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Anindhita, Galuh Adi, Siswanto Siswanto, Agnes Tika Setiarini, and Leny Suryani. "Implementasi Teknik Vokal Luk, Gregel dan Crooning dalam Repertoar Tristeza." PROMUSIKA 11, no. 2 (October 10, 2023): 91–97. http://dx.doi.org/10.24821/promusika.v11i2.10989.
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Penulisan ini membahas tentang bagaimana implementasi teknik vokal luk, gregel, dan crooning pada repertoar Tristeza dengan iringan combo keroncong. Teknik vokal luk, dan gregel merupakan teknik vokal yang digunakan dalam menyanyikan repertoar keroncong. Luk dapat diartikan sebagai bagian dari cengkok yang memperindah pembawaan lagu. Kemudian gregel merupakan hiasan dari nada yang bergerak dengan cepat. Pada penulisanya gregel dapat ditulis dengan tanda inverted mordent. Teknik vokal crooning merupakan teknik bernyanyi ringan seperti berbicara. Tristeza merupakan repertoar musik latin. Musik keroncong dan musik latin merupakan musik yang berasal dari akar yang sama. Musik latin memiliki ciri pada permainan ritmik yang kerap dipegang oleh instrumen perkusi, 2 sedangkan ciri khas musik keroncong terletak pada instrumen cak, dan cuk. Penelitian ini merupakan penelitian kualitatif dengan penerapan metode studi dokumen, wawancara dan diskografi. Hasil yang diperoleh berupa sajian musik dengan repertoar Tristeza yang telah diaransemen dibawakan dengan iringan combo keroncong, dan implementasi teknik vokal luk, gregel, dan crooning. Dengan demikian menghasilkan nuansa musik yang baru.AbstractImplementation of Luk, Gregel, and Crooning Vocal Techniques in the Tristeza Repertoire. This writing discusses how the implementation of luk, gregel, and crooning vocal techniques in the Tristeza repertoire with keroncong combo accompaniment. Luk, and gregel vocal techniques are vocal techniques used in singing keroncong repertoire. Luk can be interpreted as part of the cengkok that beautifies the rendition of the song. Then gregel is a decoration of a tone that moves quickly. In writing gregel can be written with an inverted mordent sign. Crooning vocal technique is a light singing technique like talking. Tristeza is a Latin music repertoire. Keroncong music and Latin music come from the same roots. Latin music is distinguished by its intricate rhythmic patterns, often driven by percussion instruments, whereas keroncong music is defined by the distinctive sounds produced by the cak and cuk instruments. This research is a qualitative research with the application of document study, interview and discography methods. The results obtained are in the form of a musical presentation with the Tristeza repertoire that has been arranged performed with keroncong combo accompaniment, and the implementation of luk, gregel, and crooning vocal techniques. Thus producing new musical nuances.Keywords: Luk; Gregel; Crooning; Latin; Keroncong
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Sejati, Irfanda Rizki Harmono, Tejo Bagus Sunaryo, and Sunarto Sunarto. "Seni Pertunjukan dan Kreativitas Kelompok Musik Setabuhan Yogyakarta Indonesia." Resital: Jurnal Seni Pertunjukan 23, no. 2 (August 1, 2022): 107–16. http://dx.doi.org/10.24821/resital.v23i2.7083.
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ABSTRACT Setabuhan is a musical group consisting of three people who have different musical concepts from the others. The form of Setabuhan group music is rhythmic or percussion music in which two people are percussionists, and the other plays the exploration of vocal sound. The musical instruments used by Setabuhan are drums, percussion and vocal music using digital effects. The form of music used by this Setabuhan music group is not commonly used in structural forms of musical compositions because it does not use melodic musical instruments, and the vocal music does not have lyrics. The form of the Setabuhan group performance is a collaboration of rhythmic music with the arts of Pencak Silat, or martial arts. The rhythm and tempo of the beats tend to be loud with a fast rhythmic game. This group becomes very interesting and has particular characteristics because not many musical groups have the same concept as Setabuhan . The Setabuhan music group is not well known in Indonesia but has performed many performances in various other countries. The focus of the research on the Setabuhan music group is: 1) The form of Setabuhan music performances; and 2) The creativity of the Setabuhan music group. The research method used in this research is qualitative with descriptive exposure. The research subjects were musicians of the Setabuhan music group in Yogyakarta. Data collection techniques were observation, interviews, documentation, and data analysis. The results show that the form and creativity of the Setabuhan music group lie in the rhythmic drum and percussion music playing, which is filled with exploration of vocal sounds with musical effects and collaboration with the art of Pencak Silat. The conclusion of this research is the form and creativity process of the Setabuhan music group, which is very interesting and has the characteristics of its work and form of performance.ABSTRAK Setabuhan merupakan kelompok musik yang terdiri dari tiga orang yang mempunyai konsep musik yang berbeda dari yang lain. Bentuk musik kelompok Setabuhan adalah musik ritmis atau disebut dengan musik perkusi. Dua orang sebagai pemain perkusi dan satu orang memainkan eksplorasi bunyi vokal. Alat musik yang digunakan Setabuhan menggunakan drum, perkusi dan satu musik vokal yang menggunakan efek digital. Bentuk musik yang digunakan kelompok musik Setabuhan ini tidak lazim digunakan pada bentuk struktural komposisi musik pada umunya karena tidak menggunakan alat musik musik melodis dan bentuk musik vokal nya juga tidak berlirik. Bentuk pertunjukan kelompok Setabuhan adalah kolaborasi musik ritmis dengan seni pencak silat atau bela diri. Irama dan tempo musik Setabuhan cenderung keras dengan permainan ritmis yang cepat. Kelompok ini menjadi sangat menarik dan mempunyai ciri khas karena belum banyak kelompok musik yang mempunyai konsep yang sama dengan Setabuhan. Kelompok musik Setabuhan memang belum begitu dikenal di Indonesia tetapi sudah banyak melakukan pertunjukan di berbagai negara lain. Fokus dari penelitian pada kelompok musik Setabuhan adalah: 1) Bentuk pertunjukan musik Setabuhan; dan 2) Kreativitas kelompok musik Setabuhan. Metode penelitian yang digunakan dalam penelitian ini adalah kualitatif dengan paparan secara deskriptif. Subjek penelitian adalah musisi kelompok musik Setabuhan di Yogyakarta. Teknik pengumpulan data dengan observasi, wawancara, dokumentasi, dan analisis data. Hasil penelitian menunjukan bahwa bentuk dan kreativitas yang dilakukan kelompok musik Setabuhan terletak pada permainan musik ritmis drum dan perkusi yang di isi oleh eksplorasi bunyi vokal yang diberi efek musik dan berkolaborasi dengan seni pencak silat. Kesimpulan dari penelitian ini adalah bentuk dan proses kreativitas kelompok musik Setabuhan yang sangat menarik dan mempunyai ciri khas karya dan bentuk pertunjukannya.
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Simorangkir, Yusuf. "Ornamen Musik Barok dalam Perkembangan Lagu Seriosa Indonesia." INVENSI 9, no. 1 (May 28, 2024): 113–23. http://dx.doi.org/10.24821/invensi.v9i1.8227.
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Musik Barok merupakan gaya musik klasik Barat dari tahun 1600-1750 dan di era Barok, musik vokal memainkan peran dominan, sehingga musik instrumen hadir setelah berjalannya musik vokal. Pada zaman Barok, ornamen vokal muncul karena adanya perkembangan pesat dari zaman Renaisans yang pada saat itu orang menyanyi Gregorian tanpa vibrasi sama sekali. Budaya ini dibawa oleh para biarawan yang menyanyi di gereja dan istana dengan gaya yang sangat kaku. Ornamen-ornamen tersebut semakin menambah interpretasi seseorang di dalam bernyanyi. Tujuan penelitian ini untuk melihat seberapa besar pengaruh ornamen musik Barok dalam perkembangan lagu Seriosa Indonesia. Metode penelitian yang dipakai adalah heuristik, hermeneutika, dan historiografi. Hasil penelitian ini menunjukkan beberapa ornamen yang terdapat dan dibawakan dalam repertoar Seriosa Indonesia yaitu: Trill, Mordent, Turn, Acciaccatura, Appoggiatura, dan Glissando. Kesimpulan dari penelitian ini adalah ornamen musik Barok banyak memengaruhi perkembangan lagu Seriosa Indonesia. Terlihat ketika repertoar dinyanyikan, terdapat ornamen-ornamen yang tertulis dengan simbol musik Barok maupun tidak tertulis melalui simbol, namun langsung dijabarkan ke nada-nada tanpa perbedaan bunyi. Baroque Music Ornaments in the Development of Indonesian Seriosa Songs ABSTRACT Baroque music is a style of western classical music from 1600-1750, and in the Baroque era, vocal music played a dominant role in that instrument music dropped anchor after vocal music. In the Baroque era, ornaments, particularly vocal ornaments, emerged due to the rapid development of the renaissance era when people sang Gregorians without any vibration. This culture was brought by monks who sang in churches and palaces in a very rigid style, which led to the ornaments further adding to one's interpretation in singing. The purpose of this research is to see how immense the influence of Baroque music ornaments was in the development of the Seriosa Indonesia song. The research methods used are Heuristics, Hermeneutics, and Historiography. The results show that numerous ornaments are performed in the Seriosa Indonesia repertoire: Trill, Mordent, Turn, Acciaccatura, Appoggiatura, and Glissando. This research concludes that Baroque music's ornaments greatly influenced the development of Seriosa Indonesia's songs. When the repertoire is sung, there are ornaments written with symbols of Baroque music or not written through symbols but are immediately translated into notes without sound differences.
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Radhakrishnan, Nandhu, Savithri S.R., and Rammohan Gangisetty. "Expression of Emotions in Carnatic Vocal Music." Music and Medicine 8, no. 3 (July 31, 2016): 108. http://dx.doi.org/10.47513/mmd.v8i3.438.
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Voice is the element that makes speech audible. Apart from conveying the meaning of what is spoken, it can carry a variety of information about the speaker like gender, age, general health, mood, and emotions. Expressing emotions is a crucial aspect in speech communication and vocal music. Bhava, or emotions in vocal music convey the essence of the piece rendered by the singer. This preliminary study is to understand the role of the larynx in expressing emotions like joy and sorrow in Carnatic vocal music. Twelve Carnatic singers rendered vocal emotions at three levels, joy, sorrow, and neutral. The output was recorded, analyzed, and compared between each level. Results showed significant differences between the laryngeal dynamics of joy and sorrow. The results of this and future studies will help in designing voice therapy techniques for disorders like Parkinson’s disease that affect both facial and vocal expression of emotions. Keywords: emotions, carnatic, vocal, laryngealSpanishExpresión de Emociones en la música vocal carnáticaLa voz es el elemento que hace al habla audible. Aparte de trasmitir el significado de lo que se dice, puede llevar variedad de información sobre quien habla como el género, edad, estado de salud, humor, emoción. Expresar emociones es un aspecto crucial de la comunicación hablada y esto también ocurre en el canto. Las emociones en la música vocal transmiten la esencia de una pieza (Bhava) , dictada por el cantante. Este estudio preliminar es un intento de comprender el rol de la laringe en la expresión de emociones como alegría y tristeza en la música vocal carnática. Doce cantantes carnáticos interpretan emociones vocales en tres niveles: alegría, tristeza y neutro. La producción entre cada nivel fue grabada, analizada y comparada. Los resultados muestran diferencias significativas entre las dinámicas de la laringe en alegría y tristeza. El resulto de este y de estudios futuros ayudara a diseñar técnicas de terapia vocal para desordenes como la enfermedad de Parkinson que afecta la expresión vocal y facial de emociones.Palabras claves: Emociones, carnático , vocal , laringe GermanDer Ausdruck dvon Emotionen durch Carnatic vokale Musik Abstract: Die Stimme ist ein Element, das Sprache hörbar werden lässt. Abgesehen vom Inhalt dessen, was gesagt wird, überträgt sie verschiedenste Informationen über den Sprechenden, wie Geschlecht, Alter, allgemeine Gesundheit, Stimmung und Emotionen. Das Ausdrücken von Emotionen ist ein entscheidender Aspekt verbaler Kommunikation; dies ereignet sich auch beim Singen. Bhava oder Emotionen in vokaler Musik, überträgt die Essenz eines Stückes, das von dem Sänger wiedergegeben wird. Diese einleitende Studie ist ein Versuch, die Rolle der Larynx beim Ausdruck von Emotionen, wie Freude und Leid, durch Carnatic vokale Musik zu verstehen. 12 Carnatic Sänger interpretierten vokale Emotionen in drei Stufen: Freude, Leid und neutral. Der Output der drei Stufen wurde aufgenommen, analysiert und verglichen. Die Ergebnisse zeigten signifikante Unterschiede zwischen der Larynx- Dynamik bei Freude und Leid. Die Ergebnisse dieser und zukünftiger Studien werden helfen, vokale Therapietechniken für Krankheiten wie Parkinson zu erstellen, die beides, den mimischen und vokalen Ausdruck von Emotionen beeinflussen. ItalianEspressioi ed Emozioni nella Musica Vocale CarnaticaLa voce è l’elemento che rende le nostre parole udibili. Oltre a trasmettere il significato di ciò che viene detto, può trasportare una varietà di informazioni riguardanti chi in quel momento sta parlando come, il sesso, l’età , lo stato generale di salute, l’umore e l’emozione.. Esprimere un emozione è un aspetto cruciale nella comunicazione verbale e questo avviene anche nel canto. Bhava, o le emozioni in musica comunicano l’essenza di brano, trasmessa dal cantante.. Questo studio preliminare e`un tetativo di comprendere il ruolo della laringe nell’esprimere emozoni come la gioia e il dolore nella musica vocale Carnatica. 12 cantanti Carnatici hanno fornito 3 livelli di emozioni vocali: gioia, dolore e neutralità. Il prodotto tra I vari livelli è stato registrato, analizzato, e comparato. I risultati hanno mostrato differenze significative tra le dinamiche della laringe di gioia e di dolore. Questi risultati e gli studi futuri aiuteranno alla progettazione di tecniche di logopedia per disturbi come il morbo di Parkinson, che colpisce sia l’espressione facciale che vocale dell’espressione.Parole chiave: musica vocale carnatica, laringeJapaneseカルナータカ音楽の声における感情表現について 声とは、ことばを聴覚化するための要素である。語られている事柄の意味を伝達するだけでなく、声は、語り手の様々な情報、例えば性別、年齢、健康状態、気分、感情などを伝える媒体となる。感情表現とは、言語的コミュニケーションにおける重要な要素であり、これは歌唱でも同様である。声楽音楽におけるバーヴァ（Bhava）また感情は、その曲の根本的要素であり、歌手によって表現されるものである。この予備研究は、カルナータカ音楽の歌唱で喜びや哀しみ等の感情を表現する際、歌手の喉頭部がいかに作用しているかについて理解するための検証である。方法は、12名のカルナータカ音楽の歌手が、３つのレベルの感情（喜び、悲しみ、ニュートラル）を歌唱表現する。各レベルの違いは、すべて録音され、分析され、比較された。結果として、喜びと悲しみの表現における喉頭部の動きに、大きな差が生じていることが分かった。この結果と将来的研究は、パーキンソン病などの表情や発語における感情表現に困難を持つ対象者に対して、声を使ったセラピーの 技法を設計する際に有効になると考える。キーワード：感情、カルナータカ音楽、声楽、喉頭部
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Narselina, Puput Meinis. "Analisis Bentuk Musikal dan Struktur Lagu Tanah Airku Karya Ibu Soed Aransemen Joko Suprayitno untuk Duet Vokal dan Orkestra." PROMUSIKA 6, no. 1 (August 6, 2019): 31–40. http://dx.doi.org/10.24821/promusika.v6i1.1825.
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Analisis dalam musik adalah pembelajaran untuk menemukan beberapa elemen – elemen musik yang pada prinsipnya meliputi semua aspek dari musik antara lain; melodi, harmoni, ritme, dinamika, dan bentuk musik. Karya tulis ini merupakan analisis bentuk musikal dan struktur lagu Tanah Airku karya Ibu Soed aransemen Joko Suprayitno untuk format duet vokal dan orkestra. Metode penelitian ini merupakan jenis metode penelitian kualitatif dengan pendekatan musikologis kepada arranger. Metode tersebut meliputi tinjauan historis, analisis bentuk musikal dan struktur aransemen. Penelitian ini bertujuan untuk mengetahui bentuk musikal dan struktur lagu Tanah Airku karya Ibu Soed aransemen Joko Suprayitno untuk duet vokal dan orkestraAnalysis of the music is learning to find some of the elements of music which in principle covers all aspects of music, among others; melody, harmony, rhythm, dynamics, and forms of music. This paper is an analysis of musical form and structure of Tanah Airku song from Ibu Soed arrangement works by Joko Suprayitno for vocal duet and orchestra format . This research method is a type of qualitative research methods with musicological approach to the arranger. The method includes a historical review, analysis of musical form and structure of the arrangement. This study aims to determine the musical form and structure of Tanah Airku song arrangement by Joko Suprayitno for vocal duet and orchestra.Keywords: Joko Suprayitno, Analysis of Arrangement of My Tanah Air Song by Ibu Soed
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Bürgel, Michel, and Kai Siedenburg. "Salience of Frequency Micro-modulations in Popular Music." Music Perception: An Interdisciplinary Journal 41, no. 1 (September 1, 2023): 1–14. http://dx.doi.org/10.1525/mp.2023.41.1.1.
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Singing voices attract auditory attention in music unlike other sounds. In a previous study, we investigated the salience of instruments and vocals using a detection task in which cued target sounds were to be detected in musical mixtures. The presentation order of cue and mixture signals influenced the detection of all targets except the lead vocals, indicating that listeners focus on voices regardless of whether these are cued or not, highlighting a unique vocal salience in music mixtures. The aim of the present online study was to investigate the extent to which phonological cues, musical features of the main melody, or frequency micro-modulation (FMM) inherent in singing voices contribute to this vocal salience. FMM was either eliminated by using an autotune effect (Experiment 1) or transferred to other instruments (Experiment 2). Detection accuracy was influenced by presentation order for all instrumental targets and the autotuned vocals, but not for the unmodified vocals, suggesting that neither the phonological cues that could provide a facilitated processing of speech-like sounds nor the musical features of the main melody are sufficient to drive vocal salience. Transferring FMM from vocals to instruments or autotuned vocals reduced the magnitude of the order effect considerably. These findings suggest that FMM is an important acoustical feature contributing to vocal salience in musical mixtures.
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Voigt, Boris. "Musikästhetik für den Homo oeconomicus." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 58, no. 1 (2013): 97–120. http://dx.doi.org/10.28937/1000106213.
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Autonome Musik ist nur als Ware denkbar. Diese treffende Einsicht liegt bereits der Musikästhetik Adam Smiths zugrunde, darf jedoch nicht missverstanden werden als ein auf die Musik gerichteter ökonomischer Determinismus. Vielmehr unterliegt Smiths ökonomische Theorie selbst in hohem Maße einer Ästhetisierung. Beide Ebenen, Ästhetik und Ökonomie, sind strukturell aneinander gekoppelt. Besonders deutlich wird dies an Smiths musikästhetischen Überlegungen. Er unterscheidet strikt zwischen Vokal- und Instrumentalmusik, wobei die Vokalmusik durch die Kommunikation von Sympathierelationen charakterisiert ist, während die Instrumentalmusik lediglich sich selbst kommuniziert, also autonom ist und damit der Denkfigur der unsichtbaren Hand entspricht, die in der Instrumentalmusik tatsächlich ihren präzisesten Ausdruck findet.<br><br>Autonomous music is conceivable only as a commodity. This striking insight is already underlying Adam Smith’s aesthetics of music, but it should not be misunderstood as an economic determinism on music. Rather, Smith’s economic theory itself is subject of aestheticisation. Both levels, aesthetics and economics, are structurally coupled. This is particularly evident in Smith’s musical-aesthetic considerations. He distinguishes clearly between vocal and instrumental music. While vocal music is characterised by the communication of relations of sympathy, instrumental music communicates only itself and is therefore autonomous. Thus it corresponds to the figure of the invisible hand, which actually has its most precise expression in instrumental music.
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Akbar, Mohamad Alfiah, and Layung Jingga Artista. "Efektivitas Strategi Latihan Instrumen Musik dan Vokal pada Mahasiswa." PROMUSIKA 8, no. 1 (April 5, 2020): 49–57. http://dx.doi.org/10.24821/promusika.v1i1.4445.
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Penelitian ini bertujuan untuk mengetahui efektivitas strategi latihan instrumen musik dan vokal pada mahasiswa di Jurusan Musik ISI Yogyakarta. Sampel penelitian terdiri dari 55 subjek yang berada di semester tiga dan lima, kami asumsikan mahasiswa yang berada pada semester tersebut telah mendapatkan pengalaman latihan instrumen dan vokal yang diberikan oleh dosen. Metode yang digunakan dalam penelitian ini adalah deskriptif kuantitatif. Data kuantitatif diperoleh melalui analisis skor jawaban subjek pada kuesioner efektifitas strategi latihan sehingga diperoleh gambaran mengenai strategi latihan instrumen musik dan vokal mahasiswa. Dalam menganalisis tingkat efektivitas strategi latihan instrumen musik dan vokal mahasiswa, kami melakukan pengkategorian menggunakan skor hipotetik. Dengan 3 kategori untuk mengetahui tingkat efektivitas latihan mahasiswa yaitu efektif, cukup efektif, dan tidak efektif. Dari hasil analisis skor jawaban subjek pada kuesioner efektifitas strategi latihan, menunjukkan bahwa tidak ada subjek yang berada pada kategori tidak efektif, ada 24 subjek berada pada kategori cukup efektif, dan 33 subjek berada pada kategori efektif.AbstractEffectiveness of Vocal and Musical Instrumen Training Strategies for Students. This study aims to determine the effectiveness of musical instruments and vocal practice strategies for students in the ISI Yogyakarta Music Department. The research sample consisted of 55 subjects who were in the third and fifth semesters, we assume that students who are in that semester have gained experience in vocal and instrument training given by the lecturer. The method used in this research is descriptive quantitative. Quantitative data were obtained through the analysis of the subject's answer scores on the questionnaire on the effectiveness of the practice strategy to obtain an overview of the students' musical instrument and vocal practice strategies. In analyzing the level of effectiveness of the students' musical instrument and vocal practice strategies, we categorized them using a hypothetical score. With 3 categories to determine the level of effectiveness of student training, namely effective, moderately effective, and ineffective. From the results of the analysis of the subject's answer scores on the exercise strategy effectiveness questionnaire, it shows that there are no subjects in the ineffective category, 24 subjects are in the moderately effective category, and 33 subjects are in the effective category.Keywords: Effectiveness; Practice Strategies; Musical Instruments and Vocals
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Baker, Vicki D., and Nicki Cohen. "University Vocal Training and Vocal Health of Music Educators and Music Therapists." Update: Applications of Research in Music Education 35, no. 3 (March 15, 2016): 46–54. http://dx.doi.org/10.1177/8755123316638517.
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The purpose of this study was to describe the university vocal training and vocal health of music educators and music therapists. The participants ( N = 426), music educators ( n = 351) and music therapists ( n = 75), completed a survey addressing demographics, vocal training, voice usage, and vocal health. Both groups reported singing at least 50% of the work day; moreover, music educators complained of vocal fatigue and hoarseness at the end of the week. Music educators expressed concern about their vocal health, due to the unique demands of music instruction and large classes. A majority of participants, particularly instrumental concentration majors, expressed a desire for more career-focused vocal training. Results suggest that additional university training in vocal health could help prevent vocal abuse and misuse among music educators and therapists; furthermore, music educators may be better qualified to promote healthy singing among developing voices.
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Yuehan, Chen. "The Infl uence of Russian Vocal Music on Chinese Vocal Pedagogy and Performance." Университетский научный журнал, no. 76 (October 24, 2023): 73–79. http://dx.doi.org/10.25807/22225064_2023_76_73.
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The article examines the infl uence of the Russian vocal school on Chinese culture in the context of vocal performance and vocal pedagogy. The history of the formation of Russian vocal traditions is touched upon, the process of their integration into Chinese society from the beginning of the 20th century to the present is analysed. The historical process of the functioning of Russian vocals in China is analysed both in general and through the example of the capital of Heilongjiang Province, Harbin – a city that has been considered the center of Russian emigration for more than a century. The specifi cs of teaching vocal performance to modern Chinese students in Russian higher educational institutions are considered. At the end of the article, it is concluded that the promotion of the Russian vocal school in China allows the traditions of Russian vocals to develop not only in Russia, but also abroad.
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Huka, Relin Yosi. "Paduan Suara Gereja dalam Konteks Pendidikan dan Pelayanan." Jurnal Ilmiah Religiosity Entity Humanity (JIREH) 5, no. 1 (September 9, 2023): 122–29. http://dx.doi.org/10.37364/jireh.v5i1.149.
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Music is an important part of worship because it is a tool that helps people to focus on worship. Related to this, music has functioned as a medium for people to get closer to God, both vocal and instrumental music. Vocal music involving a choir has a special character that needs to be addressed in terms of management and in the training process for improving the quality of singing. A choir is a form of group music that requires seriousness in its management. This study raises this topic related to how to manage the choir in the concept of education which is directed at improving the quality of service. This is done because the choir singers must place themselves as part of servants who have the duty to serve worship and not just as a show. The research method used is the descriptive qualitative research method.
Musik merupakan bagian penting dalam peribadahan karena merupakan sarana yang membantu umat untuk fokus di dalam peribadahan. Terkait dengan hal tersebut maka music memiliki fungsi sebagai media umat untuk mendekatkan dirinya dengan Tuhan baik itu music vokal maupun instrumental. Musik vokal yang di dalamnya melibatkan paduan suara mempunyai karakter khusus yang perlu dibenahi baik secara manajemen maupun proses pelatihan peningkatan mutu bernyanyi. Paduan suara adalah bentuk bermusik secara berkelompok yang membutuhkan keseriusan di dalam pengelolannya. Penelitian ini mengangkat topik ini berkaitan dengan bagaimana mengelola paduan suara dalam konsep Pendidikan yang diarahkan kepada peningkatan kualitas pelayanan. Hal ini dilakukan karena pnyanyi paduan suara harus menempatkan dirinya sebagai bagian dari para pelayan yang memiliki tugas untuk melayani peribadahan dan bukan hanya sebagai pertunjukan saja. Metode penelitian yang digunakan adalah metode penelitian deskriptif kualitatif.
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Curtis, Gareth. "Renaissance vocal music." Early Music XXII, no. 3 (August 1994): 505–8. http://dx.doi.org/10.1093/earlyj/xxii.3.505.
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Maxim, Christopher. "Buxtehude vocal music." Early Music XXVIII, no. 1 (February 2000): 138–39. http://dx.doi.org/10.1093/earlyj/xxviii.1.138.
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Talbot, Michael. "Italian vocal music." Early Music 33, no. 4 (November 1, 2005): 723–25. http://dx.doi.org/10.1093/em/cah174.
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Rathey, M. "Buxtehude vocal music." Early Music 39, no. 4 (November 1, 2011): 639–41. http://dx.doi.org/10.1093/em/car100.
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Helyard, E. "Handel vocal music." Early Music 40, no. 3 (August 1, 2012): 528–31. http://dx.doi.org/10.1093/em/cas076.
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Keefe, Simon P. "Mozart’s vocal music." Early Music 44, no. 2 (May 2016): 360–62. http://dx.doi.org/10.1093/em/caw051.
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Ло, Ч. "Chamber vocal music." Modern Humanities Success, no. 2 (February 25, 2024): 277–83. http://dx.doi.org/10.58224/2618-7175-2024-2-277-283.
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камерная вокальная музыка является уникальным искусством, которое объединяет выразительность певческого голоса, художественные особенности поэтического слова и звуковую красоту инструментального сопровождения. Этот вопрос связан с взаимодействием слова и музыки, жанровой организацией текста и музыкальных источников, а также особенностями исполнения вокальных произведений. Особый интерес также вызывает популярная советская песня времен Отечественной войны под названием "Дороженька", которая приобрела широкую известность в Китае и была многократно обработана современными китайскими композиторами. В этих обработках прямая связь с оригинальным советским источником со временем постепенно исчезала, но вместе с тем возникали новые музыкальные аналогии, указывающие на влияние инструментальных концертных форм музицирования, таких как фантазии, вариации и другие. Цель данного исследования заключается в изучении камерно-вокальных сочинений, созданных китайскими композиторами, и их включении в репертуар современных певцов. Это исследование стремится рассмотреть уникальные характеристики и особенности этих композиций, а также их влияние на развитие и расширение репертуара современных исполнителей. В этой статье мы обратимся к одному из наиболее актуальных вопросов, связанных с камерной вокальной музыкой, который был пристально изучен во множестве исследований, среди которых работы Б.В. Асафьева, В.А. Васиной-Гроссман, Л.А. Мазеля и других. chamber vocal music is a unique art that combines the expressiveness of the singing voice, the artistic features of the poetic word and the sonic beauty of instrumental accompaniment. This issue is related to the interaction of words and music, the genre organization of text and musical sources, as well as the characteristics of the performance of vocal works. Also a popular Soviet song from the time of the Patriotic War called “Dorozhenka” is of particular interest, which became widely known in China and has been reworked many times by modern Chinese composers. In these adaptations, the direct connection with the original Soviet source gradually disappeared over time, but at the same time new musical analogies arose, indicating the influence of instrumental concert forms of music-making, such as fantasies, variations and others. The purpose of this study is to study chamber vocal works created by Chinese composers and their inclusion in the repertoire of modern singers. This study seeks to examine the unique characteristics and features of these compositions and their impact on the development and expansion of the repertoire of contemporary performers. In this article we will address one of the most pressing issues related to chamber vocal music, which has been closely studied in many studies, including the works of B.V. Asafiev, V.A. Vasina-Grossman, L.A. Mazel and others.
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Pambajeng, Nadya Rany Sekar, Suryati Suryati, and Musmal Musmal. "Teknik Vokal dan Pembawaan Lagu Keroncong Stambul “Tinggal Kengangan” Ciptaan Budiman BJ oleh Subarjo HS." PROMUSIKA 7, no. 1 (April 7, 2019): 29–37. http://dx.doi.org/10.24821/promusika.v7i1.3166.
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Artikel ini disarikan dari penelitian yang berjudul “Teknik Vokal Dan Pembawaan Lagu Keroncong Stambul “Tinggal Kenangan” Ciptaan Budiman BJ Oleh Subardjo HS”. Ada beberapa permasalahan yang menjadi alasan untuk melakukan penelitian lebih mendalam dan hasilnya dapat digunakan sebagai referensi tambahan. Penelitian ini menggunakan metode penelitian deskriptif kualitatif sebagai pendekatan dalam menggali data-data serta tahapantahapan yang harus dilalui sesuai dengan prosedur. Sumber-sumber data diperoleh melalui metode observasi, wawancara, dan dokumentasi. Dalam meneliti teknik vokal dan pembawaan lagu keroncong stambul “Tinggal Kenangan” ciptaan Budiman BJ, terlebih dahulu menganalisa seputar teknik vokal keroncong, bentuk dan karakter lagu stambul. Setelah melakukan analisis pada teknik vokal dan pembawaan lagu keroncong stambul “Tinggal kenangan” ciptaan Budiman BJ, selanjutnya melakukan wawancara kepada beberapa pelaku musik keroncong, meliputi pelaku yang mempunyai latar belakang akademisi serta pelaku yang memang seorang praktisi musik keroncong. Dari hasil penelitian dapat diketahui bahwa teknik dan pembawaan lagu keroncong stambul “Tinggal Kenangan” ciptaan Budiman BJ mempunyai karakter dan ciri khas lagu yang mendayu, dan dibawakan dengan teknik dan improvisasi sesuai dengan pembawaan Subardjo HS. This article is extracted from a study entitled “Vocal Technique And Stylized Keroncong Stambul Song“Tinggal Kenangan” Budiman BJ creation by Subardjo HS”. There are a number of problems that are Reasons for doing more in-depth research and the results can be used as additional references. This sudy uses qualitative descriptive research methods as an approach in exploring the data and the stages that must be passed in accordance with the procedure. Data sources were obtained through observation, interviews, and documentation. In researching vocal technique and stylized keroncong stambul song Tinggal Kenangan Budiman BJ creation, especially first analyzing the keroncong vocal technique, the form and character of the stambul song, after analyzing the vocal technique and stylized keroncong stambul song Tinggal Kenangan Budiman BJ creation, then interviewing some actors keroncong music, including actors with background behind academics and practitioners of keroncong music. From the result of the study, it can be seen that the Vocal Technique And Stylized Keroncong Stambul Song Tinggal Kenangan Budiman BJ creation has the characteristic song and presented with technique and improvisation in accordance with styled by Subardjo HS.Keywords: vocal technique, styled, keroncong stambul
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Wika, Riau, Vanesia Amelia Sebayang, and Muhizar Muchtar. "SWOT Analysis of Classic Vocal Learning at The Medan Flow Music Course Institution." Journal of Social Research 3, no. 1 (December 14, 2023): 119–25. http://dx.doi.org/10.55324/josr.v3i1.1670.
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Classical vocals still have a special place in the hearts of music fans despite the complexity of learning them. The presence of music course institutions has an important role in shaping students to become skilled in the field of classical vocals. Based on this, this research aims to determine classical vocal learning strategies at the Flow Music course institution. The theories used in this research are SWOT analysis theory, learning methods, and classical vocals. The data sources in this research consist of primary sources, namely classical vocal instructors and students, while secondary sources consist of information obtained by other people or other sources previously. The data collection techniques used in the research were observation, interviews, and documentation. The research results show that the classical vocal learning strategy at the Flow Music course institution was identified from internal strengths and weaknesses as well as external opportunities and threats with the strategy results being: 1) Increasing collaboration with schools, arts institutions, and local churches to increase visibility and attract more many students; 2) Applying distance learning technology to reach students from various locations; 3) Conduct active recruitment to address the shortage of instructor quantity; 4) Establish partnerships with related music institutions in more strategic locations; 5) Increase online marketing efforts; 6) Manage finances wisely to overcome the threat of unstable economic conditions; 7) Organizing local music events and competitions involving the participation of students and the general public; 8) Improving service quality through music workshops and collaboration with the local music industry.
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Xinyue, Sun. "Research on the evolution and development of the singing style of China national vocal music." OOO "Zhurnal "Voprosy Istorii" 2023, no. 5-1 (May 1, 2023): 212–21. http://dx.doi.org/10.31166/voprosyistorii202305statyi16.
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This article briefly describes the development of China's national vocal music, and studies its style characteristics, so as to improve the understanding and grasp of the development of modern national vocal music by national vocal music workers, improve the development level of national vocal music, and provide ideas for the better development of national vocal music.
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Long, Tao. "Monitoring and Model Analysis of Vocal Performance Teaching Environment Using Cluster Analysis from the Perspective of Core Literacy." Journal of Environmental and Public Health 2022 (October 6, 2022): 1–9. http://dx.doi.org/10.1155/2022/1477309.
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To cultivate students’ artistic quality, enhance their vocal music quality, and prepare them to make great contributions to the innovation and development of my country’s vocal music art is the main goal of opening vocal music performance major in colleges and universities. With the advancement of technology and the demands of talent development, the vocal music teaching methodology for the vocal music performance major in colleges and universities must be continuously enhanced. Otherwise, there will be an issue of disconnect between teaching style and talent development, which will harm both the development of high-quality vocal music talents and the innovation and growth of vocal music performance majors in colleges and universities. The vocal music performance major at colleges and universities should actively support the reform and innovation of the vocal music teaching mode in order to extend students’ knowledge, develop their all-around ability, and provide a strong foundation for vocal music performance, to develop students’ all-encompassing musical abilities. This research suggests a design strategy for the monitoring and model optimization of the teaching environment for vocal performance majors from the standpoint of core literacy. To increase the efficiency and objectivity of course instruction, cluster analysis aids students in categorising and searching for vocal music performance main repertoire as well as using collaborative filtering recommendations to locate their own vocal music performance. The simulation test analysis is completed lastly. The method has a certain accuracy, which is 7.59% higher than the conventional algorithm, according to the simulation findings. In addition to significantly increasing student interest in studying vocal music performance courses, we further reform and innovation of the teaching method for these courses at colleges and universities can also strengthen students’ understanding of various repertoire styles and significantly enhance their musical literacy.
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Guo, Tingjun. "Application of Internet of Things Technology in Vocal Music Teaching Recording Equipment Assisted by Machine Learning." Wireless Communications and Mobile Computing 2022 (April 25, 2022): 1–10. http://dx.doi.org/10.1155/2022/2091387.
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Vocal music teaching is a professional, technical, and practical subject. It is also an important part of music and art education and has certain social and educational significance. In vocal music teaching, recording equipment is an essential teaching tool. It plays a pivotal role in vocal music teaching. In recent years, with the rapid development of China’s social economy, education has also achieved great development, and it has also brought development opportunities to vocal music education. More and more advanced technologies and equipment have appeared to assist the smooth progress of vocal music teaching, especially recording equipment. This paper is aimed at studying the application of IoT technology in vocal music teaching recording equipment assisted by machine learning. Combined with machine learning and Internet of Things technology, the experiment of recognition effect of vocal music teaching recording equipment was carried out. It designs an end-to-end vocal music teaching recording device recognition model based on the Internet of Things technology assisted by machine learning. The experimental results show that the use of this model improves the recording recognition accuracy of vocal music teaching recording equipment by 20%.
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Guo, Tingjun. "Application of Internet of Things Technology in Vocal Music Teaching Recording Equipment Assisted by Machine Learning." Wireless Communications and Mobile Computing 2022 (April 25, 2022): 1–10. http://dx.doi.org/10.1155/2022/2091387.
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Vocal music teaching is a professional, technical, and practical subject. It is also an important part of music and art education and has certain social and educational significance. In vocal music teaching, recording equipment is an essential teaching tool. It plays a pivotal role in vocal music teaching. In recent years, with the rapid development of China’s social economy, education has also achieved great development, and it has also brought development opportunities to vocal music education. More and more advanced technologies and equipment have appeared to assist the smooth progress of vocal music teaching, especially recording equipment. This paper is aimed at studying the application of IoT technology in vocal music teaching recording equipment assisted by machine learning. Combined with machine learning and Internet of Things technology, the experiment of recognition effect of vocal music teaching recording equipment was carried out. It designs an end-to-end vocal music teaching recording device recognition model based on the Internet of Things technology assisted by machine learning. The experimental results show that the use of this model improves the recording recognition accuracy of vocal music teaching recording equipment by 20%.
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Nan, Wang. "The characteristics of Russian vocal music teaching in the 20th century from the perspective of music history." OOO "Zhurnal "Voprosy Istorii" 2023, no. 3-2 (March 1, 2023): 158–65. http://dx.doi.org/10.31166/voprosyistorii202303statyi44.
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Russian vocal music teaching in the 20th century is full of characteristics, which can provide inspiration for vocal music teaching in other countries from teaching methods. The characteristics of Russian vocal music teaching are inseparablefrom its own strong music culture. This article aims to explore Russian national specific music features and the characteristics of Russian vocal music teaching in the 20th century from the perspective of music history.
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Qin, Jing. "Research on the Application of Red Songs in Music Education in Colleges and Universities under the Concept of Curriculum Thinking and Politics." World Journal of Educational Research 11, no. 3 (June 5, 2024): p79. http://dx.doi.org/10.22158/wjer.v11n3p79.
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Red classic songs have irreplaceable research value in the field of vocal music teaching in colleges and universities in China. Under the environment of the development of curriculum ideology, integrating red songs into the process of vocal music teaching in colleges and universities, seeking for the fit between red songs and vocal music teaching in colleges and universities, and carrying out the teaching in a better way are the problems that must be paid attention to and researched for the vocal music teaching in colleges and universities at present, and the organic combination of the two is able to The organic combination of the two can further implement the fundamental teaching task of vocal music teaching and effectively improve the quality of teaching. This paper discusses the current situation of teaching vocal music in colleges and universities. Under the concept of course ideology, the importance of red songs into the process of vocal music teaching has been studied and analysed to effectively establish the vocal music classroom under the concept of course ideology, and combined with the specific status quo of vocal music teaching in colleges and universities in China, it analyses the specific use of red songs in the process of vocal music teaching in colleges and universities under the concept of course ideology to effectively improve the quality and level of vocal music teaching in colleges and universities in China.
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Gao, Yongwei, Xulong Zhang, and Wei Li. "Vocal Melody Extraction via HRNet-Based Singing Voice Separation and Encoder-Decoder-Based F0 Estimation." Electronics 10, no. 3 (January 26, 2021): 298. http://dx.doi.org/10.3390/electronics10030298.
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Vocal melody extraction is an important and challenging task in music information retrieval. One main difficulty is that, most of the time, various instruments and singing voices are mixed according to harmonic structure, making it hard to identify the fundamental frequency (F0) of a singing voice. Therefore, reducing the interference of accompaniment is beneficial to pitch estimation of the singing voice. In this paper, we first adopted a high-resolution network (HRNet) to separate vocals from polyphonic music, then designed an encoder-decoder network to estimate the vocal F0 values. Experiment results demonstrate that the effectiveness of the HRNet-based singing voice separation method in reducing the interference of accompaniment on the extraction of vocal melody, and the proposed vocal melody extraction (VME) system outperforms other state-of-the-art algorithms in most cases.
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Sitinjak, Linda, Shinta P. D. Hutagalung, and Tri Wahyu Widodo. "Proses Pembelajaran Teknik Melismatis dalam Repertoar Messiah Karya G.F. Handel pada Mata Kuliah Ensambel Vokal." PROMUSIKA 9, no. 2 (March 17, 2022): 101–8. http://dx.doi.org/10.24821/promusika.v9i2.5168.
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Mata kuliah Ensambel vokal di Jurusan Musik Fakultas Seni Pertunjukan Institut Seni Indonesia pada semester genap mempunyai tingkat kesulitan yang lebih tinggi dari pada semester gasal. Alasannya adalah karena pada semester gasal mahasiswa sudah beradaptasi dengan mata kuliah pendukung lain yaitu teori musik, solfegio, dan harmoni. Mahasiswa yang menempuh mata kuliah ini tidak hanya berasal dari mahasiswa instrumen mayor vokal saja, namun berasal dari instrumen yang lainnya. Oleh sebab itu ketika mereka menyanyikan sebuah lagu, masih terdengar suara yang masih belum terbentuk dengan baik dan benar, terlebih ketika menyanyikan melodi melismatis yang panjang. Maka dari itu repertoar yang mempunyai melodi melismatis panjang menjadi repertoar wajib pada semester genap. Tujuan dari penelitian ini adalah untuk mengajarkan seluruh mahasiswa yang mengambil mata kuliah ensambel vokal dapat menyanyikan melodi melismatis dengan baik dan benar. Metode penelitian yang dipakai adalah metode Penelitian Tindakan Kelas. Dimana peneliti juga bertindak sebagai pengajar untuk mengidentifikasi penelitian kelas dan memahami apa yang sedang terjadi, serta terlibat dalam proses perbaikan. Penerapan teknik vokal staccato, legato dan aksen menjadi jawaban ketika diperhadapkan dengan repertoar yang mempunyai melodi melismatis. AbstractMelismatic Technique Learning Process in Repertoire Messiah by G.F. Handel on Vocal Ensemble Courses. The vocal ensemble course in the Department of Music, Faculty of Performing Arts, the Indonesian Institute of the Arts in the even semester has a difficulty level that is more than the odd semester. The reason is that in odd semesters students have adapted to supporting subjects such as music theory, solfeggio, and harmony. Students who take this course come not only from major vocal instrument students but consist of all other instruments so that when they sing a song, there is still a sound that is still raw and has not been formed properly and correctly, especially when faced with a melody. melismatic length. Therefore, a repertoire that has a long melismatic melody becomes a mandatory repertoire in the even semester. The purpose of this study is to teach all students who take vocal ensemble courses to sing melismatic melodies properly and correctly. The research method used is the Classroom Action Research method. Where the researcher also acts as a teacher to identify classroom research and understand what is going on, while being involved in the improvement process. The application of staccato, legato and accent vocal techniques is the answer when faced with a repertoire that has a melismatic melody.Keywords: Melismatic, Messiah, Vocal Ensemble
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Xie, Xiaolan. "Cultural Aesthetic Comparison of "Three Singing Methods"." Frontiers in Business, Economics and Management 1, no. 2 (April 24, 2021): 15–17. http://dx.doi.org/10.54097/fbem.v1i2.17.
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The art of music is an important part of human culture. Vocal music art is closely related to traditional culture. Different social, historical and cultural factors of different nationalities have injected different ideological and cultural connotations into vocal music art. In their respective cultural atmosphere, vocal music art presents very different forms of expression. The traditional cultural concepts and national psychological consciousness formed under different religious backgrounds affect the traditional artistic concepts and the trend of vocal music art, and finally lead to the differences between Chinese and Western vocal music art and cultural aesthetics.
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Kismetov, Kuanysh, and Raushan Kuanshalieva. "Development of vocal and performing abilities of future music teachers." Scientific Herald of Uzhhorod University Series Physics, no. 56 (March 8, 2024): 1454–63. http://dx.doi.org/10.54919/physics/56.2024.145dj4.
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Relevance. The crisis in music education threatens the quality of teaching, highlighting the need to enhance teachers' vocal skills to attract more students to music. Purpose. This study aimed to investigate the impact of developing vocal-performance skills on the professional training of future music teachers in Kazakhstan. Methodology. Various research methods were employed, including analysis of existing educational programs and teaching materials, comparative analysis with international practices of vocal training, study of available resources, and comparison of research results with foreign standards and recommendations in music teacher training, focusing on vocal-performance skills. Results. Improving the quality of education for future music teachers through the development of vocal-performance skills enhances their professional competence. Well-prepared teachers are better equipped to deliver music education and design curricula tailored to their students' needs. Integration of modern vocal training techniques, use of technology in music education, active engagement with musical instruments and multimedia resources, and collaboration with professional singers and vocal coaches contribute to effective learning and enhance the quality of vocal education. Conclusions. The study underscores the importance of developing vocal-performance skills in music teacher training in Kazakhstan. Educational institutions and music teacher training programs can optimize curricula and vocal teaching methods based on these findings. This optimization will improve professional competence and create a stimulating educational environment, ultimately enhancing the quality of music education in Kazakhstan. Keywords: preparation; quality of education; practical teaching methods; evaluation of training programs
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Huang, Chunyuan. "Vocal Music Teaching Pharyngeal Training Method Based on Audio Extraction by Big Data Analysis." Wireless Communications and Mobile Computing 2022 (May 6, 2022): 1–11. http://dx.doi.org/10.1155/2022/4572904.
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In the process of vocal music learning, incorrect vocalization methods and excessive use of voice have brought many problems to the voice and accumulated a lot of inflammation, so that the level of vocal music learning stagnated or even declined. How to find a way to improve yourself without damaging your voice has become a problem that we have been pursuing. Therefore, it is of great practical significance for vocal music teaching in normal universities to conduct in-depth research and discussion on “pharyngeal singing.” Based on audio extraction, this paper studies the vocal music teaching pharyngeal training method. Different methods of vocal music teaching pharyngeal training have different times. When the recognition amount is 3, the average recognition time of vocal music teaching pharyngeal training based on data mining is 0.010 seconds, the average recognition time of vocal music teaching pharyngeal training based on Internet of Things is 0.011 seconds, and the average recognition time of vocal music teaching pharyngeal training based on audio extraction is 0.006 seconds. The recognition time of the audio extraction method is much shorter than that of the other two traditional methods, because the audio extraction method can perform segmented training according to the changing trend of physical characteristics of notes, effectively extract the characteristics of vocal music teaching pharyngeal training, and shorten the recognition time. The learning of “pharyngeal singing” in vocal music teaching based on audio extraction is different from general vocal music training. It has its unique theory, concept, law, and sound image. In order to “liberate your voice,” it adopts large-capacity and large-scale training methods.
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Sanjaya, Singgih. "New Composition Concept for Keroncong Music in the Oboe Concerto with Keroncong and Orchestra." International Journal of Creative and Arts Studies 5, no. 2 (December 26, 2018): 75–85. http://dx.doi.org/10.24821/ijcas.v5i2.2413.
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this research aims to design a new concept in keroncong music creation with an explorative method. Keroncong is one kind of entertainment musics in indonesia that has a long existece and evolved up to today. Keroncong music is a musical mixture of a western diatonic music with Javanese gamelan music. the term of keroncong comes from the sound “...crong crong crong...” on the ukulele instrument that played rasquardo. an instrumentation music consists of: vocals, violin, flute, cak, cuk, cello, guitar, and bass. during this moment, keroncong is basically just served as a vocal accompaniment music. this becomes a driving force for the author to compose a special composition for keroncong music solo instrument. there is a new concept used in the arranging of this composition, as follows. this composition is designing a concerto, which is a type of the instrumental musics with a western diatonic instrument on the part-one of the solo oboe and an English horn in part-two, with keroncong music and orchestra. the conclusion of these designs are as follows. Keroncong music will be able to stand on its own as an instrumental music.
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Wu, Xiaoli. "The Infiltration Path of Aesthetic Education in Vocal Music Teaching of Preschool Education Major in Higher Vocational Colleges." Learning & Education 10, no. 5 (March 13, 2022): 241. http://dx.doi.org/10.18282/l-e.v10i5.2757.
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Vocal music teaching is an important part of aesthetic education. In preschool education of higher vocational colleges,
vocal music teaching should be carried out in aesthetic appreciation and aesthetic education should be infiltrated into vocal music
teaching, which is in line with the requirements of current teaching reform of higher vocational colleges and can also promote all-round education. Combining with the significance of aesthetic education in vocal music teaching in higher vocational preschool
education, this paper probes into the infiltration path of aesthetic education in vocal music teaching.
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Veličkova, Ludmila, and Elena Petročenko. "“Vocal Form” as a Music-Phonetic Speech Genre: Aspects of Study." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 2 (June 2021): 133–43. http://dx.doi.org/10.15688/jvolsu2.2021.2.12.
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Vocal music is a form of existence and realization of a language. Primarily, it is oral speech of a specific type. Prosodic features of vocal music, as well as its rhythm and intonation, are formed as a result of direct music-language interaction. Therefore, intonational language-music correlation provides possibility of linguistic description of national vocal music and confirms the necessity to develop theoretical foundation for studying this issue. We consider vocal speech of any genre (song, aria or choral singing) in view of its prosodic features. Correspondingly, we consider intonational realization of a vocal text as related to distinctive features of intonation within phonetic system of a given language. In the present article, the authors term vocal-music speech phenomenon as a vocal form of a language, and specify the rationale that it could be related to elements of various levels of oral text. Several aspects of the vocal form are defined, namely phonatory, phonetic, rhythmic and intonational, and considered in the following branches of linguistics: phonostylistics, intonology and speech studies. The paper presents the concept of vocal form of a language within the research prospect. According to structure-based phonological approach, the vocal form as a music-language object is interpreted as a system component, its elements being defined as language units.
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Café, Dindo P. "The Transcontextualization of Indigenous Vocal Music: A Case of Alangan Mangyans in Victoria, Oriental Mindoro, Philippines." International Journal of Social Science Research and Review 5, no. 8 (August 15, 2022): 1–17. http://dx.doi.org/10.47814/ijssrr.v5i8.527.
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This study centers on the process of transcontextualization of indigenous vocal music among Alangan Mangyan within the context of mining exploration. The ethnography sketches the indigenous vocal music of the Alangan Mangyan and the influences of etic or popular music. This paper examines the dialectic relationship between emic or indigenous vocal music and etic or popular music. Primarily, the paper argues that mining exploration in the ancestral domains of the Alangan Mangyans is a significant force in the process of transcontextualization of indigenous vocal music.
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Zhang, Gengyuan. "Environment-Friendly Vocal Music Ecological Education: Sustainable Development of Vocal Music Education from the Perspective of Building." Journal of Environmental and Public Health 2022 (August 23, 2022): 1–8. http://dx.doi.org/10.1155/2022/5168389.
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With the acceleration of the modernization of human society, natural ecology is continuously destroyed, which inevitably brings about the crisis of the human spirit, and human beings progressively lose the ability to draw power from nature. Similarly, music is losing its function of freeing people from secularity and becoming a carrier of pure utility. For a long time, there have been some disharmonious factors in the ecological environment of vocal music teaching. For example, some vocal music teaching facilities are out of date, vocal music course resources are single and scarce, vocal music courses are comparatively isolated and lack organic integration with other courses, and relevant art practices and scientific research activities of teachers and students are not carried out well after class, comprehensive quality of teachers cannot be effectively improved, and external communication of colleges and universities is not enough. This has affected the quality of vocal music teaching to a certain extent. Accordingly, an environment-friendly ecological vocal education emerged. In addition, both building and music are the supplement and creation of the human living environment by the material organization. Consequently, their performance has similar characteristics of origin. Thus, from the perspective of the building, we touch the music, listen to the building, and analyze the integration of ecological vocal music education and building. The empirical test verified the effect of ecological vocal music teaching under the building vision.
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Chen, Sisi. "Perceptions of Building Aesthetic and Cultural Characteristics in Vocal Music Teaching in Chinese Universities." International Journal of Education and Humanities 10, no. 3 (September 14, 2023): 36–39. http://dx.doi.org/10.54097/ijeh.v10i3.11852.
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As an important part of music education, college vocal music teaching not only needs to teach music skills, but also should pay more attention to cultivating students' aesthetic emotion, cultural literacy and comprehensive quality. In today's society, the construction of aesthetic culture has become one of the important tasks of college vocal music teaching. This paper firstly discusses the importance of building aesthetic culture characteristics in college vocal music teaching, then analyses the current problems, and finally puts forward a series of countermeasures, aiming to provide useful thinking and reference for college vocal music education.
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Platt, Heather, A. Craig Bell, and Lucien Stark. "Brahms: The Vocal Music." Notes 53, no. 4 (June 1997): 1160. http://dx.doi.org/10.2307/899472.
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Hunt, Yvonne, Walter Quintus, Tullia Magrini, and Roberto Leydi. "Vocal Music in Crete." Yearbook for Traditional Music 33 (2001): 215. http://dx.doi.org/10.2307/1519693.
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Dickinson, Peter. "Review: Vocal Chamber Music." Music and Letters 83, no. 2 (May 1, 2002): 333–35. http://dx.doi.org/10.1093/ml/83.2.333-a.
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Shay, Robert Stuart. "Collected Vocal Music (review)." Notes 61, no. 3 (2005): 849–51. http://dx.doi.org/10.1353/not.2005.0032.
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Dawe, Kevin, Roberto Leydi, Tullia Magrini, and Giorgos Kapsomenos. "Vocal Music of Crete." Ethnomusicology 46, no. 2 (2002): 364. http://dx.doi.org/10.2307/852799.
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Ward, M. "Renaissance sacred vocal music." Early Music 40, no. 1 (February 1, 2012): 137–39. http://dx.doi.org/10.1093/em/cas010.
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Sun, Li. "A Probe into the Integration of Traditional Music Culture in Vocal Music Teaching in Colleges and Universities." Region - Educational Research and Reviews 3, no. 2 (June 24, 2021): 65. http://dx.doi.org/10.32629/rerr.v3i2.356.
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Under the background of the current era, comprehensively deepening the implementation of teaching reform is a key consideration for schools at all levels, especially for colleges and universities. In order to carry out quality education and improve students' comprehensive literacy and professional ability, some colleges and universities have integrated traditional music culture into the vocal music teaching, and combined it with modern music art, which provides a brand-new development for vocal music teaching. At the same time, it also provides opportunities for the inheritance and promotion of traditional music culture. This article briefly expounds the significance of integrating traditional music culture into college vocal music teaching, summarizes the current problems in the process of integrating traditional music culture with college vocal music teaching, and proposes a positive and effective specific path, hoping to provide certain help and reference for the development of the vocal teaching activities in colleges and universities.
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Zhou, Yu. "Discussion on the Development Trend of Chinese National Vocal Music." Review of Educational Theory 2, no. 4 (December 4, 2019): 66. http://dx.doi.org/10.30564/ret.v2i4.1393.
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National vocal music carries the Chinese cultural spirit and Chinese national genes, and it has great influence among the broad masses of the people. The broad and profound Chinese spirit they display, with deep connotation and far-reaching significance is an important spiritual support for the survival and development of the contemporary nation. At present, the Chinese vocal music circle has effectively led the development trend of national vocal music by focusing on the inheritance and development of national vocal music, conducting academic research, singing exchanges, teaching innovation, media promotion, and field investigation, which has laid a good foundation for the creative development and innovative integration of national vocal music.
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Xu, Lihua. "The Current Situation and New Ideas of Vocal Music Education in Universities." Lifelong Education 9, no. 4 (July 22, 2020): 201. http://dx.doi.org/10.18282/le.v9i4.959.
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Vocal music teaching is one of the compulsory subjects for music majors in colleges and universities. Nowadays, the school attaches great importance to the cultivation of students' comprehensive quality. Therefore, in the teaching work of college vocal teachers, we must combine the actual situation and continuously strengthen the innovative ideas of vocal education in colleges and universities. This article elaborated on the current situation of vocal teaching in colleges and universities, and deeply analyzed the reform of vocal music in colleges and universities, hoping to provide some substantive references for vocal education in colleges and universities so that music majors can better improve their comprehensive quality.
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Zhang, Shuang Shuang, and Chao-Jung Wu. "Revitalizing Endangered Traditions: Innovative Approaches to Safeguarding Yunnan's Ethnic Minority Music as Intangible Cultural Heritage." Herança 6, no. 1 (July 26, 2023): 264–93. http://dx.doi.org/10.52152/heranca.v6i1.787.
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This qualitative research study investigates the cultural symbolism and identity exhibited by ethnic minorities in Yunnan, China, through vocal music, as well as the ethnic minority music consequences. The study adopts a three-step coding analysis based on interviews with 18 respondents representing diverse ethnic minority groups to discover themes and patterns in the cultural symbolism buried within vocal music. For data analysis, the MAXQDA-2020 software is used. The findings show that ethnic minority groups in Yunnan rely heavily on vocal music to preserve cultural history, generate community pride, and promote intercultural understanding. The rich connection between vocal music and ethnic identity, the influence of nature and environment on musical expressions, the preservation of cultural heritage through rituals and celebrations, and the evolving collaborations and contemporary adaptations in vocal music are among the themes extracted from the data. This study has three implications: general, theoretical, and practical. In overall, this study adds to our understanding of vocal music as a potent medium for cultural expression and identity building. The identification of recurring themes and patterns has theoretical significance, offering a platform for further investigation and comparative investigations. In practice, the findings influence ethnic minority music practices by emphasizing the importance of introducing vocal music traditions into curricula, encouraging cultural awareness, and developing international discussion.
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Noak, Devin Reness, and I. Dewa Made Bayu Atmaja Darmawan. "Real Time Pitch Detection For Vocal Tuning Using FFT Algoritma And Spectrogram." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 8, no. 3 (January 25, 2020): 325. http://dx.doi.org/10.24843/jlk.2020.v08.i03.p15.
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The song is a means of entertainment most often heard by humans where in the song consists of music and vocals. Good quality music and vocal singers will make a song more pleasant to hear. To make the song sound tunable and in accordance with the rhythm can be done by adjusting the vocals according to the tone of the song. From this we know that measuring sound frequencies needs to be done to determine whether a frequency or period is loud, it can also be used as a tool in vocal training, one of them for vocal tuning applications to find the harmonious sound of the sound. Moreover, it can be used as a learning need in Sound Frequency Processing. Where one of the parts to create a vocal tuning application can be through the Real-time spectrogram program. This RTS uses Pyaudio as sound recording, uses the Python 3.6 programming language and uses the Fast Fourier Transform method which will help when making real-time spectrogram and pitch detection programs. The test results obtained 75% accuracy in real-time pitch detection programs.
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Dalei, Feng. "Thinking of Chinese music academies to promote the development of national vocal music." OOO "Zhurnal "Voprosy Istorii" 2023, no. 2-2 (February 1, 2023): 218–25. http://dx.doi.org/10.31166/voprosyistorii202302statyi55.
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Over the past half century, China's music academies have achieved some success in national vocal education, but they have also exposed many problems, and the root cause of these problems lies in the lack of cultural foundation. The characteristics of vocal performance determine that the establishment of vocal singing methods and teaching systems originate from stage practice, so for a long time, the stage practice of Chinese national vocal music has been far ahead of theory.
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Yulia Pratiwi, Dina, and Erfan Erfan. "PELAKSANAAN PELATIHAN BINA VOKALIA DI PURWA CARAKA MUSIC STUDIO PADANG." Jurnal Sendratasik 10, no. 2 (December 5, 2020): 134. http://dx.doi.org/10.24036/jsu.v9i2.111168.
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This research is motivated by the existence of a vocal instructor, who does not have a musical education background, at Purwa Caraka Music Studio Padang. However, he is able to bring his students to get achievement at national level. This study aims to determine and describe the implementation of vocal training at Purwa Caraka Music Studio Padang. The aspects explored in this study are: 1) The program of vocal training at Purwa Caraka Music Studio Padang, 2) The implementation of vocal training at Purwa Caraka Music Studio Padang, 3) Obstacles to the implementation of vocal training at Purwa Caraka Music Studio Padang.This research useda descriptive analytic method. The data were collected through observation, interviews, documentation, and literature study. The results show that the implementation of vocal training at Purwa Caraka Music Studio Padang is based on the curriculum and handbooks. The methods used in vocal training are lectures, individual approachesand exercises, as well as voice production exercises which include: posture and diaphragmatic breathing, articulation techniques, intonation techniques, resonance techniques, and phrasering techniques. The obstacles in the implementation of the vocal training at Purwa Caraka Music Studio Padang are: 1) Mood of the students; 2) tone and tempo blind of the students.Keywords: Implementation, BinaVokalia, Purwa Caraka