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Journal articles on the topic 'Musicality'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

James, Clara E., Sascha Zuber, Elise Dupuis-Lozeron, Laura Abdili, Diane Gervaise, and Matthias Kliegel. "How Musicality, Cognition and Sensorimotor Skills Relate in Musically Untrained Children." Swiss Journal of Psychology 79, no. 3-4 (2020): 101–12. http://dx.doi.org/10.1024/1421-0185/a000238.

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Abstract. Whereas a growing corpus of research has investigated the impact of music practice on several domains of cognition, studies on the relationships between musicality and other abilities and skills in musically untrained children are scarce. The present study examined the associations between musicality, cognition, and sensorimotor skills in 69 musically untrained primary school children of around 10 years of age, using a test battery of musical, cognitive, and sensorimotor abilities. We analyzed the results using nonparametric correlations and an exploratory factor analysis. It was our

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2

Hvidtfeldt, Dan. "Musical Participation in Studies of Creativity." Qualitative Studies 8, no. 1 (2023): 314–33. http://dx.doi.org/10.7146/qs.v8i1.136814.

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This article explores new ideas towards qualitatively exploring and writing about musical creative processes within different domains. The inspiration for the theoretical points made are from the world of music and the practices of musicians, but the analysis and conclusions of the article discusses musicality as a general phenomenon. It is part of an ongoing research project within cultural psychology, seeking to understand how creative processes develop in dialog with the physical, social and cultural surroundings. Using the example of the music performance and music festivals, the article s

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3

Lobach, O., and V. Pomohaibo. "GENETIC FOUNDATIONS OF THE INDIVIDUAL’S MUSICAL ABILITIES DEVELOPMENT." Aesthetics and Ethics of Pedagogical Action, no. 24 (December 26, 2021): 67–78. http://dx.doi.org/10.33989/2226-4051.2021.24.255898.

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The article presents an overview of available foreign publications on the genetics of musicality, which is a new direction of modern science (see list of references). It is emphasized that national psychologists define the following components of musicality structure: emotional response to music as its center; the sense of rhythm; the sense of mode, and musical auditory perceptions. At the same time, foreign scholars consider musical pitch, the sense of rhythm, and the ability to experience the pleasure of music as the criteria of musicality. Foreign researchers have linked 36 genes and 7 chro

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Buren, Verena, Daniel Müllensiefen, and Franziska Degé. "Screening musicality in children: Development and initial validation of a new tool for rapid assessment of musical profiles." PLOS ONE 20, no. 3 (2025): e0317962. https://doi.org/10.1371/journal.pone.0317962.

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Musical development in childhood follows universal trajectories, such as the acquisition of basic rhythm and pitch recognition, alongside individual differences shaped by environmental, educational, and innate factors. Despite the importance of understanding these aspects for both research and educational purposes, there remains a significant gap in the availability of validated tools that can quickly and comprehensively assess musicality in children. To address this gap, this paper presents a series of studies on the development and validation of the Child Musicality Screening, a standardised

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5

Robarts, Jacqueline. "Music Therapy with Sexually Abused Children." Clinical Child Psychology and Psychiatry 11, no. 2 (2006): 249–69. http://dx.doi.org/10.1177/1359104506061418.

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Music is part of everyday life, and is generally regarded as therapeutic. There is increasing interdisciplinary interest in innate human musicality and the link between music and the emotions. Innate musicality is evident in the dynamic forms of emotional expression that both regulate and cultivate the foundations of meaning in human communication (intersubjectivity). This article discusses music therapy, drawing from interdisciplinary perspectives, and illustrated by case material of individual music therapy with a sexually abused child. Where the growth of mind and meaning is devastated at i

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6

Barrett, G. Douglas. "Reassembling Musicality." Transfers 8, no. 3 (2018): 130–34. http://dx.doi.org/10.3167/trans.2018.080310.

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Reassembly, curated by G Douglas Barrett and Petros Touloudi Tinos, Greece 5 July 2017 to 31 October 2017 The free movement of bodies and objects once considered critical for the smooth functioning of contemporary art has appeared, especially since 2017, increasingly uncertain in this era marked by new forms of nationalism, xenophobia, and economic isolationism. Indeed, many artists working in this environment have found it difficult or impossible to cross once unquestionably open borders, or to ship works to and from exhibitions held across a requisitely international stage. As an attempt to

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7

Ravignani, Andrea, and Marco Gamba. "Evolving Musicality." Trends in Ecology & Evolution 34, no. 7 (2019): 583–84. http://dx.doi.org/10.1016/j.tree.2019.04.016.

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8

Baroni, Mario. "Music, musicality, “musilanguage”." Musicae Scientiae 12, no. 1_suppl (2008): 197–218. http://dx.doi.org/10.1177/1029864908012001091.

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The aims of this article are to select, to summarise, and to critically discuss the principal topics presented in the papers of this special issue. Two main themes have been developed: the first makes reference to the origins of music, with a comparison of anthropological conceptions (the origins of mankind) with psychological conceptions (the musical development of infants). Particular attention is given to the “musilanguage” theory proposed by Steven Brown in 2000. The second main theme is related to the impact of theories of “origins” on what musicology today thinks of as the nature and sen

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9

Costes-Onishi, Pamela, and Imelda S. Caleon. "Measuring critical musicality." Music Education Research 20, no. 5 (2018): 531–45. http://dx.doi.org/10.1080/14613808.2018.1516744.

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10

E. Trehub, Sandra. "Musicality in Infancy." Psihologijske teme 32, no. 1 (2023): 1–11. http://dx.doi.org/10.31820/pt.32.1.1.

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The present review summarizes the available evidence on musicality, or music-related abilities, in infants (birth to 3 years). In the early months of life, infants are responsive to the pitch and temporal patterns of music. Their perceptual skills are similar, in many respects, to those of adults, presumably because of the nature of the human auditory system. Adult-infant differences, where evident, are attributable to infants’ unfamiliarity with the musical conventions of their culture. Musical enculturation proceeds more rapidly for temporal than for pitch processing. Musical exposure, espec

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11

Petukhova, Uliana V. "THE POETIСS OF THE MUSICALITY OF THE NOVEL IN VERSES BY A.S. PUSHKIN “EUGENE ONEGIN”". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, № 8 (2021): 21–29. http://dx.doi.org/10.28995/2686-7249-2021-8-21-29.

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The article discusses an issue of poetics of musicality in a novel in verses by A.S. Pushkin “Eugene Onegin”. Musicality is organized by the sound elements of artistic reality, which are structure-forming principles of architectonics and belong to the deep level of the work. The article revealed levels of musicality and analyzed the parameters of the audio-musical structure. In the process of research, the main categories of musicality and ways of depicting reality in a novel based on the interaction of visual-semantic and musical components were identified

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12

Honing, Henkjan, Carel ten Cate, Isabelle Peretz, and Sandra E. Trehub. "Without it no music: cognition, biology and evolution of musicality." Philosophical Transactions of the Royal Society B: Biological Sciences 370, no. 1664 (2015): 20140088. http://dx.doi.org/10.1098/rstb.2014.0088.

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Musicality can be defined as a natural, spontaneously developing trait based on and constrained by biology and cognition. Music, by contrast, can be defined as a social and cultural construct based on that very musicality. One critical challenge is to delineate the constituent elements of musicality. What biological and cognitive mechanisms are essential for perceiving, appreciating and making music? Progress in understanding the evolution of music cognition depends upon adequate characterization of the constituent mechanisms of musicality and the extent to which they are present in non-human

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13

Chan, May Pik Yu, and Jianjing Kuang. "The effect of tone language background on cue integration in pitch perception." Journal of the Acoustical Society of America 154, no. 2 (2023): 819–30. http://dx.doi.org/10.1121/10.0020565.

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This study explores the effect of native language and musicality on voice quality cue integration in pitch perception. Previous work by Cui and Kang [(2019). J. Acoust. Soc. Am. 146(6), 4086–4096] found no differences in pitch perception strategies between English and Mandarin speakers. The present study asks whether Cantonese listeners may perform differently, as Cantonese consists of multiple level tones. Participants completed two experiments: (i) a forced choice pitch classification experiment involving four spectral slope permutations that vary in fo across an 11 step continuum, and (ii)

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Михайличенко, Олег Володимирович. "Особливості виявлення та розвитку музичної обдарованості дітей дошкільного віку". Освіта та розвиток обдарованої особистості, № 1 (29 квітня 2025): 42–45. https://doi.org/10.63437/2309-3935-2025-1(96)-06.

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The article deals with the peculiarities of identifying and developing musically gifted preschool children. It is noted that musical giftedness, as well as all types of artistic abilities, manifests itself much earlier than intellectual giftedness. The tasks and organisational aspects of musical education in preschool education institutions are characterised, and the specific features of the manifestation of signs of a child’s musical giftedness are described. It is noted that the identification and development of children’s musical talent is an important element of musical education, which ma

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15

Anstee, Lottie, Daniel Müllensiefen, and Peter Harrison. "Handedness and Musicality in Secondary School Students." Music Perception: An Interdisciplinary Journal 40, no. 5 (2023): 373–94. http://dx.doi.org/10.1525/mp.2023.40.5.373.

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This article investigates the relationship between handedness and abilities in secondary school students, specifically analyzing the effect of handedness on subjective and objective musicality and academic performance. Previous research on the association between handedness and musicality has yielded mixed conclusions. Some studies have documented a positive correlation between musicality and non-right-handedness, but other studies have found no relationship. Here we aim to address some of this uncertainty, using a greater diversity of relevant covariates and a considerably larger sample than

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16

Mõistlik, Marit, and Tiina Selke. "ASSESSMENT OF PARTICIPATION OR MUSICALITY: PILOT STUDY AMONG ESTONIAN MUSIC TEACHERS." Problems of Education in the 21st Century 30, no. 1 (2011): 61–73. http://dx.doi.org/10.33225/pec/11.30.51.

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The purpose of this study was to analyse what Estonian music teachers assess in music lesson and to what extent is it connected with their notion of musicality. A questionnaire was used to collect the data, which was compiled by the authors of the current study, the results of which were quantitatively analysed. Altogether 61 music teachers from all over Estonia participated in the study. It was found that music teachers primarily consider characteristics of musicality: sense of rhythm, ability to sing, and other traditional musical skills and their development. In addition, creativity is high

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17

Chang Jae Ho. "Musicality of Artificial Intelligence." Korean Journal of Arts Studies ll, no. 15 (2017): 29–44. http://dx.doi.org/10.20976/kjas.2017..15.002.

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18

Hinz, Bob. "Transcribing for Greater Musicality." Music Educators Journal 82, no. 1 (1995): 25–63. http://dx.doi.org/10.2307/3398881.

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19

Martínez, Sergio F., and Alejandro Villanueva. "Musicality as material culture." Adaptive Behavior 26, no. 5 (2018): 257–67. http://dx.doi.org/10.1177/1059712318793123.

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From an enactive perspective, one should be able to explain how perception and actions, constituted in patterns of interactions with the world, evolve into the capacities for social coordination and social understanding distinctive of human beings. Traditional accounts of our social understanding skills, focusing on the role of intentionality as the “aboutness” associated with the use of symbolic language, make this sort of explanation difficult to articulate. A satisfactory explanation should start with the recognition that intentionality is not a monolithic phenomenon and that more basic kin

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20

O’Callaghan, Claire. "Uncovering Emily Brontë’s Musicality." Journal of Victorian Culture 24, no. 4 (2019): 559–62. http://dx.doi.org/10.1093/jvcult/vcz011.

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21

Frendo, Mario. "Stanislavsky’s musicality: Towards physicalization." Studies in Musical Theatre 8, no. 3 (2014): 225–37. http://dx.doi.org/10.1386/smt.8.3.225_1.

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22

Titon, Jeff Todd. "Bi-Musicality as Metaphor." Journal of American Folklore 108, no. 429 (1995): 287. http://dx.doi.org/10.2307/541882.

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23

Nordquist, Alice L. "Preserving Musicality Through Pictures." General Music Today 30, no. 1 (2016): 45–52. http://dx.doi.org/10.1177/1048371316659315.

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24

Sibirtseva, Vera G. "Musicality of Klopstock’s poetry." Vestnik of Saint Petersburg University. Language and Literature 19, no. 4 (2022): 692–709. http://dx.doi.org/10.21638/spbu09.2022.403.

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The article analyzes the semantic and structural features of the poetry by Friedrich Gottlieb Klopstock, collectively demonstrating the affinity of the entire work of the outstanding German poet and music. The changing attitude towards symphonic and vocal music from the middle of the 18th century to the beginning of the 19th century and the spread of musical and aesthetic views in related fields of science had a significant impact on Klopstock’s work. The complex multidimensional musicality of his works was misunderstood by his contemporaries who perceived only the superficial layer of Klopsto

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25

Grier, Francis. "Illusion, musicality, and evanescence." International Journal of Psychoanalysis 104, no. 6 (2023): 986–1005. http://dx.doi.org/10.1080/00207578.2023.2258956.

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26

Eidan Al-Ta'an, Muslim Abbas. "Musicality as an Aesthetic Process of Filtering in Thomas W. Shapcott's Poetry." Advances in Language and Literary Studies 8, no. 5 (2017): 18. http://dx.doi.org/10.7575/aiac.alls.v.8n.5p.18.

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How does music transcend individual experience? Is music the filter to purify everything? How does everything in the poet become music? Such questions are raised, now and then, by the conscious reader of poetry in general and that of the Australian poet Thomas W. Shapcott in particular. My present research-paper attempts to present an answer for these questions via probing the individuality of Shapcott's poetic experience and how does the poet's personal and experimental musicality as an artistic motif and aesthetic perspective play a key role in purifying language of its lies and its daily im

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27

R., Dr Shanthi Sree. "Musicality and Musical Sensitivity in Children." International Journal of Psychosocial Rehabilitation 24, no. 4 (2020): 6781–89. http://dx.doi.org/10.37200/ijpr/v24i4/pr2020489.

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28

Howard, David, Stuart Rosen, and Victoria Broad. "Major/Minor Triad Identification and Discrimination by Musically Trained and Untrained Listeners." Music Perception 10, no. 2 (1992): 205–20. http://dx.doi.org/10.2307/40285607.

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The extent to which a computer-synthesized continuum of major to minor triads was categorically perceived was examined using labeling and discrimination tests. The 32 listeners varied widely in " musicality," assessed by an objective test of basic musical skills. There was a strong positive relationship between musicality and ability to label the major/minor continuum consistently ( measured by the slope of the labeling function). Overall discrimination performance varied only weakly with musicality, although the pattern of discrimination performance across the continuum differed strongly amon

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29

Hejmej, Andrzej. "Stereotyp(y) muzyki w literaturze." Przestrzenie Teorii, no. 2 (April 15, 2007): 35–48. http://dx.doi.org/10.14746/pt.2003.2.3.

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The article concerns the question of music in literature, one of the problems of comparative studies, and terms: "non-musicality", "musicality" as stereotypes in literary studies. In the course of considering these views the following problems are discussed: analogy between literature and music (esthetic point of view), "non-musicality" of literature (as quite controversial category in literary research), musical contexts and intertexts (numerous artistic and analytical-literary strategies), contemporary typology of music in literature (S. P. Scher, E. Wiegandt, F. Arroyas, S. Jeanneret).

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Morari, Marina. "AUDITORY REPRESENTATIONS IN THE MUSICALITY OF PRESCHOOL CHILDREN." Review of Artistic Education 30 (May 30, 2025): 387–91. https://doi.org/10.35218/rae-2025-0052.

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Abstract: Auditory musical representations play a fundamental role in early childhood education, deeply influencing cognitive, emotional, and social development. To foster the development of children's auditory musical representations, it is crucial to identify the components of musicality that facilitate a deeper understanding of musical compositions. This article defines the concept of "auditory musical representation," discusses the key components of musicality, and explores various types of auditory representations, along with the activities that support their development. Key words: early

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Parmadie, Bambang, and I. Gede Arya Sugiartha. "Expansion Of Value And Form Dol Musicality As Ritual Tabot In Bengkulu." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 1, no. 1 (2018): 45. http://dx.doi.org/10.31091/lekesan.v1i1.301.

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The expansion of value and form musicality in Tabot ritual music includes ideology, musicality and new sociocultural phenomena in the performing arts extend to all elements of Bengkulu society in general. The sacred music referred to in the Tabot rituals of Bengkulu is Dol music. The transformations in forms of Dol music and musicality are: sacred musicality becomes secular or profane. The physical form, function, and aesthetic of Dol music in Tabot rituals have an ever-increasing creativity in their development, musical progress and sociocultural-supporter progress. The commodification of Dol

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32

Lorway, Verne Hélène. "A toe-tapping good time: Informal musicking through critical pedagogy in inclusive settings." Journal of Popular Music Education 3, no. 3 (2019): 497–511. http://dx.doi.org/10.1386/jpme_00009_1.

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This article draws upon the experiences of the author as a music educator creating inclusive music programmes over the past 24 years. She describes how informal learning gleaned from the approaches of popular musicians, combined with musicking as a means of building powerful relationships and critical pedagogy to infuse student voices into the teaching and learning process is a potent recipe for building an inclusive music class. Such a method needs to be guided by music educators throughout the learning process. Examining inclusive music education leads to further questions regarding what con

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33

Mosusova, Nadezda. "Samuel Beckett and music an absurd essay about the idea of musicality and musical form in Samuel Beckett’s short pieces - influences and possibilities." Muzikologija, no. 4 (2004): 113–20. http://dx.doi.org/10.2298/muz0404113m.

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The premise of musicality of Beckett?s short dramas contains more questions than answers. Is the musicality of text present only in the work of Samuel Beckett? Do only the (musical) stage remarks in Beckett?s dramas suggest the idea of musicality? Can the absurdity of his output be expressed with music and through music? Some short musical compositions, especially by Alexandre Scriabine, can be in some way compared with Beckett?s "dramaticules", but only in form not in the meaning and musical language. The question of hidden influences remains to be developed.

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34

Persici, Valentina, Michela Santangelo, Letizia Guerzoni, Domenico Cuda, Reyna L. Gordon, and Marinella Majorano. "Music Exposure and Maternal Musicality Predict Vocabulary Development in Children with Cochlear Implants." Music Perception: An Interdisciplinary Journal 41, no. 4 (2024): 240–61. http://dx.doi.org/10.1525/mp.2024.41.4.240.

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Children with cochlear implants (CIs) exhibit large individual differences in vocabulary outcomes. We hypothesized that understudied sources of variance are amount of music engagement and exposure and maternal musicality. Additionally, we explored whether objective measures of music exposure captured from the CI data logs and parent reports about music engagement provide converging and/or complementary evidence, and whether these correlate with maternal musicality. Sixteen children with CIs (Mage = 16.7 months, SD = 7.7, range = 9.6–32.9) were tested before implantation and three, six, and 12

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35

Ayos, Alejandro, Brittany McCormack, and Harry Kanasa. "Exploring the Musicality of Adult Non-Musicians." Ciencia Latina Revista Científica Multidisciplinar 9, no. 2 (2025): 2355–81. https://doi.org/10.37811/cl_rcm.v9i2.17063.

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While the development of musicality, how one interacts with their socio-acoustic environment, is well-documented in musicians, its progression in adult non-musicians remains less explored. This study aims to understand how musicality develops and is expressed in adult non-musicians by employing a mixed-methods, multiple case study approach with five adult non-musicians. The main research question was ‘what musical socio-cultural experiences are discernible in adult non-musicians and how could these experiences have affected participants’ musicality levels? Musical aural skills were assessed us

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36

Harrop-Allin, Susan. "Multimodality and the Multiliteracies Pedagogy." Journal of Research in Music Education 65, no. 1 (2017): 25–51. http://dx.doi.org/10.1177/0022429417694874.

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Drawing on a study of children’s musical games in urban South Africa, this article employs two theoretical frames: that of multimodality and the multiliteracies pedagogy. These are applied to a contextual analysis of the forms of musicality that musical games embody and to ways of incorporating children’s play into pedagogy. Based on ethnographic research in primary schools in Soweto, I first examine representative examples of musical games in order to demonstrate children’s musicianship in relation to the concept of multimodality. Analysis reveals the games’ sophistication in terms of childre

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Theorell, Ebba. "Transformative Aesthetic Dimensions in Young Boys’ War Play: Exploring the World Through Kinesthetic Musicality." Journal of Aesthetic Education 59, no. 2 (2025): 7–19. https://doi.org/10.5406/15437809.59.2.02.

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Abstract How can children's war play be understood and interpreted by adults? In this article that is based on my doctoral thesis, I move from the specific analysis of movement in war play towards the theoretical concept of kinesthetic musicality. Because physical war play is a phenomenon that engages primarily young boys, my study focused on boys who were three to nine years old. The project was a film–ethnographic study, and what emerged in my early observations was a great physical awareness, embodied intelligence, and, in moments, actual choreographies. Because movement seemed to be one of

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Murodilovna, Oripova Gulnoza. "Melody and musicality in Lirycs." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 11 (2020): 656–64. http://dx.doi.org/10.5958/2249-7137.2020.01394.4.

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Fessenden, Jon William. "Autistic Music, Musicking, and Musicality." Journal of Literary & Cultural Disability Studies 13, no. 1 (2019): 1–19. http://dx.doi.org/10.3828/jlcds.2019.1.

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Merilai, Arne. "A. H. Tammsaare’s Epic Musicality." Interlitteraria 26, no. 1 (2021): 265–80. http://dx.doi.org/10.12697/il.2021.26.1.18.

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A. H. Tammsaare was drawn to the musical tonality of prose. Importantly though, he did not wholeheartedly embrace sound patterning as a mode of writing. Rather, he preferred a semantic widening of ordinary language within a comprehensively holistic “spherical music”. In his novels, we can detect a deliberate use of rhythmic motion in sentences. This is evident primarily in the wealth of lexical and syntactic repetitions resulting in a parallelism of patterns. An obvious, although discreet, rhythmic design emerges in the thesisantithesis- synthesis parataxis the core words of which are the adve

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Grier, Francis. "Musicality in the consulting room." International Journal of Psychoanalysis 100, no. 5 (2019): 827–51. http://dx.doi.org/10.1080/00207578.2019.1664905.

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42

Trehub, Sandra E. "The developmental origins of musicality." Nature Neuroscience 6, no. 7 (2003): 669–73. http://dx.doi.org/10.1038/nn1084.

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43

Ryou, Myoung-Hee. "The Musicality of Pusaman(Qianbanyuan)." Chinese Studies 46 (December 31, 2013): 109–38. http://dx.doi.org/10.14378/kacs.2013.46.46.109.

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44

Marcus, Gary F. "Musicality: Instinct or Acquired Skill?" Topics in Cognitive Science 4, no. 4 (2012): 498–512. http://dx.doi.org/10.1111/j.1756-8765.2012.01220.x.

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45

Lynch, Michael P. "And what of human musicality?" Behavioral and Brain Sciences 19, no. 4 (1996): 788. http://dx.doi.org/10.1017/s0140525x00044071.

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AbstractThe hypothesized brain evolution and preconditions for language may have allowed for the emergence of musicality either simultaneously with or before the emergence of language. Music and language are parallel in their hierarchical, temporally organized structure, and the evolution of hierarchical representation in hominids may have provided the basis for musical representation. Because music could have been produced manually or vocally before the production of spoken language, it remains possible that language emerged from music and that music thus served as a communicative precursor t

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46

Rothenberg, David, Tina C. Roeske, Henning U. Voss, Marc Naguib, and Ofer Tchernichovski. "Investigation of musicality in birdsong." Hearing Research 308 (February 2014): 71–83. http://dx.doi.org/10.1016/j.heares.2013.08.016.

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47

Perrone-Capano, Carla, Floriana Volpicelli, and Umberto di Porzio. "Biological bases of human musicality." Reviews in the Neurosciences 28, no. 3 (2017): 235–45. http://dx.doi.org/10.1515/revneuro-2016-0046.

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AbstractMusic is a universal language, present in all human societies. It pervades the lives of most human beings and can recall memories and feelings of the past, can exert positive effects on our mood, can be strongly evocative and ignite intense emotions, and can establish or strengthen social bonds. In this review, we summarize the research and recent progress on the origins and neural substrates of human musicality as well as the changes in brain plasticity elicited by listening or performing music. Indeed, music improves performance in a number of cognitive tasks and may have beneficial

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48

Klempe, Hroar. "How to Understand Communicative Musicality?" Integrative Psychological and Behavioral Science 43, no. 3 (2009): 260–66. http://dx.doi.org/10.1007/s12124-009-9096-9.

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Fernandino, Jussara. "word in power and musicality." Voz e Cena 3, no. 01 (2022): 185–208. http://dx.doi.org/10.26512/vozcen.v3i01.42328.

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Abstract:

O artigo aborda algumas possíveis contribuições da Educação Musical para o desenvolvimento de práticas em torno da palavra no contexto cênico. Partindo de uma reflexão acerca da potencialidade da palavra, a qual, mais do que expressar a letra de um texto, se constitui ato e revelação, destaca duas vertentes de trabalho sintetizadas nas modalidades palavra-vocábulo - presente em propostas de caráter estruturante, seja do texto ou da cena - e palavra-sonoridade - empregada em processos de construção de sentido e, não raro, integrada aos aspectos da escuta e da corporeidade. O artigo propõe, aind

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Dr., S.Subbulakshmi. "Musicality of Flute from Periyapurānam." Global Journal of Research in Humanities & Cultural Studies 2, no. 5 (2022): 183–87. https://doi.org/10.5281/zenodo.7079739.

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Abstract:

The 12 th Century Bakthi Literature Periyapurӑnam speaks about 63 Saiva Saints dealt with matchless devotion. Out of 63 Saints Aanӑyar was one such Nӑyanӑr who was a Flutist .Through Periyapurӑnam Sekkizhӑr ( Author) brings out the Musicality, Technical terms, Structure and Construction of Flute which was astonishing and highly commendable to the field of music and to the Flute in particular. The scintillating power of music especially from Flute was brought out very effectively through Aanӑyar saint of Periyapurӑnam.  

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