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Artículos de revistas sobre el tema "Passion music Analysis"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 18 de febrero de 2022

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1

Sanitnarathorn, Pannawit. "An Analysis of Music Fan Towards Music Streaming Purchase Intention of Thailand's Music Industry." Journal of Education and Training Studies 6, no. 3a (April 1, 2018): 78. http://dx.doi.org/10.11114/jets.v6i3a.3161.

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Digital music streaming are climbing but overall music revenue is declining with digital music piracy being blamed as the culprit. In a 10 year period from 2003 to 2013, global music sales dropped from $US23.3 to $US15 billion dollars with Thailand’s music industry following the trend dropping from $US 304 million in 2010 to $US 279 million in 2014. The study therefore used a structural equation model to analyze the variables affecting digital music piracy and fan music streaming's purchase intention. From the seven point Likert scale questionnaire, 350 music fans were surveyed concerning thei

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2

Vuorinen, Mark. "Symbolic Chiasm in Arvo Pärt’s Passio (1982)." Circuit 21, no. 1 (March 11, 2011): 45–59. http://dx.doi.org/10.7202/1001162ar.

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Passio, is Arvo Pärt’s first large scale vocal-instrumental work in the tintinnabuli style and remains today one of his most significant compositions. In this setting of the Passion text according to St. John, Pärt codifies procedures of tintinnabuli that will remain his principle means of musical communication for years to come while implying a very important perspective of Johannine theology. His compositional design utilizes both small-scale and large-scale chiastic constructions and gives prominence to John’s observance in Chapter 18, verse 4, that Christ knows all that will occur in the e

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3

BALMER, YVES, THOMAS LACÔTE, and CHRISTOPHER BRENT MURRAY. "Un cri de passion ne s'analyse pas: Olivier Messiaen's Harmonic Borrowings from Jules Massenet." Twentieth-Century Music 13, no. 2 (July 26, 2016): 233–60. http://dx.doi.org/10.1017/s1478572216000025.

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AbstractUntil the present article, Massenet's influence upon the music of Olivier Messiaen has remained entirely unexplored. During the 1930 and 1940s, Messiaen professed his love for the music of Massenet and regularly used Massenet as a model in his teaching materials. Several examples of the way in which Messiaen selects and transforms passages from Massenet's Werther and Manon are considered. The inclusion of a harmonic formula borrowed from Massenet, contrasted with a melodic formula borrowed from Mozart, in ‘Amen du Désir’, the fourth movement of the Visions de l'Amen, reveals the operat

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4

Erasmus, Ewie, and Liesl van der Merwe. "An interpretative phenomenological analysis of the lived musical experiences of three Williams syndrome individuals." Psychology of Music 45, no. 6 (February 1, 2017): 781–94. http://dx.doi.org/10.1177/0305735616689829.

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The purpose of this interpretative phenomenological analysis (IPA) is to understand the lived musical experiences of three individuals living with Williams syndrome (WS). We are interested in their lived musical experiences because the musical abilities of WS individuals are similar to those of normal control groups despite their severe cognitive impairments. Although there is literature on the medical manifestations of the syndrome, there is no research on their lived musical experiences. Their musical experiences need to be explored as a possible way to help them to cope with their unique ch

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5

Shishkin, Andrei Gennadievich. "Opera and religion: the experience of staging the opera “The Greek Passion” by Bohuslav Martinu in the Ural Opera Ballet Theatre." Культура и искусство, no. 5 (May 2020): 140–48. http://dx.doi.org/10.7256/2454-0625.2020.5.32932.

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Opera &ldquo;The Greek Passion&rdquo;, based upon Nikos Kazantzakis&rsquo; novel &ldquo;Christ Recrucified&rdquo;, demonstrated the Biblical story in &ldquo;passions&rdquo; of the XX century: in 2019 it was staged for the first time in Russia by Ural Opera Ballet Theatre. The article analyzes Martinu&rsquo;s interpretation of the genre of passion, related to music and folk mistrial nature of this genre. Experience of interaction of the theatre in the course of staging the spectacle with representatives of the Russian Orthodox Church is reviewed. The research des

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6

Ma, Benjamin, Timothy Greer, Dillon Knox, and Shrikanth Narayanan. "A computational lens into how music characterizes genre in film." PLOS ONE 16, no. 4 (April 8, 2021): e0249957. http://dx.doi.org/10.1371/journal.pone.0249957.

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Film music varies tremendously across genre in order to bring about different responses in an audience. For instance, composers may evoke passion in a romantic scene with lush string passages or inspire fear throughout horror films with inharmonious drones. This study investigates such phenomena through a quantitative evaluation of music that is associated with different film genres. We construct supervised neural network models with various pooling mechanisms to predict a film’s genre from its soundtrack. We use these models to compare handcrafted music information retrieval (MIR) features ag

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7

ANSON-CARTWRIGHT, MARK. "SUBDOMINANT RETURNS IN THE VOCAL MUSIC OF J. S. BACH." Eighteenth Century Music 10, no. 2 (August 1, 2013): 253–76. http://dx.doi.org/10.1017/s1478570613000067.

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ABSTRACTBach's vocal oeuvre contains a significant number of movements (about thirty-five), including but not limited to those in modified da capo form, with a concluding reprise of opening thematic material in the subdominant key. Some of these ‘subdominant returns’ involve strict parallelism, whereby the entire A section returns at the new pitch, thus transforming the original ‘departing’ modulation from I to V into a ‘returning’ modulation from IV to I. Many subdominant returns, however, occur in a range of contexts, which resist straightforward formal categorization. One example is the ope

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8

Rahayuningsih, Bina Kiki. "BENTUK DAN PERUBAHAN FUNGSI MUSIK KONGKIL DI DESA BUNGKAL KABUPATEN PONOROGO." Sorai: Jurnal Pengkajian dan Penciptaan Musik 13, no. 1 (July 1, 2020): 23–35. http://dx.doi.org/10.33153/sorai.v13i1.3091.

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Kongkil music was created in 1933 by Eyang Toinangun as a means of gathering the people of Bungkal Village as an effort to resist the Dutch invaders. Kongkil music is an ensemble consisting of instruments of kongkil, kedhang, saron, kethuk, kenong, kempul and gong. In the beginning, Kongkil's music brought songs created by its members with the theme of passion-building, because there was no legacy of the old repertoire of the predecessors. There was an innovation in the form of repertoire changes since 1975, namely bringing dolanan gendhing. Around 2000, Kongkil's music was in a vacuum, then i

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9

V.V., Plokhikh, and Kadukha O.S. "INTELLECTUAL ABILITIES OF STUDENTS WITH AN ADDICTIVE TENDENCY TO LISTEN TO MUSIC." Scientic Bulletin of Kherson State University. Series Psychological Sciences, no. 1 (April 15, 2021): 32–40. http://dx.doi.org/10.32999/ksu2312-3206/2021-1-4.

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Purpose. The purpose of the researchis to determine the features of the connection of intellectual abilities with addictive manifestations of passion for listening to music in students. Methods. The subjects were 57 students. In an empirical study, the following methods were used: “The scale of Progressive Matrices” by J. Raven; “Simple analogies”; scale “Sports and music fanaticism” from the method “Tendency to dependent behavior” by V.D. Mendelevich. Passion for listening to music was determined using a research questionnaire. We performed statistical analysis of empirical data using correla

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10

Frigyesi, Judit. "Who is the girl in Bartók’s The Miraculous Mandarin? a case study of Mimi’s deleted scene and its dramatic meaning." Studia Musicologica 53, no. 1-3 (September 1, 2012): 241–74. http://dx.doi.org/10.1556/smus.53.2012.1-3.18.

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The story of Bartók’s pantomime is usually understood as the clash between the cold-blooded brutality of the city — represented by the tramps — and the force of primeval passion — represented by the mandarin. Within these opposing forces stands the girl — whose character, however, is not obvious. In the first complete manuscript version (piano four-hand), immediately before the ending of the piece, there existed a scene depicting a confrontation between the girl and the tramps. This scene, whose main actor is the girl, is crucial for the drama and reveals Bartók’s view with regard to the girl’

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11

Paetz, Allison M. "“It Felt Like I Had Air Back in My Lungs”: Eleanor’s Journey Back From Burnout." Journal of Music Teacher Education 30, no. 2 (January 10, 2021): 77–92. http://dx.doi.org/10.1177/1057083720984438.

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The purpose of this narrative inquiry was to explore the story of a secondary ensemble teacher who experienced burnout and chose to remain in the profession. Eleanor and I met for three semistructured interviews and two observations. I used Clandinin and Connelly’s three-dimensional inquiry space as a framework for this study. Narrative analysis revealed that Eleanor experienced symptoms of burnout during a first teaching position that was a poor fit for her. Her passion and enthusiasm for teaching were reignited during a period of long-term music substitute teaching in a successful program su

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12

Chojnowski, Zbigniew. "Mit tristanowski." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 51, no. 2 (August 16, 2021): 301–5. http://dx.doi.org/10.36770/bp.614.

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The article attempts to discuss and evaluate the book The Passion of the Tristan Myth in Modern Literature, Philosophy, and Music by Artur Żywiołek, which was published in Cracow in 2021. The reviewer starts with the legend of Tristan and Isolde, which the book explores through modernity. According to the author of the article, the book about Tristan myth combines methodologies of such fields as literary studies, musicology, history, cultural studies and philosophy in a great way. In the conclusions, the reviewer evaluates the book in a favourable light, and states that it constitutes an origi

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13

Hunter, Abby. "Attitudes, Risk Behavior, and Noise Exposure among Young Adults with Hearing Problems: Identifying a Typology." Seminars in Hearing 38, no. 04 (October 10, 2017): 332–47. http://dx.doi.org/10.1055/s-0037-1606327.

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This study explored attitudes toward leisure noise, use of hearing protection, and perceived susceptibility to leisure-noise damage in young adults with hearing problems. Twelve participants aged between 18 and 35 years took part in a semistructured interview. Data were analyzed using framework analysis. The results showed that a positive attitude to noise, a passion for loud music, a lack of knowledge of the consequences of noise damage, and perceived low risk of hearing problems were associated with people not using earplugs. The aesthetics, comfort, perceived effects on music quality and at

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14

Rasmussen Pennington, Diane. "“The most passionate cover I’ve seen”: emotional information in fan-created U2 music videos." Journal of Documentation 72, no. 3 (May 9, 2016): 569–90. http://dx.doi.org/10.1108/jd-07-2015-0086.

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Purpose – The purpose of this paper is to explore how both producers and consumers of user-created music videos on YouTube communicate emotional information. Design/methodology/approach – In total, 150 filmic documents containing fan-generated versions of U2’s “Song for Someone” were purposively collected. The author used discourse analysis to understand the types of videos created, the communication of emotional information from both the producers and the consumers, the social construction of emotion in the filmic documents, and elements of intertextuality that represented emotion. Findings –

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15

School, Veronika, and Amélie Zosso. "“You Cannot Perform Music Without Taking Care of Your Body”: A Qualitative Study on Musicians’ Representation of Body and Health." Medical Problems of Performing Artists 27, no. 3 (September 1, 2012): 129–36. http://dx.doi.org/10.21091/mppa.2012.3024.

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OBJECTIVE: To identify professional musicians’ representation of health and illness and to identify its perceived impact on musical performance. METHODS: A total of 11 professional musicians participated in this phenomenological study. Five of the musicians were healthy, and the others suffered debilitating physical health problems caused by playing their instruments. Semi-structured interviews were conducted, transcribed verbatim and analysed. Thematic analysis, including a six-step coding process, was performed (ATLAS-ti 6). RESULTS: Three major themes emerged from the data: music as art, th

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16

De Ornellas, Kevin. "From Tory Boy to #sadmanonatrain: Great British Railway Journeys and the hard and soft masculinities of Michael Portillo." Journal of Popular Television 9, no. 2 (June 1, 2021): 251–63. http://dx.doi.org/10.1386/jptv_00053_1.

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Before 2005, Michael Portillo was a reviled populist, right-wing British Conservative politician. Seemingly, he is a now a mellowed national treasure due largely to his approachable, friendly, prolific series of travelogues, Great British Railway Journeys (2010‐present). This multi-series documentary has been a remarkable BBC success: delivering upbeat music, dynamic camera work, a repetitive format, rosy-tinted Victoriana and celebratory subject matter, the programme makers ensure that the programme is feel-good, cosy, nostalgic and soothing. But Portillo’s political inclinations are apparent

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17

Baker, Deborah Lesko. "Gabrielle de Coignard’s Sonnets spirituels: Writing Passion within and against the Petrarchan Tradition." Renaissance and Reformation 38, no. 3 (November 27, 2015): 41–60. http://dx.doi.org/10.33137/rr.v38i3.26147.

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This article will focus on the ways in which Gabrielle de Coignard’s Sonnets spirituels, cultivated in purposefully sought domestic isolation, reveals conflictual aspirations nourished by the pursuit of an untainted devotional path that nevertheless cannot escape the assimilation of the earthly passion-fraught discourse of the Petrarchan tradition. Beginning with an analysis of the two opening sonnets, I will examine how despite her apparent disavowal of the worldly obsessions of practitioners of this dominant tradition in order to define herself as a singularly and purely Christian poet, her

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18

Kostyuchenko, Natalya, and Olexander Filts. "PARANOID SCHIZOPHRENIA NEGATIVE SYMPTOMS FEATURES IN CASE OF PRESENCE OF MUSICAL EAR." EUREKA: Health Sciences 3 (May 31, 2018): 54–60. http://dx.doi.org/10.21303/2504-5679.2018.00650.

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In our work, we propose one of the options for a prognostic criterion, which at the beginning of the disease can provide sufficient evidence to predict the form and severity of negative symptoms in schizophrenia. Aim. To investigate the influence of the presence of ear on music on the degree of severity of deficiency symptoms in paranoid schizophrenia. The study was conducted on the basis of the third clinical department of the Lviv Regional Clinical Psychiatric Hospital for the period of 2015. 40 patients with paranoid form of schizophrenia, aged 18 to 35, were examined, of which: group I – 2

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19

Kornoukhov, Mikhail D. "Question Left Unanswered (Lessons by Eduard Borisovich Abdullin)." Musical Art and Education 8, no. 3 (2020): 118–28. http://dx.doi.org/10.31862//2309-1428-2020-8-3-118-128.

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The article describes the author’s personal perception of his Teacher, one of the best representatives of the Russian musical and pedagogical science, Eduard Borisovich Abdullin, as a person, a musician-teacher, and a scientist. Among the personal and professional qualities of E. B. Abdullin, the author, speaking about the “magic of personality”, notes his passion for his profession, his ability to “infect” others with it, his highest level of morality, his creative degree of “being” in the musical and educational environment, his ability to bring particular problems of the educational process

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20

Hohaizel, Olha. "THE IMAGE OF ANNA IN THE OPERA “STOLEN HAPPINESS” BY Y. MEYTUS: INTERPRETATIVE ANALYSIS." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 112–29. http://dx.doi.org/10.34064/khnum1-58.07.

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The article analyzes the musical material of the two arias of Anna – as the key characteristics of her image in the opera Y. Meytus “Stolen Happiness” (based on the experience of analysis, since the arias are in the work and repertoire of the author of the study). Consideration of the image from the point of view of performance and interpretation of the understanding of the interactions of words and music, the composer logic of emotional experiences, taking into account a complex of components such as the nature of the musical fabric and the historical aspect, is proposed. operas. Statement of

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21

Ainsworth, Alan John. "“A Private Passion”." Southern California Quarterly 101, no. 3 (2019): 317–38. http://dx.doi.org/10.1525/scq.2019.101.3.317.

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Photographer Bob Douglas’s 1940s–1990s career illustrates the race-based constraints experienced by African American photographers. Analyses of his images of jazz performers bring to light his rapport with the musicians and his sensitivity to their music and the differences between his practice and from that of white jazz photographers. His oeuvre is an important contribution to the history of both jazz and photography.

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22

Piana, Marco. "Written in Blood: Blood Devotion in Gianfrancesco Pico’s Staurostichon." Renaissance and Reformation 42, no. 4 (April 9, 2020): 85–102. http://dx.doi.org/10.7202/1068576ar.

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This article aims to provide an analysis of Gianfrancesco Pico della Mirandola’s hymn Staurostichon in view of other examples of Savonarolan blood devotion. Staurostichon describes a supernatural event that took place in Germany between 1501 and 1503, when unusual rainfalls started to mark people’s bodies and garments with shapes of red crosses and other symbols generally connected to Christ’s Passion. Often interpreted as a rain of divine blood, the Kreuzwunder gave free rein to the imagination of many historians, astrologers, and prophets of the time. Deeply engrained with Savonarola’s devot

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23

Pankina, Elena V. "The Musical Iconography of the Private Chambers of Studiolo and Grotta of Isabella d’Este." Observatory of Culture 15, no. 4 (October 25, 2018): 468–78. http://dx.doi.org/10.25281/2072-3156-2018-15-4-468-478.

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The article is dedicated to the analysis of certain components of the historical interior of the studiolo and grotta of Isabella d’Este, Marquise of Mantua (1474—1539). The article considers, in the imagological aspect, the decorative elements of her private chambers in the “Palazzo Ducale” as a form of personal and, at the same time, status representation of the wife of the ruler of the state and as a reflection of some aspects of the behavioral standard of the Renaissance noble lady. For the first time, the artistic design of the Mantuan studiolo (private studio)and grotta (adjoining storage

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24

Zhang, Guangqian. "Composer Zhang Zhao: a look at the development of modern Chinese piano music." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 85–100. http://dx.doi.org/10.34064/khnum1-52.06.

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Background. The article is devoted to the creative activity of the outstanding Chinese composer, pianist, teacher and public figure Zhang Zhao (born in 1964). The musical heritage of Zhang Zhao covers a wide range of genres and includes symphonic, piano music, instrumental compositions, works for Chinese traditional instruments, vocal, chamber music, ballets, music of cinema and television programs, and music for large social events. Despite his notoriety in China, the United States, Canada and many European countries, Zhang Zhao is little known in Ukraine. Thus, Ukrainian musicians to date ha

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Löbert, Anja. "Fandom as a religious form: on the reception of pop music by Cliff Richard fans in Liverpool." Popular Music 31, no. 1 (January 2012): 125–41. http://dx.doi.org/10.1017/s0261143011000493.

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AbstractUsing the example of Cliff Richard fans, this article investigates to what extent the rites and rituals exercised in fandom can be regarded as representations of a religious form as understood by the French sociologist Émile Durkheim in The Elementary Forms of Religious Life. Because empirical research has established its significance, the pop concert experience and its echoing effects are used as a starting point to explore the thesis that fans draw and cultivate a distinction between a profane and a sacred domain in their lives. These suggestions are further enriched by Randall Colli

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Chychkanov, Ihor. "The creative personality of Grigory Sokolov in the piano art of the XX–XXI centuries." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 171–84. http://dx.doi.org/10.34064/khnum1-59.12.

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Problem statement. Piano art of the XX–XXI centuries is extremely colorful and, perhaps, provocative phenomenon, whose uniqueness is determined primarily by the coexistence of numerous creative principles and individual preferences. This determines the constant relevance of questions of the interpretation of performance and identification of factors influencing the formation of the performance concept of a musical piece. The system of causation, which is the basis for the interpretation of a particular piece of music toughts such factors as school, nationality, era, style, personality of the a

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27

Knysh, P. O. "Gender approach in the analysis of performing versions (on the example of F. Chopin’s Second Piano Concerto performed by E. Kissin, C. Arrau, Lang Lang, M. Argerich, B. Davidovich)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 189–99. http://dx.doi.org/10.34064/khnum1-56.12.

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Background. The work focuses on studying gender peculiarities of interpretations of the Second Piano Concerto by F. Chopin. Presenting the results of the scientific works that concern the issue of gender peculiarities of performing music, the author comes to the conclusion about lack of research of this question in the field of piano art. While the contemporary social and psychological works of the domain of gender turn to the primary signs of gender differences, embodied still at the point of the earliest stage of personality formation, starting with the very birth of a child (Bendas, T., 200

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28

Lebedinski, Ester. "The travels of a tune: Purcell’s ‘If love’s a sweet passion’ and the cultural translation of 17th-century English music." Early Music 48, no. 1 (February 2020): 75–90. http://dx.doi.org/10.1093/em/caaa003.

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Abstract The travels of a tune: Purcell’s ‘If love’s a sweet passion’ and the cultural translation of 17th-century English music This article discusses Henry Purcell’s theatre song ‘If love’s a sweet passion’ (from The Fairy Queen, 1692) and its journey into various contexts in England and abroad. The article analyses the song’s appearance in printed songbooks, broadside ballads and single-sheet engravings, and in the Dutch manuscript songbook Finspång 9096:7 (now in Norrköping, Sweden), to show how the song was adapted to various contexts and conventions. The appearance of ‘If love’s a sweet

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Parkhomenko, Dar’ia. "“Musical gastronomy” in Rossini’s piano miniatures (on the example of the cycle “Quatre horsd’oeuvres et quatre mendiants”)." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 169–88. http://dx.doi.org/10.34064/khnum2-19.10.

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Formulation of the problem. If the operatic creativity of G. Rossini constantly attracts researchers, then the chamber instrumental music of the composer is lighted only in some works of Western European musicologists, in particular, in the dissertation of Sh. Miller (1990), in which the author analyzes Rossini’s late piano pieces, noting the master’s penchant for frequent repetitions of musical elements. Ch. Park (1997), in turn, examines the chamber-instrumental works of G. Rossini in stylistic and compositional aspects, as a result concluding about his bright innovativeness in this area. B.

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Bonneville-Roussy, Arielle, Emese Hruska, and Hayley Trower. "Teaching Music to Support Students: How Autonomy-Supportive Music Teachers Increase Students’ Well-Being." Journal of Research in Music Education 68, no. 1 (January 31, 2020): 97–119. http://dx.doi.org/10.1177/0022429419897611.

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According to self-determination theory (SDT), the learning experiences of music students can be explained partly by the autonomy-supportive style adopted by their music teachers. To provide the first in-depth understanding of how music performance teachers support the autonomy of their students and how this support is related to students’ well-being, we adopted SDT and the PERMA model of well-being. We provide answers to three fundamental questions about teacher-student relationships in music: (1) Do music performance teachers support the autonomy of their students in higher music education? (

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Zhu, Fengdaijiao. "Zhu Jian’er’s life creativity: the historiography of the composer’s personality." Aspects of Historical Musicology 18, no. 18 (December 28, 2019): 190–212. http://dx.doi.org/10.34064/khnum2-18.11.

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Background. The article is devoted to the study of the personality of the outstanding Chinese composer Zhu Jian’er (1922–2017) – the leading figure of the national musical art of the twentieth century. It is proved that the presented problematic makes it possible to most deeply and accurately explore the musical heritage of the artist. In order to better understand the meaning of the composer’s creations, it is necessary to consider his environment, the stages of creative formation, the characteristics of character and personal qualities, his civic position and the characteristics of his world

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Saarikallio, Suvi H., Johanna P. Maksimainen, and William M. Randall. "Relaxed and connected: Insights into the emotional–motivational constituents of musical pleasure." Psychology of Music 47, no. 5 (June 20, 2018): 644–62. http://dx.doi.org/10.1177/0305735618778768.

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Music is a source of daily pleasure, and positive emotional experiences and rewarding functions of music have been actively studied. Yet, knowledge about the interrelatedness of emotional and motivational constituents of musical pleasure is sparse. This study explored the characteristic emotional contents of music-induced pleasure, their relation to motivations for music and whether the underlying dimensionality of these aspects was specific to music (in comparison to the visual domain). Data were collected through an online questionnaire ( N = 464), measuring evoked emotions and motivational

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Custodero, Lori A., and Elissa A. Johnson-Green. "Passing the Cultural Torch: Musical Experience and Musical Parenting of Infants." Journal of Research in Music Education 51, no. 2 (July 2003): 102–14. http://dx.doi.org/10.2307/3345844.

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Using a regionally focused national survey of parents with 4–6-month-olds (N = 2, 250), we addressed associations between musical experience and the frequency and content of playing music and singing for infants. The possible mediation of a classical CD distribution to new parents in hospitals was also investigated. Five variables of experience were considered: (1) respondents' recollections of their mother or (2) father singing to them, (3) playing an instrument, (4) singing in a choir, and (5) taking music lessons. Chi-square analyses indicated that musical experience was highly associated w

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Wibowo, Tito Parta, Edho Pranata, and Antomie Antomie. "Interaksi Kekuatan Otot Tungkai Terhadap Keterampilan Passing Atas Pada Permainan Bola Voli." Edunesia : Jurnal Ilmiah Pendidikan 1, no. 3 (November 1, 2020): 41–45. http://dx.doi.org/10.51276/edu.v1i3.58.

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Abstract: Based on the observations of researchers on the implementation of Activities in SMA Negeri 1 Ulu Musi, District of Four Lawang, that the passing ability of students is not good so that it often causes the ball to not be exact when doing it. This problem is thought to be caused by several factors, including low levels of leg muscle strength. This study aims to determine the interaction of leg muscle strength on upper passing skills in volleyball games. This research method is a correlational method. The population of this research was all students of Class X of SMA 1Ulu Musi as many a

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Remes, Hanna. "”Sävelet tekevät tekstin eläväksi”: paaston ja pääsiäisajan liturginen kuoromusiikki sanoman kannattelija." Trio 10, no. 1 (July 10, 2021): 91–100. http://dx.doi.org/10.37453/trio.110132.

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Hanna Remes’s artistic doctoral degree, which focuses on choral church music in worship, is the first of its kind in Finland. The demonstration of proficiency carried out 2016–2020 comprises two masses, a worship service, a passion drama and an Easter concert. She elucidates changes in guidelines for the liturgical use of the choir according to the Evangelical Lutheran Church of Finland’s 2000 church manual from those of the 1968 church manual. The dissertation stands at the junction of liturgy and the history of church music. Remes compares and analyses the liturgical role of the choir in the

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Buchler, Michael. "Ornamentation as Gesture in Atonal Music." Music Theory Spectrum 42, no. 1 (December 3, 2019): 24–37. http://dx.doi.org/10.1093/mts/mtz021.

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Abstract Hearing and representing melodic and harmonic elaboration lies at the heart of tonal analysis. We sometimes disagree about what exactly is ornamental or how tones are prolonged, but our widespread collective understanding of passing tones, neighbor tones, suspensions, and the like underscores the important notion that some notes are more structurally important than others. This article proposes ways to read ornamentation in atonal music, recasting ornamental categories gesturally and pragmatically instead of (or in addition to) tonally and metrically.

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Shaked, Varda. "Computer Scientists with Serious Music Avocations Share Their Thinking." Leonardo 52, no. 5 (October 2019): 468–73. http://dx.doi.org/10.1162/leon_a_01445.

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This article presents the cognitive capacities and tendencies in the lives of computer scientists who play classical music as a serious avocation. Using qualitative research and thematic analysis methods, narratives of seven participants are constructed through open-ended interviews, from which the essence of their thinking skills is extracted in the form of four primary themes: being in the zone, assuming an engineering/scientific mindset, aesthetic thinking and joyous thinking. With such a rich thinking toolkit, this study motivates educators to support individuals with interdisciplinary int

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Stehle, Maria. "Temporal tapestries: Transforming cityscapes in Berlin pop music videos." Journal of European Popular Culture 10, no. 2 (October 1, 2019): 109–25. http://dx.doi.org/10.1386/jepc_00004_1.

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This article analyses a selection of pop music videos released between 2012 and 2014 that rescript Berlin’s Zeitlichkeit (temporality), the relationship between city spaces, history, and time. Examples include videos by German and non-German artists, ranging from David Bowie to Miss Platnum, Lilly Wood & the Prick, Alanis Morissette and Andreas Bourani. Striking synergies between the different sound-image-texts emerge around questions of historic memory, time, and time passing. Close analyses show how these Berlin music videos released between 2012 and 2014 challenge linear narratives of p

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Osborn, Brad. "The Subdominant Tritone in Film and Television Music." Current Musicology 107 (February 10, 2021): 62–92. http://dx.doi.org/10.52214/cm.v107i.7840.

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Tritones sounding over subdominant harmony, either as suspensions, accented passing tones, or incomplete neighbors, constitute a class of sonorities regularly heard in film and television music. I collectively refer to these phenomena as “subdominant tritones” (SdTT), and theorize a link between the SdTT and emotions it engenders. The article presents close visual/musical analysis of selected SdTT-tinged passages in feature films that animate various heightened emotional states, including longing, nostalgia, relief, and melancholy. [Please note: This article contains embedded video files. Thes

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Lemcke, Marie-Christine, Asja Ebinghaus, and Ute Knierim. "Impact of Music Played in an Automatic Milking System on Cows’ Milk Yield and Behavior—A Pilot Study." Dairy 2, no. 1 (February 1, 2021): 73–78. http://dx.doi.org/10.3390/dairy2010007.

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Practical experience suggests that music can have a positive effect on the welfare of dairy cows, which for some other animal species has been shown in earlier studies. Music could, furthermore, be a useful tool to support, for example, daily milking routines. In this pilot study we explored effects of music inside an automatic milking system (AMS) on cows’ milk yield and behavior. The experiment was conducted on a Finnish dairy farm with 56 cows in loose housing. Over two 2-day periods without and with selected music pieces played inside the AMS, data on daily milk yield (DMY), selection gate

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Fatmawati, Desy Eka. "Racial Passing Practiced by Mulattoes: A New Historicist Reading of Nella Larsen’s Passing and Jessie Fauset’s Plum Bun”." Rubikon : Journal of Transnational American Studies 4, no. 2 (July 19, 2019): 95. http://dx.doi.org/10.22146/rubikon.v4i2.47881.

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Racial passing practice is the act of passing or disguising as white by mulattoes, and it became a phenomenon during Harlem Renaissance. Harlem Renaissance is an era when African American culture related to arts, literature, and music were greatly celebrated. This era can also be said as the most glamorous and happiest moment for African Americans since the antebellum era. Using two of the prominent racial passing narratives during Harlem Renaissance: Passing by Nella Larsen and Plum Bun by Jessie Fauset, this research aims to find the depiction of racial passing practice in the two narratives

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Kuch, Mia, and Clemens Wöllner. "On the Move: Principal Components of the Functions and Experiences of Mobile Music Listening." Music & Science 4 (January 1, 2021): 205920432110328. http://dx.doi.org/10.1177/20592043211032852.

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Mobile music listening is widely recognized as an integral part of everyday music use. It is also a rather peculiar experience, since the listeners are surrounded by strangers in public and at the same time engaged in a solitary and private activity. The current study aimed at investigating the functions and experiences of mobile listening with a quantitative online questionnaire, and collected further information about mobile listening situations and listening habits. Among respondents ( n = 203), 89% reported listening to music while being on the move. We found mood-related and cognitive fun

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Skrukwa, Marek. "Biblical Inspirations in the Works of Krzysztof Penderecki: At the Crossroads of Theology and Music." Perspektywy Kultury 26, no. 3 (October 1, 2019): 47–66. http://dx.doi.org/10.35765/pk.2019.2603.06.

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By taking up Biblical themes in his oeuvre, Krzysztof Penderecki effectuated the idea of returning art to its Christian roots. Analyses of selected fragments of his outstanding works (Seven Gates of Jerusalem and Passion According to St. Luke) show that the composer performed a peculiar, apt and suggestive “translation” of Biblical content into musical language, using contemporary compositional techniques as well as alluding at times to the tradition of J.S. Bach. In the above compositions, Penderecki utilized the sound of the instruments, assigning them symbolic meaning and even exper

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Pasoulas, Aki. "Temporal Associations, Semantic Content and Source Bonding." Organised Sound 16, no. 1 (February 25, 2011): 63–68. http://dx.doi.org/10.1017/s1355771810000440.

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Inspired by Denis Smalley's theoretical ideas on spectromorphology and Albert Bregman's (1990) auditory scene analysis, I began an investigation into the formation and segregation of timescales1 in electroacoustic music. This research inevitably led me to an exploration of the factors that shape our perception of time passing and estimation of durations, where spectromorphological issues intermingle with extra-musical associations, autobiographical experiences, emotional responses, and the surrounding environment at the time of listening. Ultimately, time perception affects the structural bala

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Gilányi, Gabriella. "The Processional Oct. Lat. 794 of the Budapest National Széchényi Library. A re-identification." Studia Musicologica 56, no. 2-3 (June 2015): 257–89. http://dx.doi.org/10.1556/6.2015.56.2.11.

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The Budapest National Széchényi Library keeps a Pauline manuscript compiled in 1644. Based on a possessor’s entry at its very beginning, the source Cod. Lat. 794 has so far been referred to in the literature as the Pauline Processional of Újhely but its content has never been thoroughly investigated. The original aim of this study was to fill this gap by carrying out a codicological, liturgical and musical survey and, finally, producing a full description and detailed evaluation of the manuscript. However, the many-sided analysis has eventually led to unexpected findings, which make the earlie

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Scott, Allen. "Simon Lyra and the Lutheran liturgy in the second half-century of the Reformation in Breslau." Muzyka 65, no. 1 (April 2, 2020): 3–18. http://dx.doi.org/10.36744/m.309.

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In 1593, Simon Lyra (1547-1601) was appointed cantor of the St. Elisabeth Church and Gymnasium in Breslau/Wrocław. In the same year, he drew up a list of prints and manuscripts that he considered appropriate for teaching and for use in Lutheran worship. In addition to this list, there are six music manuscripts dating from the 1580s and 1590s that either belonged to him or were collected under his direction. Taken together, Lyra’s repertoire list and the additional manuscripts contain well over a thousand items, including masses, motets, responsories, psalms, passions, vespers settings, and dev

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Zheng, Yiren. "Sounding the Ineffable: Third-Century Chinese Whistling as an Alternative Voice." positions: asia critique 29, no. 2 (May 1, 2021): 267–90. http://dx.doi.org/10.1215/10679847-8852176.

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AbstractThis article examines the role of whistling as an elusive voice in the literary world from around the third century onward. It argues that as an alternative to normalized forms of vocal, musical, and poetic expression, whistling destabilized, blurred, and reconfigured notions of voice, language, writing, and music within the larger context of Six Dynasties thought and aesthetics. Despite the wide range of vocalizations (e.g., wailing, the tiger's roar) associated with whistling in premodern China, the whistling examined in this article refers to a particular vocal art commonly practice

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Kordovska, P. А. "S. Scharrino’s «Luci mie traditrici»: the musical text of the Renaissance in the modern opera." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 132–51. http://dx.doi.org/10.34064/khnum2-14.10.

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Objectives. This paper is concerned with the creativity of contemporary Italian composer S. Sciarrino, who is primarily famous as the author of numerous operas. Among the variety of issues, which deal with the studying of this topic, one of the most important is the interaction of the author’s text and quotations from the compositions, which was created during previous eras. A similar creative approach connected with citation is the distinctive feature of S. Sciarrino’s composer style. The goal of this paper is to reveal the specifics of S. Sciarrino’s quotation method. Methods. Research metho

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Kodenko, I. I. "Concepts of Early Music Re-creation in Wanda Landowska’s Work." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 261–79. http://dx.doi.org/10.34064/khnum2-17.17.

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Background. The XIX century presented the world with many wonderful musicians, among them there is Wanda Landowska (1879–1959), a researcher of the musical culture of the past. She is considered as one of the founders of the authentic movement in academic musical art, a representative of the first generation of “historical performers” who returned long-forgotten ancient music to their contemporaries. Landowska’s creativity, whose concerts with historical programs in the early XX century enjoyed extreme popularity, was covered in the press of that time, and, after, in special literature, althou

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Schmidt, Katharina. "Money and a Room of One’s Own?! A Feminist Deconstruction of the Situation of Female Jazz Musicians 1960–1980." European Journal of Musicology 16, no. 1 (December 31, 2017): 81–93. http://dx.doi.org/10.5450/ejm.2017.16.5780.

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‘What does it take for a woman to be able to write a novel?' asks Virginia Woolf in A Room of One's Own. The answer is surprisingly mundane: She needs money and a room of her own. Although Woolf writes at length about passion and talent, she concludes that material preconditions are actually more crucial. Similarly, the present article argues that there has been no lack of interest in jazz among female musicians, but a lack of socially accepted possibilities for professionalisation. This article endeavours to deconstruct some of the socio-cultural contexts and frameworks of music-making in a f

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