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1
Bielova, Yelyzaveta. "Sound images of percussion instruments: modernity and retrospections." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 120–39. http://dx.doi.org/10.34064/khnum2-19.07.
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Introduction. The widespread use of percussion instruments is a worldwide trend in artistic practice of the 20th – early 21st centuries, whose existence is due to the constant development of composer creativity and the performing art of percussion instruments playing. The named vectors of musical activity are linked inextricably, since one direction contributes to the development of another. Nevertheless, there are not still fundamental scientific works would investigate the evolution of wind instruments from the beginnings to the present in the designated context of the interaction between composer and performing arts. The questions remain open: why, over time, composers were more and more attracted to the sound images of percussion instruments? How did the formation of sound images of percussions take place and what tendencies can be distinguished in this process in connection with the development of various musical styles and genres, as well as with individual, unique composer ideas? What works contributed to the evolution of percussion instruments? The aim of the proposed research is an attempt to examine, in the context of evolutionary processes, the practice of the modern use of percussion instruments in composing and performing art. In addition to questions of their direct use in the works of composers, the sound image of percussions is considered, which can be reproduced with the help of articulation and other techniques on various instruments (piano, strings, harp, guitar etc.). Literature review and methodology of the research. This research in a factual aspect based on the works of G. Blagodatov (1969) and A. Kars (1989). However, percussion instruments are not the subject of special consideration in the works of these authors. In addition, we note that the methodological approach of the named researchers is opposite to the proposed analytical model. G. Blagodatov and A. Kars examine evolutionary processes in the history of a symphony orchestra and orchestration. However, they highlight the typical, not the special and unique, while is this interest that determines the specifics of our research. The historical and cultural approach that takes into account the historical experience of both musical and other types of art helps to “decode” the unique composer ideas. The historical and genetic research method is used when considering evolutionary processes and searching for features of historical continuity in the interpretation of sound images of percussion instruments. Findings. Modern interest in percussion instruments in the practice of playing music is associated with a new interpretation of the means of musical expression in compositions of the 20th – early 21st centuries. The reason for this interest should be sought in the correspondence of the sound image of the percussions to certain characteristics of the “picture of the world”, which develops in the work of artists throughout the XX–XXI centuries, a time of rapid total changes, when the “shock” and rigid “rhythm” become the symbols of the time, requiring, in turn, psychological relaxation and detachment. Accordingly, two main trends in the embodiment of percussion sound images formed. The first is associated with the emancipation of the rhythmic principle up to its complete liberation from the melodic one (the appearance in musical works of independent themerhythms, of expanded rhythmic structures, semantically significant rhythmic ostinatі, solo percussion instruments, in particular, in the works of the concert genre). The second is sonorous-coloristiс, revealing the wide timbre possibilities of percussion instruments, involving, among other things, exotic, archaic, atypical author’s methods of sound production, untempered sounds. In the 20 century, composers tried to free music from the power of even tempered tuning (for example, when using microtonal music in creative experiments carried out by A. Hába, Ch. Ives, I. Wyschnegradsky) and percussion instruments, by their nature, fit this tendency. Going beyond the limits of even tempered tuning concerns both pitch organization and concentration on timbre colors, sonorism. The second of the tendencies, in our opinion, responds to the hedonistic preferences of the listeners, and also corresponds to the widespread aesthetic concept of the naturalness of artistic creativity, where percussion appears as the most suitable instrument for reproducing natural biorhythms of the Universe and a Human in musical rhythms. The semantic content of percussion sound images demonstrates multidimensionality and poly-variety, up to opposite expressive meanings. Features of the use of percussion in musical works of the XX–XXI centuries are often determined by a unique composer intention, which performers and researchers should decode based on the cultural and historical experience of musical art. For example, the sound image of bells, which clearly reveals the sonor-color qualities of the percussiveness, acquires different semantic meanings depending on the author’s concept. It is possible to use sound images of percussion instruments from the standpoint of symbolism. Historical, in particular, national origins can also affect the interpretation of sound images of percussion instruments. Continuity and evolutionary changes are demonstrated by examples from the practice of using timpani, which for centuries were part of a symphony orchestra, and in the XX–XXI centuries became participants in a joint game and even soloists in different performing groups. The main section of the manuscript gives examples of all directions in the interpretation of sound images of percussion instruments. Conclusion. So, the proposed complex analytical model, taking into account the historical, national, evolutionary factors in the interpretation of sound images of percussion, which differs in different eras, seems promising, making it possible to trace the continuity in the new and the features of the cultural dialogue arising one way or another in the “big time” (M. Bakhtin) of art.
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Bessell, David. "Dynamic Convolution Modeling, a Hybrid Synthesis Strategy." Computer Music Journal 37, no. 1 (March 2013): 44–51. http://dx.doi.org/10.1162/comj_a_00159.
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This article outlines a hybrid approach to the synthesis of percussion sounds. The synthesis method described here combines techniques and concepts from physical modeling and convolution to produce audio synthesis of percussive instruments. This synthesis method not only achieves a high degree of realism in comparison with audio samples but also retains some of the flexibility associated with waveguide physical models. When the results are analyzed, the method exhibits some interesting detailed spectral features that have some aspects in common with the behavior of acoustic percussion instruments. In addition to outlining the synthesis process, the article discusses some of the more creative possibilities inherent in this approach, e.g., the use and free combination of excitation and resonance sources from beyond the realms of the purely percussive examples given.
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Yudha, Kiki Devista, and Jagar Lumbantoruan. "HUBUNGAN HASIL BELAJAR TEORI MUSIK DASAR DAN PRAKTEK INSTRUMEN PERKUSI DI JURUSAN SENDRATASIK." Jurnal Sendratasik 9, no. 3 (September 3, 2020): 37. http://dx.doi.org/10.24036/jsu.v9i1.109303.
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Abstract This study aims at finding out the correlation between learning outcomes in music theory subject and percussion instrument practice subject in the Department of Drama, Dnace and Music Arts. This quantitative research used a correlational method involving two variables, i.e. the learning outcomes of music theory subject and the learning outcomes percussion instrument practice subject. The population in this study was the students of Department of Drama, Dance and Music Arts, Faculty of Languages and Arts, Universitas Negeri Padang whi took Music Theory subject in the even semester of 2017-18 academic calendar. Meanwhile, the sample in this study was the students of the Department of Drama, Dance and Music Arts who took the Percussion Instrument Practice subject in the even semester of 2018-19 academic calendar. The data of this study were documentation of the students’ learning outcomes in music theory and percussion instrument practice subjects which were processed using the Pearson product moment correlation test method. The results of data analysis showed that the value of the correlation test was 0.1013 or 10.13%. This coefficient value was based on the interpretation of the coefficient values in the range 0.00 – 0.19, indicating that the level of correlation between music theory subject and percussion instrument subject was very weak. Using a significance test with an error level of 5%, the results of the hypothesis testing showed that rcount ˂ rtable, indicating that Ha was accepted and Ho was rejected. This means that there is a correlation between the learning outcomes of music theory subject in its application to the practice of percussion instrument, but in a very weak level.Keywords: relationships, learning outcomes, basic music theory, percussion instruments
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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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Ondrejka, Vojtěch, Tomáš Gergeĺ, Anna Danihelová, Martin Čulík, Dagmara Bednárová, Marián Schwarz, and Miroslav Němec. "THE IMPACT OF ACOUSTIC OF SELECTED SPACES ON PERCUSSION INSTRUMENTS." Akustika, VOLUME 37 (December 15, 2020): 37–85. http://dx.doi.org/10.36336/akustika20203772.
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The results of the investigation of the room acoustic properties influence on the perception of the sound of percussion musical instruments are presented in the paper. At first, the acoustic properties of two rooms were determined without musical instrument. Subsequently, the acoustic properties of the rooms were determined during the presentation of cajon music. On the base of reverberation time (EDT, T30), Clarity C80, Definition D50 and bass index BI) we can conclude that the room of the Hron cinema is more suitable for musical presentation, but it cannot be considered as ideal one. The Royal Hall of Zvolen Castle has a smaller influence on the sound of a percussion instrument. The influence of room acoustic properties on the resulting sound of the instrument was evaluated only on the base of results obtained with using the objective methods by the physical quantities measurement. Finally, the design of these rooms modification is presented to achieve a better sound quality of percussion instruments.
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Dustov, Sanoqul. "The Role Of Uzbek National Performance In The Music Art." American Journal of Social Science and Education Innovations 03, no. 02 (February 27, 2021): 126–32. http://dx.doi.org/10.37547/tajssei/volume03issue02-20.
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In the article the role of our national percussion words formed on the basis of Uzbek musical performance art in IX-XII centuries in the cultural life of people at all stages of development from generation to generation for centuries, their joy, sometimes accompanying us in our sad days, reaching us in a perfected and perfected form, the necessary influence on the spiritual world of people with the sound of percussion instruments, their place in our modern cultural life.
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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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Vande Veire, Len, Cedric De Boom, and Tijl De Bie. "Sigmoidal NMFD: Convolutional NMF with Saturating Activations for Drum Mixture Decomposition." Electronics 10, no. 3 (January 25, 2021): 284. http://dx.doi.org/10.3390/electronics10030284.
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In many types of music, percussion plays an essential role to establish the rhythm and the groove of the music. Algorithms that can decompose the percussive signal into its constituent components would therefore be very useful, as they would enable many analytical and creative applications. This paper describes a method for the unsupervised decomposition of percussive recordings, building on the non-negative matrix factor deconvolution (NMFD) algorithm. Given a percussive music recording, NMFD discovers a dictionary of time-varying spectral templates and corresponding activation functions, representing its constituent sounds and their positions in the mix. We observe, however, that the activation functions discovered using NMFD do not show the expected impulse-like behavior for percussive instruments. We therefore enforce this behavior by specifying that the activations should take on binary values: either an instrument is hit, or it is not. To this end, we rewrite the activations as the output of a sigmoidal function, multiplied with a per-component amplitude factor. We furthermore define a regularization term that biases the decomposition to solutions with saturated activations, leading to the desired binary behavior. We evaluate several optimization strategies and techniques that are designed to avoid poor local minima. We show that incentivizing the activations to be binary indeed leads to the desired impulse-like behavior, and that the resulting components are better separated, leading to more interpretable decompositions.
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Zappi, Victor, Andrew Allen, and Sidney Fels. "Extended Playing Techniques on an Augmented Virtual Percussion Instrument." Computer Music Journal 42, no. 2 (June 2018): 8–21. http://dx.doi.org/10.1162/comj_a_00457.
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Innovation and tradition are two fundamental factors in the design of new digital musical instruments. Although apparently mutually exclusive, novelty does not imply a total disconnection from what we have inherited from hundreds of years of traditional design, and the balance of these two factors often determines the overall quality of an instrument. Inspired by this rationale, in this article we introduce the Hyper Drumhead, a novel augmented virtual instrument whose design is deeply rooted in traditional musical paradigms, yet aimed at the exploration of unprecedented sounds and control. In the first part of the article we analyze the concepts of designing an augmented virtual instrument, explaining their connection with the practice of augmenting traditional instruments. Then we describe the design of the Hyper Drumhead in detail, focusing on its innovative physical modeling implementation. The finite-difference time-domain solver that we use runs on the parallel cores of a commercially available graphics card and permits the simulation of real-time 2-D wave propagation in massively sized domains. Thanks to the modularity of this implementation, musicians can create several 2-D virtual percussive instruments that support realistic playing techniques but whose affordances can be enhanced beyond most of the limits of traditional augmentation.
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Taylor, Donald M. "Refining Learned Repertoire for Percussion Instruments in an Elementary Setting." Journal of Research in Music Education 54, no. 3 (October 2006): 231–43. http://dx.doi.org/10.1177/002242940605400306.
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The purpose of this study was to examine teaching effectiveness in an elementary music setting using student achievement as a dependent measure. Because Orff Schulwerk instruction is one of the most prevalent pedagogies in elementary music education, this study examined the rehearsal strategies of recognized Orff Schulwerk teachers as they worked to refine learned repertoire for percussion instruments. Eight instructors and their upper elementary students were videotaped in four regular rehearsals each. Systematic analyses of rehearsal frames in which teachers were working to improve student performance revealed fast teacher pacing and a predominance of instructional directives that were procedural (e.g., where to begin playing) rather than musical (e.g., how to perform more accurately or expressively). The majority of students' performance problems were related to precision, often caused by rushing the underlying pulse. Instructional targets were most often related to technique. Students successfully accomplished proximal goals in 63 % of the performance trials in which the targets were verbalized by the teacher prior to performance and in 74 % of the performance trials when the targets were verbalized by the teachers while students were playing. Students were most successful when teachers used clear, explicit directives and positive modeling.
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Ramadina, Dini Dwi Dista, Rosyid Al Atok, and Didik Sukriono. "Menumbuhkan nasionalisme di kalangan remaja kelompok seni musik Patrol Perkusi Bendho Agung di Desa Gadungsari Kecamatan Tirtoyudo Kabupaten Malang." Jurnal Integrasi dan Harmoni Inovatif Ilmu-Ilmu Sosial 1, no. 2 (February 28, 2021): 182–93. http://dx.doi.org/10.17977/um063v1i2p182-193.
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This study aims to describe how to grow an attitude of nationalism, the appearance of nationalism, obstacles in developing nationalism, and those efforts are made to overcome obstacles to developing nationalism among youths Bendho Agung Percussion Patrol Music Art Group. This study uses a qualitative approach with descriptive research type. Data collection was carried out by means of observation, interviews, and documentation study. Data analysis using interactive analysis. Checking the validity of the data using triangulation techniques. how to grow an attitude of nationalism among adolescents with doing various activities includes of dancing traditional dances and playing traditional percussion patrol instruments such as kenong, saron, tambourine, drums, plastic drum, iron drum, gong and all members should to memorize the national song and folk songs. The appearance of nationalism is that the members t-shirts have nuances or patterns of batik and it doesn’t have feeling inferior or inferiority when playing traditional musical instruments and dancing traditional dances. The develeoping nationalism among youths is also inseparable from the obstacles when realizing nationalism among youths Bendho Agung Percussion Patrol Music Art Group, these obstacles are the include the time clashes between school time and the time of the event and the lack of dance costumes of Bendho Agung Percussion Patrol Music Art Group. In overcoming these obstacles the Bendho Agung Percussion Patrol Music Art Group makes efforts to overcome them by giving permission to schools and borrow or rent dance costumes in an art studio Turen.
Kajian ini bertujuan mendiskripsikan cara menumbuhkan nasionalisme, bentuk perwujudan nasionalisme, kendala yang dihadapi dalam menerapkan nasionalisme, dan solusi dalam menghadapi kendala penerapan nasionalisme di kalangan remaja Kelompok Seni Musik Patrol Perkusi Bendho Agung. Kajian ini menggunakan pendekatan kualitatif dengan jenis penelitian deskriptif. Pengumpulan data dilakukan dengan cara observasi, wawancara, dan studi dokumentasi. Analisis data menggunakan analisis interaktif. Pengecekan keabsahan data menggunakan triangulasi sumber. Cara menumbuhkan sikap nasionalisme di kalangan remaja diantaranya melalui kegiatan menari tari tradisional, bermain alat musik tradisional patrol perkusi seperti kenong, dig dug, saron, rebana, kendang, drum plastik, drum besi, gong dan mewajibkan seluruh anggota untuk hafal lagu nasional dan lagu-lagu daerah. Bentuk perwujudan nasionalisme diantaranya kaos anggota ada nuansa atau corak batik dan tidak ada rasa minder atau rendah diri ketika bermain alat musik tradisional dan menari tarian tradisional. Dalam menumbuhkan nasionalisme di kalangan remaja tidak lepas dari kendala-kendala yang muncul saat mewujudkan nasionalme di kalangan renaja Kelompok Seni Musik Patrol Perkusi Bendho Agung, kendala tersebut yaitu waktu yang bentrok antara waktu sekolah dengan waktu event dan kurangnya kostum tari yang dimiliki Kelompok Seni Musik Patrol Perkusi Bendho Agung. Dalam mengatasi kendala-kendala tersebut, Kelompok Seni Musik Patrol Perkusi Bendho Agung melakukan upaya-upaya dalam mengatasinya dengan cara memberian surat izin ke sekolah dan meminjam atau menyewa kostum tari di sanggar seni Turen.
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Taylor, Donald M. "Refining Learned Repertoire for Percussion Instruments in an Elementary Setting." Journal of Research in Music Education 54, no. 3 (2006): 231. http://dx.doi.org/10.2307/4151344.
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Suhaya, Suhaya, Abdul Rachman, Syahrul Syah Sinaga, and Dandi Musa Alfayad. "Percussion Pattern of Terebang Gede in Panggung Jati Studio, Panggung Jati Village, Serang." Harmonia: Journal of Arts Research and Education 20, no. 2 (December 27, 2020): 223–30. http://dx.doi.org/10.15294/harmonia.v20i2.18067.
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The characteristics of a region become an identity that is certainly inseparable from the noble values it adheres to, including religious values as the foundation for the formation of art of terebang gede in the Panggung Jati studio, Panggung Jati village, Serang, Banten. This study aims to describe the percussion patterns in the art of Terebang Gede both in text and context by using a qualitative paradigm with descriptive analytical methods. As a highlighted theory, ethnomusicology is used to analyze the existence of music in a culture, both from physical aspects and socio-cultural aspects. The data collection technique is done by interview, documentation study, and literature study. The data analysis stages are carried out in the order of data collection, data reduction, data organizing into a pattern, category, and description into basic descriptions that lead to the concluding process. The results showed that the percussion pattern of terebang gede is very simple. The percussion patterns on all existing musical instruments, such as the musical instrument of koneng, kempul, penganak (bibit), interlude, and bass (terebang gede), still follow the framework of the percussion “standard” which is hereditary from previous generations. Until now, this accompaniment without the development of rhythmic variations has been used to accompany syair or sholawat Al-Barzanjiwith with tones of Sundanese-style songs of the salendro type. Changes in accompaniment were not made because this performance was only performed on special occasions for Muslims to broadcast and support worship which was not intended as entertainment music.
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Kozłowski, Emil, and Rafał Młyński. "Effects of Acoustic Treatment on Music Teachers' Exposure to Sound." Archives of Acoustics 39, no. 2 (March 1, 2015): 159–63. http://dx.doi.org/10.2478/aoa-2014-0019.
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Abstract In this study, music teachers' exposure to sound was tested by measuring the A-weighted equivalent sound pressure level (SPL), the A-weighted maximum SPL and the C-weighted peak SPL. Measurements were taken prior to and after acoustic treatment in four rooms during classes of trumpet, saxophone, French horn, trombone and percussion instruments. Results showed that acoustic treatment affects the exposure of music teachers to sound. Daily noise exposure levels (LEX, 8 h) for all teachers exceeded a limit of 85 dB while teaching music lessons prior to room treatment. It was found that the LEX, 8 h values ranged from 85.8 to 91.6 dB. The highest A-weighted maximum SPL and C-weighted peak SPL that music teachers were exposed to were observed with percussion instruments (LAmax = 110.4 dB and LCpeak = 138.0 dB). After the treatments, daily noise exposure level decreased by an average of 5.8, 3.2, 3.0, 4.2 and 4.5 dB, respectively, for the classes of trumpet, saxophone, French horn, trombone and drums, and did not exceed 85 dB in any case.
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Buana, Utari Arsy. "BENTUK PENYAJIAN LAGU OEMAR BAKRIE DI MARCHING BAND SWATAMI PADA GEBYAR PENDIDIKAN NASIONAL KABUPATEN LABUHANBATU UTARA." Grenek Music Journal 7, no. 1 (January 3, 2018): 92. http://dx.doi.org/10.24114/grenek.v7i1.8790.
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The results showed that one form of emotional expression that is channeledthrough the music and therefore, the group marching band Swatami onarranemen songs Oemar Bakrie brought by Marching band Swatami using threecategories of instrument, namely: instrument Percussion in tone (Glockenspiel,vibraphone, Xylophone, Marimba), brass instruments (trumpet, Mellophone,Baritone, Tuba), and percussion (Senar drum, tenor drum, bass drum, cymbals).Choosing songs Omar bakrie for in the arrangements with the shape Marchingband. Bakrie Oemar tempo songs using 163 has 51 bars and has two variations ofthe melody, the melody forms A and B. Form benuk melodic presentation of thesong sung by Oemar Bakrie Swatami Marching band is a form of selfappreciation for issuing arts talent. Using costumes and makeup of their pridethat seemed interesting and luxurious for a show. Using display / position playersmake this show the higher thevalue of his art.
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Nunn, Tom. "Electroacoustic Percussion Boards: Sculptured Musical Instruments for Improvisation." Leonardo 21, no. 3 (1988): 261. http://dx.doi.org/10.2307/1578653.
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Young, Susan. "Listening to the music of early childhood." British Journal of Music Education 12, no. 1 (March 1995): 51–58. http://dx.doi.org/10.1017/s0265051700002394.
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An interest in listening to nursery age children spontaneously making music on percussion instruments led to re-thinking the role of adult as listener to children's music making. It is suggested that this role is not a passive one but active. The adult playfully participates with the child and takes responsibility for ‘scaffolding’ the child's emerging music making. Participant listening challenges conceptions of the listening act itself.
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Young, Douglas. "Colin McPhee's Music: (II) ‘Tabuh-Tabuhan’." Tempo, no. 159 (December 1986): 16–19. http://dx.doi.org/10.1017/s0040298200022804.
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In his prefatory ‘Note’ to the full score of Tabuh-Tabuhan (eventually published by AMP Inc. 1960), McPhee wrote:Tabuh-Tabuhan was composed in Mexico in 1936 and first performed by Carlos Chavez and the National Orchestra of Mexico City. It was written after I had spent four years in Bali engaged in musical research, and is largely inspired, especially in its orchestration, by the various methods I had learned of Balinese gamelan technique. The title of the work derives from the Balinese word tabuh, originally meaning the mallet used for striking a percussion instrument, but extended to mean strike or beat… Tabuh-Tabuhan is thus a Balinese collective noun, meaning different drum rhythms, metric forms, gong punctuations, gamelans, and music essentially percussive. In a subtitle I call the work Toccata for Orchestra and two pianos.
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Parra, Lorena, Marta Torres, Jaime Lloret, Agustín Campos, and Ignacio Bosh. "Assisted Protection Headphone Proposal to Prevent Chronic Exposure to Percussion Instruments on Musicians." Journal of Healthcare Engineering 2018 (2018): 1–11. http://dx.doi.org/10.1155/2018/9672185.
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The effects of chronic exposure to high sound pressure levels (SPLs) are widely studied in the industry environment. However, the way that SPLs affect music students has not been thoroughly examined. In this paper, we study the SPL exposure of batucada students and we propose an assisted protection headphone as a part of e-health system. We measured the SPL reached during a regular percussion class. Pure-tone audiometries were performed to a set of percussion students. The gathered data were statistically analyzed. The assisted protection headphones and their operation are detailed and tested during a regular class. Our results show that 35% of the musicians present with a noise-induced hearing loss, considered as two frequencies with hearing loss of 25 dB or more or one frequency with a hearing loss of 30 dB or more. Our data also shows that those students that do not use any protection have a greater hearing loss. However, the students that use protection headphones are also suffering hearing loss. There might be a problem in the way that musicians are using the protection headphones. Our assisted protection headphones as a part of e-health measures can diminish the negative effects of percussion instruments for musicians.
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Zekang, Chen. "JIA DAQUN CONCERTO ″FUSION II″: INTERPRETATION OF CHINESE PERCUSSION INSTRUMENTS." Arts education and science 1, no. 2 (2021): 136–43. http://dx.doi.org/10.36871/hon.202102017.
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The article introduces Jia Daqun's Concerto for Percussion and Symphony Orchestra "Fusion II" into Russian musicology for the first time. The work is considered as one of the illustrative examples of the inclusion of traditional Chinese percussion instruments in symphony orchestra. Following modern trends in unconventional ways of playing the tanggu solo drum, the composer achieves a timbre transformation which, along with rhythmic and dynamic qualities, allows to imitate the sound of Indian drums and African tambourines. The new sound created in this way becomes one of the indicators of the cross-cultural integration, which is accomplished not by mechanical borrowing of authentic musical material, but by developing a distinctive rhythmic pattern and sound production techniques. The combination of the timbres of Chinese gong and the vibrato of stringed instruments in Fusion II creates slowdowns and an "echo" effect typical for electronic music. In the Concerto all the features of the genre are observed, but the classical constant received a refraction in the light of modern processes, which required the composer to use new and sometimes harsh methods, almost completely eliminating the lyrical expression.
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Smith, Alex. "Reconnecting the music-making experience through musician efforts in instrument craft." International Journal of Music Education 36, no. 4 (June 19, 2018): 560–73. http://dx.doi.org/10.1177/0255761418771993.
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Musical settings that require consumers to construct their own musical instruments serve as potential sites of reconnection between musicians, the musical instruments they make, the natural resources that comprise those instruments, and the labor required to produce them. When musicians reconnect in these ways, they are able to understand and appreciate their musical instruments in new and meaningful ways. This can allow for heightened efforts in instrument care and maintenance; it can also allow for a greater sensitivity to environmental and ethical issues surrounding musical instruments. Data are drawn from a collegiate-level academic percussion musical setting where the musicians composed for and performed on the instruments they made themselves from mostly recycled materials. Group and individual semi-structured interviews and participant observation conducted over the course of summer and fall 2014 reveal the ways these reconnections are possible. This paper is in response to Matsunobu’s (2013) call to further establish instrument craft as an area within music education curricula.
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S, Sivasankar, and Alaguselvam A. "Beautiful Neduvangiyam also known as Nagasuram." International Research Journal of Tamil 3, no. 2 (March 30, 2021): 65–69. http://dx.doi.org/10.34256/irjt2129.
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The purpose of this study is to understand one of the earliest known non-brass double-reed instrument called Nagasuram (Nadaswaram). Our ancestors while defining Tamil music grammar in parallel focused on sound engineering, which helped them to invent new musical instruments. Sangam era alone saw more than 30 percussion and wind instruments. Among them, few instruments like Veenai, Urumi and Nagasuram are worth mentioning since their design techniques were known only to a handful of families. Their performance really stands out due to their versatile and adaptable nature to all genres of music. Music instrument, like any other scientific invention goes through the same process of trial and error before getting standardized for general use. Instruments with strong adherence to scientific and acoustic principles gain prominence among the rest, as they undergo minimal structural changes. Nagasuram (Nadaswaram) is one such instrument, which was passed on to us for generations. This instrument readily complies with acoustic principles such as sound impedance, Helmholtz resonance, wave theory etc. to get the characteristic of a loudest non-brass wind instrument.
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Mishra, Wricha, Amitabha De, Somnath Gangopadhyay, and Ananga M. Chandra. "Playing-Related Musculoskeletal Disorders Among Indian Tabla Players." Medical Problems of Performing Artists 28, no. 2 (June 1, 2013): 107–11. http://dx.doi.org/10.21091/mppa.2013.2019.
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Playing a percussion instrument demands great force and effort, which may make percussionists prone to playing-related musculoskeletal disorders (PRMDs). Of all of the percussion instruments in India, tabla is the most popular. The present study was undertaken to investigate the prevalence of discomforts among professional tabla players. Eighty-five professional tabla players voluntarily participated in the study. The Nordic Musculoskeletal Questionnaire (NMQ) and visual analog scale (VAS) were administered to all the participants. Demographic details, music-related activities, and symptoms of discomfort were also recorded. It was found that prone anatomical areas were the low back, right shoulder, neck, left shoulder, upper back, and knees. The frequency of discomfort was found to be mostly weekly for the shoulders and monthly for neck, low back, and knees. There was an association between visual analog scale and prevalence of self-reported discomforts in some body parts. It can be said that the prolonged, unsupported, folded-knee sitting posture may be the cause of discomforts.
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Lee, Eunsung, Yerim Shin, Sungmin Jo, and Jinsook Kim. "A Study for Composition and Comparison of the Music Perception Tests for Normal Hearing and Cochlear Implant Users." Audiology and Speech Research 17, no. 3 (July 31, 2021): 291–99. http://dx.doi.org/10.21848/asr.210016.
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Purpose: The aim of this study was to compose the test for music perception and analyze the characteristic of cochlear implant users’ music perception.Methods: The test was made up with the pitch, melody, and timbre factors, using three low and high frequencies, six music genres, and four types of musical instruments correspondingly. The tests were conducted to 10 normal-hearing (NH) young adults and 10 young cochlear-implant (CI) users.Results: All the music perception tests showed significant differences between NH and CI group [F(1, 4) = 0.018, p = 0.019]. In the pitch test, CI group showed significantly lower correction rate(51.3%) than NH group (82.7%) did with higher correction rates in low frequencies. In the melody test, CI group showed significantly lower correction rate (29.7%) than NH group (95.8%) did with the highest performance in folk songs (51.7%). In the timbre test, CI group showed significantly reduced performance (22.5%) than NH group (65.8%) did. For both CI and NH groups, the pitched percussion showed the highest scores (45% and 100%) while the woodwind showed the lowest scores (13.3% and 48.3%).Conclusion: Out of three tests, CI group showed better performance in pitch perception than melody and timber perception. CI group showed better performances in low pitch sounds, melodies of familiar genre, and sound of pitched percussion instruments’ timber showing complicated music perception ability. To enhance the music perception ability for CI users by aural rehabilitation, more specified and systematic music perception test material should be developed.
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Lim, Vanessa K., and Eckart Altenmüller. "Musicians’ Cramp: Instrumental and Gender Differences." Medical Problems of Performing Artists 18, no. 1 (March 1, 2003): 21–26. http://dx.doi.org/10.21091/mppa.2003.1005.
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Musicians’ cramp is a disorder characterized by its task specificity and gender bias; male musicians have a higher prevalence of this disorder than females. Previous epidemiological studies on musicians’ cramp have demonstrated that certain instrumental groups are more prone to develop this disorder than others. These studies, however, have not accounted for the gender distribution in healthy musicians. Therefore, the current study investigated 2,661 healthy musicians collected from eight music conservatories within Germany. These controls were compared with 183 patients (154 males) with musicians’ cramp in an outpatient clinic at the Institute for Music Physiology and Music Medicine (IMMM), Hannover, Germany (1994-2000). Comparisons between groups (musicians’ cramp and controls) were made for gender and instrumental groups (keyboard, strings, woodwind, brass, plucking, and percussion). Results were consistent with earlier studies suggesting that particular instrumental groups were more at risk for developing musicians’ cramp than others. When gender was not a factor, both woodwind and plucking (guitar) instrumentalists were more likely to develop musicians’ cramp, while musicians playing string and percussion instruments were less likely to develop musicians’ cramp. Musicians playing keyboard and brass instruments were not significantly different than expected. When gender was included in the analyses, the following pattern was revealed: the number of male patients with musicians’ cramp was greater than expected, even when the number of healthy male musicians was accounted for; the opposite was found for female patients. Furthermore, when gender was also included in the instrumental analyses, male musicians were more likely to have musicians’ cramp than females in keyboard, string, woodwind, and plucking instruments. The only instrumental group without a gender bias for symptoms were the brass instruments. These results suggest that male musicians are more likely to develop musicians’ cramp within certain instrumental groups, and may reflect a general predisposition for male musicians to develop this disorder. The ages at onset of symptoms were not different between the males and females in this sample. The current study demonstrates a clear association between gender, instrumental groups, and the presentation of dystonic symptoms.
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Young, Susan. "Time–space structuring in spontaneous play on educational percussion instruments among three- and four-year-olds." British Journal of Music Education 20, no. 1 (March 2003): 45–59. http://dx.doi.org/10.1017/s0265051702005284.
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This article reports on a study which investigated the spontaneous instrumental music-making of three- and four-year-olds in typical pre-school educational settings in London, UK. It argues that many prior studies of children's music-making have analysed and evaluated such activity against models drawn from the practices of Western art music and its conventions of analytical theory, and suggests that this approach has certain drawbacks. The study adopted a grounded theory methodology moving through three phases in different nursery classrooms. Each phase was characterised by successive focusing and refinement of methodological tools in response to the emerging findings. Data were collected on videotape which was then repeatedly reviewed, transcribed and categorised. The children's music-making was analysed as relational processes in time and space involving the two-way interplay of child and instrument. Structures in space delineate the child's movement within the spatial potentials and constraints of the instrument design. Structures in time describe how movements and movement ideas were strung together in ever-lengthening portions.
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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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Rentz, Earlene. "Musicians' and Nonmusicians' Aural Perception of Orchestral Instrument Families." Journal of Research in Music Education 40, no. 3 (October 1992): 185–92. http://dx.doi.org/10.2307/3345680.
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The purpose of this study was to examine aural perception in a selective listening task using a Continuous Response Digital Interface (CRDI). Undergraduate college students (60 musicians, 60 nonmusicians) listened to an excerpt from Billy the Kid by Aaron Copland. Subjects indicated focus on instrumental family by manipulating the indicator of the CRDI. “Sound intervals” were determined by changes in predominant instrument family in the orchestral texture. Families were divided into five categories: (a) brass, (b) percussion, (c) woodwinds, (d) strings, and (e) all The “all” category indicated focus on three or more families simultaneously (e.g., tutti). Results were based on examination of subjects' category selections in terms of percentages of time focused on each category within each interval Analyses of cumulative seconds across all intervals indicated that nonmusicians focused on brass and percussion longer than did musicians. Musicians focused on strings longer and selected strings mare frequently than did nonmusicians. Musicians also indicated focus on three or more families simultaneously more than did nonmusicians.
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Hennessy, Sarah. "Agogo Bells to Xylophone - A Friendly Guide to Classroom Percussion Instruments by Maggie Cotton. Percussion Players Series. London: A & C Black, 1996. £9.99, 65 pp." British Journal of Music Education 14, no. 1 (March 1997): 102–3. http://dx.doi.org/10.1017/s0265051700003491.
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Christensen, Jean, Bent Lorentzen, and Ivar Lunde. "Paradiesvogel, for 7 Instruments: Flute/Piccolo, Clarinet, Violin, Cello, Guitar, Percussion, Piano (1983)." Notes 46, no. 1 (September 1989): 241. http://dx.doi.org/10.2307/940787.
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Straebel, Volker, and Wilm Thoben. "Alvin Lucier's Music for Solo Performer: Experimental music beyond sonification." Organised Sound 19, no. 1 (February 26, 2014): 17–29. http://dx.doi.org/10.1017/s135577181300037x.
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Alvin Lucier's Music for Solo Performer (1965), often referred to as the ‘brain wave piece’, has become a key work of experimental music. Its setup, in which the brain waves of a solo performer are made to excite percussion instruments, has given the work a central place in the discourse on artistic sonification. However, only a small number of the authors making reference to the work seem to have studied the score, and even fewer have given thought to the score's implications for performance practice and aesthetic reflection. This paper pays detailed attention to these yet overlooked aspects, drawing on accounts of early performances as well as the authors’ participation in a 2012 performance led by the composer. We also trace the history of live-electronic equipment used for Music for Solo Performer and discuss the work's reception in sonification research.
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Qi, Yuxuan, Fuxing Huang, Zeyan Li, and Xiaoang Wan. "Crossmodal Correspondences in the Sounds of Chinese Instruments." Perception 49, no. 1 (November 20, 2019): 81–97. http://dx.doi.org/10.1177/0301006619888992.
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People tend to associate stimuli from different sensory modalities, a phenomenon known as crossmodal correspondences. We conducted two experiments to investigate how Chinese participants associated musical notes produced by four types of Chinese instruments (bowed strings, plucked strings, winds, and percussion instruments) with different colors, taste terms, and fabric textures. Specifically, the participants were asked to select a sound to match each color patch or taste term in Experiment 1 and to match the experience of touching each fabric in Experiment 2. The results demonstrated some associations between pitch and color, taste term, or the smoothness of fabrics. Moreover, certain types of Chinese instruments were preferentially chosen to match some of the colors, taste terms, and the texture of certain fabrics. These findings therefore provided insights about the perception of Chinese music and shed light on how to apply the multisensory features of sounds to enhance the composition, performance, and appreciation of music.
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Febriyando, Febriyando. "Kolaborasi Musik Rock dengan Alat Musik Tradisional Polopalo." Ideas: Jurnal Pendidikan, Sosial, dan Budaya 6, no. 3 (September 2, 2020): 281. http://dx.doi.org/10.32884/ideas.v6i3.293.
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Abstrak
Polopalo adalah alat musik khas Gorontalo, yang sudah mulai ditinggalkan oleh generasi masa kini. Akan sangat menarik jika alat musik ini dikolaborasikan dengan alat musik modern. Oleh karena itu, penelitian ini bertujuan untuk mengetahui cara yang efektif dalam mengolaborasikan musik rock dengan alat musik polopalo. Pendekatan yang digunakan dalam penelitian ini adalah pendekatan kualitatif. Hasil penelitian menunjukkan bahwa keterbatasan nada yang dihasilkan dari bunyi alat musik polopalo menjadi suatu hambatan dalam proses kolaborasi, sehingga cara yang paling efektif dalam kolaborasi yang penulis lakukan adalah dengan menjadikan alat musik polopalo tersebut sebagai alat musik perkusi.
Abstract
The polopalo is a typical Gorontalo musical instrument, which the current generation has begun to abandon. It would be very interesting if this musical instrument was collaborated with modern musical instruments. Therefore, this study aims to determine the effective way to collaborate rock music with the Polopalo musical instrument. The approach used in this study is a qualitative approach. The results showed that the limitation of the tone produced from the sound of the polopalo musical instrument became an obstacle in the collaboration process, so that the most effective way of collaboration that the author did was to make the polopalo instrument as a percussion instrument.
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Beauchamp, James. "Perceptually Correlated Parameters of Musical Instrument Tones." Archives of Acoustics 36, no. 2 (May 1, 2011): 225–38. http://dx.doi.org/10.2478/v10168-011-0018-8.
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AbstractIn Western music culture instruments have been developed according to unique instrument acoustical features based on types of excitation, resonance, and radiation. These include the woodwind, brass, bowed and plucked string, and percussion families of instruments. On the other hand, instrument performance depends on musical training, and music listening depends on perception of instrument output. Since musical signals are easier to understand in the frequency domain than the time domain, much effort has been made to perform spectral analysis and extract salient parameters, such as spectral centroids, in order to create simplified synthesis models for musical instrument sound synthesis. Moreover, perceptual tests have been made to determine the relative importance of various parameters, such as spectral centroid variation, spectral incoherence, and spectral irregularity. It turns out that the importance of particular parameters depends on both their strengths within musical sounds as well as the robustness of their effect on perception. Methods that the author and his colleagues have used to explore timbre perception are: 1) discrimination of parameter reduction or elimination; 2) dissimilarity judgments together with multidimensional scaling; 3) informal listening to sound morphing examples. This paper discusses ramifications of this work for sound synthesis and timbre transposition.
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Pawlaczyk-Łuszczyńska, Małgorzata, Małgorzata Zamojska-Daniszewska, Adam Dudarewicz, and Kamil Zaborowski. "Pure-Tone Hearing Thresholds and Otoacoustic Emissions in Students of Music Academies." International Journal of Environmental Research and Public Health 18, no. 3 (February 1, 2021): 1313. http://dx.doi.org/10.3390/ijerph18031313.
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The objective of this study was to assess the hearing of music students in relation to their exposure to excessive sounds. A standard pure-tone audiometry, transient-evoked otoacoustic emissions (TEOAEs) and distortion-product otoacoustic emissions (DPOAEs) were determined in 163 students of music academies, aged 22.8 ± 2.6 years. A questionnaire survey and sound pressure level measurements during solo and group playing were also conducted. The control group comprised 67 subjects, mainly non-music students, aged 22.8 ± 3.3 years. Study subjects were exposed to sounds at the A-weighted weekly noise exposure level (LEX,w) from 75 to 106 dB. There were no significant differences in the hearing thresholds between groups in the frequency range of 4000–8000 Hz. However, music students compared to control group exhibited lower values of DPOAE amplitude (at 6000 and 7984 Hz) and signal-to-noise ratio (SNR) (at 984, 6000, and 7984 Hz) as well as SNR of TEOAE (in 1000 Hz band). A significant impact of noise exposure level, type of instrument, and gender on some parameters of measured otoacoustic emissions was observed. In particular, music students having LEX,w ≥ 84.9 dB, compared to those with LEX,w < 84.9 dB, achieved significantly lower DPOAE amplitude at 3984 Hz. Meanwhile, both TEOAE and DPOAE results indicated worse hearing in students playing percussion instruments vs. wind instruments, and wind instrument players vs. students playing stringed instruments.
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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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Bergee, Martin J. "Relationships among Faculty, Peer, and Self-Evaluations of Applied Performances." Journal of Research in Music Education 45, no. 4 (December 1997): 601–12. http://dx.doi.org/10.2307/3345425.
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This study is the second in a series examining relationships among faculty, peer, and self-evaluations of applied music end-of-semester performances. At three locations, college and university voice, percussion, woodwind, brass, and stringed instrument instructors rated undergraduate performances. Later, the performers rated the same set of performances (one of which was their own) on videotape. Ranging from .23 to .93, total score faculty interjudge reliability was mixed. Total score interjudge reliability among student (peer) panels was more consistent (.83-. 89). Most category score reliabilities were acceptable, although there was a wide range. Consistent with results of the first investigation, correlations between faculty and peer evaluations generally were high, ranging from .61 (p < .10) to .98 (p < .01). Also consistent with results of the first investigation, self-evaluation correlated poorly with both faculty and peer evaluation. No significant differences in self-evaluation were found among performance concentrations (voice, percussion, etc.) or between preliminary-level (first or second year) and upper-level (third year and beyond) performance status.
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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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Asaulyuk, I. O., and A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания." Health, sport, rehabilitation 5, no. 1 (March 30, 2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.
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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>
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Medvid, T. "CREATIVE DEVELOPMENT OF STUDENTS IN THE MUSICAL AND PEDAGOGICAL CONCEPT OF K. ORFF." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 118–25. http://dx.doi.org/10.33989/2226-4051.2021.23.238263.
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The essence of K. Orff’s musical and pedagogical concept is considered in the article; the importance of the creative development of students of secondary schools is revealed. The meaning of 'elementary music,' which is connected with movement, dance, and word and creates a basis for the child’s development, is clarified. The five-volume collection 'Orff-Schulwerk. Musik für kinder' is analyzed; its role in creating analogues in different countries is revealed. The problem of stimulating the creative potential of the individual by means of the music-pedagogical system is highlighted.
The instruments of the children’s orchestra developed by K. Orff together with K. Sachs are described, which included melodic and noise percussion instruments, the simplest wind, and strings. The principle of active music-making and creative development of personality on the basis of playing children’s musical instruments, rhythmic movements, dance, and pantomime is analyzed. The role of rhythmic, vocal, and instrumental improvisations for the creative development of students is revealed. The curriculum at the Orff’ Institute is covered, which included the methods of teaching children’s musical instruments, a course of rhythmic exercises, choreography, conducting, solfeggio, instrumentation.
The work ‘Theory and practice of music and aesthetic education according to the system of K. Orff’ (by E. Kurishev, L. Kurisheva) is analyzed, which highlights the practical experience of Ukrainian teachers in the classroom and extracurricular activities with students. The countries that have shown interest in Orff's pedagogy and continue to work actively on this system are listed. K. Orff's conviction is formulated that the art of the future is inherent in the nature of human abilities and it is only necessary to create conditions for the creative development of the individual.
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Moody, Ivan. "‘THE SPACE OF THE SOUL’: AN INTERVIEW WITH SOFIA GUBAIDULINA." Tempo 66, no. 259 (January 2012): 31–35. http://dx.doi.org/10.1017/s0040298212000046.
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AbstractIn this interview Gubaidulina discusses her understanding of religion and the way in which it relates to her music, by means of symbolism and metaphor. In particular she speaks of her understanding of the Apocalypse as a book of light, greatly influenced by the writings of Fr Aleksandr Men. She talks about the symbolism of instruments in her work, notably percussion, which she sees as a way to the subconscious; her understanding of the role of modernism in music, and the way in which her work connects with this historical process; and also her use of the Fibonacci sequence. The relationship of her music to liturgy is discussed, as is the double path, apparently contradictory, of the artist who composes both liturgical and concert music. The experience of the composer during the profound changes in music during the 20th century, specifically as regards possible intersections between modernism and spirituality, are also discussed.
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KAPUR, AJAY, GE WANG, PHILIP DAVIDSON, and PERRY R. COOK. "Interactive Network Performance: a dream worth dreaming?" Organised Sound 10, no. 3 (November 29, 2005): 209–19. http://dx.doi.org/10.1017/s1355771805000956.
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This paper questions and examines the validity and future of interactive network performance. The history of research in the area is described as well as experiments with our own system. Our custom-built networked framework, known as GIGAPOPR, transfers high-quality audio, video and MIDI data over a network connection to enable live musical performances to occur in two or more distinct locations. One of our first sensor-augmented Indian instruments, The Electronic Dholak (EDholak) is a multi-player networked percussion controller that is modelled after the traditional Indian Dholak. The EDholaks trigger sound, including samples and physical models, and visualisation, using our custom-built networked visualisation software, known as veldt.
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Gruenhagen, Lisa M., and Rachel Whitcomb. "Improvisational Practices in Elementary General Music Classrooms." Journal of Research in Music Education 61, no. 4 (November 25, 2013): 379–95. http://dx.doi.org/10.1177/0022429413508586.
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Despite historic and ongoing support for the inclusion of improvisation in the elementary general music curriculum, music educators consistently report challenges with implementation of improvisational activities in their classes. This study was designed to examine (a) the extent to which improvisational activities were occurring in the participants’ elementary general music classrooms, (b) the nature of these improvisational activities, and (c) participants’ perceptions of the quality of their students’ improvisations. The most common improvisational activities reported by these teachers were question-and-answer singing, improvising on unpitched and pitched percussion instruments, and improvising rhythmic patterns using instruments. Analysis of their reflections on these activities revealed three broad themes: (a) process, practice, and experience, (b) sequencing, scaffolding, and modeling in instruction; and (c) collaboration, reflection, and creation. These teachers stated they were most interested in the quality of the improvisational process rather than with the product and indicated that sequencing was crucial in the instruction of improvisation. While some put less importance and priority on improvisation, the majority perceived it as necessary to the development of students’ musical skills, as an important way for students to show musical understanding, and as an empowering creative process that produces independent thinkers and musicians.
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Lederman, Richard J. "Tremor in Instrumentalists: Influence of Tremor Type on Performance." Medical Problems of Performing Artists 22, no. 2 (June 1, 2007): 70–73. http://dx.doi.org/10.21091/mppa.2007.2105.
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Objective: To review the types of tremor seen in instrumental musicians and assess the impact on the musicians’ careers. Tremor of the limb, lip, jaw, or larynx can be particularly disruptive to an instrumentalist. Methods: Forty-six instrumental musicians were identified who specifically noted tremor interfering with musical activity. Tremor associated only with performance anxiety was excluded. Follow-up information was obtained by personal examination or telephone interview. Results: Twenty-six musicians (22 men, 4 women), aged 17 to 70 yrs at evaluation, had essential tremor. All had hand tremor; 2 primarily had lip tremor, and 1 vocal tremor. Instruments included 13 bowed strings, 5 woodwind, 3 keyboard, 2 guitar, and 1 each brass, percussion, and voice. Thirteen musicians currently use medication as needed; 1 is deceased; 1 no longer plays; and 4 were lost to follow-up. Sixteen with dystonic tremor (12 men, 4 women) were age 19 to 53 yrs at evaluation: 6 had embouchure tremor (4 brass, 2 woodwind) and 10 limb tremor (5 violin, 2 percussion, 1 each piano, banjo, and clarinet). Four play unimpaired; 3 remain mildly impaired; 5 remain in music but do not play; 3 have nonmusic careers; and 1 was lost to follow-up. Four patients had Parkinson's disease (2 men, 2 women), aged 34 to 71 at evaluation: 2 piano, 1 cello, and 1 bassoon. All had hand tremor and impaired dexterity that interfered with playing. One is deceased, another has stopped playing, and 2 continue to play with medication. Conclusions: Tremor can have a major impact on instrumental performance. Accurate identification of tremor type is critical for effective management and career counseling.
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Rohwer, Debbie. "Health and Wellness Issues for Adult Band Musicians." Medical Problems of Performing Artists 23, no. 2 (June 1, 2008): 54–58. http://dx.doi.org/10.21091/mppa.2008.2011.
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Because issues involved with playing an instrument may be complicated by the aging process, age may be an important variable to investigate in health studies. The current study examined the perceived health challenges of a group of adult instrumental musicians and possible accommodations for these challenges. Participants included 83 adult white musicians, aged 47 to 91 yrs, 52 females and 31 males, who were attending a national summer senior band camp. Fifty-two played woodwind and 31 brass or percussion instruments. The participants were given a questionnaire asking about (1) the degree of trouble with vision, hearing, finger/hand, arm/neck, back/leg, and other physical ailments while playing their instrument; (2) whether any pain experienced was greater when playing music than in everyday life; and (3) accommodations they may have found for any physical troubles they experienced. Visual problems when reading music were noted as the participants' greatest challenge, followed by finger/joint pain, hearing speech, and hand pain. Visual problems when reading music were a top concern across all instrument subgroups, followed by finger/joint pain for woodwind players, hearing speech for brass players, and both hand and finger/ joint pain for percussionists. Accommodations for vision problems most commonly included placing the lens line higher on bifocal lenses so that both the conductor and music could be seen. Accommodations for ailments centered around two general issues: things a musician could buy (e.g., ear plugs, instrument rests, cushions) or things they could do to avoid pain (e.g., education, stretching).
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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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Wolfe, Jocelyn. "An investigation into the nature and function of metaphor in advanced music instruction." Research Studies in Music Education 41, no. 3 (September 19, 2018): 280–92. http://dx.doi.org/10.1177/1321103x18773113.
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Metaphors are an important linguistic device that can enable music teachers to explain expressive performance features in a way that makes sense to their students. This study extends the limited literature on the application of metaphors within advanced music instruction, providing new insights into the nature and function of metaphor in the way that music is perceived, performed and taught. It is based on an investigation of 80 hours of teacher instruction recorded across five instrument areas: strings, woodwinds, brass, percussion and keyboard. Metaphors were identified, analysed in relation to contextual meanings, and explored in relation to relevant literature. The findings suggest that with attentive use, metaphors can be useful “bridges to learning” in music instruction contexts.
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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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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.
Full textAbstract:
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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Hughes, David W. "Oral mnemonics in Korean music: data, interpretation, and a musicological application." Bulletin of the School of Oriental and African Studies 54, no. 2 (June 1991): 307–35. http://dx.doi.org/10.1017/s0041977x00014816.
Full textAbstract:
The use of oral mnemonics in the transmission of instrumental music is a well-known and persistent feature of East Asian musics. In both Korea and Japan, there are several such systems for different instruments. There are also various systems of written mnemonics, that is, musical notation; many originally oral systems have come to be used as notations as well. Following Western scholarly usage, we shall often refer to oral mnemonics in general by the term solfège; although etymologically dubious, this practice at least helps avoid over-use of the unwieldy expression ‘oral mnemonics’.The present paper will deal with one type of oral mnemonics in Korea, known collectively as yukpo or sometimes as kuŭm (cf. Lee, 1981: 31–4; Hahn, 1973: 79–83; Howard, 1988: 68, 91, 115, 182, 212, 227).3 Yukpo exist or are known to have existed for most string and wind instruments and even for percussion. By the sixteenth century at least, these originally oral syllables had begun to be written down as a kind of musical notation. The first mention of yukpo is in the Annals of King Sejo (A.D. 1470): ‘ Formerly there was only [for musical notation] the use of mnemonic sounds, called the Yukpo … The complexities are difficult to comprehend’ (quoted in Lee, 1981: 31, Condit 1976: 205, 207 has a more extensive but interpretive translation). This quotation suggests that yukpo were already considered both old and obscure by Sejo's time.