interpretation of the conductor’s activity, to overcome the unambiguousness and static character of the performing interpretations of the musical text.
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Fuyarchuk, Andrew. "Word Made Flesh—Organic Process: Inner Word in Gadamer." Journal of Chinese Philosophy 42, no. 5 (March 1, 2015): 577–88. http://dx.doi.org/10.1163/15406253-04205009.
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Interpretations of the inner word overlook the fact that for Gadamer language is both written and spoken and that these two mediums are in a dialectical relation. After disputing Zimmermann’s interpretation of the inner word, the paper uses McLuhan to explain Gadamer’s dialectical method for understanding how thought that comes to language participates in the self-unfolding structure of a living organism. Central to this argument is a turn of the inner ear which in contrast to sensory memory based on sight recollects the musical origins of language in acoustic space and renders the movements of a dialogue comparable to song.
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Goldman, Jonathan. "Interculturalism through a cognitive filter: Gilles Tremblay recomposes gamelan in Oralléluiants [1975]." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 1, no. 1 (May 22, 2018): 12. http://dx.doi.org/10.31091/lekesan.v1i1.344.
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In an article on the impact of gamelan music on Claude Debussy's musical language, Nicholas Cook shows Debussy's musical interpretations that navigate between viewpoints that claim that the gamelan presents "confirmation" of the principles that have been acquired by French composers and others who judge inspired techniques from the gamelan to imitate foreign musical culture. This article applies Cook's thought to the Javanese gamelan inspiration case in Oralléluiants (1975) by Gilles Tremblay (1932-2017), by trying to go beyond the opposition between pastiche orientalist style and deeper style assimilation by giving credit to the composer Québécois. This paper proposes the idea of "cognitive filters" as a way to understand how gamelan affects Tremblay without the same effect on other composers who are exposed to the same musical culture. The phrase "cognitive filter" shows every musical schematic that listeners have not mastered in terms of their training, ability, acculturation and psychological specificity, and that represents an order perceptual data to enable in the capture of previously unknown music.
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Wolf, Anna, Reinhard Kopiez, Friedrich Platz, Hsin-Rui Lin, and Hanna Mütze. "Tendency Towards the Average? The Aesthetic Evaluation of a Quantitatively Average Music Performance." Music Perception 36, no. 1 (September 1, 2018): 98–108. http://dx.doi.org/10.1525/mp.2018.36.1.98.
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The present study has investigated the minimal-distance hypothesis in music (Langlois & Roggman, 1990; Repp, 1997) by replicating Repp's original study (1997) on the aesthetic quality of an averaged performance—compared to individual interpretations—of Robert Schumann's Träumerei (Op. 15, No. 7). Participants (N = 205) came from Germany and Taiwan and made up a convenience sample representing different degrees of musical sophistication. We used a 2 × 4 mixed methods design that compared the country of data collection (between factor) and the four selected interpretations (within factor). The dependent variable was a unidimensional construct describing the musical quality, which was developed with an exploratory factor analysis followed by a probabilistic item analysis. It was found that the evaluation of Taiwanese and German participants did not differ, but the ratings for the various interpretations successfully replicated Repp's results: The average performance was rated better than the individual performances, and the lowest rated performance from the original study was rated lowest in this replication as well (large effect size). The confirmation of this central effect in music perception research might be an incentive for further replication studies in music psychology.
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Kramarz, Andreas. "Christian Reception of the ‘New-Music’ Debate in the Church Fathers and Clement of Alexandria." Greek and Roman Musical Studies 6, no. 2 (August 24, 2018): 359–78. http://dx.doi.org/10.1163/22129758-12341327.
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Abstract Evaluative judgments about musical innovations occur from the late fifth century BC in Greece and Rome and are reflected in similar discussions of Christian authors in the first centuries of the Empire. This article explores how pedagogical, theological, moral, and spiritual considerations motivate judgments on contemporary pagan musical culture and conclusions about the Christian attitude towards music. Biblical references to music inspire both allegorical interpretations and the defense of actual musical practice. The perhaps most intriguing Christian transformation of the ancient musical worldview is presented in Clement of Alexandria’s Protrepticus. Well-known classical music-myths serve here to introduce a superior ‘New Song’. Harmony, represented in the person of Christ who unites a human and a divine nature, becomes the ultimate principle of both cosmos and human nature. This conception allows music to become a prominent expression of the Christian faith and even inform the moral life of believers.
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Rodosthenous, George. "Directing musical theatre: Spectacles, radical interpretations and nostalgia – an interview with Nikolai Foster." Studies in Musical Theatre 6, no. 3 (September 1, 2012): 343–54. http://dx.doi.org/10.1386/smt.6.3.343_1.
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Trehub, Sandra E., Judith Becker, and Iain Morley. "Cross-cultural perspectives on music and musicality." Philosophical Transactions of the Royal Society B: Biological Sciences 370, no. 1664 (March 19, 2015): 20140096. http://dx.doi.org/10.1098/rstb.2014.0096.
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Musical behaviours are universal across human populations and, at the same time, highly diverse in their structures, roles and cultural interpretations. Although laboratory studies of isolated listeners and music-makers have yielded important insights into sensorimotor and cognitive skills and their neural underpinnings, they have revealed little about the broader significance of music for individuals, peer groups and communities. This review presents a sampling of musical forms and coordinated musical activity across cultures, with the aim of highlighting key similarities and differences. The focus is on scholarly and everyday ideas about music—what it is and where it originates—as well the antiquity of music and the contribution of musical behaviour to ritual activity, social organization, caregiving and group cohesion. Synchronous arousal, action synchrony and imitative behaviours are among the means by which music facilitates social bonding. The commonalities and differences in musical forms and functions across cultures suggest new directions for ethnomusicology, music cognition and neuroscience, and a pivot away from the predominant scientific focus on instrumental music in the Western European tradition.
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Bogue, Ronald. "Deleuze, Mann and Modernism: Musical Becoming in Doctor Faustus." Deleuze Studies 4, no. 3 (November 2010): 412–31. http://dx.doi.org/10.3366/dls.2010.0106.
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Thomas Mann's Doctor Faustus traces the life of the composer Adrian Leverkühn, whose career culminates in the compositions Apocalipsis cum figuris and The Lamentation of Doctor Faustus. Mann treats Apocalipsis as the endpoint of a dangerous modernism allied to fascism, and The Lamentation as its partial antidote. From Deleuze and Guattari's perspective, however, Apocalipsis is a positive musical becoming-other and The Lamentation a regression. Crucial to the contrasting interpretations of Apocalipsis are two very different conceptions of modernity and fascism, that of Deleuze and Guattari providing a means of valorising becoming as a mode of aesthetic and political invention and redefining modernism and fascism.
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Ocaña-Fernández, Almudena, and Mª Luisa Reyes-López. "‘My Favorite Song’: understanding a music learning ecology of children from interaction among media, family and school contexts." British Journal of Music Education 36, no. 02 (May 17, 2019): 113–23. http://dx.doi.org/10.1017/s0265051719000081.
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AbstractIn the present case study, we used observation and interviews to investigate the musical experience of a group of children of 3–4 years old. We look into the uniqueness of music in the child’s environment which belongs to the media, family and school contexts. The present study allows us to understand some implications of musical experiences for building social identity and the need to link formal music learning processes with those taking place in non-formal and informal spaces. Through this paper, we provide a vicarious experience that will enable the reader to understand our findings and raise new questions and interpretations.
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Tierradentro-García, Luis Octavio, Juan Sebastián Botero-Meneses, and Claudia Talero-Gutiérrez. "The Sound of Jacqueline du Pré: Revisiting her Medical and Musical History." Multiple Sclerosis Journal - Experimental, Translational and Clinical 4, no. 2 (April 2018): 205521731877575. http://dx.doi.org/10.1177/2055217318775756.
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Jacqueline du Pré was a British cellist, famous for her masterful interpretations and her passionate style of playing. Her outstanding musical career was, unfortunately, cut short by multiple sclerosis. In the present paper, we conduct a historical and medical analysis of her life story, discussing a few aspects regarding her illness and treatment options available at the time of her diagnosis.
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Elkoshi, Rivka. "Tone painting and painting tones: A follow-up study of listeners’ audiovisual responses to Beethoven’s Thunder Storm." International Journal of Music Education 37, no. 3 (June 4, 2019): 476–92. http://dx.doi.org/10.1177/0255761419850247.
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This follow-up pilot study investigates the effect of a six-month analysis course, during which college music majors learned to see the meaning of music as being essentially intra-musical. The study aims to explore relationships between intra- and extra-musical perceptions among subjects ( N = 33) while listening to Beethoven’s Thunder Storm ( Pastoral Symphony, 4th movement). During pre- and post-intervention sessions, listeners represented the music via self-invented audiovisual products (AVPs) and related notes. Four systems of conceptualization emerged: Random responses (category-R), reflecting no reference to the music; Associative contents (category-A), suggesting extra-musical interpretations; Compound responses (category-C), combining extra- and intra-musical contents; Intra-musical contents (category-I), referring to purely musical properties. A scale of 4-6-8-10 grades for the respective categories R-A-C-I was established, with the highest score for category-I which reflects fulfilment of the course objective. By comparing between pre- and post-intervention AVPs, results show an insignificant increase in I-responses (zero to 9.5%) and 52.6% of no conceptual change through phases. The most prominent response is the extra-musical (68%) often at both pre- and post- phases (47%). The study empowers the position that classical music evokes referential contents, which should be given as much attention in teaching and learning music as ‘analytical’ properties of sound.
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Tudor, Brînduşa. "10. Interpretative Performances: Elisabeth Leonskaya And Paul Badura-Skoda." Review of Artistic Education 15, no. 1 (March 1, 2018): 98–103. http://dx.doi.org/10.2478/rae-2018-0010.
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Abstract In the complex road of deciphering and understanding a musical work, an important step for the pianist (performer or professor) is represented by the choice of reference interpretations according to some famous musicians. Elisabeth Leonskaya and Paul Badura - Skoda are among the most distinguished representatives of the contemporary school of piano.
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Behne, Klaus-Ernst, and Clemens Wöllner. "Seeing or hearing the pianists? A synopsis of an early audiovisual perception experiment and a replication." Musicae Scientiae 15, no. 3 (August 15, 2011): 324–42. http://dx.doi.org/10.1177/1029864911410955.
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The visual impact of musicians’ body movements has increasingly attracted research interest over the past twenty years. This article gives an overview of the main findings of this research and introduces and replicates one of the first experiments on visual information in music performance evaluations. In Behne’s study (originally published in German in 1990), a pianist was video-recorded performing compositions by Brahms and Chopin. Using an audiovisual manipulation paradigm, further pianists acted as doubles and pretended to perform the music to the soundtrack of the first pianist. Different groups of ninety-three musicians and non-musicians rated audiovisual presentations of the videos. Only one participant in the whole series of experiments supposed that the musical soundtrack was similar across different performers. Even musically trained participants strongly believed that they perceived differences between performances. Further findings suggest gender effects, such that male interpretations were perceived to be more precise and female interpretations to be more dramatic. The replication generally confirmed the results for a present-day audience. Potential consequences for music evaluations and theories of audiovisual music perception are discussed.
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Reilly, Olivia. "‘[A]nother and yet the same’: Rhyme's Music in Kubla Khan." Romanticism 23, no. 2 (July 2017): 145–54. http://dx.doi.org/10.3366/rom.2017.0321.
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In Biographia Literaria (1817) Coleridge described the ‘sense of musical delight’ and the ‘power of producing it’ as ‘a gift of imagination’, necessary to the poet. The correlation between poetry and music, essential to the formation of his poetics, he develops suggestively in the ‘mingled measure’ of ‘Kubla Khan’. Paying close attention to the poem's intricate structure, this essay examines Coleridge's self-conscious construction in the poem of a complex patterning of aural connections and refrains. The exploration of rhyme's musical effect allows fresh insight into the poem, building upon previous interpretations to elucidate in particular the role of time, memory, and imagination in its realisation.
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Shin, In-Shun. "A Research on Various Poetry Interpretations about Musical Pieces Accommodating 'Jeodongsae' by Sowol Kim." Music Theory Forum 25, no. 2 (December 31, 2018): 33–69. http://dx.doi.org/10.15571/mtf.2018.25.2.33.
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Barysheva, Tamara A. "“Emociograma” of Perception of Performing Interpretations of Musical Works by Primary School-age Children." Musical Art and Education 7, no. 3 (2019): 46–61. http://dx.doi.org/10.31862/2309-1428-2019-7-3-46-61.
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In the article the results of an empirical express-research of features of impact of performing interpretation on the emotional sphere of primary school-age children are analyzed. The main coordinates of emotional experience of music – a modality, sign (valency), semantic space, intensity, dynamics, complexity level (monomodality – polymodality) and contents (intentionality), are considered. For the purpose of comparative analysis of perception results, performing versions of musical works С. Debussy’s Prelude “The wind on the plain” (electronic transcription in the arrangement of E. Artemyev and piano option of B. Lotar-Shevchenko) and Chopin’s Prelude in C major (treatments: R. Kerer and M. Pollini) are used. As a result of the analysis of empirical data, the principal effect of emotional influence of performing interpretation of the work is determined. It consists in the specific organization of emotional relationships, regrouping of emotional signs and estimates, emphasis of creative resources of the child and manifestation of the highest feelings – esthetic, hedonistic, romantic, and intellectual, etc. The model of empirical research, the differentiated structure of emotional relationships, the revealed features of the impact of the musical-performing image on the emotional sphere of junior schoolchildren not only determine the prospects for further research in the psychology of art, but also the possibility of integrating the experience of implementing this model in the process of forming the student competence in the field of music and performing culture and the development of the emotional sphere of children in the system music education.
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Francmanis, John. "National music to national redeemer: the consolidation of a ‘folk-song’ construct in Edwardian England." Popular Music 21, no. 1 (January 2002): 1–25. http://dx.doi.org/10.1017/s0261143002002015.
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The Musical Renaissance of the late Victorian era incurred both rediscovery and reappraisal of the English musical heritage. The isolated endeavours of a handful of pioneering collectors from the oral tradition stimulated the institution of a Folk-Song Society with the aim of gathering what remained of a rapidly disappearing national resource. This article examines competing interpretations of the nature and potential application of folk-song. Cecil Sharp, who quickly assumed leadership of the folk-song movement, adopted and refined the notion that communal origin and transmission imbued folk-song with the national character and spirit. Its strategic use in the education system would, he believed, promote not just musical revival but a general national revival as well. In counterpoint to Sharp's folk-song construct, the hiterto marginalised contribution of musical antiquarian Frank Kidson is reassessed. From an ever-diminishing position of authority, Kidson continued to dismiss Sharp's new orthodoxy by insisting that most of what passed for ‘folk’ was nothing more than the remnants of old popular song. The article concludes by seeking to explain why Sharp's construct endured.