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Journal articles on the topic 'Wind instrument and percussion music'
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S, Sivasankar, and Alaguselvam A. "Beautiful Neduvangiyam also known as Nagasuram." International Research Journal of Tamil 3, no. 2 (March 30, 2021): 65–69. http://dx.doi.org/10.34256/irjt2129.
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The purpose of this study is to understand one of the earliest known non-brass double-reed instrument called Nagasuram (Nadaswaram). Our ancestors while defining Tamil music grammar in parallel focused on sound engineering, which helped them to invent new musical instruments. Sangam era alone saw more than 30 percussion and wind instruments. Among them, few instruments like Veenai, Urumi and Nagasuram are worth mentioning since their design techniques were known only to a handful of families. Their performance really stands out due to their versatile and adaptable nature to all genres of music. Music instrument, like any other scientific invention goes through the same process of trial and error before getting standardized for general use. Instruments with strong adherence to scientific and acoustic principles gain prominence among the rest, as they undergo minimal structural changes. Nagasuram (Nadaswaram) is one such instrument, which was passed on to us for generations. This instrument readily complies with acoustic principles such as sound impedance, Helmholtz resonance, wave theory etc. to get the characteristic of a loudest non-brass wind instrument.
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P, Divyarupasarma. "An Overview of the Percussion Instrument Mridangam and its Rhythm." International Research Journal of Tamil 4, S-9 (July 27, 2022): 51–56. http://dx.doi.org/10.34256/irjt22s97.
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The "Harmonious Tune and Rhythm" are music's two ears. Rhythm is what determines the time scale of musical compositions. If the rhythm is wrong, the controls of the music will not be in order. Rhythm is what keeps music under control. In classical music, pitch is equated with mother and rhythm is equated with father. Pitch instruments include string instruments, wind instruments. Rhythmic instruments include the drums, jal tarang, cymbals, and string instruments. Some great geniuses have said that rhythm is the life of music. Through ancient literature, we learn about the formation of leather musical instruments, their structure, and their use. Leather instruments were used in various stages of human life. Musical instruments such as Thannumai (one-headed drum), Muzhavu (tomtom-large drum), Matthalam (big drum) and Mridangam (percussion instrument) have been developed as primary instruments in classical music syllabuses, stage performances and percussion instruments. References to musical instruments such as Thannumai, Mozhavu, Matthalam, and Mridangam are found in literary texts such as' Tolkaappiyam, Silapathikaram, Pancha Marabu.’ In ancient times, tools were made from clay. At present, they make instruments out of glass, wood, and fibre wood. They form joints in the skins of animals. Rice and iron powder are used for the sound. In this period, the names of Tannumai, Muzhavu, and Matthalam are changed to Mritangam. Literary messages of Mridangam, thong used for tying, right side joint, left side joint, method of putting rice, trees used, and words used can be seen in this study.
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Pawlaczyk-Łuszczyńska, Małgorzata, Małgorzata Zamojska-Daniszewska, Adam Dudarewicz, and Kamil Zaborowski. "Pure-Tone Hearing Thresholds and Otoacoustic Emissions in Students of Music Academies." International Journal of Environmental Research and Public Health 18, no. 3 (February 1, 2021): 1313. http://dx.doi.org/10.3390/ijerph18031313.
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The objective of this study was to assess the hearing of music students in relation to their exposure to excessive sounds. A standard pure-tone audiometry, transient-evoked otoacoustic emissions (TEOAEs) and distortion-product otoacoustic emissions (DPOAEs) were determined in 163 students of music academies, aged 22.8 ± 2.6 years. A questionnaire survey and sound pressure level measurements during solo and group playing were also conducted. The control group comprised 67 subjects, mainly non-music students, aged 22.8 ± 3.3 years. Study subjects were exposed to sounds at the A-weighted weekly noise exposure level (LEX,w) from 75 to 106 dB. There were no significant differences in the hearing thresholds between groups in the frequency range of 4000–8000 Hz. However, music students compared to control group exhibited lower values of DPOAE amplitude (at 6000 and 7984 Hz) and signal-to-noise ratio (SNR) (at 984, 6000, and 7984 Hz) as well as SNR of TEOAE (in 1000 Hz band). A significant impact of noise exposure level, type of instrument, and gender on some parameters of measured otoacoustic emissions was observed. In particular, music students having LEX,w ≥ 84.9 dB, compared to those with LEX,w < 84.9 dB, achieved significantly lower DPOAE amplitude at 3984 Hz. Meanwhile, both TEOAE and DPOAE results indicated worse hearing in students playing percussion instruments vs. wind instruments, and wind instrument players vs. students playing stringed instruments.
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Bielova, Yelyzaveta. "Sound images of percussion instruments: modernity and retrospections." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 120–39. http://dx.doi.org/10.34064/khnum2-19.07.
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Introduction. The widespread use of percussion instruments is a worldwide trend in artistic practice of the 20th – early 21st centuries, whose existence is due to the constant development of composer creativity and the performing art of percussion instruments playing. The named vectors of musical activity are linked inextricably, since one direction contributes to the development of another. Nevertheless, there are not still fundamental scientific works would investigate the evolution of wind instruments from the beginnings to the present in the designated context of the interaction between composer and performing arts. The questions remain open: why, over time, composers were more and more attracted to the sound images of percussion instruments? How did the formation of sound images of percussions take place and what tendencies can be distinguished in this process in connection with the development of various musical styles and genres, as well as with individual, unique composer ideas? What works contributed to the evolution of percussion instruments? The aim of the proposed research is an attempt to examine, in the context of evolutionary processes, the practice of the modern use of percussion instruments in composing and performing art. In addition to questions of their direct use in the works of composers, the sound image of percussions is considered, which can be reproduced with the help of articulation and other techniques on various instruments (piano, strings, harp, guitar etc.). Literature review and methodology of the research. This research in a factual aspect based on the works of G. Blagodatov (1969) and A. Kars (1989). However, percussion instruments are not the subject of special consideration in the works of these authors. In addition, we note that the methodological approach of the named researchers is opposite to the proposed analytical model. G. Blagodatov and A. Kars examine evolutionary processes in the history of a symphony orchestra and orchestration. However, they highlight the typical, not the special and unique, while is this interest that determines the specifics of our research. The historical and cultural approach that takes into account the historical experience of both musical and other types of art helps to “decode” the unique composer ideas. The historical and genetic research method is used when considering evolutionary processes and searching for features of historical continuity in the interpretation of sound images of percussion instruments. Findings. Modern interest in percussion instruments in the practice of playing music is associated with a new interpretation of the means of musical expression in compositions of the 20th – early 21st centuries. The reason for this interest should be sought in the correspondence of the sound image of the percussions to certain characteristics of the “picture of the world”, which develops in the work of artists throughout the XX–XXI centuries, a time of rapid total changes, when the “shock” and rigid “rhythm” become the symbols of the time, requiring, in turn, psychological relaxation and detachment. Accordingly, two main trends in the embodiment of percussion sound images formed. The first is associated with the emancipation of the rhythmic principle up to its complete liberation from the melodic one (the appearance in musical works of independent themerhythms, of expanded rhythmic structures, semantically significant rhythmic ostinatі, solo percussion instruments, in particular, in the works of the concert genre). The second is sonorous-coloristiс, revealing the wide timbre possibilities of percussion instruments, involving, among other things, exotic, archaic, atypical author’s methods of sound production, untempered sounds. In the 20 century, composers tried to free music from the power of even tempered tuning (for example, when using microtonal music in creative experiments carried out by A. Hába, Ch. Ives, I. Wyschnegradsky) and percussion instruments, by their nature, fit this tendency. Going beyond the limits of even tempered tuning concerns both pitch organization and concentration on timbre colors, sonorism. The second of the tendencies, in our opinion, responds to the hedonistic preferences of the listeners, and also corresponds to the widespread aesthetic concept of the naturalness of artistic creativity, where percussion appears as the most suitable instrument for reproducing natural biorhythms of the Universe and a Human in musical rhythms. The semantic content of percussion sound images demonstrates multidimensionality and poly-variety, up to opposite expressive meanings. Features of the use of percussion in musical works of the XX–XXI centuries are often determined by a unique composer intention, which performers and researchers should decode based on the cultural and historical experience of musical art. For example, the sound image of bells, which clearly reveals the sonor-color qualities of the percussiveness, acquires different semantic meanings depending on the author’s concept. It is possible to use sound images of percussion instruments from the standpoint of symbolism. Historical, in particular, national origins can also affect the interpretation of sound images of percussion instruments. Continuity and evolutionary changes are demonstrated by examples from the practice of using timpani, which for centuries were part of a symphony orchestra, and in the XX–XXI centuries became participants in a joint game and even soloists in different performing groups. The main section of the manuscript gives examples of all directions in the interpretation of sound images of percussion instruments. Conclusion. So, the proposed complex analytical model, taking into account the historical, national, evolutionary factors in the interpretation of sound images of percussion, which differs in different eras, seems promising, making it possible to trace the continuity in the new and the features of the cultural dialogue arising one way or another in the “big time” (M. Bakhtin) of art.
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Surtihadi, R. M. "Music Acculturation in Rhythm of kapang-kapang Bedhaya and Srimpi Dance in the Keraton of Yogyakarta (A Case Study)." International Journal of Creative and Arts Studies 3, no. 2 (December 29, 2017): 47. http://dx.doi.org/10.24821/ijcas.v3i2.1844.
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The research’s aim is to notice the music acculturation in the rhythm of female dance of Bedhaya and Srimpi dances in the Kingdom of Yogyakarta on the line-movement on-to the stage or leaving it (kapang-kapang). Besides, the research is going to discuss a West music instrument acculturation phenomenon with Javanese Traditional Gamelan Orchestra on the rhythm of female dance of Bedhaya and Srimpi dances that are still exist nowadays. The case study is focus on the usage of some West music instrument such as drum (percussion section), woodwind (woodwind section), brass-wind (brass-wind section), and stringed (stringed section) in the rhythm of the dances which are being mentioned above. The method which is being used first is by doing the quality data analysis. The result of the research are two mainly findings; those are 1) the inclusion of various elements of the palace ceremonial ritual by The Netherlands Indies government which were the impact of the European Colonization in the island of Java, especially in Yogyakarta; it has made a mentally structure of the people of Yogyakarta that would have created culture capitalized and which are being used in the context of Yogyakarta as the city of culture. 2) European military music for marching is being the inspiration of the palace to create Gendhing Mars which is being used as the rhythm in the marching movements of female dancers (kapang-kapang) together along with the ensemble of Javanese Traditional Gamelan Orchestra and the European music instruments which are being played in one sound (unisono).
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Krasnikova, T. N., and M. A. Stepanova. "DEDICATED TO THE ANNIVERSARY." Arts education and science 1, no. 30 (2022): 197–200. http://dx.doi.org/10.36871/hon.202201023.
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The article is devoted to the 65th birthday and 40th anniversary of the creative work of the composer, Honoured Artist of Russia, Laureate of Moscow Prize, Professor Victor Stepanovich Ulyanich. To celebrate this event, a concert was held at the Concert Hall of the Gnesins Russian Academy of Music on November 27, 2021. The concert program included works of a wide genre and stylistic range. In the first part there were compositions for various instrumental ensembles with the harp — the instrument the composer preferred throughout his life. Two symphonies were performed in the second part: the concert symphony for clarinet, harp and chamber orchestra "Bells of the Soul", previously presented on the CD with music by Victor Ulyanich, and the pastoral symphony "Sounds of Wind, Rain and Rainbow" for 12 flutes, harp and percussion quartet, from 2021, which was performed for the first time.
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IOAN, Cristina-Mioara. "Methodology of training music education in children and young people with the help of wind and percussion instruments, in the fanfare ensemble." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 131–40. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.14.
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The artistic phenomenon of fanfare music for ensembles made up of children and youth has seen a large development in the NV region of the country in recent years, through the enthusiasm of some musicians, teachers or conductors, but also through the openness to culture of some local communities. The assimilation of musical and instrumental notions was done through individual study coordinated by teachers or conductors, and the musical product was assembled in the band, to be presented in concerts and parades. The teaching methods used in the training of these instrumentalists are the methods used in vocational art education, although they studied the instrument as amateurs. The artistic results made the individual products (instrumentalists) become a nursery for music faculties and academies in Transylvania.
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Cajamarca Cárdena, Wilson Bolívar, Karola del Rocío Álvarez Pesántez, Gabriela Nataly Ochoa Urgilés, Guido Esteban Abad Vicuña, and Erika Priscila Montaño Loja. "Hipoacusia laboral en ejecutantes de la Orquesta Sinfónica de Cuenca, 2019." Revista Médica del Hospital José Carrasco Arteaga 14, no. 1 (April 30, 2022): 13–18. http://dx.doi.org/10.14410/2022.14.1.ao.02.
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BACKGROUND: Noise-induced hearing loss (NHL) is the second leading cause of hearing loss, after presbycusis. It is considered an occupational disease and a public health problem. The aim of this study was to establish the prevalence of occupational noise-induced hearing loss and its association with other sociodemographic and occupational variables in performers of Cuenca’s Symphonic Orchestra in 2019. METHODS: This is an observational, analytical, cross-sectional study, whose universe was conformed by the professional musicians of Cuenca’s Symphonic Orchestra in 2019. We aimed to establish the risk of noise-induced hearing loss in association with variables such as age, sex, hours of daily practice, material of the instrument played, and years of exercise as a musician, throught Odds Ratio statistical test. The 45 musicians were surveyed and audiometric tests were performed. RESULTS: The universe consisted of 45 musicians: 38 males and 7 females. The average age was 40 years. 46.7% played a musical instrument profesionaly for more than ten years and 53.3% for up to ten years. 60% practiced more than 10 hours a day. 53.3% played string instruments, 20% woodwind instruments, 17.8% brass instruments and 8.9% percussion instruments. The prevalence of hearing loss was 17.8%: 13.3% bilateral and 4.4% unilateral. The prevalence of mild hearing loss was 8.9%; moderate in 6.7% and acoustic trauma occurred in 2.2%. Age (>30 years) and working time (>10 years) represented risks for hearing loss development. CONCLUSION: The prevalence of noise-induced hearing loss was 17.8%, mostly mild and bilateral. All those who were affected were male. The prevalence was higher among musicians who played wind-metal instruments; however, no statistically significant association was found. Being older than 30, and having played professionally for more than years are risk factors for noise-induce hearing loss.
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Холопова, В. Н. "The Concept of “Multimedia” in the Music of Igor Kefalidi." Журнал Общества теории музыки, no. 4(28) (December 28, 2019): 10–17. http://dx.doi.org/10.26176/otmroo.2019.28.4.002.
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Понятие «мультимедиа» в настоящее время весьма широко используется в образовании, науке, искусстве, рекламе; в сфере музыки — в клипах развлекательных жанров. Задача статьи — очертить круг явлений мультимедиа в творчестве композитора академической традиции — И. Л. Кефалиди. Наиболее типична для данного автора трехкомпонентность: электронные звуки, звучание акустических инструментов и видеоряд — в частности, в его лучших сочинениях «TapeEхt», «S_S_S». Кроме того, имеются произведения, включающие: инструментальный театр — электроника, ударные инструменты, театральные движения, видео («Percato molto»); танец — электроника, танец, ударные, видео («Sophisteia»); партию вокала — электроника, человеческий голос, духовые, видео («…so und auch so…»); использование лазерных лучей («Feu le fol, eh!»). У других авторов композитор отмечает мультимедиа без электроники: инструментальный ансамбль и видео (Ф. Парис). В качестве показательного примера в статье разбирается сочинение «S_S_S», созданное в сотрудничестве с художником Э. Квинном. At the present time the concept of “multimedia” is quite widespread and is used in education, science, art and advertisement; in the sphere of music it is used in clips of entertainment genres. The aim of the article is to trace the circle of phenomena of multimedia in the works of a composer of the academic tradition – Igor Kefalidi. Most typical for this composer is the following triad of components: electronic sounds, the sounding of acoustic instruments and video footage, in particular, in his best compositions – “TapeEхt” and “S_S_S”. In addition, the composer has written compositions, which include: instrumental theater – electronics, percussion instruments, theatrical motions and video (“Percato molto”); dance – electronics, dance, percussion and video (“Sophisteia”); vocals – electronics, human voice, wind instruments and video (“…so und auch so…”); employment of laser beams (“Feu le fol, eh!”). The author knows multimedia works by other composers without electronics: instrumental ensemble and video (Francois Paris). As a representative example, the article examines the composition “S_S_S”, created with the assistance of artist Andrew Quinn.
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Žarskienė, Rūta. "The Music Making at the Church Feasts, or Baroque of the 20th–21st Centuries." Tautosakos darbai 49 (May 22, 2015): 145–70. http://dx.doi.org/10.51554/td.2015.29010.
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The subject of this article is the music making during the Catholic Church feasts and its development since the Christianization of the Grand Duchy of Lithuania until nowadays, with special emphasis on the music making tradition of the 20th–21st centuries. Following the spread of Christianity, the tradition of the religious feasts was quick to catch on, along with its peculiar Western European customs and culture of the musical styling. According to the historical sources, as early as in the end of the 14th century (that is, barely ten years after the official Christianization) the wind and percussion instruments were played in the Vilnius Cathedral. The academic wind and percussion instruments, having been since ancient times used in the army of various European countries, including the Grand Duchy of Lithuania, became adapted by the musical culture of the manors and dioceses, finding their use during pilgrimages, celebratory processions, services, etc. During the Renaissance and Baroque periods, an especially important social and cultural role was played by the Vilnius Academy, established by the Jesuits, at which also instruction in music was offered. The Jesuits organized particularly pompous processions of the Corpus Christi, which included theatrical performances, participation of numerous musicians and singers, firing guns, etc. According to the archived data, during the Baroque times the majority of the churches or the affiliated brethrens used to possess both the brass and the percussion instruments: usually – two or more trumpets, French horns, and kettledrums. These instruments were regarded necessary in order to celebrate the titular feasts of the parish in the appropriate way, that is, with musical accompaniment, or to travel likewise to the festivities held in the neighborhood. Thus the folk piety tradition of the brass bands got shaped, which, having already disappeared in other Lithuanian regions, continues to live on in Samogitia in the 20th–21st century. It is particularly important in relation to the rituals of visiting the Samogitian Calvary (Žemaičių Kalvarija) – a variety of the popular baroque European tradition of the Way of the Cross (Via Crucis), the first one of which in the Grand Duchy of Lithuania was established in Samogitia. Quite likely, these Stations of the Cross since their very establishment used to be visited ceremoniously, including singing and the appropriate accompaniment by wind instruments and kettledrums. This tradition survived in spite of being prohibited both during the tsarist Russian oppression and during the Soviet atheism periods. During the Soviet occupation the musicians, although being harassed or even arrested, still used to go to play at the religious feasts, thus expressing not only their devotion, but also their protest against the regime of the religious oppression. After Lithuania regained its independence in the end of the 20th century, the new kind of worshipers who had been brought up unaware of the traditional Calvary Hymns singing started the new way of singing accompanied by kanklės (Lithuanian cithertype instrument) and guitars. Still, in spite of this wave of musical pluralism, the brass bands preserved their positions. Until the present day, worshipers visiting the Stations of the Cross at the Samogitian Calvary are accompanied by the musicians playing the brass instruments, who are traditionally rewarded with money. Depending on the particular worshipers’ needs, three kinds of functions performed by the musicians can be discerned: firstly, the group of 4 to 6 musicians may only play; secondly, 2 to 5 musicians lead the prayers both singing and playing; and thirdly (a medium variant), the group of 4 to 6 musicians both plays and sings. The analysis presented in the article allows maintaining that prior to becoming part of the wedding, christening and funeral rituals of the village people, brass instruments had already become an integral part of the musical expression of the exceptional solemnity of folk piety.
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Tararak, Yu P. "The history of the origin and development of the trumpet: the organological aspect." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 123–37. http://dx.doi.org/10.34064/khnum1-54.08.
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Logical reason for research. Modern performance on wind instruments, in particular on the trumpet, is characterized by a powerful development. It is an object of listening interest and composing, and today it has a fairly large repertoire of both transpositions and original works in many instrumental compositions (from solo to various ensembles and orchestras) in different styles and genres. This situation in music practice requires theoretical understanding and generalization, however, we can state that at the moment, music science highlights the performance on the wind instruments without any system, mostly from the methodological viewpoint. Innovation. The article under consideration deals with the organological aspect of studying the specificity of the performance on the trumpet, which combines a number of historical and practical questions and allows them to be answered in connection with the requests of both music science and music practice (from the peculiarities of the sound production on various instruments of the trumpet family at different times (from the historical origins of trumpet performance to the present) to the technical and artistic tasks faced by the trumpet performer, as well as by the composers who create both transpositions of time-tested music for trumpet and original trumpet pieces that take into account technical, timbre, artistic and expressive capabilities of this instrument). Objectives. The purpose of research is to reveal connection between the historical-organological and practical specificity of the performance on the trumpet in the past and at present. Methods. The main methods of the research are historical and organological. Results and Discussion. Trumpet as a musical instrument is one of the oldest musical instruments in the world. Its earliest prototypes are revealed in archaeological studies of the historical past of humanity. The prototypes of embouchure instruments are horn, bone, and tusk pipes with conical bore, mostly curved, which are ancestors of the horn family; instruments with straight cylindrical pipes formed a family of trumpet. The art of playing wind instruments was a significant development in ancient Egypt, where the state placed musical art at the service of rulers and worship. Musicians in those days accompanied festive events and rituals; what is more, wind and percussion instruments became the basis for the creation of military orchestras. A straight metal trumpet appeared in Europe in the Middle Ages. In the countries of Central Asia, Iran, Tajikistan, Kazakhstan copper brass instruments were played. China’s music and performing culture employed bronze trumpets of various sizes. In the 14th-15th centuries the evolution of metal instruments underwent qualitative changes. Forms of curved trumpets were born. In addition to this, trumpets were split into low and high ones; later, middle-register instruments appeared. The so-called natural trumpets, used then, were very close in sound to the modern trumpet. In Europe there were masters who made metal instruments; eminent experts in this field, the Heinlein Schmidt family, the Nagel family, English masters Dudley, U. Bullem worked in Nuremberg from the 15th and up to the 19th century. The emergence of a slide trumpet, a trumpet with a sliding crook, is connected with the attempts to improve the instrument for the sound production of more chromatic sounds (we must distinguish the achievements of Anton Weidinger). An important step in the evolution of the chromatic trumpet was the use of horn invention (croooks). In the mid-nineteenth century, having improved the inventory system with a valve mechanism, the trumpet finally gained its place in the orchestra as a chromatic instrument. At the present time, a trumpet with a piston valve mechanism (in jazz, variety, modern music) has become very popular. At the turn of the 19th-20th centuries, trumpets of different structures, such as in C, in D, in Es, in F, were constructed; the designs of these trumpets are almost indistinguishable from the design of the modern trumpet. The piccolo trumpet was designed for a solo performance of ancient music (clarinet style); to amplify the low sounds, the alt trumpet in F and the bass trumpet became popular. Compared to fixed-mode instruments, the trumpet is a semifixed-pitch instrument. Therefore, a skilled performer is able to adjust the pitch within a certain area and correct defects in the setting of separate modeless sounds. The "planned" inaccuracy of the trumpet intonation is related to the use of a third valve. To correct the intonation associated with this, the trumpet has a device for extending an additional pipe of the third valve. There is no precise theoretical prediction of the given problem, so the correction of modeless sounds requires from the performer well-developed musical ear and knowledge of the specific features of their instrument. Conclusions. The summarized results of the presented article indicate that the organological aspect of the research in the field of performance on wind instruments, in particular, on the trumpet, is important and illustrative. It is an indispensable link that binds the theoretical and practical vectors of the study of trumpet art as a single set of knowledge; helps to identify the connection between the historical, organological and practical aspects of the performance on the trumpet, both past and present; promotes awareness of the specificity of playing a particular instrument, especially, understanding and assimilation of the design features of the trumpet in all its historical variants, and the corresponding principles of sound production with technical-acoustic and artistic effects; outlines the theoretical, scientific and methodological tasks for performers and composers whose work is related to the art of playing the trumpet. These are the directions in which further avenues for researching music related to the performance on the trumpet of different times, styles and genres can be seen.
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Tsiuliupa, S. D. "Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 24–39. http://dx.doi.org/10.34064/khnum1-54.02.
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This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the leitmotif of the activity of a teacher of a higher art educational institution. The works of the leading scientists of Ukraine became the fundamental scientific researches of the evolution of spiritual musical performance. V. Apatsky in the doctoral dissertation “Theoretical foundations of playing the wind instruments (on the example of bassoon)” examines the acoustic nature of the instrument and the specificity of sound formation on it, the structure and functioning of the executive apparatus and methods of its formation, the basic means of expressiveness of the bassoonist and methods of development of performing skill. I. Yakustidi in the dissertation “The value of horn tone in the learning process” and by the method of numerical laboratory measurements explored the work of the sound-forming apparatus of the horn performer. Along with the experimental experiments, the dissertation covers the issues of performance history, theory and practice, methods of teaching horn performance. P. Krul in his study “Genesis of Wind and Percussion Instrumental Performance of Ukraine” traces the genesis of wind and percussion music in Ukraine. V. Posvaluk in the dissertation “Ways of Formation and Problems of Development of the Ukrainian Trumpet Performance School: Historical, Professional-Performing, Theoretical and Methodological Aspects” for the first time reveals the peculiarity of the historical way of formation and development of the national trumpet performance school and its regional peculiarities. V. Bohdanov dedicates his dissertation “Ways of Development of the Wind Musical Art in Ukraine (from the Origins to the Beginning of the XX Century) to the Study of the Wind Musical Art of Ukraine. Based on the systematization of actual data, the main directions of its evolution are highlighted. V. Kachmarchyk. The priority areas of the dissertation research “German flute art of the 18th – 19th centuries” were the creation of the historical periodization of the German flute art of the 18th – 19th centuries, and defining the role of J. J. Kwanz, J. G. Tromlits, A. B. Furstenau and T. Bohm in the formation of the German flute school. Y. Sverlyuk in his work “Theoretical and methodological bases of vocational training of conductor of an orchestra collective in higher art establishments” he explored methodological, theoretical and methodical bases of vocational training of conductor taking into account the specifics of future professional activity. A. Karpyak. In his Doctoral dissertation “Flutist’s Artistic Thesaurus as the Basis of Performing Skills” and for the first time in Ukrainian musicology, he provided a reasoned critical analysis of the key issues and problems in the development of contemporary flute art.
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Medvid, T. "CREATIVE DEVELOPMENT OF STUDENTS IN THE MUSICAL AND PEDAGOGICAL CONCEPT OF K. ORFF." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 118–25. http://dx.doi.org/10.33989/2226-4051.2021.23.238263.
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The essence of K. Orff’s musical and pedagogical concept is considered in the article; the importance of the creative development of students of secondary schools is revealed. The meaning of 'elementary music,' which is connected with movement, dance, and word and creates a basis for the child’s development, is clarified. The five-volume collection 'Orff-Schulwerk. Musik für kinder' is analyzed; its role in creating analogues in different countries is revealed. The problem of stimulating the creative potential of the individual by means of the music-pedagogical system is highlighted.
The instruments of the children’s orchestra developed by K. Orff together with K. Sachs are described, which included melodic and noise percussion instruments, the simplest wind, and strings. The principle of active music-making and creative development of personality on the basis of playing children’s musical instruments, rhythmic movements, dance, and pantomime is analyzed. The role of rhythmic, vocal, and instrumental improvisations for the creative development of students is revealed. The curriculum at the Orff’ Institute is covered, which included the methods of teaching children’s musical instruments, a course of rhythmic exercises, choreography, conducting, solfeggio, instrumentation.
The work ‘Theory and practice of music and aesthetic education according to the system of K. Orff’ (by E. Kurishev, L. Kurisheva) is analyzed, which highlights the practical experience of Ukrainian teachers in the classroom and extracurricular activities with students. The countries that have shown interest in Orff's pedagogy and continue to work actively on this system are listed. K. Orff's conviction is formulated that the art of the future is inherent in the nature of human abilities and it is only necessary to create conditions for the creative development of the individual.
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Zdzinski, Stephen F. "Parental Involvement, Selected Student Attributes, and Learning Outcomes in Instrumental Music." Journal of Research in Music Education 44, no. 1 (April 1996): 34–48. http://dx.doi.org/10.2307/3345412.
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This study examined relationships among selected aspects of parental involvement as they relate to the cognitive, affective, and performance outcomes of instrumental music students. Independent variables were music aptitude, parental involvement, grade level, and gender. Dependent variables were cognitive musical outcomes, performance outcomes, and affective outcomes. Subjects were instrumental music students ( N = 406) from five intact band programs located in rural New York and Pennsylvania. Wind and percussion volunteers from Grades 4 through 12 participated. Data were examined using descriptive analysis, correlational analysis, and analysis of variance. Major findings included: (1) Parental involvement was related to overall performance, affective, and cognitive musical outcomes. (2) For cognitive musical outcomes, parental involvement was only related at the elementary level. (3) For musical performance outcomes, parental involvement was only related at the elementary level. (4) For affective outcomes, the strength of the parental involvement relationship increased with student age. (5) Items concerning concert attendance, providing materials, participating in parent groups, and tape-recording student performances were related to all outcome areas.
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Hughes, David W. "Oral mnemonics in Korean music: data, interpretation, and a musicological application." Bulletin of the School of Oriental and African Studies 54, no. 2 (June 1991): 307–35. http://dx.doi.org/10.1017/s0041977x00014816.
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The use of oral mnemonics in the transmission of instrumental music is a well-known and persistent feature of East Asian musics. In both Korea and Japan, there are several such systems for different instruments. There are also various systems of written mnemonics, that is, musical notation; many originally oral systems have come to be used as notations as well. Following Western scholarly usage, we shall often refer to oral mnemonics in general by the term solfège; although etymologically dubious, this practice at least helps avoid over-use of the unwieldy expression ‘oral mnemonics’.The present paper will deal with one type of oral mnemonics in Korea, known collectively as yukpo or sometimes as kuŭm (cf. Lee, 1981: 31–4; Hahn, 1973: 79–83; Howard, 1988: 68, 91, 115, 182, 212, 227).3 Yukpo exist or are known to have existed for most string and wind instruments and even for percussion. By the sixteenth century at least, these originally oral syllables had begun to be written down as a kind of musical notation. The first mention of yukpo is in the Annals of King Sejo (A.D. 1470): ‘ Formerly there was only [for musical notation] the use of mnemonic sounds, called the Yukpo … The complexities are difficult to comprehend’ (quoted in Lee, 1981: 31, Condit 1976: 205, 207 has a more extensive but interpretive translation). This quotation suggests that yukpo were already considered both old and obscure by Sejo's time.
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Stanciu, Mariana Domnica, Mihaela Cosnita, Constantin Nicolae Cretu, Horatiu Draghicescu Teodorescu, and Mihai Trandafir. "Mechanical and Acoustic Properties of Alloys Used for Musical Instruments." Materials 15, no. 15 (July 26, 2022): 5192. http://dx.doi.org/10.3390/ma15155192.
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Music should be integrated into our daily activities due to its great effects on human holistic health, through its characteristics of melody, rhythm and harmony. Music orchestras use different instruments, with strings, bow, percussion, wind, keyboards, etc. Musical triangles, although not so well known by the general public, are appreciated for their crystalline and percussive sound. Even if it is a seemingly simple instrument being made of a bent metal bar, the problem of the dynamics of the musical triangle is complex. The novelty of the paper consists in the ways of investigating the elastic and dynamic properties of the two types of materials used for musical triangles. Thus, to determine the mechanical properties, samples of material from the two types of triangles were obtained and tested by the tensile test. The validation of the results was carried out by means of another method, based on the modal analysis of a ternary system; by applying the intrinsic transfer matrix, the difference between the obtained values was less than 5%. As the two materials behaved differently at rupture, one having a ductile character and the other brittle, the morphology of the fracture surface and the elementary chemical composition were investigated by scanning electron microscopy (SEM) and analysis by X-ray spectroscopy with dispersion energy (EDX). The results were further transferred to the finite element modal analysis in order to obtain the frequency spectrum and vibration modes of the musical triangles. The modal analysis indicated that the first eigenfrequency differs by about 5.17% from one material to another. The first mode of vibration takes place in the plane of the triangle (transverse mode), at a frequency of 156 Hz and the second mode at 162 Hz, which occurs due to vibrations of the free sides of the triangle outside the plane, called the torsion mode. The highest dominant frequency of 1876 Hz and the sound speed of 5089 m/s were recorded for the aluminum sample with the ductile fracture in comparison with the dominant frequency of 1637 Hz and the sound speed of 4889 m/s in the case of the stainless steel sample, characterized by brittle fracture.
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Asaulyuk, I. O., and A. A. Diachenko. "Особенности физической подготовленности студентов учебных заведений в процессе физического воспитания." Health, sport, rehabilitation 5, no. 1 (March 30, 2019): 9. http://dx.doi.org/10.34142/hsr.2019.05.01.01.
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<p><em>The main goal of the work</em> is to study the level of physical fitness of students of music specialties. The objectives of the study reflect the gradual achievement of the goal. It also gives the analysis of the static strength endurance of the muscles of the body <em>Methods of research</em>: analysis and generalization of data in literature, pedagogical methods of research (experiment, testing), methods of mathematical statistics. 154 students of the first and second year of the Vinnitsa School of Culture and Arts named after M. D. Leontovich participated in the pedagogical experiment. Such as students of the specialty “Music Art”, the specializations “piano, orchestra, string instruments” (violin, viola, cello, double bass); “Orchestral wind instruments and percussion instruments” (flute, oboe, clarinet, bassoon, saxophone, horn, trumpet, trombone, tubo, percussion instruments), “folk instruments” (accordion, accordion, domra, bandura, guitar); “Vocal, choral conducting”. <em>Results</em><em>.</em><strong> </strong> It is noted that the level of work capacity, health status and occupations depends on the effectiveness of their physical education. It is possible to increase the effectiveness of the process of physical education of students through optimization and development of professionally important physical qualities. Student’s educational and further activity of the specialty "Musical art" provides an unpleasant work pose and peculiarities of the manifestation of physical qualities, which level of development depends on the effectiveness of professional activity. <em>Findings.</em> The estimation of indicators of the physical readiness of students with the use of battery tests, which characterize the static strength endurance of the muscles of the torso is evaluated. Evaluation of the students' physical fitness made it possible to determine the general tendency of significant deterioration of the indicators for the period of study. </p>
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Georgieva Fileva – Ruseva, Krasimira. "MUSICAL MEANS OF EXPRESSION TAUGHT VIA AN ELECTRONIC TEXTBOOK FOR FOURTH GRADE OF THE GENERAL EDUCATION SCHOOL." Knowledge International Journal 34, no. 6 (October 4, 2019): 1697–702. http://dx.doi.org/10.35120/kij34061697g.
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Musical means of expression - this is the language of music, the materialization of the idea of the one who created the particular musical work, the means by which the listeners can reach the author's idea. Knowledge of some musical means of expression, such as harmony and polyphony, requires a long preparation, they are accessible to professionals. Others, such as dynamics (force of sounding), rhythm, metrum, timbre, the main characteristics of the melody, are accessible to any listener who is familiar with their possible meanings. Due to the great importance of the musical means of expression to understand the meaning, the message of the work, they are studied in music classes in the Bulgarian general education school in a form accessible to the age of the students. The music curricula require the teaching musical means of expression each school year. Initially, they are presented in the most elementary form without introducing terms, gradually, with each new school year, knowledge is upgraded and complicated. In this publication, I will present some of the tasks involved in teaching musical means of expression through the electronic textbook for fourth grade at Prosveta Publishing House.At first tasks are placed for mastering the new information. Such tasks are, for example:- Horizontal arrangement of dynamic signs, starting from the sign for quietest sounding to the sign for strongest sounding. Graphs of dynamic signs are offered that students to rearrange to the correct order;- Tasks of calculating durations, such as “at three-quarters size, which groups of note values make one beat?” Of the suggested answers, “a half and two eighths”, “a dotted quarter and three eighths” are true;- Tasks for arranging of photos of known for the pupils musical instruments in a table by indications: strings, plucked strings, wind instruments, keyboard instruments, percussion instruments; as well as "Bulgarian folk" and "classical".Later the tasks become more complicated. In another electronic resource the students listen to the piano piece "Bagpipe" by Bulgarian composer Dimitar Nenov, but the title of the piece does not reported. Fourth-graders, answering the following questions: what dynamics prevail in the play; whether a low voice that maintains the same tone sounds and for which Bulgarian folk instrument this is distinctive; in which folk musical instrument the initial tone of the melody is reached with a slight "sliding" in an upward direction; have to guess which Bulgarian folk music instrument is imitated.In a next task, students are asked to indicate by what musical means of expression - what size, character of melody, character of accompaniment - the characters of a child operetta on the Andersen story "The Brave Lead Soldier" are depicted.In other electronic resources, students are now required to compose a brief musical description of the characters of the fable "Grig and Ant". At first, students answer questions about what is the nature of each of the two characters - grig is cheerful, irresponsible, lazy, vain, party-goer and a little cheeky, and ant is hardworking, unpretentious, thrifty, even stingy, devoid of compassion. Through successive questions are clarified the appropriate dynamics, timbre, metrum, rhythm and character of the melody to "portray" the characters. Then pupils proceed to composing.
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Boldurescu, Yulia V. "Creative Flute Playing in Work with Beginners." ICONI, no. 1 (2020): 76–87. http://dx.doi.org/10.33779/2658-4824.2020.1.076-087.
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The article is addressed to faculty members of departments of wind and percussion instruments in children’s music schools and children’s schools for the arts for collaborative work with beginners in elementary fl ute classes. The article proceeds to describe and formulate questions and playing assignments with utilization of the repertoire of folk melodies for bringing out the instructor’s and pupil’s artistic approaches in working with original musical texts and cognizing its content-related side on the early stages of studies in children’s music schools and children’s schools for the arts. The term “playing assignments” presume role playing in the dialogues of two fl utes or fl ute and piano with a revision and transformation of the primary musical text (the arrangement). Due to the technique of semantic analysis, the instructor may demonstrate to children the secrets of arrangements; they will understand how to make use of various means of transformation of the musical texts, as well as the semantic fi gures involved, acquaint themselves with the peculiarities of construction of folk song melodies and learn to disclose the boundaries of musical retorts in musical dialogues.
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Kaminski, Joseph S. "Retired Chinese Workers, Musical Education, and Participant-Observation in The Beijing Sunshine Wind Band Art Troupe." ICONI, no. 2 (2021): 75–93. http://dx.doi.org/10.33779/2658-4824.2021.2.075-093.
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The Beijing Sunshine Wind Band performs in community concerts in Beijing year round. The band began in 2007, founded by Lin Yi and her husband Zhao Yinglin. Lin Yi underwent cancer surgery in 1995 and recovered to form the band of around 100 retirees. Members begin musical training in retirement, and as adult learners practice hours gaining musical profi ciency. The music is Chinese and in jianpu numerical notation, but all of their instruments are Western woodwinds, brass, and percussion. The band performs at national events, museums and libraries, and toured Taiwan, Korea, Hong Kong, and Macau. Concert bands are civilian versions of military bands. Their marches include “The People’s Liberation Army March,” and lyrical songs such as “My Country” from a 1956 fi lm. Their performances draw revolutionary sentiments in suites such as The Red Detachment of Women, and the band performs songs from post-Mao decades, such as “Dare to Ask the Way,” from the television series Journey to the West. Trevor Herbert stated that concert bands serve communities as “rational recreation.” The goal of this article is show how a Chinese national concert band reached and created healthy lifestyles for retired workers recovering from cancer and other disabilities.
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Rakochi, Vadym. "Traditional and innovative in the orchestration of Ivan Karabyts‘ third concerto for orchestra «Lamantation»." Ukrainian musicology 46 (October 27, 2020): 86–98. http://dx.doi.org/10.31318/0130-5298.2020.46.234602.
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The orchestration of Karabyts’ Third Concerto for Orchestra “Holosinnia” (“Lamentations”) has been studied. The relevance of the study. Despite a number of research works on Karabits’ Third Concerto its orchestration remains little studied yet. Therefore, the main objective of the paper is to examine orchestration of the Third Concerto for orchestra and to research the interaction between ‘traditional’ and ‘innovative’ traits in Concerto’s orchestration. The methods of the research. The score analysis lies in the core of the paper but historical, comparative, and semiotic methods of analysis have been applied as well. Attention is focused on the combination of traditional and innovative origins which paved the way for the composer to rethink the methods of presentation in the orchestra. Thus, these transformations reflect the original (author’s) approach to the genre. It was emphasized that Karabyts interprets the synthetical character inherent to the concerto for orchestra genre particularly wide. It is emphasized that this approach allows the composer to identify a palette of genres of instrumental music: for one performer, different combinations of chamber ensembles, concerto grosso and solo instrumental concerto. In particular, the opposition between two groups was strengthened not only due to unequal quantity of performers in each of them (concerto grosso), but also by relying on the different nature of the material or the use of bells or tube, quite rare in this role, to solo (solo concerto). The combination of traditional and innovative is reflected in the composition of the orchestra (paired with a large percussion group) and the approach to percussion instruments (endowing them with melodic, semantic, formative and other functions). It is emphasized that Karabyts repeatedly applies “percussion-like" interpretation in relation to other instruments. Such an approach results in a qualitative transformation of the instruments: the inherent warmth of a string timbre decreases; the singularity of each wind color neutral-lizes. Complications of semantics at each rhythmic, intonation, and timbre ostinato formulas are revealed. The introduction of a particular (author’s) approach to the baroque tradition of combining the functions of a soloist and a capellmeister, the manifestation of which is the solo of bells perso-nally made by Karabyts, has been noticed. The conclusions state that the Concerto’s orchestration plays important role in dialectically combination of “objective” and traditional (the passage of time, the history of the people, destiny) with “subjective” and individual (the author’s attitude to events and their rethinking). Such an approach is typical for the twentieth-century musical art. The significance of the research is that it reveals the importance of orchestration as a means of expression and thus brings better understanding of the functional potential of orchestration within the frame of the twentieth-century art tendencies.
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Vaisberg, Jonathan M., Ashley T. Martindale, Paula Folkeard, and Cathy Benedict. "A Qualitative Study of the Effects of Hearing Loss and Hearing Aid Use on Music Perception in Performing Musicians." Journal of the American Academy of Audiology 30, no. 10 (November 2019): 856–70. http://dx.doi.org/10.3766/jaaa.17019.
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AbstractHearing aids (HAs) are important for the rehabilitation of individuals with hearing loss. Although the rehabilitation of speech communication is well understood, less attention has been devoted to understanding hearing-impaired instrumentalists’ needs to actively participate in music. Despite efforts to adjust HA settings for music acoustics, there lacks an understanding of instrumentalists’ needs and if those HA adjustments satisfy their needs.The purpose of the current study was to explore the challenges that adult HA-wearing instrumentalists face, which prevent them from listening, responding to, and performing music.A qualitative methodology was employed with the use of semistructured interviews conducted with adult amateur instrumentalists.Twelve HA users who were amateur ensemble instrumentalists (playing instruments from the percussion, wind, reed, brass, and string families) and between the ages of 55 and 83 years (seven men and five women) provided data for analysis in this study. Amateur in this context was defined as one who engaged mindfully in pursuit of an activity.Semistructured interviews were conducted using an open-ended interview guide. Interviews were recorded and transcribed verbatim. Transcripts were analyzed using conventional qualitative content analysis.Three categories emerged from the data: (1) participatory needs, (2) effects of HA use, and (3) effects of hearing loss. Participants primarily used HAs to hear the conductor’s instructions to meaningfully participate in music rehearsals. Effects of HA use fell within two subcategories: HA music sound quality and use of an HA music program. The effects of hearing loss fell within three subcategories: inability to identify missing information, affected music components, and nonauditory music perception strategies.Not surprisingly, hearing-impaired instrumentalists face challenges participating in their music activities. However, although participants articulated ways in which HAs and hearing loss affect music perception, which in turn revealed perspectives toward listening using the auditory system and other sensory systems, the primary motivation for their HA use was the need to hear the conductor’s directions. These findings suggest that providing hearing-impaired instrumentalists access to musical experience via participation should be prioritized above restoring the perception of musical descriptors. Future research is needed with instrumentalists who no longer listen to or perform music because of hearing loss, so that the relationship between musical auditory deficiencies and participation can be better explored.
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Naiko, Natalia M. "Elements of Programme Music in the Instrumental Works of the Late Period by Oleg Meremkulov (the Case of the Symphony Concerto for Cello, Piano and Orchestra)." Journal of Siberian Federal University. Humanities & Social Sciences 15, no. 1 (January 2022): 75–84. http://dx.doi.org/10.17516/1997-1370-0877.
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This article reveals some aspects of the creative identity and later works of the greatest Krasnoyarsk composer O. Meremkulov. To understand the artistic aspirations and originality of O. Meremkulov’s works, his Symphony Concerto for Cello, Piano, String Orchestra, Percussion and Wind Ensemble (2015) is an illustrative piece of art. The concerto genre was conceived by the composer as a composition showing the essential problems of human existence, preserving the modus of a personal statement «in the first person». This has led to the introduction of epigraphs and programme titles of parts that not only tune the listener in a certain way, but are elements of concept and means of realising the author’s intentions. The musical analysis regarding the main intonational characteristics of all parts of the concerto, their relations, aspects and orientation of the development of musical thematism are correlated with possible interpretations of titles and epigraphs. This made it possible to come to the conclusion about the original programme music of the concerto. It is revealed by a combination of means functioning at various levels, addressing the sensations of different modalities, individual experience, cultural memory, as well as activating associative thinking and figurative representations. Not only part titles and epigraphs work in this respect, but also the author’s remarks introduced into the musical score and audio records with natural sounds during the performance. Programme music is also recognised in the process of thematic transformations that reflect the orientation of the Hero’s emotional experiences clarifying the essence of a certain image or reproducing a chain of events related to a certain plot. It has been suggested that this plot bizarrely refracts in the composer’s mind the real events experienced by him during different periods of life, sprouted into the subjective perception and understanding of artistic images of world culture. In his dialogue with the authors of past centuries, the composer reached a new level of generalisation, thereby capturing his ideas and feelings in an intonational form. This has led to the originality and unique harmony of the Symphony Concerto
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AYANGIL, RUHI. "Western Notation in Turkish Music." Journal of the Royal Asiatic Society 18, no. 4 (October 2008): 401–47. http://dx.doi.org/10.1017/s1356186308008651.
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The adoption of western notation (which is an example of graphic notation) as the “official system” in Turkey dates from after 1828. Sultan Mahmud II (reigned 1808–1839) abolished the Janissary force in 1826 and with it the musical unit of that army, it was a band for wind and percussion instruments (Mehterhâne-i Hümâyûn). He then organised his new army on western lines and thus introduced an institution of western origin, the military band, as the musical unit of his modern army. This new institution, which was European in its music system, instruments, repertoire and first and foremost its methods of education, was formed under the name Muzika-i Hümâyûn (the royal military band). Professional musicians were invited from Europe to participate and, with the foundation of Muzika-i Hümâyûn in 1827, the most far-reaching change in Turkish musical history took place. It was an outstanding manifestation of westernisation which necessarily made a deep impact on both the Turkish makam (modal) music system and the existence and the behaviour of the musicians who produced and performed it. The domination of makam music and its masters in court circles and their claim to be the sole and absolute system of taste was undermined, although the appreciation and respect of certain sultans and bureaucrats continued on a personal level. From that date on, a duality, an East-West dichotomy (the effects of which can still be seen), overtook the cultural sphere of which music was a part. Within this dichotomy, tonal polyphonic music of the West began to make its influence felt at least as much as, if not more than, makam based Turkish music both within the state framework and in the society at large. These dual concepts were referred to as Alla Turca and Alla Franga. While Alla Franga (alafranga in common parlance) came to symbolise modernity, change and the new life style, Alla Turca (alaturka in common parlance) became a manifestation of being archaic and conservative and of having a blind commitment to tradition and an under-developed taste (even no taste at all). Within this series of dichotomies, which took hold of every area of life (from literature to fashion also, eating habits, systems of beliefs, and education as well as government) makam based Turkish music received a large share of “cultural negation” with the judgement that it did not even have a decent notation system. It became marginalised and restricted to a narrow social group deeply and passionately devoted to it. Even during this process, makam music developed a dynamic of self-protection against “cultural negation” with its composers, theorists, publishers, performers and listening public. Makam music composers and performers learnt western notation, they wrote pieces down and deciphered music from that notation; a system of education based on modern methods developed while still preserving meşk (the traditional oral teaching method of Turkish music). These efforts were driven by the ‘ideal’ of transforming makam music, which was claimed to be archaic due to its monodic structure, into a polyphonic music. The musicians who knew western notation (such as Melekzet Efendi, Leon [Hancıyan] Efendi, etc.) were paid great amounts of money in order to record the works of the old masters in western notation and compile them, along with new compositions, into extensive note-collections (such as Muzika-i Hümâyûn Kumandanı [the commander of the royal military band] Necîp Paşa Collection and the Pertev Paşa Collection, etc.). Works were also published in note editions (such as Mâlûmat [literally meaning knowledge], Müntehâbât [literally meaning selections], Ûdî [lute-player] Arşak editions, etc.). Moreover, educational guides devoted to teaching makam theory and solmisation (such as Tanbûrî Cemîl Bey's Rehber-i Mûsikî [The Music Guide], Muallim [teacher] İsmail Hakkı Bey's Mahzen-i Esrâr-ı Mûsikî [The Cellar of the Secrets of Music], Muallim Kâzım Bey's Mûsikî Nazariyâtı [Music Theory], etc.) and the first methods for learning the instruments of makam music (such as Ûdî Salâhî Bey's Ud metodu [Lute Method], Seyyid Abdülkaadir Bey's Usûl-i Ta'lîm-i Keman [Method for Practising Violin, etc.], modelled on their European counterparts, were beginning to be published.
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Kartomi, Margaret. "On Metaphor and Analogy in the Concepts and Classification of Musical Instruments in Aceh." Yearbook for Traditional Music 37 (2005): 25–57. http://dx.doi.org/10.1017/s0740155800011218.
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Artists, scholars and audiences in Aceh, the northernmost province of Sumatra, conceive of their percussive, wind and string instruments as symbolising Aceh's “glorious past” and attach a variety of metaphorical and analogous meanings to them. Implicit in the culture, and formulated explicitly by Acehnese scholars, is a classification that divides the instruments at the most general level into three main categories, or metaphorical socio-historical streams: those associated primarily with (i) the pre-Islamic ancestral and nature venerating (animist-Hindu) stream, practices, or presumed origins (ii) the Sunni and/or Syiah Islamic stream (including borderline cases of instruments that straddle both Islamic and animist practices), and (iii) the European or Western socio-historical stream. Organological sub-categories at the second level of categorical thinking are based on an instrument's manner of exciting sound, while the third level comprises the instrumental types with their local names. The instruments are also attributed with broader, changing sociocultural meanings, including gender and class divisions.
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Le, Liu. "Chinese Composers in the West: Towards a New Style Identity (Case Study of the Opera “Dream of The Red Chamber” By Bright Sheng)." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3-4(52-53) (December 14, 2021): 66–79. http://dx.doi.org/10.31318/2414-052x.3-4(52-53).2021.251798.
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There is considered the issue of migration as a criterion of creativity of Chinese composers on the way to understanding a new stylistic identity. It is stated that in the case of Chinese composers who emigrated to America, the integration of their compositional experience into a different cultural space coincided with the period of renewal of Western musical language on the rowing waves of interest of European and American musical communities in Eastern cultural traditions. It is noted that the process of adaptation of Western listeners to the unusual musical language of Chinese composers was gradual. The figures of Tan Dun, Bright Sheng, Chen Yi, Zhou Long stand out, whose work is highly appreciated by modern musicians and listeners, which is confirmed by the concert programs of the world's leading music institutions. Among Chinese opera composers, the importance of Bright Sheng is emphasized, whose work combines the traditions of Western and Eastern cultures. Sheng managed to achieve a new stylistic identity, which allows us to call him a modern classic, in whose work classical values are disguised by cross-cultural combinations. The composer's experiences are conveyed through bilingual musical vocabulary, which reflects the result of Shen's cultural experience. The peculiarities of the opera "Dream of the Red Chamber" in terms of combining cultural symbols of east and west are analyzed. It is determined that oriental elements are manifested in the usage of additional traditional instruments (Peking Opera and Guqin percussion) while preserving their main function and rhythmic patterns, imitation of the sound of traditional Chinese wind instruments, introduction of quotations from folk songs, creation of variations on folk themes and more. Western traditions of opera writing are demonstrated through the appeal to the traditional number structure, the use of the method of monothematism and general tonal (but complicated by pentatonic constructions) harmonic writing.
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Burganova, Maria A. "LETTER FROM THE EDITOR." Scientific and analytical journal Burganov House. The space of culture 18, no. 1 (March 10, 2022): 6–9. http://dx.doi.org/10.36340/2071-6818-2022-18-1-6-9.
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Dear readers, We are pleased to present to you Issue 1. 2022, of the scientific and analytical journal Burganov House. The Space of Culture. Upon the recommendation of the Expert Council of the Higher Attestation Commission, the journal is included in the List of Leading Peer-reviewed Scientific Journals and Publications in which the main scientific results of theses for the academic degrees of doctor and candidate of science must be published. The journal publishes scientific articles by leading specialists in various humanitarian fields, doctoral students, and graduate students. Research areas concern topical problems in multiple areas of culture, art, philology, and linguistics. This versatility of the review reveals the main specificity of the journal, which represents the current state of the cultural space. The issue opens with the article "Al Noor Island - a Place Where Art and Culture Meet Nature" by J. Smolenkova. It is devoted to modern architecture and touches upon the philosophy of architecture ecology as a new concept of contemporary construction. On the example of a unique project implemented on the island of Al Noor in the UAE, the author considers examples of pavilions and sculptural installations, united by the theme of new aesthetics and humanistic mutual influence of nature and architecture as new realities of modern society. In her article "Glasstress: a Transparent Border Between Mimicry and Mimesis", M. Burganova analyses the modern artistic process that began in the middle of the 20th century as part of the craft + art concept using the example of "Glasstress. Window to the Future” exhibition, held in the State Hermitage Museum in St. Petersburg. The Stalinist Empire style, a unique phenomenon in the architecture of the Soviet period, is analysed by V. Slepukhin in the article "Soviet Architecture of the 1930-1950s". The author determines its place among such architectural styles and trends as Art Nouveau, Rationalism and Constructivism and gives a detailed description. In the article “Palladian Architecture of Denmark in the 17th-18th Centuries”, O. Tsvetkova considers the evolution of architecture in Denmark in the 17th-18th centuries, explores the influence of French classicism and Dutch Palladianism on national manifestations of style. On the example of specific buildings, the chronology of the classical architectural tradition development is traced. The creative continuity of architectural dynasties is studied in the context of the pan-European architectural trends of the time; the history of the Danish architecture development is traced. I. Pavlova continues the theme of dialogues in art in the article “The Role of the ‘English’ Theme in One of the Episodes of L. Tolstoy’s Novel, Anna Karenina". The author expresses the opinion that the development of the "English" theme in the episodes of the races and preparations for them serves to dispell false values, the ephemeral virtues of Tolstoy's contemporary society, pride and arrogance. The author believes that the main role of the "English" theme lies in the development and implementation of the moralistic setting of the novel, the expansion of the content space of the work and depiction of the dramatic image of the era. In the article "V. Borovikovsky’s Sketch ‘God the Father Contemplating Dead Christ’ As a Synthesis of Western European and Orthodox Traditions”, V. Makhonina considers iconographic interpretations of the plot and conducts a stylistic analysis of the work. The article "The Concept - Text - Interpretation Triad in Piano Music of the Second Half of the 20th - 21st Centuries" by O. Krasnogorova is devoted to the problems of the performing arts of modern times in the context of the general system of humanitarian thinking. The concept of interpretation from the standpoint of conceptual metaphors and research in the field of musical semiology are considered by the author. In the article, the broad interpretation of a musical text goes beyond the actual musical text into the area of ??signs, metaphors and metonyms. In the article "Instrumental Performance on Wind and Percussion Instruments in the Context of Traditional Rituals Accompanying Work in China", Huang Shuai analyses traditional Chinese wind and percussion instruments; he considers such issues as instrumental combinations and musicians. The author applies the historical research method, source study and musicological analysis of audio and video materials. The publication is addressed to professionals specialising in the theory and practice of the fine arts and philology and all those interested in the arts and culture.
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Yudha, Kiki Devista, and Jagar Lumbantoruan. "HUBUNGAN HASIL BELAJAR TEORI MUSIK DASAR DAN PRAKTEK INSTRUMEN PERKUSI DI JURUSAN SENDRATASIK." Jurnal Sendratasik 9, no. 3 (September 3, 2020): 37. http://dx.doi.org/10.24036/jsu.v9i1.109303.
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Abstract This study aims at finding out the correlation between learning outcomes in music theory subject and percussion instrument practice subject in the Department of Drama, Dnace and Music Arts. This quantitative research used a correlational method involving two variables, i.e. the learning outcomes of music theory subject and the learning outcomes percussion instrument practice subject. The population in this study was the students of Department of Drama, Dance and Music Arts, Faculty of Languages and Arts, Universitas Negeri Padang whi took Music Theory subject in the even semester of 2017-18 academic calendar. Meanwhile, the sample in this study was the students of the Department of Drama, Dance and Music Arts who took the Percussion Instrument Practice subject in the even semester of 2018-19 academic calendar. The data of this study were documentation of the students’ learning outcomes in music theory and percussion instrument practice subjects which were processed using the Pearson product moment correlation test method. The results of data analysis showed that the value of the correlation test was 0.1013 or 10.13%. This coefficient value was based on the interpretation of the coefficient values in the range 0.00 – 0.19, indicating that the level of correlation between music theory subject and percussion instrument subject was very weak. Using a significance test with an error level of 5%, the results of the hypothesis testing showed that rcount ˂ rtable, indicating that Ha was accepted and Ho was rejected. This means that there is a correlation between the learning outcomes of music theory subject in its application to the practice of percussion instrument, but in a very weak level.Keywords: relationships, learning outcomes, basic music theory, percussion instruments
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Stetsiuk, B. O. "Types of musical improvisation: a classification discourse." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 178–96. http://dx.doi.org/10.34064/khnum1-57.11.
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This article systemizes the types of musical improvisation according to various approaches to this phenomenon. It uses as the basis the classification by Ernst Ferand, which presently needs to be supplemented and clarified. It was stressed that the most general approach to the phenomenon of musical improvisation is its classification based on the layer principle (folklore, academic music, “third” layer). Within these layers, there are various forms of musical improvisation whose systemization is based on different principles, including: performer composition (collective or solo improvisation), process technology (full or partial improvisation), thematic orientation (improvisation theme in a broad and narrow context), etc. It was emphasized that classification of musical improvisation by types is manifested the most vividly when exemplified by jazz, which sums up the development of its principles and forms that shaped up in the previous eras in various regions of the world and have synthetized in the jazz language, which today reflects the interaction between such fundamental origins of musical thought as improvisation and composition. It was stated that the basic principles for classification of the types of musical improvisation include: 1) means of improvisation (voices; keyboard, string, wind and percussion instruments); 2) performer composition (solo or collective improvisation); 3) textural coordinates (vertical, horizontal, and melodic or harmonic improvisation, respectively); 4) performance technique (melodic ornaments, coloring, diminutiving, joining voices in the form of descant, organum, counterpoint); 5) scale of improvisation (absolute, relative; total, partial); 6) forms of improvisation: free, related; ornamental improvisation, variation, ostinato, improvisation on cantus firmus or another preset material (Ernst Ferand). It was stressed that as of today, the Ferand classification proposed back in 1938 needs to be supplemented by a number of new points, including: 1) improvisation of a mixed morphological type (music combined with dance and verbal text in two versions: a) invariable text and dance rhythm, b) a text and dance moves that are also improvised); 2) “pure” musical improvisation: vocal, instrumental, mixed (S. Maltsev). The collective form was the genetically initial form of improvisation, which included all components of syncretic action and functioned within the framework of cult ritual. Only later did the musical component per se grow separated (autonomous), becoming self-sufficient but retaining the key principle of dialogue that helps reproduce the “question-answer” system in any types of improvisation – a system that serves as the basis for creation of forms in the process of improvisation. Two more types of improvisation occur on this basis, differing from each other by communication type (Y. Lotman): 1) improvisation “for oneself” (internal type, characterized by reclusiveness and certain limitedness of information); 2) improvisation “for others” (external type, characterized by informational openness and variegation). It was emphasized that solo improvisation represents a special variety of musical improvisation, which beginning from the Late Renaissance era becomes dominating in the academic layer, distinguishable in the initial phase of its development for an improvising writing dualism (M. Saponov). The classification criterion of “composition” attains a new meaning in the system of professional music playing, to which improvisation also belongs. Its interpretation becomes dual and applies to the performance and textural components of improvisation, respectively. With regard to the former, two types occur in the collective form of improvisation: 1) improvisation by all participants (simultaneous or consecutive); 2)improvisation by a soloist against the background of invariable fixed accompaniment in other layers of music performance. The following types of improvisation occur in connection with the other – textural – interpretation of the term “composition”, which means inner logical principle of organization of musical fabric (T. Bershadska): 1) monodic, or monophonic (all cases of solo improvisation by voice or on melodic wind instruments); 2) heterophonic (collective improvisation based on interval duplications and variations of the main melody); 3) polyphonic (different-picture melodies in party voices of collective improvisation); 4) homophonic-harmonic (a combination of melodic and harmonic improvisations, typical for the playing on many-voiced harmonic instruments). It was emphasized that in the theory of musical improvisation, there is a special view at texture: on the one hand, it (like in a composition) “configures” (E. Nazaikinskyi) the musical fabric, and on the other hand, it is not a final representation thereof, i.e., it does not reach the value of Latin facio (“what has been done”). A work of improvisation is not an amorphous musical fabric; on the contrary, it contains its own textural organization, which, unlike a written composition, is distinguishable for the mobility and variability of possible textural solutions. The article’s concluding remarks state that classification of the types of musical improvisation in the aspect of its content and form must accommodate the following criteria: 1) performance type (voices, instruments, performance method, composition of participants, performance location); 2) texture type (real acoustic organization of musical space in terms of vertical, horizontal and depth parameters); 3) thematic (in the broad and narrow meanings of this notion: from improvisation on “idea theme” or “image theme” to variation improvisations on “text theme”, which could be represented by various acoustic structures: modes, ostinato figures of various types, melody themes like jazz evergreens, harmonic sequences, etc.).
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Tavakkol, Ekhsan. "Extra-musical content and ways of its embodiment in the Concerto for Persian Ney and Orchestra “Toward That Endless Plain” by Reza Vali." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 264–80. http://dx.doi.org/10.34064/khnum2-18.15.
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Background. This article discusses the features of the program, the origins and symbolism of extra-musical images of the Concerto for Persian Ney and Orchestra “Toward That Endless Plain” by the Iranian-American composer of the XX–XXI centuries Reza Vali. There are also some features of the Concerto’s musical material analyzed: the form, instrumentation, and thematic, as well as the influence of Iranian musical traditions. There are no published scientific musicological materials devoted to the consideration of this Concerto from the point of view the comprehensive analysis. In periodical non-scientific literature, only four publications were found regarding this work. These include the article by the American writer Marakay Rogers, in which she gave a brief overview of the music of the Concerto and expressed her favorable impression of the composition. We also have the short article-annotation of American musicologist Brent Reidy and the article by American writer and journalist Lee Passarella written in connection with the release of the album, and the fragment of the interview by American musicologist Ellen Moysan with Reza Vali, where the composer spoke about the using Persian musical system in the Concerto for Ney and Orchestra. The purpose of this article is to consider the specifics of the Concert for Ney and Orchestra by R. Vali in the aspect of the author’s embodiment of the chosen program, as well as the peculiarities of Iranian traditional culture and music and their influence on professional academic music. Methods. The historical method was used to uncover the genesis of the “Sama” genre, also to study the genre features of the Concerto cycle; for considering the features of the structure and thematism of the Concerto the system-analytical method was used. Research results. The Concerto for Persian Ney and Orchestra “Toward That Endless Plain” was created by Reza Vali in Boston in 2003. In the composer’s legacy, this is the second big work in the concerto genre (for solo instrument and orchestra) and the first his work for an orchestra, which he composed on the base of the Persian traditional musical system. In addition to this Concerto, the composer wrote the Concerto for Flute and Orchestra (1992) and the Concerto for Kamanche and Ney with Orchestra (2009). The peculiarities of the musical material and its development are determined by the composer’s comprehension of the poem “Call of the Beginning” of the 20th century Iranian poet Sohrab Sepehri. Recreating the main images of the poem in the Concerto – the images of a mystic lonely traveler and aggressive surrounding world opposed to him – R. Vali touches on the topics of conflicting relations between an individuality and a society, the tragic panhuman events of our time, and also – of the searches of a lonely person on his spiritual path to God. Understanding the origins of the Concerto’s program and the essence of the images will allow performers and listeners to more deeply penetrate the spirit and idea of the composition. The program of the Concerto is presented as following: the name, epigraph, headings for each part and the author’s notes to the program. The theme, the idea, the content and the images of the Concerto and its connection with the tragic events of the modern world are expressed through the philosophy of Sufism and the symbols contained in it, that was used around 800 years ago by Jalal ad-Din Muhammad Rumi. Reza Vali believes that Sohrab Sepehri contacts the philosophy of ancient poets to the literature of the 20th century. To express the basic musical idea – the search for the path of a human to God and the achievement of unity with him – the composer turns to the solo timbre of the Persian wood wind instrument Ney, which is the bearer of the image of sadness, loneliness, separation from the motherland. The sound of Ney, associated with spiritual search, is presented in Parts I, II and III of the Concerto. In Prelude and Interlude, Ney does not play anything. The theme of the danger is embodied in the Prelude and Interlude through the atonal technique and dissonant sounds of the instruments of the symphony orchestra that associates with the tragic war events that threaten all of humanity and their consequences. R. Vali used both, the European musical (three-part) form and the structures inherent in Iranian music (the mosaic form in Parts I and III based on the classical repertoire of Iranian music (Radif), and the Nobat form in Part II). The structure of the cycle is due to the program concept; its specifics are two additional sections designated as Prelude (before Part I) and Interlude (between Parts II and III). The program led to a change in the sequence of tempo characteristics of the parts in the overall composition of the cycle, which is different from genre customary in a concerto of Western European music. In the R. Vali’s Concert, Parts I and III are slow and Part II is fast. All the headings of the parts correlate with the mystical philosophy of Sufism. The author represents the headings in the score in two languages – Iranian and English that allows a deeper clarification of their semantic characteristics: “Prelude” – “Сhezolmát” / “The Abyss”; Part I – “Gozar” / “Passage”; Part II – “Sámâ” / “Ecstatic Dance”; “Interlude” – “Bargasht” / “Return to the Abyss”; Part III – “Foroud va Fánâ” / “Descent and Dissolve”. In figuratively semantic plan, Prelude and Interlude are in opposition to the three main parts of the Concerto. The cruel, destructive images of the material world that presented in Prelude and Interlude are set against the world of concentrated contemplation, the search of spiritual path for a person, recreated in the I, II and III Parts of the cycle. The musical language of the Concerto has roots in the vocal and instrumental Iranian traditional music – the ancient Dastgāh modal system and maqam forms. The medium size of the symphony orchestra is used in the Concerto. The group of brass and percussion instruments is especially important in creating the atmosphere of cruelty and violence and achieving the wild harsh sound. For showing an impending catastrophe, in finish fragment of Prelude, the composer introduces large and small electronic sirens into the orchestra. Conclusions. The extra-musical content and images of the R. Vali’s Concerto for Persian Ney and Orchestra and its connection with the tragic events of the modern world history are expressed through the philosophy of Sufism and its symbols. These philosophical ideas, images and symbols are embodied by the composer on various levels of the work as the structural and artistic integrity: 1) at the level of the structure of the modified three-part cycle; 2) in cycle’s tempo organization; 3) in the use of the system of the traditional Iranian music (dastgāh and maqam) in I, II, III parts; 4) in the use of principally distinct thematism in the Prelude and Interlude in comparison with the main parts; 5) at the level of the timbre and texture organization – in the semantization of the Ney‘s timbre and in multifarious, in terms of imagery, interpretation of the orchestra.
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Qi, Yuxuan, Fuxing Huang, Zeyan Li, and Xiaoang Wan. "Crossmodal Correspondences in the Sounds of Chinese Instruments." Perception 49, no. 1 (November 20, 2019): 81–97. http://dx.doi.org/10.1177/0301006619888992.
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People tend to associate stimuli from different sensory modalities, a phenomenon known as crossmodal correspondences. We conducted two experiments to investigate how Chinese participants associated musical notes produced by four types of Chinese instruments (bowed strings, plucked strings, winds, and percussion instruments) with different colors, taste terms, and fabric textures. Specifically, the participants were asked to select a sound to match each color patch or taste term in Experiment 1 and to match the experience of touching each fabric in Experiment 2. The results demonstrated some associations between pitch and color, taste term, or the smoothness of fabrics. Moreover, certain types of Chinese instruments were preferentially chosen to match some of the colors, taste terms, and the texture of certain fabrics. These findings therefore provided insights about the perception of Chinese music and shed light on how to apply the multisensory features of sounds to enhance the composition, performance, and appreciation of music.
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N, Kiritharan Sharma. "Importance of Mridangam (Percussion Instrument) in Carnatic Music Concerts." International Research Journal of Tamil 4, S-9 (July 28, 2022): 69–75. http://dx.doi.org/10.34256/irjt22s910.
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Music is an art that is loved by all the people of the world. Music is seen as the key factor in uniting all living beings in the world with God. There are many different types of music found all over the world. Among them, Carnatic music is found as a branch of Indian music genres. Carnatic music is seen as a music genre that mainly represents South India and is loved by many people worldwide. Our hymn is joyful. Music consists of three sections, namely: songs; instrumental music; and the mode of dancing. "Geetham" means vocal music, "Vaathiyam" means instrumental music, and "Niruthiyam" means dance. Carnatic music concerts are organised as vocal music and instrumental music concerts. The mridangam is the most important rhythmic and pitching instrument in Carnatic music concerts. The mridangam, the primary percussion instrument, is also the main instrument used in Carnatic music concerts to keep all the songs in a rhythmic pattern. In this research paper, the importance of the mridangam in Carnatic music concerts has been examined by presenting various matters. In that way, apart from the introduction and summary of the research paper, the introduction to the Carnatic music concert, the history of the mridangam instrument, and the uniqueness of the mridangam in Carnatic music concerts have been examined in this study.
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Smith, Gareth Dylan, and Virginia Wayman Davis. "A Critical Examination of Percussion and Drums in the Collegiate Curriculum." Bulletin of the Council for Research in Music Education, no. 231 (January 1, 2022): 25–40. http://dx.doi.org/10.5406/21627223.231.02.
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Abstract The drum kit is a musical instrument comprising various items of percussion. It is ubiquitous in popular music (the majority of music produced and consumed by contemporary society) but is largely excluded as a requirement in the collegiate percussion studio. The authors contextualize this phenomenon in the wider cultural disparity between music in society (99% rock, pop, hip-hop and other contemporary styles) and music in higher education (almost exclusively Western art music and jazz). We ask the following four research questions: (1) How frequently is drum kit taught in the collegiate percussion studio, relative to other percussion instruments? (2) If drum kit is taught, what topics are taught? (3) If the participants play drum kit themselves, how did they learn? (4) What opportunities and/or challenges exist for drum kit instruction in the percussion studio? Fifty collegiate percussion instructors completed an online survey. Participants agreed that drum kit is important for music-making and teaching after leaving college, but for most, drum kit takes a backseat to snare drum, timpani, and marimba as foundational instruments of Western art music. We argue that including drum kit in the collegiate studio would require a shift in pedagogy and aesthetic orientation, but that such shifts are necessary in order for the collegiate percussion studio to remain relevant. Further research is required to understand how the percussion studio and higher music education more broadly can better serve students and society, including in music teacher education and in kindergarten through 12th grade schools. This article's exploration of drum kit and percussion underscores the importance of discussing the places and purposes of myriad musics and musicians throughout music education contexts.
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Smith, Gareth Dylan. "Groove and Percussion in the Music Classroom." Music Educators Journal 109, no. 1 (September 2022): 22–28. http://dx.doi.org/10.1177/00274321221110228.
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In this article, I explain how percussion and groove are at the core of many musics created and enjoyed today, yet they can be overlooked in music teaching and learning. A pervasive culture of pitched-instrument prejudice makes it difficult to take rhythm and groove seriously, although these can be at the core of meaningful music-making experiences in schools. I provide an original, flexible composition for nonpitched percussion, with easy-to-follow instructions and video demonstration. The article invites teachers to consider embracing an engaging, Afrological approach to making music that emphasizes feel and groove.
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Cochran, Alfred W., and William Schuman. "Dances, Divertimento for Wind Quintet and Percussion." Notes 45, no. 4 (June 1989): 857. http://dx.doi.org/10.2307/941244.
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Rentz, Earlene. "Musicians' and Nonmusicians' Aural Perception of Orchestral Instrument Families." Journal of Research in Music Education 40, no. 3 (October 1992): 185–92. http://dx.doi.org/10.2307/3345680.
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The purpose of this study was to examine aural perception in a selective listening task using a Continuous Response Digital Interface (CRDI). Undergraduate college students (60 musicians, 60 nonmusicians) listened to an excerpt from Billy the Kid by Aaron Copland. Subjects indicated focus on instrumental family by manipulating the indicator of the CRDI. “Sound intervals” were determined by changes in predominant instrument family in the orchestral texture. Families were divided into five categories: (a) brass, (b) percussion, (c) woodwinds, (d) strings, and (e) all The “all” category indicated focus on three or more families simultaneously (e.g., tutti). Results were based on examination of subjects' category selections in terms of percentages of time focused on each category within each interval Analyses of cumulative seconds across all intervals indicated that nonmusicians focused on brass and percussion longer than did musicians. Musicians focused on strings longer and selected strings mare frequently than did nonmusicians. Musicians also indicated focus on three or more families simultaneously more than did nonmusicians.
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Scott, E. K. Ellington. "Drums speak too: An examination of modern percussion instruments in the jazz idiom." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A183. http://dx.doi.org/10.1121/10.0011036.
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Jazz has been a leading force in the evolution of music in the United States. The complexity of rhythmic and harmonic languages has grown from the birth of jazz improvisation. Modern percussion instruments played a fundamental role in the development of rhythmic language. Improvised figures between the soloist and sectionals have cultivated a vocabulary still utilized by modern drummers and percussionists today. Moreover, evolving styles matured into a more sophisticated language, demanding a more refined instrument. This presentation explores the development of modern percussion instruments within jazz and improvised music, focusing on the historical and cultural aspects impacting the evolution of percussion instruments. Investigations of stylistic approaches and influences on musical styles will also be examined.
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Jiang, Wei, and Dong Sun. "Music Signal Recognition Based on the Mathematical and Physical Equation Inversion Method." Advances in Mathematical Physics 2021 (October 1, 2021): 1–12. http://dx.doi.org/10.1155/2021/3148747.
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Digitization and analysis processing technology of music signals is the core of digital music technology. The paper studies the music signal feature recognition technology based on the mathematical equation inversion method, which is aimed at designing a method that can help music learners in music learning and music composition. The paper firstly studies the modeling of music signal and its analysis and processing algorithm, combining the four elements of music sound, analyzing and extracting the characteristic parameters of notes, and establishing the mathematical model of single note signal and music score signal. The single note recognition algorithm is studied to extract the Mel frequency cepstrum coefficient of the signal and improve the DTW algorithm to achieve single note recognition. Based on the implementation of the single note algorithm, we combine the note temporal segmentation method based on the energy-entropy ratio to segment the music score into single note sequences to realize the music score recognition. The paper then goes on to study the music synthesis algorithm and perform simulations. The benchmark model demonstrates the positive correlation of pitch features on recognition through comparative experiments and explores the number of harmonics that should be attended to when recognizing different instruments. The attention network-based classification model draws on the properties of human auditory attention to improve the recognition scores of the main playing instruments and the overall recognition accuracy of all instruments. The two-stage classification model is divided into a first-stage classification model and a second-stage classification model, and the second-stage classification model consists of three residual networks, which are trained separately to specifically identify strings, winds, and percussions. This method has the highest recognition score and overall accuracy.
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Ondrejka, Vojtěch, Tomáš Gergeĺ, Anna Danihelová, Martin Čulík, Dagmara Bednárová, Marián Schwarz, and Miroslav Němec. "THE IMPACT OF ACOUSTIC OF SELECTED SPACES ON PERCUSSION INSTRUMENTS." Akustika, VOLUME 37 (December 15, 2020): 37–85. http://dx.doi.org/10.36336/akustika20203772.
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The results of the investigation of the room acoustic properties influence on the perception of the sound of percussion musical instruments are presented in the paper. At first, the acoustic properties of two rooms were determined without musical instrument. Subsequently, the acoustic properties of the rooms were determined during the presentation of cajon music. On the base of reverberation time (EDT, T30), Clarity C80, Definition D50 and bass index BI) we can conclude that the room of the Hron cinema is more suitable for musical presentation, but it cannot be considered as ideal one. The Royal Hall of Zvolen Castle has a smaller influence on the sound of a percussion instrument. The influence of room acoustic properties on the resulting sound of the instrument was evaluated only on the base of results obtained with using the objective methods by the physical quantities measurement. Finally, the design of these rooms modification is presented to achieve a better sound quality of percussion instruments.
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Zappi, Victor, Andrew Allen, and Sidney Fels. "Extended Playing Techniques on an Augmented Virtual Percussion Instrument." Computer Music Journal 42, no. 2 (June 2018): 8–21. http://dx.doi.org/10.1162/comj_a_00457.
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Innovation and tradition are two fundamental factors in the design of new digital musical instruments. Although apparently mutually exclusive, novelty does not imply a total disconnection from what we have inherited from hundreds of years of traditional design, and the balance of these two factors often determines the overall quality of an instrument. Inspired by this rationale, in this article we introduce the Hyper Drumhead, a novel augmented virtual instrument whose design is deeply rooted in traditional musical paradigms, yet aimed at the exploration of unprecedented sounds and control. In the first part of the article we analyze the concepts of designing an augmented virtual instrument, explaining their connection with the practice of augmenting traditional instruments. Then we describe the design of the Hyper Drumhead in detail, focusing on its innovative physical modeling implementation. The finite-difference time-domain solver that we use runs on the parallel cores of a commercially available graphics card and permits the simulation of real-time 2-D wave propagation in massively sized domains. Thanks to the modularity of this implementation, musicians can create several 2-D virtual percussive instruments that support realistic playing techniques but whose affordances can be enhanced beyond most of the limits of traditional augmentation.
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Uddhav, Pravin. "Origin, Development, Classification and Historicity of Ancient Percussion Instruments." Journal of Fine Arts Campus 3, no. 1 (December 31, 2021): 23–30. http://dx.doi.org/10.3126/jfac.v3i1.42492.
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Music has a prominent place in fine arts. This art has been considered as a means of spiritual satisfaction. Apart from material excellence and fame, music has an important place in all the different ways of devotion or worship in India. There have been two main types of worship since ancient times as Vedic and Tantric. The Avanaddha instrument maintains the rhythm in singing, dancing and instrument-playing. Different opinions, legends, stories, statements of the origin of instruments are prevalent but differences are found in them. The article describes the method and material of ancient Avanaddha instruments on the basis of various texts. Thereafter, under the classification of instruments opinion of various scholars on Tat, Ghan, Sushir, and Avanaddha instruments and the various classifications have been mentioned and discussed in detail. The origin and association of ancient Avanaddha instruments is described with reference to various deities. The article lists ancient and medieval Avanaddha instruments. The use of instruments by gods, demons, human beings in various ceremonies, events, worship lessons, war sites, on auspicious occasions is evidently shown with their importance, use and antiquity. A musical instrument with serious sound was used at warrior sites and Yagna. From different sources like; ancient texts & other facts, it can be concluded that since ancient times eastern musical instruments have been used in music right from the beginning of the era. Avanaddha vadya were invented to support the singer, accompany his song, engage his mind more, cover up his faults, and measure his singing activity in Taal.
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Torrance, Tracy A., and Jennifer A. Bugos. "Music Ensemble Participation: Personality Traits and Music Experience." Update: Applications of Research in Music Education 36, no. 1 (October 26, 2016): 28–36. http://dx.doi.org/10.1177/8755123316675481.
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The purpose of this study was two-fold: (1) to examine the relationship between personality type and ensemble choice and (2) to examine the differences in personality across age and music experience in young adults. Participants ( N = 137; 68 instrumentalists, 69 vocalists) completed a demographic survey and the Big Five Personality Inventory. Results of a multivariate analysis of covariance show significantly higher levels of Extroversion by vocalists compared to instrumentalists, F(135) = 5.71, p = .02, d = 0.44. However, mean personality scores by section show high levels of Extroversion in percussionists, similar to vocalists, suggesting that extroverted individuals may be more likely to choose percussion or voice as their primary instrument. These data have many implications for structuring curriculum, establishing learning environments, and facilitating teacher-student communications.
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Vijayan, K. Sajith, and Karin Bindu. "Kerala´s Ancient Mizhavu Drum: Transformations and Sustainability." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 27–38. http://dx.doi.org/10.30819/aemr.8-4.
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The Kerala state in India offers a huge assemblage of various percussion eccentricities. Each percussion instrument sustains and preserves its own attributes: some drums accompany visual arts, others create a vibrant world of percussion music, and a few maintain both attributes. Almost all instruments are related to ceremonial pursuance and worship customs. Mizhavu is a single-headed drum from Kerala that employs these kinds of ceremonial pursuance. The purpose of the instrument, which had also been used in temples in Tamil Nadu, is to accompany the Kūṭiyāṭṭam and Kuttu performances in the great temples (mahakshetras) for the pleasure of God’s souls and the invocation of their powers. Kūṭiyāṭṭam and Kuttu – Kerala’s Sanskrit drama performing art forms – have been recognized as Intangible Cultural Heritage due to 2000 years of tradition. As ‘visual sacrifice’ staging scenes from the Ramayana and Mahabharata, they combine dance with theatre performance, Sanskrit verses (slokas), and percussive music in a ritualistic context. The main supporting percussion instrument (mizhavu) serves as deva vādyam – an instrument for the deities. Its classification as a one-headed drum covered with skin (avanaddha vadya of the dardura type) goes back to the Natya Shastra of Bharatamuni – some 2000 years ago. Definitions as kettledrum (bhanda vadya) trace it back to Kautilya’s Arthasastra. The Buddhist Pali Tripitaka refers to pot drums (kumba toonak). Tamil epics mention a muzha or kuta muzha drum. Publications in recent decades nearly mention that drum. Production methods, forms, and material of the drum have changed over the ages. Attached to the artistic heritage of a certain Brahmin caste – the Nampyar – the drum has spent a long period in the environment of temple theatres. Since 1966, it has been taught to pupils of all castes at the Kerala Kalamandalam, Thrissur District. P.K.K. Nambiar worked as the first mizhavu teacher in the later added Kūṭiyāṭṭam department. He was followed by his pupil K. Eswaranunni, the first mizhavu guru from another caste, fighting for acceptance among members of Chakyar and Nampyar families. As a passionate master with numerous awards and performance experience all over the world, K. Eswaranunni has trained most of the contemporary mizhavu percussionists, who are still performing all over India as well as abroad. This paper gives an overview of the instrument and shows how the mizhavu is described by both gurus in their books written in Malayalam and by both authors including their personal relations to the drum.
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Sable, Neha A., and Nisha Shinde. "Prevalence of Wrist Pain in Young Tabla Players: Observational Study." International Journal of Health Sciences and Research 12, no. 5 (May 10, 2022): 10–14. http://dx.doi.org/10.52403/ijhsr.20220502.
Full textAbstract:
Background: The most popularly used percussion instruments in Indian classical music is Tabla. Playing a percussion instrument demands great force & effort, which may make percussionists prone to playing-related musculo skeletal disorders (PRMDs). Method: A Prevalence study using convenience sampling technique was done from the music schools of Pune-Godse & Madhumati Sangeet Vidyalay with 104 subjects. The subjects aged between 11 to 25 yr old Both males & females who plays table atleast from1 yr. Wrist pain was assessed by using Numeric pain rating scale (NPRS) Subjects rated the pain in the scale of 0 No pain to 10 Worst pain at rest and after playing tabla. Result : Prevalence of pain at Rest the average percentage of person experience pain are 28.84% 74 persons out of 104 are not experiencing any pain, the % of no pain is 71.15%. Prevalence of pain after playing tabala. The average % of person experiencing pain after playing is 66.34%. 35 Person out of 104 are not experiencing any pain. The % of no pain after playing table is 33.65%. Conclusion: The prevalence of wrist pain is more in table players after playing table than compared to pain at rest. Key words: Playing related musculoskeletal disorders (PRMDs), NPRS-Numeric pain rating scale, Percussion instrument, Ergonomics, Musculoskeletal.
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Powell, Sean R. "Wind Instrument Intonation: A Research Synthesis." Bulletin of the Council for Research in Music Education, no. 184 (April 1, 2010): 79–96. http://dx.doi.org/10.2307/27861484.
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Abstract The development of intonation skills is among the many challenges facing instrumental music educators. The purpose of this review is to synthesize the research on wind instrument intonation in order to develop a consensus in regard to intonation perception and performance. The research studies reviewed are organized into three main sections: studies examining the physical factors of wind instruments that influence intonation, studies examining intonation perception and performance by players of wind instruments, and studies examining various methods to improve wind intonation. Discussion, conclusion, and implication sections are included following the review of the literature.
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Kendall, Roger A., and Edward C. Carterette. "Perceptual Scaling of Simultaneous Wind Instrument Timbres." Music Perception 8, no. 4 (1991): 369–404. http://dx.doi.org/10.2307/40285519.
Full textAbstract:
Timbral similarities among wind instrument duos were studied. Flute, oboe, E♭ alto saxophone, B♭ clarinet, and B♭ trumpet instrumentalists performed in all possible duo pairings (dyads). Source material included B♭4 unisons, unison melody, major thirds, and harmonized melody. Nonunison combinations had each instrument of the pair as the soprano, creating a total of six contexts. Music major and nonmusic major subjects rated the similarity of all possible pairs of dyads in each of the six contexts. Classical multidimensional scaling (MDS) was performed; contexts were treated as " subjects" in an individual differences scaling (INDSCAL) analysis of composite data. The resulting spaces had two stable, interpretable dimensions. From verbal attribute rating experiments ( Kendall & Carterette, in preparation, a), these were identified as " nasal" vs. " not nasal," and " rich" vs. " brilliant." A third dimension was interpreted as "simple" vs. "complex."Extrema in the space were associated with three of the five instruments: Trumpet (brilliant), saxophone (rich), and oboe ( nasal). Data that were amalgamated over contexts and plotted in two dimensions yielded a circumplicial configuration. Implications for orchestration are discussed and a theoretical model of timbre combinations and groupings is presented.
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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.
Full textAbstract:
This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants, which contributed to the advent and changes of jazz piano styles were highlighted. Standing out among them at the first (traditional) stage are the schools and individual creative techniques known under generic name “stride piano” and based on the ragtime technique. At the second (contemporary) stage beginning from bebop, jazz piano stylistics gradually diverge from standardized textural formulas of homophonicharmonic type and attain fundamental diversity depending on creative attitudes of leading jazz pianists. The question of jazz piano stylistics is one of the least studied in jazz theory. The existing works devoted to this subject address mostly the sequence of the advent and changes of jazz piano styles along with the general characteristics of their representatives. Beginning from approximately the 1920s, jazz piano styles appeared and changed so fast that they left no time for their comprehension and perception (Kinus, Y., 2008). Only in the newest stylistics of the period after bebop, which divided the art of jazz into traditional and contemporary stages, did these styles attain a certain shape in new modifications and become the components of a phenomenon defined by the generic notion “jazz pianism”. It was stated that the genesis of this phenomenon is usually seen in the art of ragtime, carried in the United States of the late 19th – early 20th centuries by itinerant pianists. This variety of “third-layer” piano music playing produced a significant impact on the art of jazz in general, which is proved by its reproduction in the Dixieland and New Orleans styles as some of the first examples of jazz improvisation. The stylistics of ragtime influenced the entire first stage of jazz piano, which traces its origins back to approximately the 1910s. It combined mental features and esthetics of two traditions: European and Afro-American, which in the entirety produced the following picture: 1) popular and concert area of music playing; 2) gravitation toward demonstration of virtuosic play; 3) domination of comic esthetics; 4) objectivity of expression; 5) tendency toward the completeness of form; 6) inclination toward stage representation. In technological (texturalpianistic) aspect, ragtime, reproduced in the jazz stylistics of stride piano, demonstrated the tendency toward universalization of piano, which combined in the person of one performer the functions of solo and accompaniment, derived from the practice of minstrel banjoists related to the percussion-accented rhythmics of dance accompaniment (Konen, V., 1984). It was stated that ragtime as the transitional bridge to jazz piano existed simultaneously with other forms of “third-layer” music playing found in the Afro-American environment (unlike ragtime itself, which was an art of white musicians). These were semi-folklore styles known as “barrel house” and “honky-tonk(y) piano” cultivated in Wild West saloons. The subsequent development of jazz piano stylistic went along the lines of more vocal and specific directions related mostly to peculiarities of playing technique. Among the more global origins equal in significance to ragtime and stride pianists derivative, blues piano stylistics is worth noting. It represents an instrumental adaptation of vocal blues, which had the decisive influence over the melodics and rhythmics of the right hand party of jazz pianists (ragtime and stride piano highlighted and consolidated the typical texture of accompaniment, i.e., the left hand party). Blues piano style is a multicomponent phenomenon that shaped up as a result of efforts taken by a whole number of jazz pianists. It was developed, and continues to exist until presently, in two variants: a) as a solo piano variant, b) as a duet variant (piano and vocal). Along with blues piano, a style known as “boogie-woogie” was cultivated in jazz piano stylistics of the period before bebop as the new reminiscence of the pre-jazz era (with rock-n-roll becoming a consequence of its actualization in the 1950–1960s). A stylistic genre known as “Harlem piano style” (its prominent representatives include Luckey Roberts, James P. Johnson, Willie “the Lion” Smith, and Thomas “Fats” Waller) became a sort of compendium that combined genetic components of traditional jazz piano. This school has finally defined jazz piano as a form of solo concert music playing, which also determined the subsequent stylistic varieties of this art, the most noteworthy of which are “trumpet piano style”, “swing piano style” and “locked hands style”. Their general feature was interpretation of the instrument as a “small orchestra”, which meant rebirth at the new volute of a historical-stylistic spiral of the “image” of universal piano capable of reproducing the “sounds” of other instruments, voices and their ensembles. Outstanding pianists of various generations have been, and are, the carriers (and often “inventors”) of jazz piano styles. It should suffice to mention the names of such “legends” of jazz as Art Tatum, Oscar Peterson, Thelonious Monk, Bud Powell, Bill Evans, and also Herbie Hancock, Chick Corea, Keith Jarrett (older generation), Gonzalo Rubalcaba, Brad Mehldau, Vadim Neselovskyi, Robert Glasper (middle generation), Eldar Djangirov, Tigran Hamasyan, Cory Henry (younger generation). Conclusions. The description of the stages of development of jazz piano pianism made in this article proves that its polystylistic nature is preserved, and the main representative of certain stylistic inclinations were and remain the texture. Textured formulas serve as the main objects of stylistic interpretations for jazz pianists of different generations. These readings are represented by two vectors – retrospective (revival of jazz traditions) and exploratory, experimental (rapprochement with the academic avant-garde). Of great importance are the styles of personalities, in which polystylistic tendencies are combined with the individual playing manners and improvisation, which, in general, is the most characteristic feature of the current stage of development of jazz piano art.
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Krishnan, Vijaya, and Dr Sarada Sridhar. "INDIAN MRIDANGAM ARTIST AND ASSOCIATED MUSCULOSKELETAL DISORDERS." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (May 24, 2022): 341–48. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.113.
Full textAbstract:
Background: Percussion artists are prone to develop musculoskeletal injuries. Mridangam is one of the most popular accompaniments in an Indian Carnatic Music recital. Thus, the aim of the study is to explore the prevalence of musculoskeletal disorders amongst Mridangam artists.
Methodology: This was a descriptive cross-sectional study. Mridangam artists from various music school participated in the study over the period of 6 months. Self-made questionnaire was administered to artists comprising of demographic data, practice habits, and information about instrument usage.Using a video camera, the posture was recorded and analyzed. The recorded video was evaluated for risk factors.
Results: This study revealed a 40% prevalence of playing related musculoskeletal affection among the Mridangam artists. Low back region was the most affected followed by knee and shoulder.
Conclusion: The assessment of hazards revealed that the artists have medium exposure level of risk factors. Mridangam a form of percussion instrument has minimal detrimental effects on the artists must be promoted more. Title: Indian Mridangam Artist and Musculoskeletal Disorders
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Buana, Utari Arsy. "BENTUK PENYAJIAN LAGU OEMAR BAKRIE DI MARCHING BAND SWATAMI PADA GEBYAR PENDIDIKAN NASIONAL KABUPATEN LABUHANBATU UTARA." Grenek Music Journal 7, no. 1 (January 3, 2018): 92. http://dx.doi.org/10.24114/grenek.v7i1.8790.
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The results showed that one form of emotional expression that is channeledthrough the music and therefore, the group marching band Swatami onarranemen songs Oemar Bakrie brought by Marching band Swatami using threecategories of instrument, namely: instrument Percussion in tone (Glockenspiel,vibraphone, Xylophone, Marimba), brass instruments (trumpet, Mellophone,Baritone, Tuba), and percussion (Senar drum, tenor drum, bass drum, cymbals).Choosing songs Omar bakrie for in the arrangements with the shape Marchingband. Bakrie Oemar tempo songs using 163 has 51 bars and has two variations ofthe melody, the melody forms A and B. Form benuk melodic presentation of thesong sung by Oemar Bakrie Swatami Marching band is a form of selfappreciation for issuing arts talent. Using costumes and makeup of their pridethat seemed interesting and luxurious for a show. Using display / position playersmake this show the higher thevalue of his art.
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Zekang, Chen. "SYMPHONY CONCERTO FOR PERCUSSION AND ORCHESTRA "SACRED FIRE 2008" BY TANG JIANPING: THE PROGRAM AND ITS INSTRUMENTAL IMPLEMENTATION." Arts education and science 1, no. 4 (2020): 55–62. http://dx.doi.org/10.36871/hon.202004007.
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The article introduces the famous Chinese composer Tang Jianping's "Sacred Fire 2008" Symphony Concerto for percussion instruments for the first time. The composition inherits the principles of a classical concert, in which the idea of a competition between a solo instrument (or a group of instruments) and an orchestra is brought to the fore. The Concerto was written for a triple orchestra with a significant expansion of the percussion instrument group, which are represented by both European varieties and national phono instruments (small Chinese cymbals and Peking Gong), helping the composer to achieve unusual timbre combinations. The soloist's part is also assigned to percussion tools. The considerable expansion of the percussion instruments and their promotion to leading positions is due not only to special attention to their timbre and imaginative capabilities. Among the reasons is the author's desire to establish a connection with ritual music through percussions, which is extremely important considering his special attention to the history and culture of his country. The Concerto is permeated with symphonic development, as indicated by a number of specific features that are revealed through musicological analysis. Special attention is paid to the Concerto program, which was inspired by the XXIXth Summer Olympic Games, but has a deeper meaning — it reflects the worldview of Chinese people and Chinese history.