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Journal articles on the topic 'Musical styles'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

Teo, Timothy, David J. Hargreaves, and June Lee. "Musical Preference, Identification, and Familiarity." Journal of Research in Music Education 56, no. 1 (2008): 18–32. http://dx.doi.org/10.1177/0022429408322953.

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The authors investigate whether there were significant differences in preferences for, familiarity with, and identification of Chinese, Malay, and Indian music between adolescent students from Singapore ( n = 78) and the United Kingdom ( n = 53). Also explored are the relationships among these three variables. Students were asked to rate their preference for and familiarity with Chinese, Malay, and Indian excerpts on 7-point Likert-type scales and to name each musical style. Singaporean girls showed greater preference for, familiarity with, and identification of the Chinese and Malay styles th

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Tizón Díaz, Manuel, and Francisco Gómez Martín. "The Influence of Musical Style in Perceived Emotion." Revista Electrónica Complutense de Investigación en Educación Musical - RECIEM 17 (July 3, 2020): 85–131. http://dx.doi.org/10.5209/reciem.65311.

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In this work we address the problem of understanding how musical style influences perceived emotion as well as their pedagogical consequences. The first problem arises when considering the very definition of style. The definition of musical style and how to apply it is thoroughly discussed. Several experiments were carried out in order to gain understanding about the emotional response to musical style. Six styles (Baroque, Classicism, Romanticism, pandiatonicism, twelve-tone serialism, and Phrygian mode) were selected and pieces were composed in those styles to be later played to both musicia

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North, Adrian C., and David J. Hargreaves. "Liking for Musical Styles." Musicae Scientiae 1, no. 1 (1997): 109–28. http://dx.doi.org/10.1177/102986499700100107.

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This paper reports two experiments on liking for musical styles. The first study investigated the relative extent to which liking for musical excerpts is associated with liking for the styles in which they are performed and for the pieces on which they are based. Fifty subjects were presented with 24 short musical excerpts comprising 5 original pop music pieces and 19 ‘cover’ versions of them in different musical styles. The results indicated that subjects' liking for the excerpts was more closely associated with their liking for the musical styles than for the pieces themselves. Given their a

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Ye, Jiahui. "THE GOLDEN SANDS MUSICAL (金沙): ON THE FORMATION OF A GENRE ARCHETYPE IN CHINA". Scientific and analytical journal Burganov House. The space of culture 19, № 6 (2023): 94–102. http://dx.doi.org/10.36340/2071-6818-2023-19-6-94-102.

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The Golden Sands musical is considered in terms of the genre formation specifics in China. Attention is focused on the American origins of Chinese musicals, especially regarding style, scenography, and the specifics of vocal sound extraction. Consideration is given to the penetration of Chinese ethnic elements into the means of musical expression and choreographic poetics in the Equatorial Rain original musical, which demonstrated the fusion of national elements with Western ones, with jazz, rock, rap, etc. The author puts forward the hypothesis that the development of musicals in China is sti

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Kulezic-Wilson, Danijela. "A Musical Approach to Filmmaking: Hip-hop and Techno Composing Techniques and Models of Structuring in Darren Aronofsky’s π". Music and the Moving Image 1, № 1 (2008): 19–34. http://dx.doi.org/10.5406/musimoviimag.1.1.0019.

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ABSTRACT Inspired by hip-hop and techno-music, Darren Aronofsky applied various musical techniques and models of structuring typical of the aforementioned musical styles in his film π, which resulted in an innovative approach to editing and an inherently musical audiovisual style.

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Gholam-Shahbazi, Hassti. "The Relationship between Spatial and Musical Intelligences and EFL Learners’ Learning Styles and Vocabulary Knowledge." Journal of Language Teaching and Research 10, no. 4 (2019): 747. http://dx.doi.org/10.17507/jltr.1004.09.

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This study investigated the relationship between spatial and musical intelligences and learning styles of EFL learners and their vocabulary knowledge. Accordingly, relationship between spatial intelligence, musical intelligence and vocabulary knowledge, visual learning style, auditory learning style, and kinesthetic learning style with vocabulary knowledge, listening and vocabulary knowledge, and finally spatial, musical intelligence, visual, auditory kinesthetic learning style as independent variables and vocabulary knowledge s dependent variable was examined. This study is an experimental an

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Bloxam, M. Jennifer. "‘La contenance italienne’: the motets on Beata es Maria by Compère, Obrecht and Brumel." Early Music History 11 (October 1992): 39–89. http://dx.doi.org/10.1017/s0261127900001194.

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Musicians have recognised distinct national styles of musical composition and performance for centuries, and even today our understanding of the development of musical style in virtually every period rests in large part on observations of the contact and melding of national idioms. From the suppression and absorption of Gallic chant by Roman plainsong during the time of Charlemagne, through the wedding of French, Italian and German styles accomplished by Bach, to the joining of north Indian classical musical elements with modern avant-garde music by Philip Glass and other minimalist composers,

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Dunbar-Hall, Peter. "Book Review: Investigating Musical Styles." International Journal of Music Education os-22, no. 1 (1993): 78. http://dx.doi.org/10.1177/025576149302200116.

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Brittin, Ruth V. "Children's Preference for Sequenced Accompaniments: The Influence of Style and Perceived Tempo." Journal of Research in Music Education 48, no. 3 (2000): 237–48. http://dx.doi.org/10.2307/3345396.

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Second graders through sixth graders ( N = 343) listened to 10 musical selections in music classes and marked their preference and perception of each selection's tempo on rating scales. Listeners responded to children's songs played with nine electronic keyboard sequenced accompaniments, including popular to more traditional folk styles. The tenth accompaniment style featured simple chords with piano timbre, included to represent a typical acoustic piano accompaniment. All selections were performed at the same tempo. Three versions of the survey, recorded with various song-style combinations,

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Cristescu, Constanta. "Musical styles of byzantine tradition from western and southwestern romania reflected in the work Anastasimatar Arădean." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 7–12. http://dx.doi.org/10.55383/amtap.2022.2.01.

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The traditional Byzantine music of western and southwestern Romania was a collective music, orally perpetuated as the folklore, a music in which no composers stood out, as they stood out in the orthodox musical culture of Moldova, Muntenia and Oltenia. Regional musical styles of Byzantine tradition were formed in these areas, through a long process of enclavisation for centuries. They are the result of the inter-influence of Byzantine music with the folklore and with the Western music culture imposed through the school. One of these sub-zonal styles from southwestern Romania is the style prese

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Warrener, Emily, Amanda E. Krause, and Adrian C. North. "Parenting style as a predictor of music preference." Psychology of Music 48, no. 5 (2018): 611–25. http://dx.doi.org/10.1177/0305735618816173.

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Although previous research has established relationships between perceived parenting styles and children’s deviant behaviours and links between these behaviours and a liking for intense and rebellious music, no research has explored the associations between perceived parenting styles and children’s liking for different music styles. Whereas previous research has considered musical taste by looking at a small number of individual difference variables in isolation from one another, the present research used a cross-sectional correlational design to investigate whether parenting styles, the Big F

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Bukreev, V. A. "USION AS A STYLE IN MUSIC OF THE 60 S - 90 S OF THE XX CENTURY." Herald of Culturology, no. 3 (2020): 30–42. http://dx.doi.org/10.31249/hoc/2020.03.02.

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The article discusses the phenomenon of the emergence of modern fusion musical style (English fusion – «alloy», «melting», «mixture»), as an organic combination of various styles and directions of pop-jazz-rock cultures, as well as a creative search for a musical dialogue with traditions and various genres of academic, ethnic and folk music of the countries of Asia, Africa, Europe, Latin America, as the basis of fusion style is the support for combining elements of traditions of different musical cultures.

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Lima, Miguel F. M., J. A. Tenreiro Machado, and António C. Costa. "A Multidimensional Scaling Analysis of Musical Sounds Based on Pseudo Phase Plane." Abstract and Applied Analysis 2012 (2012): 1–14. http://dx.doi.org/10.1155/2012/436108.

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This paper studies musical opus from the point of view of three mathematical tools: entropy, pseudo phase plane (PPP), and multidimensional scaling (MDS). The experiments analyze ten sets of different musical styles. First, for each musical composition, the PPP is produced using the time series lags captured by the average mutual information. Second, to unravel hidden relationships between the musical styles the MDS technique is used. The MDS is calculated based on two alternative metrics obtained from the PPP, namely, the average mutual information and the fractal dimension. The results revea

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Shepherd, John. "Towards a Sociology of Musical Styles." Sociological Review 34, no. 1_suppl (1986): 56–76. http://dx.doi.org/10.1111/j.1467-954x.1986.tb03314.x.

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Govorukhina, Nataliya, Tetiana Smyrnova, Iryna Polska, Iryna Sukhlenko, and Ganna Savelieva. "Style as a Topical Category of Modern Musicology and Music Education." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (2021): 49–67. http://dx.doi.org/10.24193/subbmusica.2021.2.04.

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"The aim of the work is to arrange the scientific achievements on the category of “musical performing style” and identify mechanisms for practical testing of theoretical provisions in the pedagogical activities of higher musical education institutions. The research methodology is based on a combination of general scientific and musicological approaches, in particular: system approach hermeneutic, historical, comparative, genre-style, interpretive method, as well as performance analysis. The results of the study indicate that domestic art schools were formed by synthesizing several national and

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, Erlina Sari Siregar, Hasanuddin ,. Salamiah Sari Dewi. "Predictor Of Multiple Intelligence In Educational Practice." Educational Administration: Theory and Practice 28, no. 02 (2022): 49–56. http://dx.doi.org/10.17762/kuey.v28i02.405.

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The goal of this study was to put each thinking style's predictions on multiple intelligences to the test. Participants are Medan City teachers who were randomly assigned to a sample (n=810) multiple intelligence scale from Gardner (1983) totalling 63 items with a range of 5 scales and a thinking style questionnaire using the Sternberg-Wagner Self-Assessment Inventor from Sternberg (2009) totalling 65 items with a range of 5 scale ranges. Only six of the eight intelligences, such as Interpersonal, Visual-spatial, Bodily-kinaesthetic, logical-mathematical, linguistic-verbal, musical-rhythmic, a

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Mocanu, Daniel. "Stylistic Features of Church Music After Dimitrie Cunțanu, a Default Typology." Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 1 (2023): 225–60. http://dx.doi.org/10.24193/subbmusica.2023.spiss1.14.

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"Present both in the melodies recorded by Dimitrie Cunțanu and in the melodies that we find in the oral tradition, modal constructions represent melodic molds for defining the central Transylvanian musical style. The correct framing of a melodic line is achieved by means of the scale, the cadential system and the melodic formulae. The ecclesiastical musical style according to Cunțanu, which was derived s from the Byzantine musical tradition, has become an individual style among ecclesiastical musical styles by uniquely assimilating various musical elements from folklore, music of the related c

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Rovner, Anton А. "Mark Belodubrovsky, a Versatile Contemporary Composer, Violinist and Educator." ICONI, no. 1 (2021): 111–25. http://dx.doi.org/10.33779/2658-4824.2021.1.111-125.

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Mark Belodubrovsky is one of the most accomplished contemporary composers living presently in Moscow who has written a substantial amount of solo, chamber and vocal musical compositions of high quality, which are performed in Russia and in a number of other countries. His musical output is especially noted for its versatility of different styles of music: some of his compositions are traditional and romantic in their style and tonal in their harmony, with a strong infl uence of Russian folk music which the composer actively employs in a number of his compositions, while other works follow inno

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Wang, Xiuqin, Jun Geng, and Zhiyuan Li. "Using a Solution Construction Algorithm for Cyclic Shift Network Coding under Multicast Network to the Transformation of Musical Performance Styles." Complexity 2021 (April 26, 2021): 1–11. http://dx.doi.org/10.1155/2021/9993396.

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This paper presents a theoretical framework of the circular shift network coding system through the study of nonmultiple clustered interval music performance style conversion and the analysis of music conversion by using circular shift topology, and a series of basic research results of circular shift network coding is obtained under this framework. It reveals the essential connection between scalar network coding based on finite domain and cyclic shift network coding, designs a solution construction algorithm for cyclic shift network coding under multicast network, and portrays the multicast

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White, Christopher Wm. "Changing Styles, Changing Corpora, Changing Tonal Models." Music Perception 31, no. 3 (2012): 244–53. http://dx.doi.org/10.1525/mp.2014.31.3.244.

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This article explores the historical development of common-practice musical style and how that development might connect to the cognition of key within the history of Western European tonality. First, musical corpora of 19 composers were divided into three-chord progressions, and these progressions were tallied. The chord tallies were used for a cluster analysis and for measurements of inter-corpus cross entropy. The cluster analysis divided the corpora in ways that conform to historical and stylistic intuitions, and inter-corpus cross entropy was found to correlate with the years separating t

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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 (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

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Hargreaves, David J., Chris Comber, and Ann Colley. "Effects of Age, Gender, and Training on Musical Preferences of British Secondary School Students." Journal of Research in Music Education 43, no. 3 (1995): 242–50. http://dx.doi.org/10.2307/3345639.

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The effects of age, gender, and musical training on preference ratings for 12 musical style categories were investigated in a sample of 278 British secondary school pupils drawn from the 11–12- and 15–16-year-old age-groups. There were no significant age x gender interactions, but a number of significant main effects were found. There was a general decline in liking with age, and this was particularly apparent for “serious” styles, although those “popular” styles for which the same effect was present showed considerably higher levels of liking at both age levels. Broadly speaking, girls expres

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TSYKINA, Yu.Yu., and Liu CHANG. "The development of regional musical styles for the erhu in China." Service plus 19, no. 1 (2025): 90–99. https://doi.org/10.5281/zenodo.15170129.

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Erhu music has developed over a long period of time and has gone from rural to temple, from folk to professional, demonstrating the general trend of time: from folk culture to modern culture. In the historical process of continuous specialisation and modernisation, erhu music has gradually developed a number of diverse regional styles and corresponding cultural patterns. In addition to common features and qualities, regional styles of erhu music have certain local characteristics (in particular, erhu music based on instrumental vocal cadences; based on the works of ancient literati, etc.). The

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Wannawattawong, Raksarn, Narong Khamwijit, and Emeritus Sakda Pannengpetch. "A STUDY ON ARTISTIC STYLES AND ARTISTISM IN MUSICAL PERFORMANCE." EUrASEANs: journal on global socio-economic dynamics, no. 3(46) (May 30, 2024): 447–53. http://dx.doi.org/10.35678/2539-5645.3(46).2024.447-453.

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Musical performance represents a secondary creation of musical works, necessitating performers to possess a high level of artistic cultivation and a deep understanding of the artistic style inherent in the music. Performers must bring unique aesthetic characteristics to their performances. The performer's personality, temperament, and experience, along with the local cultural background, influence the artistic style in musical performance. Therefore, performers must specifically analyze these influencing factors and explore methods of artistic expression in musical performance. By accurately u

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Feldman, Martha. "Rore's selva selvaggia: The selva selvaggia of 1542." Journal of the American Musicological Society 42, no. 3 (1989): 547–603. http://dx.doi.org/10.2307/831505.

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This study attempts to develop a new perspective on the styles of the mid-century Italian madrigal represented by Rore and Willaert through examination of the literary contents and musical expression of Rore's Primo libro of 1542 and a comparison of its character with that of Willaert's Musica nova, written about the same time. Textual exegesis demonstrates the boldly Dantean character of some of Rore's poetic choices in an age troubled by Dante's often harshly graphic descriptions in the Inferno. Musical analysis shows how Rore translated this concrete style of language into a distinctive mad

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Kopiez, Reinhard, and Friedrich Platz. "The Role of Listening Expertise, Attention, and Musical Style in the Perception of Clash of Keys." Music Perception 26, no. 4 (2009): 321–34. http://dx.doi.org/10.1525/mp.2009.26.4.321.

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THIS EXPLORATIVE STUDY INVESTIGATES THE PERCEPTION of clash of keys in music. It is a replication and extension of an earlier study by Wolpert (2000) on the perception of a harmonic (bitonal) manipulation of a melody and accompaniment. We investigated (a) how reliable results were, (b) how results would change if listeners' attention changed from nondirected (NDL) to directed listening (DL), and (c) whether the perception of clash of keys is influenced by the musical style of the particular composition. Participants included 101 expert listeners and 147 nonexpert listeners who evaluated music

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Suciu, Livia Georgeta. "Implicarea deconstrucției filosofice în muzica lui John Zorn." Swedish Journal of Romanian Studies 6, no. 1 (2023): 14–42. http://dx.doi.org/10.35824/sjrs.v6i1.24909.

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We started from the challenge launched by the professor and musicologist Marcel Cobussen in his doctoral thesis “Deconstruction in Music” (2002) and we investigated how the philosophical deconstruction promoted by Jacques Derrida is articulated in the context of avant-garde music promoted intensively in recent decades by artist John Zorn. Given that Derrida challenged us to understand that deconstruction applies to not only written texts and discourses, but also to other non-discursive ways of writing such as works of art, cinematography, architecture or music, we tried to explain first what i

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Putra, I. Putu Eka Julyana. "Musical Composition Sandyaning Rang-Rang | Komposisi Musik Sandyaning Rang-Rang." GHURNITA: Jurnal Seni Karawitan 2, no. 3 (2022): 232–39. http://dx.doi.org/10.59997/jurnalsenikarawitan.v2i3.1190.

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Tabuh kreasi Pepanggulan Sandyaning Rang-Rang this work is created from the amalgamation of the Sounth Balinese style and the North Balinese style. The uniqueness found in this work such as the techniques, spirit or disposition, as well as the characters contained in the two regions. Purpose of creation tabuh kreasi pepanggulan Sandyaning Rang-Rang this is to unify styles of South Balinese with North Balinese styles into the concept of the work tabuh kreasi pepanggulan by using the medium of expressing Balinese musical music. The method of creating this work uses the creation method of Alma M.

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De Oliveira, Luciana Xavier. "Políticas de estilo nas cenas musicais: contribuições teórico-metodológicas." Latitude 12, no. 2 (2019): 60–74. http://dx.doi.org/10.28998/lte.2018.n.2.5156.

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Este artigo propõe uma possibilidade de exame e interpretação das cenas musicais a partir de uma perspectiva semiótica e comunicacional que leve em consideração manifestações performáticas da configuração dos estilos. A reflexão se refere a pesquisa em andamento a respeito da interconexão entre as formas de performatização do gosto musical no espaço urbano. Para isso, é utilizada a noção de estilo subcultural de Dick Hebdige (1976), cujas dinâmicas podem ser observadas nas performances de gosto, nos atos reflexivos de consumo cultural e nos processos de identificação articulados a experiências

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Arestov, Sergey S. "Jazz composition in the modern educational process." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 140–44. http://dx.doi.org/10.30725/2619-0303-2021-1-140-144.

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The teaching system is periodically updated and improved. The article outlines the perspective of using jazz composition in the system of musical education. Its expediency is emphasized, and its conditionality is shown by several interacting factors that contribute to the formation of professional skills of a musician-performer and teacher. In addition, the characteristic features that distinguish it from other musical disciplines are identified. At the same time, jazz composition as a technique for creating works is the basis for the formation and development of a musical style that involves

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Soares-Quadros Júnior, João Fortunato, Oswaldo Lorenzo, Lucía Herrera, and Naiara Sales Araújo Santos. "Gender and religion as factors of individual differences in musical preference." Musicae Scientiae 23, no. 4 (2018): 525–39. http://dx.doi.org/10.1177/1029864918774834.

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The goal of this article is to analyse the musical preferences of Brazilian students by considering the variables of gender and religion. Using random sampling, a class was selected from each high school year group of 10 public schools in the city of São Luís (Brazil).The total study sample consisted of 658 students: 358 females (54.4%) and 300 males (45.6%). Of these, 343 (52.1%) were Protestants and 315 (47.9%) were Catholics, and their ages ranged from 14 to 19 years ( M = 16.24 years old, SD = 1.14). For the data collection, a version of the Questionnaire on Musical Style Preferences by Lo

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Rodriguez Zivic, P. H., F. Shifres, and G. A. Cecchi. "Perceptual basis of evolving Western musical styles." Proceedings of the National Academy of Sciences 110, no. 24 (2013): 10034–38. http://dx.doi.org/10.1073/pnas.1222336110.

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Greenberg, David M., Simon Baron-Cohen, David J. Stillwell, Michal Kosinski, and Peter J. Rentfrow. "Musical Preferences are Linked to Cognitive Styles." PLOS ONE 10, no. 7 (2015): e0131151. http://dx.doi.org/10.1371/journal.pone.0131151.

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Kapliyenko-Iliuk, Yuliya. "Dynamics of the Level Formation of Style Hierarchy in Musical Art." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (2021): 109–24. http://dx.doi.org/10.24193/subbmusica.2021.1.08.

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"Style, as a category of musicology, has been studied by scholars of different times. It has a wide range of questions under inquire. The problems of forming a system of style levels have repeatedly been the subject of scientific research. The article is devoted to the study of scientific information sources that consider the principles of style hierarchy, individual, national levels, and their importance in higher systems – the style of genres and eras. Based on research of scholars’ opinions in the field of music style, conclusions about features of hierarchy of style levels, dynamics of the

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Kharzhevskaia, Anna A. "The Research of the Relationship of Preferred Musical Styles and Personal Features of Music Teachers." Musical Art and Education 7, no. 2 (2019): 41–56. http://dx.doi.org/10.31862/2309-1428-2019-7-2-41-56.

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The present article researches the relationship of musical preferences of adolescence (pop, rock and rap) and modernity (classical, pop, rock, music lovers) with the display of personal features, such as empathy, emotional exhaustion, state and trait anxiety, pedagogical style and coping strategies. The musical genres and trends are considered as musical preferences and precedential musical phenomenon revealed empirically during the self-analysis by the subjects. The experimental study was carried out on the basis of Moscow Pedagogical State University and consisted of 4-5th-year students of M

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Gang, Yi, and Bi Zhang. "A Study of Choreography Courses for Musical Theater Majors." Studies in Art and Architecture 1, no. 1 (2022): 8–13. http://dx.doi.org/10.56397/saa.2022.12.02.

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Musical theater education in Chinese universities is generally focused on training musical performance talents, and the dance courses involved are also set up to enhance dance performance. The dance styles learned are mainly ballet, modern dance, jazz dance and tap dance, which are common in European and American musicals. However, in the actual musical rehearsal process, the use of dance to create dramatic characters, develop dramatic events, and show dramatic emotions and conflicts requires the skilled creative ability of the musical choreographer. The educational process of musical choreogr

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Suan, Chong Lee. "Why the Ancient Musical Essence is Still Retained in Dusun Tindal's Instrumental Music within its Modern Community?" GATR Global Journal of Business Social Sciences Review 3, no. 3 (2015): 24–31. http://dx.doi.org/10.35609/gjbssr.2015.3.3(3).

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Objective - This paper examines Dusun Tindal's instrumental music practice within the context of modernity of the society in Tenghilan, a town that is located on northwest Sabah. The study looks into the driving modish musical styles and forms in the root of the ancient traditions especially in the aspects of musical natures, music compositions, musical functions, and philosophies. Methodology/Technique - The contemporary musical ensemble is a newly developed tradition combining a mixture of traditional and western musical instruments and styles. Due to the new mindsets and tastes of their you

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Ясянь, Ю. "Evolution of musical genres and styles: analysis of the historical development of musical culture." Management of Education, no. 8(66) (June 30, 2023): 223–30. http://dx.doi.org/10.25726/h4735-1459-6465-b.

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Музыкальная культура, также как и любое другое общественное явление, постоянно меняется и развивается. В ней ветвисто переплетаются различные жанры и стили, что обуславливает огромную сложность анализа её эволюции. Музыка является искусством, отражающим как объективную действительность, так и субъективный взгляд создателей на неё, выражающийся в разнообразии музыкальных форм и направлений. Для этого анализа становится необходимым обращение к таким основополагающим концепциям, как жанр, стиль, история развития музыкальной культуры. Изучение самых ранних записанных музыкальных жанров и стилей ра

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Kazantseva, Liudmila P. "Musical Intonation: Genre and Style Properties." IKONI / ICONI, no. 4 (2021): 159–79. http://dx.doi.org/10.33779/2658-4824.2021.4.159-179.

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In the previous lecture from the cycle “Musical Intonation” (see the journal ICONI, 2021, No. 3, pp. 68–83) the topic was the conception of musical intonation, its sound contours and semantics. In the present publication there appears the possibility to characterize the other features of intonation which enable it to move towards the achievement of its main goal — conveyance of the artistic meaning. During the course of the conversation about the genre-related particularities of intonation four large-scale genre-related spheres have been indicated (and, correspondingly, four genre types): melo

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Zhivitsa, A. R. "MODERN TRENDS OF ETHNIC MUSIC." Arts education and science 1, no. 30 (2022): 172–79. http://dx.doi.org/10.36871/hon.202201020.

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Modern ethnic music, represented by a wide palette of styles and trends, is an interesting global musical phenomenon, based on the actualization of national musical traditions and building intercultural dialogue. In this article, we clarify the terminological apparatus and conceptual environment of ethnic music, which in Russian realities is understood as a part of contemporary culture that combines traditional music and folk music, as well as consider the socio-cultural prerequisites for the emergence of this phenomenon and the main tendencies of ethnic music. Born as a youth folklore movemen

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Barbosa Ramos, Nairo. "ZOUK, LAMBADA, LAMBAZOUK, BRAZILIAN ZOUK - MYTHS, TRUTHS AND EVOLUTION." Revista Gênero e Interdisciplinaridade 5, no. 04 (2024): 171–83. http://dx.doi.org/10.51249/gei.v5i04.2158.

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This article investigates the differences between zouk, lambada and lambazouk, analyzing their origins, evolutions and myths. It is argued that zouk is a musical style originating from the French West Indies and that lambazouk is a version of lambada with new movements influenced by other styles and dances, danced to the sound of zouk music and other musical genres. The analysis is based on scientific and empirical evidence, highlighting that lambada adapts to different musical genres, but maintains its essential characteristics. Lambada is highlighted as a genuinely Brazilian dance and a cult

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Ricciardi, Emiliano. "Torquato Tasso and Lighter Musical Genres: Canzonetta Settings of the Rime." Journal of Musicology 29, no. 4 (2012): 385–421. http://dx.doi.org/10.1525/jm.2012.29.4.385.

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Scholars of the madrigal have often emphasized Torquato Tasso’s role in the emergence of a serious musical manner that differed sharply from the widespread canzonetta style of the late sixteenth and early seventeenth centuries. This emphasis is grounded in Tasso’s endorsement of musical gravitas in the dialogue La Cavaletta from the mid-1580s, as well as in some settings of Gerusalemme liberata, the musical style of which matched the heroic tone of the poetry. Tasso, however, produced many poems that were suitable to lighter musical styles. In particular, he wrote several short strophic compos

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Toropova, Alla V. "Musical-Psychological Anthropology as an Interdisciplinary Field of Scientific Knowledge." Musical Art and Education 7, no. 2 (2019): 24–40. http://dx.doi.org/10.31862/2309-1428-2019-7-2-24-40.

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The article presents the conceptual positions of the interdisciplinary field of knowledge “Musical-Psychological Anthropology” as a scientific field that allows comprehending the history of musical art and ethno-cultural variations of musical traditions, historical and modern musical styles as a representation of the experience of developing consciousness and expressing the key experiences of humanity that form the mentality, psychological needs and values of a particular social or ethnic group. The development of the methodology of Music and Psychological Anthropology makes it possible to stu

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KUCHERENKO, Anastasia L., and Nina A. KONOPLEVA. "The problem of musicality and musical styles of flamenco." Service plus 18, no. 2 (2024): 50–58. https://doi.org/10.5281/zenodo.12177127.

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This article is devoted to the problem of musicality and musical abilities, emphasizing personal perception and interpretation of music. These categories are viewed in the context of the personal-activity approach. It is stated that musical abilities are manifested in three varieties: listening to music, performing it and composing. It is emphasized that musicality of a person is expressed in the following abilities: the ability to feel music emotionally by ear, the ability to recognize the pitch of a sound, the ability to remember and reproduce melodies, as well as to create new ones. The aut

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Marisi, Rossella. "HEUTAGOGY IN THE 18TH CENTURY: TELEMANN’S MUSICAL DEVELOPMENT THROUGH NON-FORMAL EDUCATION." Review of Artistic Education 29 (May 30, 2025): 15–25. https://doi.org/10.35218/rae-2025-0002.

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Abstract: In his youth, Georg Philipp Telemann was dissatisfied with formal music education but eager to explore music and its surrounding culture as much as possible. He took it upon himself to become an independent learner, engaging in non-formal education. He seized every opportunity offered by the vibrant musical life of 18th-century Germany, from sacred music in churches and concerts in various cities to commentary and analysis of compositions in music journals, as well as exposure to popular music in many settings, eventually evolving into a prominent Baroque-era composer and skilled ins

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Omojola, 'Bode. "Style in modern Nigerian Art music: the pioneering works of Fela Sowande." Africa 68, no. 4 (1998): 455–83. http://dx.doi.org/10.2307/1161162.

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The Nigerian musical landscape changed significantly following the advent of Christian missionary activity and British colonial administration in the later nineteenth century. New idioms of musical practice which have evolved as a result of this historical process include a new tradition of religious, Christian, music, urban syncretic popular styles, new operatic forms and European-derived art/ classical music. This article focuses on one of these emerging styles, Nigerian art music, as reflected in the life and works of its most notable pioneer, Fela Sowande. After a brief historical backgrou

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MR Santosa, Kaffah Imanuddin, Frisiska Frisiska, Farrah Farrah, Sri Indrayanti, and Wiranti Kusuma Hapsari. "Akulturasi Budaya pada Corak Bangsal Mandalasana dalam Objek Wisata Keraton Yogyakarta." Bulletin of Community Engagement 4, no. 1 (2024): 19. http://dx.doi.org/10.51278/bce.v4i1.1024.

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There is a separate building that has a contrasting cultural style. Bangsal Mandalasana is a building in the form of a gazebo which functioned as a gathering place for musicians at that time. What is unique is that the styles of musical instruments implemented in this ward are not just traditional Indonesian music, but are musical instruments originating from the West and the Middle East. In fact, some of these instruments are modern musical instruments. It can be seen that there is a common thread between Western culture which has been merged outside the traditional culture of Hinduism, Buddh

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Archer, Rory. "Assessing Turbofolk Controversies: Popular Music between the Nation and the Balkans." Southeastern Europe 36, no. 2 (2012): 178–207. http://dx.doi.org/10.1163/187633312x642103.

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This article explores controversies provoked by the Serbian pop-folk musical style “turbofolk” which emerged in the 1990s. Turbofolk has been accused of being a lever of the Milošević regime – an inherently nationalist cultural phenomenon which developed due to the specific socio-political conditions of Serbia in the 1990s. In addition to criticism of turbofolk on the basis of nationalism and war-mongering, it is commonly claimed to be “trash,” “banal,” “pornographic,” “(semi-)rural,” “oriental” and “Balkan.” In order to better understand the socio-political dimensions of this phenomenon, I co

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Bilova, Yelyzaveta. "Trends in performance on percussion instruments in musical practice of the XXI century (on the example of arrangements of Ukrainian songs)." Aspects of Historical Musicology 36, no. 36 (2024): 142–57. https://doi.org/10.34064/khnum2-36.08.

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Statement of the problem. The development of musical art in the 20th and early 21st centuries is a complex and multidimensional process that attracts the attention of many musicologists. One of its features was the emergence of an extensive system of various styles and genres, the existence and development of which is parallel to the paradigm of academic music. Pop music in all its various manifestations, musical styles associated with the functioning of numerous subcultures – all these phenomena are only in some aspects of their functioning related to academic musical art, but this sometimes

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Zhurba, Volodymyr. "Characteristic Features of Harmony of the Bebop Music Style." Bulletin of KNUKiM. Series in Arts, no. 37 (December 10, 2017): 196–205. https://doi.org/10.31866/2410-1176.37.2017.155642.

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The purpose of the article is to reveal the basic principles of harmonic development of the bebop music style. The research methodology consisted in the application of musicological and comparative analysis. The scientific novelty. The study revealed the characteristic features of the bebop music style for the first time in Ukrainian musicology. In addition, a comparative analysis of the characteristic elements of harmonic development in traditional jazz and the bebop music style was carried out, the problems concerning their relationship were highlighted, and the inno

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