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Journal articles on the topic 'Percussion ensembles Music'
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1
Morris, J. David, and Keith P. Thompson. "A Different Drum: Percussion Ensembles in General Music." Music Educators Journal 76, no. 1 (September 1989): 30–34. http://dx.doi.org/10.2307/3400896.
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Stavrat, Constantin. "10. Comparative Interpretative Analysis of David Mancini’s Work Suite for Solo Drumset and Percussion Ensemble." Review of Artistic Education 19, no. 1 (April 1, 2020): 81–84. http://dx.doi.org/10.2478/rae-2020-0010.
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AbstractThe endless possibilities of expression that jazz has developed over the last hundreds of years could not only influence the composers, but also the performers who dedicated themselves to the fascinating and complex field of percussion. One of the percussion players who has been influenced by this genre is David Mancini, whose conposition I chose for comparative analysis - Suite for solo drum and percussion ensemble in the interpretation of two percussion ensembles Vibraslap and Guiro, whose activity was perpetuated due to enthusiasm and the professionalism of the two mentors of the respective groups, professors Marian Vaida and Bedo Gabor, both perfected within the percussion class of the Conservatory of Music “George Enescu” in Iasi Romania, founded and led for more than half a century by the renowned professor Florian Simion. Two totally different interpretations of David Mancini’s work - Suite for solo drums and percussion ensemble, each with a few moments of success, but also with the need to perfect many elements of technique and interpretive design.
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IOAN, Cristina-Mioara. "Methodology of training music education in children and young people with the help of wind and percussion instruments, in the fanfare ensemble." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 131–40. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.14.
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The artistic phenomenon of fanfare music for ensembles made up of children and youth has seen a large development in the NV region of the country in recent years, through the enthusiasm of some musicians, teachers or conductors, but also through the openness to culture of some local communities. The assimilation of musical and instrumental notions was done through individual study coordinated by teachers or conductors, and the musical product was assembled in the band, to be presented in concerts and parades. The teaching methods used in the training of these instrumentalists are the methods used in vocational art education, although they studied the instrument as amateurs. The artistic results made the individual products (instrumentalists) become a nursery for music faculties and academies in Transylvania.
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Ray, Daniel E. "Military Bands and Government Documents." DttP: Documents to the People 44, no. 4 (January 31, 2017): 27. http://dx.doi.org/10.5860/dttp.v44i4.6227.
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Since before the founding of the United States, musicians have been an integral part of the military. Throughout history armies have used trumpets and drums to enhance communication and assist the movement of mass forces. Over time, the military has influenced both the makeup of musical ensembles, and styles of popular music. The modern American wind band featuring brass, woodwinds and percussion, is modeled after British military bands. And the marches of John Phillip Sousa, who served as the director of the President’s Own Marine Band for twelve years, remain popular to this day. His “Stars and Stripes Forever” is considered our national march. Today, the US Army declares itself “the oldest and largest employer of musicians in the world.”
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Kang, Sangmi, and Hyesoo Yoo. "American preservice elementary teachers’ self-reported learning outcomes from participating in Korean percussion lessons in a music-methods course." Research Studies in Music Education 41, no. 3 (January 10, 2019): 327–42. http://dx.doi.org/10.1177/1321103x18806084.
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The purpose of this study was to examine American preservice classroom teachers’ self-reported learning outcomes after partaking in a weekly Korean percussion ensemble in an elementary music-methods course. The preservice classroom teachers rehearsed a Korean percussion ensemble piece ( Samulnori) as their course routine for half of the semester. Participants’ open-ended essays and semi-structured interviews were analyzed to determine their learning outcomes. Based on Abril’s (2006) three world music learning outcome categories (musical, cultural, and other) as initial codes, the emergent coding process was adopted. Through the data analysis, four themes emerged that illustrated preservice classroom teachers’ learning outcomes: (a) Cultural Awareness: Difference, (b) Music Fundamentals: Overlap with Traditional Course Content, (c) Bonding Experience: Community, and (d) Teacher Education: A Well-Rounded Teacher. Based on the results, possible implications for teaching culturally diverse musics to preservice classroom teachers in music-methods courses were discussed.
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Rakochi, Vadym. "Traditional and innovative in the orchestration of Ivan Karabyts‘ third concerto for orchestra «Lamantation»." Ukrainian musicology 46 (October 27, 2020): 86–98. http://dx.doi.org/10.31318/0130-5298.2020.46.234602.
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The orchestration of Karabyts’ Third Concerto for Orchestra “Holosinnia” (“Lamentations”) has been studied. The relevance of the study. Despite a number of research works on Karabits’ Third Concerto its orchestration remains little studied yet. Therefore, the main objective of the paper is to examine orchestration of the Third Concerto for orchestra and to research the interaction between ‘traditional’ and ‘innovative’ traits in Concerto’s orchestration. The methods of the research. The score analysis lies in the core of the paper but historical, comparative, and semiotic methods of analysis have been applied as well. Attention is focused on the combination of traditional and innovative origins which paved the way for the composer to rethink the methods of presentation in the orchestra. Thus, these transformations reflect the original (author’s) approach to the genre. It was emphasized that Karabyts interprets the synthetical character inherent to the concerto for orchestra genre particularly wide. It is emphasized that this approach allows the composer to identify a palette of genres of instrumental music: for one performer, different combinations of chamber ensembles, concerto grosso and solo instrumental concerto. In particular, the opposition between two groups was strengthened not only due to unequal quantity of performers in each of them (concerto grosso), but also by relying on the different nature of the material or the use of bells or tube, quite rare in this role, to solo (solo concerto). The combination of traditional and innovative is reflected in the composition of the orchestra (paired with a large percussion group) and the approach to percussion instruments (endowing them with melodic, semantic, formative and other functions). It is emphasized that Karabyts repeatedly applies “percussion-like" interpretation in relation to other instruments. Such an approach results in a qualitative transformation of the instruments: the inherent warmth of a string timbre decreases; the singularity of each wind color neutral-lizes. Complications of semantics at each rhythmic, intonation, and timbre ostinato formulas are revealed. The introduction of a particular (author’s) approach to the baroque tradition of combining the functions of a soloist and a capellmeister, the manifestation of which is the solo of bells perso-nally made by Karabyts, has been noticed. The conclusions state that the Concerto’s orchestration plays important role in dialectically combination of “objective” and traditional (the passage of time, the history of the people, destiny) with “subjective” and individual (the author’s attitude to events and their rethinking). Such an approach is typical for the twentieth-century musical art. The significance of the research is that it reveals the importance of orchestration as a means of expression and thus brings better understanding of the functional potential of orchestration within the frame of the twentieth-century art tendencies.
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Harper, Adam. "Metal Wood Skin: The Colin Currie Percussion Festival, Southbank Centre, London." Tempo 69, no. 272 (April 2015): 69–72. http://dx.doi.org/10.1017/s0040298214001119.
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‘THE PERCUSSION UNIVERSE OF AXEL BORUP-JØRGENSEN’: Solo; Music for percussion + viola; La Primavera; Periphrasis; Winter Music. Gert Mortensen (perc.), Percurama Percussion Ensemble, Tim Frederiksen (vla), Duo Crossfire, Michala Petri (rec.), DNSO Brass Quintet. OUR Recordings
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MILLER, LETA E. "Henry Cowell and John Cage: Intersections and Influences, 1933–1941." Journal of the American Musicological Society 59, no. 1 (2006): 47–112. http://dx.doi.org/10.1525/jams.2006.59.1.47.
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Abstract This article explores, through examination of correspondence and other primary sources, the close interaction between Henry Cowell and John Cage from 1933 to 1941 in the areas of percussion music, dance, world musics, the prepared piano, electronic sounds, micro-macrocosmic forms, sliding tones, and elastic composition. Several works are examined in detail, among them Cowell's Pulse (which anticipated Cage's micro-macrocosmic forms in the Constructions) and Cage's Imaginary Landscape No. 1 (whose electronic slides addressed Cowell's prediction that the “future of music” lay in the perfection of percussion and sliding tones). A previously unavailable recording of Imaginary Landscape No. 1 by Cage's ensemble reveals an unexpected interpretation of the score. Appendices present a chronology of events, a 1937 letter from Cowell to Cage, and a little-known set of Cage's program notes from 1940.
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Howard, Karen. "Performing Rhythms of the Brazilian Bateria." General Music Today 33, no. 1 (August 24, 2019): 52–56. http://dx.doi.org/10.1177/1048371319867426.
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Bateria (bah-teh-REE-ah) means drum set in Portuguese. In terms of Brazilian samba music, the bateria is the percussion ensemble driving the groove of the whole samba band. Organizing a batucada (bah-tooKAH-dah), a Brazilian percussion jam session, is possible in general music classes throughout elementary and secondary school. The necessary instruments are easily available through percussion and educator websites. In addition, quality online tutorials are easily accessible.
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Ardedi, Dodo Pratama, and Wimbrayardi Wimbrayardi. "ANSAMBLE PERKUSI (KOMPOSISI MUSIK SMK NEGERI 3 PADANG)." Jurnal Sendratasik 8, no. 1 (July 1, 2019): 25. http://dx.doi.org/10.24036/jsu.v8i1.106415.
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Abstract This work aims to display the creativity of female students in school, and it can be a reference for teachers in developing talents, interests and creativities of female students. The form of this artwork is percussion ensemble, the author will combine the rhythmic patterns of single stroke, double stokes, and triols in 4/4 hours with a simple form. It does not only focus on the instrument itself, the author will also combine with vowels to build atmosphere. Percussion ensemble is a musical composition that is adopted from the game of similar percussion instrument, such execution is very interesting because there is no melody instrument here. the incorporation of the rhythmic pattern of single stroke percussion instrument, dooble stokes, and triols can show a rhythm by exploring it into the percussion instruments used. Percussion ensemble is played by six players that consist of two tambua players, one snare drum player, one floor drum player, one cymbal and cowbell player, one bongo player and one of triangel player. Keywords: Ansamble Perkusi
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Torrance, Tracy A., and Jennifer A. Bugos. "Music Ensemble Participation: Personality Traits and Music Experience." Update: Applications of Research in Music Education 36, no. 1 (October 26, 2016): 28–36. http://dx.doi.org/10.1177/8755123316675481.
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The purpose of this study was two-fold: (1) to examine the relationship between personality type and ensemble choice and (2) to examine the differences in personality across age and music experience in young adults. Participants ( N = 137; 68 instrumentalists, 69 vocalists) completed a demographic survey and the Big Five Personality Inventory. Results of a multivariate analysis of covariance show significantly higher levels of Extroversion by vocalists compared to instrumentalists, F(135) = 5.71, p = .02, d = 0.44. However, mean personality scores by section show high levels of Extroversion in percussionists, similar to vocalists, suggesting that extroverted individuals may be more likely to choose percussion or voice as their primary instrument. These data have many implications for structuring curriculum, establishing learning environments, and facilitating teacher-student communications.
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Kang, Sangmi, and Hyesoo Yoo. "Korean Percussion Ensemble (Samulnori) in the General Music Classroom." General Music Today 29, no. 3 (January 26, 2016): 4–11. http://dx.doi.org/10.1177/1048371315626501.
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Griscom, Richard, and William Bergsma. "Four All; For Clarinet, Cello, Trombone, and Percussion. (Contemporary Percussion Ensemble)." Notes 41, no. 4 (June 1985): 785. http://dx.doi.org/10.2307/940887.
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Lee, Elsa. "An Introduction to the "Gushi" Drummer of the "Chuanju" Percussion Ensemble." Asian Music 28, no. 2 (1997): 1. http://dx.doi.org/10.2307/834472.
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Goldberg, Daniel. "Timing Variations in Two Balkan Percussion Performances." Empirical Musicology Review 10, no. 4 (January 28, 2016): 305. http://dx.doi.org/10.18061/emr.v10i4.4884.
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<p>Many songs and dance pieces from the Balkan Peninsula employ <em>aksak </em>meter, in which two categorically different durations, long and short, coexist in the sequence of beats that performers emphasize and listeners move to. This paper analyzes the durations of <em>aksak </em>beats and measures in two recorded percussion performances that use a particular <em>aksak </em>beat sequence, long-short-short. The results suggest that the timing of beats varies in conjunction with factors including melodic grouping and interaction among members of a performing ensemble and audience. Timing variation linked to melodic groups occurs on a solo recording of a Macedonian Romani folk song. The performer, Muzafer Bizlim, taps an ostinato while singing, and the timing of his taps seems to mark some local and large-scale group boundaries. Melodic organization also seems relevant to the timing of beats and measures on a recording of Bulgarian percussionist Mitko Popov playing the <em>tŭpan</em>, a double-headed bass drum, in a small folk music ensemble. In Popov’s performance, however, timing differences might be related to characteristics of the ensemble dynamic, such as the coordination of multiple musical participants. These interpretations generate possibilities for future study of timing variations in relation to rhythm and meter.</p><p> </p><p>Supplemental files for this article can be downloaded <a href="https://library.osu.edu/documents/ojs/">here.</a> </p>
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Yoo, Hyesoo, and Sangmi Kang. "Instructional Approaches to Teaching a Korean Percussion Ensemble (Samulnori) to Preservice Music Teachers and Preservice Classroom Teachers: An Action Research Study." Journal of Music Teacher Education 28, no. 1 (May 28, 2018): 70–82. http://dx.doi.org/10.1177/1057083718777317.
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The purpose of this practical action research study was to explore how preservice music teachers, preservice classroom teachers, and a methods course instructor responded to the experience of rehearsing a Korean percussion ensemble piece. Seven preservice music teachers and nine preservice classroom teachers rehearsed Samulnori for 20 minutes per week for 8 weeks. Data sources included reflective narratives produced by the instructor and participants, observation field notes, and participant interviews. Through each step in the action research process, across multiple cycles of instruction and reflection, the teaching approach was altered to better fit participants’ needs and interests in the two groups. While preservice music teachers valued authentic music demonstrations and the hands-on process of learning to perform Samulnori in a polished and accurate manner, preservice classroom teachers required more detailed verbal explanations in addition to music demonstrations and showed interest in learning about the historical and cultural background of Samulnori.
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Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (June 16, 2014): 70–72. http://dx.doi.org/10.1017/s0040298214000114.
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The concerto form is well represented in James MacMillan's output. So far, he has written three for piano, two for percussion and one each for violin, viola, cello, trumpet, oboe and clarinet. There is also threaded through his output a series of concertante works, such as A Deep but Dazzling Darkness, for violin, ensemble and tape (2003), A Scotch Bestiary, for organ and orchestra (2004) and the concertino Seraph, for trumpet and strings (2010). All share a common concern to realise fully the soloist's expressive potential.
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Drew, David. "Notes on Gerhard's ‘Pandora’." Tempo, no. 184 (March 1993): 14–17. http://dx.doi.org/10.1017/s0040298200002618.
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Gerhard composed Pandora in wartime Cambridge, England, between December 1942 and April 1943. It was commissioned for Europe's leading Modern Dance company, the Ballet Jooss, which had left Germany and its Essen base after Hitler's seizure of power, and had established itself, more or less precariously, in England. The score is dedicated ‘to Alice Isabella Roughton’, and uses the ensemble of two pianos with light percussion which Jooss had favoured since the earliest days in Germany and now found well suited to conditions of wartime austerity.
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Benadon, Fernando, Andrew McGraw, and Michael Robinson. "Quantitative analysis of temporal structure in Cuban guaguancó drumming." Music & Science 1 (January 1, 2018): 205920431878264. http://dx.doi.org/10.1177/2059204318782642.
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We examine the temporal properties of cyclical drumming patterns in an expert performance of Afro-Cuban rumba recorded in Santiago de Cuba. Quantitative analysis of over 9,000 percussion onsets collected from custom sensors placed on various instruments reveals different types and degrees of rhythmic variation across repetitions of each of five characteristic guaguancó patterns (clave, cascara, quinto, segundo, and tumba). We assess each instrument’s variability using principal component analysis and multidimensional scaling, complementing our quantitative exploration with insights from music theory. Through these methods, we uncover details of timing that are insufficiently conveyed with standard music notation in order to shed light on the role of improvised variation in solo and accompaniment ensemble roles.
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Tararak, Yu P. "The history of the origin and development of the trumpet: the organological aspect." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 123–37. http://dx.doi.org/10.34064/khnum1-54.08.
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Logical reason for research. Modern performance on wind instruments, in particular on the trumpet, is characterized by a powerful development. It is an object of listening interest and composing, and today it has a fairly large repertoire of both transpositions and original works in many instrumental compositions (from solo to various ensembles and orchestras) in different styles and genres. This situation in music practice requires theoretical understanding and generalization, however, we can state that at the moment, music science highlights the performance on the wind instruments without any system, mostly from the methodological viewpoint. Innovation. The article under consideration deals with the organological aspect of studying the specificity of the performance on the trumpet, which combines a number of historical and practical questions and allows them to be answered in connection with the requests of both music science and music practice (from the peculiarities of the sound production on various instruments of the trumpet family at different times (from the historical origins of trumpet performance to the present) to the technical and artistic tasks faced by the trumpet performer, as well as by the composers who create both transpositions of time-tested music for trumpet and original trumpet pieces that take into account technical, timbre, artistic and expressive capabilities of this instrument). Objectives. The purpose of research is to reveal connection between the historical-organological and practical specificity of the performance on the trumpet in the past and at present. Methods. The main methods of the research are historical and organological. Results and Discussion. Trumpet as a musical instrument is one of the oldest musical instruments in the world. Its earliest prototypes are revealed in archaeological studies of the historical past of humanity. The prototypes of embouchure instruments are horn, bone, and tusk pipes with conical bore, mostly curved, which are ancestors of the horn family; instruments with straight cylindrical pipes formed a family of trumpet. The art of playing wind instruments was a significant development in ancient Egypt, where the state placed musical art at the service of rulers and worship. Musicians in those days accompanied festive events and rituals; what is more, wind and percussion instruments became the basis for the creation of military orchestras. A straight metal trumpet appeared in Europe in the Middle Ages. In the countries of Central Asia, Iran, Tajikistan, Kazakhstan copper brass instruments were played. China’s music and performing culture employed bronze trumpets of various sizes. In the 14th-15th centuries the evolution of metal instruments underwent qualitative changes. Forms of curved trumpets were born. In addition to this, trumpets were split into low and high ones; later, middle-register instruments appeared. The so-called natural trumpets, used then, were very close in sound to the modern trumpet. In Europe there were masters who made metal instruments; eminent experts in this field, the Heinlein Schmidt family, the Nagel family, English masters Dudley, U. Bullem worked in Nuremberg from the 15th and up to the 19th century. The emergence of a slide trumpet, a trumpet with a sliding crook, is connected with the attempts to improve the instrument for the sound production of more chromatic sounds (we must distinguish the achievements of Anton Weidinger). An important step in the evolution of the chromatic trumpet was the use of horn invention (croooks). In the mid-nineteenth century, having improved the inventory system with a valve mechanism, the trumpet finally gained its place in the orchestra as a chromatic instrument. At the present time, a trumpet with a piston valve mechanism (in jazz, variety, modern music) has become very popular. At the turn of the 19th-20th centuries, trumpets of different structures, such as in C, in D, in Es, in F, were constructed; the designs of these trumpets are almost indistinguishable from the design of the modern trumpet. The piccolo trumpet was designed for a solo performance of ancient music (clarinet style); to amplify the low sounds, the alt trumpet in F and the bass trumpet became popular. Compared to fixed-mode instruments, the trumpet is a semifixed-pitch instrument. Therefore, a skilled performer is able to adjust the pitch within a certain area and correct defects in the setting of separate modeless sounds. The "planned" inaccuracy of the trumpet intonation is related to the use of a third valve. To correct the intonation associated with this, the trumpet has a device for extending an additional pipe of the third valve. There is no precise theoretical prediction of the given problem, so the correction of modeless sounds requires from the performer well-developed musical ear and knowledge of the specific features of their instrument. Conclusions. The summarized results of the presented article indicate that the organological aspect of the research in the field of performance on wind instruments, in particular, on the trumpet, is important and illustrative. It is an indispensable link that binds the theoretical and practical vectors of the study of trumpet art as a single set of knowledge; helps to identify the connection between the historical, organological and practical aspects of the performance on the trumpet, both past and present; promotes awareness of the specificity of playing a particular instrument, especially, understanding and assimilation of the design features of the trumpet in all its historical variants, and the corresponding principles of sound production with technical-acoustic and artistic effects; outlines the theoretical, scientific and methodological tasks for performers and composers whose work is related to the art of playing the trumpet. These are the directions in which further avenues for researching music related to the performance on the trumpet of different times, styles and genres can be seen.
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Driver, Paul. "Gruber's Concertos." Tempo, no. 178 (September 1991): 22–27. http://dx.doi.org/10.1017/s004029820001398x.
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The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘concerto’) for baritone chansonnier and orchestra (on children's rhymes by H.C. Artmann), finalized in 1977. Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion (1961); ‘furbass’ for double bass and orchestra; and an unsatisfactory forerunner of the violin concerto, Arien (1974–5). The symphony he has not touched; and one is tempted to see in this reliance on solo/ensemble confrontation an attempt to hold together the self–splintered, all too globally diversified language of the late 20th century by an eloquent soloist's sheer persuasiveness, by musical force, so to speak, the soloist being dramatized as a kind of Atlas. In the same way Gruber's recourse to popular songs and idioms of ‘light music’ in these works can seem like a desperate attempt to find a tonal prop and sanction for a language so pervasively threatened by tone–deafness and gobbledygook.
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Conway, Paul. "Birmingham: Param Vir's ‘The Theatre of Magical Beings’." Tempo 57, no. 226 (October 2003): 66–67. http://dx.doi.org/10.1017/s0040298203220362.
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It seems natural than Delhi-born and Brighton-based Param Vir should celebrate multiculturalism in his compositions. He has effected a convincing assimilation of the best of Western and Eastern tradition in his new piece The Theatre of Magical Beings, written for the Birmingham Contemporary Music Group and premièred by them on 6 May as part of their highly successful ‘Sound Investment’ scheme. At 25 minutes' duration and requiring 25 players, it is one of the most substantial works ever to come out of the project. The scoring even seems extravagant for a contemporary chamber ensemble: it calls for 12 string players and there is a considerable array of exotic percussion instruments, split into two groups of skin, wood and metal.
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Miranda, Eduardo Reck. "Genetic Music System with Synthetic Biology." Artificial Life 26, no. 3 (September 2020): 366–90. http://dx.doi.org/10.1162/artl_a_00325.
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This article introduces GeMS, a system for music composition informed by synthetic biology. GeMS generates music with simulations of genetic processes, such as transcription, translation, and protein folding, with which biological systems render chains of amino acids from DNA strands. The system comprises the following components: the Miranda machine, the rhythmator, and the pitch processor. The Miranda machine is an abstract Turing-machine-like processor, which manipulates a sequence of DNA symbols according to a set of programming instructions. This process generates a pool of new DNA strands, which are subsequently translated into rhythms. GeMS represents the musical equivalent of amino acids in terms of rhythms, referred to as rhythmic codons. This enables the rhythmator to convert DNA sequences into rhythmic sequences. The pitch processor generates pitches for such rhythmic sequences. It is inspired by the phenomenon of protein folding. The pitch processor considers orientation information of DNA instructions yielded by the Miranda machine in order to activate algorithms for generating pitches. A musical composition, entitled Artibiotics, for percussion ensemble and electronic instruments, is presented to demonstrate the system.
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Conway, Paul. "Manchester, Cosmo Rodewald Concert Hall: Gordon Crosse's L'enfant sauvage." Tempo 67, no. 266 (October 2013): 76–78. http://dx.doi.org/10.1017/s0040298213000910.
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Contemporary music ensemble Psappha gave three world premières in a concert at the University of Manchester's Cosmo Rodewald Hall on 8 March 2013. Their programme began with first performances of brief works by two young composers connected with the University. I Lost My Way in Dixieland, by Thomas Jarvis (b.1991), was a deftly realized deconstruction and reinvention of a popular jazz style, with a throwaway ending that made an apt parting gesture for a witty and enjoyable pastiche. And Sempadan, by Sayyid Shafiee (b.1987), made effective use of offstage trumpet and trombone interacting with on-stage clarinet, percussion and double bass, to suggest the concept of two different but complementary cultures.
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Graham, Cameron. "John Luther Adams Across the Distance, Meltdown Festival, Royal Festival Hall, London." Tempo 70, no. 275 (December 7, 2015): 89–90. http://dx.doi.org/10.1017/s0040298215000716.
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John Luther Adams holds a unique position in American contemporary music. His works are as tinged with minimalist virtues as they are rigorously experimental, offering sound worlds that seem at once unearthly and welcoming, unconventional yet accessible. At the core of the Pulitzer Prize-winning composer's work lies a major concern with translating the tenuous and illusory concept of acoustic and natural sonic space into densely textured instrumental works. Exploring the composer's oeuvre, one senses a deep fascination with acoustic phenomena; in works such as the orchestral soundscape Becoming Ocean (2012), and the percussion pieces Inuksuit (2009) and Strange and Sacred Noise (1997), the composer eschews any audible rhythmic and melodic complexities in favour of serene yet coursing sound masses and highly sonorous ensemble textures.
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Veselinović-Hofman, Mirjana. "Silence As a Hermeneutic Oasis of Music." Musicological Annual 43, no. 2 (December 1, 2007): 333–57. http://dx.doi.org/10.4312/mz.43.2.333-357.
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This text is an attempt to point to the possibility of the moments of musical silence in a music flow and musical sound, being presented as a specific hermeneutic ‘oasis’ of music. Musical silence is considered here primarily as compositionally shaped segments where silence is embodied by means of sound. And where the stillness of the sound state of the musical silence breaks into another space: the space of the unintentional, which actually stimulates associative and cognitive paths. It concerns a specific ‘suspension’ space that offers ‘some more time and place’ for various streams of emotion and thoughts, for their ‘authentication’ and justification; for establishing and ‘specifying’ narratives, and even renouncing them. This thesis is elaborated here on the basis of three compositions which belong to the Serbian music of the 1990s. These are: The Abnormal Beats of Dogon for bass clarinet, piano, mouth harmonica, percussion and live electronics (1991) and I have not spoken for alto saxophone, bass-mouth harmonica, actor-narrator and mixed choir (1995) by Zoran Erić and Nocturne of the Belgrade Spring 1999 AD for chamber ensemble, live electronics and audiotape (1999) by Srđan Hofman.
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Burnard, Pamela, and Tatjana Dragovic. "Characterizing Communal Creativity in Instrumental Group Learning." Departures in Critical Qualitative Research 3, no. 3 (2014): 336–62. http://dx.doi.org/10.1525/dcqr.2014.3.3.336.
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Situated broadly within the field of secondary (high) school education, and with a specific focus on the subject area (and extra-curricular educational setting) of instrumental music education, this essay provides evidence of the meaning of communal creativity as it arises in three interrelated practices: creative learning practice, creative teaching practice, and creative teacher leadership practice. This article reports on how learning is enhanced by experiences of communal creativity as illustrated in the case of a particular instrumental ensemble called Percussion 1. Findings support the specific nature of communal creativity, expressed in terms of embodiment, immersion, enhancement, and empowerment, and constituted socially (made manifest in a social context) through activity. Communal creativity has the potential to transform the experience of instrumental group learning with regard to the pedagogical values that aim to engage the whole community of learners.
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Goode, Daniel. "Composer's Notebook: Interpreting." Leonardo Music Journal 15 (December 2005): 59–60. http://dx.doi.org/10.1162/lmj.2005.15.1.59.
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The text is a 10-minute rant delivered by narrator William Hellermann, composer/performer and co-director/founder of the DownTown Ensemble, which seems to be about him (Hellermann), although approximately every other biographical fact seems questionable and is in fact false. That still leaves much that is true. So while Bill seems in some sense to be “Bill,” as things go on, the rant turns sour, then melancholy, totally political and outrageous. Finally, one should, based on observation, begin to suspect that the text is by the composer, who is sitting in the ensemble playing clarinet. The performance begins when a faux-emcee Bill, under appropriately harsh emcee lighting, comes onstage from the wings to (pretend to) introduce the Ensemble. He takes the mike while the ensemble is still tuning up (as specified in the score). The ensemble plays on while the text referentially points out what is happening: the Ensemble is “at this moment” strategizing political action to itself while playing. Further observation leads to another conclusion: The Ensemble and the Speaker seem to have nothing to do with each other—that is, until one focuses on the drummer (Jim Pugliese) who, entrained by the spoken voice, is responding to and improvising off the vocal rhythms of Hellermann with a softish and insistent wash of brushes and kick-drum. So although seated with the Ensemble, he is really part of Bill's “ensemble.” The text is part of the score of Interpreting, composed for the Down Town Ensemble: clarinet (Daniel Goode), trombone (Peter Zummo), cello (Matt Goeke), piano (Joseph Kubera), percussion (Jim Pugliese) and soprano voice (Mary Jane Leach).The piece premiered at the Sounds Like Now festival at La Mama ETC, 16 October 2004.
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Surtihadi, R. M. "Music Acculturation in Rhythm of kapang-kapang Bedhaya and Srimpi Dance in the Keraton of Yogyakarta (A Case Study)." International Journal of Creative and Arts Studies 3, no. 2 (December 29, 2017): 47. http://dx.doi.org/10.24821/ijcas.v3i2.1844.
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The research’s aim is to notice the music acculturation in the rhythm of female dance of Bedhaya and Srimpi dances in the Kingdom of Yogyakarta on the line-movement on-to the stage or leaving it (kapang-kapang). Besides, the research is going to discuss a West music instrument acculturation phenomenon with Javanese Traditional Gamelan Orchestra on the rhythm of female dance of Bedhaya and Srimpi dances that are still exist nowadays. The case study is focus on the usage of some West music instrument such as drum (percussion section), woodwind (woodwind section), brass-wind (brass-wind section), and stringed (stringed section) in the rhythm of the dances which are being mentioned above. The method which is being used first is by doing the quality data analysis. The result of the research are two mainly findings; those are 1) the inclusion of various elements of the palace ceremonial ritual by The Netherlands Indies government which were the impact of the European Colonization in the island of Java, especially in Yogyakarta; it has made a mentally structure of the people of Yogyakarta that would have created culture capitalized and which are being used in the context of Yogyakarta as the city of culture. 2) European military music for marching is being the inspiration of the palace to create Gendhing Mars which is being used as the rhythm in the marching movements of female dancers (kapang-kapang) together along with the ensemble of Javanese Traditional Gamelan Orchestra and the European music instruments which are being played in one sound (unisono).
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Hope, Cat, and Carol Robinson. "OCCAM HEX II: A COLLABORATIVE COMPOSITION." Tempo 71, no. 282 (October 2017): 18–28. http://dx.doi.org/10.1017/s0040298217000584.
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AbstractIn 2014 composer, flutist and director of Western Australian new music ensemble Decibel, Cat Hope, sought to commission a work from Éliane Radigue. During discussions, Radigue proposed a collaborative composition with another composer, performer and lead interpreter of her acoustic work, Carol Robinson. The result was Radigue's first co-composed work, and the first work by Radigue for an Australian group. Robinson came to Australia to work directly with the Decibel ensemble for a nine-day development phase that culminated in a thirty-minute acoustic work, part of the OCCAM series, for flute, clarinet, percussion, viola and cello. Each OCCAM work is completely defined, and yet never exactly reproducible, because the particular interaction between sound, instrument, musician and acoustics requires constant adaptation. The process of developing the work, though extremely demanding, was fascinating and thoroughly rewarding because it obliges the performer to enter into a state of hyper acuteness, sensitivity and in some ways, belief. The musician is guided toward a level of awareness and reactivity that increases as the sound material itself is assimilated. It is never a question of replicating an event or sequence, but rather of understanding the elements that created the event and then allowing those elements to develop further. This article discusses the unique process involved in the elaboration of this new work and how it differs from the development of previous OCCAM pieces. It is written in the voices of both the commissioner, Cat Hope (main text), and the co-composer of the work, Carol Robinson (indented text in italics).
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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.
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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants, which contributed to the advent and changes of jazz piano styles were highlighted. Standing out among them at the first (traditional) stage are the schools and individual creative techniques known under generic name “stride piano” and based on the ragtime technique. At the second (contemporary) stage beginning from bebop, jazz piano stylistics gradually diverge from standardized textural formulas of homophonicharmonic type and attain fundamental diversity depending on creative attitudes of leading jazz pianists. The question of jazz piano stylistics is one of the least studied in jazz theory. The existing works devoted to this subject address mostly the sequence of the advent and changes of jazz piano styles along with the general characteristics of their representatives. Beginning from approximately the 1920s, jazz piano styles appeared and changed so fast that they left no time for their comprehension and perception (Kinus, Y., 2008). Only in the newest stylistics of the period after bebop, which divided the art of jazz into traditional and contemporary stages, did these styles attain a certain shape in new modifications and become the components of a phenomenon defined by the generic notion “jazz pianism”. It was stated that the genesis of this phenomenon is usually seen in the art of ragtime, carried in the United States of the late 19th – early 20th centuries by itinerant pianists. This variety of “third-layer” piano music playing produced a significant impact on the art of jazz in general, which is proved by its reproduction in the Dixieland and New Orleans styles as some of the first examples of jazz improvisation. The stylistics of ragtime influenced the entire first stage of jazz piano, which traces its origins back to approximately the 1910s. It combined mental features and esthetics of two traditions: European and Afro-American, which in the entirety produced the following picture: 1) popular and concert area of music playing; 2) gravitation toward demonstration of virtuosic play; 3) domination of comic esthetics; 4) objectivity of expression; 5) tendency toward the completeness of form; 6) inclination toward stage representation. In technological (texturalpianistic) aspect, ragtime, reproduced in the jazz stylistics of stride piano, demonstrated the tendency toward universalization of piano, which combined in the person of one performer the functions of solo and accompaniment, derived from the practice of minstrel banjoists related to the percussion-accented rhythmics of dance accompaniment (Konen, V., 1984). It was stated that ragtime as the transitional bridge to jazz piano existed simultaneously with other forms of “third-layer” music playing found in the Afro-American environment (unlike ragtime itself, which was an art of white musicians). These were semi-folklore styles known as “barrel house” and “honky-tonk(y) piano” cultivated in Wild West saloons. The subsequent development of jazz piano stylistic went along the lines of more vocal and specific directions related mostly to peculiarities of playing technique. Among the more global origins equal in significance to ragtime and stride pianists derivative, blues piano stylistics is worth noting. It represents an instrumental adaptation of vocal blues, which had the decisive influence over the melodics and rhythmics of the right hand party of jazz pianists (ragtime and stride piano highlighted and consolidated the typical texture of accompaniment, i.e., the left hand party). Blues piano style is a multicomponent phenomenon that shaped up as a result of efforts taken by a whole number of jazz pianists. It was developed, and continues to exist until presently, in two variants: a) as a solo piano variant, b) as a duet variant (piano and vocal). Along with blues piano, a style known as “boogie-woogie” was cultivated in jazz piano stylistics of the period before bebop as the new reminiscence of the pre-jazz era (with rock-n-roll becoming a consequence of its actualization in the 1950–1960s). A stylistic genre known as “Harlem piano style” (its prominent representatives include Luckey Roberts, James P. Johnson, Willie “the Lion” Smith, and Thomas “Fats” Waller) became a sort of compendium that combined genetic components of traditional jazz piano. This school has finally defined jazz piano as a form of solo concert music playing, which also determined the subsequent stylistic varieties of this art, the most noteworthy of which are “trumpet piano style”, “swing piano style” and “locked hands style”. Their general feature was interpretation of the instrument as a “small orchestra”, which meant rebirth at the new volute of a historical-stylistic spiral of the “image” of universal piano capable of reproducing the “sounds” of other instruments, voices and their ensembles. Outstanding pianists of various generations have been, and are, the carriers (and often “inventors”) of jazz piano styles. It should suffice to mention the names of such “legends” of jazz as Art Tatum, Oscar Peterson, Thelonious Monk, Bud Powell, Bill Evans, and also Herbie Hancock, Chick Corea, Keith Jarrett (older generation), Gonzalo Rubalcaba, Brad Mehldau, Vadim Neselovskyi, Robert Glasper (middle generation), Eldar Djangirov, Tigran Hamasyan, Cory Henry (younger generation). Conclusions. The description of the stages of development of jazz piano pianism made in this article proves that its polystylistic nature is preserved, and the main representative of certain stylistic inclinations were and remain the texture. Textured formulas serve as the main objects of stylistic interpretations for jazz pianists of different generations. These readings are represented by two vectors – retrospective (revival of jazz traditions) and exploratory, experimental (rapprochement with the academic avant-garde). Of great importance are the styles of personalities, in which polystylistic tendencies are combined with the individual playing manners and improvisation, which, in general, is the most characteristic feature of the current stage of development of jazz piano art.
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Carbon, John, Dennis Riley, and Marilyn Hacker. "Five Poems of Marilyn Hacker, Soprano and Chamber Ensemble [Flute, Oboe, Bassoon, Harpsichord, Percussion, Violin, Viola, Violoncello] (1986)." Notes 48, no. 1 (September 1991): 304. http://dx.doi.org/10.2307/941847.
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Vaisberg, Jonathan M., Ashley T. Martindale, Paula Folkeard, and Cathy Benedict. "A Qualitative Study of the Effects of Hearing Loss and Hearing Aid Use on Music Perception in Performing Musicians." Journal of the American Academy of Audiology 30, no. 10 (November 2019): 856–70. http://dx.doi.org/10.3766/jaaa.17019.
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AbstractHearing aids (HAs) are important for the rehabilitation of individuals with hearing loss. Although the rehabilitation of speech communication is well understood, less attention has been devoted to understanding hearing-impaired instrumentalists’ needs to actively participate in music. Despite efforts to adjust HA settings for music acoustics, there lacks an understanding of instrumentalists’ needs and if those HA adjustments satisfy their needs.The purpose of the current study was to explore the challenges that adult HA-wearing instrumentalists face, which prevent them from listening, responding to, and performing music.A qualitative methodology was employed with the use of semistructured interviews conducted with adult amateur instrumentalists.Twelve HA users who were amateur ensemble instrumentalists (playing instruments from the percussion, wind, reed, brass, and string families) and between the ages of 55 and 83 years (seven men and five women) provided data for analysis in this study. Amateur in this context was defined as one who engaged mindfully in pursuit of an activity.Semistructured interviews were conducted using an open-ended interview guide. Interviews were recorded and transcribed verbatim. Transcripts were analyzed using conventional qualitative content analysis.Three categories emerged from the data: (1) participatory needs, (2) effects of HA use, and (3) effects of hearing loss. Participants primarily used HAs to hear the conductor’s instructions to meaningfully participate in music rehearsals. Effects of HA use fell within two subcategories: HA music sound quality and use of an HA music program. The effects of hearing loss fell within three subcategories: inability to identify missing information, affected music components, and nonauditory music perception strategies.Not surprisingly, hearing-impaired instrumentalists face challenges participating in their music activities. However, although participants articulated ways in which HAs and hearing loss affect music perception, which in turn revealed perspectives toward listening using the auditory system and other sensory systems, the primary motivation for their HA use was the need to hear the conductor’s directions. These findings suggest that providing hearing-impaired instrumentalists access to musical experience via participation should be prioritized above restoring the perception of musical descriptors. Future research is needed with instrumentalists who no longer listen to or perform music because of hearing loss, so that the relationship between musical auditory deficiencies and participation can be better explored.
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Rosli, Helmi. "Motivations and Factors that Contribute to Successful Drumline Groups in Malaysia." Asian Social Science 15, no. 2 (January 30, 2019): 60. http://dx.doi.org/10.5539/ass.v15n2p60.
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Drumline has gained more popularity as an independent percussion group with its new music arrangement and attractive drum groove. It is seen that a quite number of drumline groups have been established in Malaysia as part of music activities such as secondary school and university drumline and community group. However, the insufficient emphasis or highlights has likely created diverse perceptions on the development of drumline groups as they have the tendency to have different reasons for joining a drumline group. Therefore, to further investigate this matter, the study focuses on four subscales of intrinsic motivation of Intrinsic Motivation Inventory (IMI), which are (a) Interest-enjoyment dimension, (b) Effort-importance dimension, (c) Value-usefulness dimension, and (d) Pressure-tension dimension. The data is collected using questionnaire, with the consideration of the members’ demographic profile, motivation and factors that contribute to the success of drumline groups, specifically in Malaysia. Based on the findings, majority of the members perceived their interest-enjoyment as a reason to join in the drumline ensemble group. They have an agreement on the fact that drumline is a great activity to participate as it is enjoyable and exciting. Also, it is identified that teamwork, enjoyment, and dedication were among the factors that contribute to successful drumline groups. In general, the members are motivated, despite the lack of sponsorship for drumline event or competition.
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Faozata Adzkia, Sagaf. "Analisis Bentuk Musik atas Kesenian Laras Madya dan Resistensinya dalam Budaya Jawa." PROMUSIKA 4, no. 1 (November 25, 2018): 1–12. http://dx.doi.org/10.24821/promusika.v4i1.2267.
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The Laras madya is a development form of Santiswaran music from the time of Pakubuwono X (1893-1930) in Kasunanan Surakarta. This is a Javanese-Islamic cultures blend of music that its song lyric is based on the Serat Wulangreh text written by Pakubuwono IV. The Laras Madya instrumentation is generally utilized traditional percussions such as the kendang, the terbang dhana, the terbang gong, and the two-pitches saron, to accompany the Bowo (solo singer), and the Gerong (accompanist singer). This study discusses the uniqueness of Larasa Madya’s musical form and its resistance from the domination of mass culture. Therefore, this research is aimed to describe and analyze the Laras madya’s musical form, and the resistance. This study applies interdisciplinary approaches to musicology, cultural studies, and socio-anthropology, through qualitative methods. This study result indicates that the Laras madya is a form of Javanese ensemble which characterized by rhythm repetition, the use of the Slendro pentatonic melody, constant expression, and moderate-andante tempo. To resist from the hegemony of mass culture, the Laras Madya owns some efforts to form such public opinion/ campaign through cultural festival media, as its open resistance characteristic, and also to raise rumors on the negative image of mass culture as a class domination that is conducted bt individuals, as the trait of closed resistance.
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Santamaria, Matthew Constancio Maglana. "Music, Dance and the Sama-Bajau ‘Diaspora’: Understanding Aspects of Links among Communities through Ethnochoreomusicological Perspectives." Journal of Maritime Studies and National Integration 2, no. 2 (February 1, 2019): 86. http://dx.doi.org/10.14710/jmsni.v2i2.3708.
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Rituals in establishing the cultural as well as links among Sama-Bajau communities across Nusantaraor the region that we know as maritime Southeast Asia. Ritual, however, cannot be fully understood unless it is broken into component parts of tangible (material) and intangible (non-material) properties. In this paper, I argue that an ethnochoreo-musicological approach, particularly through the examination of specific music pieces and dance forms or styles, can help scholars understand how the seemingly disparate and widely-spread Sama-Bajau communities in Nusantaraare related to each other. Three cases are presented revolving around ritual, music, and dance. The first case is about the magpai-bahauor ritual of the new rice which is shared by most Sama-Bajau communities in the Sulu-Sulawesi region. Rice from one community is passed on to another, constituting a virtual chain link that reaffirms the bonds between two groups of people. Corollary to this shared ritual practice is the shared repertoire of music(s) and dance(s). The second case concerns the musical model of Titik Tabawan, a kulintangan(aka tagunggo’an) graduated bossed-gong ensemble music piece composed of a distinct combination of melodic and rhythmic patterns that is observed as a ‘universally-shared’ intangible property in the central region of Nusantara. Although known by different names across communities, this music piece, which is used for accompanying secular forms belonging to the Sama-Bajau igalor pansak(aka pamansak) dance traditions, retains its distinct qualities of rhythmic patterns and remains discernible as a musical model to both practitioners and scholars alike. Finally, the third case illustrates how variants of Igal Tarirai, a percussive dance using bamboo clappers called bola’-bola,’ may be used to glean relative distance or proximity in terms of dance performance practice.
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Fasa, Muhammad Ghalib. "PEMBELAJARAN ANSAMBLE PERKUSI DENGAN INSTRUMENT NONKONVENSIONAL DI SD HARAPAN KITA KLATEN." IKONIK : Jurnal Seni dan Desain 2, no. 1 (February 14, 2020): 35. http://dx.doi.org/10.51804/ijsd.v2i1.610.
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Pendidikan mempunyai peranan yang sangat menentukan bagi perkembangan dan perwujudtan diri individu, terutama bagi pembangunan bangsa dan negara. Kemajuan suatu peradaban bergantung kepada cara kebudayaan tersebut mengenali, menghargai dan memanfaatkan sumber daya manusia dan hal ini berkaitan erat dengan kualitas pendidikan yang diberikan kepada anggota masyarakatnya yaitu peserta didik.Penelitian ini membahas tentang proses pembelajaran ensambel perkusi dengan instrumen nonkonvensional di SD Alam Harapan Kita Klaten. Metode yang digunakan dalam penelitian ini adalah metode penelitian analisis kualitatif dengan menyertakan teknik-teknik penelitian antara lain: Studi pustaka, observasi, wawancara, dan dokumentasi. Penelitian dilakukan dengan cara memperhatikan proses pembelajaran dalam beberapa kali pertemuan. Peneliti mengamati proses siswa dalam menerima materi dan cara guru mengajarkannya materi pembelajaran, cara pengajar dalam memberikan materi, dan sikap siswa/i pada saat proses pembelajaran. Manfaat dari penelitian ini adalah sebagai salah satu upaya dalam pengembangan ilmu pengetahuan di bidang Pendidikan Musik terutama pada pembelajaran anak agar berfikir kreatif dan inovatif. Hasil penelitian menunjukkan bahwa rata-rata siswa/i ensambel perkusi dengan instrumen nonkonvensional di SD Alam Harapan Kita Klaten lebih menyukai materi yang disampaikan dengan permainan dan keceriaan. Selain itu, dapat disimpulkan bahwa materi ensambel yang berhubungan dengan teknik sering kali membosankan bagi siswa/i jika tidak dikemas menjadi lebih menarik,asik dan dengan materi lagu. Education has a decisive role for the development and realization of individual self, especially for the development of the nation and state. The progress of a civilization depends on the way the culture recognizes, respects and utilizes human resources and matters that are closely related to the quality of education provided by society, namely students. This study discusses how the percussion ensemble learning process uses non-conventional instruments in SD Harapan Kita Klaten Elementary School. The method used in this study is a qualitative analysis research method by including research techniques including : Literature study, observation, interview and documentation. This research was conducted using observing the learning process in several meetings. The researcher observes the process of students in receiving learning material and the way the teacher teaches it and student attitudes in the learning process. The benefits of this research are as an effort in the development of education in the fields of music and creativity. The results of this study indicate that the average student likes the delivery of material accompanied by games and competitions.in addition, ensemble materials related to technique often bore students if they are not packaged with interesting, funny and familiar songs
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Cicovacki, Borislav. "Zora D. by Isidora Zebeljan: Towards the new opera." Muzikologija, no. 4 (2004): 223–45. http://dx.doi.org/10.2298/muz0404223c.
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Opera Zora D., composed by Isidora Zebeljan during 2002 and 2003, and which was premiered in Amsterdam in June 2003, is the first Serbian opera that had a world premiere abroad. It is also the first Serbian opera that has been staged outside Serbia since 1935, after being acclaimed at a competition organized by the Genesis Foundation from London. Isidora Zebeljan was commissioned (granted financial backing) to compose a complete opera with a secured stage realization. The Dutch Chamber Opera (Opera studio Nederland) and the Viennese Chamber Opera (Wiener Kammeroper) were the co-producers of the first production. The opera was directed by David Pountney, the renowned opera director, while an international team of young singers and celebrated artists assisted the co-production. The opera was played three times in Amsterdam. Winfried Maczewski conducted the Amsterdam Nieuw Ensemble whereas Daniel Hoyem Cavazza conducted the Wiener Kammeroper on twelve performances. The Viennese premier of Zora D. opened the season of celebrations, thus marking the 50th anniversary of the Wiener Kammeroper. The libretto, based on the script for a TV film by Dusan Ristic, was co-written by Isidora Zebeljan, Milica Zebeljan and Borislav Cicovacki. Speaking of genre, the libretto represents a m?lange of thriller, melodrama and mystery, with elements of fiction. The opera consists of the prologue and seven scenes. The story, set in the present-day Belgrade, also goes back to the 1930?s and the periods interweave. The opera was written for four vocalists: the soprano, the baritone, and two mezzo-sopranos. The chamber orchestra has fifteen musicians. The story: One summer day in 1935, Belgrade poetess Zora Dulijan mysteriously disappears. Sixty years later, Mina, an ordinary girl from Belgrade, quite unexpectedly becomes part of an incredible story, which gradually unravels as time goes by. Led by a dream (recurring night after night, with some vague verses about poplar trees and contours of a mysterious woman with a silver scarf being all that Mina remembers) she sets out to solve the mystery that seems to haunt her for no apparent reason. Part of the secret is also an invisible force, which Mina uses to gradually piece together the story of a great love that was brutally brought to an end 60 years ago and now seeks fulfillment. At the same time, Vida, a woman in her 80s, who has just returned to Belgrade from a long exile, begins to feel tortured and haunted by ghouls from the past, the very same she has been trying to escape all those years. Mina, desperate to solve the mystery, and Vida, in search of final rest and redemption, meet to disclose to us the answer and tell us what really happened to Zora D. The leading characters of the opera, whose main attribute is illusiveness, undergo transformation that is something rarely found in opera literature. This quality of the characters and the story, as well as the absence of a real drama in the libretto, matches the specific idea of a contemporary opera. Unlike composers who insist on giving characters psychological quality, thus reducing their emotions to clich?s for reasons of clarity, Isidora Zebeljan demonstrates a need for a completely different type of opera. Her idea is to have an opera which focuses on the sensual exploits of music itself. This is the very type of opera sought after by Isidora Zebeljan. The first and most striking feature of her music is a very unique melodic invention. Opera Zora D. could be described as a necklace of thickly threaded music pearls. Microelements of the traditional music from Serbia (Vojvodina), Romania and the south of the Balkans give her melodies a very special quality. Those elements, however, have not been taken over in their entirety, nor do they exist in the form that would link this music to any particular type of folk music. Music elements of the traditional music, incorporated in the music expression of Isidora Zebeljan, provide additional distinctiveness and the colour, while being experienced as an integral part of Zebeljan?s creative being which carries within itself the awareness of the composer?s musical roots. Melodic elements of the opera expressed in such a manner give form to vocal parts, which require of performers great musicality and perfect technique without compromising the nature of their vocal expression. Specific chords with a diminished fifth, resulting from the use of folk music scales with augmented second, give the opera a distinct harmonic quality. The rhythmic and metric components of music are complex, naturally stemming from the melody and are characterized by a mixture of rhythms and changeable metrics. The rhythmic patterns of percussion are incorporated in the whole by parallel lining up of melodic and rhythmic layers, so that they produce sonorous multiplicity. Very often the rhythmic elements have characteristics of a dance. The chamber orchestra consists of flute (piccolo and alto), clarinet and bass-clarinet, saxophone (soprano and alto) bassoon, French horn, trumpet, harp, piano, percussion, and string quintet. By providing specific orchestration and coloring, Isidora Zebeljan manages to completely shift the real dramatic suspense from words to music particularly the orchestra, thus causing various emotional states to quickly change. Speaking of structure, the opera represents an infinite sequence of melodies. Although rarely, melodic entities have, in some places, the form of arias. There are no real recitatives in the entire opera. Each segment of the opera belongs to a corresponding melodic section of the stage that they are part of. The extraordinary quality of the music in Zora D. lies in the music surprise that it provides, which is an element of the composer?s language and style rarely seen in the music literature but is a symbol of a special talent. Emotional states are not merely evoked through particular musical clich?s, the unusual origin of which may be found in the exceptional parallel quality of states stemming from the very music. The listener, in his or her initial encounter with the music of the opera, will never hear dark and disconsolate music when tragic and dramatic happenings are taking place. Listening to the music will, however, help them feel the sound layer of the tragedy that is present in the offered sound. They will not follow it consciously but, instead, they will be leaded to the exact emotional stimulus that they will not be able to defy rationally. Such a music expression we call a music fiction. Artistic team involved in the first production of Zora D. has discovered a HVS technique, which helps shifting elements of scenography, from one set into the next, very efficiently and effectively. Isidora Zebeljan?s opera Zora D. represents a great success of Serbian music on the international scene, and undoubtedly the greatest success of Serbian opera. Her music liberates listeners from the compulsion of reflecting upon the content they are listening to. Instead, her music compels them to feel.
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Blume, Philipp. "Frank Denyer - Frank Denyer: The Fish That Became The Sun (Songs Of The Dispossessed). Octandre, Hargreaves, Gilmore, New London Chamber Choir, Hamilton, Consortium 5, Perc'm Percussion Ensemble. another atimbre, at149. - Frank Denyer: The Boundaries of Intimacy (anthology disc). Fraser, van Prooijen, Fetokaki, Zwaanenberg, Anez, Smalt, Yoshizawa, Luna String Quartet. another timbre, at148." Tempo 74, no. 293 (June 10, 2020): 91–92. http://dx.doi.org/10.1017/s004029822000008x.
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Diachenko, Yu S. "Pop‑jazz works by Viktor Vlasov: genre and style innovations." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 29–43. http://dx.doi.org/10.34064/khnum1-56.02.
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Background. From the second half of the XX century to the present time in the musical culture of the world we observe significant influence of jazz. New trends, styles, genres is appeared due to the interaction of jazz and academic music. Thus, at the beginning of the XX century such phenomenon of musical art rises as a synthesis of features of jazz and pop music. This process leads to the renewal of musical language, experimentation, the emergence of new styles and trends. All mentioned above are largely inherent in variety-jazz accordion art, which has a significant spread from the early XX century. The formation of the European accordion variety-jazz direction is connected, for the most part, with the genre orientation of the works of a certain region. In France it was a musette. In Germany there were virtuoso fantasies, variations on the themes of popular song and dance melodies, waltzes. In Italy – tarantella, samba, tango. “In the first decades of the XX century accordion began to be widely used in the USA. From beginning of popularization, it was emigrants from Italy”, notes M. Imkhanitskiy (2004: 304–305). In Ukraine, the stage of the emergence of variety-jazz style is associated with the assimilation of the European and American traditions of variety and jazz accordion art. The purpose of the article is to determine the main genre and style levels of the embodiment of variety-jazz style in the works of V. Vlasov. Presenting main material. The integration process of Ukrainian accordion art is significantly separated from the world performing movement. The variety of stylistic vectors (variety, jazz, pop-jazz) and the high level of professionalism of the performers significantly affect the current trends of variety-jazz direction. Victor Vlasov is one of the personalities who has a great influence on the modern process of development of variety-jazz direction in its national specifics. The introduction of professional technical-expressive and artistic components in his compositions is due to the author’s impeccable knowledge of the possibilities of accordion. The embodiment of jazz stylystics is achieved in V. Vlasov’s works by specific means: clear and pulsating metrorhythm, special melody and harmony, jazz phrasing, swinging, uniqueness of articulation. First, V. Vlasov uses rhythmic-factural models, typical of certain genres that were not previously involved in accordion practice. Secondly, he uses quasi-improvisations – the improvisational sections on a harmonious basis taked from main thematic material; third, imitations of the sound of an ensemble in different “timbre layers”, sonor effects in the form of various blows on parts of the instrument, on the floor, etc., mimicing the sound of percussion instruments. Fourth, V. Vlasov often uses swinging. Analyzing the compositional style of V. Vlasov, we find its characteristic features: at the level of the genre subsystem, the composer uses traditional genres of variety music; the level of the evolutionary subsystem is characterized by stylistic diversity (academic, avant-garde, electronic, variety-jazz trends); ethnic metasystem in the artist’s work is represented by the folklore basis of the works, the involvement of traditional genres of certain regions (“Vesnyanka”, “Kolyadka”, “Tarantella”, “Tango”, “Bossa Nova”); historical metasystem is manifested in the use of historically formed jazz styles (New Orleans’ jazz, bebop, swing, cool, etc.). The article considers the embodiment of variety-jazz style on the example of one of the parts of the V. Vlasov’s cycle “Variety-jazz compositions”, the piece “Basso ostinato”. The relevance of the study of this work is connected with its considerable popularity among performers of different countries, the active use of the work by participants in various competitions of accordionists. Using a simple compositional element filled with altered chords, the author creates a clear harmonious and formative grid as a jazz square. Synthesizing the academic form of musical art (Basso ostinato) with variety-jazz style, V. Vlasov created a pattern of his own compositional style. V. Vlasov’s works, in general, have a clear form, mostly there are complex three-part or variational compositions, but his variety-jazz style has its own specifics: ● use of altered chord; ● involvement of noise effects, specific accordion strokes and techniques; ● quasi-improvisations based on the principles of jazz music. Conclusions. V. Vlasov’s works have their influence on the development of variety-jazz music today. He remains one of the first composers to integrate and develop at a high professional level variety-jazz direction in the domestic accordion art. The composer represents new (to accordion-art) jazz performing techniques, novelty of musical ideas and their textural and intonational embodiment. Manifestation of variety-jazz style of V. Vlasov is a set of personal means of expression. Thus, the artist’s works are characterized by the use of altered chords, the involvement of noise effects (“percussion”), specific accordion strokes and techniques; introduction of quasi-improvisations based on the principles of jazz music. V. Vlasov’s individual and stylistic searches determine the characteristic features of the author’s school as a stylistic phenomenon in the development of domestic and European accordion art. Stylistic orientation of V. Vlasov’s compositions – New Orleans jazz, swing, bee-bop, cool, progressive – presents a wide range of genres and styles.
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Bielova, Yе D. "Romance «Blacked Night» by O. Tadeush based on Sappho’s poem: dialogue in “large time”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 104–23. http://dx.doi.org/10.34064/khnum1-53.07.
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Theoretical background. According to the concept of M. Bakhtin (1986, others), every from outstanding works enters to the “large time”, where it enriches with new meanings, senses, fully revealing the subtext embedded in it. A similar dialogue occurs directly in the process of composer’s interpretation of a literary text taken as the primary basis for a musical piece. Especially this is true for the archaic literary source, since the perception of it in the distant epoch don’t coincide with the way it is perceived by contemporaries of the composer. This phenomenon is due to a new cultural and historical context, and, as a result, the literary work acquires a new semantic content adequate to the musical opus, its perception by performers and public. Thus, a composer and performers of a musical-poetic opus, recipients and scientists enter into the dialogue of the “large time”, bringing their own intellectual baggage, thesaurus, artistic perception of art. In this case, the researcher need to take into account the unique artistic synthesis that arises as a result of the interaction of words, music and the all of means of artistic expression. The proposed study is based on M. Bakhtin’s concept of dialogue, which carries out in the semiotic space of culture. M. Bakhtin views the dialogue not only as a human-to-human contact but also as an appeal to a scientific or artistic text. Analyzing the vocal miniature, one should track the individualities of the authors of literary text and the musical work, at the same time filtering the meanings of the text of the vocal miniature through the own artistic experience, grasping the dialogue in the context of cultural and historical experience and “large memory”, (M. Bakhtin’s concept). The romance “Blackened Night” is addressed to the original members – soprano and marimba duet. However, from the standpoint of the need for performing reproduction of vocal and instrumental synthesis, it is appropriate to refer to the experience of concert pianists. The purpose of the study is to define the cultural and historical context of dialogue in “large time”, which determines the content-semantic areas of gravity between the word and music in the composer’s, performer’s interpretation and perception of the romance «Blackened Night» by Oksana Tadeush. Methods. The methodological basis of the study is the communicative model of the “large dialogue” (M. Bakhtin), which is carried out in the time-space (chronotope, according M. Bakhtin) and is based on the “large memory” of culture. On the other hand, the study used the methodology of interpretative performing analysis of musical works (in particular, the analytical approach by remarkable singer and researcher Ian Bostridge, 2019). The moment of coincidence of both research methodologies has been revealed: unraveling the semantic images of the opus simultaneously from the standpoint of the time of its writing and modernity, which helps to reveal the content of the cultural dialogue. Results. The study showed that the poem by Sappho is related to the «night» poetry characteristic of European culture, as well as to the symbol of Night, which the archetype of the Romantic era is. At the level of musical semantics, the connection with «night » poetry is reflected in the musical texture, since the arpeggio figures in accompaniment, as one of the texture units, is characteristic to the nocturne genre. The author concludes: the sound image of marimba corresponds best to the spirit of «night» poetry. The connection with archaic thinking is represented through the signs of monodic texture characterized for singing with the accompaniment in the Hellenistic era. Archaic origin is inherent in hemiolica (term by Yu. Kholopov, 2003): there is the scale with augmented second in the vocal part of O. Tadeush’s romance. Dialogue in “large time” was further extended by the performers on the premier of the romance (O. Velyka – soprano, and the author of this article – marimba) with the assistance of stage costumes (dresses that resemble ancient Greek tunics) that helped the communicator-interpreters to get deeper into the image. Interpreting Sappho’s «night» poetry, O. Tadeush turns to the sound image of marimba, which is the background for the heroine’s internal monologue. The dialogue not only with the author of the poetic text arises, but also with the tradition of the chamber-vocal genre in historical retrospective, as the second member of the ensemble in O. Tadeush’s romance is not the piano, but the marimba (a percussion instrument related to the piano, but at the same time unique in terms of timbre and articulation). The articulation of a percussionist who intones on the marimba should fill each sound with coloring vibration to make it expressive and meaningful, to achieve a variety of sounds of this mono-timbre instrument with helping of use of varieties touché and registers, in according with dynamics of form-building and figurative development of the work. Conclusion. To sum up, we note that in the romance «Blackened Night» Oksana Tadeush enters into dialogue with great Sappho, reproducing the world of her poems, melody and rhythm of the poetic text in the original language. The composer creates a unique artistic concept, following the laws of the chamber-vocal genre with regard to the duet of singing and instrumental voices as well as the laws of music in accordance with the current tendencies of the beginning of the 21st century, where the search for an extraordinary artistic solution is not the last argument. As a research prospect interesting the author, further clarification of the specificity of the implementation of the sound images of percussion instruments in the creativity of the composers of the Kharkiv School is suggested, taking into account the individuality of the artistic concept of each piece of music.
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Wiecki, Ron. "The Harry Partch Collection. Vol. 1: Eleven Intrusions, Plectra and Percussion Dances, Castor and Pollux—A Dance for the Twin Rhythms of Gemini, Ring Around the Moon—A Dance for Here and Now, Even Wild Horses—Dance Music for an Absent Drama, Ulysses at the Edge. Harry Partch with assisting performers. Liner notes by Bob Gilmore. New World Records 80621-2, 2004. The Harry Partch Collection. Vol. 2: The Wayward: U.S. Highball—A Musical Account of a Transcontinental Hobo Trip, San Francisco—A Setting of the Cries of Two Newsboys on a Foggy Night in the Twenties, The Letter, Barstow—Eight Hitchhiker Inscriptions From a Highway Railing at Barstow, California, And on the Seventh Day Petals Fell in Petaluma. Harry Partch with assisting performers, the Gate 5 Ensemble, and the Harry Partch Ensemble. Liner notes by Bob Gilmore. New World Records 80622-2, 2004." Journal of the Society for American Music 1, no. 3 (July 17, 2007): 403–5. http://dx.doi.org/10.1017/s1752196307070162.
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Gande, Andrea, and Silke Kruse-Weber. "Addressing new challenges for a community music project in the context of higher music education: A conceptual framework." London Review of Education, November 15, 2017. http://dx.doi.org/10.18546/lre.15.3.04.
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In response to Europe's societal challenges, such as current issues about migration, the Institute of Music Education at the University of Music and Performing Arts Graz established Meet4Music (M4M), a low-threshold community music project. M4M is open to individuals from all sociocultural and musical backgrounds and ages, and provides them with the opportunity to socialize with others and to express themselves musically. M4M is based on collaborative learning in an open community ensemble, which includes choir, dance, theatre and percussion, alternating with one another on a weekly basis. University students can choose M4M as an elective course to gain relevant experience in leading heterogeneous and intercultural ensembles. The aim of this paper is to present this project, with a special focus on its dimensions, aims and pedagogical implications for educating reflective teachers. A conceptual framework that contributes to the concept of lifelong learning in (higher) music education will be provided, and foundations for further research and theory will be offered.
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Dillon, Steve. "Jam2jam." M/C Journal 9, no. 6 (December 1, 2006). http://dx.doi.org/10.5204/mcj.2683.
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Introduction Generative algorithms have been used for many years by computer musicians like Iannis Xenakis (Xenakis) and David Cope (Cope) to make complex electronic music composition. Advances in computer technology have made it possible to design music algorithms based upon specific pitch, timbre and rhythmic qualities that can be manipulated in real time with a simple interface that a child can control.jam2jam (Brown, Sorensen, & Dillon) is a shareware program developed in java that uses these ideas and involves what we have called Networked Improvisation, which ‘can be broadly described as collaborative music making over a computer network’ (Dillon & Brown). Fig. 1: jam2jam interface (download a shareware version at http://www.explodingart.com/.) Jamming Online With this software users manipulate sliders and dials to influence changes in music in real time. This enables the opportunity for participants to interact with the sound possibilities of a chosen musical style as a focused musical environment. Essentially by moving a slider or dial the user can change the intensity of the musical activity across musical elements such as rhythm, harmony, timbre and volume and the changes they make will respond within the framework of the musical style parameters, updating and recomposing within the timeframe of a quaver/eighth note. This enables the users to play within the style and to hear and influence the shape and structure of the sound. Whilst real time performance using a computer is not new, what is different about this software is that through a network users can create virtual ensembles, which are simultaneously collaborative and interactive. jam2jam was developed using philosophical design principals based on an understanding of ‘meaning’ gained by musicians drawn from both software, live music experiences (Dillon, Student as Maker) and research about how professional composers engage with technology in creative production (Brown, Music Composition). New music technologies have for centuries provided expressive possibilities and an environment where humans can be playful. With jam2jam users can play with complex or simple musical ideas, interact with the musical elements, and hear the changes immediately. When networked they can have these musical experiences collaboratively in a virtual ensemble. Background The initial development of jam2jam began with a survey of the musical tastes of a group of children between the ages of 8-14 in a multi racial community in Delaware, Ohio in the USA as part of the Delaware Children’s Music Festival in 2002. These surveys of ‘the music they liked’ resulted in the researchers purchasing Compact Discs and completing a rule based analysis of the styles. This analysis was then converted into numerical values and algorithms were constructed and used as a structure for the software. The algorithms propose the intensity of range of each style. For example, in the Grunge style the snare drum at low intensity plays a cross stick rim timbre on the second and fourth beat and at high intensity the sound becomes a gated snare sound and plays rhythmic quaver/eighth note triplets. In between these are characteristic rhythmic materials that are less complex than the extreme (triplets). This procedure is replicated across five instruments; drums, percussion, bass, guitar and keyboard. The melodic instruments have algorithms for pitch organisation within the possibilities of the style. These algorithms are the recipes or lesson plans for interactive music making where the student’s gestures control the intensity of the music as it composes in real time. A simple interface was designed (see fig. 1) with a page for each instrument and the mixer. The interface primarily uses dials and sliders for interaction, with radio buttons for timbrel/instrument selection. Once the software was built and installed students were observed using it by videotaping their interaction and interviewing both children and teachers. Observations, which fed into the developmental design, were drawn on a daily basis with the interface and sound engine being regularly updated to accommodate students and teacher requirements. The principals of observation and analysis were based upon a theory of meaningful engagement (Brown, “Modes”, Music Composition; Dillon, “Modelling”, Student as Maker). These adjustments were applied to the software, the curriculum design and to the facilitators’ organisational processes and interactions with the students. The concept of meaningful engagement, which has been applied to this software development process, has provided an effective tool for identifying the location of meaning and describing modes of creative engagement experienced through networked jamming. It also provided a framework for dynamic evaluation and feedback which influences the design with each successive iteration. Defining a Contemporary Musicianship Networked improvisational experiences develop a contemporary musicianship, in which the computer is embraced as an instrument that can be used skillfully in live performance with both acoustic/electric instruments and other network users. The network itself becomes a site for a virtual ensemble where users can experience interaction between ‘players’ in real time. With networked improvisation, cyberspace becomes a venue. Observations have also included performances between two distant locations and ones where computers on the network simultaneously ‘jammed’ with ‘live’ acoustic performers. The Future The future of networked jamming is exciting. There is potential for these environments to replicate complex musical systems and engage participants in musical understandings, linking gesture and sound with concepts of musical knowledge that are constructed within the algorithm and the interface. The dynamic development of Networked Jamming applications involve designs which apply philosophical and pedagogical principles that encourage and sustain meaningful engagement with music making. These are sufficiently complex to allow the revisiting of musical experiences and knowledge at increasingly deeper levels. Conclusion jam2jam is a proof of concept model for networked jamming environments, where people and machines play music in collaborative ensembles. Network jamming requires a contemporary musicianship, which embraces the computer as an instrument, the network as an ensemble and cyberspace as venue for performance. These concepts facilitate access to the ensemble performance of complex musical structures through simple interfaces. It provides the opportunity for users to be creatively immersed in the simultaneous act of listening and performance. jam2jam represents an opportunity for music-makers to have interactive experiences with musical knowledge in a way not otherwise previously available. It enables children, adults and the disabled to enter into a collaborative community where technology mediates a live ensemble performance. The experience could be an ostinato pumping out hip-hop or techno grooves, a Xenakis chaos algorithm, or a minimal ambient soundscape. With the development of new algorithms, a sample engine and creative interface design we believe this concept has amazing possibilities. The real potential of this concept lies in the access that the users have to meaningful engagement with ensemble performance in the production of music, in real time, even with limited previous experience or dexterity. References Brown, A. “Modes of Compositional Engagement.” Paper presented at the Australasian Computer Music Conference-Interfaces, Brisbane, Australia. 2000. ———. Music Composition and the Computer: An Examination of the Work Practices of Five Experienced Composers. Unpublished PhD, University of Queensland, Brisbane, 2003. ———, A. Sorensen, and S. Dillon. jam2jam (Version 1) Interactive generative music making software. Brisbane: Exploding Art Music Productions, 2002. Cope, D. “Computer Modelling of Musical Intelligence in EMI.” Computer Music Journal 16.2 (1992): 69-83. Dillon, S. “Modelling: Meaning through Software Design.” Paper presented at the 26th Annual Conference of the Australian Association for Research in Music Education, Southern Cross University Tweed Heads, 2004. ———, and A. Brown. “Networked Improvisational Musical Environments: Learning through Online Collaborative Music Making.” In Embedding Music Technology in the Secondary School. Eds. J. Finney & P. Burnard. Cambridge: Continuum Press, In Press. Dillon, S. C. The Student as Maker: An Examination of the Meaning of Music to Students in a School and the Ways in Which We Give Access to Meaningful Music Education. Unpublished PhD, La Trobe, Melbourne, 2001. Xenakis, I. Formalized Music. New York: Pendragon Press, 1991.
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Salim, Agus. "Adaptasi Pola Ritme Dangdut pada Ansambel Perkusi." Resital: Jurnal Seni Pertunjukan 11, no. 2 (November 2, 2013). http://dx.doi.org/10.24821/resital.v11i2.505.
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Dangdut Rhythmic Pattern Adaptation on Percussion Ensamble. This article discuss the adaptation processof “Dangdut” rhythmic pattern and its tone qualities that were implemented in to the percussion ensemble. Earlierstudies showed that bath elements can pessibly be tone. It means that the differences between characteristic musicbasically can be used as a new musical idea to produce a new genre of music. This procedure began with theimplementation of new special symbol to be fi tted in to the western notation; it follows by the selection of “Dangdut”rhythmic pattern and to be implemented in to the percussion ensemble instruments such as timpani, bongo, hi-hat,roto-toms and tambourine. The result was a new color of musical genre that gives a new propective and possibilityin the world of music composition.