To see the other types of publications on this topic, follow the link: Musicians in art.
Journal articles on the topic 'Musicians in art'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Musicians in art.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Nörholm Lundin, Anna. "Maestro! Yrkesmusikers sociala praktik, relativa framgång och habitus." Praxeologi – Et kritisk refleksivt blikk på sosiale praktikker 1 (January 1, 2019): e1566. http://dx.doi.org/10.15845/praxeologi.v1i0.1566.
Full textAbstract:
Maestro! The social practice, relative success and habitus of professional musiciansIn art music the Maestro is an important figure. The Maestro is an outstanding musician and teacher at one of the prestigious music colleges in Sweden. To be admitted as a student of a Maestro is to be granted access to the atrium of music. However, this is no guarantee of actually succeeding as a musician. Who is the Maestro? Which social practice is the Maestro part of, and which social practice is he/she maintaining? Who achieves a position as an outstanding musician, and what is required to hold such a position? The empirical material consists of three in-depth interviews with central musicians and teachers at the prestigious music colleges, which is used to reconstruct their positions and dispositions. The relative success of the musicians is understood in relation to the concept of habitus and in relation to a profession in transformation. Keywords: Maestro, musicians, social practice, habitus, relative success
2
School, Veronika, and Amélie Zosso. "“You Cannot Perform Music Without Taking Care of Your Body”: A Qualitative Study on Musicians’ Representation of Body and Health." Medical Problems of Performing Artists 27, no. 3 (September 1, 2012): 129–36. http://dx.doi.org/10.21091/mppa.2012.3024.
Full textAbstract:
OBJECTIVE: To identify professional musicians’ representation of health and illness and to identify its perceived impact on musical performance. METHODS: A total of 11 professional musicians participated in this phenomenological study. Five of the musicians were healthy, and the others suffered debilitating physical health problems caused by playing their instruments. Semi-structured interviews were conducted, transcribed verbatim and analysed. Thematic analysis, including a six-step coding process, was performed (ATLAS-ti 6). RESULTS: Three major themes emerged from the data: music as art, the health of musicians, and learning through experience. The first theme, music as art, was discussed by both groups; they talked about such things as passion, joy, sense of identity, sensitivity, and a musician’s hard life. Discussions of the second theme, the health of musicians, revealed a complex link between health and performance, including the dramatic impact of potential or actual health problems on musical careers. Not surprisingly, musicians with health problems were more concerned with dysfunctional body parts (mostly the hand), whereas healthy musicians focused on maintaining the health of the entire person. The third theme, learning through experience, focused on the dynamic nature of health and included the life-long learning approach, not only in terms of using the body in musical performance but also in daily life. CONCLUSIONS: The centre of a musician’s life is making music in which the body plays an important part. Participants in this study evidenced a complex link between health and musical performance, and maintaining health was perceived by these musicians as a dynamic balance. Our results suggest that learning through experience might help musicians adapt to changes related to their bodies.
3
Umam, Khothibul, and Gregorius Tri Hendrawan Manurung. "Merchandise and Memorabilia: Between Art Products, Self-Image, and Musicians Existence." E3S Web of Conferences 359 (2022): 02019. http://dx.doi.org/10.1051/e3sconf/202235902019.
Full textAbstract:
This study aims to examine three merchandise of Semarang bands/musicians, namely Soegi Bornean, Pyong-pyong, and Vice Versa. The method used is a Sociology of Art approach with a focus on the production and distribution of works of art. The data of this research is the result of observations on the unique side of the merchandise production of Soegi Bornean, Pyong-pyong, and Vice Versa. The data collection method used is in-depth observation. The observation method is used to cover data related to the production and distribution of merchandise. The analytical method used in this study is to examine the extent to which merchandise has an effect on the musicians, both artistically and in terms of market advantages. The results of this study indicate that the unique merchandise of musicians has a great influence from the artistic side, sales profits, self-image, and the existence of the musician.
4
Andika, Wirvan, and Esy Maestro. "PEMUSIK JALANAN STUDI DESKRIPTIF PEMUSIK JALANAN DI DAERAH PULAI LUBUK MINTURUN KOTA PADANG." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 425. http://dx.doi.org/10.24036/jsu.v9i2.110594.
Full textAbstract:
This research aims to find and describe Rian's activities as one of the street musicians in Padang City. This type of research is Qualitative Research. The main instruments in the study were researchers themselves and assisted with supporting instruments such as stationery, recording devices and cameras. Data collection techniques are carried out by observation, interview, library study and documentation. The steps to analyze the data are to collect data and describe the data and draw conclusions. The results showed that there are still many lay people who think street musicians or worshippers are interfering with comfort and even being indifferent to them. Street musicians or performers are a profession run by art actors or art workers who display and sell their talents to the public. They're not beggars or anything like that. They are the perpetrators of art who are on the streets, they are arguably disadvantaged because of weak economic factors and forcing them to express themselves on the streets. They should get better treatment and apresization from society in general, because there are still many people who have talent and are very much worthy of our appreciation, because with the appreciation that we give can support their livesKeywords: street musician, descriptive study of street musicians
5
Pratt, Emily, Henning Vauth, Gary McIlvain, and Mark K. Timmons. "Musicians Have Thicker Median Nerve Cross Sectional Area and More Symptoms of Carpal Tunnel Than Non-Musicians." Medical Problems of Performing Artists 35, no. 3 (September 1, 2020): 138–44. http://dx.doi.org/10.21091/mppa.2020.3023.
Full textAbstract:
AIMS: Musicians spend numerous hours perfecting their skills and art, often leading to overuse injuries of the hand; of specific concern to musicians is carpal tunnel syndrome (CTS). This study evaluated the median nerve cross-sectional area and hand function of musicians and made comparisons to non-musicians. METHODS: Seventy-six participants took part in the study, 38 music students and professors in the musician group and 38 participants in the control group. Participants completed patient-reported questionnaires to assess the level of pain and hand function. Ultrasound images were collected at the carpal tunnel inlet and outlet. The median nerve cross-sectional area and the depth of the carpal tunnel were measured on ultrasound images using software imbedded in the ultrasound unit. RESULTS: Musicians showed higher levels of hand dysfunction and CTS symptoms than the non-musicians. The median nerve cross-sectional area was greater in musicians than in the non-musician group on both the right (mean difference 1.5 mm2, p=0.002) and left sides (mean difference 0.9 mm2, p=0.036). The depth of the carpal tunnel at the carpal tunnel inlet and outlet did not differ between the groups (p>0.05). CONCLUSION: The current research identified between-group differences in median nerve cross-sectional area and the level of hand dysfunction. Understanding the interaction between the anatomy of the wrist and wrist and hand dysfunction will benefit clinicians when evaluating and treating musicians.
6
Navei, Nyamawero. "The Lioness of African Music: Cultural Interpretation of Wiyaala’s Stage Costume Art." International Journal of Cultural and Art Studies 7, no. 1 (April 30, 2023): 49–63. http://dx.doi.org/10.32734/ijcas.v7i1.10463.
Full textAbstract:
In stage performance, costume art is an essential visual signature device with the veracity to unveil the character and cultural identity of the performer. Stage costume art could also be deployed to respond to pertinent societal issues. In spite of its versatile essentiality in performing arts, there seems to be a dearth of scholarly interpretation of stage costume art of Ghanaian musicians, thereby creating a knowledge gap. This qualitative case study makes a hermeneutical interpretation of eight random-purposively sampled stage costumes of Wiyaala (a Ghanaian female musician) to establish their cultural symbolism. The study found Wiyaala not only an iconic Ghanaian artiste but an internationally recognised musician who toured many countries across Africa, Europe, the Americas, and other continents for musical stage performances. It emerged that Wiyaala’s stage costumes were locally self-constructed, and ably reflected the uniquely versatile indigenous African (Ghanaian) dress cultural identity in respect of African (Ghanaian): royal dress fashion, war costumes, initiation costumes, and others. Wiyaala could be said to have prioritised interest in using her locally sourced stage costume art to promote and preserve indigenous African (Ghanaian) dress cultural identity. Since Wiyaala is an iconic musician, she is encouraged to continue deploying locally sourced costume art for her stage performances to promote and preserve African (Ghanaian) dress cultural identity for posterity. This tends to decolonise the stage costume choice of many Ghanaian musicians with its cascading impact on the Ghanaian textile and fashion industry for economic and job gains.
7
Massetti, Gemma, Carlotta Lega, Zaira Cattaneo, Alberto Gallace, and Giuseppe Vallar. "Exploring the Effects of Brain Stimulation on Musical Taste: tDCS on the Left Dorso-Lateral Prefrontal Cortex—A Null Result." Brain Sciences 12, no. 4 (March 31, 2022): 467. http://dx.doi.org/10.3390/brainsci12040467.
Full textAbstract:
Humans are the only species capable of experiencing pleasure from esthetic stimuli, such as art and music. Neuroimaging evidence suggests that the left dorsolateral prefrontal cortex (DLPFC) plays a critical role in esthetic judgments, both in music and in visual art. In the last decade, non-invasive brain stimulation (NIBS) has been increasingly employed to shed light on the causal role of different brain regions contributing to esthetic appreciation. In Experiment #1, musician (N = 20) and non-musician (N = 20) participants were required to judge musical stimuli in terms of “liking” and “emotions”. No significant differences between groups were found, although musicians were slower than non-musicians in both tasks, likely indicating a more analytic judgment, due to musical expertise. Experiment #2 investigated the putative causal role of the left dorsolateral pre-frontal cortex (DLPFC) in the esthetic appreciation of music, by means of transcranial direct current stimulation (tDCS). Unlike previous findings in visual art, no significant effects of tDCS were found, suggesting that stimulating the left DLPFC is not enough to affect the esthetic appreciation of music, although this conclusion is based on negative evidence,.
8
Denny, Walter. "Music and Musicians in Islamic Art." Asian Music 17, no. 1 (1985): 37. http://dx.doi.org/10.2307/833740.
Full text
9
Ahlquist, Karen. "Playing for the Big Time: Musicians, Concerts, and Reputation-Building in Cincinnati, 1872–82." Journal of the Gilded Age and Progressive Era 9, no. 2 (April 2010): 145–65. http://dx.doi.org/10.1017/s1537781400003911.
Full textAbstract:
Like many midwestern cities in the nineteenth century, Cincinnati, Ohio, was home to large numbers of German immigrant musicians, among them the founders of the Cincinnati Grand Orchestra in 1872. Their model of musician-based organization eventually ran counter to the prestige-building potential of Western art music, which made it attractive to local civic leaders determined to earn respect for their city at a national level. The successful Cincinnati May festivals beginning in 1873 under the artistic leadership of conductor Theodore Thomas brought the city the desired renown. But the musical monumentality needed for large festival performances could not be obtained locally, leaving Cincinnati's players with opportunities to perform at a high level but without a way to define their performance as a significant achievement in the world of high art. Although their orchestra was ultimately unsuccessful, however, these musicians demonstrated an agency that transcends their historical obscurity and helps incorporate aesthetic and practical aspects of institution-building into the social arguments common to discussions of Western art music in the United States.
10
Ovchar, О. P. "V. O. Bohdanov – an outstanding researcher of the history of wind art in Ukraine: his life and creative career." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 8–23. http://dx.doi.org/10.34064/khnum1-54.01.
Full textAbstract:
Background. The question of a comprehensive assessment of certain musicians’ work has both artistic and aesthetic, sociocultural, and ethical projections associated with the evaluation of the creativity and activity of the musician both during their lifetime and after their passing. This issue also continues to be acutely relevant in the area of studying and shaping the scope of cultural knowledge about traditions and innovations in all spheres of musical art, about the role of an individual in the historical and cultural process both in the national and in the civilizational, globalizational aspects. Another important aspect is the study of one’s own cultural traditions and achievements (at the national, regional and other levels.), which makes it possible to reveal something universal and particular in all areas of musical practice (composition, performance, teaching, etc.) and give them an objective assessment. In this connection, musicians – our contemporaries, whose achievements are diverse and very significant in the musical field and whose versatile contribution to the development of musical art cannot be overestimated, – need special public and scientific attention. One of such outstanding figures of modern Ukraine is Valerii Bohdanov (13/07/1939–10/10/2017), a trumpet performer, conductor, teacher, musicologist, who devoted his whole life to music art in its various manifestations, achieved the highest results in all spheres of activity and went down in the history of Ukrainian musical art as one of the rare examples of a universal musician. His performance, conducting, pedagogical, and research activities in the field of wind instruments performance are so significant that they require a complex study, which as yet does not exist, and this paper seems to be one of the first steps on this path. Objectives. The purpose of this paper is to evaluate the life and career of the outstanding musician Valerii Bohdanov from the viewpoint of his contribution to the study of the history of wind performance in Ukraine. Methods. This paper employs a complex of several research methods related to the statement of the theme and its specificity: historical method, which allowed considering facts from life and work of V. Bohdanov in relation to the peculiarities of historical conditions of the time; historical and cultural method, thanks to which one can take into account the general context of music art, in particular, events and phenomena of musical practice within certain conditions of national culture, traditions and possibilities, specified amongst others at the ideological level; biographical method of research, due to which different periods of the musician’s creativity, directions of his activity, as well as their prerequisites, development paths and results are described; comparative method, associated with the comparative characteristics of stages and tendencies of Valerii Bohdanov’s work in different periods of his life; phenomenological method, featuring characteristics of unique interaction of various facets of the universal musician – the artist of music art. Results. The versatile activity of V. Bohdanov, a prominent musician, performer, conductor, teacher, researcher of the history of wind art in Ukraine, is distinguished by a special degree of interrelation of these spheres, which indicates the special quality of the universalism of Valerii Oleksandrovych’s personality as a phenomenon. According to the outlined and characterized areas of the musician’s activity all his achievements are determined, firstly, by the peculiarities of different periods of his life and career, historical circumstances and certain artistic experience, and secondly, by his personal qualities. The research and pedagogical activity of V. Bohdanov is one of the peaks of his multifaceted activity and the embodiment of the true mission, which combined the talent and experience of the practising musician, performer and conductor with pedagogical, scientific and educational work to the extent that allows speaking about a special status of a universal musician – a worker of musical art. An individual feature of V. Bohdanov’s universalism is that, being a practising musician, performer and conductor, he achieved the highest results in the scientific field, made an invaluable contribution to the study of the history of wind performance in Ukraine. Conclusions. The research findings indicate that Valerii Bohdanov’s activity is distinguished by the diversity and special status of universalism; its various facets are not just interconnected, they are interdependent and, thanks to a complex of personality characteristics, have become the basis for the outstanding result that was achieved by the musician. At the same time, the scientific side of Valerii Bohdanov’s work, dedicated to the history of wind instrument performance in Ukraine, has become a kind of pinnacle of his creative and life journey. Based on the aforesaid, we believe that the results of the presented research can be used in further scientific research related to such issues as: the study of Valerii Bohdanov’s research, performance, conducting, and pedagogical activities, as well as the work of other musicians, representatives of the wind music art of Ukraine; the characteristic of wind instruments performance schools; the search for answers to the questions faced by modern wind instruments performance, in particular, in the context of tradition and innovation, organology, genre-stylistics, repertoire, etc.
11
Dushniy, Аndriy, Volodymyr Salii, Nataliia Storonska, Hanna Ulych, and Vіtalіy Zaets. "Performing musicology in the socio-cultural space of Ukraine of the XXI century: scientific and creative discourse." Revista Amazonia Investiga 11, no. 54 (August 30, 2022): 137–45. http://dx.doi.org/10.34069/ai/2022.54.06.13.
Full textAbstract:
At the present stage, performing musicology plays an important role in the formation and development of professional musicians. In the socio-cultural space of Ukraine of the 21st century, it continues the historical traditions of research on the formation of performers, but, at the same time, it undergoes serious transformations. The aim of the research is to identify the key, fundamental principles of performance skill in the context of today’s realities, to determine the factors influencing the reformatting of the essential features of the creative activity of musicians. The methods of work were: analysis of scientific literature, systematization of methodological complex, method of analysis and synthesis, method of thematic analysis and critical approach to discretization of musical works. The results of the work allow us to assert about radical changes in the approach to art as such, as well as in the formation of professionals and their creative activity with a change in the basic parameters of the approach to music education. The institutionalization of art currently plays a leading role in the cultural socialization of masters, but today it is not decisive. With the development of progressive methods and approaches to education, modern technologies, globalization, the process of becoming a musician becomes easier, but access to the world of art without mediation opens wide horizons for promising musicians, and, at the same time, increases the level of competition for material and non-material incentives. The study offers a new perspective on performing musicology as a promising field for further scientific work, which will allow a better understanding of the peculiarities of the formation of musicians in the socio-cultural space of the 21st century.
12
Sakai, Naotaka. "Japanese Symposium of Performing Art Medicine, Kawasaki, July 19, 2004." Medical Problems of Performing Artists 19, no. 4 (December 1, 2004): 186. http://dx.doi.org/10.21091/mppa.2004.4031.
Full textAbstract:
It has been more than 20 years since the first symposium on performing arts medicine was held in Aspen, and last year, the European Congress of Musicians Medicine had their 10th meeting in Turku, Finland. However, there has never been a conference or symposium on performing arts medicine held in Japan, despite the large numbers of professional musicians and dancers in that country. This past July, Dr. Naotaka Sakai and four other physicians who have been treating the medical problems of musicians, as well as a manager who has been taking care of musicians’ medical and life insurance, organized the first Japanese Symposium of Performing Art Medicine.
13
Anufrieva, N. I., and N. V. Anchutina. "Stereotypes of Musicians-Performers Using National Instruments: Psychological and Culturological Aspects." Contemporary problems of social work 7, no. 1 (March 31, 2021): 39–45. http://dx.doi.org/10.17922/2412-5466-2021-7-1-39-45.
Full textAbstract:
the purpose of work is to prove psychological prerequisites of playing music for national instruments in condition of traditional Russian performing school which are that the specifics of a playing the national instruments are caused both by tradition canons, and individual socio- and ethnopsychological manifestations of the musician identity. Characteristic qualities of the performer predetermine any given stereotypes which are considered in article. The system method of art studies (musicology), cognitive approach to a research of the identity of the musician and also the principle of the theory of psychological types of creative persons served as methods of a research. Research conclusions are that: stereotypes of performing musicians define style of interpretation and explain any given effect on listeners. Cultural and educational work of the performing musician begins to be filled with special sense as the musician is a performer and creator of composition and the concept of her artistic realization, and features of stereotypes of performing musicians affect efficiency and success of their creative activity – concert work and enlightenment.
14
Poluboyarina, I. "Integration processes in the professional training of musicians as the basis of their spiritual development." Musical art in the educological discourse, no. 3 (2018): 97–102. http://dx.doi.org/10.28925/2518-766x.2018.3.97102.
Full textAbstract:
The article substantiates the relevance of the introduction into the professional training of students of musicians on the principle of integration. The philosophical and pedagogical definition of such concepts as “spirituality”, “spiritual values” of a student-musician is given. The purpose of the article is to introduce the principle of integration into professional training, the impact of integration processes on the development of the spirituality of students-musicians. The goal and advantages of integration training as the basis for the spiritual development of a student-musician are determined.The humanistic paradigm of education (V. P. Andrushchenko, I. A. Zyazyun, A. M. Stepashko) is the methodological basis for solving the problems of the article. A synergetic approach to the processes of development and self-development of spirituality, the thinking of the student, his creative “Self” (V. G. Budanov, V. V. Vasilkov). One of the areas of development of the conceptual foundations of the moral development of student-musician is the introduction into the educational process of the principle of integration of knowledge about the spiritual sphere of man, spiritual values, as the foundations of human culture.It is impossible to give education on the principles of a particular science, regardless of other sciences. This integration is an organic combination of the information of other educational disciplines around the topic of music, musical interpretation, is one of the most promising innovations that imposes new conditions for the activities of teachers and students, has a great influence on the effectiveness of the perception of young musicians learning material. Integration processes in the professional training of young musicians have become more and more important in recent years as they are aimed at implementing new educational ideals — the formation of a holistic knowledge system about musical art and performing skills, the development of students’ creative musical abilities and spirituality. The essence of the principle of integration is based on scientifically grounded, organic interpenetration of different areas of knowledge: in the form of a set of associations, symbols, categories, etc., taking into account the psychological and pedagogical features of the personality of student-musician in order to optimize and increase the effectiveness of forming a coherent picture of the world, value orientations and phenomena of art within the same subject. Thus, the use of the principle of integration in educational activities (in reliance on the widespread use of subject relations) contributes to developing, humanistic learning, in turn, stimulating the spiritual development of a student-musician.
15
Mata-Pose, Lucía, Miguel Mayo-Yáñez, Carlos M. Chiesa-Estomba, Jérôme R. Lechien, Luigi A. Vaira, Antonino Maniaci, Alberto M. Saibene, Christian Calvo-Henríquez, and Irma Cabo-Varela. "Velopharyngeal Incompetence in Musicians: A State-of-the-Art Review." Journal of Personalized Medicine 13, no. 10 (October 9, 2023): 1477. http://dx.doi.org/10.3390/jpm13101477.
Full textAbstract:
The velopalatine sphincter is a muscular valve that creates a hermetic seal between the nasopharynx and the oropharynx. It guarantees phonation, swallowing, and breathing (forces expirations). In wind musicians, sphincter closure must be precise during sound generation. Its failure will cause velopharyngeal incompetence (VPI) and the end of professional success. The objective of this article was to conduct a state-of-art review of VPI in wind musicians with a systematic approach based on the PRISMA Statement. The etiology, epidemiology, clinic, diagnosis, and treatment of VPI in wind musicians were evaluated. The research was carried out in different databases (PubMed/MEDLINE, the Cochrane Library, Scielo) and through the Mergullador metasearch engine. A total of 20 publications were selected. VPI is a pathology that affects around one-third of wind musicians according to studies. It causes pharyngeal noises and nasal air emissions during performance. The main etiology seems to be the fatigue of the velopalatine sphincter muscles. The most used diagnostic techniques consist of clinical history, physical examination, and nasofibroscopy. There is no consensus among authors about therapeutic management. Future investigations are necessary to confirm that fatigue of velopalatine sphincter muscles and other factors that increase it are the main causes of VPI in wind musicians.
16
Patalano, Frank. "Psychosocial Stressors and the Short Life Spans of Legendary Jazz Musicians." Perceptual and Motor Skills 90, no. 2 (April 2000): 435–36. http://dx.doi.org/10.2466/pms.2000.90.2.435.
Full textAbstract:
Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).
17
Polisi, Joseph W. "The Subtle Art: Educating the Musician of the Twenty-First Century." Medical Problems of Performing Artists 20, no. 1 (March 1, 2005): 52–55. http://dx.doi.org/10.21091/mppa.2005.1009.
Full textAbstract:
The broad goals of this paper are to discuss the relation of the art of music to our society and our culture, to examine the artist as an individual in today's world, and most importantly, to present some of the personal and artistic conflicts that young musicians may experience during their formative years. In addition, I will suggest a few general solutions that address the problems inherent in educating the performing musician of the late twentieth century. [In celebration of MPPA's 20 years of publication, we are looking back at some of the notable articles that appeared in the early issues. This paper was published originally in December 1986 MPPA.]
18
Voropaieva, Olena. "The logic of forming a musical text in a solo piano-jazz improvisation by M. Petrucciani on the theme of T. Monk’s “’Round Midnight”." Aspects of Historical Musicology 32, no. 32 (November 15, 2023): 134–53. http://dx.doi.org/10.34064/khnum2-32.08.
Full textAbstract:
Statement of the problem. Due to the natural tendency to constant renewal, the phenomena that arise in the field of jazz music-making, cause special scientific interest. The jazz art of the second half of the 20th century is represented by numerous names of bright musicians who formed the latest approaches to improvisational art in their creativity. One of such musicians was an unique pianist of Italian-French origin – Michel Petrucciani (1962–1999). The study of his heritage provides opportunities to reveal some aspects of modern jazz art, which are genetically related to the embodiment of the traditions of Western European music-making in piano jazz, and also to mark the vectors of its further evolution. Nevertheless, M. Petrucciani’s solo piano creativity is not studied for a present time. Some English-, French- and German-language articles, films and interviews with the musician are represented, mainly in online-resources. These works have mostly biographical direction and contain brief information about pianist’s aesthetic views and preferences, his creative achievements, and the state of his health, since the artist suffered from a rare congenital disease all his life. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the structural and compositional logic of jazz improvisation on the popular theme of T. Monk’s “’Round Midnight” interpreted by M. Petrucciani, in the context of solo piano creativity of the latter. The solo piano work of M. Petrucciani, who without exaggeration can be called one of the outstanding musicians of the last century, has not yet been subject to scientific analysis in domestic musicology, which determines the innovative focus of this study. A set of research approaches – historical-genetic, comparative, hermeneutic, traditional methods of musicological analysis – contributed to the disclosure of the chosen topic. Research results and conclusion. In the course of the research, genetic, genre, structural, intonation, rhythmic, textural and other features inherent in the theme “’Round Midnight” were revealed in the context of compositional and piano-improvisational style of T. Monk – a progressive musician-innovator, one of the inspirations of the bebop style, as well as a conclusion about the features of individual interpreting the theme by M. Petrucciani was justified. M. Petrucciani in the improvisation on T. Monk’s “’Round Midnight” theme demonstrates self-own unique bright improvisational style, talentedly combining virtuosity with intonation meaningfulness and accuracy of phrases, with expressiveness of a musical statement that has a philosophical undertone, and the academic traditions of music-making, learned during his studies, with American and Western European jazz ones. The variety of methods of melodic-harmonic, textural, dynamic development used by the pianist testify not only to the musician’s desire to demonstrate virtuoso mastery of the instrument, but also contribute to the realization of the unique concept of the work.
19
Posikira-Omelchuk, Nataliia, Iryna Sikorska, Svitlana Basovska, and Svitlana Batazova. "Reflection of historical contexts in contemporary music art." Multidisciplinary Reviews 7 (June 12, 2024): 2024spe048. http://dx.doi.org/10.31893/multirev.2024spe048.
Full textAbstract:
The topic's relevance lies in exploring the important aspects and interconnections between past and present in musicians' creativity. The increasing use of modern technologies and the development of new musical directions raise questions about preserving historical heritage and reflecting on its basis. This research aims to study and analyse the interaction between musical past and present through the lens of reflection in the work of contemporary musicians. The research focuses on the specific manifestations of historical reflection in various aspects of musical art, including the use of historical forms, themes, and techniques in music creation, as well as the impact of technology on this process. The methodology is based on the analysis of musical works, literature, and documentary sources regarding the use of historical elements in contemporary music. This text discusses the importance of musicians reflecting on historical contexts, their creative decisions, and interactions with technology in the music-making process. The results obtained from this study reveal the diverse approaches that musicians take when reflecting on historical contexts in contemporary music. The research has practical significance in revealing the possibilities and challenges of using historical elements in creativity, as well as in deepening our understanding of the impact of technology on this process. This research can provide a foundation for future studies in the field of musical art, aid in the development of a creative approach to incorporating historical components into contemporary music, and enhance comprehension of the relationship between musical past and present.
20
Ibekwe, Eunice Ukamaka, and Chima Albert Abiakwu. "Responsibility of popular musicians in causing social change in contemporary Nigeria: An analytical study." Journal of the Association of Nigerian Musicologists 16, no. 1 (August 22, 2022): 115–25. http://dx.doi.org/10.4314/janm.v16i1.9.
Full textAbstract:
The musician in contemporary Nigeria constantly finds himself enmeshed in a conflict where he is expected to be both a lead voice and a pacifier. This work therefore analyses the role of Nigeria’s contemporary popular musicians in positive social re-engineering since by their art they are seen to enjoy a particular kind of immunity and freedom in making their voices heard in society. The questions remain, to what extent have they fulfilled this responsibility in the light of emerging socio-political concerns? What are the factors that inhibit their performance of this role as bearers of society’s conscience? This survey is conducted using secondary sources, analysis of song texts, live events and personal observations by the researcher as medium of data collection. It was evident that indeed there is the burden of social change on the shoulders of the Nigerian musician, a responsibility that has been performed with varying degrees of commitment and success in contemporary Nigeria. The study recommends a better reception of the messages of popular musicians especially as it concerns the well-being of society.
21
Іван Дерда. "FORMATION OF PROFESSIONAL COMPETENCE OF THE FUTURE TEACHER-MUSICIAN DURING THE PROFESSIONAL TRAINING." Collection of Scientific Papers of Uman State Pedagogical University, no. 3 (September 4, 2020): 56–63. http://dx.doi.org/10.31499/2307-4906.3.2020.219090.
Full textAbstract:
The article analyzes various interpretations of the concepts “competence”, “professional competence”, “teacher-musician’s professional competence”. The article highlights the scientists’ views on the issue of future teachers-musicians’ professional competence developing during professional training. It is determined that the formation of professional competence implies a comprehensive, harmonious development of the future teacher-musician who has not only theoretical knowledge but also practical skills and abilities.The author notes that one of the most important subjects in the content of special disciplines at art faculties is voice staging. During which students master vocal techniques, singing breathing, diction, emotional and dynamic expression, stage skills, etc. The main principles in solving musical and pedagogical issues of vocal education are the harmonious development of musical and creative abilities of vocal students in the process of developing general vocal culture, comprehensive development of individual qualities of vocalists.The study of scientific works allowed us to determine the essence of the concept of “professional competence of the future teacher-musician”, which includes a system of theoretical and practical knowledge, skills and abilities, experience, pedagogical abilities, important personal and professional qualities to ensure the successful self-realization of the future teacher in music education. The prospects of scientific research on the introduction of innovative learning technologies into the educational process, the search for ways of creative self-realization of experts in the art industry with an emphasis on personal and professional development have been outlined.
22
Fellezs, Kevin. "Edge of Insanity." Journal of Popular Music Studies 30, no. 1-2 (March 1, 2018): 109–26. http://dx.doi.org/10.1525/jpms.2018.000009.
Full textAbstract:
In this essay, I mean to re-examine the notion of virtuosity, which has been characterized as a Romantic reaction to bourgeois rationalism that mobilizes virtuoso musical technique in the service of critiquing bourgeois understandings of art. Furthermore, most critics accuse virtuosos of providing vulgar spectacle in place of sober execution linked to questionable ethics. Pace those assessments, I mean to argue that virtuosity represents, at least in the hands of a black American guitarist such as MacAlpine, a liberatory strategy, that despite being rooted in Romantic notions of autonomous art, challenges a critical stance which views black artistry as merely expressive. I argue that MacAlpine does not simply seek the discursive legitimacy that performing classical music (or in a “classical” style) can give a heavy metal musician but, as a black American guitarist, uses the kind of virtuosity that is linked to the European concert tradition as a means for transcending the stereotypes of black musicians as intuitive talents who draw on reserves of emotional excess, rather than as thoughtful musicians whose abilities have been trained and crafted by diligent study and practice.
23
Molchanova, Tetiana. "The Art of Travelling Musicians in the History of Joint Performance Establishment." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 6, no. 1 (April 28, 2023): 67–78. http://dx.doi.org/10.31866/2616-7581.6.1.2023.277887.
Full textAbstract:
The purpose of the article is to analyze the art of travelling musicians – the ancestors of the participants of the joint game; to substantiate the origins and reveal the socio-cultural prerequisites for the formation of this type of performance, which has its roots in ancient civilizations. For the optimal solution of the outlined tasks, the researcher used methods, among which the main ones are source and systematic. The research methodology is to analyze the performing arts of the Ancient and Middle Ages, most clearly represented by the syncretic works of ancient poets, kithara players and singers, as well as other travelling musicians who personified the singer, the poet, the accompanist, the storyteller, the dancer, the circus performer, which testifies to the emergence of elements of syncretic vocal and instrumental performance in their art. Scientific novelty of the research. For the first time in Ukrainian musicology, the origins and socio-cultural prerequisites for the development of joint performance, which has its roots in ancient civilizations, are substantiated and the art of travelling musicians of the Ancient and Middle Ages is characterized. Conclusions. The performance of the Antiquity and Middle Ages was represented mainly by the art of travelling musicians and was marked by their complicated relations with the socio-cultural environment of that time. At the same time, thanks to their art, joint music-making gradually emerged as a procedural form of vocal and instrumental performance with a huge potential for development. After all, their art formed some of the distinctive features of joint playing: mutual coherence of the performer’s intentions with sufficient individual freedom and at the same time the subordination of their playing to another performer. It was their creative work that became an important link between the first traditions of joint performance, albeit in a syncretic format, and its subsequent highly professional forms. Travelling musicians laid the foundations of musical art and it is from them that various genres of chamber vocal and instrumental performance take their roots.
24
Arifin, Awaludin, Subhani, Mukhlis, Syarifah Khairani, Sheila, and Zahara Yanti. "The Form of Digital Transformation of Music Sector in the City of Lhokseumawe." Proceedings of International Conference on Social Science, Political Science, and Humanities (ICoSPOLHUM) 3 (December 21, 2022): 00027. http://dx.doi.org/10.29103/icospolhum.v3i.58.
Full textAbstract:
The digitalization of the arts has brought two major changes, namely the pattern of art work and the perception of art performers towards art. Before the digital era, art work was done manually with simple equipment. In the context of music art work, in order for music to reach the listeners' ears, musicians need other institutions that work to distribute their works. Because the artwork distribution work is outside rather than the art work itself. while in the digital era musicians can relate directly to audiences without having to use the services of a third party. Musicians take advantage of various freely chosen digital platforms to reach audiences. The most frequently used media is YouTube and relevant social media according to the creator's will. Digitization also changes the way music artists view their work. The market is the main orientation chosen by artists, it is shown by the way they choose songs based on the level of popularity of the song among the audience. These changes occur thanks to the presence of technology which is the epicenter of the change itself as stated by McLuhan in his theory of technological determinism. This research was conducted on music performers in Lhokseeumawe City with interviews and direct observations of art performers in Lhokseumawe City.
25
Machovec, Martin. "Czech Underground Musicians in Search of Art Innovation." East Central Europe 38, no. 2-3 (2011): 221–37. http://dx.doi.org/10.1163/174552411x600103.
Full textAbstract:
AbstractThe Czech underground culture of the 1970s and 1980s has so far been widely acknowledged for its contribution to the development of the human rights movement in the country, especially as a predecessor and fellow-traveller of Charta 77. So have been some of the underground rock musicians (The Plastic People of the Universe) and some of the poets and writers (e.g. Egon Bondy, I. M. Jirous, Pavel Zajíček, Jáchym Topol). However, as a result of vivid cooperation within the underground “ghetto” between poets, writers, philosophers, musicians and representatives of fine arts, the underground rockers created performances to be appreciated in terms of visual arts, literature and contemporary music—which has so far remained rather underresearched. The article brings forth some evidences of this creativity by locating the phenomenon of Czech underground music in the broader cultural and aesthetic context of the time.
26
Zhang, Yi. "Analysis of German art song style and singing." Journal of Arts, Society, and Education Studies 6, no. 1 (May 8, 2024): 8–14. http://dx.doi.org/10.69610/j.ases.20240508.
Full textAbstract:
<p class="MsoNormal"><span style="font-family: Times New Roman;">The music and cultural phenomenon of the 19th century around one hundred years in the history of Western development is called the Romanticism period, due to the genre of art song and Romantic musicians' aesthetic pursuit (focus on emotion, promote individuality, and aspire to freedom) is very suitable, so the 19th century by the favor of many musicians. Art songs have a high literary quality, this paper mainly discusses the style and singing of German art songs, aiming to provide help for vocal learners.</span></p>
27
Odetade, Tayo, and Fasinu Olusegun. "Indigenous Yoruba Popular Music As An Agent For Socio Re-Orientation: An Examination of Saheed Osupa’s Fuji Music." International Journal of English and Comparative Literary Studies 2, no. 4 (July 20, 2021): 1–13. http://dx.doi.org/10.47631/ijecls.v2i4.260.
Full textAbstract:
This paper explores Fuji popular music as a tool for socialization within the current Yoruba cultural setting using the content exploration approach mode. Much of the traditional elements are embedded in the lyrics of Fuji musicians. Each Fuji musician digs experiments with the Yoruba culture to make the brand of Fuji music distinct from others. Saheed Osupa is a Fuji musician whose lyrics are laced with different sorts of Yoruba socio-cultural values. These values include proverbs, folktales, folklores, riddles, witty sayings, etc. The paper concludes that apart from being a vibrant art form in the popular literature sub-genre, the contents of the Fuji music can also serve pedagogical and other educational purposes in the present-day setup.
28
Bassa, Oksana, Mariya Lypetska, Olena Ksondzyk, Zenovija Zhmurkevych, and Antonina Lisohorska. "Developing Professional Skills of a Performing Musician in a Higher Music Institution." Studia Universitatis Babeş-Bolyai Musica 68, Sp.Iss. 1 (July 20, 2023): 141–66. http://dx.doi.org/10.24193/subbmusica.2023.spiss1.09.
Full textAbstract:
"The aim of the research is to determine the problem of developing the professional skills of a performing musician in a higher education music institution. The study involved the following methods: comparative analysis, systematization and grouping, derivation of categories. The relevance of this study is determined by the need to modernize and expand the boundaries of the educational environment when teaching performing musicians. The results of the development of this problem represented it as a complex, multifaceted and, at the same time, integral system, which includes components that differ in content and function, ensuring the effectiveness of the educational program. The conclusions testify to a wide scope of the problem of the formation of a performing musician, its focus on various spheres in the life of society, and the importance of each of its components. The prospects of further research in this field of art are in its flexibility, the ability to be updated, replenished with the achievements of time, and respond to the needs and mood of society. Keywords: music education, integration, art, performing musician, dual education"
29
Kunitomo, Mariko. "Art Music as Universal Language: Youth Orchestras' Reactions to Social Conflict." Interdependent: Journal of Undergraduate Research in Global Studies 2 (2021): 71. http://dx.doi.org/10.33682/vaee-xnr0.
Full textAbstract:
This article identifies the role art music plays in orchestra projects that deal with social conflicts of youth populations. I argue that art music serves well in this context because it is a universal language that allows for an alternative method of communication and expression between the young musicians themselves and with others. I apply metaphysical explanations, studies from cognitive neuroscience, and philosophy of language in three specific youth orchestra contexts: the Retiro Youth Orchestra, El Sistema, and the West-Eastern Divan Orchestra. These different lenses help uncover why and how art music positively impacts the development, both socially and personally, of young musicians in a healthier or alternative manner.
30
Strange, Simon. "Cybernetic systems of music creation." Journal of Popular Music Education 3, no. 2 (July 1, 2019): 261–76. http://dx.doi.org/10.1386/jpme.3.2.261_1.
Full textAbstract:
Simplicity of thought and operation can help to define complex end results, with cybernetic systems being a useful means of defining this within songwriting practices. This study outlines utilization of cybernetic practices by key popular music composers, including David Byrne and Brian Eno, who benefited from an art school education which supported these practices. As postmodern creation became more evident within art colleges, systemized processes of creation, where hierarchies were delineated, supported freedom and experimentation within the creative process. The non-musician was able to express their musical creativity due to the rise of new technologies and the reduction of hierarchies, as exposed from interviews with Eno, his art school tutor Roy Ascott, and experimental composer Gavin Bryars. These elements of art school education that they discussed, helped a new generation of musicians to develop original and dynamic work in the 1970s; the results of this research suggest that these are practices that should be introduced and acknowledged within HPME.
31
Jones, Jennifer Diann. "‘[S]he acted her own emotions’: George Eliot's Ambivalence towards the Professional Female Artist in Daniel Deronda." Victoriographies 9, no. 2 (July 2019): 112–28. http://dx.doi.org/10.3366/vic.2019.0337.
Full textAbstract:
Almost all of George Eliot's true musicians are orphans in one way or another, as opposed to accomplished women who merely mimic their teachers to please their parents or dilettantish men who play to please themselves. Only one of these musicians, however, exults in her orphanhood and the freedom it gives her to pursue her career: the Alcharisi, who is born Leonora Charisi and is the Princess Halm-Eberstein by the time her adult son, Daniel Deronda, meets her. Unlike Eliot's other musicians, not even a memory of one of the Alcharisi's performances is narrated; also unlike the others, there is no sense in which she uses her art to connect sympathetically with those around her. I argue that though Eliot begins her career with a strong belief that art can change society for the better, in the Alcharisi she explicitly expresses her deep ambivalence about the role of art in society. The trajectory of the Alcharisi's career and life suggest that though an artist can inspire love in others, she cannot necessarily learn to feel it herself, which calls Eliot's art and the feeling it inspires in others into question.
32
Rub, Guy A. "Incentivizing Top-Musicians." Texas A&M Journal of Property Law 6, no. 1 (October 2020): 37–58. http://dx.doi.org/10.37419/jpl.v6.i1.4.
Full textAbstract:
Part I explores the challenge that COPYRIGHT’S EXCESS tackles. It explains the core of copyright’s incentive theory, why it is difficult to test it empirically, and how COPY- RIGHT’S EXCESS rises to that challenge, especially by exploring the lack of correlation between sales and productivity, and, in particular, superstars’ productivity in the music industry. Parts II-IV of this Essay consider several explanations for the lack of correlation. Part II addresses the sometimes-neglected role of the recording companies. Those intermediaries profoundly affect the art- ists’ compensation and their creative decisions. Therefore, any analysis of the connection between sales, artistic income, and artistic output (i.e., productivity), needs to consider their role. Part III addresses one of Lunney’s theories for explaining the discrepancy between sales and productivity. Labor economists have long held that while low-paid workers will wish to work more as their compensation increases, highly-paid workers will instead substitute work time for leisure time as their compensation increases and work less. Can this phenomenon explain why superstars became less productive when the music industry’s sales peaked? In Part III, I explain why I find this explanation unlikely. Superstars, this Part suggests, are probably too wealthy to be affected by this phenomenon. Part IV focuses on the superstars’ incentives to continue to create even after their previous successes have made them very wealthy. It suggests that the main driving forces of top musicians are likely their internal joy from creating, and possibly more importantly, the social- psychological reward that is attached to their success. Ultra-wealthy businessmen present a similar phenomenon: They continue to work even when they already accumulate enough wealth to meet all their material needs because, as studies suggest, they enjoy their work, and they love to be considered successful by their reference group. It is reasonable to expect wealthy musicians to act similarly for corre- sponding motivations. Part V briefly considers some of the possible implications. If top- artists are not primarily motivated by money, putting aside the status that is attached thereto, then society should be hesitant to devise a copyright system that makes those wealthy individuals even richer. It might get very little in return. In that respect, this Essay ends close to where COPYRIGHT’S EXCESS does: with the call for copyright law to focus on incentivizing marginal artists and not the super-rich.
33
Klimov, Vladimir Igorevich, and Tatiana Dmitrievna Kirichenko. "Russian musical folklore as a development factor of ethnic self-consciousness of students-musicians in the educational space of a higher educational establishment." LAPLAGE EM REVISTA 7, Extra-C (June 25, 2021): 188–96. http://dx.doi.org/10.24115/s2446-622020217extra-c1003p.188-196.
Full textAbstract:
The purpose of this article is to analyze the results of the development of ethnic self-awareness of students-musicians using Russian musical folklore in the educational space of a higher educational establishment. As a result of the study and analysis of the normative legal documents regulating the professional training students-musicians in the direction of training 44.03.05 Pedagogical education (with two training profiles), focus (profile): Music, Additional education; Music, World art culture, the disciplines of the curriculum were determined, and the forms of educational work of young people were identified, contributing to the most effective immersion in the Russian musical tradition, the formation of an environment of ethnic unity, the development of ethnic identity. The conducted research has confirmed the effectiveness of the development of ethnic self-awareness of students-musicians in the educational space of a higher educational establishment using Russian musical folklore. The mechanism for the implementation of this process was the provision of a choice of content and forms of familiarizing students-musicians with folk musical art.
34
Paipare, Mirdza. "Musical experience from psychological and therapeutic perspective." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 2 (May 9, 2015): 154. http://dx.doi.org/10.17770/sie2012vol2.130.
Full textAbstract:
The author of the paper is a musician, educator and certified music/art therapist. This enables her to view this particular issue both from musicians, teachers and music/art therapist’s view. Within a three-year period research was conducted and the research data on the role of musical emotions in human life were summarised. The research results allow to draw meaningful conclusions on the role of musical emotional experience not only in a person’s life, but also to identify the musical emotions impact on vital areas of human life, concerning the senses, emotions, perception, behaviour, culture, identity. Findings of the study show that scientific application of music provides not only aesthetic, but also educational and even therapeutic effect. Interpretation of the obtained results shows their applicability in pedagogy, psychology, music science, and health care.
35
Manchester, Ralph A. "The Popular and the “Proper” Performing Arts." Medical Problems of Performing Artists 28, no. 4 (December 1, 2013): 179–80. http://dx.doi.org/10.21091/mppa.2013.4036.
Full textAbstract:
The two articles on the health of marching band musicians and the one on Irish traditional musicians in this issue of the journal are the most recent examples of research on the health of performing artists who participate in non-classical art forms. While it may not be easy for everyone to agree on the definitions of classical (or, more broadly, “art”) versus popular music (or dance), that hasn’t stopped scholars from trying. The point of this editorial is not to debate the relative merits of art music or dance with popular music or dance—each art form has its passionate practitioners and supporters, some of whom do all the debating that is needed. What I will try to do is to review how much attention we have paid to the more popular art forms as the field of performing arts medicine has evolved over the last three decades.
36
Ciptaningsih, Utami, and Zulkarnain Mistortoify. "SAPTONO DALAM MELESTARIKAN DAN MENGEMBANGAN KARAWITAN TRADISI SURAKARTA." Sorai: Jurnal Pengkajian dan Penciptaan Musik 14, no. 1 (July 10, 2022): 57–70. http://dx.doi.org/10.33153/sorai.v14i1.3826.
Full textAbstract:
This qualitative research is about the figure of Saptono in the world of classical Surakarta-style karawitan. Saptono is a skilled musician in mastering the repertoire of gendhing and ricikan in all types of Javanese Surakarta-style gamelan. Apart from being a former lecturer at ISI Yogyakarta, he also serves as a gamelan musician at the Surakarta Kasunanan Palace. High loyalty and musical virtuosity made Saptono appointed Kanjeng Raden Riyo Aryo (K.R.R.A) Saptonodiningrat and given a special task as tindhih of gamelan musicians at the Surakarta Kasunanan Palace. Two basic questions arise about how Saptono creative activities maintain the continuity of the Surakarta style musical and what reasons encourage him to do these activities. Based on these two questions, it is known that all forms of loyalty to the Surakarta Kasunanan Palace are shown by Saptono by utilizing all of his musical potential in creating classical Surakarta style gendhing, which is specifically dedicated to King Paku Buwana XIII. Saptono dedication to the development of karawitan to the wider community is shown through his willingness to become a music teacher at home and abroad, become a courtier of musicians at the Kasunanan Surakarta Palace, and become a driving force for the Muryoraras art community as a meditation association with Javanese gamelan instruments.
37
Qambarov, Abdumutal Ahadjonovich, and Mavluda Mamasodikovna Najmetdinova. "The Role Of Bukhara Jews In The Development Of Natiaonal Makom Art." American Journal of Social Science and Education Innovations 03, no. 04 (April 30, 2021): 747–53. http://dx.doi.org/10.37547/tajssei/volume03issue04-120.
Full textAbstract:
This article analyzes from a scientific and philosophical point of view that the Jews of Bukhara, along with the Uzbek makoms, have made a worthy contribution to the development of Shashmakom to this day through the work of masters of their profession, hafiz, musicians and composers.
38
Arroyas, Frédérique. "« Dis, Blaise …» :The poème simultané according to Cartier." Canadian Theatre Review 112 (September 2002): 21–24. http://dx.doi.org/10.3138/ctr.112.004.
Full textAbstract:
Jazz musicians crossing boundaries between music, theatre and spoken word are rare. In general, musicians tend to shy away from speaking and acting. Apart from isolated incidents like New York pianist Cecil Taylor’s engagement in dance and poetic recitation during concerts or the antics of the Dutch ICP orchestra, most performers believe that on stage their music is sufficient. In Québec, the musicians grouped under the collective umbrella of musique actuelle, however, explicitly search out means to overstep the boundaries of traditional jazz in order to bring to the stage new intersections between creative sound and non-musical art forms. The very nature of musique actuelle is to maintain an open format in terms of musical genre (integrating jazz, electronics, noise etc.), instruments (traditional, forged or found objects) and creative process (composed or improvised music) with the implied objective that this music is actuelle (at the cutting-edge of culture in a general sense). Listening, reacting to their own social experiences, these musicians, over the years, have set out to redefine contemporary jazz. One of the ways they have done so is through a cross-fertilization with other art forms such as film, theatre, cabaret and dance.
39
Strachan, Robert. "The Spectacular Suburb: Creativity and affordance in Contemporary Electronic Music and Sound Art." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 3 (December 19, 2013): 5–24. http://dx.doi.org/10.7146/se.v3i3.15732.
Full textAbstract:
This article examines the relationship between sound, creative practice and the representation of landscape and environment. It uses an analysis of a single sound art/electronic music event, the Spectacular Suburb, a collaboration between sound recordist Chris Watson and the electronic producer/musician Matthew Herbert, as a central case study. Drawing upon interview material and the author’s own experiences as a curator of the event the article explores how individual sound objects are utilized subject to differing creative strategies. The article proposes a theoretical model of creativity influenced by ecological approaches to human perception. In particular, it suggests that for electronic musicians and sound artists creativity takes place according to complex affordance structures characterized by the relationship between the physical properties of sound, a highly nuanced set of socially constructed contexts, and specific technological and musical conventions.
40
Boles, Coleton. "Westernization and Its Effects on the Sound of Japan." Global Insight: A Journal of Critical Human Science and Culture 3, no. 1 (September 29, 2022): 22–28. http://dx.doi.org/10.32855/globalinsight.2022.003.
Full textAbstract:
A major source of influence on Japanese musicians has historically been Western art, and the resulting music has also served to influence much of Western contemporary music. This paper forms a timeline containing some key moments in Japanese music history, including the pioneering of Japanese-language rock, synth-pop, and Shibuya-kei. This investigation into these important moments is supplemented by quotes from interviews of musicians, including Haruomi Hosono of Yellow Magic Orchestra and Happy End, Keigo Oyamada of Flipper’s Guitar, and Yasuharu Konishi of Pizzicato Five. This paper finds that a country’s art and culture, in this case Japanese music, can evolve through the importation and assimilation of foreign culture.
41
López, María Isabel Rodríguez, and Claudina Romero Mayorga. "Centaur-Musicians in Classical Iconography." Greek and Roman Musical Studies 6, no. 1 (March 22, 2018): 26–50. http://dx.doi.org/10.1163/22129758-12341310.
Full textAbstract:
Abstract Centaurs, hybrid mythical beings, were associated with barbarism in antiquity, due to the fact that the widely disseminated iconography of the Centauromachy portrayed them as violent creatures against the Lapiths, creating an opposition between man/beast, order/chaos. However, the role of the divine centaur Chiron as Achilles’ teacher offered another vision of these beings, especially in connection with music. This paper proposes a new interpretation of the iconographic evolution of the centaurs in association with music: as part of the heroes’ education, the Dionysian and Marine thiasos and their presence in funerary art. A progressively humanised representation of these creatures might be explained by the role of music as a civilising influence, enabling their elevation to a higher spiritual level and as a way to obtain immortality.
42
Vodianyi, Bohdan, Valentyna Vodiana, Liliia Bobyk, Mariia Yevhenieva, Larysa Oronovska, and Oksana Dovgan. "Artistic and Figurative Thinking in the Structure of Educational Activity of Future Masters in Music Art." Revista Romaneasca pentru Educatie Multidimensionala 14, no. 2 (May 9, 2022): 318–29. http://dx.doi.org/10.18662/rrem/14.2/583.
Full textAbstract:
The purpose of the article is to reveal the neuropedagogical aspects of artistic and figurative thinking of future masters of music in the structure of their educational activities. The neuropedagogical approach as a scientific direction is still in its infancy and needs significant support in the educational environment. The degree of demand for continuous education of music specialists to make the right methodological decisions in their professional activities is emphasized. Artistic thinking in the system of training masters in music is a priority and is one of the most important tasks of their educational process at this scientific level. But the search for innovative methods of artistic and figurative perception of musicians is often complicated by an empirical approach to solving this problem.
The specifics of neuropedagogical training for the development of artistic and figurative thinking of higher education students, which is associated with the creative interaction of teacher and student is analyzed. The regularities of training future musicians which are due to the need to solve problems for the development of creative musical and professional thinking are revealed. The importance of interdisciplinary integration of humanitarian, music-theoretical and special knowledge is emphasized, which is the basis for the formation of a high level of professionalism of future masters in music. The interaction of intellectual, auditory and emotional components in the process of development of artistic and figurative thinking of the future musician is substantiated.
43
Ibrohimov, Oqilxon. "Musical art of the Timurid Renaissance." Uzbekistan: language and culture 3, no. 3 (September 10, 2021): 91–101. http://dx.doi.org/10.52773/tsuull.uzlc.2021.3/jqcr2021.
Full textAbstract:
The advanced musical traditions that developed during the reign of the great Amir Temur were perceived by his successors-rulers as symbols of classical art and were adequately continued in their palaces. Thanks to the favorable conditions created by them, the comprehensive support of scientists and art workers, during this period science flourishes, important socio-cultural progress in the field of music takes place, professional cre-ativity and performing arts reach a qualitatively new level of development. Especially, the art of maqom reaches unprecedented heights. In particular, on the basis of the system of the Twelve Maqoms, which has be-come widespread in the palace culture, the musicians have created many works expressing national and universal values. In general, the classical musical traditions of this era, which largely determined the further pros-pects and trends in the development of the musical art of the Uzbek people, also had a significant impact on the cultural development of the peoples of Central Asia and beyond. At the same time, the fruitful activity of great musicians and theoretical scientists has left an indelible mark on the his-tory of the culture of all mankind. For the musical art of the Timurid Renaissance is of epochal importance and therefore is highly valued in world civilization.
44
Semergeev, Valery B., and Gennady K. Afanasiev. "TRADITIONS OF BALALAIKA ART IN OREL." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 197–202. http://dx.doi.org/10.17223/22220836/39/18.
Full textAbstract:
The role of a musical instrument in the development, preservation and revival of the native cul-ture, in the establishment of esthetic consciousness of multinational Russia’s peoples is difficult to overestimate. Balalaika has won the audience’s hearts, and today it is difficult to find balalaika admirers who are not familiar with performances of accomplished balalaika players – People’s Artist of the USSR, the laureate of state prize, Professor P.I. Necheporenco, People’s Artist of Russia, Pro-fessor E.G. Blinov, and their many students and followers. Orel is home of one of the oldest educational institutions in Russia – Orel Musical College, which, according to the archive documents of Orel and St. Petersburg, was founded in 1877. The good name of the College is supported by its today’s students and teachers. It is here where Orel’s balalaika education was established and developed. In August 1953, on the initiative of the Main Department for Arts of the Ministry of Culture of the Russian Federation, the graduate of the Department of String Musical Instruments of Oktyabrskaya Revolutsiya Music College (now “A.Schnittke Moscow State Institute of Music”) Vera Ivanovna Max-imova came to Orel. It was V.I. Maximova who took charge of creating the string folk music instru-ments class. She also taught domra and balalaika class and was the head of the folk music instruments orchestra of the College. She traveled a lot seeking out young talents in the districts of the Region. Lukonina Lubov Ivanovna, a famous teacher in Orel, combines her work in the ensemble “Or-lovski Suvenir” (“Orel Souvenir”) with educating younger generation of musicians and teachers of Orel. Following their teacher’s traditions, L.I. Lukonina’s students participate in various contests and become laureates. The graduate of Orel Music College, Nadezhda Mikhailovna Kovaleva carries on the work of A.V. Dorofeev and V.I. Maximova. In 1969 she enters the Tambov Branch of Moscow Institute of Culture. For family reasons she interrupts her studies and continues her education at the Orel Branch of Moscow Institute of Culture (now Orel State Institute of Culture). Alexander Alexandrovich Somov is one of the few balalaika players who, for many years, is demonstrating excellent performing skills, stability, brilliant virtuoso technique, impeccable musical taste, artistry. It is amazing how sonorous the voice of the balalaika becomes when it is in the hands of the virtuoso performer and propagandist of this Russian beauty. Stacatto dance tunes and brooding reverie, vigorous energy and strict simplicity fill the musician’s play. Graduating from V.S. Kalinnikov Music School in Orel, balalaika class of N.M. Kovaleva, he entered Orel Music College, the class of L.I. Lukonina. After the graduation A.A. Somov served his military service and entered Rostov State Music Institute (now Rostov State Conservatory. Rachmaninov). He was enrolled in the class of the famous balalaika player, Honored Artist of Russia, rector – А.S. Danilov. At the Institute he worked in the ensemble “Dontsi” (artistic director – Honored Worker of Culture of the Russian Federation, A.P. Kolontaev). Selina Galina Ivanovna is one of those prominent musicians-teachers who are capable of encouraging love for music in their students. She is sincerely involved in her work, which is aimed at bringing both professional skills and rich musical knowledge to students. In Orel there is a professional orchestra of folk music instruments, which is the first orchestra of this kind in the history of the Orel Region. It engages Orel’s best musicians and teachers. The first performance of the professional orchestra of folk music instruments took place in Orel on November 5, 1987. The orchestra was created on the basis of the Region’s musical society. In January 1991, by the decision of the administrative bodies of Orel, it received the status of the munici-pal orchestra. The founder and artistic director of the ensemble is Honoured Art Worker of Russia, Professor of the Orel State Institute of Culture, Viktor Kirianovich Suchoroslov. Orel’s educators are trying to revive and spread the native Russian traditions of instrumental per-formance and enrich them with high performing culture. Creative and pedagogical activities of balalai-ka players in the Orel Region convincingly show the high professional level of musicians. Teachers of modern children's art schools, College of Culture and Arts, Music College and Orel State Institute of Culture are highly qualified, competent and dedicated professionals who inspire their students. Crea-tive and pedagogical activities of balalaika players in Orel contribute to further preservation and development of this type of performing art.
45
Kirschbaum, Charles. "Organizational design for institutional change: the case of MPB festivals, 1960 to 1968." Revista de Administração Contemporânea 10, spe (2006): 197–212. http://dx.doi.org/10.1590/s1415-65552006000500010.
Full textAbstract:
A central concern in neo-institutional research is the genesis of new organizational fields. This article explores the emergence of the MPB (Brazilian Popular Music) field in tandem with the organization of music festivals in the sixties. The festivals were instrumental in combining musicians, critics and the audience in a forum relatively buffered from the music industry influence. This interaction supported the introduction and diffusion of new influences in the popular music field, and at the same time, it consecrated the category MPB as a high-brow art form. The festivals' design provoked two unintended consequences: the conflict between musicians and the audience, and between musicians and the jury. While several musicians strived to conquer autonomy for their creative activity, the audience claimed its supremacy. As a result, musicians exerted pressure on the jury to buffer the aesthetical criteria from the audience. It concludes with a critical appraisal of the role of festivals in the evolution of the MPB field.
46
Garcia Fernandez, Isaac Diego. "Arte y Vida en Disolución: Aproximación a la Obra de Llorenç Barber." Barcelona Investigación Arte Creación 6, no. 3 (October 3, 2018): 296. http://dx.doi.org/10.17583/brac.2018.2695.
Full textAbstract:
This article reflects on the nature of the creative act in relation to the everyday world. In opposition to the formalist conception of the artistic work as anautonomous object, during the 20th century various authors tried to spotlight the dialectical relationship established between art and life. Particularly important was John Cage, who started, from Dadaism, a profound transformation in the field of experimental music. His thinking had a greatinfluence on several generations of musicians and sound artists. A case particularly revealing is Llorenç Barber, interdisciplinary artist and composer. Its proposals, which developed outside of the traditional concert rite, intend todilute the artistic work in its context. These are essentially shared listening situations in everyday environments. From among its creations, the ‘plurifocal’ concerts for city stand out: gigantic compositions designed for each urban layout, which acquire a dimension of art public. The objective ofthe musician is to intervene artistically the common space to be returned to the community in the form of collective celebration. Ultimately, through the study of the work and thinking of Barber, this text aims to explore the boundaries between music and life.
47
ZHUIKOVA, Marharyta, and Olena KOTYS. "CULTURAL STEREOTYPES IN POLISH JOKES." Folia Philologica, no. 3 (2022): 47–52. http://dx.doi.org/10.17721/folia.philologica/2022/3/7.
Full textAbstract:
The article presents results of textological research based on Polish humor. The jokes feature music-related topics (approx. 400 jokes were analyzed). The general peculiarity of such jokes is richness of hyperbole that is used to display characteristics of musicians and the instruments they play. Constant attention to these characteristics creates some certain cultural stereotypes that are transmitted through short funny texts that are easy to remember and pass on in the society. For instance, viola players are rather popular characters of Polish jokes. However, they are usually presented as individuals whose performance cannot be referred to as professional: they play out of tune, if they play in an orchestra, they lag behind the rhythm, they can not tune their instrument properly and what they play is not music, but some noise. There are jokes that depict characteristics of specific groups of musicians as narrow-minded and not well-educated people (for instance, village musicians who usually play at wedding parties, think they could play in a philharmonic orchestra). However, not all the jokes include negative stereotypes: some characters evoke sympathy and even admiration: one of the jokes portrays a jazz musician who does not earn money by performing; on the contrary, they invest in music. Such a musician is devoted to their art and is ready to make financial sacrifice to promote their music. Our analysis has proved that Polish music jokes are based on rich musical background and require readers/listeners to have considerable amount of such knowledge. Moreover, in the process of understanding and interpretation of these texts a recipient has to undergo series of cognitive procedures (to understand the desirable implication, to quickly single out the characteristic feature of an object that usually takes marginal position in a concept structure, etc.).
48
Rastrygina, Alla. "CHOIR CONDUCTING PEDAGOGY IN THE SCIENTIFIC DISCOURSE OF MODERN PROFESSIONAL ART EDUCATION." Academic Notes Series Pedagogical Science 1, no. 204 (June 2022): 61–66. http://dx.doi.org/10.36550/2415-7988-2022-1-204-61-66.
Full textAbstract:
The article brings up to date the issue of studying the phenomenon of choir conducting pedagogy in the scientific discourse in modern professional art education. Addressing the issue of determining the content of conducting and choral pedagogy, which take place in the scientific discourse of modern professional art education, is relevant in connection with the need to improve professional training of future musician in the context of strategic goals and needs of modern higher education. graduates. The becoming of essential characteristics of the phenomenon under study has been traced with the application of such basic concepts as scientific discourse, professional art education, music and pedagogical education and choir conducting training. It is stated that choir conducting pedagogy functions in interdisciplinary interaction of disciplines of choir conducting block, music pedagogy, art education and art history as a concretization of choral culture. It is noted that choir conducting training of a future musician in the artistic space of higher education institutions – provided the content of its main components is taken into account – expresses itself in choir conducting pedagogy, which is aimed at formation of a worldview, national identity, moral and aesthetic culture of a personality. Consistent representation of essential characteristics of the studied phenomenon has made it possible to reveal its specificity and expression in the scientific field of modern art educational space. Generalization of the process of development and functioning of choir conducting pedagogy in the system of professional art education and music-pedagogic education in particular is promoting further research of the author in the context of improving the course “Choir conducting pedagogy" with the aim to enrich the content of training of future musicians in the specialty 014 Secondary education (Musical art) and its implementation into artistic pedagogical educational practice of other art institutions of higher education in Ukraine.
49
Orr, Mark G., and Stellan Ohlsson. "Relationship Between Complexity and Liking as a Function of Expertise." Music Perception 22, no. 4 (2005): 583–611. http://dx.doi.org/10.1525/mp.2005.22.4.583.
Full textAbstract:
The inverted-U hypothesis has much empirical support in the field of experimental aesthetics. This hypothesis predicts that moderately complex art objects should be preferred over very simple or very complex art objects. Although it is tacitly believed that this hypothesis applies to experts, the literature does not contain any convincing studies that demonstrate this as fact. The present study addresses this issue. Professional jazz and bluegrass musicians rated the complexity of and their liking for short, but complete, jazz and bluegrass improvisations. Complexity and liking were operationalized by subjects� judgments on seven-point Likert-like scales. Regressing liking onto complexity did not reveal any evidence for an inverted-U relation for experts. Moreover, no relationship between liking and complexity was found for the jazz musicians; a negative relation was found for the bluegrass musicians, but only when listening to the bluegrass improvisations. Furthermore, by comparing the expert data with a reanalysis of nonexpert data collected in a previous, but identical study, we propose as a first approximation that musical expertise dissolves the relationship between liking and complexity.
50
Dimov, Ventsislav. "Following the black spiral: Old voices, new life (Towards the history of the early commercial gramophone records in Bulgaria)." Muzikologija, no. 32 (2022): 19–40. http://dx.doi.org/10.2298/muz2232019d.
Full textAbstract:
The earliest surviving sound evidence of music and musicians from Bulgaria is on commercial gramophone records from the early XX century. Although unique sources for ethnomusicological and historical research, these commercial recordings are little known and almost unexplored. The proposed text sets out to collect and describe information on the first decade of commercial gramophone recordings in Bulgaria. The basis for the research is sound evidence from scholarly and museum archives and private collections; music company catalogues, labels on gramophone records, discographies; and supporting information - texts and advertising images from newspapers, memoirs and memoir literature as primary and secondary sources. The sought ethnomusicological approach is achieved through a combination of different research methods: ethnographic, historical, discographic, cultural, anthropological. The results of the research present the role of commercial recordings in musical and popular culture in Bulgaria in the years leading up to the First World War, cultural life, musical history, musicing, intercultural interactions, the cultural choices of Western and local, Slavic and Balkan, traditional music in non-traditional modern contexts, art music in popular contexts, and the role of professional musicians.