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Journal articles on the topic 'Solo Percussion'
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Raush, John R., Eric Tanguy, and Gerard Siracusa. "Towards pour percussion solo." Notes 51, no. 1 (September 1994): 426. http://dx.doi.org/10.2307/899280.
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Traldi, Cesar Adriano. "Exploração tímbrica em composição para tímpanos solo." ouvirOUver 13, no. 1 (May 25, 2017): 190. http://dx.doi.org/10.14393/ouv20-v13n1a2017-14.
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Apesar de ser o instrumento de percussão mais utilizado no repertório orquestral, os tímpanos foram pouco explorados como instrumento solista até a metade do século XX. A evolução na construção e performance dos tímpanos e o surgimento de novas correntes composicionais no século XX tornaram possível explorações sonoras inovadoras nesse instrumento. Nesse artigo apresentamos uma composição para tímpanos solo onde a exploração tímbrica foi utilizada como principal elemento composicional. As possibilidades aqui descritas demonstram o grande potencial sonoro desse instrumento e a importância da pesquisa sonora no processo composicional para instrumentos de percussão.
ABSTRACT
Despite being the most used percussion instrument in the orchestral repertoire, the timpani were little explored as a solo instrument until the mid-twentieth century. Developments in the construction and performance of the timpani and the emergence of new compositional movements in the twentieth century made possible innovative sound holdings in this instrument. In this paper we present a timpani solo composition where timbral exploration was used as the main compositional element. The possibilities described here demonstrate the great sound potential of this instrument and the importance of sound research in the compositional process for percussion instruments.
KEYWORDS
Tímpani, timbral exploration, extended technique.
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Harper, Adam. "Metal Wood Skin: The Colin Currie Percussion Festival, Southbank Centre, London." Tempo 69, no. 272 (April 2015): 69–72. http://dx.doi.org/10.1017/s0040298214001119.
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‘THE PERCUSSION UNIVERSE OF AXEL BORUP-JØRGENSEN’: Solo; Music for percussion + viola; La Primavera; Periphrasis; Winter Music. Gert Mortensen (perc.), Percurama Percussion Ensemble, Tim Frederiksen (vla), Duo Crossfire, Michala Petri (rec.), DNSO Brass Quintet. OUR Recordings
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Stavrat, Constantin. "10. Comparative Interpretative Analysis of David Mancini’s Work Suite for Solo Drumset and Percussion Ensemble." Review of Artistic Education 19, no. 1 (April 1, 2020): 81–84. http://dx.doi.org/10.2478/rae-2020-0010.
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AbstractThe endless possibilities of expression that jazz has developed over the last hundreds of years could not only influence the composers, but also the performers who dedicated themselves to the fascinating and complex field of percussion. One of the percussion players who has been influenced by this genre is David Mancini, whose conposition I chose for comparative analysis - Suite for solo drum and percussion ensemble in the interpretation of two percussion ensembles Vibraslap and Guiro, whose activity was perpetuated due to enthusiasm and the professionalism of the two mentors of the respective groups, professors Marian Vaida and Bedo Gabor, both perfected within the percussion class of the Conservatory of Music “George Enescu” in Iasi Romania, founded and led for more than half a century by the renowned professor Florian Simion. Two totally different interpretations of David Mancini’s work - Suite for solo drums and percussion ensemble, each with a few moments of success, but also with the need to perfect many elements of technique and interpretive design.
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Powley, Harrison, David Lang, David Maves, and Stuart Smith. "The Anvil Chorus for Percussion Solo (1991)." Notes 52, no. 2 (December 1995): 641. http://dx.doi.org/10.2307/899089.
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Fernandes-Weiss, Ledice. "Estudo do gesto instrumental sob o prisma da Labanotation: o exemplo da Tapping Technique em Percussion Study I para violão solo de Arthur Kampela." OPUS 24, no. 1 (April 28, 2018): 199. http://dx.doi.org/10.20504/opus2018a2410.
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Este estudo parte dos efeitos de percussão criados por Arthur Kampela em seu Percussion Study I visando compreender o movimento físico e o gesto instrumental do violonista como um fenômeno orgânico, intimamente relacionado com o gesto sonoro. Para tanto, utilizamos como ferramenta de análise a notação de movimentos coreográficos criada por Rudolf von Laban; este sistema é aplicado aos gestos requeridos para se realizarem cinco passagens da obra de Kampela onde os efeitos de percussão estão particularmente presentes. A partir da leitura dos cinetogramas criados, podemos observar uma predominância de movimentos em ricochete e outros efeitos percussivos que, além de promover um melhor relaxamento muscular, corroboram no impacto visual que a peça causa por sua gestualidade corporal. Observamos também que há uma notável exploração espacial do instrumento. Ao abordarmos o fazer musical de um ponto de vista coreográfico, entendemos este como um complexo que inclui o som produzido, os gestos e movimentos do performer, sua energia, seu corpo e o espaço que o circunda.
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Zekang, Chen. "SYMPHONY CONCERTO FOR PERCUSSION AND ORCHESTRA "SACRED FIRE 2008" BY TANG JIANPING: THE PROGRAM AND ITS INSTRUMENTAL IMPLEMENTATION." Arts education and science 1, no. 4 (2020): 55–62. http://dx.doi.org/10.36871/hon.202004007.
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The article introduces the famous Chinese composer Tang Jianping's "Sacred Fire 2008" Symphony Concerto for percussion instruments for the first time. The composition inherits the principles of a classical concert, in which the idea of a competition between a solo instrument (or a group of instruments) and an orchestra is brought to the fore. The Concerto was written for a triple orchestra with a significant expansion of the percussion instrument group, which are represented by both European varieties and national phono instruments (small Chinese cymbals and Peking Gong), helping the composer to achieve unusual timbre combinations. The soloist's part is also assigned to percussion tools. The considerable expansion of the percussion instruments and their promotion to leading positions is due not only to special attention to their timbre and imaginative capabilities. Among the reasons is the author's desire to establish a connection with ritual music through percussions, which is extremely important considering his special attention to the history and culture of his country. The Concerto is permeated with symphonic development, as indicated by a number of specific features that are revealed through musicological analysis. Special attention is paid to the Concerto program, which was inspired by the XXIXth Summer Olympic Games, but has a deeper meaning — it reflects the worldview of Chinese people and Chinese history.
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Trawick, Eleanor F., and George Benjamin. "Octet for Flute, Clarinet, Celesta, Percussion and Solo Strings." Notes 50, no. 1 (September 1993): 382. http://dx.doi.org/10.2307/898775.
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Hughes, Georgina. "Music, Science and Expert Listening: Interdisciplinarity and Solo Percussion Performance." STEAM 4, no. 2 (2020): 1–9. http://dx.doi.org/10.5642/steam.20200402.06.
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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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Adams, Daniel. "The compositional use of timbre in selected solo multiple percussion works." Interface 21, no. 2 (January 1992): 117–34. http://dx.doi.org/10.1080/09298219208570603.
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Driver, Paul. "Gruber's Concertos." Tempo, no. 178 (September 1991): 22–27. http://dx.doi.org/10.1017/s004029820001398x.
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The concerto evidently appeals to HK Gruber, as symphonies do not. He has so far written four works that are unambiguously in this form: ‘…aus schatten duft gewebt…’, a concerto for violin and orchestra of 1977–8; the concerto for percussion and orchestra Rough Music (Rauhetöne) of 1982–3; Nebelsteinmusik, for solo violin and string orchestra, of 1988; and the Concerto for Cello and Chamber Orchestra of 1989. Ambiguous examples of the form are his early Concerto for Orchestra (1960–64) – concertos for orchestra are by definition ambiguous – and Frankenstein!!, his ‘pan–demonium’ (rather than ‘concerto’) for baritone chansonnier and orchestra (on children's rhymes by H.C. Artmann), finalized in 1977. Then there are four works which remain in manuscript (withdrawn from circulation): Concerto No. l for flute, vibraphone, xylophone and percussion (1961); Concerto No. 2 for tenor saxophone, double bass and percussion (1961); ‘furbass’ for double bass and orchestra; and an unsatisfactory forerunner of the violin concerto, Arien (1974–5). The symphony he has not touched; and one is tempted to see in this reliance on solo/ensemble confrontation an attempt to hold together the self–splintered, all too globally diversified language of the late 20th century by an eloquent soloist's sheer persuasiveness, by musical force, so to speak, the soloist being dramatized as a kind of Atlas. In the same way Gruber's recourse to popular songs and idioms of ‘light music’ in these works can seem like a desperate attempt to find a tonal prop and sanction for a language so pervasively threatened by tone–deafness and gobbledygook.
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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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Arnau-Mollá, Antonio Francisco, and Francisco Javier Romero-Naranjo. "ody percussion as a pedagogical resource. Bibliometric study on body percussion based exclusively on secondary search engines." Retos 46 (August 22, 2022): 809–25. http://dx.doi.org/10.47197/retos.v46.95178.
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Body percussion has emerged strongly in the last decades and not all quality information has been indexed in primary databases. The aim of this work was to present a bibliometric study on body percussion that agglomerated the main international documents from 2001 to 2021 found exclusively in secondary scientific-academic databases and that could serve as a starting point for new research on this discipline. A sample of n=128 documents extracted from Dialnet, Redalyc, DOAJ and specific search engines was selected. An ex post facto retrospective design and a frequency analysis in Microsoft Excel of the main bibliometric variables were used. As main results, it was observed that Spain and Spanish are the most productive country and the preferred language of publication, being 2019 the most prolific year, and the book chapter the most representative document. First-order papers, non-intervention papers, publication of a single paper per author and solo publication predominate. A single exclusive research group on body percussion was found in the line of possible cognitive stimulation and executive functions captained by the most significant author of the study, Francisco Javier Romero-Naranjo. In the intervention works, the quantitative approach prevails, through the BAPNE activities as methodology, the action-research design, the application of the intervention without control group (experimental only), the evaluation after the intervention (posttest only), and the questionnaire as evaluation instrument.
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Bialosky, Marshall, and Michael Finnissy. "Ngano (1983-1984) for Solo Mezzo-Soprano, Solo Tenor, SATB Chorus, Flute, Percussion; Texts from Traditional Songs of the Venda Africans." Notes 46, no. 2 (December 1989): 515. http://dx.doi.org/10.2307/941104.
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Goldberg, Daniel. "Timing Variations in Two Balkan Percussion Performances." Empirical Musicology Review 10, no. 4 (January 28, 2016): 305. http://dx.doi.org/10.18061/emr.v10i4.4884.
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<p>Many songs and dance pieces from the Balkan Peninsula employ <em>aksak </em>meter, in which two categorically different durations, long and short, coexist in the sequence of beats that performers emphasize and listeners move to. This paper analyzes the durations of <em>aksak </em>beats and measures in two recorded percussion performances that use a particular <em>aksak </em>beat sequence, long-short-short. The results suggest that the timing of beats varies in conjunction with factors including melodic grouping and interaction among members of a performing ensemble and audience. Timing variation linked to melodic groups occurs on a solo recording of a Macedonian Romani folk song. The performer, Muzafer Bizlim, taps an ostinato while singing, and the timing of his taps seems to mark some local and large-scale group boundaries. Melodic organization also seems relevant to the timing of beats and measures on a recording of Bulgarian percussionist Mitko Popov playing the <em>tŭpan</em>, a double-headed bass drum, in a small folk music ensemble. In Popov’s performance, however, timing differences might be related to characteristics of the ensemble dynamic, such as the coordination of multiple musical participants. These interpretations generate possibilities for future study of timing variations in relation to rhythm and meter.</p><p> </p><p>Supplemental files for this article can be downloaded <a href="https://library.osu.edu/documents/ojs/">here.</a> </p>
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Rakochi, Vadym. "Traditional and innovative in the orchestration of Ivan Karabyts‘ third concerto for orchestra «Lamantation»." Ukrainian musicology 46 (October 27, 2020): 86–98. http://dx.doi.org/10.31318/0130-5298.2020.46.234602.
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The orchestration of Karabyts’ Third Concerto for Orchestra “Holosinnia” (“Lamentations”) has been studied. The relevance of the study. Despite a number of research works on Karabits’ Third Concerto its orchestration remains little studied yet. Therefore, the main objective of the paper is to examine orchestration of the Third Concerto for orchestra and to research the interaction between ‘traditional’ and ‘innovative’ traits in Concerto’s orchestration. The methods of the research. The score analysis lies in the core of the paper but historical, comparative, and semiotic methods of analysis have been applied as well. Attention is focused on the combination of traditional and innovative origins which paved the way for the composer to rethink the methods of presentation in the orchestra. Thus, these transformations reflect the original (author’s) approach to the genre. It was emphasized that Karabyts interprets the synthetical character inherent to the concerto for orchestra genre particularly wide. It is emphasized that this approach allows the composer to identify a palette of genres of instrumental music: for one performer, different combinations of chamber ensembles, concerto grosso and solo instrumental concerto. In particular, the opposition between two groups was strengthened not only due to unequal quantity of performers in each of them (concerto grosso), but also by relying on the different nature of the material or the use of bells or tube, quite rare in this role, to solo (solo concerto). The combination of traditional and innovative is reflected in the composition of the orchestra (paired with a large percussion group) and the approach to percussion instruments (endowing them with melodic, semantic, formative and other functions). It is emphasized that Karabyts repeatedly applies “percussion-like" interpretation in relation to other instruments. Such an approach results in a qualitative transformation of the instruments: the inherent warmth of a string timbre decreases; the singularity of each wind color neutral-lizes. Complications of semantics at each rhythmic, intonation, and timbre ostinato formulas are revealed. The introduction of a particular (author’s) approach to the baroque tradition of combining the functions of a soloist and a capellmeister, the manifestation of which is the solo of bells perso-nally made by Karabyts, has been noticed. The conclusions state that the Concerto’s orchestration plays important role in dialectically combination of “objective” and traditional (the passage of time, the history of the people, destiny) with “subjective” and individual (the author’s attitude to events and their rethinking). Such an approach is typical for the twentieth-century musical art. The significance of the research is that it reveals the importance of orchestration as a means of expression and thus brings better understanding of the functional potential of orchestration within the frame of the twentieth-century art tendencies.
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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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Adler, Christopher. "Zaum Box: New Music for Speaking Percussionist." Malaysian Journal Of Music 9 (September 22, 2020): 55–64. http://dx.doi.org/10.37134/mjm.vol9.5.2020.
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Zaum Box is a collection of compositions for solo speaking percussionist setting transrational Russian futurist sound poetry called zaum. Zaum arose among a small interdisciplinary group of artists, writers, musicians and thinkers who invented a beyond-rational language as part of the radical disruption of traditional artistic and expressive forms, necessary to bring about the accelerated experience of a technologically-driven future. The subgenre of contemporary concert music for solo speaking instrumentalist dates from the 1970’s and has grown into a significant branch of the solo percussion repertoire. The composition of Zaum Box was founded on an extended period of research into zaum, futurism and Russian language. The complete set of compositions was produced as a limited-edition box set of uniquely formatted scores, which were realised by percussionist Katelyn Rose King in a set of ten videos. This article by the composer reviews all the phases of this project, including research and production, and examines the relationships between text, sound, music and theatricality in selected scores.
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BRÜSTLE, CHRISTA. "Timekeepers – Sound Artists – Drum Machines: Studies of Notation and Performance in Contemporary Music for Solo Percussionist." Twentieth-Century Music 6, no. 1 (March 2009): 63–81. http://dx.doi.org/10.1017/s147857221000006x.
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AbstractWhat are the consequences of understanding a musical score as an ‘action plan’ – a composed set of performance instructions – rather than as a document, a transcript, or a concretization of a composer's idea and, ultimately, of a fixed musical work? This question is discussed through a consideration of four examples of contemporary percussion music – solo pieces by Karlheinz Stockhausen, Morton Feldman, David Lang, and Helmut Lachenmann. Considering the musical text in relation to the dynamics of a work's execution and performance can give us not only a ‘sound picture’ but also a kinaesthetic picture of the performer on stage. Through this shift of perspective the score comes to be viewed as a script or an agent, which then acts as both a foundation and a catalyst for the actions of the performer and his or her production of sound.
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Ram, S. Sai. "A STUDY OF STRUGGLE IN VERSATILITY IN TABLA PERFORMANCE." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (May 7, 2022): 218–23. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.77.
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Tabla is the most versatile among percussion instruments today. The challenge that it meets till date is the recognition that Tabla has in terms of a Solo instrument. Although acclaimed worldwide for its versatility, yet the role of Tabla as a Solo instrument remains undefined at large. The tabla player today occupies a decent place on stage during accompaniment and exhibits the art, at times with his repertoire, especially when he accompanies to instrumental music. The rich repertoire of Tabla, which is learnt through life finds its expression only through solo performances, but this is confined only to the elite artists. There is no denial to the fact that Tabla is basically an accompanying instrument. Accompaniment is a beautiful art and every tabla artist should be an able accompanist. In fact, the art of accompaniment does need a better craftsmanship and a greater aesthetic sense than the art of tabla solo presentation. Given to these facts, the repertoire of tabla finds complete expression only during a solo performance. The collection of compositions of tabla from the masters of yesteryears is huge, and how many tabla players are able to put it across the listeners, even a meagre part of what they have learnt in the lineage? And the truth is that the Tabla is the primary accompanying instrument in North Indian classical, fusion and light music today. This is the struggle in its versatility. The music fraternity and the organizers need to ponder over this and improve their endeavors to promote Tabla more, as a solo instrument also.
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Pradana, Ridhlo Gusti, Agus Salim, and YC Budi Santoso. "Penerapan Teknik Empat Mallet Pada Lagu Tambourin Paraphrase Untuk Solo Marimba Karya Keiko Abe." PROMUSIKA 6, no. 2 (August 6, 2019): 90–101. http://dx.doi.org/10.24821/promusika.v6i2.2477.
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Teknik empat mallet sudah tidak asing lagi dalam dunia musik khususnya pada musik perkusi melodis ( definite ) seperti, marimba, vibraphone. Penjabaran dalam karya tulis ini adalah tentang penerapan teknik empat mallet pada lagu Tambourin Paraprase for Solo Marimba karya Keiko Abe.Penulisan tugas akhir ini bertujuan untuk memberikan informasi kepada masyarakat umum dan mahasiswa ISI Yogyakarta khususnya mengenai permainan marimba dengan menggunakan teknik empat mallet.Proses penerapan teknik empat mallet pada lagu Tambourin Paraprase for Solo Marimba menggunakan berbagai teknik seperti, tradisional roll, independen roll, shaft mallet, dead mallet dan termasuk dalam hal pemilihan mallet. Hal itu sangatlah penting karena justru dari teknik tersebut setiap karya musik khususnya marimba yang dimainkan hasilnya akan menjadi lebih baik dan lebih hidup. Four-mallet technique is no stranger to the world of music, especially the melodic percussion instruments (definite) such as, marimba, vibraphone. Elaboration in this paper is on the application of four-mallet technique on songs Tambourin Paraprase for Solo Marimba work Keiko Abe.This thesis aims to provide information to the general public and students of ISI in particular regarding the practicing marimba using four techniques mallet.Process application of techniques four mallet on track Tambourin Paraprase for Solo Marimba using various techniques such as traditional, roll, independent roll, shaft mallet, mallet dead and included in the selection mallet. It is important because precisely of these techniques every piece of music especially played marimba result will be better and more alive.KeywordsFour mallet technique; tambourine Paraphrase for Solo Marimba.
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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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Aroso, Nuno. "Role of Movement and Gesture in Communicating Music Expressiveness to an Audienc." Convergences - Journal of Research and Arts Education 13, no. 25 (August 9, 2021): 83–94. http://dx.doi.org/10.53681/c1514225187514391s.25.5.
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Musical performative gestures are recognised by the majority of theoreticians as a critical factor of a musical performance. Gestures can be considered as operating features of a person’s perception-action system. It presupposes significance of a meaning that involves more than just a physical movement. Movements can be subdivided into specific patterns and conceptualised. Dynamics are one of the most relevant expressive element in music and they are strongly related to the physical musical action - sound producing gestures. Used effectively, dynamics allow sustain narrative pertinence in a musical performance, communicating for example a particular emotional state or feeling. For this research, solo percussion contemporary music performance was in focus and an audience divided in between “visual and non visual” listeners was studied. From this perspective, observation over percussionists’ playing manner and it ́s audience provides the researcher an opportunity to understand dynamics perception through musicians’ gestures in this particular repertoire. The quantitative research design divided in the experiment was chosen for the purpose of this study, which can be referred to as the description of the objective reality by using numbers in order to construct meaningful models reflecting various relationships between objects or phenomena. These numerical entities are not the reality itself, but a way of representing it. How does the percussive gesture influences the perception of musical dynamics by an audience?
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Petri-Preis, Axel. "EMILY HOWARD'S LOVELACE TRILOGY: A MUSICAL HOMAGE TO A MATHEMATICAL PIONEER." Tempo 67, no. 265 (July 2013): 28–36. http://dx.doi.org/10.1017/s0040298213000442.
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AbstractWithAda Sketches, for mezzo-soprano, flute, clarinet and percussion,Mesmerism, for solo piano and chamber orchestra, andCalculus of the Nervous System, for large orchestra, in 2011 the young British composer Emily Howard completed a triptych of works in which she drew decisively on the life and thoughts of Ada Lovelace for inspiration. Today, Lovelace is recognized as a pioneer of 19th-Century mathematics, who in her lifetime attempted to bring together art and mathematics in Charles Babbage's Analytical Engine. She was convinced of the power of mesmerism and believed that there was a possible mathematical calculation for the human nervous system. This article shows how Emily Howard took up and developed musically these central threads of Lovelace's work in her ‘Lovelace Trilogy’.
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Hope, Cat. "Wording New Paths: Text-Based Notation in New Solo Percussion Works by Natasha Anderson, Erik Griswold, and Vanessa Tomlinson." Contemporary Music Review 36, no. 1-2 (March 4, 2017): 36–47. http://dx.doi.org/10.1080/07494467.2017.1370793.
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Said, Arini Nur, and Helena Evelin Limbong. "Teknik Permainan Beatbox Flute Dalam Box Karya Christopher Kuhns." Resital: Jurnal Seni Pertunjukan 22, no. 2 (December 22, 2021): 89–99. http://dx.doi.org/10.24821/resital.v22i2.5137.
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The composition of solo flute created by Christopher Kuhns entitled ‘BOX’ is interesting because it uses beatbox tecnique in playing the flute. beatbox technique in flute is not a new technique for flute, Greg Pattillo is one of the flutist has introduced this technique in 2009. This research aims to describe the beatbox flute technique used in Box coposition and how to produce beatbox technique through articulation and tonguing in flute. The method used by researcher is a qualitative descriptive research methode with a analysis approach. The data obtained though literature studies, music score of Box, collecting audio-visual documentation in the form of performing Box composition through the internet and interview with Christopher Kuhns, Greg Pattillo, and Willem Carolus Cristopherson Tamnge. The result of this research show that the flute not only can produce melodic sounds, but also can produce percussive sounds with many sound colors. Beatbox technique was imitating percussion sound such as; bass drum, hi-hat, and snare. In Box Composition, there are seven beatbox articulation techniques, such as classic kick, closed k hi-hat, closed t hi-hat, meshed snare, open t hi-hat, shaker, and classic inward snare. The flute articulation techniques are accent, legato, staccato, and slur, also tonguing techniques used in Box composition are single tonguing and double tonguing. The application of articulation and tonguing influence each other in beatbox flute palying to produce clear melody and rhythm.
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Chaib, Fernando, Ronan Morais, Charles Leandro, Leandro Silva, and Tiago Silva. "Desenvolvimento e Construção do Sistema de Baquetas para Pequenos Instrumentos Suspensos - SIBAPIS2020." Revista Vórtex 9, no. 3 (December 19, 2021): 1–29. http://dx.doi.org/10.33871/23179937.2021.9.3.12.
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Observando obras diversas referente ao repertório percussivo (quer seja a solo, de câmara ou até mesmo sinfônica) percebemos que, em muitos casos, a impossibilidade de troca de baquetas em certos trechos musicais que envolvem montagens de percussão múltipla compromete a sonoridade de determinados instrumentos. Ao realizarmos um estudo sobre patentes e marcas registradas a respeito de sistemas de baquetas que permitem tocar pequenos instrumentos suspensos sem a necessidade de segurar os instrumentos e suas baquetas específicas, foi possível vislumbrarmos melhorias e ideias inovadoras para esse tipo de performance. Utilizando softwares licenciados para projetos em 3D, desenvolvemos e construímos o Sistema de Baquetas para Pequenos Instrumentos Suspensos - SIBAPIS2020. Tratando-se de um sistema com funcionalidades melhoradas e ampliadas em relação ao já existente no mercado, pretendemos contribuir para o melhoramento da performance percussiva, particularmente no contexto de pequenos instrumentos inseridos em montagens de percussão múltipla.
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Anderson, Martin. "London, Royal Albert Hall Proms 2003." Tempo 58, no. 227 (January 2004): 55–59. http://dx.doi.org/10.1017/s0040298204240050.
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Until the world première of Joe Duddell's Ruby on 25 July, I had yet to hear a percussion concerto which didn't trip itself up. I thought it was in the nature of the beast: the orchestra develops some material, which is then passed to the percussion, at which point all development perforce stops. Duddell (b. 1972) solved the problem by turning it on its head, and limiting the orchestral material to what the solo percussionist could handle; the downside is that he necessarily limits the expressive scope of the orchestra. Ruby – the title is simply a rhyming-slang working label that stuck: it's the final part of a trilogy of works written for the percussionist Colin Currie – opens with a vibraphone pattern that suggests a lyrical music-box and soon shows a stylistic affinity with American minimalism, which alternates with slabs of good-natured energy. The slow movement begins with tremolo marimba chords over string lines that drift aimlessly and agreeably, with a more active central section spurred by brief brass figures which trigger rising scalic patterns in the vibraphone. The initial material returns with soft-centred strings above hypnotic vibraphone figuration and is sung to a close by the rapturous sound of bowed vibraphone chords. The finale likewise deals in cheerfully mesmeric vibraphone patterns over a wash of strings and stuttering comment from horns and trumpets; the soloist then offers an improvised toccata on drum-kit backed by forceful rhythms from a near-tutti orchestra. The vibraphone resumes its jolly prattle until, seemingly having run out of things to say, the music just stops dead. Currie, supported by the Bournemouth Symphony Orchestra under the functional Marin Alsop, played it with obvious commitment, and from memory – no small achievement in such motoric music.
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Breault, Marie-Hélène. "L’évocation de la glace et du froid par le timbre de la flûte dans Icicle de Robert Aitken." Les Cahiers de la Société québécoise de recherche en musique 14, no. 1 (June 6, 2013): 17–24. http://dx.doi.org/10.7202/1016194ar.
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Dans cet article, l’auteure, qui est à la fois interprète et chercheuse, présente une investigation heuristique de son propre processus d’interprétation du solo de flûte Icicle de Robert Aitken. Dans cette pièce, des techniques de jeu contemporaines permettent de produire diverses couleurs sonores évoquant, comme le titre le suggère, le froid, la transparence de la glace, sa cristallinité. Ces techniques sont analysées à partir d’une perspective ancrée dans la pratique interprétative et au regard d’un axe imaginaire de température du timbre instrumental. L’auteure traite aussi bien des techniques notées dans la partition et prescrites par le compositeur que de celles qui relèvent de ses initiatives comme interprète. Ces techniques sont d’abord classifiées selon des catégories établies par le pédagogue de la flûte Pierre-Yves Artaud (Artaud 1986), pour être ensuite évaluées selon les deux grands archétypes instrumentaux – voix et percussion – identifiés par Jean-Claude Risset (Risset 2004). L’analyse de ces techniques est doublée d’explications concernant la méthode de travail et d’appropriation de l’oeuvre utilisée par l’auteure, méthode qui intègre la qualification subjective du timbre instrumental et qui mise sur la créativité interprétative.
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Herdianto*, Ferry. "Marimba Solis Performance with Repertoar the Variation on Theme (from the Malay's "Pucuk Pisang")." International Journal of Management and Humanities 5, no. 7 (March 30, 2021): 76–81. http://dx.doi.org/10.35940/ijmh.f1235.035721.
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Performing the art of music in the era of the industrial revolution 4.0 experienced many changes, these changes had a big impact on industry players in terms of music marketing and consumers to enjoy music. In the era of revolution 4.0, every individual is currently required to race against each other in filling life both in education and skills. To respond to the challenges in this 4.0 era, the writer has a desire to change himself, both in ways of thinking and in skills so that the author can be useful both for self-improvement and beneficial to many audiences. On this occasion, the presenter performed a modern repertoire using marimba instruments that had different levels of difficulty. It is a challenge for the presenter to master the techniques with the difficulties inherent in each repertoire. Marimba is a type of melodic percussion instrument that is rarely known by the public. In this marimba show, the presenter presents a musical repertoire, i.e The Variation On Theme (From the Malay's “Pucuk Pisang”) the show is presented in the form of a solo marimba and accompaniment. Repertoire The Variation On Theme (From the Malay's “Pucuk Pisang”) has a difficulty level. Here the presenter is required to master and practice all the difficulties contained in the repertoire, especially basic techniques.
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Žune, Inese. "Leonīds Vīgners – komponists." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 352–60. http://dx.doi.org/10.37384/aplkp.2021.26-1.352.
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The aim of the article is to highlight the creative work of the outstanding 20th- century Latvian conductor and pedagogue Leonīds Vīgners in the field of composition. The facts are based on the materials of Leonīds Vīgners’s archives found in the Museum of Literature and Music, which allows tracing the entire, versatile activities of the musician. Leonīds’s understanding of music, much like that of his sisters Beatrise, Meta, and prematurely deceased brother Vitālis, developed early in childhood, when they became the examples of the success of the new practical method of absolute musical hearing championed by their father Vīgneru Ernests. Later, the talented musician received a comprehensive musical education at the Latvian Conservatory. In addition to conducting the orchestra, playing the organ and percussion instruments, he also graduated from the composition class of Jāzeps Vītols. In the 1920s and 1930s, Leonīds Vīgners composed a range of instrumental works, from simple minuets to an extensive form of a piano sonata. In total, the museum’s collection contains 16 manuscripts of his instrumental works. The largest part of Leonīds Vīgners’s work consists of his solo and choir songs composed or reworked in different periods of time. He has mentioned that he has composed about 80 solo and 300 choir songs, but some of them perished during the war. Examining the manuscripts of Leonīds Vīgners’s songs, as well as many drafts that have been included in the collection of the Museum of Literature and Music, it can be concluded that he attached great importance to the words that evoked his musical ideas. Leonīds Vīgners always remained himself, with his own views on music and Latvian nationalism. However, behind his seemingly harsh exterior, there was a sensitive and fragile soul, which is truly revealed in his compositions with the plastic, bittersweet sense of melody characteristic to the Romantics and at times the impressionistic freshness and subtlety of his harmonies.
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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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Creutzenberg, Jan. "Between preservation and change: performing arts heritage development in South Korea." Asian Education and Development Studies 8, no. 4 (October 7, 2019): 485–97. http://dx.doi.org/10.1108/aeds-04-2018-0070.
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Purpose As intangible cultural heritage, traditional performing arts depend on transmission by individuals and collectives. The purpose of this paper is to explore how traditional performers practice their arts in South Korea. The analysis focuses on the transformations of performance conventions and contexts, as well as on new genres that developed in response to heritage legislation and social change during the last 200 years. Design/methodology/approach Drawing on a wide array of existing ethnographic research, the paper compares processes of transmission and transformation of three different genres: the solo singing-storytelling genre pansori, the ensemble percussion-dance genre pungmul and the various regional forms of mask dance drama subsumed under the label talnori. The paper argues that the artists, who perform these genres, while not unaffected by the expectations of their audiences, have the power to transcend traditional boundaries. Findings Due to early professionalization in the nineteenth century, pansori performers could adapt to the changing contexts of market-oriented modernity and survive until governmental intervention in 1962. Pre-modern pungmul and talnori was performed primarily by and for rural communities, resulting in an interruption of transmission when these contexts disappeared and partial re-invention in the wake of official preservation legislation. Originality/value The need for repeated performance in historically varying contexts makes the analysis of performing arts particular fruitful for understanding how practitioners of tradition (have to) adapt to change. A historical-comparative perspective provides concise insights into the dynamics of development that informs tradition today. The inclusion of offspring genres (changgeuk, madang-geuk, samulnori) furthermore shows the potential of heritage development beyond the official system of preservation.
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Holder, Brian. "Cage for One: Multiple-Percussion Solo with Soundscape in Three Movements, and: Argoru VIII: For Snare Drum, and: Micro-Concerto: For Percussionist and Mixed Quintet (review)." Notes 68, no. 3 (2012): 667–70. http://dx.doi.org/10.1353/not.2012.0033.
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Xing, Xin. "TAN DUN'S VIOLIN CONCERTO "THE LOVE" AS A REFLECTION OF STYLISTIC DIVERSITY OF MODERN COMPOSITION." Arts education and science 1, no. 3 (2020): 61–74. http://dx.doi.org/10.36871/hon.202003008.
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The article analyzes "The Love" Violin Concerto (2009) by the famous Chinese and American composer Tan Dun in contextual, composing and linguistic aspects. Based on the statements of his contemporaries, the author considers the composer's musical and aesthetic views that determine the originality of his style, organically combining avant-garde techniques with elements of traditional Chinese music. Tan Dun's Violin Concerto exists in three versions with different titles ("Out of Peking Opera" 1987, "The Love" 2009, "Rhapsody and Fantasy" 2018), representing different artistic concepts with a new viewpoint on the same intonational material. Three movements of the Concerto "The Love" reflect the evolution of feelings at different stages of human life. The composer manages to combine the idea of "national" (a tendency going back to the version of the Concerto "Out of Peking Opera" 1987) with a philosophical understanding of the category of love. The paper discusses the originality of the dramaturgy of "The Love" Violin Concerto, which assumes the third part as the main center (based on the development of thematic material of the first and second movements), the consolidation of parts of the attacca cycle and the rondality of the musical form. The most important peculiarity of the composition is the mixture of elements belonging to different cultural and temporal layers of music. The stylistic diversity of Tan Dun's Concerto is reflected in the following details: the composer's introduction of a stylized tune from the Beijing Opera erhuang, speech intonations resembling recitatives of Chinese dramas, borrowings from his own film music (the second movement), the use of methods typical for traditional Chinese music, yaoban and sanban, the timbre of oriental percussion instruments in a classical symphony orchestra, as well as dodecaphone techniques, aleatorics and Hip-hop rhythms. Special attention in the article is paid to interpretation of expressive possibilities of solo violin: methods of classical-romantic technique are synthesized with traditions of performance on Chinese stringed instruments.
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Ivanova, Irina. "“The Confession” of a Child of the Century (Concerto for orchestra with solo viola by Anton Lubchenko)." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 259–80. http://dx.doi.org/10.34064/khnum2-16.15.
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Introduction. Recent decades have seen a revival of interest the problems of genre-creating and typology of genres in musicology, an interest largely stimulated by the complexity of processes happening in this area of modern composers’ creativity. Given article considers a work by A. Lubchenko, entitled “Confession” (Concerto for orchestra with solo viola) from this standpoint. While the second part of the title, placed in brackets, doesn’t need to be commented, the first one, in quotation marks, must be considered additionally. Theoretical background. In order to comprehend it as sign of genre this article includes systematization of modern views on inherent traits of confession both in literature (I. Vertsman, A. Stoliarov) and music (O. Sheludiakova). Founding on scientific information of mentioned scholars next genre indicators of confessions are revealed: auto-biographic mood, first-person narrative with pre-destined goal, immaculate honesty of the confessor with himself and the receiver, his exclusive concentration on his own personality, general aim on self-consciousness etc. although there are differences between musical and verbal forms of ways of expression, confessions even in different types of art share “archetype of genre” (O. Sheludiakova). This allows to consider musical confession not as adaptation of its literature prototype, but as inherent musical genre, possessing essential and attribute features, corrected my given type of art and experience gained by it. So as to elaborate on this these, the article uses comparative method of research, aimed at comparison of genre archetype of confession and its embodiment in given musical work. Objectives. The aim of the article is to reveal a complex of means of expressions, used in the work by A. Lubchenko to reflect confessional mood in its inter-type comparison with literate genre. Results and discussion. Just as confession in literature absorbs features of another genres, such as hagiography and autobiography, its musical type, presented in the work by A. Lubchenko, uses ballade type of dramaturgy, one of the achievements of Romantic era. Actualizing principle of narration, a basis of literature ballade, musical ballade-ness, being a special dramaturgic model, embodied it through intonationally-thematic and structural means. Orientation of A. Lubchenko towards ballade, whether is it intentional or not, seems to be quite logical, because composer regards himself as a person, continuing the tradition of understanding the music as “the art of experiencing” (A. Mikhaylov), dating back to XIX century. Not only does connection of multiple layers of “Confession” become a sign of author’s composing style, it also contains important dramaturgical meaning, communicating with sound-images, appealing to listener’s experience, previously gained while hearing modern music. It is significant that the score features largely expanded percussion section, its playing with the brass section, that, being combined with periodically happening maximal density of texture and extremities of dynamics creates an association with images of dark powers, creating a feeling of insurmountable terror. Algorithm of musical events in “Confession” is governed by cooperation of meditative and grotesque-scherzo episodes. The latter seem to “grow out” from the former; in their turn, meditative replace grotesque-scherzo ones. So, while being antinomic, they are perceived as different stages of a single process, in which aggressive and ominous reveals to be a spawn of author’s mind along with meditative, generally speaking – part of inner world, that allows to regard this as “collateral or eccentric lyric” (I. Sollertinskiy). Its coexistence with lyrical expressions gives it degree of sincerity of confessions, serving as one of the key indicators of this genre archetype. A. Lubchenko’s inclination towards introspection doesn’t stand in way of his contact with modern life with its anxious atmosphere, spiritual and intellectual wandering, searches for new moral guidelines, collision of polar systems of values. Refracted through prism of author’s perception, traits and collisions of epoch acquire psychological character, resulting in revealing of self-comprehension of our contemporary. Nevertheless, should any images appear in composer’s fantasy, be it visions of “another worlds” or of eternal chaos, author’s position remains steadfast, and that holds black colours back from filling all the musical texture. And even an ending, with farewell intonations and a shade of funebre, doesn’t create an impression of doom, granting catharsis, even in spite of continuous c-moll chord, a background for solo viola’s ending of its confessional narration. This effect is largely influenced by composer’s appeal to “human” timbre of string instruments, playing divisi, that bring features of intimate, chamber statement into last “word”. Conclusions. In Conclusions, generalizing observations made in article, it is stressed, that considered work matches genre archetype of confession. Complex of expressional devices, used in it, allows to create wide amplitude of emotional states, sometimes reaching exquisitely sharp expression, and that allows to classify genre type of A. Lubchenko’s “Confession” as “word-scream”, in terms of O. Sheludiakova. Double time dimensions (of narration and narrator’s) in this work, clarity of incarnation of plot collisions, constant escalating of psychological tension etc. indicates usage of ballade dramaturgical logic. While showing selfawareness of modern man in “Confession” and applying modes, typical for music of XX–XXI centuries, the composer uses artistic experience of romanticism as well, that contributes to this and other works being open to direct dialogue with the audience, and this is a quality, especially important in genre of confession.
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Холопова, Валентина Николаевна. "Contrasting Effects of World Perception as a Principle of Sofia Gubaidulina's Musical-Philosophical Thinking." Музыкальная академия, no. 3(775) (September 27, 2021): 58–73. http://dx.doi.org/10.34690/178.
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Контрастность в представлении о мире была свойственна философии и искусству в разные исторические времена. Причем в западном мышлении она более развита, чем в восточном. С. Губайдулина ощутила в себе это свойство из-за рождения в русско-татарской семье, с перекрещиванием Запада и Востока. Как типичный «шестидесятник», свидетель Второй мировой войны, она всю жизнь думает о коллизиях в жизни людей, что и ввело контрастность в ее музыку любых жанров. На них основаны симфонические полотна, такие как симфония «Слышу...Умолкло...», «Pro et contra». А в концерте для скрипки «Диалог: Я и Ты» она претворила двойственные идеи философа М. Бубера. Контраст же Запада и Востока стал основой драматургии кантаты «Ночь в Мемфисе», концерта для солирующего исполнителя на ударных инструментах и оркестра с участием певицы «Час души», камерных сочинений «Чет и Нечет», «Сад радости и печали». Губайдулина выработала свою, эффективную систему «консонансов» и «диссонансов» всякого рода, которые приносят ясность всей ткани ее музыки. Масштабным духовным сочинением стала ее оратория «О любви и ненависти» на тексты молитв разных собраний. The contrast in the view of the world is characteristic of philosophy and art in different historical times. Moreover, in Western thinking, it is more developed than in the east. S. Gubaidulina felt this property in herself because of her birth in a Russian-Tatar family, with the crossing of the West and the East. As a typical “sixties,” witness of the Second World War, she thinks all her life about the conflicts in people's lives, which introduced contrast to her music of all genres. They are based on the symphonic canvases-the Symphony “I Hear. Silenced...,” “Pro et contra.” And in the violin concerto “Dialogue: Me and You,” she embodied the dual ideas of the philosopher M. Buber. The contrast of the West and the East became the basis of a dramatic cantata “Night in Memphis,” a concert for solo percussion and orchestra with the participation of the singer for “Hour of the soul,” in chamber works “Even and Odd,” “Garden of joy and sorrow.” Gubaidulina developed her own, effective system of “consonances and dissonances” of all kinds, which bring clarity to the entire texture of her music. A large-scale spiritual composition was her oratorio “On Love and Hate” on the texts of prayers of various congregations
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Huang, Lei. "Heroic pastoral and its national-style reception IN THE CANTATA “YELLOW RIVER” BY XIAN XINGHAI." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 126–50. http://dx.doi.org/10.34064/khnum1-60.07.
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The statement of the problem. The cantata “Yellow River” (黄河) is one of the most expressive works in Chinese musical art. The article offers interpretation of the cantata in the light of national Chinese pastoral symbolism. Created in 1939 by Xian Xinghai (冼星) and based on the text of a poem by Guang Weizhan (光未然), the cantata is still of great interest to the researchers. The poetic text of the cantata tells about hard struggle of the Chinese people against the Japanese invaders during the Second Sino-Japanese War. The Ukrainian listeners are faced with misunderstanding of the musical language and cultural norms of Chinese mentality. The artistic concept of pastoral genre as a harmonious communication between man and nature makes it possible to interpret the ethno-national language of this work in the system of European values. Rather, we can talk about a historical and cultural parallel corresponding to the “dialogue of cultures” as a leading trend in contemporary art and not about stylization. Heroism of European Baroque and Classicism was closely associated with the image of a person fighting for the social ideals (and even dying for them), while the pastoral emphasized images of nature, which served as excellent “scenery” for human actions. The relevance of the article increases interest in the problem of human communication in the globalized oecumene, in particular, in the composer’s interpretation of the cantata genre semantics in relation to a concept of “heroic man” and idea of pantheism as a philosophy of a pastoral man. The purpose of the article is to identify the established dominants of the Chinese national language in the cantata “Yellow River” by Xian Xinghai in the context of pastoral genre symbolism. Number of scientific publications investigate this piece, yet none of them addresses the issue of cantata genre semantics as a national reception of heroic pastoral. Thus, Shang Bei’s dissertation revealed the principle of constructing the Yellow River piano concerto, borrowed from the thematism of the cantata (the second section of the dissertation is devoted to the cantata itself, and the third – to the concerto). Xiangtang Hong’s (2009) dissertation explores the history of the cantata, its verbal text, Western European influences. Analysis of recent research and publications. Cantata as a genre and form of European music embodies a certain ideal of cultural identity through musical and poetic means. “The Yellow River” is no exception. The composition consists of 8 parts. There are parts where there is a tutti chorus (I, IV, VII, VIII), its female composition (IV), male duet (V), solo tenor (I), solo baritone (II), solo soprano (II), solo soprano (VI), solo pipa and the reader’s part (all parts except V), uniting all movements. The cantata uses a paired orchestral composition, but with three trumpets and solo parts for Chinese folk instruments – pipa, two sanshinas – large (bass) and small (soprano). There is a large percussion section (including seven Chinese folk instruments), harp and classical string section. The article emphasizes the role of the reader, who personifies Poet and becomes one of the most expressive timbre-dynamic lines of the music piece. The reader’s part not only reveals the patriotic idea of the work, but also contributes to the development of its form as a unifying element. This technique found in drama productions and modern cinematography made musical genre closer to the performance. Each movement is a “live scene” depicting extremely tragic times for China, when people proved the invincibility of their spirit. The poetic text makes it possible to distinguish two dramatic dimensions in the cantata: the one in which the Poet (the image of the Author) speaks of what has already happened and the second one glorifies the current events “here and now”. Each movement of the cantata portraits the changing image of the Yellow River, the waters of which can be calm, stormy, dark and transparent. The work is filled with national stylistics embedded in melodic-rhythmic and modal structures. Each movement of the cantata has several themes united by the idea of glorifying the native land and its people in different dimensions: lyrical contemplation (pastoral), stories about tragic times (narration) and singing about people (ode). Conclusions. One of the innovative principles of musical thinking is the shift from heterophony inherent in the Chinese folk song tradition to homophonicharmonic and polyphony. This proves the influence of Western European musical thinking. For example, the attraction to chromaticism, completely alien to Chinese music, at some stages of the dramatic development of the cantata becomes one of the stylistic features of its harmonious language. This is how the first part of “The Song of Boatmen on the Yellow River” begins – with a massive, brilliant chromatic descent. Thus, first of all, the hidden or the absent becomes paramount. The article notes the technique of timbre mixes of folk and symphonic instruments, which signals a professional work oncthematicism based on genrestylistic synthesis. The genre features of pastoral are revealed in the composer’s tendency towards sound-imaging symbolism associated with images of nature, which are equivalent to heroic images. In general, the interpretation of cantata as a heroic pastoral coincides with the early (baroque) stage of the genre in Europe (oratorio by G. F. Handel), which formed a complex of invariant elements in musical language, emphasizing genre semantics (the image of the “shepherd”). The work exposes the national features of the Chinese pastoral – a collective hero (people), heroic pathos, pantheism as a philosophy of love for nature, a lyrical and contemplative worldview.
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McBride, Jerry L. "Schattenklange: Drei Stucke fur Bassklarinette, and: Espace/Brume pour marimba et clarinette basse, and: Engage the Mountain: [For] Clarinet (Bass Clarinet) and Percussion (1 Player), and: "I've Shook My Fists at the Sky" (Meditation and Agitation): [For] Clarinet Solo (review)." Notes 57, no. 4 (2001): 1015–18. http://dx.doi.org/10.1353/not.2001.0099.
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Stetsiuk, B. O. "Types of musical improvisation: a classification discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 178–96. http://dx.doi.org/10.34064/khnum1-57.11.
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This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).
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Santos, Ivaneide Oliveira, Enjolras De Albuquerque Medeiros Lima, Edmilson Santos de Lima, and José Geilson Alves Demetrio. "Avaliação Geoquímica da Variabilidade das Concentrações de Molibdênio Distribuídas em um Perfil Pedológico na Bacia do Rio Tatuoca, Ipojuca-Pernambuco (Geochemistry of Variability Assessment of Concentrations of Molybdenum Distributed in a Pedological...)." Revista Brasileira de Geografia Física 9, no. 1 (January 26, 2016): 237. http://dx.doi.org/10.26848/rbgf.v9.1.p237-249.
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A bacia hidrográfica do rio Tatuoca faz parte do grupo de pequenos rios litorâneos do Estado de Pernambuco e na sua área de drenagem encontra-se o Complexo Industrial Portuário de Suape - CIPS. O estudo das concentrações de elementos-traço em solos é um importante instrumento na gestão ambiental do meio físico de bacias hidrográficas, uma vez que pode contribuir para diferenciar as concentrações de base geogênica e as contribuições antrópicas em sua área de drenagem. Dentro desse contexto, o estudo teve como objetivo identificar os agentes causadores da variação das concentrações médias do Mo ao longo de um perfil pedológico localizado na bacia do Rio Tatuoca. O perfil de solo foi coletado através de sondagem rotativa testemunhada, denominado CTP2, com 17 metros de profundidade. Este foi seccionado a cada 50 centímetros compondo um total de 34 amostras, que foram inicialmente preparadas no Laboratório de Preparação de Amostras do Departamento de Geologia da Universidade Federal de Pernambuco e posteriormente enviadas para análises químicas no Laboratório da Geosol (MG). Tais análises foram efetuadas por Espectrometria de Emissão Atômica (ICP-AES) para 29 elementos. Os resultados foram tratados estatisticamente através de análise multivariada (Análise de Componentes Principais) e por Fator de Enriquecimento. A base de dados foi gerada a partir das concentrações dos 16 elementos com as concentrações mais relevantes resultantes das análises das 34 amostras coletadas. A interpretação dos resultados estatísticos permitiu identificar alterações nas concentrações ao longo do perfil de solo estudado. Os resultados obtidos a partir da equação de Gresens para o Fator de Enriquecimento para Mo foi de 1,3 na seção mais superficial do solo, classificado como pouco enriquecido segundo alguns autores. Entretanto, os resultados dos valores absolutos obtidos através do ICP/AES para a seção mais superficial do perfil estudado, apresentaram concentração de 5,5 ppm, indicando um aumento pontual, levando em consideração a prevalência dos valores intermediários do perfil situados em torno de 0,5 ppm e do valor da camada mais basal de 3,4 ppm. Diante disto, pode-se afirmar que o valor absoluto de 5,5 ppm referente à seção superficial do perfil não o caracteriza como um perfil anômalo, uma vez que o fator de enriquecimento apresentou-se de forma moderada. Desta forma, a diferença que há entre os valores das amostras de superfície e das amostras que foram coletadas no intervalo que abrange a seção intermediária até a seção mais basal do perfil, indica uma alteração referente a eventos ambientais localizados, os quais podem ter inferido nestas concentrações de Mo apenas na seção superficial (até 1,5m de profundidade). Os eventos ambientais marcantes ocorridos na área em questão estão relacionados primeiramente ao intenso cultivo da cana-de-açúcar, comumente associado ao uso de defensivos agrícolas por um grande período de tempo; Em segundo plano, outro grande evento marcante na área foi o processo de terraplanagem do solo, decorrente do Projeto de implementação da Refinaria Abreu e Lima e outros empreendimentos industriais circunvizinhos, culminaram na supressão vegetal. Desta forma, o aumento pontual das concentrações do Mo em uma profundidade de 0 a 0,5 está fortemente relacionado a atividades antrópicas de supressão vegetal e o uso por um longo período de tempo de defensivos agrícolas, o que, para alguns autores se classifica como anomalia significativa. Sendo assim, em solos com característica geogênica ácida, afetados por áreas industriais onde haja atividade que inferem maior intensidade no uso de compostos químicos associadas a intensa supressão vegetal merecem ser monitoradas, tendo em vista a possibilidade de um enriquecimento de moderado a alto de Mo, e possivelmente de outros elementos-traço. The Tatuoca river basin belongs to the group of small coastal rivers of the State of Pernambuco and its drainage area is completely within the Suape Port Industrial Complex Suape - CIPS. The study of concentrations of trace elements in soils is an important tool in environmental management of the watershed, as it can contribute to differentiate between baseline geogenic concentrations from anthropogenic contributions in their catchment area. Within this context, the study aimed to characterize the trace elements geochemical variation in soils, in order to visualize possible anthropogenic contributions as well as support geochemical studies of active stream sediments in the Tatuoca river basin. soil profile was collected by percussion drilling, and named CTP4, with 17 meters deep. Both was cut every 50 cm for a total of 34 samples, which was initially prepared in Sample Preparation Laboratory, Department of Geology, Federal University of Pernambuco and later sent for chemical analysis at the Laboratory Geosol. These samples were analyzed by atomic emission spectrometry (ICP-AES) for 29 elements. The results were statistically analyzed by multivariate analysis (Principal Component Analysis) and Enrichment Factor. The database was generated from the concentrations of 16 trace elements resulting from analysis of 34 samples. The interpretation of statistical results allowed us to identify geochemical change in the soil profile studied. Lead presented an enrichment factor of 1.5, classified as slightly enriched according to some authors. However, in the most superficial layer of the profile studied, the absolute concentration of 5.5 ppm showed, indicating an increase timely, considering the prevalence of intermediate values of the profile around 0.5 ppm and the value of the basal layer 3.4 ppm. Keywords: Pedologic soil, enrichment factor, Tatuoca basin, principal component analysis
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Oyawale, F. A., and M. A. Ogunmolati. "Quality Characteristics of Basic Hand Tools Sold in Nigeria." Advanced Materials Research 62-64 (February 2009): 708–14. http://dx.doi.org/10.4028/www.scientific.net/amr.62-64.708.
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Hand tools sold in Nigeria have become increasingly unreliable due to critical failures during use. The objective of this study is to test samples of these tools vis-à-vis manufacturer’s claims. A total of fifteen (15) hand tools from six (6) different countries available on the Nigerian market were tested for their quality characteristics. The tested tools included spanners, hammers, screwdrivers, pliers and chisels. Three samples of each of the groups of hand tools were ranked in accordance to their impact energy which is a major property of percussion tools. The results showed that built-in mechanical properties of these hand tools were largely controlled by their alloying elements, manufacturing processes and heat-treatment. Five (5) of the fifteen (15) selected hand tools conformed to BS 876, 1981 and were adjudged safe and reliable.
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Thomson, Nathan Riki. "Resonance. (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration." Trio 10, no. 2 (December 31, 2021): 49–56. http://dx.doi.org/10.37453/trio.113284.
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This artistic doctoral research examines how the third space emerging from intercultural dialogue and transcultural collaboration can be a catalyst for new musical discoveries, intercultural humility, and the (re)forming of artistic identities. The body of this project is centred around three doctoral concerts, a CD/LP recording, and a documentary film which took place between 2016 and 2021. In addition, I draw on the embodied experience of a five-year period that I spent living and collaborating with musicians and dancers in Tanzania and Zambia prior to the doctoral project.As a double bass player, multi-instrumentalist, and composer, I place myself in a series of different musical and multi-arts contexts, engaging in dialogue with musicians, dancers, and visual artists from Brazil, Colombia, Estonia, Finland, France, Madagascar, Mexico, Poland, Sápmi, Tanzania, the UK and Zambia. Various solo, duo, and ensemble settings act as case studies to examine how this process takes place, the new knowledge gained from the collaborations and their resulting artistic outcomes, and the effects of intercultural dialogue, collaboration, and co-creation on my own artistic identity. The instruments and forms of artistic expression used by my collaborators include the Brazilian berimbau, Chinese guzheng, dance, live electronics, experimental instrument making, Finnish Saarijärvi kantele, Sámi joik, vocals, percussion, live visuals, image manipulation, animation, photography and film.The key concepts that I investigate in this research are: artistic identity, global citizenship, hybridity, interculturalism, intercultural humility, liminality, third space theory, and resonance, the latter being viewed both as a physical phenomenon and as an approach to thinking about the ways in which we connect with the world around us. This research contributes to new knowledge and understandings in the areas of artistic identity formation, intercultural collaboration and interculturalism in music education through the interweaving of artistic processes, audio, video, photographs, artistic outcomes and text.Findings emerge in terms of new musical discoveries that surface from the dynamic third space created through transcultural collaboration; the expanding and deepening of musicianship through intercultural dialogue and collaboration; the interconnected nature of interculturalism in music and its reliance on openness, empathy, dialogue and constantnegotiation with sonic material, people and place; and the crucial role of fluidity and resonance in forming a personal artistic identity.Further research outcomes include new techniques and the expansion of the sonic palette of the double bass, enabled by developing custom-made attachments, preparations and electronic manipulation. The complete scope of this doctoral project includes four artistic components (three concerts and a recording), a documentary film and an artistic doctoral thesis comprising two peer-reviewed articles and an integrative chapter, all housed within the main multi-media exposition, Resonance: (Re)forming an Artistic Identity through Intercultural Dialogue and Collaboration.
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Pêgas, Ana Valentina de Paulo Ribeiro Severiano, André Luiz de Souza Lôbo, Cláudio Bonfante De Oliveira, and Guilherme Vasconcelos Tavares De Oliveira. "O uso da sondagem em projetos de fundações." Brazilian Journal of Animal and Environmental Research 5, no. 3 (July 30, 2022): 2934–47. http://dx.doi.org/10.34188/bjaerv5n3-027.
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Reconhecer antecipadamente o subsolo é fundamental para os dimensionamentos das fundações necessárias de uma obra civil, visto que as avaliações geológicas-geotécnicas proporcionam maior assertividade e confiança no projeto. A Sondagem de solo, também conhecida como radiografia de superfície do terreno, é uma ação indispensável em qualquer tipo de obra. É por meio dela que são determinados tipo e resistência do solo, profundidade de cada camada e presença de água. Este trabalho visa evidenciar a importância do uso de sondagens para trabalhos fundacionais, avaliando os potenciais ganhos de informação obtida através da complementação do SPT (sondagem à percussão ou sondagem de reconhecimento simples) através de sondagem do solo.
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Yulfita, Ade Febri, and Ferry Herdianto. "DESKRIPSI DAN INTERPRETASI TEKNIK PERMAINAN INSTRUMENT MARIMBA CONCERTO IN G MAJOR RV DAN A WHOLE NEW WORLD." Gorga : Jurnal Seni Rupa 11, no. 1 (June 30, 2022): 60. http://dx.doi.org/10.24114/gr.v11i1.34428.
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This research is motivated by a marimba instrument soloist in performing his repertoire must be able to become a reliable music player and make a positive contribution to music lovers. This study aims to describe the solo playing technique by interpreting the Concerto in G Major RV 310 repertoire through the two mallet technique with string quartet accompaniment and realizing the solo play by interpreting the A Whole New World repertoire through the four mallet technique with the Marimba Instrument according to the needs of today's performances. The repertoire presented is the repertoire of Concerto in G Major Rv 310 and A Whole New World. This repertoire has been considered to be played according to the great or achievement of the percussion instrument. The research approach used in this study is a qualitative approach that is useful for analyzing phenomena and for interpreting data. Based on the repertoire analysis of Concerto in G Major Rv 310, several obstacles were found in playing it, namely there was a double stroke technique played in an allegro tempo. The repertoire of the Concerto in G Major Rv 310 baroque era, there is a lot of ornamentation on the melody, and the phrases of songs that have a clear theme. While the repertoire of A Whole New World is classified as modern music (popular) which is a simple choral composition that is logical and easy to digest. Keywords: description, interpretation, instrument, marimba. AbstrakPenelitian ini dilatarbelakangi oleh seorang solis instrumen marimba dalam mempertunjukkan repertoarnya harus mampu menjadi pemain musik yang handal dan memberikan konstribusi positif kepada penikmat musik. Penelitian ini bertujuan mendeskripsikan teknik permainan solis dengan cara menginterpretasikan repertoar Concerto in G Major RV 310 melalui teknik dua mallet dengan iringan kwartet string dan mewujudkan permainan solis dengan cara menginterpretasikan repertoar A Whole New World melalui teknik empat mallet dengan instrumen marimba sesuai dengan kebutuhan pertunjukan saat ini. Repertoar yang disajikan yaitu repertoar Concerto in G Major Rv 310 dan A Whole New World. Repertoar ini telah dipertimbangkan untuk dimainkan sesuai dengan great atau capaian instrument perkusi. Pendekatan penelitian yang digunakan dalam penelitian ini adalah pendekatan kualitatif yang berguna untuk menganalisis fenomena dan untuk menginterpretasikan data. Berdasarkan analisis repertoar Concerto in G Major Rv 310, ditemukan beberapa kendala dalam memainkannya, yaitu terdapat teknik double stroke yang dimainkan dalam tempo allegro. Repertoar Concerto in G Major Rv 310 zaman barok, banyak terdapat ornamentasi pada melodi, dan frase lagu-lagu yang memiliki tema yang jelas. Sedangkan repertoar A Whole New World tergolong musik modern (popular) yang mudah dipahami.Kata Kunci: deskripsi, interpretasi, instrumen, marimba. Authors:Ade Febri Yulfita : Institut Seni Indonesia PadangpanjangFerry Herdianto : Institut Seni Indonesia Padangpanjang References:Arsyad, J., Putrianti, A., & Khadijah, K. (2020). Implementasi Alat Musik Perkusi Dalam Kemampuan Mengelola Emosional Anak Usia Dini di RA Az-Zahwa. Jurnal Raudhah, 8(2).Batallas, P.M. (2013). La marimba como Patrimonio Cultural Inmaterial. Fuente: Trabajo De Campo.David Samuel. (1982). Musical Approach to For Mallet Tecnique Volume 1. New York: New York Press.Dewatara, G. W., & Agustin, S. M. (2019). Pemasaran Musik pada Era Digital Digitalisasi Industri Musik dalam Industri 4.0 di Indonesia. WACANA: Jurnal Ilmiah Ilmu Komunikasi, 18(1), 1-10.Herdianto, F. (2021). Pertunjukan Solis Marimba dengan Repertoar The Variantions on Theme (From The Malay’s “Pucuk Pisang”). Jurnal Sitakara, 6(1), 1-12.Herfanda, F. R. (2014). Bentuk pertunjukan musik perkusi Paguyuban Sayung Hore (PSH) di Semarang. Jurnal Seni Musik, 3(1).Hoffman, G., & Weinberg, G. (2010, May). Gesture-based human-robot jazz improvisation. In 2010 IEEE international conference on robotics and automation (pp. 582-587). IEEE.Hugh M. Miller. (1996). Pengantar Apresiasi Musik. Terjemahan B.Triyono PS. Yogyakarta: Institut Seni Indonesia Yogyakarta.Sinaga, S. S. (2017). Pemanfaatan Pemutaran Musik Trhadap Psikologis Pasien Pada Klinik Ellena Skin Care Di Kota Surakarta. Jurnal Seni Musik, 6(2).Moleong, Lexy J. (2010). Metodologi Penelitian Kualitatif. Bandung: Remaja Rosdakarya.Prier Sj, Karl –Edmund. (1993). Sejarah Musik Jilid 2. Pusat Musik Liturgi: Yogyakarta.Pono, Banoe. (1984). Pengantar Alat Musik. Jakarta: CV Baru.Yang, N., Savery, R., Sankaranarayanan, R., Zahray, L., & Weinberg, G. (2020). Mechatronics-driven musical expressivity for robotic percussionists. arXiv preprint arXiv:2007.14850.Saryono dan Anggraeni, Mekar Dwi. (2010). Metodologi Penelitian Kualitatif Dalam Bidang Kesehatan. Yogyakarta: Nuha Medika.Sugiyono. (2014). Metode Penelitian Kuantitatif, Kualitatif dan R dan D. Bandung: Alfabeta.
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Krasnov, O. G., and O. K. Bogdanov. "VIBRATIONAL PROCESSES IN THE BALLAST LAYER UNDER NON-STATIONARY LOAD CONDITIONS." World of Transport and Transportation 14, no. 6 (December 28, 2016): 60–77. http://dx.doi.org/10.30932/1992-3252-2016-14-6-7.
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[For the English abstract and full text of the article please see the attached PDF-File (English version follows Russian version)].ABSTRACT This article presents the results of experimental research of vibrational processes in the ballast layer at the depths of 100 mm and 200 mm below the sleeper sole under non-stationary loads caused by percussive interaction between the wheels with faults in the form of flat spots on the tread, and the rails. Dependencies are established of vibrational accelerations on the values of vertical percussive loads on the rail caused by faulty wheels. Keywords: railway track, vibrational processes, non-stationary loading, percussive forces, accelerations, crushed stone fragments, ballast layer, wheel faults.
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De Oliveira Filho, Moisés Rodrigues, Érika Cristina Nogueira Marques Pinheiro, and Jéssica Godinho de Freitas Castilho. "Reconhecimento de subsolo por sondagem SPT para a cravação de geodrenos – estudo de caso." Brazilian Journal of Development 8, no. 10 (October 18, 2022): 68188–200. http://dx.doi.org/10.34117/bjdv8n10-206.
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Com avanço da Engenharia tanto em obras de pequeno e grande porte, a sondagem a percussão manual é muito utilizada no âmbito de reconhecimento de solo. Sua execução de forma geralmente simples por profissionais capacitados, é a forma mais acessível e adequada para analisar o solo e determinar o tipo de fundação. Este artigo apresenta a sondagem SPT e sua relevância dentro de um empreendimento e dos benefícios que ela traz quando bem executada. Para isso, um estudo de caso será apresentado. O objetivo em resumo é classificar o solo e sua resistência através da sondagem, seu comportamento, mostrando seu processo executivo e concluindo com a determinação das fundações, tanto viavelmente como por parte da segurança da obra, e também demonstrar o que é esse tipo de investigação geotécnica e qual a importância deste procedimento para as obras de engenharia.
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Vieira, Marina Nascimento Alves, Camila Nascimento Alves, Vyviane dos Santos Ferreira, and Cleisianne Nazaré Leite Barbosa. "Modelagem de propriedades geológico-geotécnicas em solos de Belém do Pará." Research, Society and Development 10, no. 2 (February 21, 2021): e40810212664. http://dx.doi.org/10.33448/rsd-v10i2.12664.
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O objetivo da pesquisa apresentada neste artigo foi realizar a modelagem de propriedades geológico-geotécnicas no subsolo de um bairro no município de Belém do Pará a partir de sondagem à percussão, usando como ferramenta a geoestatística. Para alcançar o objetivo realizou-se a catalogação do acervo técnico contendo 101 boletins de sondagem à percussão. Criou-se um banco de dados contendo os dados de coordenadas geográficas, tipo de solo, profundidade das camadas do solo, nível do lençol freático e Índice de Resistência à Penetração (NSPT), conforme a norma NBR 6484/2001. Os dados foram analisados em ambiente SIG (Sistema de Informação Geográfica) com softwares Open Source, como SGEMS (Standford Geoestatistical Modeling Software) para análise geoestatística e o software Qgis para análises cartográficas. Distinguiu-se duas zonas díspares na região de estudo, denominadas de Zona A e Zona B. A Zona A é considerada uma região com os maiores índices de resistência dos solos e a Zona B uma região com menores índices de resistência, conforme demonstrado nos mapas. Na região ocorrem argilas orgânicas de baixa resistência nas proximidades das áreas de várzea, onde no passado eram localizados os igarapés. No entanto, esses locais foram retificados durante o processo de urbanização. E, atualmente, localizam-se as regiões de baixa resistência descritas nos resultados desta pesquisa.
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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.
Full textAbstract:
This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants, which contributed to the advent and changes of jazz piano styles were highlighted. Standing out among them at the first (traditional) stage are the schools and individual creative techniques known under generic name “stride piano” and based on the ragtime technique. At the second (contemporary) stage beginning from bebop, jazz piano stylistics gradually diverge from standardized textural formulas of homophonicharmonic type and attain fundamental diversity depending on creative attitudes of leading jazz pianists. The question of jazz piano stylistics is one of the least studied in jazz theory. The existing works devoted to this subject address mostly the sequence of the advent and changes of jazz piano styles along with the general characteristics of their representatives. Beginning from approximately the 1920s, jazz piano styles appeared and changed so fast that they left no time for their comprehension and perception (Kinus, Y., 2008). Only in the newest stylistics of the period after bebop, which divided the art of jazz into traditional and contemporary stages, did these styles attain a certain shape in new modifications and become the components of a phenomenon defined by the generic notion “jazz pianism”. It was stated that the genesis of this phenomenon is usually seen in the art of ragtime, carried in the United States of the late 19th – early 20th centuries by itinerant pianists. This variety of “third-layer” piano music playing produced a significant impact on the art of jazz in general, which is proved by its reproduction in the Dixieland and New Orleans styles as some of the first examples of jazz improvisation. The stylistics of ragtime influenced the entire first stage of jazz piano, which traces its origins back to approximately the 1910s. It combined mental features and esthetics of two traditions: European and Afro-American, which in the entirety produced the following picture: 1) popular and concert area of music playing; 2) gravitation toward demonstration of virtuosic play; 3) domination of comic esthetics; 4) objectivity of expression; 5) tendency toward the completeness of form; 6) inclination toward stage representation. In technological (texturalpianistic) aspect, ragtime, reproduced in the jazz stylistics of stride piano, demonstrated the tendency toward universalization of piano, which combined in the person of one performer the functions of solo and accompaniment, derived from the practice of minstrel banjoists related to the percussion-accented rhythmics of dance accompaniment (Konen, V., 1984). It was stated that ragtime as the transitional bridge to jazz piano existed simultaneously with other forms of “third-layer” music playing found in the Afro-American environment (unlike ragtime itself, which was an art of white musicians). These were semi-folklore styles known as “barrel house” and “honky-tonk(y) piano” cultivated in Wild West saloons. The subsequent development of jazz piano stylistic went along the lines of more vocal and specific directions related mostly to peculiarities of playing technique. Among the more global origins equal in significance to ragtime and stride pianists derivative, blues piano stylistics is worth noting. It represents an instrumental adaptation of vocal blues, which had the decisive influence over the melodics and rhythmics of the right hand party of jazz pianists (ragtime and stride piano highlighted and consolidated the typical texture of accompaniment, i.e., the left hand party). Blues piano style is a multicomponent phenomenon that shaped up as a result of efforts taken by a whole number of jazz pianists. It was developed, and continues to exist until presently, in two variants: a) as a solo piano variant, b) as a duet variant (piano and vocal). Along with blues piano, a style known as “boogie-woogie” was cultivated in jazz piano stylistics of the period before bebop as the new reminiscence of the pre-jazz era (with rock-n-roll becoming a consequence of its actualization in the 1950–1960s). A stylistic genre known as “Harlem piano style” (its prominent representatives include Luckey Roberts, James P. Johnson, Willie “the Lion” Smith, and Thomas “Fats” Waller) became a sort of compendium that combined genetic components of traditional jazz piano. This school has finally defined jazz piano as a form of solo concert music playing, which also determined the subsequent stylistic varieties of this art, the most noteworthy of which are “trumpet piano style”, “swing piano style” and “locked hands style”. Their general feature was interpretation of the instrument as a “small orchestra”, which meant rebirth at the new volute of a historical-stylistic spiral of the “image” of universal piano capable of reproducing the “sounds” of other instruments, voices and their ensembles. Outstanding pianists of various generations have been, and are, the carriers (and often “inventors”) of jazz piano styles. It should suffice to mention the names of such “legends” of jazz as Art Tatum, Oscar Peterson, Thelonious Monk, Bud Powell, Bill Evans, and also Herbie Hancock, Chick Corea, Keith Jarrett (older generation), Gonzalo Rubalcaba, Brad Mehldau, Vadim Neselovskyi, Robert Glasper (middle generation), Eldar Djangirov, Tigran Hamasyan, Cory Henry (younger generation). Conclusions. The description of the stages of development of jazz piano pianism made in this article proves that its polystylistic nature is preserved, and the main representative of certain stylistic inclinations were and remain the texture. Textured formulas serve as the main objects of stylistic interpretations for jazz pianists of different generations. These readings are represented by two vectors – retrospective (revival of jazz traditions) and exploratory, experimental (rapprochement with the academic avant-garde). Of great importance are the styles of personalities, in which polystylistic tendencies are combined with the individual playing manners and improvisation, which, in general, is the most characteristic feature of the current stage of development of jazz piano art.