To see the other types of publications on this topic, follow the link: Violin music – Analysis, appreciation.
Journal articles on the topic 'Violin music – Analysis, appreciation'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Violin music – Analysis, appreciation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Antović, Mihailo. "Multilevel grounded semantics across cognitive modalities: Music, vision, poetry." Language and Literature: International Journal of Stylistics 30, no. 2 (March 22, 2021): 147–73. http://dx.doi.org/10.1177/0963947021999182.
Full textAbstract:
This article extends the author’s theory of multilevel grounding in meaning generation from its original application to music to the domains of visual cognition and poetry. Based on the notions of ground from the philosophy of language and conceptual blending from cognitive linguistics, the approach views semiosis in works of art as a series of successive mappings couched in a set of six hierarchical, recursive levels of constraint or grounding boxes: (1) perceptual, parsing the stimulus into formal gestalten; (2) cross-modal, motivating schematic correspondences between the stimulus so structured and the listener’s embodied experience; (3) affective, ascribing to this embodied appreciation dynamic sensations, as in the distinction between tense and lax parts of the perceptual flow; (4) conceptual, drawing analogies between such schematic and affective appreciation and elementary experiential imagery, resulting in outlines of narratives; (5) culturally rich, checking such a narrative outline against the recipient’s cultural knowledge; and (6) individual, adding to the levels above idiosyncratic recollections from the participant’s personal experience. The goal of the analysis is to show that the interpretation of constructs from different semiotic modes (music, vision and language) may rely on the same grounding levels as it ultimately depends on the same perceptual, embodied and contextual circumstances. Specifically, the article uses the system to analyse the possible reception of a section from the romance for violin and orchestra ‘The Lark Ascending’ by Ralph Vaughan Williams, the painting ‘The Last Supper’ by Leonardo da Vinci and the poem ‘No Man Is an Island’ by John Donne.
2
Wei, Zhou. "Analysis on the Charm of Music Appreciation." Music Report 2, no. 3 (2020): 73–77. http://dx.doi.org/10.35534/mur.0203012c.
Full text
3
Buel, Dona L., and Samuel C. Welch. "Improving Music Appreciation Class Using Cohort Analysis." General Music Today 13, no. 3 (April 2000): 13–15. http://dx.doi.org/10.1177/104837130001300304.
Full text
4
Duerinck, Tim, Ewa Skrodzka, and Bogumił B. J. Linde. "Modal Analysis of a Trapezoidal Violin Built After the Description of Félix Savart." Archives of Acoustics 39, no. 4 (March 1, 2015): 623–28. http://dx.doi.org/10.2478/aoa-2014-0067.
Full textAbstract:
Abstract One-dimensional experimental modal analysis of an unvarnished trapezoidal violin built after the description of F. Savart and an anonymous trapezoidal violin on display in the Music Instrument Museum of Brussels is described. The analysis has revealed ten prominent modes. A mode that may potentially play a role of the “tonal barometer” of the instrument is pointed out. The mode shapes are symmetric and of high amplitude, due to the construction of the instrument. Subjective evaluation of the sound quality demonstrated no pronounced difference between the trapezoidal violin and normal violin.
5
Helbing, Volker. "Konzert als Groteske — Anmerkungen zum ersten Satz des Violinkonzerts." Studia Musicologica 57, no. 1-2 (June 2016): 139–60. http://dx.doi.org/10.1556/6.2016.57.1-2.10.
Full textAbstract:
The grotesque and the theatrical, as essential facets of Ligeti’s oeuvre, become more evident in his Violin Concerto than in most of his works from the 1980s. The analysis shows how these facets find expression on different levels of the composition — from the harmonic and rhythmic pre-settings over the compositional detail to the individual interpretation of the Violin Concerto as a genre and the formal dramaturgy.
6
Cygańska, Anna, Aleksandra Truszczyńska-Baszak, Justyna Drzał-Grabiec, and Adam Tarnowski. "Analysis of Anteroposterior Spinal Curvatures in Child Violinists from Music Schools." Medical Problems of Performing Artists 32, no. 3 (September 1, 2017): 176–79. http://dx.doi.org/10.21091/mppa.2017.3029.
Full textAbstract:
Young musicians often report problems with their upper limbs and spine due to their specific and asymmetric positions and actions while playing, which may contribute to overloading these structures. Diagnosing any disorders to the upper limbs or spine early may help to minimize the risk of developing any serious instrument-related health problems in the future. The aim of this study was to assess the anteroposterior (AP) spinal curvatures in children learning to play the violin. Previous studies have shown anthropomorphic differences in young adult musicians, and our study examined if these differences appeared early or late in the musician’s career. METHODS: Body posture of 101 children, aged 7–12 yrs (mean 11.09±1.48), was assessed. The study population consisted of 49 child violinists and a control group of 52 children who did not play any musical instrument. There were 81.19% girls and 18.81% boys. Body posture was analyzed using the MORA 4G. RESULTS: The violinist group showed significant differences in the thoracolumbar region angle (p=0.004) compared to the non-musical children. The remaining parameters did not reveal significant differences between groups. The parameter characterizing the location of kyphosis peak calculated from the spinous process of the C7 vertebra was significantly higher in the study population. CONCLUSIONS: Changes in body posture in children who play the violin appear early in their training. Body postures when playing the violin lead to some changes in parameters characterizing AP spinal curvatures in the sagittal plane.
7
Maezawa, Akira, Katsutoshi Itoyama, Kazunori Komatani, Tetsuya Ogata, and Hiroshi G. Okuno. "Automated Violin Fingering Transcription Through Analysis of an Audio Recording." Computer Music Journal 36, no. 3 (September 2012): 57–72. http://dx.doi.org/10.1162/comj_a_00129.
Full textAbstract:
We present a method to recuperate fingerings for a given piece of violin music in order to recreate the timbre of a given audio recording of the piece. This is achieved by first analyzing an audio signal to determine the most likely sequence of two-dimensional fingerboard locations (string number and location along the string), which recovers elements of violin fingering relevant to timbre. This sequence is then used as a constraint for finding an ergonomic sequence of finger placements that satisfies both the sequence of notated pitch and the given fingerboard-location sequence. Fingerboard-location-sequence estimation is based on estimation of a hidden Markov model, each state of which represents a particular fingerboard location and emits a Gaussian mixture model of the relative strengths of harmonics. The relative strengths of harmonics are estimated from a polyphonic mixture using score-informed source segregation, and compensates for discrepancies between observed data and training data through mean normalization. Fingering estimation is based on the modeling of a cost function for a sequence of finger placements. We tailor our model to incorporate the playing practices of the violin. We evaluate the performance of the fingerboard-location estimator with a polyphonic mixture, and with recordings of a violin whose timbral characteristics differ significantly from that of the training data. We subjectively evaluate the fingering estimator and validate the effectiveness of tailoring the fingering model towards the violin.
8
Akutsu, Taichi. "Changes after Suzuki: A retrospective analysis and review of contemporary issues regarding the Suzuki Method in Japan." International Journal of Music Education 38, no. 1 (September 5, 2019): 18–35. http://dx.doi.org/10.1177/0255761419859628.
Full textAbstract:
This study, followed by an historical review of Shinichi Suzuki’s work, investigated the contemporary and critical issues surrounding the Suzuki Method in Japan. First, the author compared textbooks and recordings of the Suzuki Violin School Volume 1, the Japanese version, published in 1970s to the present edition in Japan. In addition, the study compared the first and second movements of Vivaldi’s A Minor Concerto in Suzuki Violin School Volumes 4 and 5, both in the textbooks and recordings. Next, the study investigated the overall tradition and learning environment of Suzuki lessons from past to present. The study reviewed the lessons taught by Suzuki himself in recordings. The researcher also observed selected lessons and conducted informal interviews with Suzuki teachers to share contemporary issues surrounding the method. The evidence implied that the method in general has become more technically oriented, with less of a family atmosphere and playful stance.
9
LOMBARDÍA, ANA. "FROM LAVAPIÉS TO STOCKHOLM: EIGHTEENTH-CENTURY VIOLIN FANDANGOS AND THE SHAPING OF MUSICAL ‘SPANISHNESS’." Eighteenth Century Music 17, no. 2 (September 2020): 177–99. http://dx.doi.org/10.1017/s147857062000007x.
Full textAbstract:
ABSTRACTSince the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultural identity. It became increasingly popular in instrumental chamber music, as well-known examples by Domenico Scarlatti, Antonio Soler and Luigi Boccherini show. To date, published musicological scholarship has not considered the role of solo violin music in the dissemination of the fandango or the shaping of a ‘Spanish’ musical identity. Now, eight rediscovered pieces – which can be dated to the period 1730–1775 – show that the violin was frequently used to perform fandangos, including stylized chamber-music versions. In addition to offering evidence of the violin's role in the genre, these pieces reveal the hybridization of the fandango with foreign musical traditions, such as the Italian violin sonata and French courtly dances, demonstrating hitherto overlooked negotiations between elite and popular culture in mid-eighteenth-century Spain. Analysis of these works’ musical features challenges traditional discourses on the ‘Spanishness’ of the fandango and, more broadly, on the opposition between ‘native’ and ‘foreign’ music in eighteenth-century Spain.
10
Scott, Laurie. "Attention and Perseverance Behaviors of Preschool Children Enrolled in Suzuki Violin Lessons and Other Activities." Journal of Research in Music Education 40, no. 3 (October 1992): 225–35. http://dx.doi.org/10.2307/3345684.
Full textAbstract:
The purpose of this study was to examine certain effects of designated activities on attention and persevering behaviors of preschool children. Relationships between teacher reinforcement and student attending behavior were also examined. The subjects, eighty 3- to 5-year-old children, were (a) enrolled in individual Suzuki violin lessons, (b) enrolled in individual and group Suzuki violin lessons, (c) enrolled in creative movement classes, (d) enrolled in preschool activities or classes, or (e) not enrolled in any organized preschool activities or classes. Analysis of classroom and lesson videotapes provided information on teacher and student behaviors. Attention and perseverance behaviors were analyzed through observation of videotape recordings of subjects performing two tasks designed by the experimenter. Both Suzuki groups scored higher on all attention task variables than did children in the other groups. Subjects receiving both individual and group Suzuki violin instruction spent significantly more time on the perseverance task than did all other subjects in the creative movement or preschool group. Teachers of subjects receiving both individual and group Suzuki violin instruction demonstrated significantly more teacher approval than did the preschool or creative movement teachers.
11
Cho, Sung-gi, and YeoJin Hwang. "Status Analysis of Music Appreciation Education in the Secondary School." Korean Society of Music Education Technology 33 (October 16, 2017): 135–53. http://dx.doi.org/10.30832/jmes.2017.33.135.
Full text
12
Simangunsong, Christine. "ANALISIS STRUKTUR MUSIK DAN TEKNIK BERMAIN BIOLA FOUR SEASON “WINTER” KARYA KOMPONIS ANTONIO VIVALDI." Grenek Music Journal 6, no. 1 (October 11, 2018): 1. http://dx.doi.org/10.24114/grenek.v6i1.10958.
Full textAbstract:
This study aims to determine how the structure of music andviolin technique Four Season "Winter" by composer Antonio Vivaldi.In the discussion of this study used the theories related to researchtopics such as Antonio Vivaldi biography, analytical understanding,understanding of musical forms, musical structure and technique ofplaying the violin. The method used by the researchers in this study isdescriptive-qualitative method. The sample in this study such as thesheet music and videos of Four Season "Winter" by composer AntonioVivaldi. The techniques of data collection in this research are workinglaboratory analysis the melody of violin instrument like musicalstructure and technique of playing the violin and literature studyconducted at the Laboratory of the Department of Music Arts, Facultyof Languages and Arts, State University of Medan. From the results ofthis study can be obtained structure of music Four Season "Winter" bycomposer Antonio Vivaldi has 63 bars with 12 motifs includingoriginal motive literal replications and development, up and downsequence, bridges, enlargement of the interval, 10 phrases and is a 3-part song form complex / major played by violin playing techniques asdiverse namely legato, staccato, trill, double stops, and sforzando andusing the dynamic crescendo, mezzo forte, forte, piano, with the righthand position of mixed fingering position of the I-VII. Interpretationof the Four Seasons "Winter" tells the eerie atmosphere transitionalclimate when winter freeze with the sound of the wind through thestrains indicated cruel instrument tones on the violin.
13
Laki, Péter. "Performance practice and philology in Bartók’s Violin Concerto (1938)." Studia Musicologica 53, no. 1-3 (September 1, 2012): 153–60. http://dx.doi.org/10.1556/smus.53.2012.1-3.11.
Full textAbstract:
The world premiere recording of Bartók’s Violin Concerto, played by Zoltán Székely has been a classic for seventy-two years now. Since that time, dozens of artists have committed the work to disc and hundreds more—from concert artists to conservatory students—have played the Concerto. Székely’s extremely subtle, almost chamber-music-like interpretation has been widely admired but many violinists in past decades have favored, by and large, a more robust approach, one that stresses the work’s connections to the Romantic concerto tradition. The question is: can a careful reading of the musical text—the final version as well as the various manuscript sources—help a player make practical stylistic decisions? A comparative examination of the performance of the first 16 measures from a number of older and more recent recordings will be set against what textual analysis can tell us, as a test case for a productive dialog between scholarship and performance.
14
Geringer, John M., and Michael L. Allen. "An Analysis of Vibrato among High School and University Violin and Cello Students." Journal of Research in Music Education 52, no. 2 (July 2004): 167–78. http://dx.doi.org/10.2307/3345438.
Full textAbstract:
We investigated vibrato performance of university student and high school string players. Forty violinists and cellists performed an eight-measure passage both with and without vibrato. Analyses indicated that the mean rate of vibrato was approximately 5.5 Hz, with no significant differences between instruments or performer experience level. The mean width of violin vibratos was larger than cello vibratos. Violinists' mean pitch levels were sharper than cellists' in both vibrato and nonvibrato performances. Analysis of intonation patterns within the duration of tones showed that performers were more stable when using vibrato. University players tended to become sharper during both vibrated and nonvibrated tones compared to the younger players. Pitch oscillations during vibrato were alternations both above and below conceived pitch, rather than oscillations only above or only below the conceived pitch.
15
Jorgensen, Estelle R. "Percy Scholes on Music Appreciation: Another View." British Journal of Music Education 4, no. 2 (July 1987): 139–56. http://dx.doi.org/10.1017/s0265051700005908.
Full textAbstract:
Percy A. Scholes' (1877–1958) defence of music appreciation remains one of the most clearly articulated among the twentieth-century approaches to school music. His published work is eminently readable, spiced with wit, and attractive to non-musicians. Scholes has gone beyond philosophical argument to practical strategy, as his published work attests. Nevertheless, his ideas ought not either be accepted at face value or ‘written off’ as a ‘failure’ without careful examination of them.1This paper attempts to reconstruct Scholes' ideas about music appreciation evidenced in his published work; to examine his assumptions about the rationale, objectives, instructional methods and curriculum for music appreciation; and to suggest implications of this analysis for future research and practice.
16
Bugaj, Katarzyna A., James Mick, and Alice-Ann Darrow. "The Relationship Between High-Level Violin Performers’ Movement and Evaluators’ Perception of Musicality." String Research Journal 9, no. 1 (June 25, 2019): 23–33. http://dx.doi.org/10.1177/1948499219851374.
Full textAbstract:
The purpose of this study was to examine possible relationships between the extent of high-level violin performers’ movement during performance and evaluators’ perceptions of their musicality. Stimuli were 10 excerpts of solo violin performances from the 2015 Tadeusz Wronski International Violin Competition for Solo Violin, selected to convey high and low amounts of performer movement. Participants were undergraduate music majors ( N = 274) divided into three groups by experimental conditions: visual-only ( n = 109), audio-only ( n = 78), or audio-visual ( n = 87). Analysis demonstrated that performers exhibiting high movement were perceived as more musical than performers exhibiting low movement. The findings suggest that even accomplished musicians are subject to evaluation biases based on stage presence and physical behaviors such as movement.
17
Shan, Gongbing, and Peter Visentin. "A Quantitative Three-dimensional Analysis of Arm Kinematics in Violin Performance." Medical Problems of Performing Artists 18, no. 1 (March 1, 2003): 3–10. http://dx.doi.org/10.21091/mppa.2003.1002.
Full textAbstract:
Overuse syndrome (OS) resulting from repetitive motion affects a significant percentage of performing musicians. Particularly susceptible to OS, violinists use different kinds of muscle control patterns in the right and left limbs and must assume a complex asymmetrical posture to hold and play the instrument. There is a clear need for developing efficient and effective strategies to prevent OS in violinists, keeping biological loads under physiological limits and focusing on physical economy during training. The first step in developing such strategies requires quantitative kinematic description of the motions involved in violin performance. This study supplies such information for the arms and violin bow. The motions of eight professional violinists and three advanced university music students were captured using a nine-camera VICON V8i motion capture system. Each performed a fundamental control skill employing all four strings of the violin. The data were analyzed using quantitative model comparison and statistical analysis. The results of this study show parameters such as elbow height normalized by body height and shoulder and elbow joint motion to have highly consistent patterns between the subjects. Wrist control patterns varied widely. Playing on different strings influences right arm patterns significantly, but not left. This is the first study providing quantitative 3-D kinematic data on shoulders, elbows, wrists, and bow. It provides a foundation for further exploration of the kinematic characteristics of violin performance, for the examination of the potential causes of OS, and for an evaluation of practices that might minimize injuries.
18
Brook, Taylor. "Ascending Music: Meaning and Expression in the Chamber Music of Brian Cherney." Overviews 37, no. 1 (May 17, 2019): 83–98. http://dx.doi.org/10.7202/1059888ar.
Full textAbstract:
This article investigates the musical language of Brian Cherney, applying the idea of musical topics as a strategy for analyzing the extramusical content of his music. The idea of musical topics, traditionally applied to works from the classical era, is expanded with a collection of topics that are specific to Cherney’s work. Focusing on a set of chamber pieces from throughout Cherney’s compositional output beginning in the 1960s, this article focuses particularly on the topic of “ascending music,” tracing its musical and expressive meaning through these chamber works. The article concludes with a topic-based analysis ofGan Eden,a 1983 piece for violin and piano, providing an example of how topics coexist and interact within a single composition.
19
Chamczyk, Ewa. "Duels in Sound: Pietro Antonio Locatelli vs Jean-Marie Leclair." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 69–102. http://dx.doi.org/10.4467/23537094kmmuj.20.043.13916.
Full textAbstract:
The tradition of musical duels harkens back to the days of ancient Greece. One of the earliest examples of musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the tournaments of the ancients served as an inspiration for later generations of musicians. In each epoch they took a different form, tailored to the current norms and customs. In the sixteenth century the singing contests of the Meistersingers became extremely popular. With the development of instrumental music in the seventeenth century, duels, in which the main subject of the dispute was the superiority of one of the performers in terms of interpretation and mastery of playing a given instrument, were increasingly growing in importance. The eighteenth century, in which public concert life flourished and demand for virtuoso instrumentalists consequently grew, brought a genuine boom in musical duels. During that era, musical duels were not only confrontations between individual musicians or their patrons, but also important contributions to the exchange of experiences between artists, the spread of musical novelties and dissemination of the works themselves. Additionally, such ‘battles’ symbolised a confrontation of musical styles, in particular the Italian and the French one. Jean-Marie Leclair, known as the French Corelli, is considered by many researchers as the founder of the French violin school. Pietro Antonio Locatelli, an heir to the legacy of Arcangelo Corelli, is justifiably considered as the Paganini of the eighteenth century. Despite shared roots in the Italian violin school, their music differs in both form and expression. At first glance, Locatelli’s typically Italian music goes far beyond the previously accepted norms as far as demands placed on the violinists are concerned, whereas Leclair’s French music bears the mark of Antonio Vivaldi’s models set in the latter’s violin concertos. We know that the first confrontation of the violinists took place on 22 December 1728 at Kassel court. Some authors speculate that it was not the only meeting of these two musicians. The surviving accounts suggest that both of them stirred strong emotions among the audiences with their playing. Despite their enormous importance for the development of violin music, both composers remain underrated. This article briefly outlines the history of musical duels and sheds light on the practice of violin performances in the first half of the eighteenth century. Additionally, I have attempted a comparative analysis of selected violin concerts, namely: Locatelli’s Violin Concerto in G major Op. 3 No. 9 and Violin Concerto in A minor Op. 7 No. 5 by Jean-Marie Leclair. These two come from a similar period in the work of both composers and are close in time of composition to the famous duel.
20
URHAL, Necla, and Ümit Kubilay CAN. "ANALYSIS OF CELLO, PIANO, VIOLIN, VIOLA AND FLUTE SHEET MUSIC BOOKS PUBLISHED IN TURKEY." Online Journal of Music Sciences 3, no. 1 (July 15, 2018): 56–89. http://dx.doi.org/10.31811/ojomus.436905.
Full text
21
Perley, Naomi. "The Language of an Unknown Country: Intratextuality in Proust's In Search of Lost Time." 19th-Century Music 36, no. 2 (2012): 136–45. http://dx.doi.org/10.1525/ncm.2012.36.2.136.
Full textAbstract:
Abstract One of the pivotal scenes of Proust's novel In Search of Lost Time takes place during a performance of the fictional composer Vinteuil's Septet in Mme Verdurin's salon. The narrator and protagonist of the novel, Marcel, finds himself caught off-guard by the beauty of Vinteuil's Septet; he hears in the Septet a calling to the true life of an artist and vows to begin work on his own masterpiece. As he listens to the Septet, Marcel struggles with the concept of artistic individuality. He tries to discern the similarities and differences between the phrases of Vinteuil's Septet and the same composer's Violin Sonata. Marcel comes to the conclusion that it is not superficial or intellectual similarities between two works by the same composer that really count, but rather some underlying substance that can only be “felt as the result of a direct impression.” The aesthetic philosophy embodied in these thoughts is not only applicable to Marcel's appreciation of the Septet. It also provides a lens through which we can come to terms with Proust's twenty-page-long description of the Septet, and it allows us to situate this passage meaningfully within In Search of Lost Time. The Septet scene is one of the most deeply intratextual passages of the novel. But just as Marcel gives pride of place to the “profound similarities” between Vinteuil's compositions over musicologists' “analogies ingeniously discovered by reasoning,” so too can the reader distinguish between more superficial connections between the Septet and earlier scenes, and subtler references that bind the novel together on a deeper level.
22
Platz, Friedrich, and Reinhard Kopiez. "When the Eye Listens: A Meta-analysis of How Audio-visual Presentation Enhances the Appreciation of Music Performance." Music Perception 30, no. 1 (September 1, 2012): 71–83. http://dx.doi.org/10.1525/mp.2012.30.1.71.
Full textAbstract:
the visual component of music performance as experienced in a live concert is of central importance for the appreciation of music performance. However, up until now the influence of the visual component on the evaluation of music performance has remained unquantified in terms of effect size estimations. Based on a meta-analysis of 15 aggregated studies on audio-visual music perception (total N = 1,298), we calculated the average effect size of the visual component in music performance appreciation by subtracting ratings for the audio-only condition from those for the audio-visual condition. The outcome focus was on evaluation ratings such as liking, expressiveness, or overall quality of musical performances. For the first time, this study reveals an average medium effect size of 0.51 standard deviations — Cohen's d; 95% CI (0.42, 0.59) — for the visual component. Consequences for models of intermodal music perception and experimental planning are addressed.
23
Afacan, Senol, and Seyda Cilden. "A Study on Developing Learning Strategies in Violin Education." Journal of Education and Learning 7, no. 2 (January 16, 2018): 230. http://dx.doi.org/10.5539/jel.v7n2p230.
Full textAbstract:
This study was conducted for the purpose of developing a valid and reliable learning strategies scale for students receiving violin education in Departments of Music at Fine Arts High Schools. The scale was applied to 391 violin students receiving education in the 11th and 12th grades in Departments of Music at Fine Arts High Schools in the provinces of Ankara, Eskişehir, Kayseri, Konya, Kırıkkale, Sivas, Niğde, Adana, Mersin, Isparta, Hatay, Osmaniye, İzmir, Aydın, Denizli, Kütahya, Manisa, Muğla, Bursa, İstanbul, Balıkesir, Çanakkale, Edirne, Tekirdağ, Samsun, Trabzon, Ordu, Bolu, Tokat, Malatya, Erzurum and Van. The 5-point Likert scale consists of 67 items. The data obtained after applying the scale were transferred to the SPSS Package Software. Explanatory factor analysis was then carried out on the basis of the data. As a result of the explanatory factor analysis, it was determined that the scale had six factors. In addition, the Cronbach’s alpha internal consistency coefficient of the scale was found to be 0.966.
24
HANNINEN, DORA A. "Feldman, Analysis, Experience." Twentieth-Century Music 1, no. 2 (September 2004): 225–51. http://dx.doi.org/10.1017/s1478572205000137.
Full textAbstract:
The growing number of performances and recordings of Feldman’s music in recent years attests to increased interest among performers and listeners; yet his music remains an uncommon subject for detailed music analysis. Proceeding on the premise that this disparity is no accident, I argue that certain distinctive qualities of the music render it difficult to analyse with tools, methods, and practices developed in response to other repertories. This paper investigates the analytical challenges posed by Feldman’s music. A survey of such challenges as they relate to his output in general is followed by an account of two particular issues associated with his late work: scale and repetition. Two case studies address these issues in turn, advancing relevant conceptual and methodological approaches. In the first study, on Coptic Light for orchestra (1985), I suggest that analysts might reconsider part–whole relationships in music analysis, and use the idea of ‘populations’ (with their attendant features of range of variation and distribution) to develop a non-reductive (and non-constructive) approach to scale. In the second study, on Piano, Violin, Viola, Cello (1987), I encourage analysts to rethink the role of repetition in music analysis, such that repetition is no longer (only) a goal, but becomes a point of departure. Throughout the essay I take the view that analysis is an investigation of experience; that a particular difficulty of analysing Feldman’s music is the self-knowledge it requires; and that the concerted inquiry that is music analysis can well be used to expand – not only condense – the realm of musical experience.
25
Meehan, Sarah, Elizabeth A. Hough, Gemma Crundwell, Rachel Knappett, Mark Smith, and David M. Baguley. "The Impact of Single-Sided Deafness upon Music Appreciation." Journal of the American Academy of Audiology 28, no. 05 (May 2017): 444–62. http://dx.doi.org/10.3766/jaaa.16063.
Full textAbstract:
Background: Many of the world’s population have hearing loss in one ear; current statistics indicate that up to 10% of the population may be affected. Although the detrimental impact of bilateral hearing loss, hearing aids, and cochlear implants upon music appreciation is well recognized, studies on the influence of single-sided deafness (SSD) are sparse. Purpose: We sought to investigate whether a single-sided hearing loss can cause problems with music appreciation, despite normal hearing in the other ear. Research Design: A tailored questionnaire was used to investigate music appreciation for those with SSD. Study Sample: We performed a retrospective survey of a population of 51 adults from a University Hospital Audiology Department SSD clinic. SSD was predominantly adult-onset sensorineural hearing loss, caused by a variety of etiologies. Data Analysis: Analyses were performed to assess for statistical differences between groups, for example, comparing music appreciation before and after the onset of SSD, or before and after receiving hearing aid(s). Results: Results demonstrated that a proportion of the population experienced significant changes to the way music sounded; music was found to sound more unnatural (75%), unpleasant (71%), and indistinct (81%) than before hearing loss. Music was reported to lack the perceptual qualities of stereo sound, and to be confounded by distortion effects and tinnitus. Such changes manifested in an altered music appreciation, with 44% of participants listening to music less often, 71% of participants enjoying music less, and 46% of participants reporting that music played a lesser role in their lives than pre-SSD. Negative effects surrounding social occasions with music were revealed, along with a strong preference for limiting background music. Hearing aids were not found to significantly ameliorate these effects. Conclusions: Results could be explained in part through considerations of psychoacoustic changes intrinsic to an asymmetric hearing loss and impaired auditory scene analysis. Given the prevalence of music and its capacity to influence an individual’s well-being, results here present strong indications that the potential effects of SSD on music appreciation should be considered in a clinical context; an investigation into relevant rehabilitation techniques may prove valuable.
26
Osiebe, Garhe. "Electoral Music Reception." Matatu 49, no. 2 (December 20, 2017): 439–66. http://dx.doi.org/10.1163/18757421-04902011.
Full textAbstract:
Abstract Audiences in Africa are a grossly under-researched demographic. This paper centres on the comparative analysis of two electoral audience-based surveys conducted between April and September 2012 in the Nigerian states of Bayelsa and Lagos; following the April 2011 presidential election in Nigeria that ushered the erstwhile President Goodluck Jonathan into power. The surveys sought to know the electorates’ reaction to the electoral campaign songs that endorsed Jonathan and how these songs informed their choice of candidate. The paper’s analysis combines an appreciation of the surveys’ results and the surveys’ procedure while focusing on the middle-ground between aesthetics and politics in the context.
27
Sanchez-Behar, Alexander. "SYMMETRY IN THE MUSIC OF JOHN ADAMS." Tempo 68, no. 268 (March 20, 2014): 46–60. http://dx.doi.org/10.1017/s0040298213001678.
Full textAbstract:
AbstractClose examination of John Adams's oeuvre reveals that symmetry is one of the predominant features of his music. Three common types of symmetry are encountered in Adams's works: reflection, translation and rotation. This article investigates these symmetries and tracks their development throughout Adams's compositional career. An analysis of selected works from the 1970s (China Gates and Phrygian Gates), 1980s (Grand Pianola Music and Fearful Symmetries) and 1990s (the Violin Concerto and Century Rolls) highlights the most pervasive symmetry in each decade and shows a shift from preconceived overarching symmetries that frame entire musical structures to smaller-level symmetries that affect the music at a level of phrase and motivic structure.
28
Chamczyk, Ewa. "Pojedynki dźwiękiem pisane. Pietro Antonio Locatelli versus Jean-Marie Leclair." Kwartalnik Młodych Muzykologów UJ, no. 47 (4) (2020): 71–104. http://dx.doi.org/10.4467/23537094kmmuj.20.018.13204.
Full textAbstract:
Duels of the Sound: Pietro Antonio Locatelli Versus Jean-Marie Leclair The tradition of musical duels harkens back to the days of the ancient Greece. One of the earliest examples of a musical rivalry is the myth of Marsyas and Apollo, which ends tragically for the satyr. Without doubt, the battles of the ancients served as an inspiration for the next generations of musicians. In each era, they took a different form, tailored to the prevailing norms and customs. In the 16th century the singing competitions of the Meistersingers became extremely popular, and along with the development of instrumental music in 17th century, duels, in which the main subject-matter of the dispute was the superiority of one of the performers in terms of interpretation and fluidity in playing a given instrument, gained increased importance. A real boom of musical duels did not came along until 18th century, in which public concerts bloomed and along with it, the demand for virtuoso instrumentalists increased. During that era, musical duels were not only confrontations between specific musicians or their patrons, but also contributed to the exchange of experiences between the artists and the spread of musical news and the works themselves. Additionally, the battles symbolised a confrontation of musical styles, in particular the Italian and French styles. Jean-Marie Leclair, known as the French Corelli, is considered by many researches as the founder of the French violin school. Pietro Antonio Locatelli, an heir to the legacy of Arcangelo Corelli is justifiably considered the Paganini of the 18th century. Their music has shared roots in the tradition of the Italian violin school, yet it differs both in terms of its formality as well as expressiveness. At first glance the French music of J.M. Leclair bears the imprint of standards of the violin concerts of Antonio Vivaldi, whereas the typically Italian works of P.A. Locatelli significantly transcend the norms accepted at that time in terms of requirements imposed on violinists. We know that the first confrontation of the violinists took place on 22 December 1728 at the manor in Kassel. However, some speculate that it was not the only meeting of the musicians. The preserved information suggest that both of them stirred strong emotions among the audiences with their playing. The profiles of the aforementioned composers, despite their immense importance on the development of violin music, still remain underrated. This article outlines the short story of musical duels and sheds light on violin concerts in the first half of the 18th century. Additionally, the author made an attempt of a comparative analysis of selected violin concerts, i.e. Locatelli’s Violin Concerto in G major, Op. 3, No. 9 and Violin Concerto in A minor Op. 7, No. 5 by Jean-Marie Leclair’s from a similar artistic period of both composers and close in terms of the time of their creation to their famous duel.
29
Grebneva, I. "”The image” of the violin in the creative work of A. Corelli (on the example of the concerto grosso genre)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (September 15, 2018): 115–27. http://dx.doi.org/10.34064/khnum2-49.08.
Full textAbstract:
Statement of the problem. The violin style of A. Corelli, a composer-violinist who laid the foundation for the development of the violin art in Europe, represents a special “image of the instrument” that entered the professional-academic arena during the Baroque era. The research of A. Corelli’s violin style belongs to the field of organology, which is dedicated to the integrated study of instruments as the “organs” of musicians’ thinking. The close relationship, connection of the individual who is playing music with his/her instrument is not only one of the little developed theoretical problems, but also the basis of the practice for performing music, as well as learning this art. Analysis of recent publications on the topic. The available sources on the creative work of A. Corelli (written by K. Kuznetsov, I. Yampolsky, L. Ginzburg, N. Harnoncourt) contain either general information or individual observations on the image of the violin in the Baroque era. It is necessary to point out the significance of the general theory of the violin style (E. Nazaikinsky, V. Medushevsky, V. Kholopova, Y. Bentya) for the development of scientific ideas about the "image of the violin". The purpose of the article is to identify the special features of the “image” of the violin in the style of A. Corelli on the material of Concerti grossi op.6. The presentation of the main material. At the time of the creation of Concerts op.6 by A. Corelli, in Italy there was a violin school, which was distinguished by an exceptional variety of playing techniques. It was here that the historical process of replacing the viol with the violin was finally completed. The violin becomes the leading instrument in the instrumental genres of the 17th century music – suite, trio-sonata, solo sonata, and by the end of the century – concerto grosso. The path of movement to A. Corelli’s universal, generalized-reduced violin style ran along the line “ensemble feature – concert feature – solo feature”. The creation of the academic style of the violin playing logic is the merit of the Bologna school. The main thrust of the violin style of Bologna masters (Torelli, Antonia, Bassani, Vitali, and later Corelli and Vivaldi) is the combination of “church” and “chamber” models of the violin playing. For instrumental sound in an ensemble or orchestra, a “canon” and certain limitations in the technique of the playing are necessary, allowing establishing the balance of the parts of instruments and instrumental groups. The “invention” (inventio) in the violin playing, characteristic of the Italian school of the first half of the 17th century, was aimed at identifying the whole complex of the possible techniques of playing this instrument. The violin plating logic in Concertі grossi by A. Corelli is subordinated to the combination of two artistic and aesthetic tasks arising from two styles of concert making – the “church” one and the “chamber” one. Hence the choice of the appropriate techniques for playing. The “church” style, despite its democratization inherent in the Italian violin school, acquired the functions of a public concert for a mass audience and was distinguished by greater severity and regulation of the complex of the violin playing techniques. This stemmed from the genre style (“concert in the church”), where polyphonic presentation prevailed in the fast parts, the “tempo” names of the parts were used, and the organ in the numbered bass part was used. The “chamber” style opened up wider possibilities for the violin and the creation of an expressive technical complex associated with the genre (“dance” parts), replacing the organ in basso continuo with the harpsichord (cembalo), other stringed and plucked instruments (lute, theorbo), low string-and-bow instruments (gamba, cello, double bass), which gave a mono-articulate character to the general sounding. Playing shades of "lively speech" on the violin is a characteristic feature of A. Corelli’s violin style, reflected in the instrumental-playing complex through phrasing, attention to details and to micro-intonation. Conclusions. In describing the historical and artistic situation, in the context of which the style of the “great citizen of Bologna” was formed, its innovations have been outlined. The signs of the turning epoch have been indicated – they are the transition from the Renaissance polyphony and the “church” style to the secular homophony, with the instruments of the violin family singled out as the main ones. The particular attention has been paid to the principles of the violin intonation in the form of a speech playing (sprechendes Spiel) and dance motor skills, which together formed the semantics of A. Corelli’s violin style in the genres of concerto grosso, trio sonatas, solo sonata with bass. The main features of A. Corelli’s violin style, which became determinant for compositional decisions in the field of thematic, texture, and harmony, have been revealed.
30
Colprit, Elaine J. "Observation and Analysis of Suzuki String Teaching." Journal of Research in Music Education 48, no. 3 (October 2000): 206–21. http://dx.doi.org/10.2307/3345394.
Full textAbstract:
This study is an examination of teacher and student behavior in 48 violin and cello lessons taught by 12 expert Suzuki string teachers. One representative excerpt of work on a repertoire piece that had been introduced in a preceding lesson was extracted from each lesson videotape and analyzed in detail. Each excerpt was divided into segments (labeled “rehearsal frames”) that encompassed the instructional activities devoted to proximal performance goals (labeled “targets”) identified by the teacher. Targets were recorded for each rehearsal frame and categorized according to the teacher's description of the target and according to the aspect of performance to which the target pertained. Instructional activities within 338 rehearsal frames were examined in terms of the rates, durations, and proportions of time devoted to aspects of teacher and student behavior. Across all rehearsal frames ( N = 338), approximately 45% of the total time was devoted to teacher verbalizations, 20% to teacher modeling, and 41% to student performance. Episodes of teacher and student activity were frequent and brief, indicating a rapid pace of instruction. Lessons were characterized by high rates of approvals and a clear focus on one aspect of performance at a time.
31
Uspenska, I. O. "Violin concerto principles as a way of musical thinking: semantic discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 169–88. http://dx.doi.org/10.34064/khnum1-56.11.
Full textAbstract:
Background. The history of concert music, separated from ritual and other non-musical functions, is closely connected with the art of violin. The violin was the leading instrument of the Baroque concert style, the examples of which are still unsurpassed. Despite the large amount of research on the formation and varieties of violin style, the concept of “concert” in combination with the concept of “violin” has not yet been considered separately, which determines the relevance of the topic of this article. The object of the research is a concerto principle of musical thinking in violin music; the purpose of the study is to identify the features of the phenomenon of concert in the system of music genres with the participation of the violin. Research methodology. To highlight the content of the stated topic, the article uses elements of both general and special musicological methods, including: historical genetic, deductive, comparative (general scientific approaches); organological, genre and stylistic analysis (musicological approach). Results. The article is devoted to the characterization of the “concerto principles” concept, which is the basis for the study of concert works for violin. It is noted that such phenomena and concepts as “concerto principles”, “concertіzing”, “concerto” are based on the reflection of the dialogue idea in its projection on the dialectic of musical formation (according to B. Asafiev). The author of the article identifies the main approaches to classifying the types of concerto as a musical genre, pointing out the following oppositions: “composer – performer-soloist”, “performer-soloist – orchestra”, and “structural canon – freedom of construction”. The significance of such attributes of concerto as virtuosity and improvisation inherent in any concert forms, including with the participation of the violin, is highlighted. It is noted that the implementation of the concerto principles, which come from large concert forms by J. S. Bach (according to Yu. Kholopov), is a prerequisite in the practical application of the concerto violin music models that are individually embodied in the work of modern masters, including Kharkiv citizens. In order to characterize the phenomenon of violin concerto principles, it was necessary to dwell on the nature of a whole complex of phenomena defined by B.Asafiev as “the basis and principle of concerto”. Based on the observations made by the founder of intonation theory, we can conclude that there is a common core of any concerto music – the idea of a dialogue that arises between the generating and generated intonational and thematic impulses that potentially contain a key to the dialectic of the musical process in its various structural formulations. The dialogue nature of concerto as a special musical genre also includes such attributes as virtuosity and improvisation. However, their presence in a concerto has various gradations and is not, as a rule, a foreground factor. At the same time, we cannot deny that the virtus aesthetics (lat. – valor, talent) is important within the system of concerto genres represented in music for a certain instrument, in particular, the violin. In this regard, a concerto is always a “competition and agreement” between the soloist and the orchestra accompanying him. As a result, and on this basis, we can say about the formation of the three main types of interaction between the participants in the concert dialogue: dominating solo, dominating orchestra, and parity (according to K. Kuznetsov). It should be noted that the improvisation clarifies the meaning of concerto as a performing genre, which is aimed at the free expression of a musician, unlimited by the existing canons and structural models. The genome of concerto (M. Bondarenko) is realized in a rather wide variety of musical forms and genre subtypes – from the standard model of a concerto for a solo instrument with orchestra, a concert for orchestra, a “concerto without orchestra” (R. Schumann), to any other genre forms containing signs of concerto (K. Bila). In evolutionary terms, the development of the concert dialogue idea went through several stages in which two multidirectional vectors are distinguished – centripetal (the way to concerto as a special kind of symphonic genre) and centrifugal (“dispersal” of concerto as a principle of musical thinking in different intonation systems – mono-, poly- and liberal-genre, according to G. Daunoravichene). The “Genre Explosion” (L. Shapovalova), inherent in Modern music, influenced concerto as a musical genre, where composers and performers can discover for themselves and for listeners the most diverse elements of language and technology, referring to different eras and genre styles. The absence of a unified concert model in modern composer and performing practice is largely due to the set of instruments. The instrumental component of concert genres (namely genres, not a genre) is in modern conditions a key determinant in implementing the principles of concerto, which fully applies to violin music. It was the violin that was one of the main instruments that determined the appearance of a solo concerto in the Baroque music, where the foundations of the entire subsequent development of instrumental genre traditions were laid in the direction from the typical vision to the author’s version – the hypothesis of the world (M. Starcheus), concentrated in the genre “matrix” (E. Nazaikinsky). The unsurpassed examples of a large concerto form, which composers of all subsequent eras have oriented themselves to, are found in the works of J. S. Bach, who was not so much an “inventor” as a “trend-setter”. In concertos by J. S. Bach, the severity and seriousness of thought are combined with a peculiar “neutralization” (Yu. Kholopov) of form elements that create a kind of its internal tonal and harmonic “frame”. At the heart of Bach’s concerto principles, which apply to all other manifestations of this principle, and to modern violin literature, there are two constructive standards – polyphonic (theme and interlude) and homophonic (theme and episode), in which Yu. Kholopov sees not only differences, but also similarities. The author of this article did not set the goal of illustrating these principles on the material of specific works from the creative portfolios of Kharkiv masters. At the same time, the three principles of constructing a large concerto form – alternative, developmental and reprise-repeated (Yu. Kholopov), developed by I. S. Bach, can be traced in a number of examples – from concertos for violin (violins) with orchestra – to concerto miniatures , where the “image” of the instrument is realized through various gradations of concerto as the basis and principle of musical thinking. Conclusions. The semantics of violin concerto is revealed in two meanings, concentrated in the components of this phenomenon. The main one is “concert” as a principle of musical thinking, based on a combination and different types of ratio of dialogicity (genre constant), virtuosity and improvisation (genre attributes). The second component of the phenomenon – “violin” – specifies the first at the level of the genre system, which is multifaceted and includes works of different models, classified on the basis of mono-, poly- and librogenre. The semantic “matrices” of violin concerto find expression in the corresponding genre forms, which was first demonstrated in the music of the late Baroque (J. S. Bach), where they were divided into two most common types of poetics: polyphonic (theme and interlude), homophonic (theme and episode). The article states that on this methodological basis it is necessary to approach the concert violin style in the works of both individual authors and regional schools, in particular, one of the leading in Ukraine – Kharkiv, which is the immediate prospect of further study of the topic.
32
Lv, Yang. "Influence of cognitive neural mechanism on music appreciation and learning." Translational Neuroscience 10, no. 1 (April 23, 2019): 57–63. http://dx.doi.org/10.1515/tnsci-2019-0010.
Full textAbstract:
AbstractBased on the related research results of the relationship between cognitive neural mechanism and music in recent years. In this paper, we study the relationship between the cognitive neurons and music from the overlapping and separation of brain neuro-mechanism and the significance of functional relationships between the two. Through analysis, it can be seen that the cognitive neural mechanism has a certain influence on music appreciation and learning and the studies on brain-damaged patients show that the two may have separate and independent neural bases. Finally, we find the influence of sub-consciousness on decision making through the measurement of SCRs (skin conductance responses), and thus propose a decision model modified by subconscious and make an outlook for future research trends.
33
Wolf, Motje. "The Appreciation of Electroacoustic Music: The prototype of the pedagogical ElectroAcoustic Resource Site." Organised Sound 18, no. 2 (July 11, 2013): 124–33. http://dx.doi.org/10.1017/s1355771813000046.
Full textAbstract:
This article introduces research on the influence of teaching on the change of inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to make Key Stage 3 students (11–14 years old)1 familiar with electroacoustic music. The curriculum introduced music using concepts, such as music with real-world sounds and music with generated sounds. Presented in an online environment and accompanied with a teachers’ handbook, the curriculum can be used online or as classroom-based teaching resource.The online environment was developed with the help of user-centred design. Following this, the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester, UK. Data were collected using questionnaires, a listening response test and a summary of the teaching (letter written by participants). Qualitative content analysis was used for the data analysis.Results include the change of the participants’ appreciation of electroacoustic music during the study. Successful learning and a decrease in alienation towards electroacoustic music could be measured. The study shows that the appreciation of electroacoustic music can be enhanced through the acquirement of conceptual knowledge. Especially important was the enhancing of listening skills following a listening training as well as the broadening of the participants’ vocabulary that enabled them to describe their listening experience.
34
Vinnicombe, Thea, and Pek U. Joey Sou. "Socialization or genre appreciation: the motives of music festival participants." International Journal of Event and Festival Management 8, no. 3 (October 9, 2017): 274–91. http://dx.doi.org/10.1108/ijefm-05-2016-0034.
Full textAbstract:
Purpose Academic studies have sought to understand the motivations of festival and event attendees usually through single-event case studies. This approach has failed to generate a generalizable set of motivation items. In addition, there is increasing criticism in the literature of the common methodological framework used in festival motivation studies, due to a perceived over-reliance on motivations derived from the broader tourism and travel research, with too little attention to event-specific factors. The purpose of this paper is to address these issues by analyzing a sub-category of motivation studies, music festivals, in order to see if this approach can elicit a consistent set of motivation dimensions for the sub-category, which can in turn be compared and contrasted with the broader literature. A new case study of motivations to attend the 28th Macau International Music Festival (MIMF) is included to complement the existing music festival sub-category by adding a classical music and music festivals in Asia. Design/methodology/approach Motivation dimensions important to music festivals are compared to dimensions across the broader festival motivation literature to find similarities and differences. Factor analysis is used to identify the motivation dimensions of attendees at the MIMF and the results are compared to those of existing music festival studies. Findings Music festival goers are shown to be primarily motivated by the core festival offering, the music, in contrast to festival attendees in general, where socialization has emerged as the primary motivating element. The results of the additional case study support these findings. Originality/value In contrast to previous research, this study examines the possibility of identifying common motivations among festival attendees through studying festivals by sub-categories.
35
Robinson, Thomas O., James B. Weaver, and Dolf Zillmann. "Exploring the Relation between Personality and the Appreciation of Rock Music." Psychological Reports 78, no. 1 (February 1996): 259–69. http://dx.doi.org/10.2466/pr0.1996.78.1.259.
Full textAbstract:
Scores on five personality characteristics, extraversion, neuroticism, and psychoticism as well as reactive and proactive rebelliousness, and the appreciation of soft/nonrebellious and hard/rebellious rock-music videotapes were explored. After completing the personality tests, female and male undergraduates were exposed to rock-music videotapes and asked to rate various aspects of their enjoyment of each. Analysis indicated that psychoticism and reactive rebelliousness were associated with enjoyment in a parallel fashion. Specifically, respondents scoring high on psychoticism or high on reactive rebelliousness enjoyed hard/rebellious rock-music videotapes more than did their peers scoring low on psychoticism or low on reactive rebelliousness. The reverse was evident for the enjoyment of soft/nonrebellious rock-music videotapes. In contrast, scores on extraversion, neuroticism, and proactive rebelliousness were not associated with enjoyment. Gender differences emerged, however; women ( n = 78) enjoyed soft/nonrebellious rock music more than did men ( n = 60); and conversely, men enjoyed hard/rebellious rock music more than did women.
36
Cho, Sung-gi, and Seok-il Yun. "Analysis on the Effects of Music Appreciation Teaching Methods for Improving Musical Vocabulary Ability." Korean Society of Music Education Technology, no. 37 (October 16, 2018): 153–73. http://dx.doi.org/10.30832/jmes.2018.37.153.
Full text
37
Jeong, Jaeeun. "An Implications through the Analysis of Appreciation Sections and Activities in Secondary Music Textbooks." Educational Research Institute 39, no. 2 (December 30, 2019): 317–36. http://dx.doi.org/10.34245/jed.39.2.317.
Full text
38
Zebua, Testi Bazarni, Julaga Situmorang, and R. Mursid. "PENGARUH STRATEGI PEMBELAJARAN DAN APRESIASI TERHADAP HASIL BELAJAR SENI MUSIK SISWA." Jurnal Teknologi Pendidikan (JTP) 11, no. 1 (November 2, 2018): 60. http://dx.doi.org/10.24114/jtp.v11i1.11197.
Full textAbstract:
Abstrak: Tujuan penelitian ini adalah: (1) untuk mengetahui apakah belajar seni musik siswa yang diajar dengan menggunakan strategi pembelajaran discovery learning lebih tinggi dari strategi ekspositori, (2) untuk mengetahui apakah hasil belajar seni musik siswa yang memiliki tingkat apresiasi tinggi lebih tinggi dari tingkat apresiasi rendah, dan (3) Untuk mengetahui apakah ada interaksi antara strategi pembelajaran dan apresiasi dalam memberikan pengaruh terhadap hasil belajar seni musik siswa. Metode penelitian menggunakan quasi eksperimen dengan desain penelitian penelitian faktorial 2 x 2. Teknik analisis data menggunakan ANAVA dua jalur pada taraf signifikan α = 0,05. Temuan penelitian menunjukkan : (1) Hasil belajar seni musik siswa yang diajar dengan strategi pembelajaran discovery learning dari konstruktivisme (79,67) lebih tinggi dibandingkan siswa yang diajar dengan strategi pembelajaran ekspositori (76,67). (2) Hasil belajar seni musik siswa yang memiliki tingkat apresiasi tinggi (79,50) lebih tinggi dibandingkan siswa yang memiliki tingkat apresiasi rendah (74,93). (3) Terdapat interaksi antara strategi pembelajaran dan tingkat apresiasi dalam mempengaruhi hasil belajar seni musik siswa. Siswa dengan apresiasi tinggi akan memperoleh hasil belajar yang lebih tinggi jika diajar dengan strategi pembelajaran discovery learning dari konstruktivisme. Demikian pula dengan siswa yang memiliki apresiasi rendah, akan memperoleh hasil belajar yangg lebih tinggi jika diajar dengan strategi pembelajaran ekspositori. Kata Kunci: strategi pembelajaran, apresiasi, hasil belajar seni musik Abstract: The purpose of this study are: (1) to find out whether learning music art students taught by using discovery learning learning strategies is higher than expository strategies, (2) to find out whether the results of students learning music are higher than low level of appreciation, and (3) To find out if there is an interaction between learning strategies and appreciation in influencing students' learning outcomes in music. The research method uses quasi-experimental research design with 2 x 2 factorial research. Data analysis techniques using two-way ANAVA at a significant level α = 0.05. The findings of the study show: (1) The results of learning the music arts of students taught by discovery learning learning strategies of constructivism (79.67) are higher than students taught with expository learning strategies (76.67). (2) The results of learning the music arts of students who have a high level of appreciation (79.50) are higher than students who have a low appreciation level (74.93). (3) There is an interaction between learning strategies and the level of appreciation in influencing students' learning outcomes in music. Students with high appreciation will obtain higher learning outcomes if taught with discovery learning learning strategies from constructivism. Likewise with students who have low appreciation, will get higher learning outcomes if taught with an expository learning strategy. Keywords: learning strategies, appreciation, learning outcomes of music art
39
Schubert, Emery. "Which Nonvocal Musical Instrument Sounds Like the Human Voice? An Empirical Investigation." Empirical Studies of the Arts 37, no. 1 (March 28, 2018): 92–103. http://dx.doi.org/10.1177/0276237418763657.
Full textAbstract:
Nonvocal musical instruments like the oboe, cello, and violin, have been described as resembling the human voice. However, much of the evidence is based on historical reports and hearsay. In this study, 174 participants rated instruments according to how much they sounded like the human voice. Analysis revealed that no nonvocal instrument was rated as being voicelike, with moderate mean ratings for the clarinet, oboe, violin, and cello. The violin was rated as statistically more voicelike than the trumpet. Voicelikeness was statistically higher for the instrument which the individual played or an instrument which the individual valued. Monophonic instruments such as the clarinet were also rated as overall more voicelike than those which typically could sound several parts at the same time such as the piano. Referring to an instrument as voicelike may be better thought of as a defacto for the instrument’s (and player’s) expressive capabilities.
40
Clarke, Eric, Mark Doffman, and Renee Timmers. "Creativity, Collaboration and Development in Jeremy Thurlow's Ouija for Peter Sheppard Skærved." Journal of the Royal Musical Association 141, no. 1 (2016): 113–65. http://dx.doi.org/10.1080/02690403.2016.1151240.
Full textAbstract:
ABSTRACTThis article documents and analyses a creative collaboration between the composer Jeremy Thurlow and the violinist Peter Sheppard Skærved in the production of Ouija, a work for solo violin and laptop computer. The article situates the account of this creative process within recent literature on distributed and collaborative creativity, and focuses on three aspects of the project: verbal interaction between the two musicians, analysed in terms of ‘creative-talk’ and ‘face-talk’, and the relationship between immediate and more contextual concerns (‘inside/outside the room’); a quantitative analysis of changes in the musical material, focusing on timing; and a qualitative analysis of the role of the violinist's embodied and instrumental engagement with the music. The article discusses the findings in relation to forwards-orientated (process) and backwards-orientated (product) conceptions of creativity, the operation of different social components in creative collaboration and the relationship between craft, history and embodiment.
41
Pei, Zhaoliang, and Yan Wang. "Analysis of Computer Aided Teaching Management System for Music Appreciation Course Based on Network Resources." Computer-Aided Design and Applications 19, S1 (March 23, 2021): 1–11. http://dx.doi.org/10.14733/cadaps.2022.s1.1-11.
Full text
42
Cheng, Eric, and Elaine Chew. "Quantitative Analysis of Phrasing Strategies in Expressive Performance: Computational Methods and Analysis of Performances of Unaccompanied Bach for Solo Violin." Journal of New Music Research 37, no. 4 (December 2008): 325–38. http://dx.doi.org/10.1080/09298210802711660.
Full text
43
De Poli, Giovanni, Antonio Rodà, and Alvise Vidolin. "Note‐by‐note analysis of the influence of expressive intentions and musical structure in violin performance*." Journal of New Music Research 27, no. 3 (September 1998): 293–321. http://dx.doi.org/10.1080/09298219808570750.
Full text
44
Cheng, Min-Yu, Jaclyn B. Spitzer, Valeriy Shafiro, Stanley Sheft, and Dean Mancuso. "Reliability Measure of a Clinical Test: Appreciation of Music in Cochlear Implantees (AMICI)." Journal of the American Academy of Audiology 24, no. 10 (November 2013): 969–79. http://dx.doi.org/10.3766/jaaa.24.10.8.
Full textAbstract:
Purpose: The goals of this study were (1) to investigate the reliability of a clinical music perception test, Appreciation of Music in Cochlear Implantees (AMICI), and (2) examine associations between the perception of music and speech. AMICI was developed as a clinical instrument for assessing music perception in persons with cochlear implants (CIs). The test consists of four subtests: (1) music versus environmental noise discrimination, (2) musical instrument identification (closed-set), (3) musical style identification (closed-set), and (4) identification of musical pieces (open-set). To be clinically useful, it is crucial for AMICI to demonstrate high test-retest reliability, so that CI users can be assessed and retested after changes in maps or programming strategies. Research Design: Thirteen CI subjects were tested with AMICI for the initial visit and retested again 10–14 days later. Two speech perception tests (consonant-nucleus-consonant [CNC] and Bamford-Kowal-Bench Speech-in-Noise [BKB-SIN]) were also administered. Data Analysis: Test-retest reliability and equivalence of the test's three forms were analyzed using paired t-tests and correlation coefficients, respectively. Correlation analysis was also conducted between results from the music and speech perception tests. Results: Results showed no significant difference between test and retest (p > 0.05) with adequate power (0.9) as well as high correlations between the three forms (Forms A and B, r = 0.91; Forms A and C, r = 0.91; Forms B and C, r = 0.95). Correlation analysis showed high correlation between AMICI and BKB-SIN (r = −0.71), and moderate correlation between AMICI and CNC (r = 0.4). Conclusions: The study showed AMICI is highly reliable for assessing musical perception in CI users.
45
Moore, M., L. DeHaan, T. Ehrenberg, L. Gross, and C. Magembe. "Clinical Assessment of Shoulder Impingement Factors in Violin and Viola Players." Medical Problems of Performing Artists 23, no. 4 (December 1, 2008): 155–63. http://dx.doi.org/10.21091/mppa.2008.4032.
Full textAbstract:
Objective: To describe several clinical tests and predisposing factors for shoulder impingement syndrome in violin and viola players. Subjects: Ten musicians (7 females, 3 males) and 18 controls (8 females, 10 males), all college-aged. Methods: Subjects were interviewed about their music-playing history and shoulder pain. Four clinical assessment tests were performed on both shoulders: Neer impingement text (maximal flexion +/- pain), shoulder internal rotation with over-pressure (end-feel and +/- pain), lower trapezius muscle strength (ft-lbs of torque from manual dynamometer), and forward shoulder posture (height of acromion from plinth with subject supine). Analysis: Descriptive analysis of questionnaire data, plus two-sample t-tests for manual shoulder assessment tests in musicians versus controls. Also comparisons of music-playing history in musicians with and without shoulder impingement. Results: Seventy percent of musicians reported pain somewhere in the upper limb, with 50% in the left shoulder and 30% in the right shoulder. Thirty percent of musicians had a positive Neer impingement test, while 0% of controls did. There was a significant phi (Φ) correlation between being a musician and having a higher incidence of shoulder impingement (p<0.01 for bowing arm, p<0.05 for left arm). Those musicians with a positive impingement test also had pain with over-pressure in internal rotation, indicating a chronic condition. Musicians' mean playing time was 9.8 hr/wk, with 14 min/hr of rest. Musicians with impingement tended to play more hours per week, but differences in playing time and rest were not significant. t-Tests showed no significant difference in lower trapezius strength or degree of forward shoulder between musicians and controls. Conclusions: Upper string players are at increased risk for shoulder impingement.
46
Melnyk, A. O. "Violin miniature in creativity by Liudmila Shukailo: features of the genre interpretation." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 102–15. http://dx.doi.org/10.34064/khnum2-17.07.
Full textAbstract:
Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. To the violin miniature genre the such outstanding masters of past were addressing as N. Paganini, H. Wieniawski, P. Tchaikovsky, E. Elgar, J. Sibelius, F. Kreisler, as well as the Ukrainian composers – M. Lysenko, V. Kosenko, L. Revutskyi, B. Liatoshynskyi, etc. True renaissance of violin miniature in Ukraine began in the 70’s of the XX century: about 30 miniatures were created by Yu. Ishchenko, I. Karabits, E. Stankovich, O. Kiva, V. Homoliaka, L. Bulhakov, S. Kolobkov and others. At the end of the XX century the Ukrainian artists written about a dozen miniatures and cycles, among the authors ‒ V. Sylvestrov, M. Skoryk, M. Karminskyi, K. Dominchen, H. Havrylets, O. Krasotov, V. Manyk. The 2000s years for the violin miniature genre became even more productive. Let us note the creative achievements of M. Skoryk, O. Hnatovska, I. Albova and M. Stetsiun. The miniatures by famous Kharkiv composer Liudmila Shukailo, who created a cycle of 10 plays, were an important contribution to the violin repertoire. The objective of the article is to consider the peculiarities of the genre interpretation of violin miniatures in the L. Shukailo’s creativity on the example of her collection «10 pieces for violin and piano». At the present stage the study of the genre of Ukrainian violin miniature is insufficient; in particular, L. Shukaylo’s miniatures were not considered by researchers. The methodological basis of this study is the concept of the genre of miniature by K. Zenkin (1997), E. Nazaikinskyi (2009), N. Ryabukhа (2004), L. Sviridovska (2007), N. Govar (2013), O. Harhai (2013), V. Zaranskyi (2009). The research results. Miniature is a genre that embodies a variety of lyrical emotions and subtle nuances of mental states and also presupposes clearness of a form, laconism and concentration of thought, the elegance of means of artistic expression and the chamber conditions for performance. The latter contribute to the passing of depth of its content and special intimacy of utterance. In the works of L. Shukailo all the characteristics of miniature genre are the means realization the composer’s artistic idea. There are a lot of miniatures for various instruments among her works. This genre attracts the artist with its exceptional feature: it is necessary to outline a specific laconic image without «blurring». Working on the violin miniature, the author seeks to achieve maximum effects by minimal means, taking into account the performing convenience and mobility of the chamber type of music. Creativity by Kharkiv composer Liudmila Shukailo, who for several decades has been working in the Kharkiv Middle Special Music School, attracts the attention of performers and art critics. All the time communicating with children, the composer creates a lot of various pieces for young performers. Thus, the original author’s solution demonstrates in the collection «10 pieces for violin and piano» formed on the principle of «school of playing», that is the increasing of degree of complexity. Most of the pieces have the names corresponding to different style traditions: Baroque (Passacalia), Romanticism (Elegy, Scherzino, Waltz, Intermezzo, Burlesque), some of plays are emphasized separately – «Ballet scene», «Variations» and «Spring duet». It is the contrast of genre attributes that promotes to join diverse miniatures into a cycle. The author traditionally prefers the genre of descriptive (programmed) miniature, because in it, in her opinion, it is easier to specify the content and create the vivid image that is very important for young musicians. The first piece of the collection, “Passacalia”, is stylized in the same named genre (moderate tempo, triple meter, elements of basso ostinato, etc.), however L. Shukailo uses the method of stylization creatively: she interprets this genre in the context of a new round of historical and stylistic development, with the maximum introduction of individual musical thinking. The piece “Ballet scene” marked by bright theatricality. Its waltz theme has a cross-cutting development, creates the illusion of whirling; the accents and underscores of weak shares add to it vividness and capriciousness. The piece “Oh, verbo, verbo” (“Oh, willow, willow”) is the miniature variations on the theme of Ukrainian folk song. The first variation resembles a waltz, the second – the Ukrainian dance “Cossack” with its characteristic rhythm and the third associates with the genre of Toccata due to monotonous rapid movement. The romantic quasi-vocal “Spring duet”, a musical dialogue of violin and piano, requires the ability to «sing» on the instrument, to fill the sound with a beautiful timbre. The next piece, “Allegro”, corresponds to its tempo and characteristic designation. The choice of the tonality of the miniature (“bright” C major), “grateful” for a violinist, adds a festive flavor and reveals the author’s goal: to address the music to beginners, taking into account their perception and performance capabilities. The monotony of the “canter” technical figurations, which is maintained throughout the play, unites “Allegro” with the etude and makes it possible to use it as an etude. Semantics of the next piece, “Elegies” in D minor, fully corresponds to the genre of the sad song. Its lyrical and psychological aura outlines the multifaceted image and its tense development. The contrast to the antecedent sad mood the piece “Scherzino” presents – the miniature with a characteristic for children’s music name. The stroke of staccato, the alternation of ascending and descending melodic movements, unexpected stops create a certain comic effect. Unfolded “Waltz” marked by virtuoso-improvisational character, continues the cycle. Song and recitation “Intermezzo” is characterized by the complication of the figurative and semantic aspects. The miniature has a pronounced lyrical and dramatic orientation. Modern harmonious style is manifested in the extension of tonal-harmonic relations, the introduction of alterated tones, tone oppositions, daring shifts-modulations. The piece is marked by equality of violin and piano parts, which seize the initiative from each other creating the continuity of musical development. The last miniature – “Burlesque”, with Rondo features, performs the final function in the cycle. The piece has virtuosic orientation – fast paced, rapid passages, pizzicato, dynamic contrasts and the solo Cadenza with bright loud double notes. Interpretation of this miniature can be complete only in terms of technical assimilation of all previous material. “Burlesque”, in fact, is a test of skill and can be recommended for performances in open concerts. Conclusions. Violin miniature is a conceptual genre of musical culture, performing self-sufficient artistic function like to other genres and being able to reflect the psychology of an author’s personality. In the Ukrainian composers creativity, the genre of violin miniatures is lifted on great artistic high, as the “10 pieces for violin and piano” by L. Shukailo evidenced, which are characterized by melodicism, clarity and persuasiveness of the creative idea, the logics of the musical language. The composer uses the program descriptiveness, genre stylization and folklore sources expressing in music her own emotions, impressions and feelings. Poetic imagery that fascinates with emotion and extremely romanticized reproduction of reality, as well as interesting findings in the field of form and expressive means give the works of self-containment and artistic value. L. Shukailo’s cycle “10 pieces for violin and piano” can be recommended both, for performing as an indivisible work and for using of the pieces in isolation with a methodical purpose. The cycle is aimed at the formation of not only the technical skills, but also on the possession of the specifics of adequate reproduction of the figurative and semantic content of a musical work. Prospects. The questions of scientific understanding of the individual composer’s style of L. Shukailo require the more detailed musicological analysis. Some of the observations obtained in this article can be applied in the study of a wider range of problems of modern violin art, in particular, the use of the latest composer techniques in the genre of violin miniatures. Further development of the theme will also contribute to the enrichment of the teaching and methodical repertoire in the genre of violin miniature, to identify its new genre varieties and to attract its best samples to the violin performance.
47
Labbé, Carolina, and Didier Grandjean. "Musical Emotions Predicted by Feelings of Entrainment." Music Perception 32, no. 2 (December 1, 2014): 170–85. http://dx.doi.org/10.1525/mp.2014.32.2.170.
Full textAbstract:
In our study, two groups of participants (n = 61 and n = 58) listened to nine pieces for solo violin and rated how they felt along an affect dimension and along the nine Geneva Emotional Music Scale dimensions. After each piece, they completed a 12-item questionnaire corresponding to subjective entrainment reports. A factorial analysis of this Musical Entrainment Questionnaire revealed a two-factor solution, with Visceral Entrainment (VE) corresponding to sensations of internal bodily entrainment and Motor Entrainment (ME) reflecting participants’ inclination to move to the beat. These findings represent, to the best of our knowledge, the first empirical evidence for the existence of two components underlying entrainment capable of predicting specific emotional responses to music. Indeed, although both factors predicted Affect, Joyful activation, Transcendence, Wonder, Power, and Tenderness dimensions, only VE predicted Nostalgia and Sadness. Moreover, Peacefulness was mostly predicted by ME, whereas Tension was mostly predicted by VE.
48
MacLeod, Rebecca B. "Influences of Dynamic Level and Pitch Register on the Vibrato Rates and Widths of Violin and Viola Players." Journal of Research in Music Education 56, no. 1 (April 2008): 43–54. http://dx.doi.org/10.1177/0022429408323070.
Full textAbstract:
The purpose of this study was to investigate possible influences of pitch register and dynamic level on vibrato rates and widths of university and high school violin and viola players. Analysis showed that pitch register significantly affected the vibrato rates and widths of the performers. Musicians vibrated 0.32 Hz faster and approximately 26 cents wider during high pitches than during low pitches. Dynamic level also significantly affected vibrato width. Performers increased vibrato width approximately 4 cents in the forte passages when compared to the piano passages. Furthermore, violinists demonstrated a tendency to vibrate slightly faster and wider than violists, and university performers varied their vibrato width to a greater extent between the piano and forte passages than did the high school performers. These results, along with further study, can contribute to the development of a systematic method for teaching vibrato.
49
Klanjscek, Neva, Lisa David, and Matthias Frank. "Evaluation of an E-Learning Tool for Augmented Acoustics in Music Education." Music & Science 4 (January 1, 2021): 205920432110375. http://dx.doi.org/10.1177/20592043211037511.
Full textAbstract:
Augmented Practice Room is an e-learning tool, developed by the project team, that allows music students to practice in different acoustical environments while remaining physically in their classroom or at home. Music teachers and students from violin, ‘cello, piano, clarinet, guitar, and pop-singing classes have collaborated in testing it for a semester and giving the authors continuous feedback. In this exploratory phase, we used methods such as group discussion and semi-structured diary, with the purpose to gather as many different perspectives and reactions from participants as possible. The analysis of the collected data showed that the tool was in general positively perceived and considered useful. In particular, results merged into a four-dimensional model that describes the impact of the tool on practice: musical expressiveness, level of attention or arousal, instrument-specific technical issues, and emotional state.
50
Kwon Jong Ae and MOONMIOCK. "Application and effect analysis of early childhood music appreciation education program based on oriental theory of mind." Korean Journal of Early Childhood Education 37, no. 5 (October 2017): 453–76. http://dx.doi.org/10.18023/kjece.2017.37.5.020.
Full text