Journal articles: 'One Direction (Musical group)'

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Razduev, Aleksey V., and Eugenia G. Sharanova. "Semantic structure of the term and semantic oppositions in musical terminology (drawing on the English and Russian language material)." Current Issues in Philology and Pedagogical Linguistics, no. 4(2020) (December 25, 2020): 146–57. http://dx.doi.org/10.29025/2079-6021-2020-4-146-157.

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The analysis of the semantics and semantic oppositions of terminological units is one of the most productive ways to understand the systemic nature of terminological phenomena. The article is devoted to the study of semantic features of English- and Russian-language musical terminological units, namely, to the identification of the semantic structure of terms and semantic oppositions that arise between them. Within the semantic structure of musical terms, in the aggregate of their connections and relationships that form the musical terminological system, the core, semantic periphery and additional semantic area are distinguished and classified according to the presence of these components into uninuclear proper, uninuclear with the periphery and uninuclear with the periphery and additional semantic area. At the first stage, a selection of musical terms in modern English and Russian has been compiled, at the second stage, the semantic structure of terminological units has been analyzed, and at the third stage, the key aspects of nomination have been identified, according to which explicit and implicit oppositions are being formed. The material for the study comprises a selection of the English- and Russian-language musical terminological units with the total volume of 1000 units (500 units of each language), selected by the method of continuous selection from electronic and printed sources, including dictionaries and glossaries, musical notations, monographs, textbooks and manuals, web portals on music topics. The research methods of the English- and Russian-language musical terminological units include the method of continuous selection, methods of component and definition analysis, the method of linguacognitive modelling, as well as techniques of quantitative analysis. Within the framework of the study, three groups of musical terms have been identified depending on their semantic structure: the first group includes uninuclear terminological units with the semantic periphery, the second group includes uninuclear terms proper, and the third group is formed by uninuclear terms with the periphery and additional area of semantics. The first group is predominant in terms of quantity, the number of terms in which is almost 2.5 times more than in the second one, and the third group is represented by a small number of terminological units. There are at least 6 frequent and 12 less frequent key aspects of nomination within the musical terminology. The frequent key aspects of nomination with the help of which explicit oppositions are formed are: «Minor / major», «Volume / pitch», «Direction», «Location (locus)», «Singularity / Multiplicity», «Quantity». Less frequent aspects of nomination are: «Weakness / strength», «Perfection / imperfection», «Colour», «Presence / absence of sound», «Structure», «Quantity / Completeness / Size», «Genre of music», «Material», «Recommendations for performing a piece of music», «Role», «Style of playing an instrument», «Type of musical instrument».

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Levman, Bryan G. "Western Theories of Music Origin, Historical and Modern." Musicae Scientiae 4, no. 2 (September 2000): 185–211. http://dx.doi.org/10.1177/102986490000400203.

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All music origin theories are concerned with the purpose and effects of music, a subject first systematically broached by Plato who felt that music's primary use was for aggression, defence, persuasion and social harmony. In Cratylus Plato provided an epistemological foundation for later theorists by arguing for a natural correspondence between sound and meaning, opposing the view that names and sounds were arbitrary. One important group of musical origin theories developed this viewpoint, asserting that music evolved as a result of spontaneous emotional outbursts, a form of self expression and communication. Darwin heads a second adaptationist direction, maintaining that music evolved to enhance organisms' sexual attraction, thus increasing their ability to procreate. A third theoretical school asserts that music originated because of organisms' innate rhythmic sense. Other phylogenetic and functional ways of grouping music origin theories are also examined. In evolutionary time music's survival value lay in its use for territorial domination, deterrence of predators, intraspecific competition and social cohesion. Most musical/sonic signalling is deceptive and manipulative in nature, designed to give the signaller a competitive advantage against his/her rivals and therefore to increase his/her progeny. Although music in the western art tradition has only a limited social function, some of these utilitarian and duplicitous elements are preserved in the war, healing and supernatural songs of aboriginal tribes. Today music still serves the function of demarcating personal and group space, creating social cohesion, arousing to action and just pure enjoyment. Because of its ability to reawaken and allow us to re-experience primeval survival emotions, music is also cathartic and therapeutic.

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Pilgun, Vera S. "The Phonological Department of the Institute of Artistic Culture under the Direction of I.G. Terentiev." Observatory of Culture 19, no. 4 (September 5, 2022): 410–17. http://dx.doi.org/10.25281/2072-3156-2022-19-4-410-417.

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In the early 20th century, the avant-garde formation in Russia had one significant feature that helped science and art to interact productively throughout the 1920s. The feature was the creation of educational institutions and research institutes, which provided working space for avant-garde artists, theorists, philosophers and practitioners. These people were expected to create a new science of experimental art. Igor Terentiev, a member of the radical futuristic group “41°”, headed the Phonological Department of the Institute of Artistic Culture (INHUK, from 1925 — the State Institute of Artistic Culture (GINHUK)) for less than a year (from October 1923 to March 1924), but his theoretical work was reflected in theatrical practice. This research aims at presenting all the spectrum of searches and the specifics of the GINHUK Phonological Department on the basis of archival documents. The object of the research is the programs of the Department and the lectures of its members. The article focuses on the diversity of the Department’s research program, which was not limited to sound studies alone. The flexibleness of sound substance was equated to the concept of cogitative activity. Sound was considered as a “physical phenomenon” in musical and artistic contexts, and not only as a musical phenomenon, but also as an artistic device and a propaganda tool. The Department presented and discussed lectures on Zaum, noise music, theatrical material, compared the characteristics of the poetry of A.V. Tufanov, K.D. Balmont, V.V. Khlebnikov, discussed the opportunities for artistic work in the sphere of speech and sound. For Igor Terentiev, the most important subject of study was Zaum. On the basis of it, he wanted to develop a universal and international language. The article attempts to reconstruct the general directions of the Department’s work, to formulate a characteristic of its activities, as well as to analyze, for the first time, previously unpublished program theses of its employees.

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Toiviainen, Petri, and Emily Carlson. "Embodied Meter Revisited." Music Perception 39, no. 3 (February 1, 2022): 249–67. http://dx.doi.org/10.1525/mp.2022.39.3.249.

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Previous research has shown that humans tend to embody musical meter at multiple beat levels during spontaneous dance. This work that been based on identifying typical periodic movement patterns, or eigenmovements, and has relied on time-domain analyses. The current study: 1) presents a novel method of using time-frequency analysis in conjunction with group-level tensor decomposition; 2) compares its results to time-domain analysis, and 3) investigates how the amplitude of eigenmovements depends on musical content and genre. Data comprised three-dimensional motion capture of 72 participants’ spontaneous dance movements to 16 stimuli including eight different genres. Each trial was subjected to a discrete wavelet transform, concatenated into a trial-space-frequency tensor and decomposed using tensor decomposition. Twelve movement primitives, or eigenmovements, were identified, eleven of which were frequency locked with one of four metrical levels. The results suggest that time-frequency decomposition can more efficiently group movement directions together. Furthermore, the employed group-level decomposition allows for a straightforward analysis of interstimulus and interparticipant differences in music-induced movement. Amplitude of eigenmovements was found to depend on the amount of fluctuation in the music in particularly at one- and two-beat levels.

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PALMER, JOHN R. "Yes, ‘Awaken’, and the progressive rock style." Popular Music 20, no. 2 (May 2001): 243–61. http://dx.doi.org/10.1017/s026114300100143x.

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Going for the One was a good rebirth of Yes at that time, to find its feet and really know what it wanted to do. And we made ‘Awaken’ . . . (Morse 1996, p. 58).Since the release of their third recording, The Yes Album, in March 1971, the music of the English band Yes has been associated with the rock music substyle called ‘progressive rock’. The first two Yes albums showcase a very capable, inventive group of musicians who drew freely from the multitude of sounds around them, emulating aspects of the various musical styles they found engaging. However, it was not until they composed the works appearing on The Yes Album that the band coupled this eclecticism with a quest for originality to develop a voice highly idiosyncratic when judged against prevailing popular music styles. Subsequent albums reveal a predeliction for experimentation and expansion, and successful record sales in both the UK and US encouraged further development in the same direction. Although not members of the ‘first wave’ of progressive rock bands, Yes became ‘codifiers’ and for many, especially later detractors, the flagship of the ‘progressive' fleet. Before I go on to describe and illustrate, through the analysis of a particular song, aspects of Yes's musical language, I will briefly describe the environment in which it appeared and flourished.

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Yarbrough, Cornelia, Brant Karrick, and Steven J. Morrison. "Effect of Knowledge of Directional Mistunings on the Tuning Accuracy of Beginning and Intermediate Wind Players." Journal of Research in Music Education 43, no. 3 (October 1995): 232–41. http://dx.doi.org/10.2307/3345638.

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The purpose of this research was to study the effect of knowledge of directional mis-tunings on the tuning accuracy of beginning and intermediate wind players. Subjects (N = 197) were instrumental wind players who tuned to either an For a B-flat with both their own instrument—a performance task—and the tuning knob of a variable-pitch keyboard—a perception task. The subjects were randomly assigned to one of three treatment groups: Group 1 knew that their instruments and the tuning knob were mis-tuned in the sharp direction; Group 2 knew that their instruments and the tuning knob were mistuned in the flat direction; and Group 3 had no information regarding direction of mistunings. Data demonstrated that only years of instruction significantly affected subjects' tuning accuracy. There were no significant differences due to treatment, instrument type, or tuning pitch. There were only 6 in-tune performance responses and 12 in-tune perception responses. Approaching the target pitch from above resulted in more sharp responses; approaching it from below resulted in more flat responses; and having no knowledge of direction of mistuning resulted in an equal number of sharp and flat responses. There were a greater number of flat responses in the first year of instruction and a greater number of sharp responses in the fourth year. Finally, there was consistent improvement from the first to the fourth year in both perception and performance tuning tasks.

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Frisk, Henrik. "Aesthetics, Interaction and Machine Improvisation." Organised Sound 25, no. 1 (March 4, 2020): 33–40. http://dx.doi.org/10.1017/s135577181900044x.

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Departing from the artistic research project Goodbye Intuition (GI) hosted by the Norwegian Academy of Music in Oslo, this article discusses the aesthetics of improvising with machines. Playing with a system such as the one described in this article, with limited intelligence and no real cognitive skills, will obviously reveal the weaknesses of the system, but it will also convey part of the preconditions and aesthetic frameworks that the human improviser brings to the table. If we want the autonomous system to have the same kind of freedom we commonly value in human players’ improvisational practice, are we prepared to accept that it may develop in a direction that departs from our original aesthetical ambitions? The analyses is based on some of the documented interplay between the musicians in a group in workshops and laboratories. The question of what constitutes an ethical relationship in this kind of improvisation is briefly discussed. The aspect of embodiment emerges as a central obstacle in the development of musical improvisation with machines.

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Kashyrtsev, Ruslan. "The composer’s interpretation: the dialectic of inner and outer factors." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 193–217. http://dx.doi.org/10.34064/khnum2-21.13.

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Background. Consideration of a composer interpretation is an important sphere for investigation in the Ukrainian musicology. In this article, attention focuses on the interaction of a composer’s artistic individuality (the inner factor) and objective prerequisites of creation a musical piece (the outer factor) in the process of a composer interpretation. Their dialectical interaction is showed on the designed models-scenarios, which display typical situations a composer may encounter in his/ her work. Special attention is paid to differentiation of procedures of the actual composition art and the composer interpretation. The conventional view on the composer interpretation anticipates “the intermediation” between already existing primary source of musical and non-musical origin. In this concept the interpretation plays a significant role in a creation of compositions in “the genre of musical transcription” (Borisenko, 2005; Khutorska, 2009; Moskalenko, 2012). However, the nature of this phenomenon prove itself to be much more complicated and elusive as it’s clear from the studies dedicated to certain personalities (Drach, 2002; Kopytsia, 2018) or the process of composer’s art in general (Mukha, 1979; Schnittke, 1982; Shapovalova, 2008; Varnava, 2017; Chubak, 2017). The objective of the present study is to clarify the dialectical interaction of inner and outer factors of the composer interpretation. The conception of this article is built on the base of such methods as analysis, systematization and structuring, the method of modeling . Research results. The artistic idea itself is an abstract, somewhat blurred image of a future composition. This idea receives its “embodiment” in the text as “a translation from foreign language of the original, which remains intangible” (Schnittke, 1982: 105). The necessity of such “a translation” means that process of musical interpretation is involved not only for the reworking of any artistic piece written by another author, but for the own artistic conception built. However, terms of the composer’s interpretation and the composer’s art are not identical. Composer’s art includes 1) a production of structural musical elements and 2) their synthesis into organized system. The process of interpretation is involved on every stage of composer’s work as a mean of comprehension (understanding, analysis, reflection) of 1) an artistically-imaginative potential, 2) a meaningfulness and 3) an appropriateness to given artistic task of those musical text which the composer produces and synthesizes. The last one ensures a modeling (a setting of certain borders for artistic intent, “a designing”) – a reviewing of plans, a comparison of real and anticipated results etc. The process of interpretation transpires as a dialectical interaction between the composer’s artistic individuality (inner factor) and the objective prerequisites for creation of musical piece (outer factor). The first one has certain parameters, which could be classified as: – professional parameters (the musical individuality): 1) “the power of imagination” (capability to generate ideas and give musical embodiment to them), 2) “musical abilities”, 3) “knowledge and skills” (theoretical, practical and scientific), 4) “the experience” (of musical performance, listening of own / other authors’ compositions), 5) “tools and means” (methods and approaches to work); – non-professional parameters (the personal-artistic individuality): 6) “the motivation” (as a feature of the personality), 7) “the emotionality” (perception and empathy), 8) “the intelligence” (watchfulness, circle of interests); 9) “the outlook” (general attitude to life), 10) “the health” (physical and mental). The objective prerequisites for creation of musical piece (the outer factor) consists of two main components: – the artistic task is appearing due to the need for the musical piece to be made, and it could be 1) given from a third person / a group of people (customer) or 2) initiated by a composer himself / herself (“self-ordering”). – objective circumstances – working conditions, organizational issues, distracting and stressing factors which could influence on the artistic task, speed up or slow down the work, or even pose a threat for a piece creation. A comprehensive coverage of all combinations of objective circumstances is hardly possible within one article (it seems to be more effective to consider this in certain cases). Thus, it’s reasonable to pay the attention to the artistic task, which depends from the customer type and could be classified. And it’s possible to create models of typical scenarios of interaction between the composer and the customer. 1) Scenario no. 1: “own idea – own musical piece”. The composer initiates his / her own project, generates and embody idea. An important feature is that the composer sets the artistic task to himself / herself in case of “self-ordering”, which means that a composer needs to evaluate the work done as from “outside”. This is a significant manifestation of the composer’s interpretation in this situation. Another specific feature is in a strong willing to make a composition as an action of self-expression – he / her become “possessed” with this artistic project which remains in the consciousness as an “unfinished business” must be done. Moreover, a probable risk of failure or / and public disregard does not stop the composer. 1) Scenario no. 2: “given direction from outside – idea – composition”. In this situation the role of the customer (-s) appears, but the artistic task set by him / her / them does not restrain the composer within strict borders. According to “the given direction”, the artist is free to choose stylistics, genre, musical means of expression etc. And this type of customer (he /she might be a performer, a music fan, a festival director or a participant etc.) is interested in creation and performance of this musical piece. So, this sort of the artistic task gives a freedom for selfexpression with partners’ support. Obviously, the project’s success depends from its reliability and objective circumstances. But, the artistic cooperation becomes a valuable experience for the composer and also gains popularity, thus could offer new opportunities for the further career development. 3) Scenario no. 3: “idea of the project author – composer’s interpretation – musical piece”. The composer cooperates with the type of customer who has own idea and own view of artistic task completed. This kind of situation is seemingly common for various commercial projects – music for movies, videogames, theatre shows (an initiative of a theatre), dance music, background music etc. The interaction in the sphere of symphony orchestra music could be also built on these principles. The customer is focused on commercial and / or public success and additional risks are highly unwanted. The composer’s work gains an interesting particularity, because the interaction “composer – customer” becomes more active. In such a case, a collision between artistic interests seems inevitable, because, from the one side, there is the artistic individuality as the inner factor of the composer’s interpretation, and from other side – the objective (for the composer) prerequisites for creation of musical piece, which, at some points, depend on the customer as a source of artistic initiative, thus artistic task and some part of objective circumstances. 4) Scenario no. 4: “teacher – student”. This variant of interaction could contain features of all the scenarios modeled before. An interesting particularity of this situation is that the teacher acts in a role of the customer, who, at the same time, is interested in success of student’s musical project. The teacher will model such artistic tasks which could raise the level of the student as a composer – develop parameters of his artistic individuality (moreover, not only the professional, but the non-professional too). The conflict of artistic interests is possible to appear in described scenarios (in case of self-ordering – the inner conflict). This would lead to significant change of musical projects or even failure. However, this promising topic is better to be investigated in further studies. Conclusions. The comprehension of the interpretational component in composer’s art allows to approach not only to comprehension of single artist’s personality principles of development, but to understanding the process of creation of a musical composition in general. Every written piece is a unique example with its own history of creation and later existence. Though not all of compositions gain public approval, every act of the true artistic self-expression is valuable for the author and raises him / her on a new level as a professional and a person. Because, “the process of author thinking” involves the whole spectrum of person’s experience and is “a way of self-fulfillment of a person who cognizes the world” (Shapovalova, 2008: 9)

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Manko, S. "Analysis of the functioning of the domestic vocal variety school in the conditions of musical culture of Ukraine at the present stage." Culture of Ukraine, no. 72 (June 23, 2021): 118–23. http://dx.doi.org/10.31516/2410-5325.072.16.

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The aim. The aim of the article is to analyze the current stage of the functioning of the vocal variety school in the musical culture of Ukraine and identify certain trends in its development directions. In order to achieve the marked goal, it is necessary to solve the following tasks: to determine the specifics of the development of a modern Ukrainian vocal variety school, analyzing its real position and known methods for the teachers of a variety vocal and to reveal the directions of which their realization is in modern musical culture of Ukraine. The methodology. In this publication, methods of comparative analysis and synthesis were used to identify the specifics of teaching a variety vocal by domestic teachers. Also, we used systemic and cultural approaches to the study of variety vocal school in the musical culture of Ukraine. The results. Having studied the functioning of domestic modern vocal schools, it can be concluded that this phenomenon though is quite relevant in modern musical culture of Ukraine, based mainly on the generally accepted and already known methods of variety vocals. There are single cases when teachers form their own teaching methodology and distribute it as Iryna Tsukanova, demonstrating her own master classes on the Internet. But the main tendency among domestic vocal teachers is that they are based on already well-known vocal techniques, taking from them the basis that it is necessary for each particular performer. It is worth noting separately such a trend of domestic artists-teachers, as a commercialization of teaching activities, when vocal workshops are carried out for a group of students that study with other teachers. Such events can be called a master class with a star-teacher and they become more popular. Another trend when well-known artists, such as Natalia Mohylevska and Tetiana Piskarova create their own vocal studio based on vocal techniques that were developed by the heads of studios. Other teachers give their lessons in these studios, and celebrities conduct master class for students of their own institution. Variety vocal schools that are different by their stylistics, as a jazz or rock schools are more narrowly specialized. This makes teachers rely on the generally recognized world techniques of jazz or rock music, concentrating on the specifics of these directions and working them out with students. The scientific topicality. The work of the domestic vocal variety school in modern musical culture of Ukraine is investigated. The specifics of the development of modern vocal variety school of Ukraine is revealed. The well-known techniques of the variety vocal teachers are analyzed. The main tendencies that are the basis for Ukrainian teachers in their work with students are determined. One of them is based mainly on the techniques of a variety vocal of famous world teachers, the other one — on their own methods. The practical significance. Since the vocal variety art in the musical culture of Ukraine occupies a quite important place, this publication may be useful for domestic modern variety singers, vocal teachers and scientists, which will study it in the future.

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Василь Семенчук. "IMPLEMENTATION OF INTERSUBJECT COMMUNICATIONS IN THE PROCESS OF STUDYING «MUSIC INFORMATICS»." Psychological and Pedagogical Problems of Modern School, no. 2(4) (September 4, 2020): 129–39. http://dx.doi.org/10.31499/2706-6258.2(4).2020.223058.

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The article sets the task to consider the interdisciplinary sphere of professional activity related to the creation and use of specialized musical software and hardware – music informatics – which requires knowledge and skills both in the music field and in the field of computer science.The issue of interdisciplinary links and their implementation in the educational process in higher education institutions has been raised in the article. The content of the concept of information competence as a component of professional competence and information culture has been consider.The author argues that the use of intersubject communications contributes to the formation of practical skills and abilities to apply knowledge in one discipline during the study of others.It has been analyzed the importance of pedagogy of cooperation, which uses a variety of forms of learning: group work, collective creative work, work in microgroups, work in variable groups;The result of a scientific article is the conclusion about the feasibility of the high-quality implementation of interdisciplinary connections, the spread of interdisciplinary relations within not only the artistic-aesthetic and related humanitarian cycles in the classes on “Music Informatics”, but also with other, so to speak, deleted subjects; the use of art both as a means of developing special artistic abilities and thinking, and as a universal way of stimulating the creative potential of an individual.Among the prospects for research in this direction, the author identifies a purely practical aspect, in particular, the creation of methodological materials, manuals, the development and implementation of a system that is based on an information technology basis and which takes into account the orientation of students in the use of computer technology in professional and musical pedagogical activities in a subtle combination with other disciplines, the establishment and strengthening of the relationships between them.

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Smolenska, Svitlana. "KHARKIV 1930: UKRAINIAN WINNERS OF THE FORGOTTEN WORLD-LEVEL COMPETITION." Current Issues in Research, Conservation and Restoration of Historic Fortifications 18, no. 2023 (2023): 84–92. http://dx.doi.org/10.23939/fortifications2023.18.084.

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The article examines a little-known event of world level that took place in Ukraine during the heyday of modernism in 1930: a competition for the design of the Sovereign Ukrainian Theatre of Mass Musical Action for Kharkiv. About 100 projects sent from abroad: from 9 European countries, as well as from the USA and Japan, were an obvious confirmation of its significance. The article proves the high professional level of the Ukrainian architectural school in 1930-1931. Its young representatives demonstrated innovative thinking, avant-garde developments in the actual field of multifunctional theatre buildings, having received one of the first prizes in the competition with masters such as Walter Gropius, Hans Pelzig and others. The names of our glorious compatriots, who made an invaluable contribution to the development of Ukrainian architecture in subsequent years, rebuilt our country in the post-war period, have been restored. The first prize was awarded to three nominees at once. It was a project called "Machine" by the American architect Alfred Kastner (New York); a project with the emblem "Black sector in a red circle" by the Croatian architect Zdenko Stryžič, who was working in Germany at the time, as well as a project called "1931", executed by a group of Kharkiv authors. The project of Walter Gropius, one of the founders of European modernism, called "Mass Center" was awarded the eighth prize. The project of another well-known German architect, Hans Pelzig, was highly praised, but not awarded (assigned to the second category). The famous German architect Otto Kotz also did not receive an award. The 1930 competition for the project of the State Ukrainian Theater of mass musical performance was a significant event in the history of world modernism. Well-known masters of the advanced modernism direction took part in the competition, but also young beginners. The competition becames a bridge to fame for many of them. They became the leading architects of the middle of the 20th century subsequently.

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Tânia, Lisboa, Aaron Williamon, Massimo Zicari, and Hubert Eiholzer. "Mastery through imitation: A preliminary study." Musicae Scientiae 9, no. 1 (March 2005): 75–110. http://dx.doi.org/10.1177/102986490500900103.

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A paradox exists between the long history of teaching music through imitative strategies and the demand to possess original artistic insight. This article addresses this paradox by investigating the general musical and educational implications of imitative learning strategies. In the first study, five advanced violinists were divided into an Experimental Group (n=3) and a Control Group (n=2). All violinists were asked to prepare and perform the Adagio from J. S. Bach's Sonata for Solo Violin in G minor, discussing with the researchers their views on how they felt this composition should be interpreted. The violinists in the Experimental Group were subsequently asked to study a Target recording of the piece by Jascha Heifetz (the duration of study was unspecified) and to perform a “perceptually indistinguishable copy” of it. This was followed by interviews and a final, non-imitated performance approximately one month later. The results of detailed analyses of timing profiles from the performances and interviews show that the participants were able to imitate expressive features of the Target recording. The results also reveal that the imitation process directly influenced their conceptions of how the piece could be interpreted (as observed in the final performances) but that the extent of this influence was highly individual-specific. In the second study, listeners (n=30) were presented with recordings of all three performances given by the violinists in the Experimental Group and with the Target recording; they were asked to rate the overall quality of each performance and their similarity to the Target on 7-point scales. The results show that the imitation process did produce perceptually salient changes in the violinists' performances but the direction of change in terms of overall quality (positive or negative) was also individual specific. The results from both studies are discussed in relation to their pedagogical implications.

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Yang, Fuyin. "The Canzone Napoletana Phenomenon in the reflection of scientific critical thought." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 98–112. http://dx.doi.org/10.34064/khnum2-21.06.

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Introduction. The Neapolitan song is a phenomenon associated with stable patterns of perception. This was a consequence of the popularity of the genre in the field of “light music”, when from the end of the 19th century to the 1970s, other non-pop forms of Canzone Napoletana were ousted from the musical context and the minds of listeners. The transfer of interest from authenticity to the field of musical “pop culture” naturally provoked a certain mode of silence in the research environment. Little interest in the study of the genre indicated a lag in scientific and analytical processes in comparison with practical results. Background. The active studying phase of the South of Italy song tradition falls on the middle of the 20th century and is associated with the activities of a music critic, professor of ethnomusicology Diego Carpitella (1924−1990). This defender of Italian folklore took an active part in ethnographic expeditions and the 1950s discussions, collected more than 5,000 songs, and paid special attention to the music of southern Italy. An important contribution was also made by Roberto De Simone (born 1933) – Italian theater director, composer and ethnomusicologist, founder of Nuova Compagnia di Canto Popolare (from 1967 to the present). Today, the fate of the historical past of Canzone Napoletana appears to be the object of close attention in Italy. This is evidenced by regularly held international conferences dedicated to the stylistics and poetics of Neapolitan song, its historical past, personalities who made a significant contribution to the formation of the genre, as well as monographs of various topics. Objective of the researching. In Ukrainian and Chinese musicology, the state of elaboration of the information field on the issue of Canzone Napoletana is extremely weak. Therefore, it seems relevant to refer to the review of foreign scientific sources. Thus, the subject of research in this article is the tradition of scientific and critical understanding of the phenomenon of Neapolitan song, formed at the crossroads of different areas of modern Italian art history. The identification of the leading issues in the coverage of the phenomenon of Canzone Napoletana in the works of modern scientists is the subject of this article. The research material, on the one hand, is a song “Te vogliо Bene assaje” as an example of commercialization of the genre, on the other hand – a monograph “La canzone napoletana. Tra memoria e innovazione” (2013). Results. The prerequisites for modern scientific thought aimed at studying the musical folklore of the South of Italy first arose in the 19th century. In the context of Romanticism’s interest in folk culture, musicological search was more of a practical nature: collection and recording of the texts of Neapolitan songs, musical notation of samples of spoken creativity. The origin of these processes is investigated in the collective monograph “La canzone napoletana. Tra memoria e innovazione” (2013) prepared by historians, sociologists, anthropologists, musicians. They entered a group for the study of Neapolitan song on the initiative by Institute for Studies on the Mediterranean (ISSM, Italy). Paola Avallone points to the ability of Neapolitan music to sublimate the musical traditions of various Mediterranean peoples, due to contact with the southern regions through geographic, commercial interaction. In Italy itself, the Neapolitan song is already recognized as a cultural phenomenon, the uniqueness of which is surprising against the background of the region’s economic problems, the depletion of its natural resources, and weak state financial support. The study of Neapolitan song at an interdisciplinary level dictates the development of such directions as: historical, methodological, scientific-analytical, morphological. The Neapolitan song is inextricably linked with the cultural environment of the southerners, their special “lifestyle”, mythological and religious ideas. Marialuisa Stazio characterizes the Neapolitan song of the late 19th century as unique because of its strong connection to collective memory. The attitude to the Canzone Napoletana as a certain musical archetype reveals the insufficiency of methods and imperfection of the tools of analysis due to the archaic nature of the origins of the Canzone Napoletana, as well as because of the incompleteness of its evolution from 1824 to 1970. Many of the samples created during this period have many similarities. At the same time, the forms of communication changed: from “flying” leaflets to “compilations” – collections of Neapolitan songs, like “Passatempi musicali” by G. Cottrau; from author’s songs to the involvement of the media in the 20th century, “television festivals of the Neapolitan song”. In the last decade, the Internet resources YouTube, Spotify, Pandora have played a decisive role in promoting the musical product Musica Napoletana. Conclusions. The Neapolitan song is of interest as a cultural and economic phenomenon. It has turned into a “tourist” product, a souvenir, which fully represents the cultural originality of the southern region, acts as a carrier of the cultural code of the nation and the Mediterranean as a whole. The problem of its preservation, as well as of bringing the existing developments in the field of ethnomusicology to a common denominator, giving them a certain integrity, remains urgent.

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Krasnoshchok, Kateryna. "Pages of Eugenie de Guerin’s “Diary” in the musical embodiment by Darius Milhaud." Aspects of Historical Musicology 34, no. 34 (April 10, 2024): 92–111. http://dx.doi.org/10.34064/khnum2-34.04.

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Statement of the problem. The vocal-instrumental cycle «D’un cahier inédit du journal d’Eugénie de Guérin» (“From the Unpublished Diary by Eugénie de Guérin”) op. 27 (1915) is a work by D. Milhaud that was composed when the composer was twenty-four years old. The literary source attracts attention for the fact that it was written not to demonstrate the literary talent of the poetess, but as a confession of the human soul. Currently, domestic musicology does not have significant experience in researching musical interpretations of works of this type, and the “Diary by Eugénie de Guérin” has never been translated into Ukrainian. The vocal-instrumental cycle of D. Milhaud, created on this poetic basis, has not been systematically analyzed. Therefore, the study of this little-known in Ukraine opus of one of the brightest composers of the “Group of Six” appears as an urgent research task. In addition, a detailed analysis of vocal and instrumental works of the era of modernism will contribute to a deeper immersion in the spiritual world of representatives of this artistic direction, as well as to the expansion of the modern performing repertoire. Objectives, methods, and novelty of the research. The purpose of the study is to systematically analyze the composer’s interpretation of the “poems with music” included in the vocal-instrumental cycle by D. Milhaud. The scientific novelty of it is due to the fact that D. Milhaud’s vocalinstrumental cycle «D’un cahier inédit du journal d’Eugénie de Guérin» op. 27 has not been studied in detail in the national musicology. For the first time it was considered to find out what musical means of expression the composer used to convey the idea declared by the author’s remark «douloureusement» («painful»), which accompanies all the numbers of the work. The work set the task of revealing the specifics of the means of musical expressiveness used by the composer to embody the semantics of poetic images related to the feelings of physical and mental pain that D. Milhaud found in the poetic original source. In the study, for the first time, a linear Ukrainian translation of the verbal text of D. Milhaud’s cycle is provided. Historical and contextual, comparative, systematic and analytical research methods were used. Research results and conclusion. «D’un cahier inédit du journal d’Eugénie de Guérin» is associated with the feeling of pain and sadness, which accompanies all three numbers. Each poem with music gravitates toward a certain tonal sphere. The composer refers to an extended tonality. This principle emphasizes the coloristic function of the musical palette of the work. The cycle reveals a montage type of drama and laconicism of expression. The texture of the vocal-instrumental cycle is polyphonized, especially in the third number, which has fugato features. The harmony is saturated with such intervals as fourth, fifth and tritone. This is associated with images of devastation, pain, mental and physical suffering. The use of fifth that dominates in the musical texture of the work and it is the semantic grain, the key of the intonational dramaturgy, is also served this goal. The vocal part is declamatory and recitative, close to the type of psalmody, the rhythm is complex, directly oriented to poetic versification. D. Milhaud tends to use variable sizes, which is connected with the specific of Eugène de Guérin’s verse technique, The analysis of the musical drama revealed leitintonemes and symbols: the intonemas of the bell sounds, lullaby, destiny, sigh, wheel. The prospects for further research related to the study of D. Milhaud’s vocal and instrumental works of the mature period, comparative analysis with early examples of his work and identification of the peculiarities of the formation of an individual style by the composer.

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Marlisna, Marlisna, and Marzam Marzam. "BENTUK PENYAJIAN KESENIAN KASIDAH REBANA DALAM ACARA PESTA PERKAWINAN DI JORONG SAROHA TAMIANG KECAMATAN LEMBAH MELINTANG KABUPATEN PASAMAN BARAT." Jurnal Sendratasik 9, no. 3 (September 1, 2020): 8. http://dx.doi.org/10.24036/jsu.v9i1.109378.

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AbstractThis research aims to describe the form of a Kasidah Rebana presentation in a wedding party in Jorong SarohaTamiang, Lembah Melintang District, West Pasaman Regency. This research is a qualitative research which focuseson getting issues related to the topic. The data were collected through literature study, observation, interviews, and documentation. The development of sophisticated era and the cultures and arts developed in community give positive and negative effects. However, the art of Kasidah Rebana in the Jorong Saroha Tamiang still exists and is the choice of the community to be presented in a wedding party.The presentation form of Kasidah Rebana in the wedding party now has undergone many changes towards a more modern direction in accordance with the times. This can be seen from the sound system and formations, which neatly arranged by the group on stage, provided by the committee. Based on the composition, the rhythm pattern played is in accordance to the rhythmic musical instrument as well as the keyboard melody combined with chord harmonization and sound distribution. The vocalist sings the song according to the structure of the song's form and the expression according to the song's verse. These are combined to produce a beautiful tambourine blend.Based on the results of the study, to be more creative is an advice the author gives to the group. Song references, music compositions and costumes can be differently arranged, for instance. Thus, it is more interesting and more demanded by the community. The form of a Kasidah Rebana presentation is a mixed ensemble played by 12 players consisting of two vocalists, two tambourine players, two rhythm players, two bass players, three ketipung players, and one keyboard player.Keywords: form of presentation, kasidah rebana, wedding party

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Selfana, Kezia Nada Dila, Hartono Hartono, and Yurina Gusanti. "Dampak Pergeseran Budaya Masyarakat Banyuwangi terhadap Pola Permainan Angklung Caruk Grup Aliyan Bolot." JoLLA: Journal of Language, Literature, and Arts 3, no. 1 (January 30, 2023): 88–99. http://dx.doi.org/10.17977/um064v3i12023p88-99.

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Banyuwangi merupakan kabupaten yang berada di ujung timur Pulau Jawa. Kabupaten Banyuwangi memiliki banyak kebudayaan, adat dan tradisi. Seiring dengan perkembangan zaman, kebudayaan di Banyuwangi telah mengalami pergeseran. Salah satu faktor pendorongnya yakni adanya globalisasi yang mendorong masyarakat Banyuwangi berkembang ke arah yang lebih modern. Hal ini memberikan dampak pada kesenian Banyuwangi. Salah satunya pada pola permainan musik angklung caruk. Penelitian ini bertujuan untuk mengetahui pergeseran budaya yang terjadi pada masyarakat Banyuwangi dan untuk mengetahui dampak pergeseran budaya masyarakat desa Aliyan Kabupaten Banyuwangi terhadap pola permainan angklung caruk grup Aliyan Bolot. Penelitian ini menggunakan pendekatan kualitatif deskriptif dengan teknik pengumpulan data menggunakan observasi, wawancara dan dokumentasi. Untuk analisis data menggunakan reduksi data, penyajian data, dan verifikasi. Hasil penelitian menjelaskan bahwa pergeseran budaya yang terjadi pada masyarakat Banyuwangi sangat mempengaruhi dan berdampak pada pola permainan musik angklung caruk grup Aliyan Bolot. Terdapat tiga variabel yang terpengaruh yaitu instrumen musik, vokal, dan aransemen. Kata kunci: pergeseran, banyuwangi, angklung caruk, pola, permainan The Impact of Banyuwangi Cultural Shifts on the Pattern of the Angklung Caruk Game of Aliyan Bolot Group Banyuwangi is one of the districts on the eastern tip of Java Island, Indonesia. This regency has many cultures, customs, and traditions. However, the culture in Banyuwangi has experienced a shift over time, with globalization becoming one of the driving factors. This globalization encourages the people of Banyuwangi to develop in a more modern direction. This change in people’s lives also impacts the arts from Banyuwangi, including the pattern of the angklung caruk music game. This study aims to investigate the cultural shift that occurred in the Banyuwangi community and the impact of that shift in the Aliyan village community, Banyuwangi, especially in the pattern of the angklung caruk game of the Aliyan Bolot group. Using a descriptive qualitative approach, this study collected data through observation, interviews, and documentation. For data analysis, we used data reduction, data presentation, and verification. The results of the study explained that the cultural shift in the Banyuwangi community greatly influenced and impacted the pattern of the angklung caruk music game of the Aliyan Bolot group. There are three variables being affected, namely musical instruments, vocals, and arrangements. Keywords: shift, banyuwangi, angklung caruk, game, pattern

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Peno, Vesna. "Communion songs not regulated by the typicon in the recent tradition of Serbian church singing." Muzikologija, no. 4 (2004): 121–52. http://dx.doi.org/10.2298/muz0404121p.

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In notated collections of Serbian church hymns from the 19th and 20th century there are, among others, communion songs with texts that were not regulated by the Typicon. These so-called "arbitrary communion songs" have been very popular in the recent tradition of Serbian church chanting. They have been gradually pushing out the hymns that are regulated for singing on concrete days and feasts during the church year. Analysis of possible influences that determined the way texts and the melodies delved into the recent Serbian church chanting follows two possible directions. The first commenced from late-Byzantine singing tradition; more specifically, from a group of songs that although based on liturgical texts, were performed in extra-liturgical occasions. These are calophonic irmoi which were composed by a great number of known late-Byzantine masters of singing. The second direction had its beginning in Russian spiritual music that generated a new melodic genre kant, based on western models. The majority of those compositions have freely written spiritual texts, too, and not part of the liturgy. Kanti were, namely, singing numbers in liturgical dramas - theatrical pieces with Christian historical themes. The majority of arbitrary communion hymns from Serbian collections have texts from the psalms or use texts for irmoi of specific canons. There is only one text that does not belong to the output of church hymnography. In spite of that, the melodies of the analyzed hymns reflect the presence of traditional compositional procedures characteristic of late-Byzantine and Serbian traditions. On either side, they possess atypical musical phrases that relate them to the the kanti. The usage of paraliturgical songs instead of communion hymns is commentated upon from the liturgic aspect also. That song belongs to the central part of the Liturgy and most fundamental during the service of the Orthodox church. Therefore the deviation in Serbian practice from the rules that define its place and role demonstrate the distancing from the tradition, raises a fundamental question: is liturgical meaning being compromised.

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Skoptsova, Olena, and Nataliia Pertsova. "Repertoire Palette of Foreign Folk Choir Groups." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 5, no. 1 (June 6, 2022): 103–10. http://dx.doi.org/10.31866/2616-7581.5.1.2022.258154.

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The purpose of the research is to study the specifics of the repertoire palette of foreign folk choirs. Achieving the goal involves determining not only the features of the current repertoire preferences of leading groups but also the prospects that may open up in view of the transformation of listeners' preferences and the demands of today’s audience. The research methodology, while determining the specifics of the repertoire of foreign folk choirs, involves the use of the method of synthesis, which outlines the range of works to which choirmasters turn. The method of analysis is used to study the specifics of the interpretation of folk sources by choirs. The scientific novelty of the research is the selection of foreign folk choirs that operate in Scotland, Britain, France, USA; defining their repertoire palette. Conclusions. The vocal style of the performers and the repertoire are of dominant importance in the formation of the creative face of the ensemble. The study of folk choirs that operate abroad, shows a significant spread of such compositions. Folk choirs were formed in Scotland, Great Britain, France and the USA. Their repertoire consists of folk songs (Celtic, Scottish, Gaelic) and original works, which testifies to the universality and diversity of groups. Some choirs use folk and academic vocal style, where the choice of one or another is determined by the repertoire. Attempts to fully reproduce the folklore layer of musical culture can be traced in the preservation of folk vocal style, type of voting, the fricative basis in the arrangements and so on. Promoting Ukrainian folklore as part of the repertoire of foreign folk choirs is seen as a promising direction. This will contribute to its dissemination, which is important for the preservation of the cultural heritage of the Ukrainian people.

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Bretherton, Beatrice, Jim Deuchars, and W. Luke Windsor. "The Effects of Controlled Tempo Manipulations on Cardiovascular Autonomic Function." Music & Science 2 (January 1, 2019): 205920431985828. http://dx.doi.org/10.1177/2059204319858281.

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Music has been associated with alterations in autonomic function. Tempo, the speed of music, is one of many musical parameters that may drive autonomic modulation. However, direct measures of sympathetic nervous system activity and control groups and/or control stimuli do not feature in prior work. This article therefore reports an investigation into the autonomic effects of increases and decreases in tempo. Fifty-eight healthy participants (age range: 22–80 years) were randomly allocated to either an experimental ( n = 29, tune) or control (rhythm of the same tune) group. All participants underwent five conditions: baseline, stable tempo (tune/rhythm repeatedly played at 120 bpm), tempo increase (tune/rhythm played at 60 bpm, 90 bpm, 120 bpm, 150 bpm, 180 bpm), tempo decrease (tune/rhythm played at 180 bpm, 150 bpm, 120 bpm, 90 bpm, 60 bpm) and recovery. Heart rate, blood pressure, respiration, and muscle sympathetic nerve activity were continuously recorded. The 60 bpm in the tempo decrease stimulus was associated with increases in measures of parasympathetic activity. The 180 bpm in the tempo increase stimulus was also associated with shifts towards parasympathetic predominance. Responses to the stimuli were predicted by baseline %LF. It is concluded that the individual tempi impacted upon autonomic function, despite the entire stimulus having little effect. The 60 bpm in an increasingly slower stimulus was associated with greater vagal modulations of heart rate than faster tempi. For the first time, this study shows that response direction and magnitude to tempo manipulations were predicted by resting values, suggesting that music responders may be autonomically distinct from non-responders.

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Churikov, V. V. "Concerto for saxophone and string orchestra by P.-M. Dubois: guidelines for performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 107–22. http://dx.doi.org/10.34064/khnum1-54.07.

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Statement of the problem. Creativity for saxophone by the French composer Pierre-Max Dubois (1930-1995) reflects in its sound palette many style tendencies of music art of the twentieth century. A student of D. Milhaud, he inherited from his teacher the desire for vivid character and imagery of music, which were achieved by various artistic possibilities of modern musical styles and trends. For the saxophone, he wrote such compositions as Characteristic pieces in the form of a suite, Quartet, Divertissement, Sonata and Concerto for saxophone and string orchestra which is quite relevant for the repertoire of the modern saxophonist. Taking into account specific features of the author’s style of P. Dubois, the performer faces the problem of mastering a number of technical and artistic expressive techniques aimed at revealing the figurative content of the piece. For a contemporary performer, the awareness of style components of P. Dubois’ music, which make up the logic of the performance interpretation, is of particular importance. These are the main aspects of work at this composition in the class of saxophone. Analysis of recent publications on the topic. Saxophone performance is considered in many publications, including those written by the author of this paper. However, there are very few works related to the study of P.-M. Dubois’ creative work, and all of them are bibliographic or encyclopedic in nature. Therefore, the analysis of compositions by P.-M. Dubois seems relevant. The purpose of the study is to develop methodology guidelines on search for performance interpretation of Concerto for Saxophone and String Orchestra by P. Dubois. Presentation of the main research material. The Concerto for Saxophone and String Orchestra by P. Dubois was written in 1956 and was a striking embodiment of the instrumental style of the French composer. Adhering generally to traditional ideas about instrumental genres, P. Dubois greatly expands the sound palette of his works and develops the expressive capabilities of the saxophone. As a student of the famous and one of the most extravagant representatives of the French "Group of Six" – D. Milhaud, P. Dubois in many ways inherits the principle of distinctness of musical language and bright, expressive musical and artistic imagery. P. Dubois’ concerto is a traditional three-part cycle, built on the principle of contrasting extreme fast and medium slow parts, which in the overall contexture of the composition are very different in their imaginative content and musical language. Highlighting the stylistic origins of music of the Concerto, the composer is obviously focused on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism. Conclusions of the study. From the viewpoint of performance, works for saxophone by P. Dubois have undoubted merits. They are instrumental in nature, written in the light of instrumental specificity, though not without technical and imaginary difficulties. Summarizing the analysis of the Concerto for the saxophone by P. Dubois, it can be argued that this piece clearly fits into the artistic context of the development of French music in the second half of the twentieth century, since it reflects the process of synthesizing various style complexes in the original author’s concept. 1. Concerto for Saxophone and String Orchestra by P. Dubois is an original interpretation of the concerto genre in the context of French music of the second half of the twentieth century. Preserving national traditions of instrumental thinking – programmability, genre, beauty of the timbre palette – P. Dubois enriches the musical language of his work significantly and freely interprets the compositional structure of the concerto (the ratio of form sections, their scales, cadence at the very beginning of the sonata allegro, "removed" thematic contrast and a departure from conflict dramaturgy). On the whole, we can speak of a shift from the sonata form and priorities of the variative development of the musical thematism. 2. In identifying the stylistic origins of the Concert’s music, the composer’s focus on artistic principles of such musical directions as neoclassicism, impressionism-symbolism and expressionism are evident. Moreover, each of these style complexes is as if personified in a specific author’s "manner", causing reminiscence with the music of D. Shostakovich, S. Rachmaninov, P. Hindemith, M. Ravel. Such a “multicomponibility” of the Concerto style introduces the multifaceted nature of the musical language of the piece and assigns the performer the task of differentiating expressive means – mainly the timbre palette and articulation technique. The prospect of further study of the topic is related to the performance analysis of other works by P. Dubois for saxophone, comparison of interpretations made by contemporary prominent artists.

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Kulikova, Svitlana. "USE OF INTERACTIVE TECHNOLOGIES IN THE PROCESS OF DEVELOPING THE PROFESSIONAL COMPETENCE OF THE FUTURE TEACHER OF MUSIC ART." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 81–86. http://dx.doi.org/10.36550/2415-7988-2021-1-195-81-86.

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In the context of increasing attention to the training of future professionals outlines the special urgency of the problem of professional competence of future music teachers, which includes the ability of individuals to acquire knowledge and skills in art education institutions, to form personal qualities and values and value orientations required for professional activity. social requirements. The level of professional competence of a music art teacher reflects the degree of his readiness for music-educational work in a secondary school, is a prerequisite for the effectiveness of pedagogical activities, a kind of link to improve intellectual and practical experience, finding effective ways to improve pedagogical skills. in the conditions of an educational institution of artistic direction the development of professional competence occurs during the study of both general and special (for example, block of disciplines: history of foreign music, history of Ukrainian music, solfeggio, harmony, polyphony, analysis of musical forms, basic musical instrument, choral studies and choral arrangement, choral class and practical work with the choir, choral conducting and reading of choral scores, solo singing) disciplines. The formation of knowledge and skills is a prerequisite for the formation of professional competence of the future teacher and involves mastering a set of special knowledge in theoretical and performing (instrumental, vocal and conducting and choral) disciplines. Thus, the basis of professional competence of the future teacher of music art is special (general pedagogical, conducting, instrumental, vocal, performing, musicological, research), social and personal training. One of the effective and relevant ways to develop the professional competence of a music teacher is interactive technologies. In accordance with the Law of Ukraine «On Education» and the requirements of the competence approach, mastering interactive technologies has become one of the main conditions for teaching art subjects by teachers of secondary schools. A number of authors note that as a result of the use of interactive technologies there is an actualization of intellectual reserves and capabilities of students, replenishment of knowledge of theoretical and generalizing nature, deepening and expanding the individual semantic context in working with educational material. Thus, in the article the author defines the role of the use of interactive technologies in the process of forming the professional competence of the future music teacher. The author argues that interactive technologies are based on the principles of interaction, student activity, reliance on group experience, mandatory feedback, which have a wide range of developmental, educational and reflective functions. The use of interactive technologies in the training of future teachers of music allows to stimulate creative, cognitive activity of the teacher-musician, to focus the teacher on self-development and self-affirmation, thereby developing his professional competence.

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Nakajima, Yoshitaka, Takashi Tsumura, Seiichi Matsuura, Hiroyuki Minami, and Ryunen Teranishi. "Dynamic Pitch Perception for Complex Tones Derived from Major Triads." Music Perception 6, no. 1 (1988): 1–20. http://dx.doi.org/10.2307/40285413.

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A new type of complex tone that demonstrates pitch circularity is described. For such tones, the spectral envelope is trapezoidal on the coordinates of logarithmic frequency and logarithmic amplitude, and remains constant. The components of each tone form a major triad within each octave. The component frequencies were increased by steps of 1/10 octave from tone to tone, until the first tone was obtained again. According to our paired comparison experiments for pitch, which were analyzed using the multidimensional scaling technique, two kinds of pitch circularities appear. One group of subjects shows a pitch circularity corresponding to the exact spectral periodicity of an octave, and the other group a circularity corresponding to the roughly viewed spectral periodicity of 1/3 octave. The human ear seems to detect a global pitch movement when some spectral components move in the same direction by similar degrees on the logarithmic frequency dimension.

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Sakin, Ajda Şenol, and Zeynep Özer. "Determining the Views of Music Teachers at BILSEMs on the Music Field Student Diagnosis Process: The Case of Bursa." Journal of Education in Black Sea Region 7, no. 1 (December 3, 2021): 144–65. http://dx.doi.org/10.31578/jebs.v7i1.245.

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Science and Art Centers (BILSEM) are state institutions in Turkey operating under the Ministry of National Education, which aim to ensure that gifted students in Turkey acquire a scientific study discipline and develop their creativity in line with their talents and interests. In these centers, there are three different special talent fields: music, visual arts and general talent. In this study, it was aimed to determine the views of music teachers working at Science and Art Centers (BILSEM), which are activity-based centers where gifted students in Turkey receive education, about the student diagnosis process of music field. Music teachers working at BILSEM in the city center and districts of Bursa participated in the study. The study is in the case study research design, one of the qualitative research methods. The data were obtained using a semi-structured interview form. The acquired data were analyzed using the directed content analysis method. In this direction, 5 themes and 34 codes were determined. In the study, most of the teachers stated that group (Tablet) scanning application for the student diagnosis process was not necessary for prospective music students, that the content and criteria of the questions related to aural skills and memory should be changed and that the content related to the field of musical awareness was insufficient and needed to be improved. In addition, the music teachers evaluated the conditions of the exam environment and expressed different opinions on the subject. At the end of the study, various suggestions were made on the subject in the light of the obtained data and evaluations. Key words: BILSEM, centers for gifted students, diagnosis, music course, gifted students

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Lyan, Tszitao. "The opera “Siberia” by U. Giordano in the context of the composer’s creative work." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 71–84. http://dx.doi.org/10.34064/khnum1-52.05.

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Formulation of the problem. The creative work of the bright representative of the Italian opera U. Giordano consists of eleven operas. Despite the fact that the composer is considered a bright representative of verismo, not all his operas belong to this direction. For example, in the late period of his creativity (1910–1920), U. Giordano departs from the traditions of verismo and aims his search for the comedy genre («La cena delle beffe», «Dinner with Jokes»), the genre of opera novels («The King»). But all the same, the main, repertoire operas (as early as «Mala Vita», «Marina», and the mature ones like «Andrea Chenier», «Fedora») are the quintessence of the tradition of verismo. The opera «Siberia» is also considered to be such. The emergence of new productions of the opera in the 21st century gives a reason to appeal to this opus and analyse it in terms of stability of the traits of the composing style of U. Giordano. The purpose of the study is to identify the role of the opera «Siberia» in the context of creativity by U. Giordano. Analysis of recent publications on the topic of the article. U. Giordano’s creative work is systematically presented in the study of M. Morini (1968), where he collected articles not only written by himself, but also by other researchers of the composer’s creative work. Today it is the most complete publication of his letters and reviews on the opera productions. Vincenzo Therenzio reflects on the basics of the style of U. Giordano, Giovanni Ugolini resorts to the analysis of the traditions of verismo in the creative work of the composer. Carmine Ruizzo’s research is devoted to the manifestations of verismo in the creative work of U. Giordano. In relation to creativity (general characteristics) of U. Giordano one should list the encyclopaedic articles and the book by Alan Mallach, which covers the path of the Italian opera on the border of the 20th – 21st centuries from verismo to modernism. Regarding the opera “Siberia”, we should mention the review article by M. Morini and the articles directly devoted to the productions in the «Helikon-opera». We do not find a detailed analysis of the score of the opera in any scientific sources. Statement of the main content of the article. The plot of the opera «Siberia» is the love story of the officer Vasyl and the courtesan Stefana, who, after Vasyl was arrested, follows him to Siberia. The pimp Hleb cannot quarrel the lovers, but after an unsuccessful escape the injured Stefana dies. This tragic story is presented by the composer and librettist (Illik) on the background of the Russian reality, which creates a certain context of the love line of the main heroes. And the interpretation of the plot, and the musical concept in general, corresponds to the guides of the opera creativity of U. Giordano. Thus, generalizing the observations of G. Marqezi, M. Morini, and V. Therenzio, one can determine the following features of the composer’s opera style, among which there is the theme of love in the centre of the plot, the ability to create bright and exciting portraits of the main characters, the «stylistic equilibrium» (V. Therenzio), the reliance on the traditions of the Italian musical theatre, the combination of the purity of the picture and expression, the inclusion of reminiscences, the severity of orchestration, the provision of the national character to the score (by incorporating the musical material of the region in which the action takes place). All of them are embodied in the opera «Siberia». The analysis of the main scenes of the opera “Siberia” with the participation of the protagonists – Stefana and Vasyl – is presented, and it is proved that this opera (along with «Fedora» and «Andrea Chenier») is the quintessence of the traditions of verismo. Conclusions. In the context of the creative work of U. Giordano, the opera «Siberia» takes up the prominent place. It, along with the operas of the mature style («Fedora», «Andrea Chenier»), embodies the typical features of the opera style of the composer. So, the images of the protagonists are vivid in their musical characteristics. In addition, the musical images of Vasyl and Stefana are presented by the composer in the development. The very Vasyl owns almost all the main motives of the opera, which often appear before the listener in a slightly transformed form. Often there is just a reminder of them with similar intonations and rhythm. It should be noted that the musical material characterizing the image of Vasyl, in its expressiveness and intonation wealth, is not inferior to the woman’s party of Stefana, in contrast to the “La Traviata” by G. Verdi, where the main emphasis is on the main character – Violet. As for the orchestration of the opera, in general, it has a strict character, although the composer includes the simulation of a characteristic instrument for the colour provision. Thus, the vivid contrast in the scene of Stefana’s death is a picture of folk feasts under the sounds of the balalaika (which in the orchestra is imitated by the mandolin). The instrument symbolizes that somewhere far away, life continues to go on its own. The orchestral score of the opera “Siberia” is distinguished by the transparency of the texture, most of the material is laid out in the string group and the group of the wooden brass instruments. The timbres of the copper wind instruments are rare, as well as the great dynamic nuances. The feature that gives the opera “Siberia” a similarity to the best examples of the Italian theatre is the intonation concept. For example, the typical resemblance to G. Verdi’s “La Traviata” is that all the musical material of this picture from the lives of ordinary people is permeated with household song and dance intonations and rhythms. They fill both the recitative episodes and the aria ones. If in “La Traviata” the main theme of Alfred is presented in a waltz manner, with a three-part size, the themes of the hero of the opera “Siberia” of Vasyl are described predominantly in four-part sizes (including 12/8), which is more attractive to the song-romance composition. The parallel with “La Traviata” is still that the hero Alfred had to fight not only with the public condemnation about the choice of his beloved woman who led an unworthy way of life but also with the personal condemnation from his father and family. Vasyl also struggled for his beloved woman, who was also a courtesan, but for him it was not so important what Stefana’s being was like, the problem was her financial dependence on another man. The prospect of further study of the topic. In the modern theatre (after a long oblivion) both the directors and performers return their interest to the opera “Siberia”, which makes it possible to analyse the composition by U. Giordano from the point of view of the performing analysis.

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Wu, Faye, Chindhuri Selvadurai, Quinn Smithwick, James Cain, Jerry Cavallerano, Phil Silver, and Elizabeth Goldring. "The Seeing Machine Camera: An Artistic Tool for the Visually Challenged Conceived by a Visually Challenged Artist." Leonardo 45, no. 2 (April 2012): 141–47. http://dx.doi.org/10.1162/leon_a_00280.

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The Vision Group at the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (MIT) has developed the Seeing Machine Camera (SMC) under the direction of Elizabeth Goldring, a visually challenged artist. The SMC is an innovative tool that enables artistic expression for those with decreased vision. The camera enhances the ability to see the face of a loved one, look at a painting in a museum, photograph landscapes or create digital artwork. For visually challenged artists who may feel isolated from their visual world, the SMC provides an opportunity to connect to the people around them, enjoy a greater sense of independence and expand their creativity.

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MASSEY, DREW. "Leonard Bernstein and the Harvard Student Union: In Search of Political Origins." Journal of the Society for American Music 3, no. 1 (January 15, 2009): 67–84. http://dx.doi.org/10.1017/s1752196309090051.

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AbstractIn spite of the publicity generated at times by the politics of the mature Leonard Bernstein, the roots of his entanglement with political causes have been little-explored. As part of a larger collaborative project investigating Bernstein's ties to Boston, this article traces his role in the Harvard Student Union's theatrical productions. These shows were important because they represented some of Bernstein's earliest efforts at writing and directing for the theater. Bernstein worked on two shows sponsored by the Union: the production of Marc Blitzstein'sCradle Will Rockin 1939, during Bernstein's senior year at Harvard, and that of Aristophanes' playPeacein 1941, two years after he graduated. Although the Harvard Student Union was a major progressive political force on campus, Bernstein's relationship with the group appears to have been surprisingly casual. Examination of archival materials surrounding the productions, as well as selected interviews from the larger collaborative Bernstein project of which this article is but one part, reveals Bernstein as a man who was primarily interested in the Harvard Student Union insofar as it was an organization amenable to supporting his musical activities. As the heat of Bernstein's celebrity cools with time, such findings are an important aid in avoiding drawing overly deterministic conclusions about the significance of Bernstein's affiliations while ignoring his own immediate aims, political or otherwise.

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Kasyanova, Olena, and Anatoly Kocherga. "Stage Concept of the Golden Calf Dance in Myroslav Skoryk Opera "Moses"." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(60) (September 27, 2023): 112–23. http://dx.doi.org/10.31318/2414-052x.3(60).2023.296803.

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The authors of the article considered the peculiarities of the stage interpretation of the vocalchoreographic component in Myroslav Skoryk's opera "Moses", namely the scene of worship before the Golden Calf. Two productions of this opera, which took place in Kyiv and Lviv, were analyzed. The relevance of this plot is due to the appeal to works of a parable direction in the fateful period for mankind, times when one has to choose one's own path on the basis of the spiritual treasury of Christianity - the Bible. The essence of the dance before the Golden Calf is a kind of echo of ancient Egyptian honors performed before the sacred Apis bull and Assyro-Babylonian religious rites dedicated to the god Baal. The characteristic signs of the pagan ritual of worshiping the Golden Idol, their manifestation in an orgiastic, passionately seductive dance with the excitement of the winefueled imagination of the crowd, driving it to frenzy and immoral acts, are proven. In order to create an artistic and holistic performance, it is necessary to synthesize oratorical features (the leading function of the choir, symbolic-generalized interpretations of events with their static-slow-motion unfolding) with operatic specifics (dynamic directing, bright scenography, expressive musical dramaturgy). The article notes the logic of the dance mise-en-scene with the ballet appearance from the choristers who are opponents of Moses, the ballet dancers gradually shed their clothes, and the audience watches the transformation of a religious ceremony into an orgy in the Lviv opera version. The Lviv version differs from the Kyiv version in that the latter has an interpretation of the idolatry scene with a weakly expressed conflict between the two ideological camps due to a simplified miseen-scène of introducing the ballet into the dance action without delineating its affiliation with Moses' opponents. The conformity of the stage solution of the dance of the Golden Calf in the Lviv and Kyiv versions of the opera to the creatively reinterpreted ancient pagan cult of fetishization of wealth and power is proven. Attention is focused on the logic of mise-en-scène in the Lviv version of the play, and on the psychologization and personification of the characters' images in the Kyiv version. The need for complex integrated studies of the use of ancient cult rituals in opera performances with the synthesis of historical, cultural, theological, ethical-aesthetic, socio-psychological, art-based foundations of the existence of a certain ethnic group in the conditions of the development of civilizational processes is predicted.

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Жилина, Татьяна Николаевна. "THEMATIC CLUB OF THE FUNNY AND INVENTIVE PEOPLE AS AN INTERACTIVE METHOD OF FORMING PROFESSIONAL COMPETENCES IN STUDENTS OF HIGHER EDUCATIONAL INSTITUTIONS STUDYING IN THE DIRECTION OF «GEOGRAPHY»." Tomsk state pedagogical university bulletin, no. 2(214) (March 24, 2021): 31–38. http://dx.doi.org/10.23951/1609-624x-2021-2-31-38.

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Введение. Современное образование на разных его уровнях направлено на формирование и развитие высокоинтеллектуальной и творческой личности, обладающей значительным профессиональным потенциалом. Для достижения данной цели требуется высокая квалификация преподавателя в области преподаваемых дисциплин и владение современными методами организации образовательного взаимодействия со студентами. Цель – анализ образовательного потенциала предметного КВНа «Государство: экономико-географическое положение, свойства территории, тип экономики» в развитии профессиональных компетенций бакалавров (направление подготовки 05.03.02 География) и магистрантов (направление 05.04.02 География, программа «Цифровые технологии в географии» профиля «География в общем и профессиональном образовании»). Материал и методы. Представлены результаты опыта подготовки и проведения предметного КВНа на кафедре географии Томского государственного университета с 2013 по 2019 г. При изучении курса «Социально-экономическая география» и проведении предметного КВНа использованы интерактивные методы обучения – метод дискуссии, эвристическая беседа, мозговой штурм, практические работы, метод деловой игры. Метод анкетирования бакалавров и магистрантов-педагогов позволил определить образовательный потенциал мероприятия. Результаты и обсуждение. Выделяются этапы мероприятия, направленные на получение образовательного результата: вводный, когда студенты знакомятся с теоретическим материалом курса, выполняют практические работы и готовятся к КВНу; этап проведения предметного КВНа включает в себя представление от каждой группы результатов исследования по описанию государства, проекта создания предприятия, научно-музыкально-театрализованного представления и решение ситуационных задач. Итоговый этап включает анализ образовательных результатов, где предлагается ответить на вопросы рефлексивного характера, проводятся анкетирование студентов и анализ анкет. Заключение. Образовательный и развивающий потенциал предметного КВНа значителен и выражается в формировании профессиональных компетенций бакалавров и магистрантов указанных направлений; интенсификации процесса усвоения, понимания и творческого использования полученных знаний в решении практических задач; вовлеченности участников и их активного взаимодействия между собой в решении проблем и развитии личной рефлексии и навыков самоанализа при групповой работе; усилении мотивации к изучению дисциплины; формировании позитивного отношения к профессиональной деятельности. Достигается высокий уровень профессиональных компетенций у магистрантов как будущих учителей географии, владеющих современными образовательными технологиями и методиками для организации качественного учебно-воспитательного процесса в образовательных учреждениях разного типа. Introduction. Education nowadays is aimed at the establishment and development of a highly intellectual and creative personality with significant professional potential. Achieving this goal requires high qualification of the teacher in the field of the disciplines taught and his mastery of modern methods of organizing educational interaction with students. Aim and objectives. The main aim of the research being done is to analyze the educational potential of the thematic club of the funny and resourceful under the name of «State: economic and geographical position, the properties of a territory, a type of economy» in forming professional competences of students studying in the direction of training Geography 05.03.02 and master students studying in accordance with the master program «Digital technologies in geography», the profile «Geography in general and professional education». Material and methods. This article uses the research data set produced by organizing and holding a thematic KVN at the Department of Geography of NR TSU in the period from 2013 to 2019. We used group discussion, heuristic conversation, brainstorming, practical works and other interactive teaching methods within the course «Social and economic geography» and as part of conducting a thematic KVN. A questioning of bachelors and masters students allowed to determine the educational potential of the event. Results and discussion. Several stages of the event are singled out. During the introductory stage the students are introduced to the theoretical material of the courses, do practical work and prepare for conducting the club of the funy and resourceful when they are given special tasks to fulfill. Holding a thematic KVN includes a presentation of scientific information on characteristics of a state and a project of setting up a company in the territory of the country concerned, which is done by each group of students. The stage also deals with the solution of some situational problems and a scientific, musical and theatrical performance. The final stage of the thematic club is concerned with the analysis of the results obtained where all the participants are offered to answer some questions of a reflexive character. Conclusion. The educational and advanced potential of the thematic club of the funny and resourceful is significant and they are expressed in forming professional competencies in bachelors and masters of the directions concerned. This potential is also characterized by the intensification of the process of acquiring, understanding and creative using of the knowledge obtained to solve practical problems; involvement of all the participants and their active interaction with each other to find solutions to problems; development of personal reflection and self-analysis skills in group work; motivation growth to study a discipline, and formation of a positive attitude to a professional activity. On the basis of the factors mentioned, we can say that a new qualitative level of professional education of master students is achieved. The latter will become geography teachers in the future and will be able to employ modern pedagogical techniques and methods to ensure the quality of an academic and educational process in various educational institutions which is one of the major factors of forming a new generation of teachers and instructors.

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Mikhailov, Mikhail V. "Museum “Rifle and Guitar” in the service of school education." Issues of Museology 14, no. 1 (2023): 114–25. http://dx.doi.org/10.21638/spbu27.2023.109.

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Below is an article by Mikhail Mikhailov, the ideological inspirer, author and head of the school military-historical and literary-musical museum “Rifle and Guitar”, solemnly opened on November 25, 2022, at school No 1515 in Moscow. We have taken the liberty of writing this short preliminary text to warn the reader that the published material does not fully meet the formal requirements for academic work, but at the same time it is a valuable source demonstrating new directions in the development of school museums — the largest group of museums in Russia. The fact is that the Museum “Rifle and Guitar” is significantly different from many other military-historical or literary institutions of this kind: the author naturallyn positions the museum of military bard song as an organic representative of both of these profiles. In addition, a specific function lies in the fact that the creative cultural heritage born in the Soviet-Afghan war (1979–1989), which is little talked about in society, is being transformed into a museum filed. However, the author perfectly illustrates the phenomenon that served as an incentive for the creation of the museum: the bard song of “Afghan” deservedly became one of the main instruments of “people’s memory” about the “last war of the great power”, and its authors, performers, publishers and curators are among the creators and frequent museum guests. Thus, we can talk about a special, ecological mission that the museum carries: the intangible objects of the historical and cultural environment are preserved and actualized with the help of its direct bearers, not only issues related to school education and upbringing are resolved, but also the urgent social problems of the society’s reconciliation with an “unpopular” war.

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Prokopov, S. "J. S. Bach and G. F. Handel’s works performed by the choir of the Kharkiv National Kotlyarevsky University of Arts students." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 22–37. http://dx.doi.org/10.34064/khnum1-52.02.

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Background. In Ukraine both musicologists and performers (in particular the choirs conducted by well-known choirmasters) do much for the further development of the home Bach studies. For instance, the direction of the ‘choral bahhiana’ was actively developed by the leading choirmasters of that time professor M. Berdennikov (Kiev), Y. Kulik (Kharkiv) in the 60’s and 70’s. It is known that future students of the choral conducting departments first learn the choral heritage of J. S. Bach and G. F. Handel, as a rule, at the piano lessons at children musical schools and secondary schools. Unfortunately, their choral works aren’t often sounded today in the concert halls of musical academies and universities of arts. This music seemed to move from the concert stage to the classrooms. Analysis of publications according the topic. Among the researches that highlight the problems of the style of the sacred works of J. S. Bach and G. F. Handel, it is necessary to point out the fundamental studies of I. Givental and L. Gingold, M. Druskin, T. Livanova, V. Protopopov, A. Schweitzer, articles of modern authors by K. Berdennikova, N. Inutochkina, Y. Lyashenko, V. Semenuk, G. Skobtsova. However, the questions of the specifics of choral vocal technique remain, as a rule, outside the attention of scholars and they constitute the topic’s relevance of the article. Methods. The usage of the historical method contributed to the research of the educational choral performance at the present stage. It is involved structural-functional and intonational methods for establishing dramatic works’ features and concretization of their spiritual content. The comparative method is used to determine the differences between vocal style of J. S. Bach and G. F. Handel’s works and the technique of working with them. Objectives. The main goal is systematization of theoretical and practical observations with the performance of J. S. Bach and G. F. Handel’s choral works by the choir of the Kharkiv National Kotlyarevsky University of Arts students. The article is devoted to highlighting the problems of the performing process and the specifics of the choir practice of students with compositions by J. S. Bach (Cantata No. 140, ‘Wachet auf, ruft uns die Stimme’ and Magnificat) G. F. Handel (Dettingen Te Deum in D major, HWV 283). Results. The holding of the 22nd International Music Festival “Kharkiv Assemblies” devoted to the J. S. Bach and G. F. Handel’s oeuvre in 2015 was a significant event not only for Kharkiv but also the whole Ukraine’s musical life. The choir of the Kharkiv National Kotlyarevsky University of Arts students traditionally participated in it as in previous years (art director – Honored Art Worker of Ukraine, professor S. Prokopov, choirmasters – laureate of the all-Ukrainian competition H. Savelyeva, award winner of the all-Ukrainian competition O. Fartushka). The choir performed Magnificat and Cantata No. 140 by J. S. Bach ‘Wachet auf, ruft uns die Stimme’, fragments from the Dettingen Te Deum in D major, HWV 283 by G. F. Handel (the last two works are Kharkiv premieres). The work with them took place in short order and so it caused of some vocal technique difficulties and the problems of performative concept and performative style. Complaxities were intensified by the lack of necessary acoustic accumulation and the practical experience of performing the music of the Baroque by many young choirmasters, members of the choir group. The importance of studying the musical heritage of composers of genius in order to make a conductor-choirmaster personality is emphasized in the article. The main difficulties of learning choral scores due to the lack of performing experience, certain acoustic accumulation of choral music of the late baroque period which students of choral conducting specialization have. The approximation to the true understanding of the performing style of choral music by J. S. Bach and G. F. Handel may be provided with conditions of a thorough in-depth studying their works. The main tasks of the performative choices are described: appreciation of the entire depth of the spiritual content of J. S. Bach’s and G. F. Handel’s music by young performers, the correlation between vocal and instrumental principles, rational and emotional ones. One of the main tasks of the choir practice of students with J. S. Bach’s cantata No. 140 «Watchet auf, ruft uns die Stimme» was an adequate presentation of composer’s style. The composer treats the human voice as equal to the orchestra. Therefore, the vocal-instrumental nature of Bach’s choral style needs another way of sound-building, a greater unity of voices than our home choral music needs. They consider specific methods and techniques of work on such executive factors as tempo-rhythm, strokes. The questions of choral vocal technique, in particular, vocal intonation (significance of timbre expression, usage of different types of respiration, clear diction, active articulation) are raised. J. S. Bach’s interpretation of voice as an instrument, demands from performers a great deal of its mobility, almost virtuosity, especially in contrapuntal sections. As for the vocal style of G. F. Handel, the influence of the operatic style, which is felt in his oratorios and cantatas is emphasized. Conclusions. The choir practice of students and performing by the student choir of German composers’ genius works, the communication of young performers with outstanding conductors, singers (including foreign ones) became for them the true school of craftsmanship, promoted the professional growth of the choir group, revealed its new performance capabilities. Choral music of J. S. Bach and G. F. Handel should move from the educational audiences of universities and academies to the specific halls. The works of genius need to include in student choral groups’ repertoire.

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Jacoby, Nori, Rainer Polak, and Justin London. "Extreme precision in rhythmic interaction is enabled by role-optimized sensorimotor coupling: analysis and modelling of West African drum ensemble music." Philosophical Transactions of the Royal Society B: Biological Sciences 376, no. 1835 (August 23, 2021): 20200331. http://dx.doi.org/10.1098/rstb.2020.0331.

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Human social interactions often involve carefully synchronized behaviours. Musical performance in particular features precise timing and depends on the differentiation and coordination of musical/social roles. Here, we study the influence of musical/social roles, individual musicians and different ensembles on rhythmic synchronization in Malian drum ensemble music, which features synchronization accuracy near the limits of human performance. We analysed 72 recordings of the same piece performed by four trios, in which two drummers in each trio systematically switched roles (lead versus accompaniment). Musical role, rather than individual or group differences, is the main factor influencing synchronization accuracy. Using linear causal modelling, we found a consistent pattern of bi-directional couplings between players, in which the direction and strength of rhythmic adaptation is asymmetrically distributed across musical roles. This differs from notions of musical leadership, which assume that ensemble synchronization relies predominantly on a single dominant personality and/or musical role. We then ran simulations that varied the direction and strength of sensorimotor coupling and found that the coupling pattern used by the Malian musicians affords nearly optimal synchronization. More broadly, our study showcases the importance of ecologically valid and culturally diverse studies of human behaviour. This article is part of the theme issue ‘Synchrony and rhythm interaction: from the brain to behavioural ecology’.

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Wall, Michael Patrick. "Improvising to learn." Research Studies in Music Education 40, no. 1 (January 10, 2018): 117–35. http://dx.doi.org/10.1177/1321103x17745180.

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This study explored how and what a group of six fifth-grade instrumental music students learned during group improvisation activities over eight sessions together with the researcher as participant observer. Students’ learning was investigated through the lenses of musical fluency and collaborative emergence. Findings related to multiple understandings of students’ musical fluency and students’ rhythmically driven displays of collaborative emergence. Implications of this study include the ideas that (a) students’ musical fluency is individual and personal in nature and improvisation gives students a space to explore these personal decisions; (b) young improvisers can be overwhelmed by free improvisation and may create boundaries to aid their playing; (c) without teacher direction, young improvisers can make pedagogical and music making decisions relevant to their interests; and (d) young improvisers can successfully create a collaborative emergent during group improvisation.

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Zorin, Vasyl, Olena Borovytska, and Iryna Yuldasheva. "ON THE ISSUE OF HISTORICAL AND CULTURAL DEVELOPMENT OF CHAMBER AND VOCAL PIANO WORKS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 174–78. http://dx.doi.org/10.36550/2415-7988-2021-1-195-174-178.

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One of the leading groups of genres in which the interaction of vocal and instrumental principles is possible is chamber-vocal works, where one of the participants in the creative dialogue is the piano. The development of chamber and vocal works demonstrated the vitality and leading importance of the genre for musical culture. In the context of the history of music, we can distinguish various forms of interaction between voice and piano. The field of chamber and vocal creativity has repeatedly attracted the attention of scientists. However, due to the fact that it has been developing since the XIX century, the period of its existence to this day often remains little studied. Accordingly, the question of the formation of chamber and vocal piano works is a problem that opens a significant field for studying aspects of the formation of this group of genres. The combination of vocal and instrumental principles has an extremely long history. For a long period of time, vocal was given priority over the instruments that accompanied it. Regarding the question of the unity of vocal and instrumental principles in one work, it was present as early as the times of ancient cultures. As a rule, the instrumental accompaniment played a secondary function in relation to the voice, providing support, tuning, shading the voice or simply filling in the pauses necessary for the rest of the vocalist. With the advent of the Renaissance and the development of various secular vocal genres, there are various works, both purely vocal (polyphonic) and vocal-instrumental. Among the polyphonic genres can be distinguished barcarole, villanelli, frottoli, madrigals, canzones. They are dominated by a polyphonic composition, which provides for «equality» of all voices. Chamber-vocal piano works occupy an important place in the singer's activity. The process of forming a duet of voice and piano had a long prehistory. The stage of the final formation of this genre falls on the XVIII century, and this is facilitated by a number of factors – the arrival of the piano to replace keyboard instruments, its predecessors, and the worldview of the Classicist era. A very important factor is the formation of dialogue between the instrument and the voice, which changes the priority of the vocals. During this period, a kind of summary of the achievements of previous centuries is carried out and conditions are laid for the following directions, in which chamber vocal-instrumental piano works will acquire a fundamentally different quality level.

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Stronsick, Lisa M., Samantha E. Tuft, Sara Incera, and Conor T. McLennan. "Masculine harps and feminine horns: Timbre and pitch level influence gender ratings of musical instruments." Psychology of Music 46, no. 6 (November 10, 2017): 896–912. http://dx.doi.org/10.1177/0305735617734629.

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We examined whether timbre (instrument), pitch level, or both influence gender ratings of musical instruments. According to previous research, a variety of musical instruments are categorized or rated as masculine, neutral, or feminine in a relatively consistent way. Gender associations to musical instruments have been rather reliable across time and across participant populations. We investigated the gender ratings of nine musical instruments (three masculine, three neutral, and three feminine) each heard at low, medium, and high pitch levels within the playable range of each instrument. Both timbre and pitch level influenced participants’ gender ratings. The effect of timbre is consistent with results of previous studies, further demonstrating that participants rate instruments fairly consistently. One novel finding is that pitch level also played a role in participants’ gender ratings. The ratings of all instruments heard in low pitch levels were shifted in the masculine direction, and the ratings of all instruments heard in high pitch levels were shifted in the feminine direction. These results provide evidence for the notion that participants are influenced by associations to both timbre and pitch level when rating musical instruments on gender.

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Bishop, Laura. "Togetherness in musical interaction." Routledge Open Research 3 (March 8, 2024): 16. http://dx.doi.org/10.12688/routledgeopenres.18202.1.

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Playing music as part of a group is challenging, but also rewarding. What factors come together to maximize rewarding group playing experiences? How do feelings of enjoyment, frustration, and social (dis)connection shape group performance as it unfolds? This paper addresses these questions with a discussion of the conditions and processes that underlie rewarding experiences in musical interaction. The concept of musical togetherness is introduced, and defined as the feelings of social connection and pleasure that result from being and acting as part of a group during musical interaction. It is argued that three conditions must be fulfilled for togetherness experiences to occur. First, participants in an interactive setting must be aware of one another as intentional co-performers capable of exchanging expressive ideas. Second, interaction must unfold reliably in real-time, allowing for a mutual perception of liveness. Third, participants must adapt and build off of one another in a way that allows for mutual perception of responsivity. Whether these conditions are met is codetermined by the constraints of the environment in which the interaction takes place and the skills and communication techniques that interaction participants are able to deploy. Togetherness experiences are further supported by alignment between group members in body rhythms and a sense of we-agency, or the feeling of shared contribution to the collective musical output. The social and emotional rewards that are associated with musical togetherness are strengthened through a shared positive emotional response to successful interaction. Musical togetherness is hypothesized to contribute to shaping group performance in real-time by motivating group members to interact in ways that lead them to feel more together. This framework provides structure for a construct that has been used casually in the music psychology literature, has implications for how the performance behaviour of ensemble musicians is understood.

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Jin, Jae Young, Marzelan Salleh, and Camellia Siti Maya Mohamed Razali. "THE ELEMENTS INFLUENCING THE MUSICAL DIRECTION OF FUSION JAZZ ARTISTS: A STUDY OF LEE RITENOUR." International Journal of Creative Industries 6, no. 10 (June 6, 2024): 01–15. http://dx.doi.org/10.35631/ijcrei.610001.

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Traditional Jazz is characterized by swing rhythm, the use of blues notes, syncopation, and improvisation. Jazz music has gone through evolution, birthing multiple iterations of a genre. One such iteration is Fusion Jazz as a combination of Jazz and Rock music. This music has undergone changes, adopting musical elements from various genres such as Funk, R&B, Blues, and other popular music, including the occasional use of computer programing. This study analyzes and studies the elements that have influenced fusion jazz artists. During the process of producing, recording, and performing, musicians often discover their personal musical strengths and weaknesses. This greatly improves or changes the musician’s tendencies on music. This research is to explore the life, career, and musical contributions of guitarist Lee Ritenour, with a specific focus on his impact on the jazz and contemporary music scenes. This study aims to examine the influence he exerted on the fusion jazz world by analyzing the various musical elements present in his compositions. Thus, this study will also predict possible future trends of Fusion Jazz.

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Ruismäki, Heikki, and Tarja Tereska. "Students' assessments of music learning experiences from kindergarten to university." British Journal of Music Education 25, no. 1 (March 2008): 23–39. http://dx.doi.org/10.1017/s026505170700770x.

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This article reports on a retrospective study of Finnish pre-service elementary teachers' assessments of their musical experiences in nursery school and elementary and secondary school and real-time study of their experiences in teacher training. The participants (N = 590) had received musical instruction in five age groups (4–6 years, 7–12 years, 13–15 years, 16–19 years, 20–25 years). The assessments were most positive in the 4–6 years group and thereafter declined until puberty in the 13–15 years group. A change in a positive direction was perceived in the 16–19 years group and also in the 20–25 years group (during teacher training). Gender differences were statistically significant except during upper secondary school. The most enjoyable activities in formal music education were singing and playing; music theory was experienced most negatively.

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Gendova, Maria Yurievna. "Children’s Ballet Performance – an Achievement of the Soviet Era." Pan-Art 3, no. 1 (January 10, 2023): 11–20. http://dx.doi.org/10.30853/pa20230009.

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The aim of the study is to substantiate that children’s ballet in Soviet reality is a special direction of musical theatre that contributed to the upbringing of younger generations in line with the philosophy of goodness, creativity and communal spirit. The paper presents the history of children’s ballet formation in the USSR as one of the directions of musical theatre; describes the contribution of ballet masters to the development of children’s ballet; analyses the content of ballet productions of this period; shows the development of children’s ballet in the USSR in the second half of the XX century and then in the Russian Federation; analyses the current situation related to the development of children’s ballet in Russia. The scientific novelty of the study lies in identifying the prerequisites for the creation of children’s ballet in the USSR as one of the directions of musical theatre, as well as in determining the characteristic genres of ballet productions for children in the Soviet period. As a result, it has been proved that the emergence of such a direction of musical theatre as children’s ballet in the USSR should be considered a key achievement of the era both in the Soviet Union and in the world, its value component is the fostering of justice presented to children in understandable and realistic plot conditions.

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Middleton, Richard. "Articulating musical meaning/re-constructing musical history/locating the ‘popular’." Popular Music 5 (January 1985): 5–43. http://dx.doi.org/10.1017/s0261143000001914.

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In thinking about how to locate popular music within music history, I start from two propositions. Firstly, that attempts to isolate and define musical types, functions and effects by purely empirical means are likely to be unhelpful. Understanding ‘popular music’ – for example – in terms of a quantitively measured ‘popularity’ (sales figures) is not only methodologically difficult to do coherently but, more important, it hypostatises what is in reality a result of living, historically changing relationships. Secondly: if, then, musical categories should be grasped as part of social processes, it does not however follow that in this relationship (between musical type, concept or practice on the one hand, social group, factor or formation on the other) the relata are in a one-to-one correspondence. Thus – quoting again examples from commonly assumed positions – the idea that ‘popular music’ is ‘really’ confined to authentic proletarian self-expression is no less misleading than the Adornian notion that it is part of an undifferentiated blanket of leisure-goods imposed on the unresisting masses by a monopoly-capitalist ‘culture industry’.

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Király, Lajos. "The Interactions of Musical Elements." Studia Universitatis Babeş-Bolyai Musica 69, no. 1 (June 10, 2024): 73–88. http://dx.doi.org/10.24193/subbmusica.2024.1.06.

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This study analyses the early intersections between melody, rhythm and harmony, up to the recent emergence of new musical styles. Psychological studies of rhythm have shown that it has played an important role in social and relational experience. At the same time, it creates a sense of bonding between people and can alter the moods of several people at once and lead them in a unified direction. Melody, rhythm and tempo tell the listener that they are in a safe and good place, expressing a psychological need for a sense of security, providing a sense of life’s pulse, similarly to the heartbeat. Unfortunately, modern human life lacks the life-like rhythm that God provided for us in creation. Ritual is our identity, our memory, a continuation of the old, an exit from the individual sphere and an entry into a communal one, into a new role, suggesting a transition, accompanied by sounds, rhythm, song, music and dance Keywords: music, rhythm, melody, rites, syncopation phenomenon, Christian, Old Testament

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Groß, Christine, Bettina L. Serrallach, Eva Möhler, Jachin E. Pousson, Peter Schneider, Markus Christiner, and Valdis Bernhofs. "Musical Performance in Adolescents with ADHD, ADD and Dyslexia—Behavioral and Neurophysiological Aspects." Brain Sciences 12, no. 2 (January 18, 2022): 127. http://dx.doi.org/10.3390/brainsci12020127.

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Research has shown that dyslexia and attention deficit (hyperactivity) disorder (AD(H)D) are characterized by specific neuroanatomical and neurofunctional differences in the auditory cortex. These neurofunctional characteristics in children with ADHD, ADD and dyslexia are linked to distinct differences in music perception. Group-specific differences in the musical performance of patients with ADHD, ADD and dyslexia have not been investigated in detail so far. We investigated the musical performance and neurophysiological correlates of 21 adolescents with dyslexia, 19 with ADHD, 28 with ADD and 28 age-matched, unaffected controls using a music performance assessment scale and magnetoencephalography (MEG). Musical experts independently assessed pitch and rhythmic accuracy, intonation, improvisation skills and musical expression. Compared to dyslexic adolescents, controls as well as adolescents with ADHD and ADD performed better in rhythmic reproduction, rhythmic improvisation and musical expression. Controls were significantly better in rhythmic reproduction than adolescents with ADD and scored higher in rhythmic and pitch improvisation than adolescents with ADHD. Adolescents with ADD and controls scored better in pitch reproduction than dyslexic adolescents. In pitch improvisation, the ADD group performed better than the ADHD group, and controls scored better than dyslexic adolescents. Discriminant analysis revealed that rhythmic improvisation and musical expression discriminate the dyslexic group from controls and adolescents with ADHD and ADD. A second discriminant analysis based on MEG variables showed that absolute P1 latency asynchrony |R-L| distinguishes the control group from the disorder groups best, while P1 and N1 latencies averaged across hemispheres separate the control, ADD and ADHD groups from the dyslexic group. Furthermore, rhythmic improvisation was negatively correlated with auditory-evoked P1 and N1 latencies, pointing in the following direction: the earlier the P1 and N1 latencies (mean), the better the rhythmic improvisation. These findings provide novel insight into the differences between music processing and performance in adolescents with and without neurodevelopmental disorders. A better understanding of these differences may help to develop tailored preventions or therapeutic interventions.

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CHERNOIVANENKO, ALLA, LIU YU, ZHANG XINWEN, SVETLANA MURZA, and LYUDMILA IVANOVA. "A MUSICAL INSTRUMENT AS AN ANTHROPOLOGICAL PHENOMENON." AD ALTA: 13/01-XXXII. 13, no. 1 (January 31, 2023): 64–68. http://dx.doi.org/10.33543/1301326468.

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Among the philosophical discourses in the understanding of the phenomenon of music, the cultural and anthropological one is gaining increasingly more relevance. Located in the direction of the modern paradigm of art history, cultural and anthropological research, this approach expands the traditional perspectives of musicological and philosophical analysis and allows considering music and musical instruments in the context of processes occurring in the sphere of human cultural existence. In the article, music is considered as a specifically anthropological phenomenon that reflects not only the external sociocultural aspects of human existence, but also, first of all, its fundamental essential bases (thinking, feelings, cathartic outlets, etc.).

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Wong, Patrick C. M., Alice H. D. Chan, Anil Roy, and Elizabeth H. Margulis. "The Bimusical Brain Is Not Two Monomusical Brains in One: Evidence from Musical Affective Processing." Journal of Cognitive Neuroscience 23, no. 12 (December 2011): 4082–93. http://dx.doi.org/10.1162/jocn_a_00105.

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Complex auditory exposures in ambient environments include systems of not only linguistic but also musical sounds. Because musical exposure is often passive, consisting of listening rather than performing, examining listeners without formal musical training allows for the investigation of the effects of passive exposure on our nervous system without active use. Additionally, studying listeners who have exposure to more than one musical system allows for an evaluation of how the brain acquires multiple symbolic and communicative systems. In the present fMRI study, listeners who had been exposed to Western-only (monomusicals) and both Indian and Western musical systems (bimusicals) since childhood and did not have significant formal musical training made tension judgments on Western and Indian music. Significant group by music interactions in temporal and limbic regions were found, with effects predominantly driven by between-music differences in temporal regions in the monomusicals and by between-music differences in limbic regions in the bimusicals. Effective connectivity analysis of this network via structural equation modeling (SEM) showed significant path differences across groups and music conditions, most notably a higher degree of connectivity and larger differentiation between the music conditions within the bimusicals. SEM was also used to examine the relationships among the degree of music exposure, affective responses, and activation in various brain regions. Results revealed a more complex behavioral–neural relationship in the bimusicals, suggesting that affective responses in this group are shaped by multiple behavioral and neural factors. These three lines of evidence suggest a clear differentiation of the effects of the exposure of one versus multiple musical systems.

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Ajeng Ninda Uminar. "The Use of Percussion Instruments to Improve Musical Intelligence of Young Children." Journal of Childhood Development 3, no. 1 (March 31, 2023): 30–38. http://dx.doi.org/10.25217/jcd.v3i1.3282.

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Musical intelligence is one of the essential aspects that should be given to children. With music, children can easily remember and manipulate patterns of musical forms. Music will primarily affect human life in the form of musical rhythms, musical instruments, and songs. Therefore, to improve musical intelligence in early childhood, an educator must use percussion instruments to improve children's musical intelligence. One way to improve it is to use percussion instruments, where percussion instruments are hit musical instruments found by children in the surrounding environment and can have a positive and educational influence on early childhood. This research was conducted at Raudhatul Atfhal Baitul Umi Pajaresuk Pringsewu in group B1 students. This research is a Classroom Action Research with a descriptive qualitative research type. The formulation of the problem that the author proposes in this study is "Whether the use of percussion musical instruments can increase the musical intelligence of children in group B1 RA Baitul Umi Pajaresuk Pringsewu. The research subjects were 20 students in group B1, while the object of research was early childhood musical intelligence. Based on the research results at RA Baitul Umi Pajaresuk Pringsewu, it can be concluded that using percussion musical instruments can improve children's musical intelligence at RA Baitul Umi Pajaresuk Pringsewu in the 2016-2017 school year with excellent results. This can be seen from the musical intelligence of students where in the pre-cycle of research, it can be seen that students who achieve very well development do not exist from all students totaling 20 students. Then in cycle I, students with perfect musical intelligence improvement still have not shown results. And in cycle II, it increased again to 1 learner or 80% of learners who had reached the predetermined assessment standards.

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Camara de Landa, Enrique. "An Andean Musical Structure That Defies Borders." European Journal of Musicology 20, no. 1 (April 10, 2022): 229–42. http://dx.doi.org/10.5450/ejm.20.1.2021.229.

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In many existing repertoires of traditional music in the South American Andean area a type of melodic structure that seems to refer to a common antecedent can be detected, even though its adaptation to the various genres is manifested through musical variants. The comparative analysis of these expressions (some belonging to the heptatonic modal and tonal systems of European origin and other that are typical of the anhemitonic pentatonic Andean system) allows a possible influence of the latter on the former to be hypothesized. This proposal aims to advance in this direction and will try to highlight one of the characteristics that give cohesion to musical expressions from a cultural area affected by processes of transculturation and identity affirmation. To achieve new knowledge about this phenomenon one has to analyze both the musical structures and the implications of its use in repertoires emerging at different times and in different circumstances, linked to the search and affirmation of an Andean cultural identity through organized sound.

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Benguerel, André-Pierre, and Carol Westdal. "Absolute Pitch and the Perception of Sequential Musical Intervals." Music Perception 9, no. 1 (1991): 105–19. http://dx.doi.org/10.2307/40286161.

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When identifying musical intervals, most musicians appear to use only one strategy: they directly evaluate the musical interval between two notes (relative-pitch strategy). Musicians with absolute pitch (AP) seem to have two strategies available for identifying intervals: they can either use the relative-pitch strategy, or they can first identify the two pitches and then infer the musical interval between them (AP strategy). This study investigates the perception of sequential musical intervals by two groups of musicians, one group with AP and the other without AP. Most subjects in either group were able to name standard sequential musical intervals based on the equal-tempered scale accurately. Most subjects in the AP group were able to name notes of the equal-tempered scale accurately and consistently, whereas subjects without AP were not. Subjects with AP identified, with varying degrees of accuracy and consistency, single notes spaced in 20-cent increments over a 9.4- semitone range, using the standard musical note names. In the main experiment, subjects identified sequential musical intervals ranging in 20- cent steps from 260 to 540 cents, using the standard musical interval names. On the basis of their identification errors, subjects, both with and without AP, appeared to identify the intervals using the RP strategy rather than the AP strategy. It seems that musicians with AP do not use this ability in the identification of sequential musical intervals, relying instead on their sense of relative pitch.

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Maniez, François. "Traitement de l’ambiguïté syntaxique et sémantique en TA neuronale : analyse de la traduction de l’anglais vers le français, l’espagnol et l’italien." Traduction et Langues 21, no. 1 (August 31, 2022): 10–27. http://dx.doi.org/10.52919/translang.v21i1.872.

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Syntactic and Semantic Ambiguity Processing in Neural MT from English to French, Spanish and Italian Despite recent advances in artificial intelligence, human translators outperform MT for at least three types of tasks: identifying referents in anaphora (especially of the interphrastic kind), resolving semantic ambiguity (which is mainly due to polysemy or homonymy), and resolving syntactic ambiguity (especially with poorly inflected source languages such as English). Using the results obtained by two freely available online machine translation programs, Google Translate and DeepL, we examine how these two types of ambiguity are processed in translation from English into French, Spanish and Italian. Our results show that the two programs perform well overall in resolving the simplest cases of syntactic ambiguity, with difficulties arising more frequently for noun phrases featuring atypical syntactic divisions and rarely used collocations. MT output for ambiguous structures involving verb roots followed by the –ING morpheme (flying planes, growing pains) is studied, as well as syntactic structures in which two or more nouns are preceded by one or more adjectives. MT handles relatively well the longest of those structures (ADJ ADJ N N N N), probably because their subsets are part of the bilingual or target language monolingual corpora that underlie MT systems. Structures involving head modification and coordination (ADJ N AND N) are also known to pose problems for MT and human translators alike. But since many of the most frequent N AND N structures involve cohyponyms (men and women, brothers and sisters), antonyms (rights and duties, costs and benefits) or near- synonyms (aid and advice), their translation as a whole unit generally triggers the choice of correct syntact dependencies in translation. Structures in which the adjective only modifies the first noun (fresh air and exercise, social sciences and humanities) are much less frequent and are also probably translated as a whole unit. Structures involving premodification, coordination and post-modification may give rise to four distinct types of structures depending on whether long-range dependencies apply (detailed [knowledge and understanding] of the IT industry, [ethnic group] and [place of birth], invaluable [context and [source of information], [close friend] and confidant] of Mr Jones. Structures in which both long-range dependencies apply (integrated prevention and control of pollution) are the ones which most frequently cause errors for MT. Semantic ambiguity cases have been processed with increasing success by MT, especially when collocates vary widely for the main two meanings of homonyms (a well-known example is the word pen). Processing polysemy (for instance the medical use of conditions in pre-existing conditions) is a bit more of a challenge for MT. Other cases involving concentration of several polysemic terms in the same sentence (Changing the placement of beams relative to the staff involves changing the direction of the stems in the beam) also create difficulties for MT when the polysemic terms are used without any of their usual collocates (here in the specialised field of musical edition). Homonymy cases involving grammatical category changes (N-to-V or V-to-N conversion) seem to continue to pose the most difficulties to neural MT, despite increasing consideration of intra- and extraphrastic context. Potentially ambiguous word sequences (treatment increase in as the daily dose and duration of treatment increase), which were processed incorrectly before neuronal MT, are now correctly translated. But word sequences in which one word belongs to a part of speech which is not the most commonly used one (e.g. the noun remains in what remains can be considered) may cause occasional errors. Several examples that involve the verb founder are studied, and they frequently trigger translation of the noun in all three Romance languages (or translations of the verbs find or found due to incorrect segmentation).

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Bagastiar, Akbar, and Asnie Izzatul Anshory. "Exploring the interplay of choreography and singing techniques in vocal group performances at Pekan Seni Mahasiswa Nasional Competition." Interlude: Indonesian Journal of Music Research, Development, and Technology 3, no. 1 (November 30, 2023): 1–7. http://dx.doi.org/10.17509/interlude.v3i1.70082.

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A vocal group is a group of individuals with singing skills united in one Group with different vocal voices. Several voice levels in vocal groups range from soprano, alto, tenor, and bass. In the presentation of vocal groups, two aspects need to be considered: musical and non-musical. Some examples of musical aspects that need to be considered in group vocals are intonation, timbre, dynamics, technique, and arrangement of works. Apart from that, non-musical aspects also play an essential role in the presentation of vocal groups. Some examples of musical aspects that must be considered are costumes, props, and choreography. This research discusses choreography in Partere Voce, where the choreography can influence the breathing strength of the singers, so vocal group members need specific singing techniques. The method used for this research is data collection through interviews and observations. Researchers participated in the competition activities so that they knew the field conditions and felt what was complained about; after that, the researchers tried to find the main points of the problem and solutions to the perceived problems.

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Gök, Murat. "Evaluation of Students’ Cognitive and Conceptual Learning Levels in Middle School Music Lessons." International Journal of Education and Literacy Studies 11, no. 1 (January 30, 2023): 194–206. http://dx.doi.org/10.7575/aiac.ijels.v.11n.1p.194.

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This research aims to reveal secondary school students’ cognitive and conceptual learning levels in music lessons. In the research, cognitive and conceptual learning competencies in music lessons were discussed in line with students’ musical literacy and other musical learning contexts. In this direction, the musical symbol, term, and concept achievement test (MSTCA) were applied to 206 students in a sample group of 12-year-old students from three different schools. The data obtained in the test were categorized and tabulated according to subheadings “duration of the note values, musical expressions, measure indicator.” As a result of the research, it was revealed that most students could not conceptualize symbols, terms and concepts especially those related to note duration values. According to the results of the research, it is seen that secondary school students do not understand the musical symbols, terms, and concepts they encounter in the music lesson to a large extent, they have misconceptions, and their learning levels in this field are not at the desired level. Similarly, it is observed that the students need help to fully embody the terms and concepts such as unit beat, tempo, staff, and measure indicator in music. It has been determined that the 6th grade students are not at the level of essential preparedness required for music literacy.

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Williams, Esther. "RCS promotes musical theatre." Bulletin of the Royal College of Surgeons of England 94, no. 6 (June 1, 2012): 188. http://dx.doi.org/10.1308/147363512x13311314196933.

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Easy listening music in the operating theatre could reduce anxiety for millions of patients undergoing operations using local anaesthetic each year, according to research. This is just one of the surgical news stories that captured the media's imagination last month. Surgeons from the plastic and reconstructive department at the John Radcliffe Hospital in Oxford measured the respiratory rates of emergency patients and asked them to rate their feelings of worry. Half the patients had their operation in a theatre with music playing and half without – the group who were exposed to music reported lower levels of anxiety and had a lower breathing rate.

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Journal articles on the topic 'One Direction (Musical group)'

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