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Journal articles on the topic 'Words; Text setting; Music'
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1
Docherty, Barbara. "Sentence into Cadence: The word-setting of Tippett and Britten." Tempo, no. 166 (September 1988): 2–11. http://dx.doi.org/10.1017/s0040298200024256.
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When Addressing a text to be set a composer will, at the extremes, offer it violence or reverence, and a sharp-edged exchange was committed to print in the 1960's concerning the correct relation between parole and musica when sentence (or stanza) is made cadence. In his Conclusion to Denis Stevens's A History of Song, Michael Tippett stated that one of the attributes of the song-writer was the ability to destroy all the verbal music of the poetry he set and to substitute ‘the music of music’. Five years later, in his contribution to the Festschrift for Tippett's 60th birthday, Peter Pears made a spirited denial of this ‘Mantis-like’ proposition: the composer should court his text, designing a musical structure compliant to his purpose while according the words the care of the poet whose art they first were. Behind this genteel shadow-boxing lay a wider issue: whether there were definable canons for the setting of English text (as exemplified by Benjamin Britten, since it was against his vocal works that the felicities and inflations Pears discerned in Tippett's 1943 cantata Boyhood's End and 1951 song cycle The Heart's Assurance were implicitly being measured) and whether Tippett's practice flouted them.
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Carter, Chandler. "The Rake's Progress and Stravinsky's Return: The Composer's Evolving Approach to Setting Text." Journal of the American Musicological Society 63, no. 3 (2010): 553–640. http://dx.doi.org/10.1525/jams.2010.63.3.553.
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Abstract Stravinsky has a deserved reputation for manipulating the sound of words, which, among other factors, has given rise to accusations of “antihumanism” against the composer and his music. However, close analysis of the opera The Rake's Progress (1948–51) shows that Stravinsky actually takes care to set the text intelligibly, and at certain moments, even expressively. By analyzing metric displacement and motivic development as it evolved from the composer's earlier neoclassical settings—including Oedipus Rex (1927), the Symphony of Psalms (1930), and Perséphone (1934)—through his first efforts at serial composition in the Cantata (1952), this article contextualizes the seemingly anomalous expressiveness in The Rake's Progress. Discovery of this evolution in his approach to setting text also entails a reassessment of the composer's aesthetic concerns.
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Rovner, Anton А. "Vocal and Choral Symphonies and Considerations on Text Representation in Music." ICONI, no. 2 (2020): 26–37. http://dx.doi.org/10.33779/2658-4824.2020.2.026-037.
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The article examines the genres of the vocal and the choral symphony in connection with the author’s vocal symphony Finland for soprano, tenor and orchestra set to Evgeny Baratynsky’s poem with the same title. It also discusses the issue of expression of the literary text in vocal music, as viewed by a number of influential 19th and 20th century composers, music theorists and artists. Among the greatest examples of the vocal symphony are Gustav Mahler’s Das Lied von der Erde and Alexander von Zemlinsky’s Lyrische Symphonie. These works combine in an organic way the features of the symphony and the song cycle. The genre of the choral symphony started with Beethoven’s Ninth Symphony and includes such works as Mendelssohn’s Second Symphony, Scriabin’s First Symphony and Mahler’s Second, Third and Eighth Symphonies. Both genres exemplify composers’ attempts to combine the most substantial genre of instrumental music embodying the composers’ philosophical worldviews with that of vocal music, which expresses the emotional content of the literary texts set to music. The issue of expressivity in music is further elaborated in examinations of various composers’ approaches to it. Wagner claimed that the purpose of music was to express the composers’ emotional experience and especially the literary texts set to music. Stravinsky expressed the view that music in its very essence is not meant to express emotions. He called for an emotionally detached approach to music and especially to text settings in vocal music. Schoenberg pointed towards a more introversive and abstract approach to musical expression and text setting in vocal music, renouncing outward depiction for the sake of inner expression. Similar attitudes to this position were held by painter Wassily Kandinsky and music theorist Theodor Adorno. The author views Schoenberg’s approach to be the most viable for 20th and early 21st century music.
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Wu, Yi-Cheng Daniel. "Webern's Op. 12, No. 2, Die geheimnisvolle Flöte: Text Setting, Form, and Pitch Orthography." Studia Musicologica 59, no. 3-4 (2018): 275–99. http://dx.doi.org/10.1556/6.2018.59.3-4.2.
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Abstract In tonal music, pitch orthography reflects different structural and functional meanings of notes in various contextual and textural settings such as harmony, melody, and voice leading. At the turn of the twentieth century, many composers attempt to progress beyond the confines of traditional tonality, whose works, as generally perceived by most analysts nowadays, treat the twelve chromatic notes as the twelve enharmonically equivalent pitch-classes and thus present “the dissolution of … [the] notational conventions of earlier times” (Gillies 1993, 43). Contrary to this general sentiment regarding orthography, the present paper brings the significance of pitch notation into sharper focus by investigating its crucial role in the course of the text setting and form in Webern's op. 12, no. 2. I will demonstrate how Webern utilizes orthography to reinforce the structure of the text and the narrative of form, assisting the analyst in considering notation as a core element while examining the pitch structure of the early twentieth-century music.
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Rees, Anthony. "A Father’s Lament Doubly Received: Robert Alter, Nigel Butterley, and David’s Lament for Absalom." Journal of the Bible and its Reception 5, no. 1 (2018): 49–60. http://dx.doi.org/10.1515/jbr-2016-0030.
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Abstract David’s lament in 2 Sam 18:33, on hearing of Absalom’s death, has been an extremely popular text for composers to set to music. The traditional English language settings utilise a text that begins ‘When David Heard’, though these words are absent from the 1611 King James Bible, and the 1560 Geneva bible, and no other extant text supports this rendering. However, a cluster of some thirteen settings of the text in the seventeenth century which appropriated this translation established somewhat of a ‘tradition.’ Settings through to the twenty-first century have continued to utilise this text, with one prominent composer assuming that the textual tradition came from the King James Bible. However, Australian composer Nigel Butterley has produced a setting which makes use of Robert Alter’s translation of the David story. Rather than focus on the single verse, Butterley redacts four chapters of Alter’s translation into a comprehensible narrative, punctuated by the refrain ‘Beni Avshalom. Beni, veni Avshalom’ which appears three times, and the full lament which occurs on the last two occasions. This paper examines Butterley’s appropriation of Alter’s translation, and the musical vocabulary which is employed in conveying this deeply moving text. Interested as it is in issues of interpretation, it reveals Butterley as a both sensitive and powerful reader of scripture.
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Lopatin, Mikhail. "‘Ut cantus consonet cum verbis’: transformations of sound and sense in Paolo da Firenze’s Lena, virtù e speranza." Early Music 48, no. 1 (2020): 3–11. http://dx.doi.org/10.1093/em/caaa001.
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Abstract This article explores the topos of transformation/metamorphosis and its role in creating unusually fluid and ambiguous scenarios of musico-textual behaviour in Trecento and Quattrocento song. Examining Paolo da Firenze’s ballata Lena, virtù e speranza, I show how transformation spreads from the surface level of specific poetic motifs and musical gestures to the very core of music’s relation to its text and text’s relation to its music. In this analysis, my goal is to follow the trajectory of one specific word (‘mutatio’) as it passes through various theoretical filters on its way from the textual to the musical medium (or back), creating new and often unexpected meanings realized in a musical setting.
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HARRIS, ELLEN T. "Silence as Sound: Handel's Sublime Pauses." Journal of Musicology 22, no. 4 (2005): 521–58. http://dx.doi.org/10.1525/jm.2005.22.4.521.
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ABSTRACT The notated absence of sound creates some of the most dramatic and compelling moments in Handel's mature music. Handel's practice can be traced to the word-based silences of the madrigal on one hand, and the rhetorical silences found in Corelli's trio sonatas on the other. By transferring Corelli's systematic use of silence to vocal music, Handel moved beyond word-painting to expressive text-setting. Some critics condemned these silences, which prove strikingly similar to the emotional pauses introduced later by Garrick into his theatrical roles, as incorrect. Others considered them sublime.
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Bosnić, Amra. "Treatment of Text in Vocal Works by Bosnian and Herzegovinian Composers." English version, no. 10 (October 22, 2018): 38–53. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.38.
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The paper discusses the half-century of composition in Bosnia and Herzegovina throughout the prism of musical setting to text phenomenon in vocal forms. In its focus are the solo song Pjesma u zoru by Milan Prebanda, Otvori u noć vrata by Vlado Milošević, Sappho by Nada Ludvig Pečar and The impact of the analogue synthesizer by Dino Rešidbegović. Analysis of the relationship between text and music in these works points out to the compositionaltechnical manner characteristic for these composers, generally marked by: Milošević consistently holds on to a text quantitative and qualitative characteristics, Prebanda raises melody above all the expressive characteristics, Ludvig Pečar holds to neoclassicist formal patterns, while Rešidbegović partly disposes the authority of vocal expressiveness to an interpretant.
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Atkinson, Thomas M., Kevin T. Liou, Michael A. Borten, et al. "Association Between Music Therapy Techniques and Patient-Reported Moderate to Severe Fatigue in Hospitalized Adults With Cancer." JCO Oncology Practice 16, no. 12 (2020): e1553-e1557. http://dx.doi.org/10.1200/op.20.00096.
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PURPOSE: Cancer-related fatigue is a prevalent, debilitating symptom that contributes to increased health care utilization among hospitalized patients. Music therapy is a nonpharmacological intervention that uses active (eg, singing, selecting songs) and passive (eg, listening) techniques. Preliminary evidence from small trials suggests a potential benefit for cancer-related fatigue in the inpatient setting; however, it remains unclear which techniques are most effective. METHODS: A cross-sectional mixed-methods study was performed to compare cancer-related fatigue before and after active or passive music therapy. Cancer-related fatigue was captured via the Edmonton Symptom Assessment Scale fatigue item. Patients were asked to provide postsession free-text comments. RESULTS: A total of 436 patients (mean [standard deviation] age, 62.2 [13.4] years; n = 284 [65.1%] women; n = 294 [67.4%] white; active music therapy n = 360 [82.6%]; passive music therapy n = 76 [17.4%]) with a range of primary malignancies participated. Active music therapy was associated with a 0.88-point greater reduction in cancer-related fatigue (95% CI, 0.26 to 1.51; P = .006; Cohen’s D, 0.52) at postsession as compared with passive music therapy when restricting the analysis to patients who rated their baseline cancer-related fatigue as moderate to severe (ie, ≥ 4; n = 236 [54.1%]). Free-text responses confirmed higher frequencies of words describing positive affect/emotion among active music therapy participants. CONCLUSIONS: In a large sample of inpatient adults with diverse cancer disease types, active music therapy was associated with greater reduction in cancer-related fatigue and increased reporting of positive affect/emotions compared with passive music therapy. Additional research is warranted to determine the specific efficacy and underlying mechanisms of music therapy on cancer-related fatigue.
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Edwards, Warwick. "Phrasing in medieval song: perspectives from traditional music." Plainsong and Medieval Music 5, no. 1 (1996): 1–22. http://dx.doi.org/10.1017/s0961137100001042.
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During the course of a series of articles relating medieval Italian songs to oral and unwritten traditions, Nino Pirrotta comments on a peculiar anonymous two-voice setting from the fourteenth century whose verses seem to have been broken and shattered by the music. Word repetition ‘does not result in a more effective or more understandable rendition of the text; on the contrary, it so fragments and stutters it that any meaning is lost, except as a pretext for the melody which submerges it’. The song in question, Dolce lo mio drudo, is part of a group of unica with Calabrian associations found in the oldest layer of the Reina manuscript. Pirrotta transcribes the song in full and analyses the text and its cognates in detail. It is a ballata with irregularities. I quote in Example 1 just the refrain, together with an indication of the syllable count, in order to facilitate comparison with what follows.
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Bowers, Roger. "The ‘votive antiphon’ among other sacred textual forms." Early Music 48, no. 2 (2020): 147–55. http://dx.doi.org/10.1093/em/caaa021.
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Abstract Alongside settings of liturgical texts effected in manners strictly consistent with liturgical performance, there survive large numbers of early vocal pieces engaging Latin words of a religious or devotional nature all commonly subsumed together, both then and now, under the ‘catch-all’ term of ‘motet’. These, however, encompassed a remarkably diverse range of textual content, each destined for a distinct performance occasion and purpose no less likely to have been domestic than ecclesiastical; and these textual types, in turn, possess potential to have been reflected in corresponding distinctions of musical style and texture. Except in isolated instances, modern scholarship has paid only limited attention to these diversities of text and function, with the result that many musical works are classified together with little examination of the criteria by which compositional distinctions apparent between them might be explained. This article examines the category of ‘votive antiphon’ alongside other categories of Latin composition, and reflects upon the need to ask, of any such piece, the question ‘what was it for?’.
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Ossi, Massimo. ""Pardon me, but your teeth are in my neck": Giambattista Marino, Claudio Monteverdi, and the bacio mordace." Journal of Musicology 21, no. 2 (2004): 175–200. http://dx.doi.org/10.1525/jm.2004.21.2.175.
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Claudio Monteverdi's "Eccomi pronta ai baci" presents an odd pairing of a first-person female voice with a three-voice low male ensemble; in addition, the text, by Giambattista Marino, deals with the subject of the "bacio mordace" [biting kiss], and the female speaker invites her lover to kiss her but warns him against biting her. He of course betrays her, and the poem closes with her outraged complaint and vow never to kiss him again. The combination of text, singing voices, and expressive qualities invoked in the setting suggests that Monteverdi went beyond the conceit of Marino's madrigal in exaggerating the comic and parodistic (in the non-musicological sense of the word) aspects of the situation. In this essay, I explore the background of the kiss imagery, focusing specifically on the "bacio mordace" as an expression of "lover's furor" in Classical and Renaissance sources. I then relate the particular conceit of Marino's poem to Emanuele Tesauro's analysis of the dynamics of literary comedy: the device of decettione [deception or reversal] as part of the ridicolo [comedy] and its attendant burle [pranks]. Finally, I offer a reading of Monteverdi's madrigal in terms of Tesauro's definitions, in which I argue that the setting interjects an extra level of interpretation between the poet and the audience. This musical "filter" introduces new ambiguity into the poem's already equivocal situation, expanding its comic aspects.
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Kim, Minji. "Handel’s choruses of ‘praise and thanksgiving after victory’ and Non nobis Domine." Early Music 47, no. 4 (2019): 551–68. http://dx.doi.org/10.1093/em/caz070.
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Abstract Handel highlights several climactic moments in his works with choruses composed of closely related cantus firmus themes and contrapuntal settings. Parallels can be traced through individual sections of some of the key compositions that define his career in England: ‘Oh Lord, in thee have I trusted’, from the Utrecht Te Deum (1713), ‘Blessed be God’, from Let God arise (1717–18/1726), ‘I will sing’, from Israel in Egypt (1738), and ‘Hallelujah’ from Messiah (1741). The common purpose of giving thanks and praise to God for military victory further links these choruses. While several different melodic sources have been suggested for the cantus firmus subjects thus far, the affinity of all four of Handel’s themes to the incipit of a very well-known canon, Non nobis Domine, invites an exploration of its possible citation. The customary practice of singing the canon or reciting its psalm text at celebratory moments, modelling the psalmist’s deflection of all the honour of his accomplishments to God, makes its reference in Handel’s works highly appropriate. Understanding Handel’s multiple reuse of his choral setting in the context of this tradition deepens the relevance of his music as well as our perspective on his self-borrowing.
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Turmudzi, Muhammad Imam. "SEGMENTASI SISTEM TANDA TEKS DRAMA SURREAL “LAKI-LAKI LAUT” KARYA IWAN EFFENDI: PERSPEKTIF TADEUSZ KOWZAN." ALAYASASTRA 16, no. 1 (2020): 135. http://dx.doi.org/10.36567/aly.v16i1.356.
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ABSTRAKPenelitian ini mendeskripsikan tanda dalam teks drama surreal “Laki-Laki Laut” karya Iwan Effendi dengan cara mengklasifikasikannya menjadi beberapa segmen sistem tanda. Pendekatan yang digunakan adalah semiotika teater Tadeusz Kowzan yang berfokus pada tiga belas sistem tanda dalam teks drama. Sumber data penelitian adalah teks drama surreal “Laki-Laki Laut” karya Iwan Effendi yang penulis dapatkan langsung dari pengarang. Data diperoleh dengan teknik baca dan catat. Penelitian ini merupakan penelitian deskriptif kualitatif. Hasil penelitian menunjukkan segmentasi tiga belas sistem tanda, meliputi kata (bahasa), nada (paralingustik), mimik, gesture, gerak, tata rias (make-up), gaya rambut, tata busana (kostum), properti (prop), ruang panggung (setting), tata cahaya (lighting), musik, dan bunyi (sound effects). Kata kunci: segmentasi tanda, semiotika teater, Tadeusz Kowzan, teks dramaABSTRACTThe study described the sign in the surreal drama text of the "Laki-Laki Laut" by Iwan Effendi by classifying it into several sign system segments. The approach used is the Tadeusz Kowzan theater semiotics which focuses on thirteen sign systems in the drama text. The source of the research data is the surreal drama text of the "Laki-Laki Laut" by Iwan Effendi. Data is obtained by reading and recording techniques. This research is a qualitative descriptive study. The results of the research are thirteen segmentation sign systems, including: word (language), tone (paralingustik), expression, gesture, motion, make-up, hairstyle, fashion (costume), property (prop), setting (stage space), lighting, music, and sound effects.Keywords: sign segmentation, theater semiotics, Tadeusz Kowzan, drama text
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LEIPERT, TRENT. "Lachenmann's Silent Voices (and the Speechless Echoes of Nono and Stockhausen)." Twentieth-Century Music 16, no. 3 (2019): 589–619. http://dx.doi.org/10.1017/s1478572219000021.
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AbstractIn order to assess Helmut Lachenmann's characterization of (his) music as an ‘existential experience’ this article focuses on a specific aspect of many of his compositions: stretches of near-silence and minimized musical activity such as reduced dynamics and gestures which contrasts the surrounding material. I argue that in the case of his early vocal compositions Consolation I and II (1967 and 1968) these ‘meta-musical fermatas’ relate to a key portion of each work's text in order to encourage self-reflection on the part of the listener. My analyses reveal the influence of Luigi Nono and Karlheinz Stockhausen, particularly in terms of word-setting and of the works’ spiritual and political messages. I further trace the changes undertaken in these compositions and in Lachenmann's commentaries for them over the following decade. I suggest these changes relate to political events in Germany occurring between 1968 and 1977 which also led to the conception of Lachenmann's ‘music with images’, Das Mädchen mit den Schwefelhölzern.
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Braun, Michael. "Bartóks originale Vokalmusik Gemeinsamkeiten in Textwahl, Textbehandlung und Stil." Studia Musicologica 53, no. 1-3 (2012): 199–210. http://dx.doi.org/10.1556/smus.53.2012.1-3.15.
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The inventory of Béla Bartók’s original vocal compositions produces a heterogeneous impression: as regards to scoring, form, the derivation of the text, and the attitude of expression, the opera Bluebeard’s Castle, the two collections of songs opp. 15 and 16, Cantata profana for Soli, Choir and Orchestra, and the a cappella series Elmúlt időkből (From Bygone Times) and Twenty-Seven Two- and Three-Part Choruses apparently do not form a homogeneous group. However, they do share the common characteristic of being born as original music out of pre-existing texts. Stylistic features and peculiarities in the choice and the treatment of the texts do reveal some links and parallels between the original vocal works which reflect Bartók’s principles in the setting of texts and in the treatment of voices.
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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (2018): 55–64. http://dx.doi.org/10.36744/m.344.
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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
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Duerden, Rachel. "The Mis-shapen Pearl: Morris, Handel, Milton, and L'Allegro, il Penseroso ed il Moderato." Dance Research 28, no. 2 (2010): 200–217. http://dx.doi.org/10.3366/drs.2010.0104.
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Mark Morris's L'Allegro, Il Penseroso ed Il Moderato (1988), embodies ideas about how to live a good life. L'Allegro is unusual in that it is a full evening-length work, yet has no through-narrative; it has characters and action, but these change in each of the many individual sections. However, together these embody a dialogue – really a three (or four or even five)-way discussion between poet, composer and choreographer about the best way to live. The relationship between dance, music and text, and the implied conversation across the centuries between Milton, Handel, Jennens and Morris, offer insights into the way such layering of creativity can illuminate our engagement with art. As in so much of Mark Morris's work, the relationship of choreography and music is of paramount importance, and this will form the main focus of the discussion here. Handel's secular oratorio of 1740 is itself a setting of John Milton's companion poems, L'Allegro and Il Penseroso (1631), which explicitly explore through debate the relative merits of different approaches to life. Handel's musical setting includes an additional ‘voice’ in the debate: Il Moderato, words by Handel's librettist Charles Jennens, offering a ‘middle way’, or ‘18th century balance’, as John Eliot Gardiner has it (1980:16). 1 For the purposes of this essay I focus chiefly on the dialogue between dance and music as manifest in a few ‘moments’, with reference also at times to the poetry and its rhythms. In this, I am guided by theories of art as embodiment as expounded by Paul Crowther. When we engage with art, we do so in the fullest sense of perceptual, that is, with our whole, embodied selves. Art, as the embodiment of ideas, does not teach us anything specific about the artist or his/her world, but it does reveal something of the world-view of the artist as an embodied being. There is thus the potential for empathy, and imaginative engagement; we are not passive consumers but active reciprocal participants. Through close reading of a few short examples drawn from the work, I employ structural analysis to examine music-dance relationships, referring also from time to time to the poetry, which itself reflects key characteristics of both choreography and music. These examples show how dance, music and poetry manifest characteristics that are suggestive of similar perspectives on life, both individually and in relationship with one another. John Creaser, writing of Milton's poems, observes that they embody a sophisticated and resilient playfulness conveyed through verbal nuance and rhythmic buoyancy, a revelation of temperament and sensibility rather than an exploration of ideals. (Creaser 2001:377)
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Brand, Benjamin Brand. "Viator ducens ad celestia Eucharistic Piety, Papal Politics, and an Early Fifteenth-Century Motet." Journal of Musicology 20, no. 2 (2003): 250–84. http://dx.doi.org/10.1525/jm.2003.20.2.250.
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Fifteenth-century Italy witnessed the marked expansion of the patron's role in the composition and performance of music. Despite the concern and resources that Renaissance princes and ecclesiastics devoted to their musical institutions, however, instances of actual collaboration between patrons and composers are quite rare. This essay considers just such an instance, Matteo da Perugia's Ave sancta mundi / Agnus Dei. A careful examination of this early 15th-century Eucharistic motet reveals that the composer's patron, the cardinal and friar Peter of Candia, likely played a crucial role in selecting the motet text, and was very possibly its author. Read within the context of the enduring and influential works of St. Bonaventure and other Franciscan luminaries, Ave sancta mundi appears to be not simply a general statement of Eucharistic theology, but rather an articulation of Franciscan piety. The most likely impetus for such an articulation was Peter's election to the papacy in 1409 at the Council of Pisa. As heard at the council, not only would the motet have alluded to Peter's status as a prominent member of the Friars Minor, it would have functioned as a forceful plea for ecclesiastical unity in the face of the Great Schism. Matteo's setting employs several musical strategies, including genre blending and chromaticism, which inflect Peter's text in such a way as to amplify these associations. Through a variety of literary allusions and musical processes, then, patron and composer joined in the creative process, fashioning a work that spoke to Peter's deeply held Franciscan beliefs and the aspirations of his fledgling papacy.
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WEAVER, ANDREW H. "Divine Wisdom and Dolorous Mysteries: Habsburg Marian Devotion in Two Motets from Monteverdi's Selva morale et spirituale." Journal of Musicology 24, no. 2 (2007): 237–71. http://dx.doi.org/10.1525/jm.2007.24.2.237.
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Despite recent scholarly interest in Monteverdi's Selva morale et spirituale (1641), many aspects of this large, complex print remain enigmatic, and the intended context for much of the music in the collection has long been a matter of pure conjecture. Yet two of the most anomalous features of the Selva morale, the solo motets Ab aeterno ordinata sum and Pianto della Madonna, can now be placed into the context of the Habsburg court in Vienna during the reign of Ferdinand III (1637––57). Both of these works play directly into the most important aspects of Habsburg Marian devotion. Ab aeterno is a setting of Proverbs 8:23––31, a text that although very rare for seventeenth-century motets would nonetheless have been widely understood as a celebration of the Immaculate Conception of the Blessed Virgin. The Pianto, a Latin contrafactum of Monteverdi's celebrated Lamento d'Arianna, would have been perfectly suited for the Habsburgs' Fifteen Mysteries Celebration, a Lenten devotion in praise of the Most Holy Rosary. Various types of evidence, including liturgical and other religious writings, Habsburg sermons, and additional musical works, support these interpretations of Monteverdi's motets and reveal their importance to the imperial court. That the composer did indeed include the motets in his print with the Habsburg court in mind is further indicated by similarities between the Selva morale and an earlier publication stemming directly from Ferdinand III's court: Giovanni Felice Sances's Motetti a voce sola of 1638.
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Wakimoto, Diana K. "Younger Adults Derive Pleasure and Utilitarian Benefits from Browsing for Music Information Seeking in Physical and Digital Spaces." Evidence Based Library and Information Practice 7, no. 3 (2012): 92. http://dx.doi.org/10.18438/b8dg7z.
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Objective – This study’s objective was to identify the utilitarian and hedonic features of satisfying music information seeking experiences from the perspective of younger adults when using physical and digital music information retrieval (MIR) systems in their daily lives. 
 
 Design – In-depth, semi-structured interviews.
 
 Setting – Large public library in Montreal, Canada.
 
 Subjects – 15 French-speaking younger adults, 10 males and 5 females (aged 18 to 29 years, mean age of 24 years).
 
 Methods – A pre-test was completed to test the interview guide. The guide was divided into five sections asking the participants questions about their music tastes, how music fit into their daily lives, how they discovered music, what music information sources were used and how they were used, what made their experiences satisfying, and their biographical information. Participants were recruited between April 1, 2006 and August 8, 2007 following maximum variation sampling for the main study. Recruitment stopped when data saturation was reached and no new themes arose during analysis. Interviews were recorded and the transcripts were analyzed via constant comparative method (CCM) to determine themes and patterns. 
 
 Main Results – The researchers found that both utilitarian and hedonic factors contributed to satisfaction with music information seeking experiences for the young adults. Utilitarian factors were divided between two main categories: finding music and finding information about music. Finding information about music could be further divided into three sub-categories: increasing cultural knowledge and social acceptance through increased knowledge about music, enriching the listening experience by finding information about the artist and the music, and gathering information to help with future music purchases including information that would help the participants recommend music to others. Hedonic outcomes that contributed to satisfying information seeking experiences included deriving pleasure and feeling engaged while searching or browsing for music. Especially satisfying experiences were those where the participants felt highly engaged in the process and found new, independent, non-mainstream music. Not finding new music did not automatically lead to an unsatisfying experience for the participants; however, technology malfunctions in digital MIR systems and unpleasant environments such as those with unfriendly staff in physical music spaces (libraries and stores), led to unsatisfying experiences for the participants. 
 
 Conclusions – As the results show that the hedonic aspects of music information seeking are very important, designers of MIR systems must take into account the hedonic as well as utilitarian outcomes when creating user interfaces. MIR systems should be designed with browsing as well as searching capabilities so searchers can make serendipitous discoveries of new music and information about music. In other words, MIR systems need to be engaging to ensure satisfying interactions for searchers.
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Arifani, Yudhi. "Optimizing EFL Learners’ Sensitizing Reading Skill: Development of Local Content-Based Textbook." English Language Teaching 9, no. 5 (2016): 1. http://dx.doi.org/10.5539/elt.v9n5p1.
Full textAbstract:
<p>The development of local wisdom based sensitizing reading material is aimed at penetrating one of the imperishable gaps between authentic and non-authentic reading materials dispute in an EFL teaching context. Promoting EFL learners’ needs for the first semester students of English department at university level, who rarely or even never have a direct contact with native speakers, with meaningful and contextual reading textbook in an EFL setting is worth contributing. This study utilizes research and development paradigm within four stages, namely planning, development, try-out, and textbook revision. The textbook development resulted fifteen chapters containing fifteen local reading passages from various famous local tourism objects, famous public figures, cultures, traditional cuisines, and music. Each chapter encompasses eight exercises generated from the reading text itself with approximately from 400 to 600 words. Those exercises cover picture reading preview and identification, lexical sets, collocation and formation, literal, interpretive, and critical comprehension, and networking activity through interview and writing activity beyond the text. The average result of textbook validation from reading experts, English practitioners, and learners revealed the average score was 3.76 within the interval 1 to 4 and it was sorted out into ‘good’ category. Further, revisions toward grammatical error, diction, instruction clarity and picture lay out were also addressed and refined. As the textbook effectiveness toward the improvement of learners’ reading comprehension is not measured yet, so an experimental study is welcome for further research to address the issue of textbook effectiveness.</p>
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Sharifi, Hamid. "Norms governing the localization of video games." Journal of Internationalization and Localization 3, no. 1 (2016): 61–73. http://dx.doi.org/10.1075/jial.3.1.04sha.
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Garshasp: Temple of the Dragon (2012) is a 3D, 3rd person action-adventure hack ‘n’ slash indie game developed by Dead Mage for English gamers and Fanafzar Sharif for local use. It was one of the early Persian forerunners to be majorly localized and distributed throughout the English community. It takes a mythology that westerners are probably not familiar with and presents it in a third person action setting that most audiences can understand (MetaCritic 2012). This and more is what Garshasp offers from its home country demonstrated through its lovely art design, pompous music, and a great narrator (GameSpot 2012). The present research investigates the norms governing the ‘language’ of Garshasp: Temple of the Dragon; a prequel to its 2011 Garshasp: The Monster Slayer. Toury (1978/2000) proposed various categories of norms among which ‘initial norms’ is our concern. These norms represents the side translators subject themselves to; source (adequacy) or target (acceptability). In other words, the initial norm refers to “the translator’s (conscious or unconscious) choice as to the main objective of his translation, the objective which governs all decisions made during the translation process” (van Leuven- Zwart 1989, 154). Van Leuven-Zwart (1989) also contents that, as is the case with most other norms, the initial norm is not directly observable, but may be inferred by identifying the shifts contained in target text. Using Toury’s categorization (1978/2000) and a modified Vinay and Darbelnet’s model (1958/1995), we found that the language of the video game under study tends to be more acceptable than adequate.
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Mihkelev, Anneli. "Folk Tradition and Multimedia in Contemporary Estonian Culture." Interlitteraria 24, no. 2 (2020): 396–407. http://dx.doi.org/10.12697/il.2019.24.2.10.
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The legends of the kratt or the treasure-bearer have existed in lively oral tradition in Estonian culture for a very long time. These myths and legends have traversed from the oral tradition to literary works, visual culture and music. All these texts on the kratt exist in the culture as metatexts which create the world of the kratt, where different cultural memories and interpretations are intertwined. This means that the kratt as a cultural text is also a multimedial text. Different media use different tools and this makes the interpretations more playful and interesting. Andrus Kivirähk’s novel Rehepapp (The Old Barny, 2000) is the central literary work on the kratt in contemporary Estonian literature. Kivirähk combines the mythical kratt with the figure of Old Barny (rehepapp), who is the unofficial leader of the village and a cunning manor house barn-keeper. There are several cultural texts based on Kivirähk’s novel, but the most important are the opera Rehepapp (2013) by Tauno Aints, libretto by Urmas Lennuk, and the film November (2016) by Rainer Sarnet. The 2015 production of the ballet Kratt (1943) by Eduard Tubin is more contemporary in its setting and represents everyday life in the modern factory. The article analyses how different multimedial texts about the kratt and Old Barny use and combine multimedia to create and convey the social meaning of the kratt, and how multimedia use audio-visual poetics to convey a greater number of emotions and aesthetic values in the cultural text. The film by Rainer Sarnet and the ballet by Eduard Tubin represent harmony with different poetics factors and the meanings of the cultural texts.
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Youmans, Gilbert. "The Vocabulary-Management Profile: Two Stories by William Faulkner." Empirical Studies of the Arts 12, no. 2 (1994): 113–30. http://dx.doi.org/10.2190/by6n-abua-em1d-rx0v.
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The Vocabulary-Management Profile (VMP) is a graph of the moving average of the number of new vocabulary words introduced over successive intervals of text. Peaks and valleys on the VMP correlate closely with narrative structure: new episodes, new settings, new characters are signaled by an increase in new vocabulary, and hence by upturns on the curve. Conversely, downturns in the VMP normally signal a continuation of the episode, description, or characterization. Higher-level boundaries in discourse (such as those between paragraphs and narrative episodes) normally correspond with deeper valleys on VMPs than do lower-level boundaries (such as those between clauses and sentences). Hence, VMPs provide surprisingly accurate graphical representations of the hierarchical structure of discourse. In general, the VMPs for “A Rose for Emily” and “Dry September” confirm this close correspondence between VMPs and narrative structure. However, VMPs are formally equivalent to unlabeled tree diagrams, and like such diagrams, they can provide only partial, not complete analogues for the structure of discourse.
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Flores, Alexander. "Offenbach in Arabien." Die Welt des Islams 48, no. 2 (2008): 131–69. http://dx.doi.org/10.1163/157006008x335912.
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AbstractTwice, the theatre of Jacques Offenbach exerted a marked influence on musical theatre in Egypt. The first occasion was a number of performances of his most popular opéra-bouffes, in French and by French artists, around 1870. The ruler, Ismā'īl, tried to introduce European culture in Egypt and gave Offenbach's work a central role in that endeavour. With Ismā'īl's decline, that attempt was discontinued. The second appearance occurred in 1920/21. Then, two of the most popular musical comedies of the famous Egyptian composer Sayyid Darwīš had Offenbach's works as their sources. These works were translated into Egyptian Arabic, given an oriental setting and an Egyptian colour, e.g. by having the lyrics written by popular Egyptian poets. The main message of the original pieces—attacking the military and the authorities in general by ridiculing them—was changed by introducing a clear anti-Turkish thrust, thus castigating the aristocracy ruling Egypt at the time of the adaptation and, by implication, the British occupation. Whereas the text of the Egyptian pieces was quite closely inspired by the French originals, the music shows no signs of direct influence by Offenbach—it is vintage Sayyid Darwīš. The article also sheds some light on the musical theatre of the brothers Rahbānī in Lebanon that has not been directly inspired by Offenbach but exhibits a spirit quite close to his and thus lends itself to a comparison.
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Zhou, Daping. "The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research." Aspects of Historical Musicology 14, no. 14 (2018): 180–206. http://dx.doi.org/10.34064/khnum2-14.13.
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Introduction. The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. The general theoretic background for the vast amount of the musical artifacts studying is specified in the current section. Theoretical background. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. Schneerson, Lui Ji, Wei Tinge, Liu Fuan, Zhang Xiaohu, Zhang Qian and others. In particular, the current research is based upon the works by Bu Li, Bian Meng, Wang Ango, Wang Yuhe, Cheng Xu and other authors, devoted to the problem of the European and national music traditions interaction in the Chinese composers’ piano artifacts. The insufficient readiness of this thesis is mentioned. Namely, it is still the point of discussion and analyzing, to what extend and in what quality the genre system of European piano music is mastered by the Chinese composers. It is another point of investigation if their compositions are the result of the surface signs borrowing, taken from the most widely spread European genres or the Chinese composers were able to comprehend the genre semantics profoundly and develop some genres creatively, basing on the national musical tradition. Objectives. The main objective of the current article is the essential theoretical background specification for the Chinese composers’ piano creations genre peculiarities research; in particular, the polygenicity, the borrowed material usage principle, the composer’s genre stylization method. Methods. The task setting and developing is based upon the functional and morphological approaches to the musical genre comprehension, on the terminological analysis of the musical genres and styles understanding, on the upto-date philological and musicological conceptions of composition poetics, artistic genre and stylization method. Results and discussion. The concept of musical genre is defined as the type of the creation or the musical creative activity. Here the category of genre involves not only the formal but also the substantial musical compositions properties, their typical semantics. The musical genre genesis is specified by three factors: 1) the functional creations similarity, the identity of their assignment; 2) the similarity of the conditions of the composition creating and performing; 3) artistic and contextual affinity. The given factors specify the occurance of common musical form properties among several compositions, and these properties are defined as genre style. The composition style properties quite definitely “indicate” some kind of genre “prototype”, and in this sense they are the sign-index of the genre. The typical artisticcontent properties of musical creations and performing are also the index of the genre. These typical properties and designated as genre image (or genre semantics). The genre style and the corresponding images reflect the real type relations of the musical practice phenomena. It enables the composers to use the formal signs of a certain genre as an artistic attribute well recognized by the audience. In the musical genres system, the areas of interactive and independent music are conventionally separated. The first group includes the numerous kinds of every day musical performing, where music interacts with the riot, dance, poetic verbal speech, theatre performance and other types of a person’s artistic activity. Meanwhile, the main and specific function of the independent music is its being the object of artistic perception. The independent music artifacts don’t need any interaction with the expressive means of other arts. The piano music can belong to both spheres. A lot of independent sphere piano music compositions are bear the names of the genres belonging to the folklore, theatre music, church rituals, urban life. We mean such as piano “lullabies”, “ballads”, “minuets”, “waltzes”, “marches”, “arias”, ”love songs” etc. there is still another phenomenon: the piano music pieces, the name of which is not connected with the interactive music genres, are often profoundly connected with them on the levels of the language and artistic text. Quite often, the piano pieces are built on certain composition, borrowed from the sphere of folklore, popular or church music. In all the alike cases we can notice the artistically justified synchronous (non consequent) interaction of several musical genres signs and properties in the form of the definite composition. This phenomenon is characterized as polygenicity. Two main approaches to achieve the polygenre artistic expressive effect are defined: a) the use of the “exterior” (non native, another’s, alien) musical material; b) the genre style characteristic properties reproduction (genre stylization). The given work gives the definitions for the methods of different musical genres properties combination by means of borrowing and of the “exterior” material use in the frames of the original composition: quotations, arrangements, edited versions, fantasies and transcriptions. The genres, originated by these composing methods, are characterized. The essence of the genre stylization method in the Chinese composers’ creations is revealed. It is the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. The wide range of this method implementation is mentioned: from total style imitation to allusion. Conclusions. The existence of the great amount of the piano music compositions in the today’s Chinese musical culture motivates the overall and profound scientific analysis of this phenomenon, in particular, it stimulates the given sphere genre features revelation in both synchronous and diachronic (historic-evolutionary) aspects. The piano music genre sphere researcher needs the clearly formulated, capacious and non-contradictory categories of musical genre, genre style, genre system, genre semantics, as well as of the notions, derivative and connected with them. As it was mentioned by numerous specialists, the Chinese piano music distinctive feature consists in its lasting connection with the national music tradition. The task, set for the musicologists, is to define the nature, the principles, the variants of the interaction between the European piano music genres and styles and the traditional Chinese music genres and styles ( folklore, theatre, popular song). The given article states that the first artistic method, leading to the combination of the European and Chinese traditions in the frames of one composition consists of the composer’s borrowing and using some “alien” material, a fragment of the famous musical creation in his artifact. Thus, using serves as a general notion, embracing a number of certain musical text composing methods, which include quoting, arranging, creating versions, fantasies and transcription. The second artistic approach, leading to European piano music and the Chinese traditional music interaction, consists in the artistic method of stylization. This method implies the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. This method reveals the unlimited possibilities to create the bright vivid effects for genre dialogue, conflicts, interaction, as well as very delicate conceptual modus, allusions, hints, promoting the remarkable enrichment of the compositions genre figurativeness. Basing on the given theoretical background the author is going to analyze the genre-style contents of the seven-volume edition “A century of Piano Solo Works by Chinese Composers”. This content may serve as a working model for the studying of the whole thesaurus of piano music artifacts, created by the Chinese composers.
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Rosenwald, Lawrence. "Theory, Text-Setting, and Performance." Journal of Musicology 11, no. 1 (1993): 52–65. http://dx.doi.org/10.2307/764152.
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Rosenwald, Lawrence. "Theory, Text-Setting, and Performance." Journal of Musicology 11, no. 1 (1993): 52–65. http://dx.doi.org/10.1525/jm.1993.11.1.03a00070.
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Merkley, Cari. "Music Information Seeking Behaviour Poses Unique Challenges for the Design of Information Retrieval Systems." Evidence Based Library and Information Practice 5, no. 4 (2010): 90. http://dx.doi.org/10.18438/b8t621.
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Objective – To better understand music information seeking behaviour in a real life situation and to create a taxonomy relating to this behaviour to facilitate better comparison of music information retrieval studies in the future.
 
 Design – Content analysis of natural language queries.
 
 Setting – Google Answers, a fee based online service.
 
 Subjects – 1,705 queries and their related answers and comments posted in the music category of the Google Answers website before April 27, 2005.
 
 Methods – A total of 2,208 queries were retrieved from the music category on the Google Answers service. Google Answers was a fee based service in which users posted questions and indicated what they were willing to pay to have them answered. 
 The queries selected for this study were posted prior to April 27, 2005, over a year before the service was discontinued completely. Of the 2208 queries taken from the site, only 1,705 were classified as relevant to the question of music information seeking by the researcher. The off-topic queries were not included in the study.
 
 Each of the 1,705 queries was coded according to the needs expressed by the user and the information provided to assist researchers in answering the question. The initial coding framework used by the researcher was informed by previous studies of music information retrieval to facilitate comparison, but was expanded and revised to reflect the evidence itself. 
 
 Only the questions themselves were subjected to this iterative coding process. The answers provided by the Google Answer researchers and online comments posted by other users were examined by the author, but not coded for inclusion in the study.
 User needs in the questions were coded for their form and topic. Each question was assigned at least one form and one topic. Form refers to the type of question being asked and consisted of the following 10 categories: identification, location, verification, recommendation, evaluation, ready reference, reproduction, description, research, and other. Reproduction in this context is defined as “questions asking for text” and referred most often to questions looking for song lyrics, while evaluation typically meant the user was seeking reviews of works (p. 1029). Sixteen question topics were outlined in the coding framework. They included lyrics, translation, meaning (i.e., of lyrics), score, work, version, recording (e.g., where is an album available for purchase), related work, genre, artist, publisher, instrument, statistics, background (e.g. definitions), resource (i.e. sources of music information) and other.
 
 The questions were also coded for their features or the information provided by the user. The final coding framework outlined 57 features, some of which were further subdivided by additional attributes. For example, a feature with attributes was title. The researcher further clarified the attribute of title by indicating whether the user mentioned the title of a musical work, recording, printed material or related work in their question. More than one feature could appear in a user query.
 
 Main Results – Overall, the most common questions posted on the Google Answers service relating to music involved identifying works or artists, finding recordings, or retrieving lyrics. The most popular query forms were identification (43.8%), location (33.3%), and reproduction (10.9%). The most common topics were work (49.1%), artist (36.4%), recording (16.7%), and lyrics (10.4%). The most common features provided by users in their posted questions were person name (53%), title (50.9%), date (45.6%), genre (37.2%), role (33.8%), and lyric (27.6%). The person name usually referred to an artist’s name (in 95.6% of cases) and title most often referred to the title of a musical work. Another feature that appeared in 25.6% of queries was place reference, almost half of which referred to the place where the user encountered the music they were enquiring about. While the coding framework eventually encompassed 57 different features, a small number of features dominated, with seven features used in over 25% of the queries posted and 33 features appearing in less than 10%. The seven most common features were person name, title, date, genre, role, lyric, and place reference.
 
 Lee categorized most of the queries as “known-item searches,” even though at times users provided incorrect information and many were looking for information about the musical item but not the item itself (p. 1035). Other interesting features identified by the author were the presence of “dormant searches,” long standing questions a user had about a musical item, sometimes for years, which were reawakened by hearing the song again or other events (p. 1037). Multiple versions of musical works and the provision of information gleaned third hand by users were also identified as complicating factors in correctly meeting musical information needs.
 
 Conclusion – While certain types of questions dominated among music queries posted on the Google Answers service, there were a wide variety of music information needs expressed by users. In some cases, the features provided by the user as clues to answering the query were very personal, and related to the context in which they encountered the work or the mood a particular work or artist evoked. Such circumstances are not currently or adequately covered by existing bibliographic record standards, which focus on qualities inherent in the music itself. The author suggests that user context should play a greater role in the testing and development of music information retrieval systems, although the instability and variability of this type of information is acknowledged. In some cases this context could apply to other works (film, television, etc.) in which a musical work is featured. Another potential implication for music information retrieval system development is a need to re-evaluate the terminology employed in testing to ensure that it is the language most often employed by users. For example, the 128 different terms used in this study to describe how a musical item made the user feel did not significantly overlap with terms employed in a previous music information retrieval task involving mood classification conducted through MIREX, the Music Information Retrieval Evaluation Exchange, in 2007. The author also argues that while most current music information retrieval testing is task-specific – e.g., how can a user search for a particular work by humming a few bars or searching for a work based on its genre, in real life, users come to their search with information that is not neatly parsed into separate tasks. The study affirms a need for systems that can combine tasks and/or consolidate the results of separate tasks for users.
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Liu, Xia. "The specifics of the narrative in the opera genre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (2019): 170–83. http://dx.doi.org/10.34064/khnum1-55.12.
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Logical reason for research. The opera art remains an object of high attention of the public, and of the composing and performing art; it has a diverse repertoire in various historical, national and author’s styles, it is presented by interesting results in the field of innovations and theatre experiments. This situation has always led to theoretical understanding and generalization in musicology studies at various levels; it raises many questions related to the genesis and development of the opera genre, its historical path, both in historical, cultural and theoretical understanding, as well as in the performing sphere, in line with the modern interpretology searches. This aspect combines a number of historical, theoretical and practical questions into a single complex, and also allows one to find answers to these questions related to the demands of both musical science and musical practice. Innovation. The article is devoted to one of the most basic genre indicators of an opera composition. The narrative in music is presented as a special setting for the verbal narrative, associated, on the one hand, with the narrative plot, and on the other hand, with an emotional assessment of the events reflected; these two vectors interact in the opera at the genre level. One of the theories of literary criticism, which can be useful both in the process of theoretical research of the opera genre and in the field of the practical embodiment of an opera composition on the stage, is the theory of the narrative. Associated with the study of a special type of the narrative, this theory can be involved in the study of opera compositions, which also represent the embodiment of the narrative, as a rule, quite large-scale and complex, where the narrative, the plot, is realized both by the word and by means of the dramatic art. Objectives. The purpose of the presented study is to identify the specifics of the action of the narrative in the opera genre. Methods. The main methods of the presented research are the genre one and the narrative one. The first is related to the identification of the genre meaning of the narrative in an opera composition, the second helps to characterize the structural and semantic features of the narratives that are involved in the opera genre. Results and Discussion. The systematization of scientific sources on the theory of the narrative, according to its specifics in the musical art, in particular in the opera genre, is certainly relevant for substantiating the theory of the opera narrative. The most systematic is the study by V. Schmidt “The Narratology”. Many scientific sources related to the study of the narrative address semantics issues as well. In the modern musicology, this aspect of research is very important; this is confirmed by scientific works devoted, in particular, to the musical and theatrical art, which has a synthetic artistic nature and the complex nature of the interaction of musical and extra-musical factors and, accordingly, the multi-level nature of semantics. Also noteworthy is the emergence of a large number of studies on musical interpretation, which are also devoted to semantics in the musical art both at the composing and at the performing level. Musical-scenic genres and, in particular, the opera as the leading one of them, has precisely the narrative character of its nature – this is a narrative about a number of interrelated events, which has a storyteller-mediator and an emotional assessment of what is happening. Thus, the narrative is a genre component of the opera and one can analyse the effect of the narrative at different levels of the opera genre – the author’s (composing) one and the performing (musical, stage, taking into account various parameters of the text and subtexts of the composition) one. A separate issue is the specifics of the genre varieties of the opera, but the narrativeness remains an integral part of its nature, even in the mono-opera, where the narration gets the status of “the first person”, but the suspension still occurs – it can have a temporary, plot-like, communicative character. The narrativeness as a genre quality in the opera is the result of the correlation of the verbal text and the corresponding plot of the vocal composition (the extra-musical component) and the peculiarities of their musical embodiment (the musical component). The narrative qualities can be manifested at all levels of the opera text, both to enhance the emotional colouring, and to contrast the juxtaposition, and to create the dramatic depth. In accordance with the synthetic nature of the genre, the opera narratives also show their synthetics. The task of the performer as a participant in the opera performance from the point of view of the implementation of the narrative has the character of a composing performing interpretation to identify the artistic potential of the composition, as well as to create its individual performing version (from the singer to the conductor and the director). Conclusions. The use of the knowledge of philology and literary criticism in the musical science exists owing to the use of the word in the musical art. Manifestations of the narrativeness in music are primarily associated with those genres where literature, verbal text, and word are involved. The narrative as a story-telling, among other things, is characterized by an emotional attitude that is as if directed from the outside towards the one to whom the narrative is directed (in literature – the reader, in music – the listener). The most vividly and systematically the specificity of the action of the narrative (the narrativeness) manifests itself where there is a word and a story-telling, a plot, namely in the musical-stage genres, especially in the opera. Here, the narrative determines the specifics of the genre, while acting at several levels, since it is associated not only with the literary, but also with the theatrical factor. Another important quality of the narrative is the connection with the mediator between its source and the recipient, and in the art of music such a special intermediary is the performer; consequently, the narrative in music is firmly connected with the performing interpretation, and with the performing art.
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Fink, Robert. "Rhythm and Text Setting in "The Mikado"." 19th-Century Music 14, no. 1 (1990): 31–47. http://dx.doi.org/10.2307/746674.
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Fink, Robert. "Rhythm and Text Setting in "The Mikado"." 19th-Century Music 14, no. 1 (1990): 31–47. http://dx.doi.org/10.1525/ncm.1990.14.1.02a00020.
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May, William. "The Siren Alps: Text-setting and Gender." Contemporary Music Review 29, no. 2 (2010): 201–13. http://dx.doi.org/10.1080/07494467.2010.534930.
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Lytvyshchenko, O. V. "O. I. Nazarenko as a coryphaeus of the Kharkiv accordion school: formation of the authorial style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (2020): 43–56. http://dx.doi.org/10.34064/khnum1-56.03.
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Problem statement. The pedagogical activity of the Merited Artist of Ukraine, Professor O. I. Nazarenko is more than fifty years old. The maestro’s name will become history of the Department of Folk Instruments of Kharkiv I. P. Kotliarevskyi National University of Arts. It is impossible to disregard O. Nazarenko’s creative achievements and multifaceted activity, first, because his enormous contribution to the development of the academic accordion in Kharkiv and his authority reaches far beyond Kharkiv and Ukraine. Well-known modern accordionists and orchestral ensembles perform the composer’s works with great respect and persistence. The artist’s pedagogical activity, his talent as a teacher and mentor was found itself in students who achieved outstanding success thanks to high-quality professional training. The object of the research is O. Nazarenko’s musical activity. The aim is to determine characteristic features of O. Nazarenko’s authorial style in the context of Kharkiv Accordion School traditions. Methodology. This study is based on historical, genre and stylystic as well as interpretive method. The methodological basis is formed by the works of Yu. Diachenko (2012), M. Pliushenko (2017), I. Sniedkov (2016), A. Strilets (2018), which partly appeal to O. Nazarenko’s work and the history of Kharkiv Accordion School. Presenting the main material. One of the brightest representatives of Kharkiv Accordion School is the teacher, performer, composer and conductor O. I. Nazarenko. In the context of Kharkiv Accordion School formation and development, O. Nazarenko was remembered for his networking with famous Kharkiv composers. From 1967 to 1987 O. Nazarenko performed many authorial programs of such Kharkiv composers as V. Bibik, F.Bogdanov, O. Zhuk, V. Zolotukhin, D. Klebanov, I. Kovach, T. Kravtsov, G. Finarovsky, S. Faintukh and N. Yukhnovska. Working as a solo accordionist and accompanist, O. Nazarenko gained richer experience and recognition of stage colleagues; he accompanied the People’s Artists of the USSR such as Ye. Chervoniuk, M. Manoilo, Yu. Bogatykov and N. Surzhina, People’s and Merited Artists of Ukraine as V. Arkanova, A. Rezilova, Yu. Ivanov and others. While setting piano vocal works by Kharkiv composers, O. Nazarenko made editions for accordion and enriched the texture of his own works in every possible way. Materials of arrangements, settings, transcriptions were periodically published in such publishing houses’ collections as “Music” (Moscow), “Musical Ukraine” (Kyiv). We cannot ignore the maestro’s creative contacts with V. Podgorny, who influenced his further activity and made a contributive mark on the path of his professional development. Mastering the technique of influencing the listener through emotional and expressive accordion playing was important for O. Nazarenko. V. Podgorny who possessed a brilliant technique of working with sound, was mentioned by O. Nazarenko as “the artist of sound”. It was communication and creative contact with V.Podgorny that enriched the professional background and stimulation of the composer’s talents in young Olexandr’s soul. O. Nazarenko’s specific performing and composing style was formed under V. Podgorny’s influence also. As one of his brightest students, he collaborated with him, was interested in new creative ideas and imitated the teacher’s manner. O. Nazarenko’s work is more connected with singing and folklore; Ukrainian, Russian, Gypsy, Georgian and Latin American motives became the basis of his musical compositions. Based on folk and authorial melodies, he created largescale complex structures with vivid musical images. A typical feature of topics for adaptation, transcription and arrangement was the idea of taking unfamiliar works, which no one had previously addressed to. This attracts performers to search for their own interpretations without imitating already known performer interpretations. Many works in the maestro’s interpretation are characterized by a waltz manner. During his life, from childhood, all the memories and experiences accumulated and became the basis for many of his works. According to his words, he actively attended music evenings in a village club and school after the war, where he could listen to modern waltz-like music by Soviet composers. The first author’s melody, “Elegy Waltz”, which represents lyrics and romantic images as memories, was a dedication to his brother Volodymyr. The author comments that it was his brother who showed him waltz and taught him to dance it in his childhood. Many accordion works by O. Nazarenko are characterized by symphonic principles of development, which are also used in fantasia genre. In this genre, a dramatic and deeply psychological work interpreting Russian folk song “Thin Rowan” was written, which absorbed the emotions of the author’s inner experiences (being a dedication to his mother Alexandra Monakova). Being an excellent accordionist, he is aware of the instrument’s possibilities and implements this knowledge in working on musical works. He pays much attention to image intonation and the specifics of imitation of other instruments. His performance methods were based on the works by S. Richter, E. Hilels, L. Kohan, Ya. Heifetz and many other maestros. These ideas gave him, as a performer, an extremely subtle feeling of timbre. In the manner of his performance, he made the audience not only listen, but also hear, which is very important for perception of musical work. O. I. Nazarenko managed to raise a large number of students for many years of pedagogical activity. They represent his name not only in Ukraine but also abroad. Conclusions. O. Nazarenko’s authorial style is original and multifaceted, it consists of composition, performance and pedagogical activities. The authorial style formation was greatly influenced by Kharkiv cultural environment, creative connection with V. Podgorny and performing traditions of Kharkiv Accordion School in general. O. Nazarenko’s original compositional style is manifested in the genres of transcription, fantasia and arrangement of folk songs for accordion. O. Nazarenko’s works include a number of ones written and dedicated to people who left a great dramatic imprint in his life. Works dedicated to his mother, father, wife and brother are a musical word where dramatic images emphasize the expression and specificity of addressing close people. Due to the bright timbres, rich texture and registers, the composer’s musical compositions become symphonic, going far beyond the basic thematic material. Based on folk and authorial melodies, he created large-scale complex structures with vivid musical images. O. Nazarenko’s works require a performer’s high level of technical training, an intellectual approach to understanding all the musical text details, fastidious work on the sound. These components of performing skills are inherent in the maestro as a representative of Kharkiv Accordion School.
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Sokolova, Natalia Vladimirovna. "Multimodal IT marketing discourse: An integrated approach investigation." Russian Journal of Linguistics 24, no. 2 (2020): 366–85. http://dx.doi.org/10.22363/2687-0088-2020-24-2-366-385.
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Websites of software vendors feature verbal and nonverbal means providing for a number of parameters to be taken into account in order to gain more comprehensive insights into the range and interplay of the means in use. This paper investigates the multimodal website marketing discourse of Microsoft , Oracle, and SAP relying on an approach which makes use of multimodal critical discourse analysis, pragmatics, and text linguistics. The integrated framework allows for consideration of the discourse-generating intention of the locutionary source, the discourse function, verbal content categories and audio-visual techniques employed in the nonverbal discourse contributing to the global category of ideologeme consisting of key ideas and aimed at the locutionary target. The intention of such discourse is to persuade consumers to purchase IT solutions which is manifested in the persuasive function. The textual content has been investigated in terms of a set of categories such as: the theme, including IT terms; tonality, made explicit through positively charged words and imperative sentences; time and space, emphasizing time saving efforts to deal with challenges enterprise-wide. The findings are similar to those revealed in the verbal content of customer testimonial videos, with audio-visual techniques such as invigorating music, company settings, contrast colors, etc. being alike. It is of particular interest that the linguistic means in these three marketing discourses are different only when it comes to metaphorical expressions. The global ideologeme is made explicit by urging customers to optimize data and feel IT-powered performance benefits. It is conveyed through multiple antitheses such as data challenges vs. one solution, previously vs. now, old vs. new, and slowly vs. fast. The antitheses in the three marketing discourses are similar as are the typical manifestations of categories and audio-visual techniques which may encourage further research in terms of making the specific discourse of a company stand out to its customers.
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Hutton-Williams, Francis. "Samuel Beckett and Morton Feldman's ‘Text-Music Tandem’ in Words and Music." Modernist Cultures 8, no. 1 (2013): 100–119. http://dx.doi.org/10.3366/mod.2013.0053.
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Caswell, Glenys. "Beyond Words: Some Uses of Music in the Funeral Setting." OMEGA - Journal of Death and Dying 64, no. 4 (2012): 319–34. http://dx.doi.org/10.2190/om.64.4.c.
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Music is a common feature of funerals, both in terms of sacred music and also secular music when a funeral is personalized to the individual who has died. Drawing on data from research exploring Scottish funeral practices, this article examines some of the ways in which music can be used during a funeral. It suggests five specific uses of music in the funeral context: the use of music as a means of control; the use of music as a means of inclusion and exclusion; music as a source of collective activity; music as a means of creating or shifting emotion; and music as a means of evoking the memory of the deceased person. These uses of music are described and discussed, and suggestions made for further research exploring the use of music in funerals.
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Armstrong, Paul B., and Murray Krieger. "Words about Words about Words: Theory, Criticism, and the Literary Text." Journal of Aesthetics and Art Criticism 48, no. 1 (1990): 96. http://dx.doi.org/10.2307/431211.
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HORNBY, EMMA. "Text and formula in the Milanese cantus." Plainsong and Medieval Music 22, no. 1 (2013): 1–35. http://dx.doi.org/10.1017/s0961137112000095.
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ABSTRACTThis analytical article aims to establish the melodic grammar of the in directum Milanese cantus. Deviations from the generic norms might be experienced in performance as emphasising the words with which they appear. Certain texts (particularly ‘domin-’) are often associated with melodic shapes found elsewhere in the genre on the same words, regardless of what one might expect to encounter formally. Chants that share similar liturgical functions, or which appear in close liturgical proximity, often share melodic material and formal strategies. Building on and responding to Bailey's The Ambrosian Cantus (1987), the present article seeks to appreciate the cantus melodies as they have been preserved, rather than using them as a lens through which to seek a putative (and entirely rationally structured) lost ancestor.
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ARMSTRONG, PAUL B. "Krieger, Murray. Words About Words About Words: Theory, Criticism, and The Literary Text." Journal of Aesthetics and Art Criticism 48, no. 1 (1990): 96. http://dx.doi.org/10.1111/1540_6245.jaac48.1.0096.
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Rodgers, S. "Sentences with Words: Text and Theme-Type in Die schone Mullerin." Music Theory Spectrum 36, no. 1 (2014): 58–85. http://dx.doi.org/10.1093/mts/mtu007.
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Tyler, Linda. "Bastien und Bastienne: The Libretto, Its Derivation, and Mozart's Text-Setting." Journal of Musicology 8, no. 4 (1990): 520–52. http://dx.doi.org/10.2307/763534.
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Tyler, Linda. "Bastien und Bastienne: The Libretto, Its Derivation, and Mozart's Text-Setting." Journal of Musicology 8, no. 4 (1990): 520–52. http://dx.doi.org/10.1525/jm.1990.8.4.03a00050.
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Shields, Allan, and Murray Krieger. "Words about Words: Theory, Criticism, and the Literary Text." Leonardo 22, no. 3/4 (1989): 451. http://dx.doi.org/10.2307/1575439.
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Qureshi, Regula Burckhardt. "Musical Gesture and Extra-Musical Meaning: Words and Music in the Urdu Ghazal." Journal of the American Musicological Society 43, no. 3 (1990): 457–97. http://dx.doi.org/10.2307/831743.
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This ethnomusicological inquiry into the text-music relationship assumes a broadly contextual perspective that encompasses, but goes beyond, traditional considerations of textual and musical structures with the aim of exploring the sources of meaning for what Edward Cone terms the "gestural character" of the musical utterance. The approach calls for making explicit the ideational framework as well as the performative function of a vocal genre, both of which inform the way its musical idiom serves to communicate a text in performance. The ghazal, subject of this case study, is the principal poetic form in Urdu; it is set to music in a number of related but distinct genres. Illustrated by a set of transcribed and translated examples, the analytical procedure first considers the text-music structure as a performance idiom that is subject to the cultural-historical background norms of Urdu poetry on the one hand and North Indian "light" music on the other. The second stage considers each particular genre in terms of its idiom's specific function in performance. The general conclusion is that music linked to ghazal poetry is structurally constrained by the text as performed, but that purely musical features articulate, and thus link, the text with the content of its performance. Hence ghazal music represents a synthesis of text and context in its embodiment of features drawn from both and expressed directly through a unique vocabulary of musical gestures.
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Kyriakides, Yannis. "Hearing Words Written." Organised Sound 21, no. 3 (2016): 233–41. http://dx.doi.org/10.1017/s1355771816000200.
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Over the past few years, I have developed a form of composition – which I callmusic–text–film –in which I explore the dynamics between sound, words and visuals. In this article I will attempt to explain how meaning is constructed in the interplay between these layers of media. Taking as an example three of my works,Subliminal: The Lucretian Picnic,Dreams of the BlindandThe Arrest, I analyse and discuss aspects of narrative, point of view, metaphor and cross-modal perception, as a way of understanding how multimedia art, specifically in the audiovisual domain, is experienced. One of the issues that arose out of these pieces was the question of location of the ‘voice’. It is as if a state of limbo is created between the narrative voice of the text and the implied voice of the music, due to the absence of a conventional focal point to pin it on – an actor or a singer. I would like to suggest that because of this vacancy and the way the projected word takes the place of the sung or spoken voice, the inner voice of the audience becomes activated. This then becomes a vital immersive dimension in the performance, as the inner voice of the audience finds its place within the space of the composition.
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Pintér, Csilla. "The music of words in Béla Bartók’s Twenty-Seven Choruses." Studia Musicologica 53, no. 1-3 (2012): 141–52. http://dx.doi.org/10.1556/smus.53.2012.1-3.10.
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Bartók’s two- and three-part choruses for children’s and female voices are his best-known choral works worldwide. Nevertheless, the cycle as a whole does not enjoy a wide popularity outside of Hungary. The reason for this lies in the fact that, being a textually inspired composition written in an inaccessible language, it is internationally rarely performed due to difficulties of pronunciation and accentuation — not to mention the difficulties of translation. Text has a very special role in Bartók’s vocal works, where words do not act only through their meaning, nor do they function merely as a supplementary element of music, but are both an essential shaping force in the field of rhythm and a fundamental factor of timbre. The subject of this paper is a survey of some difficulties in performing the Twenty-Seven Choruses with particular emphasis on the role of the text in the pieces’ rhythmic style. The relation between words and timbre and, in connection with that, the orchestral version of seven choruses are also examined.
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Newcomb, Anthony. "LUZZASCHI'S SETTING OF DANTE: ‘QUIVI SOSPIRI, PIANTI, ED ALTI GUAI’." Early Music History 28 (August 24, 2009): 97–138. http://dx.doi.org/10.1017/s0261127909000424.
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This article examines the Ferrarese cultural context surrounding the virtually unprecedented choice of a text from Dante's Commedia for setting in Luzzaschi's Second Book of Madrigals of 1576. A particular focus is the quarrel in literary criticism of the early years of the 1570s over the place of Dante in the Italian literary firmament, and the position of the influential Modenese critic and philologist Lodovico Castelvetro in this quarrel. I speculate that Castelvetro, a subject of the duke of Ferrara, may have had a role in the choice of text. I also speculate that the disastrous Ferrarese earthquakes of the early years of the decade may have resounded for Ferrarese culture in the particular lines from the Commedia. Finally, I propose that the musical style chosen by Luzzaschi for this setting was an extraordinary and retrospective homage to the late style of his teacher Cipriano de Rore, another artistic figure intimately connected with the Este court. Both Rore and Castelvetro may be seen as icons of Ferrarese cultural prestige in the ongoing battle for precedence between the Este and the Medici.
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Xu, Yulan, and Qiaowei Li. "Music Classification and Detection of Location Factors of Feature Words in Complex Noise Environment." Complexity 2021 (April 20, 2021): 1–12. http://dx.doi.org/10.1155/2021/5518967.
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In order to solve the problem of the influence of feature word position in lyrics on music emotion classification, this paper designs a music classification and detection model in complex noise environment. Firstly, an intelligent detection algorithm for electronic music signals under complex noise scenes is proposed, which can solve the limitations existing in the current electronic music signal detection process. At the same time, denoising technology is introduced to eliminate the noise and extract the features from the signal. Secondly, from the perspective of audio and lyrics of song sentiment analysis and the unique characteristics of lyrics text, a lyric sentiment analysis method based on text title and position weight is proposed. Finally, considering the influence of the weight of feature words in different positions on the classification of lyrics, the analytic hierarchy process is used to calculate the weight of feature words in different positions of text title and lyrics before, in, and after the text. The results show that in the complex noise environment, the accuracy of music classification and detection of the proposed model is more than 90%, which is far beyond the control range of the actual application of music processing. The effect of music classification and detection is better than that of the contrast model, which has a certain practical application value.