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Journal articles on the topic 'Percussion ensembles'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 March 2023

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1

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 (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 re

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2

Morris, J. David, and Keith P. Thompson. "A Different Drum: Percussion Ensembles in General Music." Music Educators Journal 76, no. 1 (1989): 30–34. http://dx.doi.org/10.2307/3400896.

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Sepdwiko, Deria, and Nofroza Yelli. "POLA GARAPAN LAGU “TIM TAM TUM” MENGGUNAKAN ANSAMBEL CAMPURAN PADA SISWA EKSTRAKURIKULER SMP NEGERI 15 PALEMBANG." Grenek Music Journal 9, no. 2 (2020): 121. http://dx.doi.org/10.24114/grenek.v9i2.21202.

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In writing this research the writer discusses the pattern of cultivating songs “TIM TAM TUM” Using Mixed ensembles for exstracurriculer students of SMP 15 Palembang.This study aims to determine how the pattern form the Tim Tam Tum song composed by using a mixed ensemble. The data collection techniques used were, observation, interview, and documentation techniques. The method used in this research is a qualitative descriptive method. The results of this study are analyzed to become a research report that has an output, target, namely being published in a scientific journal and used as teaching

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Cohen, Elizabeth A., Michael S. Hart, and Huston Smith. "Digital recording techniques involving vocal and percussion ensembles: The Gyuto Tantric Monks." Journal of the Acoustical Society of America 78, S1 (1985): S35. http://dx.doi.org/10.1121/1.2022770.

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Fausta, Ega, and Ananto Sabdo Aji. "GARAP LAGU BAJU HÉJO: DAMPAK ADAPTASI SALENDRO 15 NADA PADA ANGKLUNG PENTATONIS RAGAM LARAS." Keteg: Jurnal Pengetahuan, Pemikiran dan Kajian Tentang Bunyi 22, no. 2 (2023): 221–36. http://dx.doi.org/10.33153/keteg.v22i2.4796.

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Angklung Pentatonic Ragam Laras (APRL) is one of the innovative angklung products created in 2017 through an experimental process by Endah Irawan et al. A variety of tunings pentatonic angklung (APRL) is a musical ensemble consisting of several types of instruments made of bamboo material that apply the concept of collaborative instrumentation between gamelan orchestration and Western music. This ensemble is a new innovation in the world of traditional Sundanese art because it has a distinctive tuning pattern/scale system that collects several tuning patterns in Sundanese karawitan, namely Sal

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Raja Halid, Raja Iskandar. "SUFISM, SPIRITUAL PERFORMATIVITY AND THEOLOGICAL CONTESTATIONS: PARALLELISMS OF THE ACEH AND PERAK SULTANATES ACROSS THE CENTURIES." International Journal of Asia Pacific Studies 18, no. 2 (2022): 341–63. http://dx.doi.org/10.21315/ijaps2022.18.2.14.

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Since the thirteenth century, longstanding connections between tariqa (Sufi Orders) and Malay Sultanates brought new Islamic knowledge and practices which were fused with local traditions. The coming of Islam also brought the nobat musical ensemble and religious-related musical practices. From the court of Pasai, North Sumatera, the ensemble later spread to other parts of the Malay world and was still played in the succeeding Aceh sultanate in the early seventeenth century. Evidence for this exists in the court manual, Adat Aceh, which details the use of music in royal religious processions an

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Raja Halid, Raja Iskandar. "SUFISM, SPIRITUAL PERFORMATIVITY AND THEOLOGICAL CONTESTATIONS: PARALLELISMS OF THE ACEH AND PERAK SULTANATES ACROSS THE CENTURIES." International Journal of Asia Pacific Studies 18, no. 2 (2022): 315–37. http://dx.doi.org/10.21315/ijaps2022.18.2.13.

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Since the thirteenth century, longstanding connections between tariqa (Sufi Orders) and Malay Sultanates brought new Islamic knowledge and practices which were fused with local traditions. The coming of Islam also brought the nobat musical ensemble and religious-related musical practices. From the court of Pasai, North Sumatera, the ensemble later spread to other parts of the Malay world and was still played in the succeeding Aceh sultanate in the early seventeenth century. Evidence for this exists in the court manual, Adat Aceh, which details the use of music in royal religious processions an

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8

Ray, Daniel E. "Military Bands and Government Documents." DttP: Documents to the People 44, no. 4 (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

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STELMASHCHUK, ZINOVIY. "FEATURES OF STUDYING THE EDUCATIONAL DISCIPLINE “INSTRUMENTAL SCIENCE AND METHODOLOGY OF WORKING WITH A CHILDREN’S MUSIC GROUP”: EXPERIENCE AT AN INSTITUTION OF HIGHER EDUCATION." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy 1, no. 2 (2023): 135–44. http://dx.doi.org/10.25128/2415-3605.22.2.17.

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Attention is focused on the importance of improving the quality of music teacher training by achieving the necessary competencies related to music-making technologies on Ukrainian folk instruments in the process of conducting music lessons in secondary schools, managing children's instrumental ensembles in out-of-school education institutions. Work experience while teaching the course «Instrumental science and methods of working with a children's music group» at TNPU is highlighted. The basic conditions that affect the development and process of formation of professional skills and skills of p

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Levy, Jacob J., Christopher M. Castille, and Justina A. Farley. "An Investigation of Musical Performance Anxiety in the Marching Arts." Medical Problems of Performing Artists 26, no. 1 (2011): 30–34. http://dx.doi.org/10.21091/mppa.2011.1004.

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The purpose of this study was to investigate the prevalence of musical performance anxiety (MPA) in marching artists. The marching arts include high school and college marching bands, drum and bugle corps, and indoor color guard and percussion ensembles. Drawing on a sample of 780 world class drum and bugle corps performers, we examined the prevalence of somatic and cognitive symptoms of MPA. We also examined differences in endorsement of symptoms by performing section (i.e., brass players, percussionists, and dancers/color guard) and gender. Results revealed a relatively low prevalence of MPA

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Krasnikova, T. N., and M. A. Stepanova. "DEDICATED TO THE ANNIVERSARY." Arts education and science 1, no. 30 (2022): 197–200. http://dx.doi.org/10.36871/hon.202201023.

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The article is devoted to the 65th birthday and 40th anniversary of the creative work of the composer, Honoured Artist of Russia, Laureate of Moscow Prize, Professor Victor Stepanovich Ulyanich. To celebrate this event, a concert was held at the Concert Hall of the Gnesins Russian Academy of Music on November 27, 2021. The concert program included works of a wide genre and stylistic range. In the first part there were compositions for various instrumental ensembles with the harp — the instrument the composer preferred throughout his life. Two symphonies were performed in the second part: the c

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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 (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 u

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Sarbadhikary, Sukanya. "Religious Belief through Drum-Sound Experience: Bengal’s Devotional Dialectic of the Classical Goddess and Indigenous God." Religions 13, no. 8 (2022): 707. http://dx.doi.org/10.3390/rel13080707.

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The epistemic question about what constitutes religious belief in non-Western contexts is addressed here through the ontology of sonic experience. I demonstrate that religious beliefs are habitually ingrained as long-sustaining visceral memories, when afforded by sensory—for instance, aural—affects. Bengal’s peculiar devotional milieu constructs a prototype of oppositions. On one end is the urban, classical, martial goddess, Durga, with elite histories of acquiring a high Brahmanical form, and whose autumnal rituals are based on scriptural rules, caste hierarchies, and distance among the devot

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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 h

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Wirandi, Rika, and Magfhirah Murni B. P. "FUNGSI MUSIK DALAM UPACARA PERAYAAN RITUAL THAIPUSAM ETNIS HINDU TAMIL DI BANDA ACEH." Gorga : Jurnal Seni Rupa 10, no. 2 (2021): 415. http://dx.doi.org/10.24114/gr.v10i2.28379.

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Thaipusam is a celebration ceremony held sacredly in the form of a prayer ritual procession and the procession of the Lord Murugan statues which is held annually by the Tamil Hindu ethnic community in Banda Aceh. This ritual is held in the Thai month according to the Hindu Tamil calendar, as a form of respect for Lord Murugan for his victory in fighting evil. This celebration ceremony is also a place to fulfill vows and purify themselves for ritual participants - which is accompanied by the attraction of stabbing sharp objects into certain body parts such as the tongue, lips, cheeks, forehead,

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SZALAY, Zoltan. "Istvan Pavai: Hungarian Folk Dance Music of Transylvania – Review." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (2022): 193–208. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.19.

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Among the territories of the Carpathian Basin inhabited by Hungarians, Transylvania proved to be the most suitable field for the interethnic research of the music related to choreographic folklore. Most professional musicians in the rural areas, who receive regular or intermittent payment in money or other forms of remuneration, are of Romani ethnicity. The existence of musical instruments in the accompaniment of dances is richly documented since the 15th and 16th centuries. Hungarian ethnochoreology defines three types of musical accompaniments for the dances: rhythmic accompaniment (without

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17

Haygood, Montana, and Bruce N. Walker. "Temporary and Permanent Hearing Loss Among College-Aged Drumline Members." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 60, no. 1 (2016): 1009–13. http://dx.doi.org/10.1177/1541931213601234.

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Many musicians experience dangerous levels of sound exposure throughout their musical careers. In particular, members of marching percussion ensembles (“drumlines”) are exposed to prolonged periods of potentially damaging levels of sound. As a result, they are at risk of developing hearing loss. This study determines whether any significant hearing loss or threshold shifts occurs with drumline members in an indoor drumline and college marching band. Two groups of participants were analyzed: one group consisted of both college drumline and community-based competitive drumline members, while the

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18

Ardedi, Dodo Pratama, and Wimbrayardi Wimbrayardi. "ANSAMBLE PERKUSI (KOMPOSISI MUSIK SMK NEGERI 3 PADANG)." Jurnal Sendratasik 8, no. 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 v

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19

Harper, Adam. "Metal Wood Skin: The Colin Currie Percussion Festival, Southbank Centre, London." Tempo 69, no. 272 (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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20

Griscom, Richard, and William Bergsma. "Four All; For Clarinet, Cello, Trombone, and Percussion. (Contemporary Percussion Ensemble)." Notes 41, no. 4 (1985): 785. http://dx.doi.org/10.2307/940887.

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21

Howard, Karen. "Performing Rhythms of the Brazilian Bateria." General Music Today 33, no. 1 (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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McLachlan, Neil. "The design of a harmonic percussion ensemble (L)." Journal of the Acoustical Society of America 129, no. 6 (2011): 3441–44. http://dx.doi.org/10.1121/1.3578457.

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23

Goldberg, Daniel. "Timing Variations in Two Balkan Percussion Performances." Empirical Musicology Review 10, no. 4 (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 per

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Kang, Sangmi, and Hyesoo Yoo. "Korean Percussion Ensemble (Samulnori) in the General Music Classroom." General Music Today 29, no. 3 (2016): 4–11. http://dx.doi.org/10.1177/1048371315626501.

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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 (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 codi

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Wiflihani, Wiflihani. "Gonrang dan Gual dalam Dinamika Masyarakat Simalungun." JUPIIS: JURNAL PENDIDIKAN ILMU-ILMU SOSIAL 8, no. 1 (2015): 132. http://dx.doi.org/10.24114/jupiis.v7i2.3119.

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This writing purposes to understand on the musical instrument of gonrang in social dynamic of Simalungun people. As an ensemble, gonrang of Simalungun plays a significant role in the funeral ceremony. The main fuction of the percussion instrument is to summon the spirit of ancestors for advices and blessing. For Simalungun people, there are two gonrangs which is known, namely gonrang sipitu-pitu or gonrang bolon and gonrang sidua-dua dagang. However, the common term in accompanying a song for gonrang musical ensemble is gual.

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27

Cicconet, Marcelo, Mason Bretan, and Gil Weinberg. "Human-Robot Percussion Ensemble: Anticipation on the Basis of Visual Cues." IEEE Robotics & Automation Magazine 20, no. 4 (2013): 105–10. http://dx.doi.org/10.1109/mra.2013.2256323.

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28

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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29

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 per

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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 (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

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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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Conway, Paul. "James MacMillan premieres in Edinburgh, Glasgow and London." Tempo 68, no. 269 (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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33

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 ‘

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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 per

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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

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Conway, Paul. "Manchester, Cosmo Rodewald Concert Hall: Gordon Crosse's L'enfant sauvage." Tempo 67, no. 266 (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 o

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Conway, Paul. "Birmingham: Param Vir's ‘The Theatre of Magical Beings’." Tempo 57, no. 226 (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

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Graham, Cameron. "John Luther Adams Across the Distance, Meltdown Festival, Royal Festival Hall, London." Tempo 70, no. 275 (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 Becomin

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Henderson, W. J. "Die antieke Griekse ‘religieuse’ liriek." Literator 16, no. 1 (1995): 163–77. http://dx.doi.org/10.4102/lit.v16i1.602.

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All occasions during which ancient Greek lyric was performed, were originally and intrinsically embedded in religious ceremony, but certain lyric forms were addressed more directly to some divine being in whose honour the ceremony was being performed. The spatial context of this kind of lyric performance was mostly a public gathering of officials and populace, and the content (references to ritual and myth), form and manner of performance (generally choral odes performed by a chorus of singer-dancers, accompanied by an ensemble of flutes and/or lyres, and percussion instruments) reflect this m

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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 s

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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 (1991): 304. http://dx.doi.org/10.2307/941847.

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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 (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

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Холопова, В. Н. "The Concept of “Multimedia” in the Music of Igor Kefalidi." Журнал Общества теории музыки, no. 4(28) (December 28, 2019): 10–17. http://dx.doi.org/10.26176/otmroo.2019.28.4.002.

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Понятие «мультимедиа» в настоящее время весьма широко используется в образовании, науке, искусстве, рекламе; в сфере музыки — в клипах развлекательных жанров. Задача статьи — очертить круг явлений мультимедиа в творчестве композитора академической традиции — И. Л. Кефалиди. Наиболее типична для данного автора трехкомпонентность: электронные звуки, звучание акустических инструментов и видеоряд — в частности, в его лучших сочинениях «TapeEхt», «S_S_S». Кроме того, имеются произведения, включающие: инструментальный театр — электроника, ударные инструменты, театральные движения, видео («Percato mo

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Miranda, Eduardo Reck. "Genetic Music System with Synthetic Biology." Artificial Life 26, no. 3 (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 strand

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., Asril. "PERAN GANDANG TASA DALAM MEMBANGUN SEMANGAT DAN SUASANA PADA PERTUNJUKAN TABUIK DI PARIAMAN." Jurnal Humaniora 27, no. 1 (2015): 67. http://dx.doi.org/10.22146/jh.v27i1.6411.

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Performing Tabuik in society Pariaman, West Sumatra, is a tradition of cultural influence of Shi’ite Islam that has inherited the local community since about two centuries ago. Tabuik performances are “heroic” and colossal. Pariaman society presented this performance by presenting two Tabuik support group. In certain parts of the performance, these two groups are presented opposite each other. One of the most important elements in each Tabuik performance is gandang tasa, the percussion ensemble. Gandang Tasa role in a variety of contexts and series of performances Tabuik. Gandang tasa most imp

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Hope, Cat, and Carol Robinson. "OCCAM HEX II: A COLLABORATIVE COMPOSITION." Tempo 71, no. 282 (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

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Veselinović-Hofman, Mirjana. "Silence As a Hermeneutic Oasis of Music." Musicological Annual 43, no. 2 (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 emotio

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Allard, Pierre. "Variabilité des débitages laminaires au Second Mésolithique et au Néolithique ancien dans le nord de la France (VIIe et VIe millénaire BCE)." Journal of Lithic Studies 4, no. 2 (2017): 75–103. http://dx.doi.org/10.2218/jls.v4i2.2538.

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Cet article présente un bilan des techniques de taille du Second Mésolithique et du Néolithique ancien du 7e au 6e millénaire dans le nord de la France. Cette période est caractérisée par l'apparition d'une nouvelle pratique technique qui se manifeste par la production de lames régulières associées à de nouvelles armatures de flèche de forme trapézoïdale. D’après les études menées, il semble que seuls les débitages à la percussion indirecte sont documentés dans l’ouest et le nord de l’aire considérée. Néanmoins, des analyses plus fines devront être menées pour les débitages soignés des product

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Perwira, Elbana Duta. "Music Composition “Kala Senja” (Melody Variation Overview)." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 5, no. 1 (2022): 19–27. http://dx.doi.org/10.26740/vt.v5n1.p19-27.

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The musical "Kala Senja" is an expression of the composer's feelings and memories from his childhood. This melody variation has 4 reviews of melodic variations, namely; Melodic Variation and Fake namely, Rhytmyc Variation and Fake, Dead Spot Filler, Counter Melody. The purpose of the creation of this work is as a means to achieve the goals of character education for ancient children with millennials in a musical work and as a creation of artistic texts or social texts about the character of ancient children with millennial times in a musical work. The method of finding the focus of the work ca

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Wei, Hai-Cheng, Na Ta, Wen-Rui Hu, et al. "Digital Volume Pulse Measured at the Fingertip as an Indicator of Diabetic Peripheral Neuropathy in the Aged and Diabetic." Entropy 21, no. 12 (2019): 1229. http://dx.doi.org/10.3390/e21121229.

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This study investigated the application of a modified percussion entropy index (PEIPPI) in assessing the complexity of baroreflex sensitivity (BRS) for diabetic peripheral neuropathy prognosis. The index was acquired by comparing the obedience of the fluctuation tendency in the change between the amplitudes of continuous digital volume pulse (DVP) and variations in the peak-to-peak interval (PPI) from a decomposed intrinsic mode function (i.e., IMF6) through ensemble empirical mode decomposition (EEMD). In total, 100 middle-aged subjects were split into 3 groups: healthy subjects (group 1, 48–

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