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Artículos de revistas sobre el tema "Humanities -> music -> composition"

Autor: Grafiati

Publicado: 27 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Lugo, Igor, and Martha G. Alatriste-Contreras. "Musical Composition and Two-Dimensional Cellular Automata Based on Music Intervals." Complex Systems 34, no. 2 (2025): 235–52. https://doi.org/10.25088/complexsystems.34.2.235.

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This paper uses a theoretical approach to explore the applicability of a two-dimensional cellular automaton based on melodic and harmonic intervals in random arrays of musical notes. Our aim is to explore alternative uses for a cellular automaton in the musical context for better understanding musical creativity. We use the complex systems and humanities approaches as a framework for capturing the essence of creating music based on rules of music theory. Findings suggest that such rules matter for generating large-scale patterns of organized notes. Therefore, our formulation provides a novel a

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2

Chadabe, Joel. "Interactive music composition and performance system." Journal of the Acoustical Society of America 78, no. 6 (1985): 2159. http://dx.doi.org/10.1121/1.392597.

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3

Todd, Peter M. "Hierarchical sequential networks for music composition." Journal of the Acoustical Society of America 87, S1 (1990): S18. http://dx.doi.org/10.1121/1.2028110.

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4

Leng, Xiaodan, Gordon L. Shaw, and Eric Wright. "Music composition and model of cortex." Journal of the Acoustical Society of America 87, S1 (1990): S19. http://dx.doi.org/10.1121/1.2028113.

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5

Ekpo, Omotolani Ebenezer. "Decolonizing the African musical language and Identity through Onyeji’s ‘Research Approach to music composition’ in Nigeria." African Musicology Online 12, no. 2 (2023): 43–55. http://dx.doi.org/10.58721/amo.v12i2.258.

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Ongoing research in the arts, humanities and social sciences has largely explored different subjects on decolonising African socio-cultural perspectives, including music composition and performances. Art music composers in Nigeria and diaspora beyond creative expression have adopted their native languages as a viable tool for decolonising their continent. More recently, works and arguments of music scholars like Meki Nzewi, Dan Agu, Bode Omojola, Olusoji Stephen, and Christian Onyeji, among so many, have emphasised the deliberate creative engagement of indigenous languages and musical idioms a

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6

Vassallo, Juan. "SYMBOLIC MUSICAL RESYNTHESIS AS AN EKPHRASTIC COMPOSITIONAL PRACTICE USING COMPUTATIONAL METHODS." Culture Crossroads 22 (September 13, 2023): 129–47. http://dx.doi.org/10.55877/cc.vol22.443.

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In my artistic work, I explore the affordances of computational methods from the discipline of artificial intelligence for music composition. Grounded in philosophical perspectives that revolve around the notions of trans- and post-humanism and cybernetics, I understand the mediating role of computers in music composition as having the potential to expand a composer’s creative process by providing him with novel ways of exploring relationships between musical material and structure. Under this premise, music composition becomes a process that occurs through the assemblage between human actors

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7

Bolaji, David. "Indigenization and Educative Implication of Otito Lo Ye Ka Se by Kayode Samuel." International Journal of Research and Review 10, no. 3 (2023): 236–48. http://dx.doi.org/10.52403/ijrr.20230326.

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The advent of British colonialism gave rise to Western education, Christian religion, and art music in Nigeria. Consequently, since many Nigerians have embraced Western art music, there have been sustainable efforts to indigenize and promote Africanism in Nigerian art music. Part of these efforts owes much to a number of Nigerian ethnomusicologists and composers, one of whom indeed, is Kayode Samuel whose outstanding scholarship and advocacy of nationalism cannot be overemphasized. His creative composition, which involves the use of a pentatonic scale attributed to the African scale, stands as

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8

Meier, Sidney K., and Jeffrey L. Briggs. "System for real-time music composition and synthesis." Journal of the Acoustical Society of America 100, no. 2 (1996): 693. http://dx.doi.org/10.1121/1.416231.

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9

Aoki, Eiichiro. "Portable communication terminal apparatus with music composition capability." Journal of the Acoustical Society of America 113, no. 5 (2003): 2393. http://dx.doi.org/10.1121/1.1584173.

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10

Song, Shuailong, and Patrick Niñalga Leo. "Improvement of Hebei College Students' Understanding of Haydn's Trumpet Concerto in E Flat Major." International Journal of Social Science and Humanities Research 12, no. 1 (2024): 150–58. https://doi.org/10.5281/zenodo.10695592.

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<strong>Abstract:</strong><em> </em>This thesis investigates the enhancement of Hebei College students' comprehension of Haydn's Trumpet Concerto in E-flat Major, focusing on strategies to improve music cognition and appreciation. The study delves into the realm of music education and cognitive theories, aiming to address challenges in understanding classical compositions among students. By utilizing a mixed-methods approach, including surveys, interviews, and music analysis, the research analyzes the effectiveness of various educational methodologies in fostering a deeper grasp of the intrica

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11

Napier, Kathleen, and Lior Shamir. "Quantitative Sentiment Analysis of Lyrics in Popular Music." Journal of Popular Music Studies 30, no. 4 (2018): 161–76. http://dx.doi.org/10.1525/jpms.2018.300411.

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Popular music has been changing significantly over the years, revealing clear, audible differences when compared with songs written in other eras. A pop music composition is normally made of two parts—the tune and the lyrics. Here we use a digital humanities and data science approach to examine how lyrics changed between the 1950’s and the more recent years, and apply quantitative analysis to measure these changes. To identify possible differences, we analyzed the sentiments expressed in the songs of the Billboard Hot 100, which reflects the preferences of popular music listeners and fans in e

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12

Zuk, Patrick. "Music as post-traumatic discourse: Nikolay Myaskovsky’s Sixth Symphony." Arts and Humanities in Higher Education 17, no. 1 (2018): 104–18. http://dx.doi.org/10.1177/1474022216684636.

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This essay explores ways in which musicologists might extend work undertaken by humanities scholars in the interdisciplinary field of trauma studies that has highlighted the centrality of traumatic experience to modernist creativity. It is focussed around a case study of a musical composition that represents the emotional aftermath of a traumatic event, the Sixth Symphony of the Soviet composer Nikolay Myaskovsky (1923). A central concern is to demonstrate how the symphony’s musical symbolism is strikingly evocative of typical features of post-traumatic mentation, such as dissociation and emot

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13

Loudermilk, Alan R. "Methods for providing on-hold music using auto-composition." Journal of the Acoustical Society of America 121, no. 2 (2007): 690. http://dx.doi.org/10.1121/1.2640188.

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14

Hickey, Maud. "“We all Come Together to Learn About Music”: A Qualitative Analysis of a 5-Year Music Program in a Juvenile Detention Facility." International Journal of Offender Therapy and Comparative Criminology 62, no. 13 (2018): 4046–66. http://dx.doi.org/10.1177/0306624x18765367.

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The purpose of this long-term qualitative study was to uncover evidence that might support components of positive youth development (PYD) in a music composition program at an urban youth detention center. The constructs of PYD come from self-determination theory—competence, autonomy, and relatedness—and formed the theoretical lens from which the data were analyzed. Over a period of 5 years, more than 700 youth participated in the program and created primarily rap music compositions. Comments from their feedback, as well as interviews, were analyzed using qualitative content analysis. Findings

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15

Cornelis, Olmo. "From information to inspiration, sensitivities mapped in a casus of Central-African music analysis and contemporary music composition." Critical Arts 27, no. 5 (2013): 595–605. http://dx.doi.org/10.1080/02560046.2013.855524.

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16

Šmidchens, Guntis. "Music during the Occupation: Musical Activity and Composition in Latvia, 1940–45." Journal of Baltic Studies 45, no. 1 (2014): 131–33. http://dx.doi.org/10.1080/01629778.2014.864487.

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17

Agbo, Benedict Nwabugwu. "Decolonising the concept of solemnity in the Roman Catholic Liturgy of Igbo Land: A compositional study." IKENGA International Journal of Institute of African Studies 22, no. 3 (2021): 1–24. http://dx.doi.org/10.53836/ijia/2021/22/3/009.

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Liturgical art music in Nigeria has been beleaguered by the confusion about what is truly African or traditional and what is foreign. This confusion is exacerbated by the Western traditional notion of the solemnity of the liturgy as opposed to the African notion of the concept. This paper investigates the theoretical constructs for authentic indigenization of liturgical music compositions in Nigeria many years after the colonialists have left and addresses issues pertaining to the unicity of style and peculiarity of form in African music. It problematizes the concept of solemnity in the liturg

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18

Collins, David. "Real-time tracking of the creative music composition process." Digital Creativity 18, no. 4 (2007): 239–56. http://dx.doi.org/10.1080/14626260701743234.

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19

Owoaje, Tolu. "Education and Practice of the Creative Arts in the Age of Digital Technology." African Musicology Online 14, no. 2 (2025): 25–36. https://doi.org/10.58721/amo.v14i2.1123.

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“The creative arts” describes a wide range of arts in the humanities, comprising music, fine arts, and theatre arts, all of which deal with human creativity from various psycho-motor activities. The practice and teaching of the creative arts in the pre-digital era entail the use of analogies in the representation of reality and was characterised by the use of dedicated information storage and reproduction media. Hence, creative art education largely relied on teacher demonstrations within traditional classroom settings. The digital revolution, however, has provided alternative media in which t

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20

Egüz, Şule. "Social Studies Instruction With Educational Music: Write, Compose, and Apply." SAGE Open 12, no. 3 (2022): 215824402211206. http://dx.doi.org/10.1177/21582440221120651.

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The present study aimed to assist pre-service social studies teachers in the production of song lyrics adequate for the curriculum, composition of songs that would be of interest for secondary school students to construct functional educational music in social studies courses and determine the impact of this music on academic achievements and learning processes of the students. In the present study, exploratory sequential design, a mixed research method, was employed. In the first stage, song lyrics were written by 55 pre-service teachers attending the education department in a public universi

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21

Kubisiowski, Tobiasz. "Emic-etic analysis as a research method for theory of music." Notes Muzyczny 2, no. 16 (2021): 165–82. http://dx.doi.org/10.5604/01.3001.0015.5498.

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Emic and etic are the terms taken from linguistics, but they have become widespread in other fields of humanities, especially anthropology. According to the most general definition, emic approach implies studying behaviours in culture according to its internal categories, whereas etic approach uses external, objective points of reference for this purpose. From the time the concept was created in the 1950s, numerous researchers from different fields have tried to adapt and redefine these two terms so as to use them in their work. The present article attempts to apply both emic and etic approach

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22

Kalibayeva, Aizhan, Valeriya Nedlina, and Anton Somov. "The Energy of “Female” Music: Gender Statistics and Cultural Prerequisites for Gender Equality Among Kazakh Composers." Musicologist 9, no. 1 (2025): 121–57. https://doi.org/10.33906/musicologist.1368755.

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Since ancient times, musical and poetic creativity in Turko-Mongolian nomadic cultures – including that of the Kazakhs – has functioned as a relatively gender-inclusive sphere. Kazakh women, alongside men, historically participated in the musical culture as bearers of sacred (baksy), vocal (akyn), epic (zhyrau), and instrumental (kuishi) traditions. This legacy continues to shape contemporary musical culture in Kazakhstan. However, ongoing gender disparities in other areas of socio-political life may still limit the time and opportunities available to women for creative self-realisation. This

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23

KESKİN, TOLGA. "BEKTÂŞÎ ÂŞIKLARINDAN SIDKÎ’NİN ‘DÜŞ OLDUM’ DEVRİYESİNİN TASAVVUFÎ YORUMU VE MÜZİK ALANINDAKİ İZLERİ." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 103 (September 20, 2022): 13–32. http://dx.doi.org/10.34189/hbv.103.001.

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Sūfism, which is the essence of Islam, is a discipline that includes thoughts and practices for people to recognize God. In this discipline, there are different ways according to the temperaments and dispositions of people, one of which is Bektashism. In this ṣūfī-order, literature and art were used extensively in the transfer of teachings, and poetry and music came to the fore among them. One of the people who produced important works in this field at the beginning of the 20th century is Āşık Sıdkī. Compositions on some of his poems have been influential in his recognition today. One of them

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24

Bassuet, Alban A. "Proposition of new acoustical parameters to analyze the 3D spatial composition of sound in music spaces." Journal of the Acoustical Society of America 123, no. 5 (2008): 3908. http://dx.doi.org/10.1121/1.2935901.

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25

Cutler, Mitchell C., Mylan R. Cook, Mark K. Transtrum, and Kent L. Gee. "Spectral-based cluster analysis of noise from collegiate sporting events." Journal of the Acoustical Society of America 152, no. 4 (2022): A49. http://dx.doi.org/10.1121/10.0015500.

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This paper presents on studies to characterize crowd response from recordings taken from 30 collegiate sporting events. Inferring crowd response from raw acoustic signals is challenging because they contain complex combinations of acoustic sources including crowd noise, music, individual voices, and PA system. First, the distributions of recorded half-second interval overall sound pressure levels from basketball and volleyball games, both men’s and women’s, are analyzed with regard to crowd size and venue. Using 24 one-third octave bands between 50 Hz and 10 kHz, half-second spectral levels fr

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26

Sidorova, Iryna, Natalia Lanovenko-Melnyk, and Svitlana Basovska. "ABILITY TO ANALYZE VOCAL AND CHORAL WORK AS ONE OF THE PROFESSIONAL COMPETENCIES OF THE FUTURE TEACHER-MUSICIAN." Academic Notes Series Pedagogical Science 1, no. 204 (2022): 251–55. http://dx.doi.org/10.36550/2415-7988-2022-1-204-251-255.

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The proceeding considers aspects of preparation of students of art faculties of pedagogical universities for future professional activity. The ability of future music teachers to analyze vocal and choral works in the process of musical activity is emphasized. The development of the ability to carry out music-theoretical, vocal-choral, artistic and pedagogical analysis of vocal-choral work at the present stage of development of music pedagogy becomes important in the formation of professional competencies of future teachers of music. This is because the teacher must be constantly ready to model

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27

Cutler, Mitchell C., Mylan R. Cook, Mark K. Transtrum, and Kent L. Gee. "Data-driven decomposition of crowd noise from indoor sporting events." Journal of the Acoustical Society of America 155, no. 2 (2024): 962–70. http://dx.doi.org/10.1121/10.0024724.

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Separating crowd responses from raw acoustic signals at sporting events is challenging because recordings contain complex combinations of acoustic sources, including crowd noise, music, individual voices, and public address (PA) systems. This paper presents a data-driven decomposition of recordings of 30 collegiate sporting events. The decomposition uses machine-learning methods to find three principal spectral shapes that separate various acoustic sources. First, the distributions of recorded one-half-second equivalent continuous sound levels from men's and women's basketball and volleyball g

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28

Haiduk, Maryna. "Donald Duck and Edward Elgar: English March in Disney Animation." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 133 (March 21, 2022): 94–110. http://dx.doi.org/10.31318/2522-4190.2022.133.257322.

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Relevance of the study. The interdisciplinary approach is one of the advanced methods of studying artistic phenomena in the modern science of humanities. It is especially relevant for the study of the compositions of E. Elgar, as his orchestral music has taken the place of a kind of migratory content in modern culture, which is increasingly presented not in academic concerts, but in interspecific formats of mass cultural affiliation: ceremonial events, cinematic soundtracks, different shows, etc. Scientific consideration of the process of this functional transformation of E. Elgar’s works and

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29

Rifkin, Jacqueline R., and Jordan Etkin. "Variety in Self-Expression Undermines Self-Continuity." Journal of Consumer Research 46, no. 4 (2019): 725–49. http://dx.doi.org/10.1093/jcr/ucz016.

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Abstract From dating profiles and social media accounts to online streaming services, consumers are often asked to express who they are by constructing an assortment. Apple Music, for example, asks new users to indicate “two or more” of their favorite types of music when they create an account. But while consumers might create such self-expressive assortments to communicate who they are, could the composition of these assortments also affect how people see themselves? Seven studies demonstrate that perceiving greater variety in a self-expressive assortment undermines self-continuity. This occu

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30

Zolotukhin, Valeriy. "Speech Melody Research as the Interdisciplinary Foundation of the Petrograd Institute of the Living Word." Arts 13, no. 1 (2024): 31. http://dx.doi.org/10.3390/arts13010031.

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The assumption of similarity between artistic speech melody and music was deeply rooted in Russian Symbolism and based on the culturally established analogy between poetry/lyrical prosody and music. This connection was the basis for a wide range of performative practices focused on performed word such as the experiments of director Vsevolod Meyerhold and composer Mikhail Gnesin in Petrograd theater studios in 1900–1910s, and the collective declamation of Vasilii Serezhnikov and Vsevolod Vsevolodskii-Gerngross. However, after the October revolution, this analogy not only inspired new artistic p

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31

Li, Jing, and Tsaiping Heng. "THE CREATIVE THINKING DEDUCTION OF TRADITIONAL CHINESE PIANO MUSIC ELEMENTS - TAKING CULTURAL WORKS FROM DIFFERENT PERIODS IN HISTORY AS THE MAIN LINE." Herança 6, no. 1 (2023): 232–44. http://dx.doi.org/10.52152/heranca.v6i1.797.

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In the 70 years since the founding of China, piano music has undergone a unique process of development. In the early years of the founding, piano composers tended to favor folk material, focusing on nationalization and mass. This study explores multiple stages in the evolution of creative thinking about traditional elements of Chinese piano music, using the cultural lineage of piano works from different historical periods as the main thread. Among them, the first stage is 1949-1966, the seventeen years of unprecedented prosperity of piano creation in the early years of the founding of the coun

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32

Акопян, Левон Оганесович. "The Laws of Xenakis's Music Not Formulated by Xenakis Himself." Музыкальная академия, no. 1(773) (March 31, 2021): 40–59. http://dx.doi.org/10.34690/127.

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Вокруг творчества Янниса Ксенакиса (1922-2001) сложилась богатая литература, тон которой задал сам композитор своим трактатом «Формализованная музыка», изобилующим математическими формулами и схемами, непонятными для большинства гуманитариев. Между тем чрезмерная опора на то, что писал о своей музыке сам Ксенакис, не всегда помогает в должной мере оценить некоторые немаловажные атрибуты его стиля. Принимая близкую Ксенакису точку зрения на композиторское «изделие» как на эмпирически наблюдаемый феномен с особым набором дифференциальных признаков, уникальным образом распределенных во времени и

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33

Berdahl, Edgar, Stephen D. Beck, and Andrew Pfalz. "A physical model of a highly nonlinear string and its use in the music composition Quartet for Strings." Journal of the Acoustical Society of America 139, no. 4 (2016): 2204. http://dx.doi.org/10.1121/1.4950574.

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34

Maychyka, Ostap, Oksana Frait, Tetyana Slyusar, Olha Katrych, and Oksana Harhay. "Context and Content Analysis of the History of Female Composition in Eastern Galicia in Light of Gender Theories." Herança 7, no. 1 (2023): 33–43. http://dx.doi.org/10.52152/heranca.v7i1.811.

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For a long time, the profession of the composer was undeservedly on the periphery of the world of music and was considered not only few in terms of female representation in performance, music education and musicology, but also low-value and not worth discussing. The relevance of the article is due to the rethinking of the attitude towards female composers, including in the light of gender ideas. It is necessary to research the stories of the life and work of Ukrainian female composers from Eastern Galicia, S. Turkevich and O. Olshanetska, in order to fully return their figures to the national

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35

Yan, Ming, Ekkarach Charoennit, Yiying Wang, Ng Miew Luan, and Lester Naces Udang. "Intercultural Composition: The Creation of Chamber Music in Ngiao Song Based on the Syncretism of the Piano and Thai Strings." International Journal of Critical Cultural Studies 22, no. 2 (2024): 15–31. http://dx.doi.org/10.18848/2327-0055/cgp/v22i02/15-31.

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KÜTÜK, YASİN. "NEŞET ERTAŞ TÜRKÜLERİNDE DUYGULANIM BOYUTUNUN İNCELENMESİ: BİR DUYGULAR ENDEKSİ UYGULAMASI." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 104 (December 3, 2022): 329–48. http://dx.doi.org/10.34189/hbv.104.019.

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This article aims to highlight the emotional characteristics of the lyrics and compositions of the folk songs sung by Neşet Ertaş. For this purpose, the lyrics of 339 songs and the musical information of 264 compositions were crawled. There is also a speech among them. Three different sources have been used to obtain the lyrics and text of speech. Besides, an additional process on to them has been applied; finally, verse-based or sentence-based texts have been obtained. In this process, these texts have been removed from certain words that do not have a meaning on their own, such as unnecessar

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King, Devin. "Tim Rutherford-Johnson. Music after the Fall: Modern Composition and Culture since 1989. Berkeley: University of California Press, 2017. 368 pp." Critical Inquiry 45, no. 2 (2019): 565–67. http://dx.doi.org/10.1086/700883.

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38

Wu, Yaowan, and Yi-Li Chang. "Saint-Saens Violin: Concerto No. 3." Asian Social Science 18, no. 7 (2022): 1. http://dx.doi.org/10.5539/ass.v18n7p1.

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The present study discusses the Violin Concerto No. 3, in B minor, op. 61, by Camille Saint-Sa&euml;ns, focusing on the first and second movements. The purpose is to help performers in their understanding of the concerto by providing context and an analysis of the composer&rsquo;s musical style. Saint-Sa&euml;ns was a prolific French composer, pianist, organist, and writer with a unique understanding of music. After the Franco-Prussian War in the 1870s, a movement to revive the tradition of national music emerged. In 1871, Saint-Sa&euml;ns and his friends established the Soci&a

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39

Liu, Xia. "The ballad as a narrative genre of the chamber-vocal music." Aspects of Historical Musicology 21, no. 21 (2020): 123–36. http://dx.doi.org/10.34064/khnum2-21.08.

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The ballad as a narrative genre of the chamber-vocal music. Logical reason for research. The relevance of the topic of the present research is due to the fact that in music the interaction of purely musical and extra-musical phenomena continues to remain in the focus of increased attention of the researchers who represent both musicology and other areas of humanitarian knowledge. This interaction has a synergistic effect, which lies in the fact that the combination of the simultaneous influence of words and music, integrated into a single whole, leads to a significantly greater effect of these

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40

Van den Bulck, Hilde, and Anders Olof Larsson. "‘There’s a Starman waiting in the sky’: Mourning David #Bowie on Twitter." Convergence: The International Journal of Research into New Media Technologies 25, no. 2 (2017): 307–23. http://dx.doi.org/10.1177/1354856517709670.

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This article analyses Twitter responses to the death of musician David Bowie as an inroad to a discussion about characteristics and functions of Twitter in the mediated relationships between celebrities, fans and the popular culture industry. The study focuses on questions regarding the nature of the Twitter community, types of emotions as well as expressions of fan creativity and the composition of online mourners. To this end, it provides a broad analysis of all tweets with #Bowie in the first 48 h after Bowie passed away ( N = 252,318) and in-depth, quantitative and qualitative analysis of

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41

Limitovskaya, Anna Valentinovna. "Formation of semantics of academic vocal timbre." Pan-Art 5, no. 2 (2025): 392–400. https://doi.org/10.30853/pa20250044.

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The purpose of the study is to identify the iconic properties of academic singing timbre that determine the perception of the content of vocal music. The article analyzes the evolutionary, biological, cultural and historical mechanisms of the formation of the semantics of singing voices. Their timbres are classified according to generally accepted nomenclature, and also correlate with the Barbara McAfee system. The subject of the study is the stationary part of the timbre of the voice, which is understood as a spectral complex determined by the natural anatomical and physiological characterist

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Murillo, Adolf, María Elena Riaño, and Alfredo Bautista. "Collaborative Musical Creativity between Students and Adults: The Sonorous Paella." Creativity. Theories – Research - Applications 8, no. 2 (2021): 32–52. http://dx.doi.org/10.2478/ctra-2021-0016.

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Abstract While creativity is a key element of contemporary curriculum frameworks around the world, it is still insufficiently fostered in formal education settings. This study analyzes a project for collaborative musical creativity, entitled The Sonorous Paella. Participants (N = 12) were eight Year 4 secondary students, two professional musicians, an artist-in-residence, and a music teacher. Drawing on a graphic musical score, the participants worked together for 1.5 months to produce a group composition and performance. They were provided with various sound producers (instruments, everyday o

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McWhorter, John H. "Long Time, No Song: Revisiting Fats Waller's Lost Broadway Musical." Daedalus 142, no. 4 (2013): 109–19. http://dx.doi.org/10.1162/daed_a_00238.

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Just before he died in 1943, Fats Waller wrote the music for a Broadway book musical with a mostly white cast, the first black composer to do so–and the only one ever to do it with commercial success. Yet “Early to Bed” is largely ignored by historians of musical theater, while jazz scholars describe the circumstances surrounding its composition rather than the work itself. Encouraging this neglect is the fact that no actual score survives. This essay, based on research that assembled all surviving evidence of the score and the show, gives a summary account of “Early to Bed” and what survives

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Shchelkanova, Svitlana. "Poetics of the symphony genre in the discourse of cognitive musicology (a case study of V. Silvestrov’s works)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 65, no. 65 (2022): 50–64. http://dx.doi.org/10.34064/khnum1-65.03.

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Statement of the problem. The article is devoted to methodological problems of musical science, namely, to the functioning of the category of poetics in the analysis of the symphony genre. This approach is especially relevant when considering samples of a modern symphony, which embodies the genre invariant in the most individualized way, and needs new approaches to comprehend its innovative nature. Analysis of recent research and publications. The problems indicated in the article reach three levels of research: poetics as a category of musicology, the genre of the symphony, and the phenomenon

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Bourgeois-Bougrine, Samira, Nathalie Bonnardel, Jean-Marie Burkhardt, et al. "Immersive Virtual Environments’ Impact on Individual and Collective Creativity." European Psychologist 27, no. 3 (2022): 237–53. http://dx.doi.org/10.1027/1016-9040/a000481.

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Abstract. This paper explores the recent advances in research concerning the impact of immersive virtual environments affordances on the expression of users’ creativity at individual and team levels. While the top virtual reality (VR) application areas are entertainment and gaming, simulation and training for professionals, research in the domain of the psychology of creativity and VR is advancing rapidly in Europe. Indeed, between 2014 and 2021, 72% of publications in this domain resulted from European research in diverse fields such as engineering, design, music composition, art-making, and

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Editorial Collective, UnderCurrents. "Contributors." UnderCurrents: Journal of Critical Environmental Studies 18 (April 27, 2014): 60. http://dx.doi.org/10.25071/2292-4736/38554.

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Omer Aijazi is a PhD candidate in the Department of Educational Studies, University of British Columbia. His research examines place based, community led micro processes of social repair after natural disasters. His research destabilizes dominant narratives of humanitarian response and disaster recovery and offers an alternate dialogue based on structural change.Jessica Marion Barr is a Toronto artist, educator, and PhD candidate in Cultural Studies at Queen’s University. Her interdisciplinary practice includes installation, found-object assemblage, drawing, painting, collage, and poetry, focu

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Applegate, Celia, and Pamela Potter. "Cultural History: Where It Has Been and Where It Is Going." Central European History 51, no. 1 (2018): 75–82. http://dx.doi.org/10.1017/s0008938918000122.

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The very meaning of “culture” has gone through so many transformations over the last sixty years that it is necessary to take stock of developments in this field of cultural history before suggesting—with an eye to the promises and perils of earlier practices—what new possibilities might exist for the future of the field. The post-1945 period witnessed a powerful impulse to understand culture as something more pervasive than just literature and the arts—and as something more socially and politically reverberant than the shibboleth of “art for art's sake.” In 1957, at the very beginning of the

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Eraslan, İsmail. "AI-Supported Analysis of Formal and Stylistic Transformations in Ottoman-Turkish Music (16th–19th Centuries)." INSAM Journal of Contemporary Music, Art and Technology, no. 14 (July 20, 2025): 48–66. https://doi.org/10.51191/issn.2637-1898.2025.8.14.48.

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This study investigates the formal and stylistic transformations in Ottoman-Turkish music between the 16th and 19th centuries through artificial intelligence (AI)-assisted methodologies. While traditional musicology has often approached Ottoman music through qualitative and performance-centered analyses, this research offers a data-driven and computationally grounded alternative that leverages machine learning and digital humanities techniques to trace musical evolution across centuries. The corpus consists of 45 digitized compositions, including peşrevs and saz semais by three canonical compo

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Casali, Giovanna. "Ancient tragedy, yet modern music: musical compositions in the classical performances (1921–39)." Classical Receptions Journal 16, no. 1 (2024): 73–90. http://dx.doi.org/10.1093/crj/clad027.

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Abstract This contribution aims to analyse the role of music in the revival of Greek theatre that characterized twentieth-century Italy. In particular, it explores and compares the music composed for INDA productions between 1921 and 1939. From the beginning of the festival, music occupied a crucial role, thanks to Ettore Romagnoli’s emphasis on the musical component in reviving ancient Greek drama. The years from 1921 to 1927 were characterized by the collaboration between Romagnoli and Giuseppe Mulè, who attempted to revive ancient Greek music according to modern criteria. By 1930, the festi

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Gularnupong, Karn, and Ampai Buranaprapuk. "Influences of Béla Bartók’s Piano Compositions on Alberto Ginastera’s Piano Music." MANUSYA: Journal of Humanities 25, no. 1 (2022): 41–62. http://dx.doi.org/10.1163/26659077-25010003.

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Abstract This study seeks to reveal the musical relationship between Bartók’s and Ginastera’s piano compositions, showing stylistic conceptualizations of twentieth-century Western art music which held many interesting musical aspects, specifically in the classical piano repertoire. This musicological research employs stylistic analysis and theoretical analysis to shed some light on Bartók’s and Ginastera’s piano music vocabulary. Following this methodology, it is revealed that Ginastera’s compositional language was very much influenced by the highly unique characteristics of Bartók’s. Such cha

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