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Journal articles on the topic 'Transformations musicales'

Author: Grafiati

Published: 1 June 2024

Last updated: 31 July 2025

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1

St-Laurent, Méi-Ra. "Quand le metal flirte avec ABBA : Analyse des transformations formelles et thématiques de « Summer Night City »." Articles 34, no. 1-2 (2015): 135–51. http://dx.doi.org/10.7202/1030873ar.

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Une des caractéristiques fondamentales de la musique populaire demeure la réutilisation constante du matériel musical en provenance d’une multitude de styles et de courants (remix, adaptation, échantillonnage, etc.). Cette pratique nommée la transphonographie provient de l’intertextualité, un concept élaboré par le littéraire Gérard Genette et adapté à la musique populaire par le musicologue Serge Lacasse. Dans ce texte, l’auteur emploiera la transphonographie pour relever les différentes transformations musicales et thématiques survenant dans la chanson « Summer Night City » de ABBA, lorsque

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Andreatta, Moreno. "Une introduction musicologique à la recherche « mathémusicale » : aspects théoriques et enjeux épistémologiques." Circuit 24, no. 2 (2014): 51–66. http://dx.doi.org/10.7202/1026184ar.

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Cette contribution se propose de présenter certains aspects théoriques et discuter quelques enjeux épistémologiques des recherches menées par l’auteur dans le domaine des rapports entre mathématiques et musique. Après une introduction générale sur le contexte de la recherche « mathémusicale » à l’Ircam et la place du projet misa (Modélisation informatique des structures algébriques en musique) au sein des activités de recherche de l’équipe Représentations musicales, nous discutons le problème de la formalisation algébrique de la théorie des ensembles de classes de hauteurs (Set Theory) et de l

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3

Alan, Jones. "Emergence and Transformations of the Fandango." Música Oral del Sur, no. 12 (December 3, 2021): 562–85. https://doi.org/10.5281/zenodo.4638629.

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Resumen: Habiendo llegado a todas las capas de la sociedad española, el fandango sufrió cambios imprevistos, no solo de estilo y técnica, sino también de estructura musical y hasta en la métrica. El baile voluptuoso, espontáneo y poco estructurado descrito por Casanova, entre otros, fue sometido a reglas, adornado con pasos del baile cortesano, y moldeado de nuevo al modo de la countrydance inglesa o contredance francesa. Un híbrido bastante improbable del fandango y el minueto, el minué afandangado, llegó a destacar fugazment

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4

Santerre, Ariane. "L’intertextualité dans Le Verfügbar aux Enfers et d’autres témoignages concentrationnaires." Revue musicale OICRM 3, no. 2 (2019): 55–77. http://dx.doi.org/10.7202/1060107ar.

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Le Verfügbar aux Enfers ne laisse pas de surprendre, à la fois par son contexte de rédaction que par son contenu. Si les citations musicales sont évidentes dans cette œuvre, la présence d’un intertexte littéraire est également perceptible et mérite d’être approfondie. Or, afin de bien mesurer le caractère particulier du Verfügbar aux Enfers, une analyse comparative s’avère nécessaire. Cet article se propose de se pencher sur l’intertextualité dans les textes concentrationnaires rédigés pendant deux périodes distinctes, l’époque de l’incarcération et celle de l’après-guerre. Cette contribution

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Aubert, Laurent. "Du « bon usage » des musiques du monde. Questions sur une éthique de la diversité culturelle." Les Cahiers de la Société québécoise de recherche en musique 11, no. 1-2 (2018): 21–29. http://dx.doi.org/10.7202/1054020ar.

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L’ethnomusicologie a longtemps abordé les musiques du monde selon une perspective essentialiste dont on trouve les prémisses chez Platon. Mais force est de constater que les musiques de l’oralité font actuellement l’objet de transformations aussi rapides et radicales que les sociétés dont elles émanent. Certaines sont en train de disparaître, tandis que d’autres sont confrontées aux défis de la mondialisation et en particulier aux divers processus de métropolisation, d’interculturalité et de mise en spectacle qu’elle implique. Face à cette situation, un courant de patrimonialisation visant à l

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6

Delécluse, François. "Debussy librettiste. L’écriture des livrets d’opéra d’après Poe." Revue musicale OICRM 11, no. 1 (2024): 1–27. http://dx.doi.org/10.7202/1113310ar.

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Avec Pelléas et Mélisande de Maurice Maeterlinck, Claude Debussy faisait la rencontre d’une pièce de théâtre qui répondait en de nombreux points à ses attentes telles qu’il les exprimait déjà pendant ses études de composition. Mais, au-delà de son unique drame lyrique achevé, trouver ou concevoir un nouveau livret s’est révélé plus difficile que prévu, au point qu’il existe chez Debussy un « théâtre imaginaire », fait de dizaines de drames musicaux rêvés, mais jamais composés ou jamais terminés. Cet article se propose d’interroger les traces du travail de Debussy librettiste, en se penchant en

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Morrongiello, Barbara A., Caroline L. Roes, and Faith Donnelly. "Children's Perception of Musical Patterns: Effects of Music Instruction." Music Perception 6, no. 4 (1989): 447–62. http://dx.doi.org/10.2307/40285442.

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Musically trained and untrained children between 4 and 6 years of age were tested for their discrimination of transformations of an unfamiliar six-tone melody. Transformations involved a change in one, two, or all three of the following features: melodic contour, musical intervals, or individual frequencies. In order to manipulate task difficulty, melodies were played at different presentation rates. Results revealed that discrimination performance varied as a function of (1) musical training, (2) what features of a melody were changed, (3) number of features of a melody that changed, and (4)

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8

Castro, Paulo F. de. "“Wie ein Naturlaut”: La representación musical del paisaje como desafío a la teoría de los tópicos." Súmula: Revista de Teoría y Análisis Musical 1, no. 2 (2023): 120–40. http://dx.doi.org/10.59180/29525993.a9859250.

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En este artículo discuto algunas cuestiones conceptuales relacionadas con la teoría de los tópicos y, en particular, los problemas que plantea la distinción hecha por Raymond Monelle entre tópicos propiamente dichos e iconos musicales. Mi principal presupuesto es que, por regla general, el pictorialismo musical participa de la naturaleza retórica de la representación musical y tiende a desarrollar sus propias continuidades y transformaciones tópicas a lo largo de la historia. Como estudio de caso, ofrezco un examen de la pieza de Wagner conocida como “Waldweben” –de Siegfried, Acto II–, centrá

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Bigo, Louis, Daniele Ghisi, Antoine Spicher, and Moreno Andreatta. "Representation of Musical Structures and Processes in Simplicial Chord Spaces." Computer Music Journal 39, no. 3 (2015): 9–24. http://dx.doi.org/10.1162/comj_a_00312.

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In this article, we present a set of musical transformations based on the representations of chord spaces derived from the Tonnetz. These chord spaces are formalized as simplicial complexes. A musical composition is represented in such a space by a trajectory. Spatial transformations are applied on these trajectories and induce a transformation of the original composition. These concepts are implemented in two applications, the software HexaChord and the Max object bach.tonnetz, dedicated to music analysis and composition, respectively.

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Ovchinnikova, Yulia S. "Pedagogical Meaning of Study of Transformation Musical Practices of Peoples of the World in Modern Education." Musical Art and Education 7, no. 2 (2019): 57–76. http://dx.doi.org/10.31862/2309-1428-2019-7-2-57-76.

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Nowadays the Russian education is living a raw of system changes, where formation of student’s personal agency, of skill for learning and for self-development during the whole life, for elaborating the way of actualization of their own intentions are becoming the main tasks of the learning process. The abilities for self-understanding, self-development and self-actualization are connected with a category of personal transformation. The keys for its understanding could be found in the experience of traditional cultures that despite their bent for constancy are full of transformational motifs. T

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Jung, Chang Joo. "Reinterpretation of Bible Stories and Theological Communication through Musicals." Global Association of Applied Liberal Arts Studies 3, no. 1 (2025): 85–103. https://doi.org/10.58990/galas.2025.3.1.85.

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Musical theater has become a significant medium for expressing Christian faith and communicating biblical messages in contemporary society. By integrating music, acting, and dance, musicals provide an emotionally immersive experience that allows audiences to connect deeply with biblical narratives. Unlike traditional methods of teaching or preaching, musicals use storytelling, visual effects, and dynamic performances to engage audiences on a personal and emotional level. This study delves into the historical relationship between Christianity and performance arts, focusing on the evolution of m

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Carterette, Edward C., Donald V. Kohl, and Mark A. Pitt. "Similarities among Transformed Melodies: The Abstraction of Invariants." Music Perception 3, no. 4 (1986): 393–409. http://dx.doi.org/10.2307/40285345.

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In studying the abstraction of musical ideas from diverse invariants, six-note melodies of varying note durations and note intensities were used as prototypes. Four types of transformations on a prototype distorted each of four musical components: contour, interval, loudness, and duration. In an acquisition phase, listeners heard simple transformations on a single prototype, but in recognition heard both simple and compound transformations as well as the prototype, which had been unheard in acquisition. Predictions were borne out, namely, that both prototypes and simple transformations were fa

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13

Beuscart, Jean-Samuel. "Les transformations de l'intermédiation musicale." Réseaux 141-142, no. 2 (2007): 143. http://dx.doi.org/10.3917/res.141.0143.

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14

Rings, S. "Generalized Musical Intervals and Transformations; Musical Form and Transformation: Four Analytic Essays; Studies in Music with Text." Journal of Music Theory 50, no. 1 (2006): 111–27. http://dx.doi.org/10.1215/00222909-2008-010.

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15

Han, Lele. "Young China." TDR: The Drama Review 69, no. 2 (2025): 47–63. https://doi.org/10.1017/s1054204325000061.

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For Chinese Generation Z fans, the reperformances of musical theatre have empowered them to realize self-transformation while performing in public—without the constraints of formal physical training or special creative ability. By reperforming musicals with the themes of idealism and revolution, these youth re-create song-and-dance gestures as a rite of passage in everyday life, striving for individual idealized identities while playing disciplined social roles under the control of official ideology.

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Ruiz, Émilie, Albéric Tellier, and Julien Pénin. "Comprendre les transformations de l’industrie musicale." Revue Française de Gestion 47, no. 294 (2021): 79–97. http://dx.doi.org/10.3166/rfg.2021.00505.

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L’objectif de cet article est de revenir sur les profonds bouleversements touchant la musique enregistrée depuis l’avènement de la numérisation, qui a permis la dématérialisation des œuvres. Nous proposons un cadre général pour mieux cerner les défis à relever par les acteurs, en mobilisant une approche fondée sur le modèle d’affaires. Nous défendons l’idée qu’un nouvel écosystème de la musique est en train de se développer, nécessitant l’acceptation collective d’un « méta-modèle d’affaires » pour fonctionner. L’article présente également les travaux de ce numéro spécial.

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17

MATSUNOBU, KOJI. "Music for life: a Japanese experience of spirituality, ageing and musical growth." Ageing and Society 38, no. 6 (2017): 1100–1120. http://dx.doi.org/10.1017/s0144686x1600146x.

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ABSTRACTThis paper examines the role of musical engagement in later-life spiritual development and ageing. The nexus of music, spirituality and ageing has been relatively unexplored. Change of styles, means of expression and ways of engagement are among the transformation that older musicians often encounter. Based on an ethnographic study of Japanese music practitioners, the paper introduces a community music practice in which spiritual cultivation is a collective goal of musical pursuit. A case introduced in this paper suggests that music helps to develop a sense of purpose and enhance the m

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18

Hall, Rachel Wells. "Review: Generalized Musical Intervals and Transformations by David Lewin; Musical Form and Transformation: Four Analytic Essays by David Lewin." Journal of the American Musicological Society 62, no. 1 (2009): 205–22. http://dx.doi.org/10.1525/jams.2009.62.1.205.

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19

Laplante, Chantale. "Le son généreux [pour une hyper-écoute]." Articles 26, no. 2 (2012): 69–74. http://dx.doi.org/10.7202/1013226ar.

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L’article que l’artiste propose au lecteur relate le processus de transformation de sa pratique artistique durant une période particulière. L’artiste nous entretient de la transformation dans sa manière de composer la musique et de travailler avec le son. Elle développe sa réflexion autour de deux notions principales : l’hyper écoute qui favorise une approche intuitive, le son devenant la source première d’information à être transmué par la sensibilité de l’artiste, et l’espace-surface issu d’un temps musical non linéaire inscrit dans la durée. Tout au long de l’article, le lecteur prendra con

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20

Stewart, Lauren. "Neurocognitive Studies of Musical Literacy Acquisition." Musicae Scientiae 9, no. 2 (2005): 223–37. http://dx.doi.org/10.1177/102986490500900204.

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Although certain parallels can be drawn between written language and notation in music — both use arbitrary visual symbols to notate the salient aspects of a sound pattern, the purpose of each notational system differs markedly. While the primary function of written language is to carry referential meaning, the primary function of musical notation is to carry instructions for the production of a musical performance. Music reading thus lies at the interface between perception and action and provides an ecological model with which to study how visual instructions influence the motor system. The

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Aggarwal, Shashwat, Shashwat Uttam, Sameer Garg, Shubham Garg, Kopal Jain, and Swati Aggarwal. "Advancements in End-to-End Audio Style Transformation: A Differentiable Approach for Voice Conversion and Musical Style Transfer." AI 6, no. 1 (2025): 16. https://doi.org/10.3390/ai6010016.

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Introduction: This study introduces a fully differentiable, end-to-end audio transformation network designed to overcome these limitations by operating directly on acoustic features. Methods: The proposed method employs an encoder–decoder architecture with a global conditioning mechanism. It eliminates the need for parallel utterances, intermediate phonetic representations, and speaker-independent ASR systems. The system is evaluated on tasks of voice conversion and musical style transfer using subjective and objective metrics. Results: Experimental results demonstrate the model’s efficacy, ac

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HERASYMENKO, Olha, and Mariia PAVLOVSKA. "THE APPLICATION OF TRANSLATION TRANSFORMATIONS IN THE PROCESS OF TRANSLATING ENGLISH SONGS IN MUSICALS (BASED ON THE MATERIALS OF THE AMERICAN FILM MUSICAL “WICKED”)." Germanic Philology Journal of Yuriy Fedkovych Chernivtsi National University, no. 852 (May 28, 2025): 33–43. https://doi.org/10.31861/gph2025.852.33-43.

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The article examines the definition, classification and essence of translation transformations (lexical-semantic, grammatical, stylistic) and their role in the transmission of the original language text into the target language. In particular, examples of their application in the translation of English-language songs from film musicals (based on the material of the American musical “Wicked”, which concentrates most of the key plot information in the songs) are considered in detail, taking into account the influence of the audiovisual format on the work of the translator, the limitations and re

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23

Hearne, James, and David Lewin. "Generalized Musical Intervals and Transformations." Computer Music Journal 12, no. 1 (1988): 69. http://dx.doi.org/10.2307/3679839.

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Rahn, John, and David Lewin. "Generalized Musical Intervals and Transformations." Journal of Music Theory 31, no. 2 (1987): 305. http://dx.doi.org/10.2307/843712.

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Hughes, J. Robin, and David Lewin. "Generalized Musical Intervals and Transformations." Music Analysis 8, no. 3 (1989): 325. http://dx.doi.org/10.2307/854293.

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Alaminos-Fernández, Antonio Francisco. "Musical transformations of non-places." OBETS. Revista de Ciencias Sociales 13, no. 3 (2018): 211. http://dx.doi.org/10.14198/obets2018.13.1.08.

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The twentieth and twenty-first century have been a temporary canvas where two closely related concepts have broadened, both in terms of modernity and supermodernity: ambient music and the development of urban spaces. Both phenomena undergo a development, interaction and sustained change process, largely caused by technological changes. For the purpose of this study, first the concept of "non-places" and its change from physical spaces to virtual spaces will be presented. In second place, the development of ambient music is specifically considered; first regarding the close relationship that it

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Alicia, Ruiz Jurado. "La música en la Málaga republicana a través del periódico "el diario de Málaga"." Música Oral del Sur, no. 13 (December 6, 2016): 155–92. https://doi.org/10.5281/zenodo.4638732.

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Resumen: La Segunda República Española ha sido considerada como una etapa de la historia llena de numerosos cambios y transformaciones, tanto desde el punto de vista político y social, como educativo y cultural, donde la música ocupó un lugar muy importante dentro de la sociedad. Málaga fue una de aquellas provincias en las que la música se desarrolló de manera considerable, formando parte importante de la sociedad de la época, sobre todo durante los primeros años, desarrollo que se reflejaba cuidadosamente en la prensa loca

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Leroux, Philippe. "Composer l’espace sonore en interaction avec le monde." Circuit 32, no. 2 (2022): 71–77. http://dx.doi.org/10.7202/1091905ar.

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Cet article explore l’idée que si l’approche habituelle de l’espace sonore dans la composition musicale est, en général, d’ordre pratique, il existe, cependant, une attitude consistant à mettre en rapport celui-ci avec notre propre intériorité spatiale. En effet, concevoir, comme écouter, la mise en espace des sons, c’est d’une certaine façon extérioriser dans l’espace sonore du monde notre espace intérieur. Après avoir décrit ce dernier, et proposé l’oeuvre musicale et son écoute comme seuils entre les espaces intérieur et extérieur, le texte scrute les relations qui s’établissent entre eux.

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LOSSEFF, NICKY. "Casting Beams of Darkness into Bartók’s Cantata Profana." Twentieth-Century Music 3, no. 2 (2006): 221–54. http://dx.doi.org/10.1017/s1478572207000473.

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AbstractBéla Bartók’s Cantata Profana (1930) retains ambiguities inherent in the Romanian myth on which it is based – a story of nine hunting-lads magically transformed into stags. This article explores the mysterious elements through psychoanalysis, positing links between darkness, Bartókian ‘night music’, and the Unconscious. Other aspects of the musical language suggest representations of Lacanian processes, specifically a regressive fantasy to the mental order of the ‘Real’. This is linked to Bartók’s experience of childhood illness, a time of perfect maternal love but profound bodily betr

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Latincic, Dragan. "Central rotation of regular (and irregular) musical poligons." Muzikologija, no. 28 (2020): 205–34. http://dx.doi.org/10.2298/muz2028205l.

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The text describes the application of one of the most important isometric transformations to the projected metro-rhythmic entities of individual harmonics of the spectrum. It is a direct isometry called central rotation. Central rotation conditions the hemiola structuring of the meter. Hemiolas are identified with regular and irregular geometric figures (primarily triangles) by means of a partition and the composition (index) number of a particular spectral harmonics. The partition and composition of numbers, which are dealt with in discrete mathematics, on the one hand, and, the technique of

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Ustinova, Daniela V., and Natalia V. Lashtabova. "TRANSLATION TRANSFORMATIONS OF THE LIBRETTO BY N. TATE FOR THE OPERA “DIDO AND AENEAS”." Sovremennye issledovaniya sotsialnykh problem 14, no. 2 (2022): 260–70. http://dx.doi.org/10.12731/2077-1770-2022-14-2-260-270.

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The article is devoted to the analysis of translation transformations in musical compositions. Studies in the field of musical translation and opera compositions were considered, difficulties that an interpreter may face were identified. Using the example of N. Tate’s libretto for the opera “Dido and Aeneas”, the texts of the recitative and Dido’s aria were analyzed, as well as the ways of its translation into Russian. Background. To achieve adequacy in the translation of musical compositions, in particular opera librettos, translators resort to the use of various types of transformation

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Zhao, Tingting, Joanne Pei Sze Yeoh, and Fung Chiat Loo. "Cultural integration and innovation in string music: A study on the transformation of Heze string music." Herança 6, no. 2 (2023): 61–73. http://dx.doi.org/10.52152/heranca.v6i2.765.

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This article seeks to scrutinize the reasons and factors for the transformation and evolution of Heze String Music. Changes in the practice of Heze String Music as observed by both cultural bearers and the younger generation of Heze string players can significantly contribute to sculpting the future trajectory of Heze String Music. The article's analysis can inform cultural policy and heritage conservation efforts. Recognizing the factors driving changes in Heze String Music may guide policies to support the continued vitality of this tradition, including education initiatives, funding support

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Pierson, Michael. "From rage to riches: swag and capital in the Tanzanian hip hop industry." Popular Music 39, no. 3-4 (2020): 523–38. http://dx.doi.org/10.1017/s0261143020000434.

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AbstractThis article traces how Tanzanian Bongo Flava hip hop has shifted from a politically conscious genre at the dawn of democratization and liberalization to its contemporary articulations, more commonly aligned with glamorous, geographically abstracted Western pop sensibilities. It argues that ‘swag’, as an intimately embodied and musically performed charisma, has served as a connective thread across political and economic transformations because of its capacity to generate phantasmatic deferrals to common experiences of dispossession. These fetishistic qualities mediate the attachments o

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Rusanova, Ekaterina. "CULTURAL MEANING OF JAZZ (THROUGH THEODOR ADORNO’S CONCEPTION)." Studia Humanitatis 20, no. 3 (2021): 36–41. http://dx.doi.org/10.15393/j12.art.2021.3764.

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The article examines the patterns of development of one of the important musical trends in the XX and the XXI centuries in terms of its socio-cultural and socio-philosophical characteristics. The analysis takes into account Russian and Western (European and American) trends and assessments. The article captures the methodology of Theodor Adorno’s position, his political and musicological views. Attention is paid to the mechanisms of development of spiritual culture in a post-industrial society. The author substantiates the hypothesis and elaborates the idea of the great potential of jazz as a

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Shahray, Oksana, and Larysa Melnyk. "Transformation of musical culture today." Pedagogìčnij časopis Volinì 4(11), no. 2018 (2018): 83–89. http://dx.doi.org/10.29038/2415-8143-2018-04-83-89.

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Hood, Sarah B. "Musical Metamorphoses: Opera in Transformation." Canadian Theatre Review 64 (September 1990): 18–21. http://dx.doi.org/10.3138/ctr.64.003.

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In Delacorta’s Diva (memorably filmed by Jean-Jacques Beneix) a teenage delivery boy falls in love with an internationally renowned operatic soprano, attends every performance he can and eventually inveigles himself into her company. Nowadays there is an exotic element in this; we would have expected the young man to be more interested in a rock star or a movie actor. But a century or so ago it would have been much more usual for someone neither rich nor old to be passionate about opera.

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Vereš, Jozef. "Transformations of the musical-pedagogical thinking." Hudba - integrácie - interpretácie 20, no. 1 (2017): 11–95. http://dx.doi.org/10.17846/hii.2017.20.11-95.

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38

Dienes, Zoltan, and Christopher Longuet-Higgins. "Can musical transformations be implicitly learned?" Cognitive Science 28, no. 4 (2004): 531–58. http://dx.doi.org/10.1207/s15516709cog2804_2.

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39

Noll, Thomas. "Musical intervals and special linear transformations." Journal of Mathematics and Music 1, no. 2 (2007): 121–37. http://dx.doi.org/10.1080/17459730701375026.

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40

Dallaire, Frédéric. "« Just allow the space to tell us what we should be… what we should be doing » : l’expérience cinématographique de la musique improvisée." Revue musicale OICRM 5, no. 1 (2018): 92–102. http://dx.doi.org/10.7202/1044445ar.

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Cet article explore l’hypothèse suivante : le cinéma peut nous faire voir et entendre la dimension éthique et politique de l’improvisation musicale. Il décrit concrètement les éléments de cette politique de l’improvisation en analysant plusieurs séquences du film Step Across the Border (1990) de Nicolas Humbert et Werner Penzel. Il étudie deux principes relationnels qui structurent la pratique de l’improvisation musicale et cinématographique explorée dans le film. L’implication (intégration du créateur dans l’espace sonore) et la résonance (transformation mutuelle du son, du contexte, de l’aud

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LEE, Inho, and Johee LEE. "Analysis of chromatic mediant relationship in film music score with Neo-Riemannian theory." Rast Müzikoloji Dergisi 10, no. 4 (2022): 449–61. http://dx.doi.org/10.12975/rastmd.20221041.

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Film has influenced the public as an important cultural form since the 20th century, and film music, as an integral part of film, plays an important role in shaping its content. Film music was influenced by late European Romantic music, and the Hollywood film score system was established based on composers of European descent, followed by the fusion of numerous emerging musical styles, such as Jazz, Rock, and EDM, etc. The orchestral music as the main composition of the film score has a sense of aural expectation in the sound expression, which largely comes from the chromaticization of the har

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Junyi, Liu. "CROSS-CULTURAL MUSICAL TRANSFORMATION: SHAPING CHINESE TRADITIONS." Scientific Journal of Polonia University 59, no. 4 (2023): 43–48. http://dx.doi.org/10.23856/5906.

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This article endeavors to thoroughly examine the processes of Western influence on Chinese musical culture, focusing on the perspectives of prominent figures within the Chinese composer-performer tradition. Specifically, it highlights the role of Westernization as a means of shaping musical concepts in the works of Fei Shi, Ou Man, Qing Zhu, and Zeng Zhizhi. Furthermore, it acknowledges that a substantial number of music scholars pursue education abroad with the intention of delving into Western musical experiences and engaging with the resources of Western musical culture and the arts. Upon t

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Lityagina, Lydia, and Nikolai Naumov. "The Graphovox System of Musical Transformation." Leonardo Music Journal 6 (1996): 64. http://dx.doi.org/10.2307/1513313.

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Bailey, Walter B. (Walter Boyce). "Schoenberg's Transformation of Musical Language (review)." Notes 64, no. 2 (2007): 294–96. http://dx.doi.org/10.1353/not.2007.0156.

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Kudlička, Ján. "Transformations. Landscape as visual and musical phenomenon." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Plastyczna. Fotografia 12 (2017): 105–14. http://dx.doi.org/10.16926/ep.2017.12.08.

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Clough, John. "Generalized Musical Intervals and Transformations David Lewin." Music Theory Spectrum 11, no. 2 (1989): 226–31. http://dx.doi.org/10.2307/745937.

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Clough, John. ": Generalized Musical Intervals and Transformations . David Lewin." Music Theory Spectrum 11, no. 2 (1989): 226–31. http://dx.doi.org/10.1525/mts.1989.11.2.02a00050.

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Rzhevska, Maiia. "Musical theater in internet: aspects of form creation and communication." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 139 (February 28, 2024): 65–74. https://doi.org/10.31318/2522-4190.2024.139.301111.

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The relevance of the study. Renewal of the poetics and aesthetics of modern art is caused by many factors, among which we can single out the intensity of the processes of development of the information society and the emergence of new ways of communication, including artistic ones. As a result, in the recent decades, changes have taken place at the stylistic, genre, and types levels. Works of art have undergone significant transformations, along with the forms of their presentation, as well as the ways of interaction between artists and the viewing/listening audience. Internet with its various

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Rose, Ethan. "Translating Transformations: Object-Based Sound Installations." Leonardo Music Journal 23 (December 2013): 65–69. http://dx.doi.org/10.1162/lmj_a_00157.

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This paper defines the object-based sound installation as a distinct category of sound art that emerges from the intersection of live musical performance and the sonic possibilities of the recording studio. In order to contextualize this emergent category, connections are drawn among the rationalization of the senses, automated musical instruments, the lineage of recorded sound and the notion of absolute music. This interwoven history provides the necessary backdrop for the interpretation of three major works by Steven Reich, Alvin Lucier and Zimoun. These respective pieces are described in or

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Kang, Da hye, and Woon Seung Yeo. "A Study of Remix Music’s Transformation Methods." Korean Association for the Study of Popular Music 30 (November 30, 2022): 9–37. http://dx.doi.org/10.36775/kjpm.2022.30.9.

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The act of remixing to create a new cultural product by reconstructing an existing one is being performed in almost all cultural content fields today. Even so, although the remix concept originated in the musical field, theoretical discussion concerning its reconstruction principles in popular music compared to other genres is lacking. This paper analyzes the methods of transforming original songs in remixing. Furthermore, it presents a theoretical basis for its systematic understanding. Ninety-four previously released popular music remixes were selected and compared with the original songs in

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