Journal articles: 'Period music'

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J.D.R. "Music in the Colonial Period." Americas 45, no. 1 (July 1988): 114. http://dx.doi.org/10.1017/s0003161500075015.

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Kulbizhekov, Victor N. "Verbalization of Music Processes (The Engine of thought Experiment in the Music of the Early-Modern Period)." International Journal of Psychosocial Rehabilitation 24, no. 5 (April 20, 2020): 4906–24. http://dx.doi.org/10.37200/ijpr/v24i5/pr2020201.

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Williams, Peter, and David Schulenberg. "Period Piece." Musical Times 142, no. 1877 (2001): 64. http://dx.doi.org/10.2307/1004580.

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Quinney, R. "Period polemics." Early Music 36, no. 2 (May 1, 2008): 301–4. http://dx.doi.org/10.1093/em/can021.

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King, Alec Hyatt. "Period Mozart." Musical Times 127, no. 1718 (April 1986): 214. http://dx.doi.org/10.2307/964723.

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Đajić, Aleksandra, Marija Marković, Dragana Jovanović, Milena Đorđević-Filipović, Ivana Krstić-Lečić, Miloš Pejović, Vojislava Nešković, and Dušica Stamenković. "The unity of music and surgery: Music application in the perioperative period." Serbian Journal of Anesthesia and Intensive Therapy 40, no. 1-2 (2018): 15–23. http://dx.doi.org/10.5937/sjait1802015d.

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Kwami, Robert. "Music education in Ghana and Nigeria: a brief survey." Africa 64, no. 4 (October 1994): 544–60. http://dx.doi.org/10.2307/1161373.

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This brief historical survey of music education in Ghana and Nigeria encompasses three periods—the pre-colonial, colonial and post-colonial eras. Its main aim is to search for explanations of an apparent dichotomy between African and Western musics in the curricula of schools in both countries. It shows that, during the pre-colonial and colonial eras, some missionaries, colonial administrators and teachers encouraged the use of indigenous musics in the formal, Western, education systems, whilst, in the post-colonial period, initiatives to include more indigenous African musics have put some pressure at lower levels of the curriculum. Consequently, it may be necessary to reassess the content, methods and resources of music education in both countries.

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Wood, B. "Handel's Water Music on period instruments." Early Music 13, no. 4 (November 1, 1985): 554–64. http://dx.doi.org/10.1093/em/13.4.554.

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Weeks, John R. "Howells's Salisbury Period." Musical Times 127, no. 1718 (April 1986): 225. http://dx.doi.org/10.2307/964729.

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Sukmawati, Dian, Hermanto Tri Juwono, and Widjiati Widjiati. "Mozart Memberikan Hasil Indeks Apoptosis Lebih Rendah daripada Musik Pop, Religi dan Tanpa Pemberian Musik." Jurnal Penelitian Kesehatan "SUARA FORIKES" (Journal of Health Research "Forikes Voice") 11, no. 1 (November 11, 2019): 28. http://dx.doi.org/10.33846/sf11106.

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Background: Brain growth requires genetic potential for a conducive environment, low stress levels, stimulation and nutrition. Brain development during the fetal period in the two years of life firstly requires proper stimulation to increase intelligence. Classical music stimulation has been proven to be able to optimally improve brain function and human intellect. Other music that Indonesian people like is pop and religion. Maybe it is possible to pop and religious music can affect the development and growth of the fetal brain. Objective: Analyze the differences of the index of apoptosis Cerebrum and Cerebellum Rattus norvegicus newborn between those stimulated by Mozart, pop, religious music and not stimulated by music during pregnancy. Method: This study was post test only control group design. groups were randomly divided according to the treatment as stimulation of Mozart, pop, religious music and no music was given from the 10th day-gestation with an intensity of 65 dB in a soundproof box for one hour. When 19th day-gestation, Rattus norvegicus mothers were sacrificed then 3 Rattus norvegicus newborn from each mothers were selected and brain was taken to be made immunohistochemical preparations and counted the number of neuron cells apoptosis index. data were analyzed by comparison test with p <0.05. Results: There was a significant difference in the cerebrum neuron apoptosis index newborn between groups p = 0.001 but there was no difference between without exposure and pop music groups p = 0.063 (the lowest mean was the mozart group 2.40 IRS) and there was also difference in the apoptosis index in the cerebellum p = 0,000 but there was no difference between pop music and without exposure group p = 0.151 (the lowest mean was the mozart group 2.34 IRS) Conclusion: Mozart gives a lower apoptotic index than pop music, religion and without exposure music group. Keywords: neuron apoptosis index; mozart mucic; pop music; religion music ABSTRAK Latar Belakang: Tumbuh kembang otak membutuhkan potensi genetik lingkungan yang kondusif, tingkat stres yang rendah, stimulasi dan nutrisi. Perkembangan otak selama periode janin dan dua tahun pertama kehidupan memerlukan stimulasi yang tepat untuk meningkatkan kecerdasan. Stimulasi musik klasik terbukti dapat meningkatkan fungsi otak dan intelektual manusia secara optimal. Musik lain yang suka didengarkan oleh masyarakat Indonesia adalah pop dan religi. Kemungkinan musik pop dan religi juga dapat mempengaruhi perkembangan dan pertumbuhan otak janin. Tujuan: Menganalisis perbedaan indeks apoptosis Cerebrum dan Cerebellum Rattus norvegicus baru lahir antara yang di stimulasi musik Mozart, pop, religi dan tidak di stimulasi musik selama kebuntingan. Metode: Penelitian ini adalah post test only control grup design. kelompok dibagi secara acak disesuaikan dengan perlakuan yaitu pemberian musik Mozart, pop, religi dan tidak diberikan musik sejak hari ke-10 kebuntingan dengan intensitas 65 dB dalam kotak kedap suara selama satu jam. Kehamilan hari ke 19 tikus bunting dikorbankan, anak tikus dipilih 3 ekor tiapinduk diambil otaknya, dibuat sediaan imunohistokimia dan dihitung jumlah sel neuron yang mengalami apoptosis. Hasil dianalisis uji perbandingan dengan komparasi p<0,05. Hasil: Terdapat perbedaan bermakna indeks apoptosis cerebrum Rattus norvegicus baru lahir antar kelompok p=0,001 namun tidak ada perbedaan kelompok tanpa paparan dengan musik pop p=0,063 (mean terendah adalah kelompok mozart 2,40 IRS) dan terdapat perbedaan indeks apoptosis di cerebellum dengan nilai p=0,000 namun tidak ada perbedaan kelompok tanpa paparan dengan musik pop p=0,151 (mean terendah adalah kelompok mozart 2,34 IRS) Kesimpulan : Mozart memberikan hasil indeks apoptosis lebih rendah dari musik pop, religi dan tanpa pemberian musik. Kata kunci: Indeks apoptosis; musikmozart; musik pop; musik religi

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MacLeod, Brian James. "Tunes of Glory." MUSIC.OLOGY.ECA 1 (September 11, 2020): 78–91. http://dx.doi.org/10.2218/music.2020.5699.

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The late-16th through to the early-17th century was a period of unprecedented upheaval and conflict throughout the British Isles. This article explores the transformative rise in social status of pipers in Highland society during this period of social, political, economic, and cultural change. Bagpipes, traditionally assigned a low-caste role in society in Ireland and Scotland, were transformed into a vehicle for a highly developed form of musical composition, ceòl mòr (‘great music’). The article examines the factors which allowed the families of hereditary pipers to achieve this significant change in fortune, whilst the highlighting the unique compositional form of pipe music which enabled their entry into the upper echelons of Gaelic society in Scotland.

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Simionescu, Dorin Mircea. "Romanian choral music in the interwar period." Altarul Reîntregirii, no. 3 (2017): 59–76. http://dx.doi.org/10.29302/ar.2017.3.4.

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Kilicaslan, Hare, and Isik Ece Tezgel. "Architecture and Music in the Baroque Period." Procedia - Social and Behavioral Sciences 51 (2012): 635–40. http://dx.doi.org/10.1016/j.sbspro.2012.08.215.

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Volk, Terese M. "Folk Musics and Increasing Diversity in American Music Education: 1900-1916." Journal of Research in Music Education 42, no. 4 (December 1994): 285–305. http://dx.doi.org/10.2307/3345737.

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From 1900 to 1916, the demographic makeup of the United States changed radically due to the heavy influx of people from Southern and Eastern Europe, and the schools, in particular, felt the impact of this immigration. Many music educators, like their colleagues in general education, found themselves facing an increasingly multicultural classroom for the first time. As a result of their efforts to help Americanize their immigrant students, music educators gradually came to know and accept folk songs and dances from many European countries and to make use of musics from these countries in music appreciation classes. Also during this period, some of the musics of Native Americans and African Americans were introduced into the music curriculum. Including these folk musics in the American school music curriculum resulted in an increased musical diversity that perhaps marked the beginnings of multicultural music education in the public schools.

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Hadi, Sumasno. "Bibliografi Musik di Kalimantan Selataan (1978-2017)." Pelataran Seni 2, no. 1 (March 17, 2017): 37. http://dx.doi.org/10.20527/jps.v2i1.9257.

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IntisariPenelitian ini bertujuan untuk memeroleh data bibliografis tentang kesenian musik di Kalimantan Selatan. Penelitian berjenis kualitatif-deskriptif ini menggunakan metode studi kepustakaan (literature research), dilakukan selama tiga bulan dari Maret hingga Mei 2017. Sumber data berupa bahan pustaka tentang musik di Kalimantan Selatan diperoleh dari berbagai perpustakaan di Kota Banjarmasin. Selain itu, dalam pengumpulan data, peneliti juga melakukan observasi, wawancara dan studi dokumen terkait subjek penelitian ini. Keabsahan data penelitian ini diperoleh melalui perpanjangan keikutsertaan peneliti, ketekunan pengamatan, triangulasi, diskusi sejawat/pakar, serta dengan kecukupan referensial. Hasil penelitian yang diperoleh adalah tersusunnya sebuah bibliografi kesenian musik di Kalimantan Selatan dengan beberapa catatan berikut. Dalam kurun waktu hampir 40 tahun (1978—2017), tercatat sebanyak 17 terbitan dengan subjek musik di Kalimantan Selatan. Dari 15 terbitan yang dapat ditelusuri, diketahui bahwa sebagian besar masih menggarap khazanah musik tradisional di Kalimantan Selatan, seperti musik Gamelan, Panting, Kintung, dan lain-lain. Terbitan-terbitan lain yang membahas musik modern-populer belum banyak dilakukan. Selain itu, jumlah 17 terbitan dalam kurun waktu empat dasawarsa dapat dikatakan masih belum mencerminkan kondisi yang ideal dalam perkembangan ilmu musik di daerah Kalimantan Selatan. Kata kunci: bibliografi musik, musik Kalimantan, musik Kalimantan Selatan AbstractThis study aims to obtain bibliographic data about music art in South Kalimantan. This descriptive qualitative research uses literature research method, conducted for three months from March to May 2017. Sources of data in the form of library materials about music in South Kalimantan obtained from various libraries in the city of Banjarmasin. In addition, in data collection, researchers also conducted observations, interviews and document studies related to this research subject. The validity of this research data is obtained through extension of researcher's participation, observational persistence, triangulation, peer/expert discussion, and with referential adequacy. The result of the research is the compilation of a bibliography of music art in South Kalimantan with the following notes. In the period of nearly 40 years (1978-2017), there were 17 publications with the subject of music in South Kalimantan. Of the 15 publications that can be traced, it is known that most are still working on the treasures of traditional music in South Kalimantan, such as Gamelan music, Panting, Kintung, and others. Other publications that discuss modern-popular music have not been widely practiced. In addition, the number of 17 publications within a period of four decades can be said still does not reflect the ideal conditions in the development of music science in the area of South Kalimantan.Keywords: music bibliography, Kalimantan music, South Kalimantan music

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Glasow, E. Thomas. "A Plethora of Period Mozart." Opera Quarterly 12, no. 1 (1995): 166–70. http://dx.doi.org/10.1093/oq/12.1.166.

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WEBSTER, JAMES. "THE EIGHTEENTH CENTURY AS A MUSIC-HISTORICAL PERIOD?" Eighteenth Century Music 1, no. 1 (March 2004): 47–60. http://dx.doi.org/10.1017/s147857060400003x.

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Period concepts and periodizations are constructions, or readings, and hence always subject to reinterpretation. Many recent scholars have privileged institutional and reception history over style and compositional history, and periodized European music according to the ‘centuries’; but these constructions are no less partial or tendentious than older ones. Recent historiographical writings addressing these issues are evaluated.If we wish to construe the eighteenth century as a music-historical period, we must abandon the traditional notion that it was bifurcated in the middle. Not only did the musical Baroque not last beyond 1720 in most areas, but the years c1720–c1780 constituted a period in their own right, dominated by the international ‘system’ of Italian opera, Enlightenment ideals, neoclassicism, the galant and (after c1760) the cult of sensibility. We may call this the ‘central’ eighteenth century. Furthermore, this period can be clearly distinguished from preceding and following ones. The late Baroque (c1670–c1720) was marked by the rationalization of Italian opera, tragédie lyrique, the standardization of instrumental genres and the rise of ‘strong’ tonality. The period c1780–c1830 witnessed the rise of the ‘regulative work-concept’ (Goehr) and ‘pre-Romanticism’ (Dahlhaus), and the Europe-wide triumph of ‘Viennese modernism’, including the first autonomous instrumental music and a central role in the rise of the modern (post-revolutionary) world, symbolized by Haydn’s sublime in The Creation.A tripartite reading of a ‘long’ eighteenth-century in music history along these lines seems more nearly adequate than either baroque/classical or 1700–1800 as a single, undifferentiated period.

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TÜRKMENOĞLU, Ömer, and Gülay LAÇİN. "‘OPERETTAS’ FROM THE OTTOMAN PERIOD TO THE PRESENT." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 1 (April 15, 2021): 313–33. http://dx.doi.org/10.46291/zfwt/130116.

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We need to give information about the definition and historical process of “operetta” before starting this study titled “Operettas from the Ottoman period to the present”. Operetta was a term used for short and unpretentious operas in the eighteenth century. At the end of the nineteenth century, "operetta" was called "small opera" and "musical theater" as a stage work, born out of the comic opera genre, developed in Paris and Vienna, one of the cultural and artistic centers of Europe. The operettas, which explained fun and emotional subjects in a simple language and appealed to a wide audience, also had the satiric feature of the lower class. In the Nineteenth Century Ottoman Period, when the influence of westernization began to be seen, interest in western style music increased along with the developments in Turkish music. Western style music was initially adopted by the people around the palace and later by the public and began to be performed. During this period, operettas were staged by Italian groups, and operettas were written by Turkish composers using Turkish and Western music together in the last quarter of the 19th century. In operettas written, the musical and instrumental features of Turkish music were used together with the harmony of Western music, and works were tried to be written using two different structures together. In this study, the development of operetta from the Ottoman period to the present day, which emerged in line with the Westernization movement, was discussed. The operettas that were written in this period but were not supported by the conditions of that period, could not be completed and therefore were not performed and forgotten, and operettas that have survived to the present day and have the characteristics of Turkish Music have been identified according to the sources. "Arif's Hilesi", known as the first Turkish operetta written in the Ottoman period and composed by Dikran Çuhaciyan, and the "İstanbulname" operetta composed by Turgay Erdener, one of the last generation composers, were also examined. Keywords: Ottoman, Republic, Period, Turkish, Operetta

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Domagała, Jarosław. "Statistics regarding music education in Poland in the interwar period." Konteksty Kształcenia Muzycznego 7, no. 1(11) (December 31, 2020): 79–122. http://dx.doi.org/10.5604/01.3001.0014.6470.

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Statistical issues regarding music education in the 2nd Republic of Poland have not been discussed thoroughly so far. This article attempts to do so. The source material comprises statistical data from the Ministry of Art and Culture, the Ministry of Religious Affairs and Public Education, as well as articles published in music literature of the interwar period. Presented statistics cover music schools, solo singing schools, schools for organists, schools of eurhythmics and art dance, as well as drama schools. Music was taught in all the aforementioned institutions, therefore reports treated all these schools en bloc. Existing sources enumerate schools, their managerial staff and the establishments’ addresses. Preserved statistical data also enabled a more detailed analysis, such as, for instance, recognition of pupils’ preferences as regards their choice of instruments, as well as music education accessibility in various parts of the country. The preserved statistical source material is probably incomplete, does not show a full picture of the then music education. It presents, however, with great accuracy, the figures regarding this type of education. Statistical information was collected truly meticulously by the Ministry of Religious Affairs and Public Education, particularly in the late 1920s and in the 1930s. Along with primary and secondary education, music education became an important element of the overall education system in the interwar period.

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Diaz, Frank M., and Jason M. Silveira. "Music and Affective Phenomena." Journal of Research in Music Education 62, no. 1 (March 20, 2014): 66–77. http://dx.doi.org/10.1177/0022429413519269.

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The purpose of this study was to establish trends in the study of music and affective phenomena through a content and bibliometric analysis of three eminent music research journals, the Journal of Research in Music Education, Psychology of Music, and Music Perception, for the years 1990 through 2009. Excluding editorials, paper responses, and book reviews, 1,293 articles were examined, resulting in 286 (22%) publications that met criteria for further analysis. Data indicated several trends with respect to the sample analyzed, including a notable but not significant decrease of affective studies in the Journal of Research in Music Education, with significant increases in the journal Music Perception. Other trends indicated the emergence of topics and methods that were less prevalent when compared to the overall sample but that evidenced significant increases throughout the period analyzed. These increases occurred for topics relating to expression, physiological and neurological issues and for the use of descriptive methodologies. Other notable trends included increases in examinations of folk, jazz, and world musics.

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Branscombe, Peter. "Recent recordings from the Classical period." Early Music 33, no. 4 (November 1, 2005): 732–34. http://dx.doi.org/10.1093/em/cah128.

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Glasow, E. Thomas. "Mozart's German Operas on Period Instruments." Opera Quarterly 10, no. 2 (1993): 187–91. http://dx.doi.org/10.1093/oq/10.2.187.

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Iliesu, Mihu. "Notes on the late-period Xenakis." Contemporary Music Review 21, no. 2-3 (June 2002): 133–42. http://dx.doi.org/10.1080/07494460216652.

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Khare, Mrs Asha. "ROLE OF COMMUNICATION TOOLS IN THE PROMOTION OF MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3400.

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Hegel, a well-known scholar of Jammani, has placed music in the category of love arts. Indian music has been called the essence of all four languages. Music has been worshiped extensively in India and has been worshiped as Veena Vavadani. Sa vidya or liberation is music. In the divine period, the reins of music were in the hands of Brahmins. In this period, music flourished in religious atmosphere. Samudragupta was self-effacing. In this period, music began to develop in Rajashraya. Classical and folk music was also promoted. Kaval Das and Bhasa, the great poet and playwright of Sanskrit, wrote important texts in this period. The Rajputs were ruled after the Gupta period. Indian music, which was embedded in the thread of unity, began to be divided into two streams, the music of North India and the music of South India. Important texts of music were written. In the Muvassalam era, Sharangadee wrote a famous book of music called Sangeet Ratnakara. During this period, Amir Khusro brought a new verse in the field of music. The origins of the plants became popular for singing songs and singing ghazali. Bhagakat music was emphasized during the Mughal period. Dhrupad Dhamar singing was popular. The reign of Akbar in the Mughal period has been called the era of music. During this period, musicians and artists enjoyed royalty, and art greatly developed.

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Weiss, Jernej. "The Art of Music in the Period from Monteverdi to Bach." Musicological Annual 54, no. 1 (July 3, 2018): 163–68. http://dx.doi.org/10.4312/mz.54.1.163-168.

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The monograph The Art of Music in the Period from Monteverdi to Bach by Jurij Snoj is an original scientific work that brings an in-depth review of the history of European art music during the Baroque Period. In recent times, quite a few scientific monographs about the Baroque Period have been published in English and in other languages,

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Lawson, Colin. "Review: The Clarinet in the Classical Period." Music and Letters 86, no. 2 (May 1, 2005): 290–93. http://dx.doi.org/10.1093/ml/gci043.

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Powell, Larson. "Itinerant Atonality: Stefan Wolpe's Middle Period Work." Contemporary Music Review 27, no. 2-3 (April 2008): 305–22. http://dx.doi.org/10.1080/07494460801951421.

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Sasongko, Michael Hari. "IDIOM MUSIK KLASIK DI GEREJA KARISMATIK." Tonika: Jurnal Penelitian dan Pengkajian Seni 1, no. 1 (November 26, 2018): 1–14. http://dx.doi.org/10.37368/tonika.v1i1.7.

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Church music has long history and experiences in its periods. It began when they, the believers, mentioned themselves as the “Christian”. From the time that phenomenon the christians commenced their act of devotion tradition included their musical tradition of worship. The existence of church music more developed till Middle Age or Dark Age Period. It was dominantly covering to others music genre. At the Renaisance Period, the church reformation movement occured and it was pioneered by Martin Luther. Western music changed at the time. Luther changed of scene; He changed the tradition of Catholic church that used Latin lirics to folk language; He changed the gregorian chant tradition with folksong. The phenomenon was the first time of event of inculturation in world history of music after it undergone stagnancy during the authorization of Roman empire, especially when Pope Gregory created the standarization to all christian music. At the present day we are familiar with charismatic music tradition which is developed from American music tradition. It has a characteristic which is used as the band instrument in praise and worship by christian believers. But sometimes, the believers also use arpeggio or broken-chord as the main charracter on Classical Period in part the way of Western music history. Pass through the reasearch, the reasearcher look into the idioms are used in praise and worship in charismatic church. The reasearcher found that the using of idiom in Classical Period has enriched the nuance of music aesthetic in praise and worship.

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Medňanský, Karol. "1. Period Influence on the Work of Johann Sebastian Bach." Review of Artistic Education 19, no. 1 (April 1, 2020): 1–9. http://dx.doi.org/10.2478/rae-2020-0001.

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AbstractThe work of Johann Sebastian Bach (1685 - 1750), significantly influences the work of the contemporary composers even almost 270 years after his death. It is undoubtedly caused also by the fact that by his work Bach impersonates contemporary musical tradition. There are the three most significant areas in his work – the influence of family tradition on his work, which we can observe throughout the Thuringia, where they have had a significant musical position for 200 years in all the areas of music – secular, urban, spiritual and ecclesiastical. The tradition of German music is not less important. It influenced Johann Sebastian Bach during his studies and was based directly on the essence of protestant educational principle. Filip Melanchton, the most significant collaborator and a friend of Martin Luther, was contributory in the reform of this principle. The most important is the influence of Luther’s Reformation on the spiritual world of J. S. Bach, which reached such dimensions that he unites theology and music. Under the influence of the aforementioned three areas, the work of Bach has acquired exceptional artistic and spiritual quality, a unique phenomenon in the history of music.

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Thierbach, Susie Puyear. "Vibrato in the Violin Music of the Baroque Period." American String Teacher 49, no. 2 (May 1999): 76–81. http://dx.doi.org/10.1177/000313139904900212.

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Gajecka-Antosiewicz, Aleksandra. "Polish harpsichord music in the period of 1936–2016." Notes Muzyczny 1, no. 11 (June 28, 2019): 65–85. http://dx.doi.org/10.5604/01.3001.0013.3522.

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The article touches on Polish harpsichord pieces written between 1936 and 2016, dividing this time into three periods. The first of them is connected with the renaissance of harpsichord music, the second one focuses on the activity of Elżbieta Chojnacka and avant-garde works expanding the harpsichord playing technique, whereas for the third period the article presents compositions written for modern and historical harpsichord featuring the new media, as well as for other early instruments. An addition to the article are two annexes containing a list of academic publications on the discussed topic discussed, and a catalogue of CDs entirely devoted to harpsichord pieces written by contemporary Polish composers, which were released by Polish recording companies.

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Lee, Kayoung. "A Well-Regulated Church Music, and Bach’s Köthen Period." Music Theory Forum 28, no. 1 (June 30, 2021): 9–29. http://dx.doi.org/10.16940/ymr.2021.28.1.9.

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Aulia, Prita Tyara, Diana Wijayanti, and Nuzirwan Acang. "Scoping Review: Efek Musik Sebagai Terapi Tambahan terhadap Pengendalian Tekanan Darah pada Penderita Hipertensi." Jurnal Integrasi Kesehatan & Sains 3, no. 1 (March 24, 2021): 93–99. http://dx.doi.org/10.29313/jiks.v3i1.7353.

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Hipertensi adalah peningkatan tekanan darah sistole ≥140 mmHg dan diastole ≥90 mmHg, diukur dua kali, selang waktu lima menit dalam keadaan tenang. Prevalensi hipertensi di Indonesia tahun 2013 tercatat 25,8% dan menjadi 34,1% pada 2018. Pengobatan hipertensi selain menggunakan obat, dapat diberi terapi non-farmakologis, salah satunya adalah terapi musik. Tujuan penelitian ini menganalisis efek musik sebagai terapi tambahan terhadap pengendalian tekanan darah pada penderita hipertensi. Penelitian ini merupakan Scoping Review, dengan mencari artikel dari database Science Direct, Neliti, dan DOAJ diperoleh 2.784 artikel. Hasil skrining yang sesuai kriteria inklusi sebanyak 474 artikel. Hasil uji kelayakan berdasar atas PICOS dan setelah dilakukan telaah kritis terdapat enam artikel yang memenuhi syarat. Penelitian dilakukan pada periode September–Desember 2020. Hasil telaah dan analisis dari enam artikel menyatakan pemberian musik selama 15–25 menit memengaruhi tekanan darah dan terdapat perbedaan tekanan darah sebelum dengan setelah diberikan musik pada penderita hipertensi. Selain itu, lima artikel menyatakan terdapat perbedaan tekanan darah pada penderita hipertensi yang tidak diberikan terapi musik. Tiga artikel menyatakan terdapat perbedaan efek penurunan tekanan darah antara kelompok intervensi musik dan kelompok yang tidak diberikan intervensi musik. Alunan musik dapat menstimulasi tubuh mengeluarkan molekul nitric oxide yang menyebabkan pelebaran pembuluh darah sehingga dapat menurunkan tekanan darah. Kesimpulan penelitian ini adalah pemberian terapi musik efektif terhadap pengendalian tekanan darah pada penderita hipertensi. Scoping Review: Music Effects as Additional Therapy on Controlling Blood Pressure in Hypertensive PatientsHypertension was an increase in systolic blood pressure ≥140 mmHg and diastolic ≥90 mmHg, measured twice, five minutes apart in a calm state. The prevalence of hypertension in Indonesia in 2013 was recorded at 25.8% and became 34.1% in 2018. Treatment of hypertension in addition to using drugs, can be given non-pharmacological therapy, which is music therapy. The purpose of this study was to analyze the effect of music as an additional therapy on controlling blood pressure in hypertensive patients. This research is a Scoping Review, by searching articles from the database Science Direct, Neliti, and DOAJ obtained 2,784 articles. The screening results that matched the inclusion criteria were 474 articles. The results of the feasibility test were based on PICOS and after a critical review there were six articles that met the requirements. The research was conducted in the period September–December 2020. The results of the study and analysis of six articles stated that giving music for 15–25 minutes affected blood pressure and there were differences in blood pressure before and after being given music to people with hypertension. In addition, five articles stated that there were differences in blood pressure in hypertensive patients who were not given music therapy. Three articles stated that there were differences in the effect of lowering blood pressure between the music intervention group and the group that was not given music intervention. The music can stimulate body to release nitric oxide molecules which cause blood vessels to dilate so that can lower blood pressure. The conclusion of this study is that music therapy is effective in controlling blood pressure in hypertensive patients.

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ZAGORSKI, MARCUS. "““Nach dem Weltuntergang””: Adorno's Engagement with Postwar Music." Journal of Musicology 22, no. 4 (2005): 680–701. http://dx.doi.org/10.1525/jm.2005.22.4.680.

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ABSTRACT Adorno's engagement with postwar music is reflected in the complex history of his reception among composers, theorists, and critics of the time. His work was seen both as pointing the way forward and as hopelessly outmoded, and his ideas were often eagerly adopted only to be transformed into something very nearly their opposite. This tangled and contradictory reception stems in part from misreadings of his texts, but it also parallels his changing positions on the music and ideas of the period. Changes and constants in Adorno's thinking can be seen by comparing two of his central essays on postwar music: ““Das Altern der Neuen Musik”” and ““Vers une musique informelle.”” Key concepts in these essays (and his music philosophy in general) include material, time, subjectivity, and the ethics of new music. An analysis of these essays and concepts reveals that despite relevant changes, Adorno's narrow reading of an Austro-German compositional tradition is a constant that defines the standard for his engagement with postwar music.

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Newbould, Brian. "Beethoven's Violin Concerto: the first period-instrument recording." Early Music XXII, no. 1 (February 1994): 164–66. http://dx.doi.org/10.1093/earlyj/xxii.1.164.

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Keefe, S. P. "Mozart's orchestral and chamber works on period instruments." Early Music 41, no. 3 (August 1, 2013): 533–35. http://dx.doi.org/10.1093/em/cat075.

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Burstyn, S. "Listening matters. In quest of the period ear." Early Music 25, no. 4 (November 1, 1997): 692–700. http://dx.doi.org/10.1093/em/25.4.692.

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Willner, Channan. "Beethoven Symphonies on Period Instruments: A New Tradition?" Musical Times 131, no. 1764 (February 1990): 88. http://dx.doi.org/10.2307/966398.

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Fish, David, and Elizabeth J. Markham. "Saibara: Japanese Court Songs of the Heian Period." Asian Music 18, no. 1 (1986): 203. http://dx.doi.org/10.2307/834166.

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Rogozińska, Katarzyna. "Music Education during the Interwar Period in the Magazine “Muzyka w Szkole” (“Music at School”)." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Muzyczna 12 (2017): 169–86. http://dx.doi.org/10.16926/em.2017.12.07.

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Erol, Ayhan. "Music, power and symbolic violence: The Turkish state’s music policies during the early republican period." European Journal of Cultural Studies 15, no. 1 (February 2012): 35–52. http://dx.doi.org/10.1177/1367549411424947.

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Everist, Mark. "The Music of Power:." Journal of the American Musicological Society 67, no. 3 (2014): 685–734. http://dx.doi.org/10.1525/jams.2014.67.3.685.

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Music for the stage has always been embedded in a network of power relationships between states, impresarios, librettists, artists, entrepreneurs, and composers. This article seeks to understand and explain how these relationships functioned in the period when French music drama was subject to a system of licenses, 1806–64. At the center of the inquiry are institutional structures and their relationship to those responsible for both the creation and the cultivation of stage music in the period. They explain the context for the cultural agents and products not only of the main opera houses in nineteenth-century Paris—the Opéra, the Opéra-Comique, and the Théâtre-Italien—but also of the host of smaller, shorter-lived institutions that supported and promoted opera during the period.

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Ribić, Romana. "Contemporary music of Iceland in the post-romantic period: Jôrunn Viđar (Jôrunn Vidar, Reykjavik, Iceland, 1918-)." New Sound, no. 46 (2015): 141–54. http://dx.doi.org/10.5937/newso1546141r.

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This paper presents a brief overview of the development of Icelandic music through historical and artistic circumstances. We shall also point to the specific social attitude towards the female population and we shall deal with the few Icelandic women composers. Among them Jorunn Vidar particularly stands out, as a pianist, accompanist and music teacher. For over two decades, she was the only woman composer to be a member of the Society of Icelandic Composers. She wrote the music for the first Icelandic ballet suite and the first Icelandic film ever, arranging the old narrative songs called the 'thulur' as a pioneer. Her oeuvre includes a piano concerto, music for theater and film, chamber and choral music and solo songs. She was awarded the Order of the Falcon for accomplishments in music by the president of Iceland.

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Dobashi, Shohei, Fumiya Matsuura, and Daisuke Ando. "Listening to Fast-Tempo Music During a Post-Exercise Passive Rest Period Improved Subsequent Sprint Cycling." Perceptual and Motor Skills 128, no. 4 (June 2, 2021): 1747–64. http://dx.doi.org/10.1177/00315125211022701.

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Listening to music during active recovery between exercise bouts has been found to help maintain high levels of exercise performance; however, the effect of listening to music alone with no exercise while resting passively has not been elucidated. We examined whether listening to music during static (passive) recovery affects subsequent repeated sprint performances and/or psychological and physiological responses in healthy young males. Twelve healthy young male athletes completed two consecutive sets of 7 × 7 second maximal cycling sprints with a 30-second rest interval between the sprints. During a 15-minute interval between the sets, the participants rested passively while listening to fast-tempo (Fast, 130 bpm), slow-tempo (Slow, 70 bpm) music, or no music (Con). We assessed affective valence and arousal using the Affect Grid. The valence and arousal scores immediately after listening to fast-tempo music were significantly higher than those in the no music condition. Mean and peak power outputs during the second set after listening to fast-tempo music were significantly higher compared to those after the Slow and Con conditions (both adjusted p < .05). Moreover, the changes in exercise performances between the first and second set were significantly associated with changes in the arousal score induced by the music conditions, but not with changes in the valence score. These results suggested that listening to fast-tempo songs during passive recovery between the exercises improved subsequent repeated sprint cycling performance in physically active males. This type of rapid exercise recovery might be useful for competitive athletes, such as judo, track and fields, and swimming races.

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Carroll, Christine. "‘Illiterate’ musicians: an historic review of curriculum and practice for student popular musicians in Australian senior secondary classrooms." British Journal of Music Education 36, no. 02 (July 2019): 155–71. http://dx.doi.org/10.1017/s0265051719000196.

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AbstractThis article examines curriculum and practice in Australian secondary classroom music education, in order to trace the inclusion of, and provision for, students with learning orientations based on popular music forms. A 60-year period of curriculum reform, matriculation statistics and literature is surveyed with a focus on the state of New South Wales (NSW), where the ‘non-literate’ student musician was first acknowledged in curriculum documents dating from the late 1970s at the senior secondary level (Music Syllabus Year 11 and 12: New 2 Unit A Course. Draft Document). Three overlapping eras frame discussion. The first discusses the original post–World War II school curriculum established for Western art music (WAM); the second discusses the period of curriculum reform beginning in the 1960s and 1970s, which leads to the inclusion of popular music at junior secondary levels; and the third is the present era from roughly 1980 onwards, where separate pathways of instruction are maintained for WAM and students with interests in popular and contemporary musics. Legitimation Code Theory (LCT) from the sociology of education is employed, with analysis unveiling a series of historic code shifts and clashes with implications for present practice. An unveiling of these codes explains the cause of ongoing tensions surrounding the inclusion of popular music and musicians in Australian music classrooms and provides foundation for much-needed curriculum development in the NSW context, and potentially elsewhere, where similar dynamics underpin practice in secondary classrooms.

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Salim, Muhammad Nur. "KREATIVITAS RAHAYU SUPANGGAH PADA FILM OPERA JAWA KARYA GARIN NUGROHO." Acintya Jurnal Penelitian Seni Budaya 12, no. 2 (December 7, 2020): 158–69. http://dx.doi.org/10.33153/acy.v12i2.3580.

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ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah

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Barry, Barbara R. "Pitch Interpretation and Cyclical Procedures in Middle-Period Beethoven." Musical Quarterly 76, no. 2 (1992): 184–215. http://dx.doi.org/10.1093/mq/76.2.184.

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November, N. "The emperor's new clothes? 'Period' Beethoven and performance traditions." Early Music 35, no. 3 (June 4, 2007): 486–88. http://dx.doi.org/10.1093/em/cam037.

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Lund, H. N., and I. N. Pedersen. "Pilot Project: Sound pillow treatment to improve sleep quality for patients with depression or bipolar diagnosis with sleeping problems." European Psychiatry 33, S1 (March 2016): S80. http://dx.doi.org/10.1016/j.eurpsy.2016.01.026.

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A well-known symptom for patients with depression and bipolar diagnosis is poor quality of sleep. This has a major impact on the quality of life for the individual. Most recently, an article in the Cochrane Review, Music for insomnia in adults, concludes that music may be effective for improving sleep quality in adults with insomnia symptoms [1].A Research Project at Aalborg University Hospital, Psychiatry, in Denmark has been initiated involving psychiatrists and nurses from an outpatient unit and researchers and music therapists from the Music Therapy Research Clinic at the hospital in an innovative collaboration. A pilot project is started, where patients with depression are given a sound pillow with special designed playlists, offering selected calm music for the patients to use at home for a period of 30 days. The listening periods are registered by the patients. Questionnaires are filled out before and after the listening period. A short semi-structured interview is taking place four times throughout the listening period and as a follow-up, when patients come in for control.The aim is to investigate, whether music listening is helpful to improve sleep quality and quality of life, and to investigate if music listening can limit or replace medication. Discussion of first results.Disclosure of interestThe authors have not supplied their declaration of competing interest.

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KABATAŞ, Mustafa. "OKUL ÖNCESİ DÖNEMDE MÜZİK EĞİTİMİNİN ÖNEMİ." Akademik Müzik Araştırmaları Dergisi 3, no. 6 (June 5, 2017): 1–16. http://dx.doi.org/10.5578/amrj.57441.

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Journal articles on the topic 'Period music'

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