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Journal articles on the topic 'Musical prescription'

Author: Grafiati
Published: 1 June 2024
Last updated: 31 July 2025

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1

Whittaker, Adam. "Investigating the canon in A-Level music: Musical prescription in A-level music syllabuses (for first examination in 2018)." British Journal of Music Education 37, no. 1 (2018): 17–27. http://dx.doi.org/10.1017/s0265051718000256.

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AbstractThe canon forming the backbone of most conceptions of Western music has been a feature of musical culture for decades, exerting an influence upon musical study in educational settings. In English school contexts, the once perceived superiority of classical music in educational terms has been substantially revised and reconsidered, opening up school curricula to other musical traditions and styles on an increasingly equal basis. However, reforms to GCSE and A-levels (examinations taken aged 16 and 18 respectively), which have taken place from 2010 onwards, have refocused attention on ca
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2

Mlynek-Kalman, Anna, and Jane Southcott. "Changing musical self-efficacy for Australian early childhood educators, teachers and carers." International Journal of Music in Early Childhood 18, no. 2 (2023): 145–64. http://dx.doi.org/10.1386/ijmec_00064_1.

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Early childhood educators (ECEs), teachers and carers in Australia have been developing an awareness and understanding of the fundamental importance of discovery play and process in various aspects of children’s learning since 2009. The focus in most areas of the curriculum has shifted from teacher directed rote learning, based on outcome or product to children’s playful, experiential, discovery processes in line with the Australian developed Early Years Learning Framework (EYLF). ECEs, teachers and carers have developed an awareness of process pertaining to most aspects of the early childhood
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3

Lorenzoni, Valerio, Tijl De Bie, Thierry Marchant, Edith Van Dyck, and Marc Leman. "The effect of (a)synchronous music on runners’ lower leg impact loading." Musicae Scientiae 23, no. 3 (2019): 332–47. http://dx.doi.org/10.1177/1029864919847496.

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Running with musical accompaniment is becoming increasingly popular and several pieces of software have been developed that match the music tempo to the exerciser’s running cadence, that is, foot strikes per minute. Synchronizing music with running cadence has been shown to affect several aspects of performance output and perception. The purpose of this study was to investigate the effect of synchronous music on runners’ foot impact loading. This represents the ground reaction force on the runner’s lower leg when the foot impacts the ground and is an important parameter for the prevention of t
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4

Gilbert, Joel, Sylvain Maugeais, and Christophe Vergez. "Minimal blowing pressure allowing periodic oscillations in a simplified reed musical instrument model: Bouasse-Benade prescription assessed through numerical continuation." Acta Acustica 4, no. 6 (2020): 27. http://dx.doi.org/10.1051/aacus/2020026.

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A reed instrument model with N acoustical modes can be described as a 2N dimensional autonomous nonlinear dynamical system. Here, a simplified model of a reed-like instrument having two quasi-harmonic resonances, represented by a four dimensional dynamical system, is studied using the continuation and bifurcation software AUTO. Bifurcation diagrams of equilibria and periodic solutions are explored with respect to the blowing mouth pressure, with focus on amplitude and frequency evolutions along the different solution branches. Equilibria and periodic regimes are connected through Hopf bifurcat
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Helitzer, E., and H. Moss. "Group singing for health and wellbeing in the Republic of Ireland: the first national map." Perspectives in Public Health 142, no. 2 (2022): 102–16. http://dx.doi.org/10.1177/17579139221081400.

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Aims: (1) To catalogue and map all singing for health and wellbeing groups in the Republic of Ireland (ROI); (2) determine how they prioritise health outcomes; (3) understand what they consider success; and (4) identify gaps in provision. Methods: A novel mixed-methods survey was distributed electronically through SING Ireland (the Choir Association of Ireland), artsandhealth.ie, and to 2736 potential stakeholders with links to singing for health and wellbeing and singing on social prescription (SSP) from October 2020 to April 2021. Thematic analysis was used to analyse four open-ended survey
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6

Лыжов, Г. И. "Рецензия и кода к статье Ларисы Гервер «Идея и ее графическое выражение: метротектонические планы баховских фуг в архиве Георгия Конюса»". Музыкальная академия, № 2(790) (27 червня 2025): 46–57. https://doi.org/10.34690/460.

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Первая часть публикации представляет собой рецензию на статью Л. Л. Гервер «Идея и ее графическое выражение. Метротектонические планы баховских фуг в архиве Г. Э. Конюса». В рецензии дана высокая оценка работы Л. Л. Гервер и подчеркиваются ее источниковедческие и аналитические достоинства, позволяющие автору сказать новое слово в исследовании одного из наиболее оригинальных явлений русской музыкальной теории начала ХХ века. Второй раздел настоящей публикации — рассуждение на темы, хотя и выходящие за пределы изучения метротектонизма, но косвенно с ним связанные. Рассуждение построено как комме
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7

Costa Gálvez, Lola. "Como lo oyes. La publicación de listados de reproducción de los programas temáticos musicales en la radio de titularidad pública en España." Tripodos, no. 33 (June 4, 2025): 73–98. https://doi.org/10.51698/tripodos.2013.33.73-98.

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Throughout its history, there have been numerous occasions on which radio has been sentenced to death. Video killed the radio star, prayed The Buggles’s song, and recently Berry (2006) went back to this subject in his article “Will the iPod Kill the Radio Star?”. Prescription and legitimacy are concepts associated with specialized music radio, they and can they be a lifeline for a public service which is in permanent crisis. Playlists are essential for music radio programming, although their publication is a different matter. The possibility of accessing musical works exactly as “it is heard”
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8

Kovtoniuk, Valeriya. "A performing musician’s oeuvre through the prism of phenomenology." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (2018): 8–16. http://dx.doi.org/10.34064/khnum1-50.01.

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Background. Continuing trends dated back in the second part of XIX century music culture concentrate on a figure of performing musician. Commercialization an academic art: popularity of performance awards, media supporting for new formats of concert performance, etc. facilitates this largely. Objectives. Public interest conditioned an appearance a lot of scientific research inscribed to problems of musical interpretation. However, a performing oeuvre learning the product, fixation of which even taking to account modern recording capabilities are relative, warrants specific methods. In particul
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Chernysheva, Ekaterina N., and Svetlana A. Tyaglova. "FORMATION OF CULTURAL VALUES OF STUDENTS IN THE PROCESSING OF RUSSIAN FOLK SONGS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 223–30. http://dx.doi.org/10.17223/22220836/42/19.

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The article proposes the author's version of the in-depth work with the folk original source, which contributes to the formation of cultural values of students in the course of the Arrangement course of the teaching course Academic Choir at the Tyumen State Institute of Culture. A distinctive feature of the course is the regional component – Russian folk songs of the Tyumen region and the region are used as musical material for student work. As part of the study, we identified the following contradictions: – between the prescription of the State educational standards on interdisciplinary disci
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10

Garrido, Sandra, Emery Schubert, and Daniel Bangert. "Musical prescriptions for mood improvement: An experimental study." Arts in Psychotherapy 51 (November 2016): 46–53. http://dx.doi.org/10.1016/j.aip.2016.09.002.

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11

Aguirre Dergal, Alfonso. "Enfoque prescriptivo de la educación musical instrumental." Epistemus. Revista de Estudios en Música, Cognición y Cultura 10, no. 2 (2022): 045. http://dx.doi.org/10.24215/18530494e045.

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Si bien en el papel los modelos de enseñanza instrumental han ido migrando paulatinamente hacia una perspectiva de corte constructivista y ecológica, la pedagogía tradicional de enfoque prescriptivo permanece vigente en las aulas de música. En esta, conceptos, teorías y procedimientos tienden a tratarse como normas universales o verdades absolutas. Teniendo como referente las ideas de Michael Polanyi sobre conocimiento tácito, en este artículo se analizan y discuten críticamente implicaciones del enfoque prescriptivo característico del modelo tradicional de enseñanza musical.
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12

Fiorussi, André. "La diéresis silenciada de Julio Herrera y Reissig." Rhythmica. Revista Española de Métrica Comparada, no. 17 (January 9, 2020): 35. http://dx.doi.org/10.5944/rhythmica.26314.

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Julio Herrera y Reissig (1875-1910) defiende el uso de la “diéresis silenciada” en unas notas que escribió para explicar soluciones adoptadas en la traducción de dos poemas franceses. El concepto de “diéresis silenciada” es el punto de partida para una amplia exposición de la nueva música del verso, constituida por una serie de recursos capaces de promover, en su conjunto, una nueva música para la poesía en lengua española. Este artículo plantea que las notas de Herrera y Reissig sobre el tema cumplen una función táctica que sobrepasa la discusión técnica y normativa y pueden ser interpretadas
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13

Doerksen, Paul F. "Aural-Diagnostic and Prescriptive Skills of Preservice and Expert Instrumental Music Teachers." Journal of Research in Music Education 47, no. 1 (1999): 78–88. http://dx.doi.org/10.2307/3345830.

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This study is an investigation of the aural-diagnostic and prescriptive skills of preservice and expert instrumental music teachers. Specifically, the researcher sought to determine how the two groups compared with respect to evaluations for band performances of different music-difficulty and performance-quality levels. Subjects listened to an audiotape recording that comprised four types of performances: Difficult Music and Excellent Performance, Difficult Music and Average Performance, Moderate Music and Excellent Performance, and Moderate Music and Average Performance. For each performance
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14

Bresler, Liora. "Research education shaped by musical sensibilities." British Journal of Music Education 26, no. 1 (2009): 7–25. http://dx.doi.org/10.1017/s0265051708008243.

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Based on my own research education courses for doctoral students, I examine the ways in which music provides powerful and rich models for perception, conceptualisation and engagement for both listeners and performers, to cultivate the processes and products of qualitative research in the social science in general, and in music education in particular. I discuss temporality and fluidity, listening and improvisation, originally terms associated with music, and their ramifications for qualitative inquiry. I then present some concrete examples from my research course, not as prescriptions to follo
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15

Lam, Nathan L. "Tonalité grégorienne: Musica recta as Prescriptive Harmony." Music Theory and Analysis (MTA) 7, no. 2 (2020): 320–50. http://dx.doi.org/10.11116/mta.7.2.2.

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Late nineteenth-century organist-composers wrote liturgical music dans la tonalité grégorienne based on Niedermeyer and d'Ortigue's chant-accompaniment treatise Traité théorique et pratique de l'accompagnement du plain-chant (1857). The resulting music contained no musica ficta —, especially not raised leading tones in minor—a watershed moment in the nineteenth-century re-emergence of diatonic modality. Focusing on modes 1 and 2 (the Dorian modes) as a case study, part 1 of the essay discusses the historical background of Niedermeyer's treatise, part 2 examines features and theoretical implica
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16

Agawu, Kofi. "Schubert's Sexuality: A Prescription for Analysis?" 19th-Century Music 17, no. 1 (1993): 79–82. http://dx.doi.org/10.2307/746782.

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17

Agawu, Kofi. "Schubert's Sexuality: A Prescription for Analysis?" 19th-Century Music 17, no. 1 (1993): 79–82. http://dx.doi.org/10.1525/ncm.1993.17.1.02a00060.

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18

Fedosov, Roman Denisovich. "The intensional feature in defining a music work (John Cage’s ‘Branches’ as an example)." Vestnik of Saint Petersburg State University of Culture, no. 2 (63) (2025): 133–38. https://doi.org/10.30725/2619-0303-2025-2-133-138.

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The article analyses the musical work "Branches" by John Cage. Ian Campbell’s critical remark that "Branches" does not sufficiently express the composer’s conceptual meaning is considered. To this end, firstly, it is suggested that Branches should be categorized as musical work based on Andrew Kania’s definition of music. It is emphasized that one of the important criteria of definition is the intensional criterion. It is suggested that Cage’s intention in Branches should be interpreted as a conceptual statement on the fundamental importance of nature for the future of humankind, as well as an
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19

Magnusson, Thor. "Scoring with Code: Composing with algorithmic notation." Organised Sound 19, no. 3 (2014): 268–75. http://dx.doi.org/10.1017/s1355771814000259.

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Computer code is a form of notational language. It prescribes actions to be carried out by the computer, often by systems called interpreters. When code is used to write music, we are therefore operating with programming language as a relatively new form of musical notation. Music is a time-based art form and the traditional musical score is a linear chronograph with instructions for an interpreter. Here code and traditional notation are somewhat at odds, since code is written as text, without any representational timeline. This can pose problems, for example for a composer who is working on a
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20

Fox, Christopher. "OPENING OFFER OR CONTRACTUAL OBLIGATION? ON THE PRESCRIPTIVE FUNCTION OF NOTATION IN MUSIC TODAY." Tempo 68, no. 269 (2014): 6–19. http://dx.doi.org/10.1017/s0040298214000023.

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AbstractThis article explores some of the diverse forms that musical notation has assumed in the early twenty-first century and discusses its use along a broad spectrum of creative intention, which includes visual representation of sounds, verbal lists of instructions or provocations, and much else. Drawing upon his own experience as a composer, and on studies of the work of composers both older and younger (Stockhausen, Lucier, Wolff; Molitor, Lely), the author examines the changing meanings of notes, staves and clefs, and the possibilities of graphic scores, text scores, and hybrid forms of
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21

Helitzer, Elizabeth, Amy Clements-Cortes, and Hilary Moss. "Group singing on social prescription: A scoping review." Music and Medicine 14, no. 4 (2022): 226–37. http://dx.doi.org/10.47513/mmd.v14i4.849.

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The aim of this international scoping review was to assess the evidence of group singing as a form of social prescription. While efforts have grown over the last two decades to catalogue and evaluate the health benefits of arts and cultural activities as part of social prescribing, there has been limited exploration into group singing on social prescription, specifically. Given the growing body of research supporting the health and wellbeing gains of both group singing and social prescribing, this first scoping review is needed and timely. Published evidence is very limited at the moment, and
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22

Pramudyo, Gani Nur, and Tamara Adriani Salim. "Tinjauan sistematis tentang preservasi warisan musik." Berkala Ilmu Perpustakaan dan Informasi 17, no. 1 (2021): 40–55. http://dx.doi.org/10.22146/bip.v17i1.1266.

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Introduction. The awareness of musical heritage shows an effort of preservation that performed by composers, musicians, performers, archivists, conservators, local society, community archivists, and government. 
 Data Collection Methods. The paper used a systematic review method with a qualitative approach represented by literature from Taylor & Francis database. 
 Data Analysis. A multi-stage exclusion process showed nine articles for further review. An analytical grid/chart was used to systematize the most relevant information of the selected articles. A tree illustration (incl
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23

Kanno, Mieko. "Prescriptive notation: Limits and challenges." Contemporary Music Review 26, no. 2 (2007): 231–54. http://dx.doi.org/10.1080/07494460701250890.

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Reyner, Igor R. "Listening Through Language: Jean-Luc Nancy and Pierre Schaeffer." Paragraph 44, no. 2 (2021): 176–91. http://dx.doi.org/10.3366/para.2021.0364.

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This article addresses the role of auditory-related verbs in the work of Jean-Luc Nancy and Pierre Schaeffer in order to shed light on a broader tendency in French thought. Through a comparative reading of the ways in which Nancy, in Listening, and Schaeffer, in Treatise on Musical Objects, mobilize verbs such as écouter and entendre, I connect the issue of language to debates about descriptive and prescriptive approaches towards listening. Drawing on the Dictionary of Untranslatables, I argue that Nancy's and Schaeffer's engagements with listening can be mapped onto historical modes of framin
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Vives, Jean-Michel. "Protéger contre quoi ? Prescriptions musicales et jouissance lyrique au sein de l’église catholique." Topique 145, no. 1 (2019): 39. http://dx.doi.org/10.3917/top.145.0039.

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26

Austern, Linda Phyllis. "“Sing Againe Syren“: The Female Musician and Sexual Enchantment in Elizabethan Life and Literature*." Renaissance Quarterly 42, no. 3 (1989): 420–48. http://dx.doi.org/10.2307/2862078.

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To Elizabethan observers in many disciplines, feminine beauty and music offered parallel benefits and dangers that influenced prescriptions for the actual musical behavior of contemporary Englishwomen and also the development of stock literary situations in which female musicians either caused spiritual fulfillment or physical destruction. Conflicting ideologies, based on the most respected ancient authorities and contemporary observers, attributed similarly opposite aspects to women and music, which had both come to be regarded as earthly embodiments of the divine and the damning by the final
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Oduor, Reginald M. J. "The Singing Sage: An Assessment of the Political Critique in the Luo Pop Music of Daniel Owino Misiani." Philosophia Africana 23, no. 2 (2025): 195–218. https://doi.org/10.5325/philafri.23.2.0195.

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Abstract In postcolonial times, the independent thought of the Luo of Kenya and Tanzania is reflected in the abundant critique exhibited in their pop music, as evident in the musical productions of Ogwang’ Lelo, Gabriel Omolo, Ochieng’ Kabaselleh, George Ramogi, and Daniel Owino Misiani, among others. This article assesses the political critique in the works of Daniel Owino Misiani, arguably one of the most prolific and politically conscious Luo Benga musicians. It argues that in line with Odera Oruka’s final conception of the philosophic sage, Misiani qualified as a cosmopolitan philosophic s
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28

Head, Matthew. ""If the Pretty Little Hand Won't Stretch": Music for the Fair Sex in Eighteenth-Century Germany." Journal of the American Musicological Society 52, no. 2 (1999): 203–54. http://dx.doi.org/10.2307/831998.

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The image of the young lady at music is part of the mythology of the eighteenth century, nostalgically summoning a bygone era in European manners. How should such images be read, and to what uses are they put in the construction of the past and the present? Richard Leppert appeals to eighteenth-century iconography to argue the disciplinary function of music on women. This article extends Leppert's arguments in a newly uncovered repertory of songs and keyboard works published in eighteenth-century Germany "for the fair sex." Moving between prescriptions about musical practice specifically and w
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29

Lee-De Amici, Beth Anne. "“Et le moyen plain de paine et tristesse”: Solution, Symbology, and Context in Ockeghem's “Prenez sur moi”." Journal of Musicology 28, no. 4 (2011): 369–417. http://dx.doi.org/10.1525/jm.2011.28.4.369.

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For five hundred years, scholars, theorists, and performers have searched for solutions to the puzzles encoded in Ockeghem's “Prenez sur moi.” Most of the literature to date has concentrated on the opening pitches and matters of mode. Much less attention has been paid either to the text or to the illumination found in the sole surviving contemporary source, the Copenhagen Chansonnier. This article explores connections among text, music, and illumination in an attempt to go beyond prescriptions for performance and instead to explain what the canon might have meant to Ockeghem and his contempora
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Kim-Boyle, David. "REFRAMING THE LISTENING EXPERIENCE THROUGH THE PROJECTED SCORE." Tempo 72, no. 284 (2018): 37–50. http://dx.doi.org/10.1017/s0040298217001243.

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ABSTRACTOver the past ten years, performance scores have been radically foregrounded in a variety of performance practices. Whether such notations assume a prescriptive function, visually projected for musicians to interpret, or a descriptive one, unfolding as a documentation of a live coding performance, how might such a foregrounding reframe the listening process for an audience? Does a notational schema help promote a deeper, structural level understanding of a musical work? This article will consider these various questions, exploring how principles of graphic design and the transparency o
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Stuart, Susan A. J., and Chris Dobbyn. "A Kantian Prescription for Artificial Conscious Experience." Leonardo 35, no. 4 (2002): 407–11. http://dx.doi.org/10.1162/002409402760181213.

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Research in artificial intelli-gence, artificial life and cogni-tive science has not yet provided answers to any of the most perplexing questions about the mind, such as the nature of consciousness or of the self; in this article the authors make a suggestion for a new approach. They begin by setting their project in the broader cognitive science context and argue that little recent research adequately addresses the question of what are the necessary requirements for conscious experience to be possible. Kant addresses this question in his transcendental psychology, and although Kant's work is
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32

MacDonald, Calum. "‘Tutt' ora vivente’: Petrassi and the concerto principle." Tempo, no. 194 (October 1995): 2–11. http://dx.doi.org/10.1017/s0040298200004472.

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Italian masters seem habitually to survive to a ripe old age. The proverbial example is Verdi, dying at 87, but Gianfrancesco Malipiero had turned 91 by his death in 1973, and his longevity has now been equalled, and seems likely to be surpassed, by Goffredo Petrassi. Long an eminent and respected figure in Italian musical life, and routinely named in the reference books as a significant 20th-century composer, Petrassi has never been well known in this country. His international reputation was at its height in the 1950s and 60s, and probably reached its apogee here with the London premiere, in
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Chiu, Remi. "MUSIC, PESTILENCE AND TWO SETTINGS OF O BEATE SEBASTIANE." Early Music History 31 (2012): 153–88. http://dx.doi.org/10.1017/s0261127912000022.

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This essay examines the role of music in the late-medieval and Renaissance response to plague. According to doctors, the mere thought of plague could bring on the disease; they therefore prescribed joyful music to distract the mind from insidious imaginings and to counteract the harmful effects of fear. The prescription for music, however, was not unequivocal. Some spiritual authorities looked suspiciously upon music's role as anti-pestilential remedy. These competing discourses inform a reading of Johannes Martini's and Gaspar van Weerbeke's settings of O beate Sebastiane, motets that petitio
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Berry, David. "The Meaning[s] of "Without": An Exploration of Liszt's Bagatelle ohne Tonart." 19th-Century Music 27, no. 3 (2004): 230–62. http://dx.doi.org/10.1525/ncm.2004.27.3.230.

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In this essay, I explore historical and theoretical issues germane to an understanding of an 1885 piano composition with an intriguing title: LisztÕs Bagatelle ohne Tonart--a bagatelle "without tonality" or "without a key." After briefly describing the workÕs history and musical associations with other compositions by Liszt, I survey two present-day approaches that reveal ways in which the work defies tonality: octatonic interpretations via set-class examinations, and Schenker-influenced prolongational models. I then turn to focus instead on how the Bagatelle fit within the framework of ninete
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О.В., Ануфриева. "ТИПИКОН О ВОЗГЛАСАХ И ЧТЕНИИ". Scientific and Theological Bulletin of the Perm Theological Seminary, № 2(3) (18 червня 2021): 164–77. http://dx.doi.org/10.48622/permds.2021.3.1.022.

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Типикон не излагает последовательно требований к интонированию разных текстов или возгласов, его краткие предписания не системны и "рассыпаны" по разным главам. Эта книга создавалась внутри действующей, звучащей традиции, однако для нашего времени представляется необходимым суммировать замечания Типикона о различных типах произнесения богослужебных текстов, обозначить очертания целостной системы, а не случайного выбора той или иной манеры интонирования. Нотные примеры, специально взятые из разных источников, показывают стилистическое единство канонической традиции. The Typicon does not consist
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Redhead, Lauren, Alistair Zaldua, Steve Gisby, and Sophie Stone. "Performing temporal processes." New Sound, no. 50-2 (2017): 113–27. http://dx.doi.org/10.5937/newso1750113r.

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This article explores the way that the performance of temporal processes in recent contemporary music reveals something about the nature of musical time. Process music deals with time as a part of its material, offering the opportunity to experience time as time: the expression and experience of units of time that are defined by, and enclose, processes, in works whose forms are defined by their durations. This experience of musical time has been described by Kramer as 'vertical time' (1981/1988): the extended perception of a single moment. Such an experience can be identified in Gisby's Iterat
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Meals, Cory D. "Diversity and Disparity in Band, Choir, and Orchestra Repertoire Lists: An Exploratory Analysis." Bulletin of the Council for Research in Music Education, no. 244 (2025): 27–47. https://doi.org/10.5406/21627223.244.02.

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Abstract This study investigated the gender identity, ethnicity, and vital status of 3,125 composers whose 24,273 works are featured on state-approved repertoire lists across wind band, choir, and orchestra disciplines in five geographically noncontiguous states. These lists influence scholastic musical activity through their prescriptive role in repertoire selection for ensemble performance evaluations. The analysis confirmed significant demographic disparities, with White male composers dominating all disciplines and state lists. White composers constituted more than 90% of the available wor
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O'Neill, Susan A. "Commentary: Considering Assumptions in Associations Between Music Preferences and Empathy-Related Responding." Empirical Musicology Review 10, no. 1-2 (2015): 71. http://dx.doi.org/10.18061/emr.v10i1-2.4571.

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<p>This commentary considers some of the assumptions underpinning the study by Clark and Giacomantonio (2015). Their exploratory study examined relationships between young people’s music preferences and their cognitive and affective empathy-related responses. First, the prescriptive assumption that music preferences can be measured according to how often an individual listens to a particular music genre is considered within axiology or value theory as a multidimensional construct (general, specific, and functional values). This is followed by a consideration of the causal assum
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Galaicu, Violina. "Improvisation in religious music of Byzantine tradition." Arta 33, no. 2 (2024): 7–12. https://doi.org/10.52603/arta.2024.33-2.01.

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The sources that fueled Byzantine sacred music, mostly oriental, as well as the multi-secular orality of its circulation, made this art possess a vast and rich spectrum of improvisational forms. The improvisational spirit manifests itself especially in the solo intonation and the more evolved melodic idioms, i.e. in the stihiraric and papadic singing, but also the irmologic singing leaves the psalmists a margin for individual contribution and invention. In all traditional musical cultures - and even more so in Byzantine music - improvisation starts from established patterns, predetermined laws
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Kim, David Hyun-Su. "The Brahmsian Hairpin." 19th-Century Music 36, no. 1 (2012): 46–57. http://dx.doi.org/10.1525/ncm.2012.36.1.046.

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Abstract Hairpins, the notation symbols < and >, are today universally accepted as equivalent to the markings crescendo and diminuendo, calling for an increase or decrease in volume. This view is irreconcilable with the scores of the core German repertoire of the nineteenth century. This article offers a new understanding of hairpins based on careful examination of the scores of Brahms and of early-twentieth-century recordings by artists close to him. In Brahms's milieu hairpins did not prescribe sounds, but rather described meanings. The difference between prescription and descr
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Saupic, T., C. Beitz, E. Meunier, and C. Duclos. "Le soin Berceuses : dynamiques d’un dispositif de soin psychocorporel mère-bébé." European Psychiatry 30, S2 (2015): S71. http://dx.doi.org/10.1016/j.eurpsy.2015.09.336.

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Le soin Berceuses fait partie des soins psychocorporels proposés à l’unité Parents-Bébé de l’hôpital de Montfavet (qui associe une offre des soins ambulatoires et une capacité d’hospitalisation conjointe de jour), où sont présentes des parents en difficulté dans leur rencontre avec leur bébé, présentant des troubles psychiques. L’ambition du soin Berceuses est de contribuer à favoriser l’établissement des premiers liens. Les dyades/triades participent au soin Berceuses selon la prescription médicale (six séances renouvelables) ; les indications et les évaluations sont discutées en réunion clin
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Zaldua, Alistair. "NOTATION AND IMPROVISATION: NOTATIONAL PRAXIS IN THE WORK OF THE ICP, SARAH BRAND AND MOSS FREED." Tempo 78, no. 308 (2024): 24–37. http://dx.doi.org/10.1017/s0040298223000931.

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AbstractThis article examines the relationship between notation and improvisation and the ways in which notational representation and prescription are extended by para-notation in the work and practice of the improvisers Sarah Brand and Moss Freed and in the work of ethnomusicologist Floris Schuiling, in particular through his research into the Dutch collective, the Instant Composers Pool (ICP). Sarah Brand analyses her own improvisation transcriptions using concepts derived from music therapy to help sharpen awareness for future improvisation. Moss Freed's Micromotives features his own varian
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Bujić, Bojan. "A Sacred Bridge or an Unsteady Pontoon? – Some Communication Problems Between Philosophers and Musicians." Musicological Annual 43, no. 1 (2007): 11–19. http://dx.doi.org/10.4312/mz.43.1.11-19.

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Philosophical discussion of music based on the principle that music is a form of language, encounters difficulties. Some aspects of music do tend towards language-like structures, while others pull away from them. If only the language model is upheld, then philosophical theories assume a prescriptive character, aiming to establish in an a priori manner which music has meaning (hence value) and which not. This problem is particularly acute in the Anglo-American tradition of anaytical philosophy.
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Filocamo, Gioia. "Bolognese ‘Orations’ between Song and Silence: The <i>Laude</i> of the Confraternity of Santa Maria della Morte." Confraternitas 26, no. 2 (2016): 3–17. http://dx.doi.org/10.33137/confrat.v26i2.27242.

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The flagellant confraternity of “Santa Maria della Morte” (Saint Mary of Death) in Bologna, established in 1336, was the first institution to systematically take care of the spiritual needs of those sentenced to death. This charitable activity, highly professionalized, followed a set of prescriptive procedures described in the confraternity’s manual, which has come down to us in several manuscript copies. In twelve of these copies, compiled between the late fourteenth and early sixteenth centuries, the manual is accompanied by “orations” or lauds (laude), giving us a body of 211 poems traditio
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Dupuy-Salle, Manuel, Camille Jutant, and William Spano. "La musique dont vous êtes le héros. Quelques nouvelles formes de prescription culturelle à travers l’étude des plateformes musicales sur le web." Les Enjeux de l'information et de la communication N° 17/3A, S1 (2017): 99–113. http://dx.doi.org/10.3917/enic.hs3.0099.

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Панов, А. А., and И. В. Розанов. "On the Term con discrezione and Its Derivates in Baroque Music." Научный вестник Московской консерватории, no. 1(44) (March 23, 2021): 48–63. http://dx.doi.org/10.26176/mosconsv.2021.44.1.003.

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В статье рассматриваются музыкально-исполнительские термины discrezione (discretion), con discrezione, à la discretion и avec discretion в процессе эволюции и в диахронической перспективе. Особый акцент сделан на клавирном творчестве И. Я. Фробергера. Приведены материалы из трудов С. де Броссара, И. Г. Вальтера, Дж. Грассино, И. Маттезона и др., а также из старинных словарей общей лексики. Выполнена критическая ревизия современных научных публикаций по теме исследования. Выявлены многочисленные неточности, ошибки и противоречия в интерпретации терминологии, допущенные учеными и редакторами нот
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Safariants, Rita. "From Pugacheva to Pussy Riot." Canadian-American Slavic Studies 56, no. 2 (2022): 200–230. http://dx.doi.org/10.30965/22102396-05602012.

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Abstract The officially sanctioned popular music genre of Soviet estrada has traditionally been an industry where both male and female performers have been able to achieve high levels of success and public exposure. Meanwhile, within the genres of underground and unofficial popular music – rock, punk, and rap – the male-dominated gender disparity has been much more pronounced. This article investigates the reasons behind this dynamic within a Russo-Soviet context. In dialogue with Judith Butler’s notion of gender performativity as well as recent scholarship on gender in Western rock and punk m
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Thomas, Niall. "Innovation and tradition in metal music production." Metal Music Studies 7, no. 3 (2021): 423–43. http://dx.doi.org/10.1386/mms_00058_1.

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Contemporary music technology affords limitless potential and has changed the way record producers need to work with metal music, often employing a far more fragmented approach. This article explores technology’s influence on producing metal records through the lived experiences of seven renowned metal music producers, and it is argued that what can be perceived as traditional production processes are production processes that favour capturing performances, embracing the potential of technology. In contrast, the construction of recorded performances through anticipated uses of technology often
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Carter-Ényì, Aaron, and Quintina Carter-Ényì. "“Bold and Ragged”: A Cross-Cultural Case for the Aesthetics of Melodic Angularity." Music & Science 3 (January 1, 2020): 205920432094906. http://dx.doi.org/10.1177/2059204320949065.

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Smaller corpora and individual pieces are compared to a large corpus of 2,447 hymns using two measures of melodic angularity: mean interval size and pivot frequency. European art music and West African melodies may exhibit extreme angularity. We argue in the latter that angularity is motivated by linguistic features of tone-level languages. We also found the mean interval sizes of African-American Spirituals and Southern Harmony exceed contemporary hymnody of the 19th century, with levels similar to Nigerian traditional music (Yorùbá oríkì and story songs from eastern Nigeria). This is consist
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Docherty, Barbara. "‘We know for whom we mourn’: Britten, Auden and the politics of 1936." Tempo, no. 192 (April 1995): 22–28. http://dx.doi.org/10.1017/s0040298200004083.

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On 25 September 1936 Benjamin Britten's Our Hunting Fathers, his first adult song cycle, first score for full orchestra and self-confessed ‘real op.l’, had its Norwich première. Its public agenda, both political and social, was set by W.H. Auden's 1930 Poems, and its aggressive technical and moral exhortation desired to épater les ancêetres much as Berg's Wozzeck had sought to do. Its private agenda is, however, of far greater interest. In 1930 it had seemed that the detached, self-conscious Künstlerarzt could take the knife to the social gangrene of the prewar generation and its political pre
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