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Journal articles on the topic 'Musical topic'
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Brook, Taylor. "Ascending Music: Meaning and Expression in the Chamber Music of Brian Cherney." Overviews 37, no. 1 (2019): 83–98. http://dx.doi.org/10.7202/1059888ar.
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This article investigates the musical language of Brian Cherney, applying the idea of musical topics as a strategy for analyzing the extramusical content of his music. The idea of musical topics, traditionally applied to works from the classical era, is expanded with a collection of topics that are specific to Cherney’s work. Focusing on a set of chamber pieces from throughout Cherney’s compositional output beginning in the 1960s, this article focuses particularly on the topic of “ascending music,” tracing its musical and expressive meaning through these chamber works. The article concludes with a topic-based analysis ofGan Eden,a 1983 piece for violin and piano, providing an example of how topics coexist and interact within a single composition.
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Bradford, Wesley J. "Exploring the Narrative Implications of Emerging Topics in The Legend of Zelda." Journal of Sound and Music in Games 1, no. 4 (2020): 1–21. http://dx.doi.org/10.1525/jsmg.2020.1.4.1.
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The musical palette and gameplay format of The Legend of Zelda: Breath of the Wild is significantly different from earlier games in the Legend of Zelda series. The unique narrative organization of this game interacts with the different musical style to suggest a new mode of storytelling within the franchise. This article examines the narrative structure of Breath of the Wild, then groups various contrasting musical elements into emerging topics that are key elements within the game’s narrative structure. In particular, the mechanistic topic is tied to ancient technology, while a contrasting nature topic denotes the living creatures of the gameworld. These topical cues give players important information about their in-game surroundings by linking locations, characters, and events through a completely player-driven narrative discourse.
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Camargo, Luciano de Freitas. "Shostakovich’s Topics." Per Musi, no. 40 (June 14, 2021): 1–14. http://dx.doi.org/10.35699/2317-6377.2020.24661.
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The study of musical signification constitutes an important key for the comprehension of Shostakovich’s music. This becomes particularly evident when one observes that social and political background plays an important role in his compositional process through the configuration of specific musical topics on structural positions of his music. These specific topics have arisen after cultural and social events during the establishment of the Soviet Union and became typical elements of the Soviet Music. This paper aims to show the function of these elements as compositional roots in the creative concept of Shostakovich’s music. The rising of the concept of musical topic after Leonard Ratner (1980) has opened new paths for a consistent comprehension of the musical discourse, identifying social and cultural signs that may articulate ideas which go beyond the music itself: ideology, criticism and politics became elements of musical expression, composing a new soundscape of music in Revolutionary Russia.
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Rehding, Alexander. "Liszt's Musical Monuments." 19th-Century Music 26, no. 1 (2002): 52–72. http://dx.doi.org/10.1525/ncm.2002.26.1.52.
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The music topic of "apotheosis" is examined in the context of Liszt's artistic biography. While the effect of the final apotheosis is familiar as a standard procedure in his symphonic poems, a prominent critical strand suggests that the overwhelming effect of the apotheosis may merely conceal a fundamental vacuity. Nietzsche in particular develops an incisive critique of this kind of monumentality, which he links with a historiographic model of what he calls "monumental history." Nietzsche's historical model is probed against an episode from Liszt's career, in which the apotheosis topic first entered his orchestral music: the Cantata for the inauguration of the Bonn Beethoven monument (1845). In this cantata, Liszt chooses a quotation from Beethoven's "Archduke" Trio for the apotheosis. In this way, the cantata pits a musical kind of monumentality against the physical Beethoven movement, not dissimilar from attempts by Schumann and Jean Paul to theorize nineteenth-century monumentality. Moreover, with this "secular sanctus" Liszt forges an artistic link between the dead composer and himself. This episode, by means of which Liszt succeeded in consolidating his fame as Beethoven's rightful heir, turns out to be crucial for his subsequent career when he settled in Weimar as a self-consciously great composer (and wrote his symphonic poems). The events surrounding Liszt's engagement in the Beethoven monument are used as an exemplar of a notion of nineteenth-century musical monumentality that thrives on the interplay between the musical structure, the events amid which the performance took place, and the biographical background of the (genius-)composer.
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Grossi, Vittorino. "Oración de los salmos y afectividad." Augustinus 62, no. 3 (2017): 487–509. http://dx.doi.org/10.5840/augustinus201762246/24728.
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The article deals with Augustine‘s thought about Music and the Psalms. The topic of the musical language and the affective theology is addressed, as well as the song as a perception of attractive love, according to Augustine. Later, taking as point of departure Augustine‘s Gnoseology, the interior images and the metaphors of the musical instruments used by St. Augustine are identified, particularly within the en. Ps. Finally, a brief reflection on the relationship between music and the words of the songs is offered, as well as some Augustinian Guidelines on the «musica sacra» for the Contemporary Pastoral Work.
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Durman, Chris. "Psychedelic Popular Music: A History Through Musical Topic Theory." Music Reference Services Quarterly 21, no. 3 (2018): 164–65. http://dx.doi.org/10.1080/10588167.2018.1490575.
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Zorzal, Ricieri, and Oswaldo Lorenzo. "Teacher–student physical contact as an approach for teaching guitar in the master class context." Psychology of Music 47, no. 1 (2017): 69–82. http://dx.doi.org/10.1177/0305735617737154.
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In this study, the role of physical contact between teachers and students in the process of teaching guitar was investigated in the master class context. Thirty-five videotaped guitar master classes were classified into five groups according to student performance level. The musical topics studied in these classes were categorised, and all moments of physical contact between teachers and students were identified. Analyses of variance and non-parametric tests were used to determine the relationship between use of physical contact as a teaching approach and student gender, student performance level, the teacher giving the lesson, and topic presented by the teacher. The results indicated that physical contact was significantly related to the teacher giving the lesson and to guitar performance topics of “nails”, “muscle relaxation”, and “body posture”. However, of these three topics, only “body posture” was significantly related to students’ performance level. Ultimately, the results suggest that the topic presented by the teacher is helpful in determining the gestural behaviour of teachers in a musical instrument class.
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이지연. "Topic Theory: Analytical, Hermeneutical and Historical Approaches to Musical Sign." 이화음악논집 13, no. 1 (2009): 37–66. http://dx.doi.org/10.17254/jemri.2009.13.1.002.
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Margulis, Elizabeth Hellmuth. "Musical Repetition Detection Across Multiple Exposures." Music Perception 29, no. 4 (2012): 377–85. http://dx.doi.org/10.1525/mp.2012.29.4.377.
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although music's repetitiveness has been a perennial topic of theoretical and philosophical interest, we know surprisingly little about the psychological processes underlying it. As one step in the larger enterprise of examining the psychology of musical repetition, a preliminary question addresses repetition detection: Which repetitions are listeners able to identify as such, and how does this ability change across repeated exposures of the same work? In this study, participants with minimal formal training heard short excerpts and were instructed to press a button whenever they heard something from earlier in the piece repeat. Additional exposures facilitated repetition detection for long units, but impaired repetition detection for short ones, exposing an attentional shift toward larger temporal spans across multiple hearings.
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Soto Silva, Ignacio. "William Echard. Psychedelic Popular Music: A History Through Musical Topic Theory. Indiana University Press, 2017, 306 pp." ALPHA: Revista de Artes, Letras y Filosofía 1, no. 50 (2020): 345–48. http://dx.doi.org/10.32735/s0718-2201202000050800.
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El concepto de tópico musical fue acuñado por Leonard Ratner en la década de los 80’ en su libro Classic Music: Expression, Form, and Style. Esta primera aproximación sugirió un cambio notable que se observaría luego en la semiología de la música, en concreto, en el estudio de las prácticas musicales del clasicismo y romanticismo –un ejemplo claro de esto es el The Oxford Handbook of Topic Theory, editado por Danuta Mirka y publicado en 2014 por la editorial Oxford University Press...
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Pietrini, Sandra. "The Parody of Musical Instruments in Medieval Iconography." Revista de Poética Medieval 31 (December 14, 2018): 87–107. http://dx.doi.org/10.37536/rpm.2017.31.0.58895.
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The vast field of musical iconography during the Middle Ages must necessarily deal with the rich and surprising imagery of western manuscripts, showing a fanciful proliferation of playing creatures and bizarre deformations, sometimes inspired by exotic suggestions. In marginal miniatures of 14th century we can discover an interesting and puzzling topic: the parody of entertainers, with hybrid men playing a vielle with tongs, mermaids or apes playing jawbones and so on. The spreading of this topic in medieval iconography is linked to a satirical purpose aimed at professional entertainers, harshly condemned by Christian writers. Strange instruments made out of everyday objects like grills and distaffs, or ‘exotic’ animals like peacocks, mingle in the grotesque underworld of marginal miniatures, in which the noble art of music is often replaced by the cacophonous noises suggested by the devil.
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Dawson, William J. "The Alpha and Omega of Musical Pitch Processing—Absolute Pitch and Congenital Amusia." Medical Problems of Performing Artists 24, no. 3 (2009): 141–50. http://dx.doi.org/10.21091/mppa.2009.3029.
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The neurobiology of music has been a prolific source of publications in performing arts medicine over the past 15 years. A common research topic in music neurobiology is how humans perceive and process music. This review concentrates on two opposite aspects of pitch processing—heightened ability (absolute pitch) and absent ability (congenital amusia). From the bibliography of performing arts medicine found on the website of the Performing Arts Medicine Association, 165 citations were identified (as of February 2009) that deal with these topics, 149 on absolute pitch and 70 on congenital amusia, and form the basis of this review.
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Belinska, Tetiana, Ninel Sizova, Liudmyla Vasylevska-Skupa, Nataliia Kravtsova, and Iryna Shvets. "Integrative model formation of a musical art teacher’s professional training by means of innovation technologies." LAPLAGE EM REVISTA 7, Extra-E (2021): 381–96. http://dx.doi.org/10.24115/s2446-622020217extra-e1206p.381-396.
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The purpose of the research is to determine the effectiveness of the established integrative model of the musical art teacher’s professional training by means of innovation technologies based on a survey of students, in order to reveal the benefits of using the integrative model in educational institutions. The research methods: comparative analysis; systematization; generalizations, surveys. It has been established that the implementation of an integrative model of the musical art teacher’s professional training by means of innovation technologies demands from students to conduct the preliminary investigation of the topic and its basic understanding, as well as comprehension of how all the “parts” of the topic correlate. As a result of the research conducted, it has been revealed that the integrative model formation of musical art teacher’s professional training by means of innovation technologies is a complex process due to the abundance of variables that should be taken into account both in the curriculum and at the individual level.
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Honeycutt, Kevin S. "The Musical Philosophy of Bertrand de Jouvenel." Review of Politics 79, no. 3 (2017): 389–412. http://dx.doi.org/10.1017/s0034670517000250.
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AbstractIn this essay I set forth the musical philosophy of Bertrand de Jouvenel, a topic that has not been previously explored. I focus on Jouvenel's literary background; his emphasis on the imagination; his insistence that metaphor is the basis of all thought; and his critique of the “amousia” of modern philosophy, that is, its lack of music. Jouvenel believes that this amousia has led to dangerous political consequences in the twentieth century, such as the aesthetic and psychological promotion of violence. After setting forth Jouvenel's account, I explore these consequences.
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Mittenberg, Valerie. "Book Review: Musicals in Film: A Guide to the Genre." Reference & User Services Quarterly 57, no. 2 (2017): 152. http://dx.doi.org/10.5860/rusq.57.2.6543.
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“You ain’t heard nothing yet!” (43) exclaimed Al Jolson before belting out “Toot, Toot, Tootsie Goodbye” in The Jazz Singer, the 1927 film considered to be the first movie musical. Over the next century, the movie musical has continued to enthrall audiences with new performance and production styles. The long list of movies in which characters sing is matched only by the lavish number of books that have been published about the topic, the majority of which were written for Hollywood musical buffs. These books typically include movie stills, plot synopses, score credits, and fascinating anecdotes. Clive Hirschhorn’s 1981 comprehensive chronicle, The Hollywood Musical (Crown, 1981), is a successful example of this formula.
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Traut, Don. "Psychedelic Popular Music: A History through Musical Topic Theory by William Echard." Notes 75, no. 2 (2018): 275–77. http://dx.doi.org/10.1353/not.2018.0100.
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Frid, Emma. "Accessible Digital Musical Instruments—A Review of Musical Interfaces in Inclusive Music Practice." Multimodal Technologies and Interaction 3, no. 3 (2019): 57. http://dx.doi.org/10.3390/mti3030057.
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Current advancements in music technology enable the creation of customized Digital Musical Instruments (DMIs). This paper presents a systematic review of Accessible Digital Musical Instruments (ADMIs) in inclusive music practice. History of research concerned with facilitating inclusion in music-making is outlined, and current state of developments and trends in the field are discussed. Although the use of music technology in music therapy contexts has attracted more attention in recent years, the topic has been relatively unexplored in Computer Music literature. This review investigates a total of 113 publications focusing on ADMIs. Based on the 83 instruments in this dataset, ten control interface types were identified: tangible controllers, touchless controllers, Brain–Computer Music Interfaces (BCMIs), adapted instruments, wearable controllers or prosthetic devices, mouth-operated controllers, audio controllers, gaze controllers, touchscreen controllers and mouse-controlled interfaces. The majority of the AMDIs were tangible or physical controllers. Although the haptic modality could potentially play an important role in musical interaction for many user groups, relatively few of the ADMIs (14.5%) incorporated vibrotactile feedback. Aspects judged to be important for successful ADMI design were instrument adaptability and customization, user participation, iterative prototyping, and interdisciplinary development teams.
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Yang, Fuyin. "“Passatempi musicali” by GuillaumeLouis Cottrau as the way Neapolitan song actualization in 19th century music." Aspects of Historical Musicology 19, no. 19 (2020): 268–84. http://dx.doi.org/10.34064/khnum2-19.15.
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Background. In 19th century European music has been enriched by national phenomena, such as Polish mazurka, Austrian waltz, Hungarian czardas, which went into the academic genres system, expanded the boundaries of its intonational fund and audience perceptions. The Neapolitan song participated in this process. It was a real discovery for music lovers in different countries. Canzone Napoletana conquered the music salons area in France, from where it spread in all the Europe, and was reflected in the work of many composers. This genre phenomenon is not fully unraveled, probably due to the distortion of the ingrained ideas about it. This theme is mainly reflected in the publications of Italian experts in the second half of the 20 century D. Carpitella, E. De Martino, R. De Simone, and in the 21 century R. Di Mauro (2013). Interest in this genre intensified in the musical science of China also. This is due to the extraordinary melody of Neapolitan songs, which is consonant with Chinese samples. Chinese singers increasingly include the popular canzone Napoletana in their repertoire. In the musical science of China, this topic has been developed since the last decades of the 20th century in the studies of Song Jing (1985), Wu Shikai (1997), Pei Yisi (2011), Liu Shanshan (2007), Fang Yahong (2011), Chang Jinge (2018). However, many scientific works are of the same type, which is caused by the lack of direct access to the study of musical, poetic, bibliographic material. In the same time, the 19th century deserves attention as a period of the rapid spread of Neapolitan folk songs in the musical art of Europe. The outstanding role in these processes belongs to the representatives of the creative dynasty – Teodoro Cottrau (1827–1879), the author of the famous “Santa Lucia”, and his father Guillaume-Louis Cottrau (1797–1847). Given the current lack of knowledge on this topic, as the research goal of this article, we consider it necessary to get acquainted with the creative figure of G.-L. Cottrau, which contributed to the spread of Neapolitan folk songs in the European music of the 19th century. For the first time in the musical science of Ukraine and China, the collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments” is used as an object of research compiled by G.-L. Cottrau, as well as selected fragments of operatic works by G. Paisiello and D. Cimarosa. In this work, the historicalcomparative and biographical research methods are used, as well as generally accepted models of musicological and performing analysis of music. Results. When studying the Canzone Napoletana, the research problem lies in the difficulties of reconstructing song samples of the 16th–19th centuries. It is necessary to restore their exact chronology, authorship, conduct a comparative analysis of numerous editions, and comprehend the processes of historical evolution. This situation is known to most ethnological scholars, who are actually engaged in musical archeology and bring back almost lost samples of the past from oblivion. Thanks to the processes of national self-determination that swept Italy in the second half of the 20th century, a decisive breakthrough was made in ethnomusicology in the study of the musical and poetic heritage of the Neapolitan region. This is a strong help for any researcher dealing with this topic. The composer and music publisher Guillaume-Louis Cottrau belonged to a famous surname in France. Hisfather served Joachim-Napoléon Murat, Napoleon Bonaparte’s son-in-law. As a child, he ended up in Italy, in Naples, forever falling in love with this land and its culture. Subsequently, Guillaume-Louis adopted Neapolitan citizenship. Being engaged in the affairs of the music publishing house and composing, Guillaume-Louis made up and published in 1824 a collection of Neapolitan songs “Passatempi musicali” / “Musical entertainments”. This includes 104 Canzone Napoletana. Afterwards, the number of songs in different issues was increasing slightly (up to 113), the authorship of some fragments was clarifying, but the main block of tunes remained unchanged. This collection gained immense popularity in the music salons of France. It has been reprinted several times. According to R. di Mauro (2013), about sixty of the 104 songs in the first edition were written by G.-L. Cottrau, the rest are the result of processing of folk originals or songs by other authors. The essence of the undertaken arrangement consisted not only in recording musical and poetic texts (often in several versions), not only in creating a piano accompaniment part in the style of salon music-making. The composer personally collected these cantos and lyrics to them, communicating with servants, peasants, merchants, artisans, direct bearers of the oral musical tradition from different parts of the Neapolitan region. It includes old peasant songs, epic ballads, fragments from operas by G. Paisiello, D. Cimarosa, and other composers of the 18th century, which became truly people’s. This article compares the composer and folk versions of the Serenade of Pulcinella by Paisiello and Cimarosa, which were included in the first edition of the collection under the folk guise. Conclusions. The publication of the Neapolitan songs collection “Passatempi musicali” by G.-L. Cottrau played the role of actualizing this song genre in the musical space of the Romantic era. Its popularization outside Italy, repeated reprints made it possible to “legalize” the song South Italian folklore in the European musical space.
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Ribaldini, Paolo. "A conceptual connection between classic heavy metal and World War I: The case of Iron Maiden's 'Paschendale' and Motôrhead's '1916'." New Sound, no. 44-2 (2014): 96–108. http://dx.doi.org/10.5937/newso1444096r.
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In this essay, I deal with the connections between World War I and the musical style of early Heavy Metal (NM). HM has always dealt thoroughly with the topic of war, sometimes criticizing it, sometimes celebrating it. While World War II is a very frequent, lyrical topic, World War I is definitely less addressed, for a number of reasons. I nevertheless argue that, in spite of this general lack of interest, with such a historical topic early HM shares the ideological perspective of a crisis in the existing systems of values.
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Sołtysik, Michał S. "Topika w muzyce – definicje, historia, znaczenie." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 5–26. http://dx.doi.org/10.4467/23537094kmmuj.20.016.13202.
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Topics in music – definitions, history, meaning The aim of the article is to present the concept of topics in music, which was associated with the presentation of this term in the history of culture and literature. Due to the broader context, it will be possible to present this Greek term more fully in musicology and in relation to the interpretation of selected examples of musical works. The study consists of three complementary parts. The first introduces to the genesis of the concept, which originates from ancient rhetoric and has been described, among others by Aristotle, Cicero or Boethius. The second part of the article is the presentation of the topic in the context of the analyzes of Ernst Robert Curtius, Janina Abramowska and Jacek Jadacki in the field of literary studies. The last and most extensive part of this text is devoted to showing topics in musicology on the example of several authors. The papers on topic theory will be highlighted, which since the 1980s has been mainly developed by researchers from Anglo-Saxon countries.
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Bayuk, Dimitri. "Literature, Music, and Science in Nineteenth Century Russian Culture: Prince Odoyevskiy’s Quest for a Natural Enharmonic Scale." Science in Context 15, no. 2 (2002): 183–207. http://dx.doi.org/10.1017/s026988970200042x.
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ArgumentAn attempt to understand and analyze a unique nineteenth-century musical instrument – the enharmonic piano from the collection of the Glinka Museum of Russian Musical Culture in Moscow – directs a historian towards Prince Vladimir Odoyevskiy’s efforts to construct a special musical scale corresponding to the indigenous tradition of Russian music. Known today mostly as an author of Romantic short stories, Odoyevskiy was also an amateur scientist and musician, a follower of Schelling’s Naturphilosophie, and a mystic. He tried to design his new musical scale and instruments on the basis of experimental science and mathematics. Odoyevskiy’s life-long search for a synthesis of literature, music, positive science, and spirituality demonstrates how the adaptation and appropriation of European arts preceded and paved the way towards the appropriation of European sciences among the educated élite in nineteenth-century Russia. The tensions inherent in the process led to Odoyevskiy’s nationalist rebellion against the European musical standard, the equal temperament. His call for a different musical scale remained largely ignored in the nineteenth century, until the topic was raised anew by twentieth-century composers and musicians.
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Yee, Thomas B. "Battle Hymn of the God-Slayers." Journal of Sound and Music in Games 1, no. 1 (2020): 2–19. http://dx.doi.org/10.1525/jsmg.2020.1.1.2.
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“God is dead,” declared philosopher Friedrich Nietzsche, “… and we have killed him” (1887)—a proclamation that numerous video game protagonists could aptly say by journey's end. The prominent god-slayer trope in video game storylines casts the gameworld's god(s) as the final boss, to be slain by players, inviting connection to real-world religious ideas. Adequate scholarly attention has not been given to the musical features of the god-slayer trope—specifically, the bosses’ unique battle tracks—to discover what the music's meaning contributes to the trope. Quantitative analysis of video games featuring the god-slayer trope reveals that the bosses’ battle tracks may strategically combine rock and sacred music topics for significant semiotic effect. This article explores the meanings associated with rock and sacred music topics, using analytic methods from the burgeoning field of musical semiotics. By invoking music-theoretic work in topic theory (Monelle 2006, Hatten 2004), agential modalities (Tarasti 1994), and virtual agency (Hatten 2018), I argue that the rock and the sacred music topics initially appear to conflict—but the trope serves as a hermeneutic premise for a meaningful and productive synthesis uniquely fit for the narrative god-slayer trope. Xenoblade Chronicles (2010) forms a striking case study, with its tracks “Zanza” and “The God-Slaying Sword” exemplifying the sacred-rock trope and its semiotic meaning in relation to the game's plot—a narratively apt battle hymn for the game's god-slaying protagonists. Using a cultural-historical lens, the conclusion explores connections between the narrative god-slayer trope and the descent of Japan's god-emperor from divinity to humanity.
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Plesch, Melanie. "Resisting the Malambo: On the Musical Topic in the Works of Alberto Ginastera." Musical Quarterly 101, no. 2-3 (2018): 157–215. http://dx.doi.org/10.1093/musqtl/gdy014.
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Hansen, Uwe J. "A hot topic in musical acoustics: Phase coherent representation of radiated sound fields." Journal of the Acoustical Society of America 99, no. 4 (1996): 2526–29. http://dx.doi.org/10.1121/1.415779.
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Mambetova, Gulshen Rustemovna. "STRUCTURAL ANALYSIS OF THE CRIMEAN TATAR PEOPLE'S INSTRUMENTAL MUSIC." ASJ. 2, no. 38 (2020): 4–12. http://dx.doi.org/10.31618/asj.2707-9864.2020.2.38.11.
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The study of Crimean Tatar musical folklore is one of the urgent scientific tasks of modern musicology, because, despite some existing studies, the musical culture of the Crimean Tatars is still poorly understood. The purpose of the article is to identify the belonging of the analyzed work to the genre of poppies. In the musical culture of the Crimean Tatars, a structural analysis of the Crimean Tatar folk instrumental music from the collection of F. Aliyev “Anthology of the Crimean folk music” has not yet been made, so the choice of topic is due to the need to fill in a significant gap. This study will provide an idea of the Crimean Tatar folk instrumental music.
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Knyazeva, Tatiana S. "Musical Abilities and Intelligence as a Subject of Research in Music Psychology and Psychology of Music Education." Musical Art and Education 7, no. 3 (2019): 30–45. http://dx.doi.org/10.31862/2309-1428-2019-7-3-30-45.
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The article provides an overview of scientific research on the relationship of musicality and general intelligence. It is noted that the problem of the relationship between musicality, musical achievements and intelligence is interdisciplinary. It is significant for general and music psychology as well as for the theory and practice of music education. There is a shortage of empirical and theoretical works on this topic in the modern Russian-language scientific literature, and that is what determines the relevance of the overview presented. The article discusses the role of general intelligence in the formation of a musical professional and musical and educational achievements. There is a continuity in the development of scientific ideas and approaches from the beginning of the last century to modern research. Musical abilities are shown to be largely determined by the intellectual potential of the individual, which explains the association of musical abilities with academic performance and abilities in non-musical areas. Modern approaches view musicality as a polymorphic entity which is better described in terms of multidimensional musical behavior. The formation of a professional in the musical field makes the relationship between musicality and intelligence more complex; it begins to be mediated by a combination of factors, a significant place among which is shared intelligence.
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Kobryn, Nataliia. "The Ukrainian periodicals of Galicia on Ostap Nyzhankivskyi’s musical activities in the 1880s." Proceedings of Research and Scientific Institute for Periodicals, no. 10(28) (January 2020): 110–25. http://dx.doi.org/10.37222/2524-0331-2020-10(28)-8.
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The paper aims to analyze the areas of Ostap Nyzhankivskyi’s musical activities in the 1880s via a prism of the publications in «Dilo» and «Zorya» press publications. Their content and main topics as well as the aspects of his music career have been systematized and analyzed. Research methodology. The historiographical, chronological, comparative and analytical methods are employed to analyze the publications on musical topics in «Dilo» and «Zorya», as well as to explore the early stage of Nyzhankivskyi’s musical activities. Findings. The first musical performances of O. Nyzhankivskyi in Lviv were featured in the «Dilo», specifically, in the reviews. These were the evening event at «Academic Brotherhood» in December 1884 and the concert in honor of Olexandr Konyskyi in January 1885. He was distinguished immediately as a choir conductor as well as a composer with his own choral works. At this decade Ostap Nyzhankivskyi was a conductor of the choir «Akademichne Bratstvo», worked with the society «Zorya». Additionally, he participated in the concerts of Academic Gymnasium and Theological Seminary as a conductor and a composer. Some music critics compared performance skills of the choir under the direction of Ostap Nyzhankivskyi to the most famous choral society of Lviv «Lutna». We know about many concerts Ostap Nyzhankivskyi participated in, and of his rich repertoir as a conductor. Specifically, from the press reports we learned about active concert activities of O. Nyzhankivskyi, considerable conductor’s repertoire and almost annual premiers of his new compositions ― choirs, solo performances and vocal duets. As a conductor he popularized works of the Ukrainian composers, specifically, such Galician ones as M. Lysenko and P. Nishchynskyi. According to listeners and musical critics, the most effective and resonant of his own works were the choral piece «Hulyaly» on Y. Fedkovych poetry and the vocal duet «Do lastivky» on the poetry by Volodymyr Navrotskyi. The authors of in-depth critiques on early Nyzhankivskyi orks were P. Bazhanskyi and V. Matyuk. Some press reports were on topic of functioning of the first Ukrainian musical publishing house in Galicia «Muzychna bibliotheka» cofounded by Ostap Nyzhankivskyi. It edited 17 volumes of the Ukrainian musical works during the period of 1885―1892s. One of the first musical critiques authored by O. Nyzhankivskyi was dedicated to the memory of the Ukrainian composer Denys Leontovych. Conclusions. We conclude that the versatile musical and creative activities of O. Nyzhankivskyi became one of the decisive drivers of the intensive development of national music in the Western Ukraine. It promoted a rise of the Ukrainian national consciousness and intensified a cultural life of the Galician Ukrainians. Keywords: Ostap Nyzhankivskyi, Ukrainian periodicals, music art, musical critics, concerts.
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Demmrich, Sarah. "Music as a trigger of religious experience: What role does culture play?" Psychology of Music 48, no. 1 (2018): 35–49. http://dx.doi.org/10.1177/0305735618779681.
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Music and religion are linked in many ways. For example, music can trigger religious experiences, which has been a topic since the beginnings of the study of the psychology of religion. Whether this musical effect is culture-dependent, a pure neuropsychological phenomenon, or a combination of both remains empirically unanswered. This cross-cultural experiment among n = 84 Turks and n = 63 Germans shows that religious music can trigger religious experience but this is, at least partially, a culture-dependent experience. Moreover, certain kinds of religious music can fail to trigger a religious experience independent of culture, which can also underpin a neuropsychological effect of musical features on religious experience. Religious experience during music is strongly predicted by positive emotions that are felt during the musical experience. Future studies should be more interdisciplinary, focusing on the effect of certain musical features on the religious experience of individuals from different cultural backgrounds.
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Tardón, Lorenzo J., Isabel Barbancho, Ana M. Barbancho, and Ichiro Fujinaga. "Automatic Staff Reconstruction within SIMSSA Project." Applied Sciences 10, no. 7 (2020): 2468. http://dx.doi.org/10.3390/app10072468.
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The automatic analysis of scores has been a research topic of interest for the last few decades and still is since music databases that include musical scores are currently being created to make musical content available to the public, including scores of ancient music. For the correct analysis of music elements and their interpretation, the identification of staff lines is of key importance. In this paper, a scheme to post-process the output of a previous musical object identification system is described. This system allows the reconstruction by means of detection, tracking and interpolation of the staff lines of ancient scores from the digital Salzinnes Database. The scheme developed shows a remarkable performance on the specific task it was created for.
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Hallowell, Sean Russell. "Towards a Phenomenology of Musical Borrowing." Organised Sound 24, no. 02 (2019): 174–83. http://dx.doi.org/10.1017/s1355771819000219.
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In discourse on the topic, the question of what constitutes a musical ‘borrowing’, if raised at all, is usually restricted in scope and framed as one of terminology – that is, of determining the right term to characterise a particular borrowing act. In this way has arisen a welter of terms that, however expressive of nuance, have precluded evaluation of the phenomenon as such. This is in part a consequence of general disregard for the fact that to conceive of musical borrowing entails correlative concepts, all of which precondition it, yet none self-evidently. Further preclusive of clarity, the musico-analytic lens of borrowing is typically invoked only in counterpoint to a quintessentially Western aesthetic category of composition ex nihilo. As a consequence, the fundamental role played by borrowing in musical domains situated at the periphery of the Western art music tradition, specifically pre-modern polyphony and twentieth-century musique concrète, has been overlooked. This article seeks to bridge such lacunae in our understanding of musical borrowing via phenomenological investigation into its conceptual and historical foundations. A more comprehensive evaluation of musical borrowing, one capable of accounting for its diverse instantiations while simultaneously disclosing what makes all of them ‘borrowings’ in the first place, is thereby attainable.
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Piaskowski, Łukasz. "Muzyczne nośniki pamięci kulturowej w poezji Jana Lechonia." Prace Literackie 59 (December 3, 2020): 79–97. http://dx.doi.org/10.19195/0079-4767.59.4.
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Jan Lechoń was a poet who actively used memory motifs in his works. These threads were very often correlated with musical and sound themes. First, this article is an attempt to show how Lechoń constructed specific models of cultural memory, in which musical reminiscences played an important role. Secondly, the text shows a lot of evidence that the main method of building musical and literary dependencies that Lechoń used was the Musicality II specified by Andrzej Hejmej, consisting in treating music as an element of a larger topic. Music in Lechoń’s poetry is not always treated as a value in itself. The poet often treats music, e.g. the theme of a concert or playing an instrument, as a pretext to show other content, especially those that are important to Polish cultural memory.
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Hansen, Niels Chr. "A Call for Hypothesis-Driven, Multi-Level Analysis in Research on Emotional Word Painting in Music: Commentary on Sun & Cuthbert (2018)." Empirical Musicology Review 13, no. 3-4 (2019): 158. http://dx.doi.org/10.18061/emr.v13i3-4.6771.
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This commentary discusses Sun and Cuthbert's (2018) exploratory analysis of emotional word painting in a corpus of English-language popular and folk songs. The authors are complimented for their application of computational tools to an impressively large sample of a somewhat understudied musical genre, and for their detailed level of analysis mapping musical features to the semantic content of individual words. This work, however, suffers from a lack of a priori predictions which causes multiple comparison issues leading to a dramatic reduction in statistical power. The selection of musical features and analytical strategies also seems arbitrary at times due to the absence of motivating hypotheses. It is argued that the ethological literature on affective vocal communication in animals might offer an avenue for future hypothesis-driven research on this topic.
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Frymoyer, Johanna. "The Musical Topic in the Twentieth Century: A Case Study of Schoenberg’s Ironic Waltzes." Music Theory Spectrum 39, no. 1 (2017): 83–108. http://dx.doi.org/10.1093/mts/mtx004.
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Lalonde, Amanda. "Flowers over the Abyss: A Musical Uncanny in Nineteenth-Century Criticism." 19th-Century Music 41, no. 2 (2017): 95–120. http://dx.doi.org/10.1525/ncm.2017.41.2.95.
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The term unheimlich (uncanny) comes into usage in German music criticism in the nineteenth century and is often used to describe instrumental music, particularly sections of works featuring the ombra topic. While the idea that instrumental music can be uncanny regardless of text or program is not novel, this work differs from most existing scholarship on the musical uncanny in that it presents a possible precursor to the twentieth-century psychoanalytic uncanny. Instead, it examines Schelling's definition of the uncanny in the larger context of his ideas in order to form a basis for theorizing a version of this aesthetic category that is active in the nineteenth-century critical discourse about music. In the early nineteenth century, music becomes uncanny because it discloses what should remain hidden from finite revelation. Critics understand passages of instrumental ombra music as uncanny moments when music calls attention to itself as the sensuous manifestation of the Absolute. They remark on these passages’ effacing of boundaries and sense of becoming, residues of eighteenth-century uses of the topic in operatic supernatural scenes and as part of a chaos-to-order narrative in symphonic music. The article concludes with the reception of the opening of Beethoven's Ninth Symphony and the finale of Schubert's Octet, D. 803, using critics’ comments as a basis for extrapolating, through new analyses, as to the features that might make the particular works remarkable as examples of music's uncanny power made manifest.
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Semkin, Dmitry N., and Valentina V. Smirnova. "ON THE CULTURAL AND HISTORICAL SIGNIFICANCE OF CHUVASH OPERA MUSIC." Vestnik Chuvashskogo universiteta, no. 2 (June 25, 2021): 202–11. http://dx.doi.org/10.47026/1810-1909-2021-2-202-211.
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The relevance of the topic covered in the article is determined by the need to preserve and promote the musical heritage of outstanding composers of the Chuvash Republic, which celebrated the centenary of its autonomy formation. The aim of the work was to draw attention to a comprehensive assessment of Chuvashia composers’ contribution to the development of vocal art (namely, its opera genre) as the most important part of a multi-faceted musical culture. The article reflects the problems of preserving and promoting classical music. The list of operas by Chuvash composers staged on the theater stage is given. Information about the opera «Ivan Yakovlev», which was staged in the XXI century, is reflected. The article is actually an intersubject topic focused primarily on considering pivotal solo vocal parts in the most famous operas. The article reflects the vocal and performing analysis of the parts in outstanding opera works, their main stylistic features are studied. In particular, the tenor parts of Setner, Sendier, and Kosinsky are described in more detail. Opera works and parts are considered in the context of cultural and historical significance, on this basis the main provisions and conclusions confirming the unique cultural and historical significance of the Chuvash opera music and its contribution to the development of musical and social culture of the Russian society are summarized and systematized.
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Shchitova, Svitlana. "Bandura concert style of the 21st century (on the example of the bandura concerto with orchestra „Bandura foreverˮ by V. Martyniuk)". Музикознавча думка Дніпропетровщини, № 17 (20 листопада 2019): 5–16. http://dx.doi.org/10.33287/222001.
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The purpose of this scientific article is to determine the location of the bandura for a bandura with a piano by celebrated Ukrainian composer Valentina Martyniuk „Bandura foreverˮ in professional Ukrainian music. The target of this investigative work is determined by the corresponding tasks that are to identify the genre-style features of the musical character-logical language of outstanding, distinguished V. Martyniuk. The round of methods for this represented investigation is based on the historical, typological, analytical and didactic approaches, which allows the practically study of this research topic. The scientific novelty of this submitted explorative work is that it examines the original work of renowned contemporary Ukrainian composer V. Martyniuk for the bandura of the concert direction as a distinctive phenomenon combining academic and ethnic musical traditions. Conclusions. The analysis of the concert for a bandura with an orchestra „Bandura forever” by well-known author V. Martynyuk, in which we can see the richness of the imaginative-style panorama, defines the composer's special interest in neo-style – neo-folklorism, neo-romanticism, neo-classicism, neo-baroque, neo-impressionism; manifestations postmodernism, in particular, experimentation in the synthesis of various styles, including those that are opposite in their artistic and aesthetic essence. The original bandura repertoire relies heavily on folk themes and demonstrates the versatility of domestic, nationally musical folklore. Music of the famous composer V. Martynyuk has unrepeatable, charismatic artistically imaginative characterization, which had amazingly bright demonstrated into that musically artistic outstanding masterpiece. The creating of music for academic bandura by Ukrainian professional composers was and staying for today the one of main problem in relation to national, domestic musically performing art.
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He, Jing-Xian, Li Zhou, Zhen-Tao Liu, and Xin-Yue Hu. "Digital Empirical Research of Influencing Factors of Musical Emotion Classification Based on Pleasure-Arousal Musical Emotion Fuzzy Model." Journal of Advanced Computational Intelligence and Intelligent Informatics 24, no. 7 (2020): 872–81. http://dx.doi.org/10.20965/jaciii.2020.p0872.
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In recent years, with the further breakthrough of artificial intelligence theory and technology, as well as the further expansion of the Internet scale, the recognition of human emotions and the necessity for satisfying human psychological needs in future artificial intelligence technology development tendencies have been highlighted, in addition to physical task accomplishment. Musical emotion classification is an important research topic in artificial intelligence. The key premise of realizing music emotion classification is to construct a musical emotion model that conforms to the characteristics of music emotion recognition. Currently, three types of music emotion classification models are available: discrete category, continuous dimensional, and music emotion-specific models. The pleasure-arousal music emotion fuzzy model, which includes a wide range of emotions compared with other models, is selected as the emotional classification system in this study to investigate the influencing factor for musical emotion classification. Two representative emotional attributes, i.e., speed and strength, are used as variables. Based on test experiments involving music and non-music majors combined with questionnaire results, the relationship between music properties and emotional changes under the pleasure-arousal model is revealed quantitatively.
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Dawson, William J. "Abstracts from the Literature, No. 56." Medical Problems of Performing Artists 27, no. 3 (2012): 169–71. http://dx.doi.org/10.21091/mppa.2012.3030.
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In concluding the 14th year of the Abstracts review, this issue’s column will be devoted exclusively to the topic of music and speech/language neurobiology—-papers discussing their similarities and differences, the effects each one has on the other, and how musical training affects language in persons of all ages. Installment 56.
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Askew, Kelly M. "Sung and Unsung: Musical Reflections on Tanzanian Postsocialisms." Africa 76, no. 1 (2006): 15–43. http://dx.doi.org/10.3366/afr.2006.0002.
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ABSTRACTOn 14 October 1999, Julius Kambarage Nyerere, the first president of the United Republic of Tanzania, died in a London hospital. In Tanzania, musical bands throughout the country reacted to the news by composing scores of lamentation songs (nyimbo za maombolezo) that mourned his passing and assessed his contributions to the country he helped to create. While elsewhere in the world Nyerere is affiliated with the ‘African socialist’ platform termed Ujamaa that he theorized in his political writings and instituted during his tenure as president, these lamentation songs are notably silent on the topic of socialism. This silence indicates the ambiguity with which Tanzanians today relate to their socialist past. As a necessary prelude to analysis of the nyimbo za maombolezo, this article explores the practices, policies and values promoted in Tanzanian socialisms (mainland and Zanzibar) and in the postsocialist present. Competing rhetorics are revealed in these musical constructions of the ‘Father of the Nation’ and, by extension, the Tanzanian nation itself.
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Denisova, Zarina Mukhriddinovna. "The problem of analysis methodology of spatial and time model in a musical composition of Russian art of the late XX century." Человек и культура, no. 2 (February 2020): 14–23. http://dx.doi.org/10.25136/2409-8744.2020.2.31470.
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The relevance of the chosen topic is substantiated by insufficient study of this problematic within Russian musical culture of the late XX century in the Russian-language scientific literature. The object of this research is the artistic space and time of a musical composition. The author examines meaning of the categories of space and time and their existing philosophical concepts. The subject of this research is music of the Russian composers of the second half of the XX century. The work leans on the analytical method and carries a systemic cross-disciplinary character. The scientific novelty consists in suggesting of M. Bakhtin’s theory as a methodological framework for space and time analysis in a musical composition of that period that was further advanced by the art historical V. Chaikovskaya. As a conclusion, the author systematizes and generalizes the key ideas pertaining to the historical-social context of the indicated period, as well as harmoniousness of the art concept of V. Chaikovskaya to the musical texts of compositions, which reveals its peculiar polychronotopic space and time structure.
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Todd, Neil P. McAngus. "Motion in Music: A Neurobiological Perspective." Music Perception 17, no. 1 (1999): 115–26. http://dx.doi.org/10.2307/40285814.
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The topic of musical motion has generated a considerable amount of controversy in the past few years (P. Desain, H. Honing, H. van Thienen, & L. Windsor, 1998). In this essay it is argued that motion is central to our understanding of many aspects of music, particularly to our understanding of rhythm, and that an adequate account of motion in music requires a neurobiological perspective. Two possible mechanisms are discussed that may form a neurobiological basis for the association of motion in music: a vestibulomotor mechanism and an audio-visuo-motor mechanism. These two mechanisms in turn may mediate two distinct kinds of musical motion: gesture and locomotion.
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Koshkareva, N. V. ""EPIGRAPH BY COUNT TOLSTOY TO HIS NOVEL "ANNA KARENINA" BY R. SHCHEDRIN: PARADIGM OF POLYPHONIC THINKING." Arts education and science 1, no. 2 (2021): 61–67. http://dx.doi.org/10.36871/hon.202102008.
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Rodion Shchedrin's choral work represents the most interesting area of modern musical culture. The object of the analysis is the composition "Epigraph by Count Tolstoy to His Novel "Anna Karenina" for mixed choir a cappella as a demonstration of the key feature of Rodion Shchedrin's compositional style — polyphonic thinking. This aspect becomes an argument for the relevance of the topic. Through the synthesis of research methods, the parameters of musical composition are studied: literary source, musical form, texture, and melody. In addition, the author reveals the "Russian theme" in the choral work of R. Shchedrin, identifies the specifics of the composer's individual choral style, and defines the aspects of polyphonization of the means of musical language. The "Epigraph" explains the main idea of L. Tolstoy's novel and concentrates on the most important contextual continuum development of all the events that take place. A wide semantic field of textual basis becomes an impulse for polyphonization of all musical expressive means. Polyphony as an idiom of R. Shchedrin's composer's handwriting is born, among other things, in the fusion of artistic trends and styles. In conclusion, it is emphasized that the literary basis of the "Epigraph", woven from historical, theological, philosophical, artistic and poetic layers, required a synthesis of traditional and innovative musical expressive means — "a new polyphonic word" in the author's expression of the main paradigms of the Russian theme by R. Shchedrin.
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Schuiling, Floris. "Notation Cultures: Towards an Ethnomusicology of Notation." Journal of the Royal Musical Association 144, no. 2 (2019): 429–58. http://dx.doi.org/10.1080/02690403.2019.1651508.
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AbstractThe ubiquity and diversity of notational practices in music suggest that notation is a significant part of human beings' musicking behaviour. However, it is difficult to address its function since the usual conception of notation in music scholarship is at odds with studying performance in the first place. This article presents a methodological outline for an ethnomusicology of music notation by investigating the musicality of notation not in terms of its representation of musical structures, but in terms of its mediation of the social and creative agency of musicians. It is suggested that, rather than detracting from musical reality, notation composes musical cultures. This constructive work is simultaneously ontological and ethical. It is described in terms of three distinct processes, namely mobilization, entextualization and remediation. In doing so, this article presents an interdisciplinary approach to a topic that has traditionally defined the disciplinary centre of music scholarship.
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Krumhansl, Carol L. "Topic in Music: An Empirical Study of Memorability, Openness, and Emotion in Mozart's String Quintet in C Major and Beethoven's String Quartet in A Minor." Music Perception 16, no. 1 (1998): 119–34. http://dx.doi.org/10.2307/40285781.
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This study examines possible parallels between large-scale organization in music and discourse structure. Two experiments examine the psychological reality of topics in the first movements of W. A. Mozart's String Quintet No. 3 in C major, K. 515, and L. van Beethoven's String Quartet No. 15 in A minor, Op. 132. Listeners made real-time judgments on three continuous scales: memorability, openness, and amount of emotion. All three kinds of judgments could be accounted for by the topics identified in these pieces by Agawu (1991) independently of the listeners' musical training. The results showed hierarchies of topics. However, these differed for the three tasks and for the two pieces. The topics in the Mozart piece appear to function as a way of establishing the musical form, whereas the topics in the Beethoven piece are more strongly associated with emotional content.
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Maba, Adem. "Computer-aided music education and musical creativity." Journal of Human Sciences 17, no. 3 (2020): 822–30. http://dx.doi.org/10.14687/jhs.v17i3.5908.
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It has become an absolute necessity to integrate informatics into educational activities as it is in all areas of life by using innovative teaching methods in the globalized world. As in other fields, developing the knowledge and experience of students by using information technologies in music education should be one of the principles of today's education system. Utilizing computer technologies and software applications especially in the areas of music perception in order to promote the creativity and knowledge contributes to an increase in students' positive attitude towards the course by enriching the context of the course. If a complex and difficult topic, such as composing music, which is one of the upper dimensions of creativity, is supported by the computer technologies and software applications, it will obviously help students to understand the process that is very demanding and create a product. In addition, many subjects that are difficult and abstract for everyone to conceive can be made easier by means of the computer technologies and software. When the educational programs developed in recent years are examined, it can be seen that informatics is included in many learning outcomes and activities aiming to improve musical creativity. In this study, detailed information about the effect of computer-aided education on the development of musical creativity is given. Suggestions for future studies are also presented.
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Määttänen, Pentii, and Heidi Westerlund. "Travel agency of musical meanings? Discussion on music and context in Keith Swanwick's Interculturalism." British Journal of Music Education 18, no. 3 (2001): 261–74. http://dx.doi.org/10.1017/s0265051701000353.
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Interpretation of musical works depends on meanings, which, on a pragmatist view, are necessarily tied with cultural habits and practices. This entails that a piece of music is always interpreted differently by people raised in different cultural contexts. A musical work is always a result of this process of interpretation. Strictly speaking, works of music are therefore different works in culturally different contexts even if they were presentations of the same notes. The following discussion of the conditions of cultural exchange in music illuminates some pragmatist viewpoints on the topic by using Keith Swanwick's ideas as a point of comparison. The discussion shows that a contextual starting point leads towards a more ‘child-centred’ education.
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Kamalova, G. R. "The use of music therapy practices in the prevention of occupational diseases pianists." Russian Journal of Occupational Health and Industrial Ecology, no. 9 (March 19, 2020): 641–42. http://dx.doi.org/10.31089/1026-9428-2019-59-9-641-642.
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For 10 years the author has been dealing with the theme of the relationship between music and medicine; in her research and publications she focuses on the health and developmental functions of music; touches upon the little-studied topic - the need for interaction between specialists of musical art and medicine; and actively develops methods for the prevention of occupational diseases of pianists.
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Russell, David. "Provincial Concerts in England, 1865–1914: A Case-Study of Bradford." Journal of the Royal Musical Association 114, no. 1 (1989): 43–55. http://dx.doi.org/10.1093/jrma/114.1.43.
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It is a commonplace that the nineteenth century witnessed a flowering of provincial musical life, and nowhere was this more pronounced than in the field of concert promotion. However, with a few notable exceptions, such as Michael Kennedy's work on the Hallé, little close scrutiny has been given to the topic. This paper seeks to give the provinces the attention they deserve.
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Sołtysik, Michał S. "Topics in Music – Definitions, History, and Meanings." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 5–23. http://dx.doi.org/10.4467/23537094kmmuj.20.041.13914.
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The aim of the paper is to present the concept of topics (Gr. τοπικά) in music, which entails a presentation of its uses in the history of culture and literary studies. Thanks to such a broad context, it will be possible to interpret this Greek term more fully as applied to musicology and to the analysis of selected examples of musical works. The article consists of three complementary parts. The first deals with the origins of the concept, derived from ancient rhetoric and discussed, among others, by Aristotle, Cicero, and Boethius. The second part of the article presents topics in the context of analyses by Ernst Robert Curtius, Janina Abramowska, and Jacek Jadacki in the field of literary studies. The last and most extensive part of this paper is dedicated to the place of topics in musicology on the example of several authors. I discuss writings on topic theory, which since the 1980s has mainly been developed by researchers from Anglo-Saxon countries.
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Belic, Senka. "On the connection of musico-rhetorical strategies and Marian topic/topos in renaissance motets." Muzikologija, no. 28 (2020): 159–71. http://dx.doi.org/10.2298/muz2028159b.
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The text summarizes some of the research results from my doctoral dissertation. In the broadest sense, the following text discusses the influence of rhetorical concepts and practices on the composition practice of the Renaissance. The methodological approach is interdisciplinary and multilayered, and it leads to the interpretation of Marian motifs dating from the late fifteenth to the end of the sixteenth century, in the context of rhetorical ideas and principles, and the Marian topic / topos. The most significant result of this text is the formation of a special analytical method by which the interpretive-contextual reading of musical marking is achieved.