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Journal articles on the topic 'Sound of music (Motion picture)'
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1
Kubick, Chris, and Anne Walsh. "Sound Library: A Motion Picture Event." Leonardo Music Journal 16 (December 2006): 54–55. http://dx.doi.org/10.1162/lmj.2006.16.54.
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Rusinova, Elena A. "Music in the Metadigetic Space of the Motion Picture." Journal of Flm Arts and Film Studies 9, no. 2 (June 15, 2017): 80–87. http://dx.doi.org/10.17816/vgik9280-87.
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This extension of the authors previous article udiovisual Means of Creating Metadiegetic Space in Cinema (see Vestnik VGIK #1 (31), 2017) is a historic survey of the sound design techniques which make it possible to use musical expressive means for designating the films subjective space (metadiegesis) and separating the metadiegesis from diegesis by means of music.
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Baugh, Scott L. "Multiple Personalities of Pulp Fiction 's Musical Soundtrack: Liner Notes to a 30th Anniversary." South Central Review 41, no. 2 (June 2024): 73–94. http://dx.doi.org/10.1353/scr.2024.a932709.
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Abstract: Pulp Fiction: Music from the Motion Picture was released in 1994 in coordination with the film Pulp Fiction (1994). Across the film's soundtrack album, variously considered an auteur mixtape, a compilation score, and its own rich text, music formulates a cast of characters alongside those more recognizable from the film's story. Critical analysis reveals multiple and multiply associative and disassociative personalities that afford innovative approaches to the role of the soundtrack and sound-plus-visual imagery in Pulp Fiction .
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Mehr, Linda Harris. "Oscar’s very special library: the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences." Art Libraries Journal 34, no. 3 (2009): 29–34. http://dx.doi.org/10.1017/s0307472200015996.
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‘Oscar’ is the best-known symbol of the Academy of Motion Picture Arts and Sciences. But there is more to the Academy than the golden statuette. The Academy’s Margaret Herrick Library, which has been in existence for 80 years, is widely regarded as the pre-eminent research and reference facility for the study of all aspects of motion pictures, as an art form and an industry. The non-circulating research and reference collection, located in Beverly Hills, California, is open to the public, free of charge, and is heavily used by students, scholars, industry personnel, journalists, filmmakers and the general public. Its holdings document the multiple facets of the film industry and its personnel, past and present, and include books, periodicals, clipping files and screenplays, as well as special collections of photographs, manuscripts, posters, graphic art materials, music and recorded sound, and oral histories.
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Tan, Siu-Lan, Matthew P. Spackman, and Elizabeth M. Wakefield. "The Effects of Diegetic and Nondiegetic Music on Viewers’ Interpretations of a Film Scene." Music Perception 34, no. 5 (June 1, 2017): 605–23. http://dx.doi.org/10.1525/mp.2017.34.5.605.
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Previous studies have shown that pairing a film excerpt with different musical soundtracks can change the audience’s interpretation of the scene. This study examined the effects of mixing the same piece of music at different levels of loudness in a film soundtrack to suggest diegeticmusic (“source music,” presented as if arising from within the fictional world of the film characters) or to suggest nondiegetic music (a “dramatic score” accompanying the scene but not originating from within the fictional world). Adjusting the level of loudness significantly altered viewers’ perceptions of many elements that are fundamental to the storyline, including inferences about the relationship, intentions, and emotions of the film characters, their romantic interest toward each other, and the overall perceived tension of the scene. Surprisingly, varying the loudness (and resulting timbre) of the same piece of music produced greater differences in viewers’ interpretations of the film scene and characters than switching to a different music track. This finding is of theoretical and practical interest as changes in loudness and timbre are among the primary post-production modifications sound editors make to differentiate “source music” from “dramatic score” in motion pictures, and the effects on viewers have rarely been empirically investigated.
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Romadoni, Muhamad, Jimy O. Andin, Andi Arie Astuti, and Cahyo Wahyu Darmawan. "Peran Desain dalam Pertunjukan Tumirah (Sang Mucikari) di Prodi Pendidikan Sendratasik Universitas Palangka Raya." Tamumatra : Jurnal Seni Pertunjukan 6, no. 1 (December 31, 2023): 17–25. http://dx.doi.org/10.29408/tmmt.v6i1.22769.
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The role of design, as a visual art that most people think there is a dividing line between the art of motion and sound, will certainly be a new picture in understanding the interrelated relationship in the success of a performance. This is the background related to the research on the role of good design in a performance focused on the "Tumirah (Sang Mucikari)" performance performed at the University of Palangka Raya's Drama, Dance, and Music Education Study Program, with the aim of describing and analyzing the problems of the form and the creativity of the stage and the property used. The theory of two-dimensional and three-dimensional designs underlies the role of design in performance. The method used in this research is interpretative qualitative with case study studies. The results show that the role of design in the form of line, field, color, and space elements is inseparable from a performance. Design creativity that reduces some of its elements into imaginary elements and visualizes elements whose representation weight is high is a determining factor in explaining to the audience to be carried away in the atmosphere told in the performance story.
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Gibson, Dylan Lawrence. "Mechanical and artificial ‘nü-horror metal’: The film music of Resident Evil." Metal Music Studies 8, no. 1 (March 1, 2022): 87–108. http://dx.doi.org/10.1386/mms_00062_1.
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Remaining true to its origins, the survival-horror video game film adaption, Resident Evil: The Original Motion Picture released in 2002, retains its core foundational game-like qualities. The film is heavily influenced by the video game franchise and it appears as if the audience is treated the same as the player. This is because the viewers are forced to ‘participate’ from fixed camera angles. As expected, the music contained within the moving image also borrows well-established compositional techniques from horror films and survival-horror video games. The music, therefore, serves to provide information to the viewers and acts as an auditory trigger. This type of music is defined as ‘process music’; music that appears to imitate a process of actions. An additional function of the music is to create immersion. The most prominent soundtrack cues from the film, visually and musically (‘synchronically’ matched), hint at overarching medical, artificial and mechanical themes. This immersive link is achieved through the use of the related music genres of industrial metal and nü-metal. The resultant combination of industrial/nü-metal sounds with horror imagery can effectively be termed ‘nü-horror metal’. In this article the genre label of ‘nü’ takes preference over ‘industrial’. The focus of this article will, therefore, demonstrate how the aforementioned medical, artificial and mechanical themes are effectively portrayed and heightened by the use of industrial/nü-metal music and techniques. This article will also highlight when the music serves a process function. This will be approached by appealing to traditional film music analytical tools engaging specifically with the traditional film music theory of ‘synchrony’ and ‘asynchrony’.
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Shevchuk, B. M. "«Pictures at an Exhibition» by Modest Mussorgsky: the correlation of melos and colourfulness." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 243–64. http://dx.doi.org/10.34064/khnum2-18.14.
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Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmuÿle”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmuÿle, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.
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SMEETS, D. J. H., and A. G. BUS. "The interactive animated e-book as a word learning device for kindergartners." Applied Psycholinguistics 36, no. 4 (January 17, 2014): 899–920. http://dx.doi.org/10.1017/s0142716413000556.
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ABSTRACTElectronic picture storybooks often include motion pictures, sounds, and background music instead of static pictures, and hotspots that label/define words when clicked on. The current study was designed to examine whether these additional elements aid word learning and story comprehension and whether effects accumulate making the animated e-book that also includes hotspots the most promising device. A sample group of 136 4- and 5-year-old kindergarten children were randomly assigned to one of four conditions: static e-books, animated e-books, interactive animated e-books, and a control group. In experimental conditions, four on-screen stories were each presented four times during a 4-week intervention period. Children in the control condition played nonliteracy related computer games during the same time. In all conditions, children worked independently with the computer programs. Strong treatment effects were found on target vocabulary originating from the story. Pupils gained most in vocabulary after reading interactive animated e-books, followed by (noninteractive) animated e-books and then static e-books. E-books including animations and interactivity were neither beneficial nor detrimental for story comprehension. Findings suggest that electronic storybooks are valuable additions in support of the classroom curriculum with interactive animated e-books being the best alternative.
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Poznin, Vitaly F. "Color in the System of Artistic Means of Cinema." Vestnik of Saint Petersburg University. Arts 11, no. 3 (2021): 410–36. http://dx.doi.org/10.21638/spbu15.2021.304.
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Although the main visual information in film is carried out by the shape of objects, their position in space and their correlation with other objects, color in the motion picture also plays a significant role because the color scale has a strong aesthetic and emotional impact on the viewer. Color is often an organic part of the dramaturgy of film. The exact coloristic solution of a frame, episode or film is able to create the desired atmosphere of action. Different screen chronotopes are often indicated with the help of color — it could be an artistic space of reality, memories, fantasies or a movie character’s dreams. Color helps to convey the subjective perception of reality by the film’s heroes. In a certain context, the color scheme of a film, shot or an individual object, can acquire a metaphorical or symbolic sound. Cinematography initially adopted many of the techniques related to compositional and light-color solutions from painting, which is especially noticeable in the works of directors who pay great attention to the plastic solution of the frame. Today with the introduction into filmmaking of digital technologies, work on the visual solution and color harmonization of the screen image is becoming in many ways similar to the art of an artist. The article analyzes and summarizes the creative experience accumulated by cinema in working with color images and investigates the functional role of color in film, the psychophysiological and emotional impact of color on the viewer, the symbolism of color, and various methods of color solutions in modern films.
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Buchok, Lianna. "V. Telychko’s “Children’s Album” as an example of the modern tonal image of the world: peculiarities of the musical vocabulary and melodic ideas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 70–84. http://dx.doi.org/10.34064/khnum2-49.05.
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Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.
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Buchok, Lianna. "V. Telychko’s “Children’s Album” as an example of the modern tonal image of the world: peculiarities of the musical vocabulary and melodic ideas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 70–84. http://dx.doi.org/10.34064/khnum1-49.05.
Full textAbstract:
Background. The beginning of the development of musical art in Transcarpathia dates back to the end of the nineteenth century and lasts during the first third of the twentieth century. First of all, it was an interest in the genre of choral music (a synthetic genre based on the merging of the Word and Music), which fully corresponded to the enlightened spirit of life of the Transcarpathians under the political conditions of that time. And only in the second half of the twentieth century intensive blossoming of the varieties of instrumental (kind of «pure») music with its conceptually most complex types of creative thinking and adaptation to the methods of style transformation takes place. The piano music, one of the most abstract forms of the creative process, has revealed its peculiarities in this process. However, the researchers virtually never paid attention to piano pieces for children, which are naturally inferior by their practically necessary and didactically appropriate visual simplicity of musical vocabulary to the works of the so-called large genre. In addition, historically, the creative work of Transcarpathian composers has been considered only as a product of a purely regional significance. Therefore, it is important that the piano works of Transcarpathian composers for children should also be considered in the context of such integrity as the Intentional period of the music history, which has been defined as non-classical and at the same time permeated with the idea of global cultural synthesis Objectives. The essence of the tasks and the purpose is to present the "Child Album" by V. Telychko (the first in Transcarpathia sample of the genre of children’s musical album, 2016) as an example of the creation of the modern intonational image of the world - in its associative diversity and intentionality. Methods. A selection of research methods, namely, analytical (analysis and synthesis, induction and deduction, systematization, classification and generalization), comparative, systemic, phenomenological, functional, has been used in view of the holistic approach – in the spirit of spiritual development of the world. In this regard, the interpretive potential of the concepts of the intonational model and the modal nature of musical themes as types of thinking by sound images is considered methodologically appropriate: both purposefully focus attention of the recipient on the sound «body» and the intonational "soul" of the musical matter in the integrity of the creative idea of the work, and also is didactically productive in terms of comprehension of the architectonics of the world of music as a world of musical ideas. Results. V. Telichko’s "Children’s Album" is a cyclic structure of the linear/plot type, where step-by-step compositional and dramaturgical organization of the whole ensures the principle of successive naming of new, but equal in figurative semantic content pieces. At the same time, it will be superfluous to reflect on the fact that the structure of cycles such as "album" is rarely evaluated as such that it is actually "filled in" (for example, with memorable photos or pictures), and only since then its "white" (from alba) of the blank/empty sheets is filled in with the semantics and the logic of placement of fixed events, phenomena, impressions, etc in a certain order. Against the background of such reflection the memory recalls such "albums" of romantics: all of them are based on the logic of the course of a day lived by a child (for example, P. I. Tchaikovsky). V. Telichko’s principle of collecting pieces "into the album" has such a life-justifiable logic – the gradual flow of events of the day, embodied in a child’s only perception of the world and itself. The semantic code of the composer’s plan is referenced in his dedication: "I devote my love to grandchildren Angelina and Anna" - expressing love for grandchildren, admiring their fantasy and energy, caring for the formation of their worldview on a certain system of values (family, native land, diversity of traditions of the countries of the world , historical memory): the pieces "Morning", "My Mother", "Our Grandmother" represent an idea of an ingenuous and happy feeling of a child in the family; "Anna’s Teddy-Bear", "Angelina’s Hobbyhorse" and "Angelina’s Waltz " represent a lively imagination of children, each of them having a favorite game "theme"; the plays "About Transcarpathia", "Kolomyika", "Tropotyanka", "Long road" and "It’s raining" are outlined by the situation of instructive stories of grandfather about the regionally formed traditions of the Transcarpathians, their spirit and uneasy destiny; while the pieces "On Scotland", "On Slovakia" and "On Japan" outline the interests of somewhat different cognitive significance - the intention to comprehend a certain national "otherness", which has its own color of its culture; in the end, "A Lullaby for Anna" creates, so to say, a backlash against the grand finale-prologue, consisting of the pieces "On Austria" (the cultural center of the European musical classicism) and "On Romania" (regionally closest to Transcarpathia country). Another signifying circumstance of the idea and plan of the cycle refers to the types of performances and personification of images, both as members of the family circle and as a certain social unity: in addition to the versions of solo performance, in a considerable number of plays there is ensemble performance in four and six hands; at the same time, each of the parts is composed as a certain texture layer, which in aggregate (duo, terzetto) gives the effect of an "orchestral" score. However, the most important thing is that for the instrumentalist performer, and for the listener or analyst (who is also a "listener"), the "Children’s Album" by V. Telichko is a test of the ability to perceive musical vocabulary in the form of a certain sound form/idea with which it is necessary to have a relationship according to the algorithm of personal identification. On the one hand, in the musical text there is an opportunity to recognize the classical models of musical vocabulary (cantilena, recitation, motility, general forms of motion, signaling, sound illustration); and on the other - due to the constructive interference of the classical techniques of the creation of musical matter (emancipated dissonance, the non-systemic character of the tonality, etc.) the meanings are accumulated. Another important component of the composer’s plan is to introduce a purely methodical (level of methodical reception) task of developing the technology of the game on the piano into the original sound form/idea, which first of all requires a skillful usage of all the fingers. Conclusions. As a research material the "Children’s Album" by a contemporary composer from Transcarpathia, V. Telichko provides several important and mutually perceptible scientific tasks directly related to musicology and pedagogical practice: testing of the theoretically updated analytical apparatus for tracking the intonational field of music and its thoughts and comprehension of the didactically expedient implementation of its results in the educational sphere; in particular, in terms of the prospective guideline for the development of musicality (a high measure of the ability to self-identification with the musical image) and the piano skills of a child musician.
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Miyamori, Shinji. "Digital sound recording on motion picture film." Journal of the Acoustical Society of America 102, no. 5 (1997): 2475. http://dx.doi.org/10.1121/1.420424.
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Miyamori, Shinji. "Digital sound recording on motion picture film." Journal of the Acoustical Society of America 104, no. 1 (July 1998): 25. http://dx.doi.org/10.1121/1.424054.
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Beard, Terry D. "Motion picture digital sound system and method." Journal of the Acoustical Society of America 104, no. 6 (December 1998): 3154. http://dx.doi.org/10.1121/1.424241.
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Rule, H. C. "SOUND MOTION PICTURE EQUIPMENT FOR THE NAVY." Journal of the American Society for Naval Engineers 43, no. 1 (March 18, 2009): 105–11. http://dx.doi.org/10.1111/j.1559-3584.1931.tb03737.x.
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Smith, Nathan. "Picture frame with sound and motion producing means." Journal of the Acoustical Society of America 113, no. 2 (2003): 684. http://dx.doi.org/10.1121/1.1560244.
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Wiles, Syd, Frederick Gasoi, and Ed Zwaneveld. "Digital Optical Sound on 35mm Motion-Picture Film." SMPTE Journal 99, no. 11 (November 1990): 899–908. http://dx.doi.org/10.5594/j02567.
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Adlington, Robert. "Moving Beyond Motion: Metaphors for Changing Sound." Journal of the Royal Musical Association 128, no. 2 (2003): 297–318. http://dx.doi.org/10.1093/jrma/128.2.297.
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This article argues that music offers experiences of change that are at odds with our common understanding of time. Specifically, I question the widespread belief that onward motion is a condition of musical temporality. I approach this issue through metaphor theory, which tends to argue for the necessity of metaphorical experiences of time and music in terms of motion. I argue that music's changing sound evokes a variety of bodily metaphors; motion is not ever-present, but intermingles with metaphors of heat, light, weight, tension and so on. Works by Ligeti, Carter, Kurtág and Saariaho are discussed as case studies.
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Rusinova, E. A. "Voice in the Metadiegetic Space of the Motion Picture." Journal of Flm Arts and Film Studies 9, no. 3 (September 15, 2017): 46–59. http://dx.doi.org/10.17816/vgik9346-59.
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This extension of the authors publication cycle Audiovisual Means of Creating Metadiegetic Space in Cinema (Vestnik VGIK #1(31), 2017; #2 (32), 2017) is a historical, artistical and technological survey of special sound-design techniques that make it possible to use the expressive potential of a human voice in a subjective (metadiegetic) space of the motion picture and through the voice to separate the metadiegetis from the sound realism of the diegesis of an audio-visual production.
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Andriano-Moore, Stephen. "The Motion Picture Editors Guild Treatment of the Film Sound Membership: Enforcing Status Quo for Hollywood’s Post-Production Sound Craft." Labor Studies Journal 45, no. 3 (April 4, 2020): 273–95. http://dx.doi.org/10.1177/0160449x20912337.
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The Motion Picture Editors Guild (MPEG) is the labor union representing post-production workers in the Hollywood motion picture industry, including seven sound craft classifications. The sound craft has low status within the hierarchical structure of the Hollywood film industry in comparison to other filmmaking crafts. This article evaluates the workings of the MPEG in concerns with the sound craft and status within the industry through a thirty-plus year review of their professional journal, website, sound practitioner discourse, and other industrial documents. The article argues that the union does not sufficiently protect sound practitioners from employer exploitation, contributes to the alienation of sound practitioners from their work, and constraints the level of and recognition for creative contributions. These actions are seen as perpetuating the low status of sound practitioners and the sound craft, which weakens the power of the union.
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Clairmont, Denny, and Kenneth W. Robings. "Sound‐damping lens adapter for a motion‐picture camera." Journal of the Acoustical Society of America 91, no. 1 (January 1992): 542. http://dx.doi.org/10.1121/1.402687.
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Ekimov, Alexander. "Human body rhythms motion analogy in music sound." Journal of the Acoustical Society of America 132, no. 3 (September 2012): 2042. http://dx.doi.org/10.1121/1.4755510.
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Beard, Terry D. "Motion picture digital sound system and method with primary sound storage edit capability." Journal of the Acoustical Society of America 98, no. 5 (November 1995): 2400. http://dx.doi.org/10.1121/1.413306.
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Petrović, Milena, and Marija Golubović. "The use of metaphorical musical terminology for verbal description of music." Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 2 (2018): 627–41. http://dx.doi.org/10.31724/rihjj.44.2.20.
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The aim of this paper is to indicate the importance of the metaphorical terminology and verbal description of music in education and performance due to inevitable role of emotions and embodiment in music experience. Metaphorical music terminology should follow the interpretative maturity, such as for the term scherzo, which would be joke for younger, but forced joke or all but prank for older musicians. For music beginners we can use extramusical verbal symbols: the pulse is represented as the stickman; major with the symbol of sun and minor with the symbol of rain; sequencing is presented with the picture of stairs; the picture of butterfly implies image-schematicity in interpreting the wave melodic contour; children understood duple meter through the picture of a soldier, while triple meter appreciated through the picture of a ballerina; staccato is experienced as a movement, but also as a visual and auditory metaphor. Multimodality plays an important role in music education, because it implies the integration of movement, sound, picture and verbal metaphors. Therefore, the musical experience is described and performance interpreted by following the direction from the emotional sound experience to its cognitive processing. Mul- timodal approach would increase associative thinking and enlarge individual associations on musical terms, which gives a better understanding of music and widens perspective in music education.
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Kock, Maximilian, and Christoph Louven. "The Power of Sound Design in a Moving Picture: an Empirical Study with emoTouch for iPad." Empirical Musicology Review 13, no. 3-4 (April 18, 2019): 132. http://dx.doi.org/10.18061/emr.v13i3-4.6572.
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The art of sound design for a moving picture rests basically on the work experience of pragmatists. This study tries to establish some guidelines on sound design: In an experiment 240 participants gave feedback about their emotions while watching two videos, each combined with four different audio tracks – music, sound effects, full sound design (music and sound effects) and no audio (as the comparative "null" version). Each participant viewed an audiovisual combination once to prevent habituation. The lead author employed a tablet-computer with the emoTouch-application serving as a mapping tool to provide information about the emotional responses. The participants moved a marker on the tablet's touch screen in a two-dimensional rating scale describing their felt immersion and suspense. A 3-factor-ANOVA showed significant increases of the median (and maximum) values of immersion and suspense when the participants listened to music and/ or sound effects. These values were always compared to the induced emotions of the participants who watched the videos with no audio at all. The video with full sound design audio tracks increased the median immersion values up to four times and the median suspense values up to 1.4 times. The median suspense values of the video with either music or sound effects dropped by 40 percent compared to the median suspense values of the null version. In contrast, the median immersion values were increased up to 3.6 times. The findings point to the importance of sound effects in an appropriate mix with music to enhance the viewers induced immersion and suspense.
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Oleksandr, Lishafai. "TECHNOLOGICAL PROCESSES OF SOUND MAKING IN AUDIOVISUAL WORK." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 75–95. http://dx.doi.org/10.34064/khnum1-60.04.
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The relevance of the article. The article explores technological processes of creating sound accompaniment in audiovisual works and points out main categories that expose a panoramic picture of these processes. The soundtrack in relation to a motion picture is a flexible, modern structure with a large number of components. There is a number of technical means for reproducing sound accompaniment in audiovisual work. More than a hundred years ago, when it was necessary to make works of fine art more affecting and impressive with the help of sound, they used to fall back on acoustic musical instruments, which were part of various types of orchestras. Noise sounds were also widely used. At the same time, the development of audio–visual interaction in motion picture took place. Eventually, this process began to include technologies based on the use of vinyl records, discs, films and tape recordings. Today, they are replaced by the latest, rapidly updated digital equipment that enhances and expands the possibilities of sound in audiovisual work The purpose of the article is to reveal and systematize the main components of the technological process of reproducing sound accompaniment in a motion picture, as well as, generalize results in graphical form, showing a panoramic view of this process. Research methods of studying technological processes of sound production in audiovisual work are: system-analytical (investigating sources that reveal these prosesses, their comparative analysis and systematization) and generalizing (investigating origins of the main categories and exposing a panoramic picture of these processes). Conclusions. The work summarizes information on the technology of sound field creation, main categories that make up this process (sound as a unit of musical information and a core of the background composition; engineering equipment and a group of specialists responsible for sound recording), principles of sound sources processing (methods of working with sounds and effects), structural categories (holistic background compositions) and methods of implementation, the effectiveness of technological processes in creating sound design. The article outlines the author’s concept of creating soundtrack in audiovisual work as a scientific and practical process and gives prospects for its development.
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K. C. Ng. "Music via Motion: Transdomain Mapping of Motion and Sound for Interactive Performances." Proceedings of the IEEE 92, no. 4 (April 2004): 645–55. http://dx.doi.org/10.1109/jproc.2004.825885.
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김지은. "Aesthetic Extension of Motion Picture via Digital Multi-channel Sound." journal of the moving image technology associon of korea 1, no. 19 (December 2013): 5–22. http://dx.doi.org/10.34269/mitak.2013.1.19.001.
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Kalenichenko, O. M. "Interpretation of Gogol’s works on the puppet theater stage (based on the spectacle by Oksana Dmitrieva «May night, or Moonlight Witchcraft»)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 148–62. http://dx.doi.org/10.34064/khnum2-17.10.
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Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose of the article is to identify the features of the interpretation of the Gogol story by director O. Dmitrieva. Results. The «May night...» begins with a musical introduction consisting of two themes: the lyrical theme of the pipe with intonations of Transcarpathian melodies (which is connected with the young couple Hanna and Levko and the image of Pannochka) and the theme of hand drums, which reveals the inner strength of the Ukrainian people, as well as demonological beginning associated with the witch-stepmother. The music gives way to the sounds of night nature and the stars appear on the backdrop. Their low location and shape resemble the Christmas stars, with which carolers sing for Christmas. In the dark, the figure of Pannochka appears, wrapped in white cloths remembering a shroud. The unfolding of intersecting clothes above Pannochka’s head, and then their rotation symbolize both the alternation of day and night and the winter solstice. Thus, there are both, the Orthodox and the Pagan features, in depiction of the Ukrainian village. From several notes that the heroine sings, her leitmotif grows up. He fits well on modern arrangements of Ukrainian music, and is easily recognizable on his own. In combination with Pannochka’s sudden gusty movements (as if a bird is trying to break out of the snare, fly up into the sky), it helps to reveal her ambivalent nature: on the one hand, of the martyr, on the other – the representative of evil forces. Pannochka becomes the main character of the performance, and the Moon becomes her attribute, which can turn into the tambourine of shaman, the lyre, the sword, etc. The youth walking scene “on the garden” with the use of the jigging puppet, accompanied by folk songs differs in tempo and rhythm from previous mysteriously lyrical scenes. In the next episode, Pannochka enchants the characters on the stage with moonlight, so the meeting and the dialogue between Hanna and Levko begin to be perceived as a dream of heroes. This is facilitated by both the slow movements of the actors, the lengthy summons into the names of the characters, their flight around the stage, and the dialogue with the Moon that Pannochka props up. The tragic history of Pannochka is depicted first with the help of portraits of its participants on round screens, and then the screens are assembled into the figure of a Witch-Cat. This form also is reminiscent of a Chinese dancing Dragon. The episode with the hand fans depicting the “cat’s claws” is accompanied by alarming drum sound: Pannochka has no repose from the Witch even after death. The village in the new picture is reflected in the ripples of water: the real world is floating, swinging. Hanna and Levko confess their love to each other, however, Kalenik suddenly appears, recalling the Head. The image of the Head is solved by the director using two masks – large and small. At the beginning of the second act, the actors appear on the stage with long poles, which are similar both to the Chinese combat weapon and to the Ukrainian musical instruments “trembits”, allowing the actors to show brilliant plastic technique of “slow-motion”. Stylized masks of animals (cows, goats, pigs, roosters), which the walking lads pulling on themselves are the allusion to the Christmas fests. The lad boys strive to annoy the Head, so Head masks reappear on the scene, but there are already three of them: large, medium and small. With their help, there is a debunking of this character losing his power. The action transferred to the bottom of the pond, as symbolized by stylized fish. The drums and the fans – the cat’s claws – once again remind of the conflict between Pannochka and the Witch. Like in Gogol’s novella, the heroine asks Levko to find the Stepmother-Witch. The marionnette a la planchette and then – a shadow paper doll represent the image of the hero. Thanks to Levko, Mermaids (the original puppets) seize the Witch, and her death is symbolized by a broken rattle-rattle with the image of the cat’s muzzle. Next, the scene action follows by the Gogol’s novella: grateful Pannochka given to Levko the note, Head read it and allowed his son to marry Hanna. The image of Levko is represented here both in the system of the tablet puppet and in the means of the shadow theater. And the long clothes-shrouds acquainted from the first episodes of the play perform a number of new functions: this is the water of the pond, where Pannochka floats, and the paper, on which the note is written, and later – the wedding table. In this way the end of the Pannochka plot line comes. The spiritual verse «The soul with the body was parting» sounds, and in the hands of actress V. Mishchenko, the light paper doll, as the soul of her heroine, seeks up into the sky. Pannochka redeemed her sins, and now her soul can fly to heaven, because Easter has come. The last episode uses the “time-lapse” technique symbolizing the cleansing of the world from evil, and Pannochka’s leitmotif is organically superimposed on the Easter chime of bells. The action ends with a rap on the words “The Angels had opened the windows and they are looking on us” and the news that Easter has come. The final supports an idea that a person’s life moves from Christmas to Easter, from suffering to light, thus closing the spectacle into a ring composition. Conclusions. The original Gogol’s text allowed O. Dmitrieva to show a wide palette of modern possibilities of the puppet theater and the high skill of the actors of the “live plan”. In addition, the interweaving of national and foreign, Orthodoxy and paganism, an appeal to the expressive possibilities of the Ukrainian folk and modern music and to the ballet plastique suggest the postmodern nature of the play «May night, or MoonlightWitchcraft».
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Plotnikov, I. I. "Утраченные и обретённые музыкальные жанры, формы и образы, как наследие замечательного композитора Эдуарда Николаевича Артемьева." Studia Culturae, no. 54 (April 3, 2023): 128. http://dx.doi.org/10.31312/2310-1245-2022-54-128-137.
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This article discusses listening to music suitable for sound perception and the associated changes in paradigms or ways of thinking that so often occur when we move from visual to auditory perception. The distinction between historically accepted and rejected sounds is used to show how the placement of sounds in our subconscious has shaped the form of listening in life. The experimental music of the 20th century, especially the music and reflections of Eduard Artemyev, opened the doors to our subconsciousness with the synthetics of sound, and at the same time weakened the visual paradigm of intellectual knowledge. In this article, sound perception is considered as a place where artistic practices coincide with certain theoretical problems centered on sound. First, the centrality of sound is considered, and music and sound art are discussed in relation to space. This perception is extracted by looking at contrasting pairs of examples. Pairs consist of an analytical and visual presentation of the main issue of sound-perception. It is an excellent tool for exploring the relationship between philosophy, science, psychology and human cognition. Next, the sound track of the work while listening to outstanding sequences, sound-perception focuses on the specific relationship of the image and the picture. It embodies the state of sounds, when the smallest impact can lead to a radical change in the established order, overcoming the bifurcation point. Non-traditional materials and approaches in music give a new round of development and understanding in contemporary art, prompting a rethinking of what an artistic image could be. Regardless of the artistic picture, which, in turn, the author wanted to convey. This is the key to sound-perception as a tool of knowledge. The article ends with a statement about the need for aesthetic reflection, taking into account the consequences of these profound transformations.
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Godøy, Rolf Inge. "Ecological Constraints of Timescales, Production, and Perception in Temporal Experiences of Music." Empirical Musicology Review 9, no. 3-4 (January 5, 2015): 224. http://dx.doi.org/10.18061/emr.v9i3-4.4442.
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In trying to structure our discussions of temporal experience in music, it could be useful to have a look at some basic ecological constraints of timescales, produc­tion, and perception of music. This may hopefully help us to distinguish between on the one hand readily perceived features of sound and music-related body motion, i.e. con­crete sonic, kinematic, and proprioceptive features, and on the other hand, more generic, amodal, and abstract elements in musical discourse, manifest in various symbolic representa­tions such as notation, numbers, and diagrams. Given easily accessible music tech­nologies, it is actually possible to experiment with different editions of musical works, i.e. concatenate fragments in different order and then evaluate the emergent contex­tual effects in listening experiments. Also, given the faculties of musical imagery (de­fined as our ability to mentally re-experience musical sound and body motion in the ab­sence of physically present sound and body motion), we can at will recombine chunks of music in our minds and mentally scan through large musical works. The contention here is that such recombination in actual re-editing of musical sound or in musical im­agery, will still be related to the basic ecological constraints of the timescales, production and perception in music.
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May, Brittany Nixon. "Full STEAM Ahead With a Space-Age Sound Artist." General Music Today 33, no. 1 (July 17, 2019): 41–44. http://dx.doi.org/10.1177/1048371319863797.
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The STEAM model emphasizes process-based learning that guides student inquiry, critical thinking, and creativity in science, technology, engineering, the arts, and mathematics. The children’s picture book biography Esquível: A Space-Age Sound Artist, provides an ideal catalyst for STEAM activities in the general music classroom. General considerations for designing and implementing STEAM activities in the general music classroom are discussed and include specific examples of how to apply them in developing STEAM activities related to Esquível and his music.
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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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Motion, Flow. "Astro Black Morphologies: Music and Science Lovers." Leonardo 39, no. 1 (February 2006): 23–28. http://dx.doi.org/10.1162/002409406775452258.
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Acompressed series of possible histories of science in modern music, the text outlines the themes of poetic and historic correspondences between music, cosmology and the body that informed the making of Astro Black Morphologies/Astro Dub Morphologies, a multimedia installation and live sound-art performance by Flow Motion in which data from possible black hole Cygnus X1 is transformed into an immersive electronic sound-and-image environment.
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Shen, Shumeng. "The Characteristics of Film Music and Its Function in Film Works." Studies in Art and Architecture 3, no. 2 (June 2024): 113–16. http://dx.doi.org/10.56397/saa.2024.06.22.
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Film is a complex medium with multiple elements and art forms. It integrates various elements such as picture, sound and text, which together present the artistic language of film. Among these elements, music is a powerful artistic element. Through the combination of music, the picture creates different environmental atmosphere, shows the characters, promotes the story plot, and deepens the theme of the work, thus enhancing the appeal and artistic expression of the film. Based on this, this paper will analyze the characteristics and functions of film music, and explore the artistic value and practical significance of film music in film works.
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Melchior, Frank. "Wave Field Synthesis and Object-Based Mixing for Motion Picture Sound." SMPTE Motion Imaging Journal 119, no. 3 (April 2010): 53–57. http://dx.doi.org/10.5594/j11399.
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Graham, Cooper. "The Motion Picture, Broadcasting and Recorded Sound Division, Library of Congress." Historical Journal of Film, Radio and Television 16, no. 1 (March 1996): 43–53. http://dx.doi.org/10.1080/01439689600260081.
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Naimark, Michael. "Two Unusual Projection Spaces." Presence: Teleoperators and Virtual Environments 14, no. 5 (October 2005): 597–605. http://dx.doi.org/10.1162/pres.2005.14.5.597.
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Two immersive projection environments, both unconventional, both exploring different methods of 3D and panoramic imaging, and both produced as art installations, are described. Displacements (1980–1984) recreated an interior living space using a panoramic motion picture method and relief projection. Be Now Here (1995–1997) recreated outdoor public plazas using a panoramic motion picture method, stereopsis, and four channel sound. Both installations were unusual in that no intentions existed for anything more general or useful than the installations themselves as individual artworks.
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Godøy, Rolf Inge, Minho Song, Kristian Nymoen, Mari Romarheim Haugen, and Alexander Refsum Jensenius. "Exploring Sound-Motion Similarity in Musical Experience." Journal of New Music Research 45, no. 3 (May 22, 2016): 210–22. http://dx.doi.org/10.1080/09298215.2016.1184689.
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Hochheiser, S. "What makes the picture talk: AT&T and the development of sound motion picture technology." IEEE Transactions on Education 35, no. 4 (1992): 278–85. http://dx.doi.org/10.1109/13.168700.
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Sretić, Stefan. "Program content in relation with compositional and technical solutions found in piano pieces by Modest Mussorgsky." Artefact 7, no. 1 (2021): 33–49. http://dx.doi.org/10.5937/artefact2101033s.
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The thesis focuses on the analysis of three program pieces - Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev from the Modest Mussorgsky's piano suite Pictures at an Exhibition. A starting point is the analysis of the wider context out of which the mentioned pieces originated which throws light on the stylistic characteristics of Romanticism, and provides grounds for a detailed pondering on the artistic creations of the iconic composer. The study can be valuable for the pianists and musical pedagogists, as the analysis in its essence explores the ways of interpretation of the mentioned compositions. The article PROGRAM CONTENT IN RELATION WITH COMPOSITIONAL AND TECHNICAL SOLUTIONS FOUND IN PIANO PIECES BY MODEST MUSSORGSKY consists of the following chapters: Introduction, Modest Mussorgsky - Features of Artistic Oeuvre and Musical Language, Pictures at an Exhibition: Catacombs, The Hut on Hen's Legs (Baba Yaga) and The Great Gate of Kiev - Analysis of the Contents and Performance Aspects, Conclusion and References. The introductory part offers an explanation of the research framework, presents the research methods and objectives and gives a short review of the literature used for the study. The following chapters are drafted in such a way as to offer to the reader the important information on the characteristics of Mussorgsky's oeuvre in order to provide for a well-founded introspection of the selected compositions. The central part of the thesis is reserved for the analysis of the compositions, first by presenting their program content, and then by focusing on its bonds with compositional and technical solutions found in each piece. In order to come up with fuller consideration of the employed means of expression and their role in evoking the specific contents, the work offers the author's own solutions, all backed up by notational examples and explanations. The piano suite Pictures at an Exhibition by Mussorgsky is a work of exceptional value, very inspiring for the performer. Pieces contrast with each other in tempo, character, as well as harmonic and expressive means. In addition to achieving it's unity, it is important that each piece is well conceived, that the main points are singled out and that the narrative of each piece is recognized and complied in the interpretation. Taking into account the atmosphere of the piece Catacombs, the performer should keep the chords long enough and move from one to the other without haste. Another important element of the performance is the acoustic connection of the chords without interruption and being out of context, so it is important to listen well to each chord, with a special focus on the sound level just before the next one. Baba Jaga's flight in a large attic is characterized by a constant vertical in the texture, largely composed of octaves and massive chords, frequent leaps and rapid changes of the register along the entire keyboard. In order to evoke the fierce and evil nature of the character, the composer establishes a characteristic rhythmic scheme. The witch's impatient and angry steps are represented by accents on the weak parts of the beat. The invoice is composed of unison, doubled or tripled octaves. With its sumptuous sound, in full piano capacity, the piece The great gate of Kiev completes the work in an imposing way. Inspired by folklore and church motifs, the composer pays tribute to the Russian people, historical heritage, tradition and cultural values. The grand fi nale opens with the long chords of E-flat major, a key that has often been associated with heroism and fame in the history of music. The massive sonority and triumphant character of this theme, which also closes the cycle, can be connected with the sound of a Russian folk melody sung by large masses of people, in a way that symbolizes the vitality of the national spirit. Mussorgsky's melodic line is characterized by a wide range of expressions, in accordance with the aesthetic and psychological principles of individual paintings; it less often contains "long breath" or longer motion in one direction. Of the selected pieces in this work, except in The great gate of Kiev, the melodic lines are mostly comprised of short motifs. The rhythmic component is extremely important for certain pieces of the cycle (among which is certainly baba yaga). Harmony includes unusual and frequent changes of tonal centers, as well as the appearance of modality. Particularly expressive properties of harmony can be observed in the Catacombs, where dissonances are supported by sharp dynamic extremes, with the aim of evoking the psychological state of the observer in the eclipse of ancient Christian hiding places and tombs. The fi nal considerations, which are focused on the contribution of the research, offer possible perspectives for further studies of pianistic poetics as a means of interpretation of program compositions. I believe that my research has contributed to the elucidation of possible perspectives for further reflections on pianistic poetics in the service of interpreting and evoking compositions of a programmatic character. Also, I hope that this work will be useful to all pianists who are looking for their own solutions and personal path to achieving high creative and artistic achievements.
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Eargle, John, Mark Mayfield, and David Gray. "Improvements in Motion Picture Sound: The Academy's New Three-Way Loudspeaker System." SMPTE Journal 106, no. 7 (July 1997): 464–76. http://dx.doi.org/10.5594/j15747.
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Holman, Tomlinson. "Motion-Picture Theater Sound System Performance: New Studies of the B-Chain." SMPTE Journal 103, no. 3 (March 1994): 136–49. http://dx.doi.org/10.5594/j03687.
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Gerbino, Giuseppe. "The Sound of Phantasia in Motion: Musical Imagination from Aristotle to Zarlino." Revista Música 15, no. 1 (April 26, 2015): 19. http://dx.doi.org/10.11606/rm.v15i1.114700.
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Ambiguously poised between composition and improvisation, works designated as fantasia in the sixteenth century thrived on the imaginative power of virtuoso performers. Or so the term would seem to suggest: it is not immediately clear in what sense this music should be understood and singled out as the product of the imagination. Isn’t music, any kind of music, the product of the imagination? What idea of imagination was this particular kind of music meant to represent? Drawing on the Aristotelian doctrine of the internal senses, this essay explores the relationship between fantasia as a musical process and sixteenth-century notions of fantasia as a mental process. From our vantage point in history, fantasia offers a rare opportunity to observe a cultural and musical practice aimed at translating the workings of the mind into a sensible object, which the perceiving subject can then (re)experience as a representation of his own inner life, in the way he himself imagines it.
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Guerreiro, Vitor. "Are musical works sound structures?" Filozofija i drustvo 30, no. 1 (2019): 36–53. http://dx.doi.org/10.2298/fid1901036g.
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This paper is about the dilemma raised against musical ontology by Roger Scruton, in his The Aesthetics of Music: either musical ontology is about certain mind-independent ?things? (sound structures) and so music is left out of the picture, or it is about an ?intentional object? and so its puzzles are susceptible of an arbitrary answer. I argue the dilemma is merely apparent and deny that musical works can be identified with sound structures, whether or not conceived as abstract entities. The general idea is this: both Platonism and nominalism about musical works are a kind of fetishism: musical works are not ?things?, in Danto?s sense of ?mere real things?; they rather involve complex relationships between objects, events, and different kinds of functional properties. For this, I draw on Levinson and Howell?s notion of indication, combined with Searle?s approach to institutional reality... with a little twist of my own.
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Friberg, Anders, Johan Sundberg, and Lars Fryd�n. "Music from Motion: Sound Level Envelopes of Tones Expressing Human Locomotion." Journal of New Music Research 29, no. 3 (September 28, 2000): 199–210. http://dx.doi.org/10.1076/jnmr.29.3.199.3093.
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Godøy, Rolfe Inge. "Thinking Sound and Body-Motion Shapes in Music: Public Peer Review of “Gesture and the Sonic Event in Karnatak Music” by Lara Pearson." Empirical Musicology Review 8, no. 1 (October 24, 2013): 15. http://dx.doi.org/10.18061/emr.v8i1.3919.
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<p>It seems that the majority of research on music-related body motion has so far been focused on Western music, so this paper by Lara Pearson on music-re­lated body motion in Indian vocal music is a most welcome contribution to this field. But research on music-related body motion does present us with a number of chal­lenges, ranging from issues of method to fundamental issues of perception and multi­modal integration in music. In such research, thinking of perceptually salient fea­tures in different modalities (sound, motion, touch, etc.) as shapes seems to go well with our cognitive apparatus, and also be quite practical in representing the fea­tures in question. The research reported in this paper gives us an insight into how trac­ing shapes by hand motion is an integral part of teaching Indian vocal music, and the approach of this paper also holds promise for fruitful future research.</p> <p> </p>
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Skurativskyi, Vadym, and Vladyslav Hlushchenko. "Musical and Noise Palette of the Soundtrack for Landscape Images in an Audiovisual Work." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 1 (April 30, 2023): 64–74. http://dx.doi.org/10.31866/2617-2674.6.1.2023.279238.
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The purpose of the study is to analyze the criteria for combining folk sound with modern sound, the peculiarities of its mixing and reproduction on the screen; to determine the pictorial properties of music and noise in audiovisual art; to explore the techniques and approach to working on a music album in the genre of folktronics, as well as its auxiliary properties in screen work. The research methodology is based on the following methods: theoretical – for analyzing publications related to the properties of sound in cinema; empirical – for systematizing one's own experience, determining techniques in the work of a sound producer on the composition of visual material; generalization – for drawing conclusions based on the literature; systematization, with the help of which the information block of the scientific research is collected and systematized in the context of technical and creative components regarding the properties of sound. Scientific novelty. For the first time, the possibilities of combining folk and electronic music with a virtual orchestra in the context of depicting soundscapes that will complement an audiovisual work, have been investigated and substantiated. For the first time, the concept of “soundscape” is illustrated in screen form through patterned abstractions, which allows the listener to imagine his or her picture through interactive and creative interaction; the subtleties of building such a landscape and its audio embodiment, the role of sound instruments in creating such work are described. The article reveals the possibilities of folktronica as an independent genre that combines folk sound with a modern sound, its combination with noises within the album, which are reproduced on the screen through visualization. Conclusions. The article analyzes the combination of folk and modern sound, identifies the visual properties of the musical and noise components, and their combination in the context of screen work. The technical aspect of working on the album is studied, and the importance of priority in the context of combining sound components in audiovisual art is emphasized. With the help of relevant sources, the main ideas concerning the audio aspect of the picture are emphasized.
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Swijghuisen Reigersberg, Muriel. "Commentary on Mari Romarheim Haugen: Investigating Periodic Body Motions as a Tacit Reference Structure in Norwegian Telespringar Performance." Empirical Musicology Review 11, no. 3-4 (April 25, 2017): 295. http://dx.doi.org/10.18061/emr.v11i3-4.5522.
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This study investigates periodic body motion (foot-tapping and vertical hip motions) as a reference structure in a specific style of traditional Norwegian dance music called telespringar. The intimate relationship between music and motion is often highlighted in rhythm studies of telespringar, so this study encompasses both sound and motion analyses. It is based on a motion capture study of three telespringar performers, examining the foot-stamping of one fiddler and vertical hip motions of two dancers. The results indicate that rather than being primarily derived from the sound itself, the underlying rhythmic structures in telespringar depend upon a shared and embodied knowledge of the underlying asymmetrical reference structure that is implicit in the production and perception of telespringar. I explore here how the methodology used by the author might be further justified and explored. I will also propose ways in which the article could be made more accessible to researchers who question the universality of research outcomes arrived at using laboratory-based experimental settings.