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Journal articles on the topic 'Musically beautiful'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Choi, Eun-Ah. "The revealed 'Beautiful' and the suppressed 'Sublime' in Hanslick's On the Musically Beautiful." 이화음악논집 11, no. 1 (2007): 149–75. http://dx.doi.org/10.17254/jemri.2007.11.1.005.

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2

Burford, Mark. "Hanslick's Idealist Materialism." 19th-Century Music 30, no. 2 (2006): 166–81. http://dx.doi.org/10.1525/ncm.2006.30.2.166.

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In the mid-nineteenth century, materialist and empiricist modes of thought characteristic of natural science increasingly called into question the speculation of German idealist philosophy. Music historians have commonly associated Eduard Hanslick's Vom Musikalisch-Sch&#x9a;nen (On the Musically Beautiful, 1854) with this tendency toward positivism, interpreting the treatise as an argument for musical formalism. His treatise indeed sought to revise idealist musical aesthetics, but in a far less straightforward way. Hanslick devotes considerable attention to the "material" that makes up mus

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3

Binns, A. "Hanslick on the Musically Beautiful: Sixteen Lectures on the Musical Aesthetics of Eduard Hanslick." British Journal of Aesthetics 44, no. 2 (2004): 204–5. http://dx.doi.org/10.1093/bjaesthetics/44.2.204.

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4

Epperson, Gordon, Eduard Hanslick, and Geoffrey Payzant. "On the Musically Beautiful: A Contribution towards the Revision of the Aesthetics of Music." Journal of Aesthetics and Art Criticism 46, no. 1 (1987): 85. http://dx.doi.org/10.2307/431312.

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Goehr, Lydia. "On the Musically Beautiful: A Contribution Towards the Revision of the Aesthetics of Music." Teaching Philosophy 10, no. 3 (1987): 271–73. http://dx.doi.org/10.5840/teachphil198710360.

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6

Borg, Paul W. "Review of On the musically beautiful: A contribution towards the revision of the aesthetics of music." Psychomusicology: A Journal of Research in Music Cognition 8, no. 1 (1989): 54–55. http://dx.doi.org/10.1037/h0094230.

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7

EPPERSON, GORDON. "Book Reviews: Hanslick, Eduard. on The Musically Beautiful: A Contribution Towards The Revision of The Aesthetics of Music." Journal of Aesthetics and Art Criticism 46, no. 1 (1987): 85. http://dx.doi.org/10.1111/1540_6245.jaac46.1.0085.

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Tyasrinestu, Fortunata. "Lirik Musikal pada Lagu Anak Berbahasa Indonesia." Resital: Jurnal Seni Pertunjukan 15, no. 2 (2014): 163–68. http://dx.doi.org/10.24821/resital.v15i2.850.

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Penelitian ini mengkaji bahasa lagu anak berbahasa Indonesia. Lagu anak berbahasa Indonesia adalah lagu yang diperuntukkan dan dinyanyikan oleh anak-anak sesuai dengan perkembangan anak. Tujuan penelitian ini adalah untuk mendeskripsikan karakteristik lagu anak (LA) secara musikal dengan memperhatikan kata-kata atau lirik yang ada dalam lagu anak berbahasa Indonesia. Karakteristik lirik dan karakteristik musikal yang saling menyatu merupakan harmoni yang indah dalam lagu anak. Penelitian ini menggunakan metode deskriptif. Analisis yang diterapkan adalah metode holistik yang dipergunakan untuk

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9

Fechner, Gustav Theodor, and Holger Höge. "Various Attempts to Establish a Basic Form of Beauty: Experimental Aesthetics, Golden Section, and Square." Empirical Studies of the Arts 15, no. 2 (1997): 115–30. http://dx.doi.org/10.2190/djyk-98b8-63kr-kudn.

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Several aspects of proportionality and non-empirical investigations of proportions are discussed. Most of these studies intended to establish a general type of pleasant forms of beauty. Objections against the empirical method are refuted although it is admitted that the feeling of the artist may be the best way to find the most beautiful solution. The major part of the article reports the empirical proof on the pleasantness of proportions based on the selections among ten different quadrangles (proportions from 1:1 to 5:2). The peak of pleasingness was found with the golden section rectangle (

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10

GOEHR, LYDIA. "Rothfarb, Lee and Christoph Landerer. Eduard Hanslick's on the Musically Beautiful: A New Translation. Oxford University Press, 2018, 224 pp., $24.95 cloth." Journal of Aesthetics and Art Criticism 78, no. 1 (2020): 111–14. http://dx.doi.org/10.1111/jaac.12693.

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11

Duhovska, Jana, and Inga Millere. "Music therapy for emotion regulation skills and better psychological well-being for cancer patients: Making of a therapeutic programme." SHS Web of Conferences 85 (2020): 03006. http://dx.doi.org/10.1051/shsconf/20208503006.

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Objective of this research is to explore the subjective experience and perceived benefits of 60 cancer patients participating in the music therapy based and Expressive Therapies Continuum and Dialectical Behaviour Therapy informed psychosocial support programme. The data was obtained by means of questionnaire and focus group discussions. All participants (n = 60) performed written evaluation of the programme: a) of their overall experience, b) its specific benefits for addressing pain, anxiety as well as social support, emotion regulation and overall quality of life issues, c) its most/least e

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Shapiro, Alan. "Wildness and Order Duke Ellington’s “Happy Go Lucky Local”." ICONI, no. 1 (2020): 41–45. http://dx.doi.org/10.33779/2658-4824.2020.1.041-045.

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This article (with musical links) looks at one of the important compositions of Duke Ellington from the mid-1940s through the perspective of Aesthetic Realism, the philosophy founded by the American critic and poet Eli Siegel. The basis of this approach is that when a work of art in any fi eld is good or beautiful, the reason is that it puts opposites together, opposites that are in the structure of reality as a whole and that every person is hoping to make sense of. This is true of Ellington’s “Happy Go Lucky Local”: it is wild and organized, repetitive and surprising, cacophonous and orderly

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Mosusova, Nadezda. "Prince of zeta by Petar Konjovic: Opera in five/four acts on the 125th anniversary of the composer's birth." Muzikologija, no. 8 (2008): 151–63. http://dx.doi.org/10.2298/muz0808151m.

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Petar Konjovic (Curug, May 5, 1883 - Belgrade, October 1, 1970) stands out among Serbian composers as an author of instrumental and vocal compositions. Studies at the Prague Conservatory (1904-1906) acquainted Konjovic with Czech music, Wagner's opus, and the Russian national-romantic school, which contributed to the evolution of his talent for both music and stage, enabling him to express his ideas more explicitly in operatic works. It was in the Prague that the second opera - Prince of Zeta - was conceived, with new musical vividness and dramatic appeal (first version composed 1906-1926, the

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Schuller, Julia Elizabeth, and Valerie Lynn Schrader. "‘Beautiful as you feel’: Feminism and post-feminism in Beautiful: The Carole King Musical." Studies in Musical Theatre 11, no. 1 (2017): 51–64. http://dx.doi.org/10.1386/smt.11.1.51_1.

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Mandracchia, Christen. "‘Don’t feed the plants!’: Monstrous normativity and disidentification in Little Shop of Horrors." Studies in Musical Theatre 13, no. 3 (2019): 309–16. http://dx.doi.org/10.1386/smt_00009_1.

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The 1982 camp horror musical Little Shop of Horrors tells the story of a meek little flower shop attendant named Seymour, who comes across a novelty carnivorous plant that eats human blood. The talking plant preys on Seymour’s infatuation with his beautiful co-worker Audrey to radicalize him into feeding the plant ‘fresh’ bodies. Building on the work of theatre scholar Michael Chemers, who asserts that stage monsters represent larger social and political anxieties of their time, this article identifies Seymour, the normal, white, heterosexual everyman, as the real ‘monster’ of the musical. Thu

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Orr, N. Lee, and Ethan Mordden. "Beautiful Mornin': The Broadway Musical in the 1940s." American Music 18, no. 4 (2000): 428. http://dx.doi.org/10.2307/3052585.

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Garratt, James. "Edmund J.Goehring, Coming to Terms with Our Musical Past: an Essay on Mozart and Modernist Aesthetics (Rochester, NY: University of Rochester Press, 2018). xii + 209 pp. £80 (hb). ISBN 9781580469302.LeeRothfarb and ChristophLanderer, Eduard Hanslick's ‘On The Musically Beautiful’: a New Translation (Oxford and New York: Oxford University Press, 2018). lxxxvi + 135 pp. £16.99 (hb). ISBN 9780190698188." Music Analysis 40, no. 1 (2021): 131–44. http://dx.doi.org/10.1111/musa.12171.

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18

Long, Chris Evin, Stephanie Bonjack, and James Kalwara. "Making Beautiful Music Metadata Together." Library Resources & Technical Services 63, no. 3 (2019): 191. http://dx.doi.org/10.5860/lrts.63n3.191.

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This paper discusses how the Howard B. Waltz Music Library and the University of Colorado Boulder’s Metadata Services Department cooperated to resurrect and complete a long-dormant retrospective conversion cataloging project involving musical scores and vinyl records. It addresses the resources that both groups brought to the relationship; the collaborative process by which decisions were made; the implementation plan and challenges; and how fostering a culture of customer service within the Metadata Services Department contributed to the project’s success. It also contrasts Colorado’s project

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19

Temirgazina, Zifa K., and Gulzhan K. Zhakupova. "Harmony and Disharmony: Acoustic Opposition in the Early Lyrics of Alexander Blok." RUDN Journal of Language Studies, Semiotics and Semantics 12, no. 1 (2021): 137–52. http://dx.doi.org/10.22363/2313-2299-2021-12-1-137-152.

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The article studies the role of the observer - the subject of acoustic perception of poetic narrative, in particular, in the construction of a dual reality in the early work by Alexander Blok Poems about the Beautiful Lady. Acoustic perceptual data is the basis for the creation of complex mystical and philosophical symbols and poetic images. The divine, ideal world of the Beautiful Lady and the real world of the lyric hero are in opposition to each other in acoustic terms, which give rise to the opposition HARMONY - DISHARMONY. The opposition is realized in musical sounds, songs, and bell ring

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20

Lerner, Neil. "Michael Long,Beautiful Monsters: Imagining the Classic in Musical Media." Journal of Musicological Research 29, no. 2-3 (2010): 260–64. http://dx.doi.org/10.1080/01411896.2010.482509.

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21

S, Sivasankar, and Alaguselvam A. "Beautiful Neduvangiyam also known as Nagasuram." International Research Journal of Tamil 3, no. 2 (2021): 65–69. http://dx.doi.org/10.34256/irjt2129.

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The purpose of this study is to understand one of the earliest known non-brass double-reed instrument called Nagasuram (Nadaswaram). Our ancestors while defining Tamil music grammar in parallel focused on sound engineering, which helped them to invent new musical instruments. Sangam era alone saw more than 30 percussion and wind instruments. Among them, few instruments like Veenai, Urumi and Nagasuram are worth mentioning since their design techniques were known only to a handful of families. Their performance really stands out due to their versatile and adaptable nature to all genres of music

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22

Beyt, Adam. "“Beautiful and New”: The Logic of Complementarity in Hedwig and the Angry Inch." Religions 10, no. 11 (2019): 620. http://dx.doi.org/10.3390/rel10110620.

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This article suggests that reading John Cameron Mitchell’s musical Hedwig and the Angry Inch as a religious classic undermines the logic of complementarity within Catholic theological anthropology, particularly the Theology of the Body of John Paul II. A religious classic, a term coined by theologian David Tracy, describes a work with an “excess of meaning” that offers hope and resistance against a normative social structure. Hedwig resists the hegemonic structure of sexual dimorphism, as represented by the logic of complementarity operative within the Theology of the Body. This theological an

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23

Amalina, Benita. "REPRESENTATION OF COCA COLA AS AMERICAN MULTICULTURAL ICON IN THE TV ADVERTISEMENT AMERICA IS BEAUTIFUL." Rubikon : Journal of Transnational American Studies 1, no. 2 (2014): 57. http://dx.doi.org/10.22146/rubikon.v1i2.34224.

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On February 2, 2014, Coca Cola released a new television advertisement titled “America is Beautiful” during Super Bowl event. The advertisement shows American multicultural families having a good time together. What makes this advertisement different from the previous ones, is the usage of a patriotic song America is Beautiful as the musical background. This research examines how Coca Cola as a brand represents the multicultural America through this advertisement. The result shows that it is affected by the historical values and the fact that the CEO of Coca Cola blatantly advertise multicultu

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Kamenieva, Anna. "Stylistic features of the choral concerto “Witchery songs” by M. Shukh." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 122–35. http://dx.doi.org/10.34064/khnum1-55.09.

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Background. The current paper provides an intonation and dramaturgical analysis of the choral concerto “Witchery Songs” by a contemporary Ukrainian composer M. Shukh (1952–2018). It reveals stylistic features of the late composition, presents an argument for its affiliation to the meditative sphere enriched with new stylistics, which can be seen in the semantics of contemplation, philosophical and psychological focus (the first movement), the concept of “Light” (the second miniature) as well as composure and blissful sleep (final). Objectives. To reveal stylistic features of the choral concert

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25

Istók, Eva, Elvira Brattico, Thomas Jacobsen, Kaisu Krohn, Mira Müller, and Mari Tervaniemi. "Aesthetic responses to music: A questionnaire study." Musicae Scientiae 13, no. 2 (2009): 183–206. http://dx.doi.org/10.1177/102986490901300201.

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We explored the content and structure of the cognitive, knowledge-based concept underlying aesthetic responses to music. To this aim, we asked 290 Finnish students to verbally associate the aesthetic value of music and to write down a list of appropriate adjectives within a given time limit. No music was presented during the task. In addition, information about participants’ musical background was collected. A variety of analysis techniques was used to determine the key results of our study. The adjective “beautiful” proved to be the core item of the concept under question. Interestingly, the

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26

Huss, Fabian Gregor. "On the Beautiful in Music, or the Emotional Fly in the Musical Ointment." Musical Times 149, no. 1902 (2008): 39. http://dx.doi.org/10.2307/25434516.

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27

Perlovsky, Leonid. "Emotions of “higher” cognition." Behavioral and Brain Sciences 35, no. 3 (2012): 157–58. http://dx.doi.org/10.1017/s0140525x11001555.

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AbstractThe target article by Lindquist et al. considers discrete emotions. This commentary argues that these are but a minor part of human emotional abilities, unifying us with animals. Uniquely human emotions are aesthetic emotions related to the need for the knowledge of “high” cognition, including emotions of the beautiful, cognitive dissonances, and musical emotions. This commentary touches on their cognitive functions and origins.

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28

Atwood, Jody. "The Violin Octet." American String Teacher 36, no. 4 (1986): 39–43. http://dx.doi.org/10.1177/000313138603600423.

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Editor's Note: Upon learning about the New Family of Violins in 1984, I was intrigued enough to get on a plane one weekend and go to Boston to hear the octet in performance. Hearing the sound of these instruments, seeing the zeal of those who champion them, and feeling a sense of musical history at seeing these beautiful instruments was sufficient reward for making the trip.

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29

Scott, Derek B. "The Sexual Politics of Victorian Musical Aesthetics." Journal of the Royal Musical Association 119, no. 1 (1994): 91–114. http://dx.doi.org/10.1093/jrma/119.1.91.

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A sexual division of musical composition emerged in nineteenth-century Britain: during that period, metaphors of masculinity and femininity solidified into truths about musical style. Contemporary social theory, domestic sphere ideology, the new scientia sexualis, and aesthetics of the sublime and the beautiful ensured that certain musical styles were considered unsuitable or even unnatural for women composers. Female creativity was also denied or inhibited by educational and socio-economic pressures born of ideological assumptions. In consequence, many women found themselves marginalized as c

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Dale, Catherine. "The ‘Skeleton in Schoenberg's Musical Closet’: The Chequered Compositional History of Schoenberg's Second Chamber Symphony." Journal of the Royal Musical Association 123, no. 1 (1998): 68–104. http://dx.doi.org/10.1093/jrma/123.1.68.

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Reflecting on the composition of his First Chamber Symphony, op. 9, in the essay ‘How One Becomes Lonely’ (1937), Schoenberg wrote:I had enjoyed so much pleasure during the composing, everything had gone so easily and seemed to be so convincing, that I was sure the audience would react spontaneously to the melodies and to the moods and would find this music to be as beautiful as I felt it to be.

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MURPHY, KERRY. "JOSEPH MAINZER'S ‘SACRED AND BEAUTIFUL MISSION’: AN ASPECT OF PARISIAN MUSICAL LIFE OF THE 1830s." Music and Letters 75, no. 1 (1994): 33–46. http://dx.doi.org/10.1093/ml/75.1.33.

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32

Gutiérrez Martínez, Begoña. "Sonidos en serie. Interacciones entre imagen y música en Mad Men." EU-topías. Revista de interculturalidad, comunicación y estudios europeos 18 (January 17, 2020): 69. http://dx.doi.org/10.7203/eutopias.18.16843.

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La serie televisiva Mad Men (Mathew Weiner, 2007-2015) está ambientada en la década de 1960 en Nueva York y versa principalmente sobre el universo de la publicidad. Su banda sonora, de gran riqueza y variedad, contiene tanto temas compuestos ad hoc, como otros preexistentes. Nuestro objetivo es analizar las interacciones que se establecen entre imagen y música en la primera temporada de la serie empleando la metodología de análisis textual. Examinaremos su mundo sonoro, así como las sensaciones que produce para explicitar la experiencia de los espectadores. Con este fin, diseccionaremos difere

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Newbury, Michael. "Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904." Journal of the Gilded Age and Progressive Era 4, no. 4 (2005): 381–407. http://dx.doi.org/10.1017/s1537781400002760.

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In 1903, Alan Dale, the theater critic for the New York American and Journal, when contemplating the state of the American stage, came to the conclusion that “the only national theatre I can find, after severe cogitation, is that beautiful, flip, and classic commodity known as musical comedy.” Dale pointed out that musical comedy's exorbitant popularity was a recent development, emerging only in the previous five or ten years, and that his anointing of the form as the national theater would not sit well with more serious-minded devotees of drama. “Well read gentlemen with heavy minds,” wrote D

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Handziuk, Vitalii. "BROADCASTING PRODUCTS OF THE RADIO STATION «LVIVSKA KHVYLYA»: THE GENRE AND THEMATIC CHARACTERISTICS." Integrated communications 25242644 (2019): 54–57. http://dx.doi.org/10.28925/2524-2644.2019.7.8.

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The main principles of developing of a program concept, target, genre-thematic and audience intended purposes of the Ukrainian FM-radio station «Lvivska khvylya» radio series are considered. It’s concluded that the radio «Lvivskа khvylya» successfully creates the actual, original content of the broadcast, hold onto the genres of radio journalism and the formula of radio success – a beautiful and cheerful mood, a friendly and relaxed atmosphere, a lively conversation; promptly informs the audience about current and important events in the country and in the world; journalists create high-qualit

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35

Ventegodt, Søren, Tyge Dahl Hermansen, Isack Kandel, and Joav Merrick. "Human Development XIII: The Connection Between the Structure of the Overtone System and the Tone Language of Music. Some Implications for Our Understanding of the Human Brain." Scientific World JOURNAL 8 (2008): 643–57. http://dx.doi.org/10.1100/tsw.2008.8.

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The functioning brain behaves like one highly-structured, coherent, informational field. It can be popularly described as a “coherent ball of energy”, making the idea of a local highly-structured quantum field that carries the consciousness very appealing. If that is so, the structure of the experience of music might be a quite unique window into a hidden quantum reality of the brain, and even of life itself. The structure of music is then a mirror of a much more complex, but similar, structure of the energetic field of the working brain. This paper discusses how the perception of music is org

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36

Ford, Phil. "Beautiful Monsters: Imagining the Classic in Musical Media. By Michael Long. Berkeley: University of California Press, 2008." Journal of the Society for American Music 3, no. 4 (2009): 502–7. http://dx.doi.org/10.1017/s175219630999071x.

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CHADABE, JOEL. "Look around and get engaged." Organised Sound 9, no. 3 (2004): 315–16. http://dx.doi.org/10.1017/s1355771804000524.

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The term ‘computer music’, for those of us who lived through the beginnings, became meaningful during the pioneering period from the late 1950s through the 1970s. It was a positive term. It identified a specific genre of music, a major effort in musical experiment, research and exploration, a wealth of new sound-generating techniques, and a large palette of new sounds. Jean-Claude Risset, in Inharmonique, for example, used additive synthesis to extend principles of tonality into the microworld of spectral progression. John Chowning, in Stria, used the Golden Mean to define FM frequency ratios.

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Widodo. "Laras in Gamelan Music's Plurality." Harmonia: Journal of Arts Research and Education 15, no. 1 (2015): 34. http://dx.doi.org/10.15294/harmonia.v15i1.3695.

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<p>Coercion, strife, contention, assault, and battle between individuals and groups today have never deserted from the news in mass media. The triggers are selfishness, feeling of self-righteous, overbearing, and a desire to be always comfortable and win, while neglecting differences had by one to another. It is pushed by unwillingness and inability to respect the differences as God's will and grace. Plurality as an inevitability cannot be ignored as well as rejected. Willy nilly, it has to be faced, accepted, and respected as it is. It also needs to be assembled in order to actualize ha

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Alfajri, Rendi, and Marzam Marzam. "STRUKTUR PERTUNJUKAN KUDA LUMPING DI KELURAHAN KAMPUNG LAPAI KECAMATAN NANGGALO PADANG." Jurnal Sendratasik 10, no. 1 (2020): 254. http://dx.doi.org/10.24036/jsu.v9i2.110546.

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This study aims to determine and describe the Performance Structure of Kuda Lumping in Kampung Lapai Village, Nanggalo District, Padang.This research belongs to a qualitative research. The research instruments used were the researcher it self, writing tools, and cellphone cameras. The object of this research was Kuda Lumping Brandon in Kampung Lapai Village, Nanggalo District, Padang.The results show that Kuda Lumping has a performance structure which cannot be removed or reversed from beginning to end. In the performance process, there must be several important people or instruments such as a

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Lyon, Elizabeth L. "‘Magis corde quam organo’: Agazzari, Amadino, and the hidden meanings of Eumelio." Early Music 48, no. 2 (2020): 157–76. http://dx.doi.org/10.1093/em/caaa025.

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Abstract Some time after Christmas 1605, Agostino Agazzari (1578–1640) was asked to provide music for a pastoral drama, Eumelio; it was performed a month later during Carnival at the Jesuit-run Seminario Romano. In the preface to the subsequently published score (Venice: Amadino, 1606), Agazzari tells his readers that he agreed to the commission ‘because of the beautiful and useful allegory that I saw in [the libretto]’. What this beautiful and useful allegory was, however, has not been apparent to modern scholars. Margaret Johnson goes so far as to write that ‘It is perhaps unfortunate that A

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RHEUBOTTOM, NICHOLAS. "SIXTEENTH BIENNIAL INTERNATIONAL CONFERENCE ON BAROQUE MUSIC UNIVERSITÄT MOZARTEUM SALZBURG, 9–13 JULY 2014." Eighteenth Century Music 12, no. 1 (2015): 141–43. http://dx.doi.org/10.1017/s1478570614000608.

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The Sixteenth Biennial International Conference on Baroque Music (ICBM) was held at the beautiful Universität für Musik und darstellende Kunst Mozarteum in Salzburg, Austria. Thanks to the tireless efforts of Professor Thomas Hochradner and his effective team of assistants, approximately 250 participants could choose from papers and lecture-recitals that covered a wide spectrum of topics and methodologies. These included new research on notable composers, geographical influences upon musical genres and interdisciplinary approaches. The organizers also offered guided tours on one of the afterno

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Jones, Mark. "20th century composers." Psychiatric Bulletin 15, no. 7 (1991): 442–45. http://dx.doi.org/10.1192/pb.15.7.442.

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At the turn of the century, opera was leaderless after the heady days of Verdi and Wagner. Puccini emerged as the new voice of Italian opera, where realism, or verismo, was the way forward. But verismo could never be the answer to the operatic dilemma that faced the latest composers, since it only gave a musical dimension to a stage painting of ‘life as it is’, without reference to underlying psychodynamics — I personally have never thought Puccini much of an intellectual. Beautiful his music may be, but as thinking pieces of theatre they are devoid of real challenges. Their appeal and potency

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Mahdiansyah, Mahdiansyah. "Tari Kreasi Babangsai Babanjaran di Sanggar Labastari Kandangan." Pelataran Seni 1, no. 1 (2016): 39. http://dx.doi.org/10.20527/jps.v1i1.1450.

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AbstractThis study aims to determine the form of presentation of dance creations Babangsai Bakanjaran terms of the motion structure, musical accompaniment, makeup-fashion, property and the venue. The object of research is descriptive qualitative art gallery Labastari Kandangan in Hulu Sungai Selatan, South Kalimantan Province. Data collection techniques using field observations, interviews and documentation. Based on the survey results revealed that the form of presentation of dance creation Babangsai Bakanjaran motion that has a structure of early motion, motion climax and final movements. Mu

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DOWNES, STEPHEN. "Hans Werner Henze as Post-Mahlerian: Anachronism, Freedom, and the Erotics of Intertextuality." Twentieth-Century Music 1, no. 2 (2004): 179–207. http://dx.doi.org/10.1017/s1478572205000113.

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In the early 1960s Mahler’s music became a vital stimulus for Henze’s compositional technique and aesthetics. Particularly important were its exploration of formal crises, the incorporation of ‘old’ musical materials, and its apparently direct expression of love and beauty. These aspects confirmed Henze’s desire to break out of the restrictions of Darmstadt dogma, into an apparently anachronistic expressive and technical freedom. This article explores structural and hermeneutic relationships between two of Henze’s works of the period – Being Beauteous and The Bassarids– and Mahler’s Fifth Symp

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Madsen, Clifford K. "Emotion versus Tension in Haydn's Symphony no. 104 as Measured by the Two-Dimensional Continuous Response Digital Interface." Journal of Research in Music Education 46, no. 4 (1998): 546–54. http://dx.doi.org/10.2307/3345350.

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This study compared musicians' responses while listening to the first movement of Haydn's Symphony no. 104 using a two-dimensional continuous response digital interface (CRDI). The two-dimensional CRDI uses a mouse cursor via a computer screen to indicate the interrelationship of two dimensions simultaneously. In the present investigation, 50 musicians were presented with the dimensions of arousal (i.e., relaxing-exciting) and affect (i.e., ugly-beautiful). The vertical dimension on the computer screen listed the word “Exciting” at the top and “Relaxing” at the bottom; the horizontal axis list

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Limbert, Wendy M., and Donald J. Polzella. "Effects of Music on the Perception of Paintings." Empirical Studies of the Arts 16, no. 1 (1998): 33–39. http://dx.doi.org/10.2190/v8bl-gbjk-tlfp-r321.

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This study tested the influence of musical style on observers' perceptions of representational and abstract paintings. Participants were thirty-six male and thirty-six female undergraduates who viewed eight paintings under one of three listening conditions: matching, non-matching, or no music. Participants rated each painting on four semantic-differential scales. Mean ratings were compared using MANOVAs. An interaction of painting style and listening condition (Wilks' lambda = .780, p < .05) showed participants' aesthetic experience of viewing the paintings was intensified when the painting

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DAY-O’CONNELL, SARAH. "THE COMPOSER, THE SURGEON, HIS WIFE AND HER POEMS: HAYDN AND THE ANATOMY OF THE ENGLISH CANZONETTA." Eighteenth Century Music 6, no. 1 (2009): 77–112. http://dx.doi.org/10.1017/s1478570609001742.

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ABSTRACTThis article examines the household of John Hunter, a London surgeon, and Anne Hunter, a poet, and its relevance for Haydn’s collaboration with Anne – the two sets of English Canzonettas (1794–1795). I interpret canzonettas by Haydn and several of his London contemporaries as artefacts of a context in which music and anatomy were pursued not only under the same roof but by the same people, who participated in shared discourses, medical and musical, regarding the nature of femininity. This perspective reveals ways in which John partook of his wife’s world, asserting the artful and beaut

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Flavin, Michael, and Bethany James. "‘To give an outsider an idea of what it could be like’: A case study of the creative representation of hearing voices." Arts and Humanities in Higher Education 17, no. 1 (2016): 134–47. http://dx.doi.org/10.1177/1474022216684633.

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This paper reports on a case study which aims to recreate the hearing voices symptom in schizophrenia. The case study was submitted for a co-curricular module at King’s College London by a first-year undergraduate Music student, Bethany James, and was created using the web application, Mahara. The core of the case study consists of a soundscape of both everyday and unusual sounds, in conjunction with an original musical composition. The paper describes the case study and discusses it using chaos narrative as an analytical lens. The paper argues that the case study (‘A Beautiful Mind – Artefact

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Kossymova, G., та K. Issahanova. "PEDAGOGICAL IDEAS (THOUGHTS) IN ʻʻBABALAR SOZI (WORDS OF THE ANCESTORS)ˮ". BULLETIN Series of Philological Sciences 72, № 2 (2020): 104–8. http://dx.doi.org/10.51889/2020-2.1728-7804.15.

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This article discusses the issues of the national spirit, national identity, national idea, patriotism, patriotism, which today raises the idea of ʻʻEternal Countryˮ. “Babalar sozi” is one of the works that has made a significant contribution to the development of Kazakh culture in the world of spiritual, intellectual and scientific processes. This multivolume series “Babalar sozi” contains all the examples of the very rich and multifaceted spiritual heritage of the Kazakh people, and has special educational value for future generations. The musical creativity of the Kazakh people is closely r

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Beckwith, John. "The Present State of Unpopular Music." Essay 27, no. 2 (2012): 8–18. http://dx.doi.org/10.7202/1013110ar.

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When asked, "what kind of music do you write?" the late composer Harry Somers always replied "unpopular music." Whatever it is called, the category has undergone marked changes recently. SOCAN's 1992 transference of control from its "classical" wing to its commercial sector was, for the Canadian musical scene, a historic indicator of change. The death of modernism has become a critical cliché. Recent studies declare the end of "classical" music cultivation in the U.S.A. Composers are enjoined to conform to the vocabulary of U.S. pop. A simplified and meditative popular approach is espoused by

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