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Azam, Martine, Michel Grossetti, Laurent Laffont i Benoit Tudoux. "Choix musicaux, modes de découverte et contextes d’écoute. Une typologie des univers musicaux des 15-25 ans". Sociologie 9, nr 4 (2018): 343. http://dx.doi.org/10.3917/socio.094.0343.
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Schepens, Eddy. "Différences de genres musicaux ou différences de pratiques ? Une voie pour renouveler les pratiques pédagogiques en musique". Les Cahiers de la Société québécoise de recherche en musique 15, nr 1 (28.10.2015): 9–18. http://dx.doi.org/10.7202/1033791ar.
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Le Cefedem Rhône-Alpes est un centre de formation supérieure des professeurs de musique. Depuis 2000, il accueille de jeunes musiciens pratiquant des genres musicaux différents au sein d’un cursus commun, en dépassant la répartition en guichets spécifiques qui le plus souvent, en France, les séparent. À l’objectif d’accueillir tous les publics au-delà des singularités de parcours et de profils sociologiques s’ajoute un enjeu artistique : la reconnaissance de la diversité ne peut se contenter d’une juxtaposition bienveillante de ces genres, elle doit permettre à chaque musicien de prendre connaissance de la musique de l’autre par les pratiques. Basée sur une pédagogie par projets et par contrats, cette formation inédite permet de substituer à la notion courante de genres musicaux celle de pratiques de musiciens, permettant pour chaque moment musical et chaque situation de formation pédagogique l’analyse des procédures utilisées, l’analyse des modes de coopération des musiciens entre eux, ainsi que l’invention de dispositifs créant des contextes musicaux et pédagogiques dédiés à de telles approches. L’objectif de cette formation est de former des futurs professeurs ayant acquis des compétences pour travailler en équipes pluridisciplinaires, capables de créer des contextes de pratiques musicales plus divers et de s’adresser à des publics plus variés.
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Kasparian, Sylvia, i Aram Kerovpyan. "Structure modale des charagan - chants liturgiques arméniens - à la lumière du logiciel Sphinx : le genre, les espèces et leurs combinaisons dans la IVe Voix". Articles 45, nr 1-2 (8.02.2017): 233–54. http://dx.doi.org/10.7202/1038910ar.
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Cet article se veut une étude originale d’application des méthodes d’analyse de données textuelles à des corpus musicaux. Aucune étude en musicologie moderne n’a encore décrit en détail le système modal en usage dans le répertoire des charagan, chants liturgiques arméniens. Dans ce répertoire, on peut déceler une vingtaine de modes musicaux qui semblent avoir été classés par convention dans un système symbolique d’oktoechos (huit modes). Ceci donne à chacun des modes de l’oktoechos le caractère d’une famille de modes plutôt que d’un seul mode spécifique. Dans cet article, nous présentons une première étape de la description de six versions différentes de 42 chants. En tout, 728 versets découpés en unités de phrases, formules, motifs, degrés ont été analysés avec le logiciel Sphinx. Notre analyse avec Sphinx permet une première description de la structure modale des charagan, faisant ressortir les spécificités des différentes versions, des degrés et des motifs propres aux différentes formules initiales, médiane et finale de ces chants.
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AREVŠATYAN, A. S. "Deux textes arméniens attribués à Basile de Césarée sur l'interprétation des modes musicaux". Revue des Études Arméniennes 26 (1.01.1997): 339–55. http://dx.doi.org/10.2143/rea.26.0.2003756.
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Vinet, Hugues. "Le projet SemanticHIFI : manipulation par le contenu d’enregistrements musicaux". Circuit 16, nr 3 (29.01.2010): 65–74. http://dx.doi.org/10.7202/902413ar.
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Le projet européen SemanticHIFI vise la préfiguration des chaînes hi-fi de demain, proposant aux mélomanes des fonctions inédites de gestion et de manipulation par le contenu des enregistrements musicaux. Les limites des équipements existants sont liées à celles des formats de diffusion de la musique qui, se présentant depuis plusieurs décennies sous la forme de signaux d’enregistrements stéréophoniques, n’autorisent que des modes de manipulation élémentaires. L’extension des supports d’information musicale à des représentations plus riches, issues soit directement de processus de production renouvelés ou d’outils d’indexation personnalisés, rend possible la réalisation de fonctions innovantes : classification personnalisée, navigation par le contenu, spatialisation sonore, composition, partage sur les réseaux préservant les droits liés aux oeuvres, etc. Ces fonctions sont le résultat d’activités de recherche menées dans le cadre du projet et se situant à la pointe de plusieurs disciplines : analyse et traitement des signaux audionumériques, ingénierie des connaissances musicales, interfaces homme-machine, architectures de réseaux distribuées. Le projet prévoit également une phase d’intégration, visant la réalisation de prototypes d’application, permettant de valider l’ensemble de ces fonctions dans un environnement technique unifié et compatible avec les contraintes du marché de l’électronique grand public. L’auteur propose une vue d’ensemble du projet, dont il assure la direction.
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Feng, Zimo. "Analysis of the Business Model of Chinese Musical Theater Based on Community Economy". Journal of Applied Economics and Policy Studies 12, nr 1 (14.11.2024): 77–82. http://dx.doi.org/10.54254/2977-5701/12/2024114.
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In recent years, the Chinese musical theater industry has developed rapidly, becoming an important component of the cultural industry. Compared to traditional musical theater production and distribution methods, the community economy offers a new business model for Chinese musicals. This paper aims to explore how the community economy, combined with self-media platforms, supports the promotion and profitability of Chinese musicals. It analyzes the factors behind its success, the challenges it faces, and its future development prospects. Through an in-depth analysis of the existing business models, this paper proposes multiple strategies to promote the sustainable development of the Chinese musical theater industry.
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Song, Linlu. "On the Feasibility of Using the Business Model of Broadway Musicals in Chinese Musicals". Highlights in Business, Economics and Management 40 (1.09.2024): 957–61. http://dx.doi.org/10.54097/q88w4h15.
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The purpose of this paper is to explore the perfection of the business model of Broadway musicals by analyzing the phenomenon of profit growth after the epidemic in recent years, as well as the advantages of its production process. The analysis of the Broadway business model will assist the readers in learning the essential instruments of making a musical famous around the world. Meanwhile, it focuses on exploring the feasibility of applying the business model of Broadway musicals to Chinese musicals. The conclusion drawn from the research is that the Broadway model can be applied to Chinese musicals. With innovations in performance management and theater, Chinese musicals will face another improvement in the global musical market. By using the successful example of “King’s Table," which originated in China and was exported to Korea, it is not difficult to find the potential power of Chinese musicals under the effects of the Broadway model.
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Jiang, Xiaomeng, i Yiyan Shao. "Rock Elements in The Creation of French Musicals". International Journal of Education and Humanities 4, nr 2 (6.09.2022): 69–71. http://dx.doi.org/10.54097/ijeh.v4i2.1508.
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French musicals are unique models of modern musicals beyond the classic musicals of Broadway and the west end of England. The French, who are "fashionable, romantic and modern", based on the creation of British and American musicals and through the exploratory and experimental development of various musical elements, have created the "French style" musicals with a strong sense of stage. Among them, the addition of "rock elements" is a highlight that cannot be ignored in the creation of French musicals. This paper studies the origin of "rock elements" in the accompaniment music of French musicals, illustrates the application of "rock elements" in the creation of French musicals with examples, and discusses the reasons for its formation, so as to find out the original charm of French musicals.
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Ye, Jiahui. "THE GOLDEN SANDS MUSICAL (金沙): ON THE FORMATION OF A GENRE ARCHETYPE IN CHINA". Scientific and analytical journal Burganov House. The space of culture 19, nr 6 (10.12.2023): 94–102. http://dx.doi.org/10.36340/2071-6818-2023-19-6-94-102.
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The Golden Sands musical is considered in terms of the genre formation specifics in China. Attention is focused on the American origins of Chinese musicals, especially regarding style, scenography, and the specifics of vocal sound extraction. Consideration is given to the penetration of Chinese ethnic elements into the means of musical expression and choreographic poetics in the Equatorial Rain original musical, which demonstrated the fusion of national elements with Western ones, with jazz, rock, rap, etc. The author puts forward the hypothesis that the development of musicals in China is still at the stage of mastering and forming a genre with national specifics, using the original folk style of singing. It is the mixing of different singing styles that is becoming the most important trend in the development of modern Chinese musical theatre. Created under the direction of Zhou Enlai, the Golden Sands musical (金沙) reveals the typological features of the genre characteristic of its Western models: a synthesis of academic and pop music principles, a synthesis of arts (music, choreography, stage design, costume art). However, its combination with Chinese poetics has created a new nationally oriented direction, which has a significant influence on the development of musical art both in China and throughout the world.
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Jankovic-Begus, Jelena. "Les modèles économiques du genre de la comédie musicale en Serbie et en France depuis 2005". Muzikologija, nr 14 (2013): 135–57. http://dx.doi.org/10.2298/muz1314135j.
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Le genre de la com?die musicale - ou musical en terminologie anglo-saxonne - repr?sente un sujet d?actualit? de la vie th??trale serbe et fran?aise. La derni?re d?cennie a donn? un nouveau ?lan au genre, mais c?est notamment la p?riode depuis l?ann?e 2005 qui se caract?rise par des nombreux changements importants dans la fili?re qui ont contribu?s au succ?s sans pr?c?dent de la com?die musicale ? Belgrade et en Serbie. Mais aussi en France, dans un contexte le plus diff?rent que possible du contexte serbe, l?ann?e 2005 a donn? de nombreux changements importants de la fili?re du th??tre musical en ce qui concerne la production et la r?ception du genre. Quand on observe la com?die musicale en Serbie et en France, il faut prendre en compte des diff?rences de la nature terminologique mais aussi de la nature ?conomique provenant de diff?rents modes d?exploitation des spectacles.
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Huang, Cuiqing, i Qiang Zhang. "Research on Music Emotion Recognition Model of Deep Learning Based on Musical Stage Effect". Scientific Programming 2021 (26.10.2021): 1–10. http://dx.doi.org/10.1155/2021/3807666.
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The change of life style of the times has also prompted the reform of many art forms (including musicals). Nowadays, the audience can not only enjoy the wonderful performances of offline musicals but also feel the charm of musicals online. However, how to bring the emotional integrity of musicals to the audience is a technical problem. In this paper, the deep learning music emotion recognition model based on musical stage effect is studied. Firstly, there is little difference between the emotional results identified by the CRNN model test and the actual feelings of people, and the coincidence degree of emotional responses is as high as 95.68%. Secondly, the final recognition rate of the model is 98.33%, and the final average accuracy rate is as high as 93.22%. Finally, compared with other methods on CASIA emotion set, the CRNN-AttGRU has only 71.77% and 71.60% of WAR and UAR, and only this model has the highest recognition degree. This model also needs to update iteration and use other learning methods to learn at different levels so as to make this model widely used and bring more perfect enjoyment to the audience.
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Breitburg, Kimol A. "THE HISTORICAL PROTOTYPE OF THE AMERICAN CONCEPT MUSICAL". Arts education and science 1, nr 34 (2023): 64–71. http://dx.doi.org/10.36871/hon.202301064.
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The article considers one of the popular prototypes of the musical genre formed on the Broadway stage in the 1960s — 1970s. Its birth, which has received a terminological definition as a “concept musical”, is associated with a number of important socio-political events of the 1970s in the USA. Against the background of economic and social crisis that American society experienced during this period, a new social formation emerged, known today as the “Me” generation. The divided and largely fragmented social environment, the shift of young Americans away from social and political activism to personal concerns and individualism, could not but provoke a reaction from artists and cultural figures, as reflected in their work, including musicals created for the commercial musical theatre of Broadway. “Fiddler on the Roof”, “Cabaret”, “Hair”, “Company” all served as new genre models, samples which, as a result of an emerging trend, led musicals of this kind to a stable canon, establishing a certain prototype. This prototype was later defined as a “fragmentary” or “concept musical” The art of the musical has been actively developing throughout its century and a half history, becoming increasingly important in the cultural life of different countries, including Russia. This type of musical theatre is an ever adapting theatrical and entertainment form, which in turn is a product of a dynamically developing socio–cultural environment.
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Lee, SG. "Size Matters: A Consideration of the Canadian “Shoebox Musical"". Brock Review 12, nr 2 (16.02.2012): 49–61. http://dx.doi.org/10.26522/br.v12i2.357.
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Is the Canadian "shoebox musical" best seen as Broadway's poor country cousin or as Canadian drama's illegitimate sibling? This paper will consider the place of the "shoebox musical" with its small cast, few musicians and modest production requirements as a Canadian sub-genre in the larger tradition of the musical theatre. Beginning with an overview of the historical economic, artistic and social conditions that have encouraged, or perhaps forced, Canadian musical theatre artists to produce musicals on a scale almost unimaginable to the Broadway sensibility, the paper goes on to examine the ways in which working within that box has shaped the plays created. From Billy Bishop Goes to War to My Mother’s Lesbian Jewish Wiccan Wedding, a great many Canadian musicals have been made with a simplicity of style and absence of conspicuous consumption that may be merely a result of the material constraints under which they were created, a diminution of the creators' grand artistic visions, or may in fact be a theatrical reflection of a Canadian ethos or perhaps an uncomfortable balance of the tension between the two forces. Drawing on personal experience as a playwright and artistic director and interviews with other playwrights and producers, along with popular and critical writing, the author makes a case for the “shoebox musical” as a distinctly Canadian contribution to the world of musical theatre as well as a legitimate contribution to Canadian drama.
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Duarte, Monica. "Music and styles: the creation by means of the theory of social representations". Comunicar 14, nr 27 (1.10.2006): 69–77. http://dx.doi.org/10.3916/c27-2006-11.
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We approached the theory of the social representations, from the epistemologic perspective of the rhetorical change of the philosophy, like a model for the creation of musical uhits. and soundtracks spread by mass media and characterized by musical topics, figures that reflect the social and psychological processes of the elaboration of musical ideas. The dynamics of this creation seem to be effective for the development of a «sgnificant» teaching process of music teaching. Se aborda la teoría de las representaciones sociales, a partir de la perspectiva epistemológica del viraje retórico de la filosofia, como modelo para la creación de las canciones «de moda» y de las bandas sonoras difundidas por los medios de comunicación sociales y caracterizadas por tópicos musicales, figuras que reflejan los procesos sociales y psicológicos de elaboración de ideas musicales. Esa dinámica de creación se presenta como eficaz para el desarrollo de un proceso usignificativou de enseñanza de la música a los estudiantes.
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Ovenden, Philippa. "JOHANNES VETULUS DE ANAGNIA’S PLATONIST MODEL OF MUSICAL TIME". Early Music History 41 (październik 2022): 303–45. http://dx.doi.org/10.1017/s0261127923000013.
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In the second half of the fourteenth century, the Italian music theorist Johannes Vetulus de Anagnia wrote a treatise named Liber de musica. Extraordinarily complex and replete with theological digressions, this work has to date remained little understood. Examining Liber de musica through the lenses of practice and philosophy sheds new light on this enigmatic text. Vetulus’s theory is in certain respects innovative, but in others it is conservative. Vetulus theorised a unique but impractical system of mensural divisions that synthesises and exhausts some of the central conceptual principles of contemporaneous performance. He makes sense of these divisions within a Platonist intellectual framework that reimagines Trinitarian theological concepts in a musical context. Approaching this treatise as far as possible on its own terms reveals that Vetulus developed a symbolic epistemology of music in which a mutual reciprocity could emerge between the tripartite structures of music, nature and the divine.
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Yates, Samuel. "Choreographing conjoinment: Side Show’s fleshly fixations and disability simulation". Studies in Musical Theatre 13, nr 1 (1.03.2019): 67–78. http://dx.doi.org/10.1386/smt.13.1.67_1.
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This article aims to amplify disability theory’s impact in performance studies by generating a framework for understanding disability representation in musical theatre. Taking the original and revival Broadway productions of Side Show (1997, 2014) as a case study, I articulate how the musical simulates disability through a ‘choreography of conjoinment’ that relies on the exceptional able-bodiedness of the actors playing conjoined twins Daisy and Violet Hilton. Using disability as a category of analysis reveals how disabled bodies are made to be maximally productive iterations of themselves in musicals. To support this claim, I track the shift from the 1997 production’s co-construction of disability by the actors and audience, which replicates the social model of disability, to the 2014 revival’s grounding in a diagnostic realism typical of disability’s medical model. Side Show’s trajectory generates possibilities for considering the musical as an archive for disability representation and knowledge, bioethical inquiry, and artistic innovation.
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Sun, Wenxuan, Yujin Jang i Seong-Joon Limb. "A study on paid online musical consumer viewing behavior - Based on the Extended Theory of Planned Behavior". Korea Association Of Cultural Economics 27, nr 1 (30.04.2024): 39–71. http://dx.doi.org/10.36234/kace.2024.27.1.39.
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This research aimed to investigate the viewing behavior of paying online musical consumers based on the Extended Theory of Planned Behavior. To achieve this, we initially analyzed the impact of the variables comprising the Theory of Planned Behavior model, including attitude toward attendance, subjective norms, and perceived behavioral control, on the intention to attend. Subsequently, we examined the influence of the selection attributes of paid online musicals (visual factor, interactive factor, price factor, promotional marketing factor) on viewers' attitudes toward attendance. Results revealed that among the variables constituting the Theory of Planned Behavior model, attitude toward attendance and perceived behavioral control had an impact on the intention to attend. Furthermore, among the selection attributes of paid online musicals, it was found that both the visual factor and the price factor influenced the attitude towards attendance. Lastly, the visual factor and price factor of paid online musicals influenced the intention to attend mediated by the attitude toward attendance. This research provides insights into the consumer behavior patterns related to the monetization of online performances, offering implications for the development of paid audiences for online musicals.
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Jiang, Linlong. "Analysis of the Performance Forms and Techniques of Dynamic Performing Arts and Musical Performances in Musicals Based on Improved Neural Collaborative Filtering". Archives des Sciences 74, s1 (10.08.2024): 20–25. http://dx.doi.org/10.62227/as/74s14.
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The performance of a musical is an artistic expression that takes into account both singing and drama, and it is a musical journey for the characters to achieve their goals under the prescribed situation given by the text of the musical. In-depth analysis of the situational performance of musical theatre singing, and discussing how musical theatre actors support the dramatic performance of musical theatre singing through situation establishment, character relationship processing and drama reinforcement are hot topics in the field of music research. Based on the improved neural collaborative filtering technology, this paper attempts to extract song content features from the macro attributes of music (genre, artist, etc.), and uses the Word2vec method to train from the original high-dimensional sparse feature vectors to obtain dense low-dimensional hidden feature vectors. The collaborative filtering, matrix decomposition and content recommendation methods based on the proposed method are integrated into the framework of deep learning technology, and an improved neural collaborative filtering music recommendation model is proposed to provide personalized song recommendations for each user. In terms of model structure, on the one hand, all features are grouped, and comprehensive group features are obtained after processing to enhance the expressive ability of the model; on the other hand, interactive features are added to the model through the outer product of vectors to learn more nonlinear information. Experiments are carried out on two music datasets. The experimental results show that the F1 and mAP of the model in this paper are much higher than other models, so the recommendation quality is significantly better than other models. In addition, due to the introduction of user information and song attributes, the cold start problem is alleviated, and the use of Word2vec method also effectively alleviates the problem of data sparsity, and the use of deep learning methods greatly improves the generalization ability and robustness of the model.
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Tsvetkovskaya, Tatiana A. "Musica Elettronica Viva. Musical Participation in the Experiments of 1960s". ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, nr 3 (2023): 173–85. http://dx.doi.org/10.35852/2588-0144-2023-3-173-185.
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This article analyzes early experiments of Musica Elettronica Viva. The music of this avantgarde group, which emerged on the wave of widespread interest in collective creative process and free improvisation, is usually considered jointly the socio-political upheavals of the late 1960s. Although the historical canvas — student unrest, mass riots, the rise of counterculture — reflects the spirit of the era, external facts obscure the artistic innovation of MEV. Meanwhile, the aim of the group, created to be a composer’s laboratory, was to find a new sound through spontaneous interaction with stage partners. While in the first experiments (Spacecraft) only MEV participants were engaged, in further ones (Soup, Soundpool) everyone could join the improvisation. Such an approach was supposed to not only destroy professional authoritarianism, but also to transform the music art itself. For such a courageous idea, a plan was required. And this plan was suggested by one of MEV founders, the American composer and pianist Frederick Rzewski. The analysis of his articles, lectures, essays, and documents allows us to identify the key points of the MEV strategy, which can be interpreted as the principles of music participation. Despite the fact that the group was fully focused on improvisation, its achievements also follow music composition. This fact proves the personal heritage of each of the MEV participants. Nowadays, due to the rising interest in the compositions created in co-authorship with the listener, the early works of MEV deserve closer attention. They do not just employ one of the possible approaches to engage the audience in the creative process, but, in fact, they have designed and tested an original model of participation, the study of which will join the list of music participation resources.
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Moore, Christopher. "Socialist Realism and the Music of the French Popular Front". Journal of Musicology 25, nr 4 (2008): 473–502. http://dx.doi.org/10.1525/jm.2008.25.4.473.
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Abstract The political agenda of the French Popular Front (1935––38) sought to unite workers and intellectuals in solidarity against the forces of European fascism. Many French composers were quickly implicated in this politicized process, supported by the rapid development of Communist-funded cultural organizations like the Féédéération Musicale Populaire and inspired by tremendous interest in the Soviet cultural model. These political circumstances welcomed the techniques of socialist realism in France under the Popular Front, but Soviet aesthetics were creatively appropriated to reflect French musical traditions and political realities. Libéérons Thaelmann by Charles Koechlin and Jeunesse by Arthur Honegger exemplify this engagement with Communist politics and aesthetics, confirming the musical and political relevance of socialist realism for French composers during the mid-1930s.
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Bown, Oliver, i Geraint Wiggins. "From maladaptation to competition to cooperation in the evolution of musical behaviour". Musicae Scientiae 13, nr 2_suppl (wrzesień 2009): 387–411. http://dx.doi.org/10.1177/1029864909013002171.
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We propose a model of how a maladaptive and competitive system of musical interaction, based on a notion of enchantment, can evolve towards a cooperative system. This model supports our position that social competitive models comprise an important domain of theoretical investigation in the evolution of musical behaviour, and that this area deserves more attention. The model is based on the biocultural theory of Boyd and Richerson (1985), which provides a basis for runaway cultural evolutionary processes, and we argue that our model offers an alternative runaway process to the sexual selection theory of the evolution of human musical behaviour. We present computer simulations in which a population of artificial agents engage in a competitive game of interaction in a context in which fitness is socially determined. These simulations demonstrate cases of the genetic evolution of perceptual systems and increasing susceptibility to manipulation by stimuli generated by other individuals. However, this latter outcome generally reduces to a standard kin selection model. We discuss these results and propose ways in which the model could be developed to consider more complex contexts and modes of interaction.
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Lupone, Michelangelo, Laura Bianchini, Silvia Lanzalone i Alessio Gabriele. "Research at Rome's Centro Ricerche Musicali on Interactive and Adaptive Installations and on Augmented Instruments". Computer Music Journal 44, nr 2-3 (2020): 133–58. http://dx.doi.org/10.1162/comj_a_00570.
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Abstract Established in 1988 by composers Laura Bianchini and Michelangelo Lupone, the Centro Ricerche Musicali (CRM) in Rome was officially recognized in 1990 as a Music Research Center by the Ministry for University Education and Scientific and Technological Research. The Center focuses on musical production in relation to new technologies, in order to create a continual interaction among musical language, scientific thought, and technological resources. The staff at CRM, comprising musicians, technicians, visual artists, architects, information technology specialists, engineers, and researchers, aim to promote study of the aesthetic, analytical, and scientific aspects of music. In the beginning, research at CRM concerned the design and development of specific hardware devices for live electronics and composition, such as the Fly10 (1983–1985) and Fly30 (1990) systems. Subsequent studies on a physical model for the bow-and-string system in 1997 gave rise to the development of virtual musical instruments. From 1999 onwards, other areas of research have included interactivity and adaptivity applied to musical forms, the development of specific technologies for sound art installations and sculptural–musical works, and augmented instruments such as the Feed-Drum, SkinAct, WindBack, and ResoFlute. This article presents a brief history of CRM and some artistic productions by composers working at the Center.
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Gonçalves, Marcelo Trevisan. "Music Model: aplicação do questionário em um grupo musical escolar". [re]Design 2, nr 1 (16.05.2023): 106–15. http://dx.doi.org/10.35818/redesign.v2i1.1246.
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Neste artigo descrevemos o processo de aplicação, de uma ferramenta destinada a avaliar a motivação para a aprendizagem, em estudantes de um grupo musical escolar. O questionário escolhido foi o inventário de motivação MUSIC® Model, por sua melhor adequação ao contexto, pela linguagem de fácil compreensão, pela praticidade de aplicação e pela proposta simples e objetiva de análise. Inicialmente, realizamos sua tradução para o português e, em seguida, o inserimos na plataforma de formulários da Universidade de Aveiro. Posteriormente, aplicamos o questionário com estudantes portugueses do ensino especializado em música e, por fim, realizamos a análise dos dados. Observamos que algumas questões necessitam de uma adequação para que seja utilizado com grupos musicais escolares. Quanto aos resultados, esses não apresentaram dados significativos para o embasamento de um planejamento de aulas. Por esse motivo, sugerimos uma nova aplicação do questionário, incluindo também as questões abertas propostas pelo autor.
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Swanwick, Keith. "Musical Criticism and Musical Development". British Journal of Music Education 8, nr 2 (lipiec 1991): 139–48. http://dx.doi.org/10.1017/s026505170000824x.
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Musical criticism lies at the heart of music education. It is argued that there are five fundamental dimensions of musical criticism: control of sonorities; expressive characterisation; structural relationships; personal evaluation; historical and technical context. The first four of these – those directly concerned with response to a musical object or event – are the essential modes of criticism and these can be seen unfolding in the musical development of children. Following the publication in 1986 by Swanwick and Tillman of a musical development model, further research in Cyprus gives supportive results; showing strong agreement between judges on the use of critical criteria for assessing children's compositions and articulating the same sequential order of development. A random selection of children's compositions drawn from over 600 items collected in Cyprus is assessed by independent judges. There are correlations between assigned critical criteria and the age of the children. Thus the pattern of musical development can be seen to parallel a critical hierarchy. From these data we can also assume that, although the sequential order of development may be confirmed, the compositions of the UK children in our sample appear generally to be more advanced than those of their Cyprus peers. The quality and consistency of music education provision seems therefore to have a positive role in the development of critical powers. There are implications for music curriculum development, for assessment procedures and for further work on musical development, and on the relationship of composing to performing and of both to audience listening.
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Sobakina, O. V. "The Polish Musical Film of the 1930s: From the Musicals to Film Adaptations of Stanisław Moniuszko’s Operas". Art & Culture Studies, nr 4 (grudzień 2024): 650–67. https://doi.org/10.51678/2226-0072-2024-4-650-667.
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The author focuses on one of the most striking phenomena of European cinema of the interwar period, a musical film and musical comedy in particular, which vividly declared itself in Poland in 1930 (almost simultaneously with the advent of sound cinema). The new film genre was developing rapidly, but the achievements of Polish cinema in this area are little known in Russia. Despite the fact that the technical capabilities were more than modest, the music of Polish composers performed by new Polish film stars shone on the screen — those artists (and often musicians) to whom the new genre brought fantastic success and left in the memory of the audience for many decades. Moreover, the creators were interested not only in musicals, but also in more “serious” musical genres, as well as various national and socio-cultural contexts. The article offers an introduction to the history and peculiarities of the development of the musical film genre in Poland during the interwar twentieth century, special emphasis is placed on film adaptations of Polish opera classics — S. Moniuszko’s operas Halka and The Enchanted Castle. Based on the historical and cultural approach and the study of film materials (as well as the press and a few scientific papers), various aspects of the work of composers and artists, as well as attitudes towards a new genre of criticism, are presented. The author emphasizes that since the creation of sound film in Poland, it has been considered a synthetic art form, where music has specific relationships with images and other acoustic elements. Musicals occupied an important place in Polish cinema of the interwar period, however, in addition to this direction, interesting works in the genre of short feature films using music, as well as opera films can be noted. The most famous film adaptation of the national opera was Halka directed by J. Gardan (1937), who invited outstanding Polish authors to cooperate (the music was adapted and completed by R. Palester, the dialogues by J. Iwaszkiewicz, and the script was created by L. Schiller). Numerous musical films have become valuable evidence of the era, capturing its socio-cultural landmarks, as well as artistic preferences and peculiarities of the existence of the musical art’s works.
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Wiggins, Geraint A. "Models of musical similarity". Musicae Scientiae 11, nr 1_suppl (marzec 2007): 315–38. http://dx.doi.org/10.1177/102986490701100112.
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Ferreira, Pedro, Ricardo Limongi i Luiz Paulo Fávero. "Generating Music with Data: Application of Deep Learning Models for Symbolic Music Composition". Applied Sciences 13, nr 7 (3.04.2023): 4543. http://dx.doi.org/10.3390/app13074543.
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Language models based on deep learning showed promising results for artistic generation purposes, including musical generation. However, the evaluation of symbolic musical generation models is mostly based on low-level mathematical metrics (e.g., the result of the loss function) due to the inherent difficulty in measuring the musical quality of a given performance due to the subjective nature of music. This work sought to measure and evaluate musical excerpts generated by deep learning models from a human perspective, limited to the scope of classical piano music generation. In this assessment, a population of 117 people performed blind tests with musical excerpts of human composition and musical excerpts generated using artificial intelligence models, including the models PerformanceRNN, Music Transformer, MuseNet and a custom model based on GRUs. The experiments demonstrated that musical excerpts generated using models based on the Transformer neural network architecture obtained the greatest receptivity within the tested population, surpassing the results of human compositions. In addition, the experiments also demonstrated that people with greater musical sensitivity and musical experience were more able to identify the compositional origin of the excerpts heard.
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Karan, Gordana. "Melodic models and modelling: The fundamental system of knowledge acquisition in music". New Sound, nr 59-1 (2022): 11–24. http://dx.doi.org/10.5937/newso22059011k.
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In the pursuit of developing a fundamental understanding of terms, phenomena, rules and meanings in music, vital to the performance and interpretation of a musical work, it is necessary to apply a methodologically grounded system to the reading of a score that efficiently establishes a basis for understanding the musical content and contributes to the development of musical abilities and musicality more broadly. In the musical-pedagogical process, as part of the wider set of music disciplines (harmony, counterpoint, music forms, knowledge of music styles), the most crucial are the methods and systems of work which allow the reading of musical notation and the understanding of a musical piece to be generated and profiled. The system of models and modelling is a form of work about the perception and reception of a musical work composed on a musical model and the process of working with that model, i.e. modelling. The complexity of the system is reflected in the two sub-elements of modelling: the development of associative abilities by recalling the sound of the model, and gaining an automatic response to sound. Until now, work on models and modelling has been treated using a musical-pedagogical approach. In this study it is defined as a system which is applicable to the process of reading and interpreting a musical text, without being predicated on musical style or the tonal bases of music.
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Sá, Paulo, Marcos Nogueira i Midori Maeshiro. "Musical Imagination and Reading: The Role of Sight-Reading in the Constitution of Brazilian Musical Genres". Percepta - Revista de Cognição Musical XI, nr 1 (30.12.2023): 57–68. http://dx.doi.org/10.34018/2318-891x.11(1)57-68.
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We focus on professional Brazilian music of the instrumental genre and address the crucial role of sight-reading in its development. We argue that in addition to the standard concept of sight-reading — related to the strict deciphering of signs on the pentagram — other reading praxis founded, over the last two centuries, what came to be recognized as Brazilian music. In this sense, we highlight that the notational format internationally known as lead sheet (the notational standard used in the context in question) not only enabled the availability of essen-tial musical elements for the singularization of work and authorship but also led to the con-solidation of the collection of images musicals that constituted the genre in question. In this way, the interaction of imagined simulations of generic patterns—the action of embodied memory — with reading the lead sheet gave rise to works and defined a repertoire. Consid-ering assumptions of embodied cognition of music, stylistic-musical foundations, and the analysis of recordings and transcriptions, we speculate attributing a central role to sight-read-ing in the constitution of the stylistic field addressed — primarily represented by Choro. It is a musical production originated by and in performance, encompassing phrasal and harmonic improvisation, modes of articulation, and sonority.
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Tang, Wenfu, Louisa K. Emmons, Helen M. Worden, Rajesh Kumar, Cenlin He, Benjamin Gaubert, Zhonghua Zheng i in. "Application of the Multi-Scale Infrastructure for Chemistry and Aerosols version 0 (MUSICAv0) for air quality research in Africa". Geoscientific Model Development 16, nr 20 (26.10.2023): 6001–28. http://dx.doi.org/10.5194/gmd-16-6001-2023.
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Abstract. The Multi-Scale Infrastructure for Chemistry and Aerosols Version 0 (MUSICAv0) is a new community modeling infrastructure that enables the study of atmospheric composition and chemistry across all relevant scales. We develop a MUSICAv0 grid with Africa refinement (∼ 28 km × 28 km over Africa). We evaluate the MUSICAv0 simulation for 2017 with in situ observations and compare the model results to satellite products over Africa. A simulation from the Weather Research and Forecasting model coupled with Chemistry (WRF-Chem), a regional model that is widely used in Africa studies, is also included in the analyses as a reference. Overall, the performance of MUSICAv0 is comparable to WRF-Chem. Both models underestimate carbon monoxide (CO) compared to in situ observations and satellite CO column retrievals from the Measurements of Pollution in the Troposphere (MOPITT) satellite instrument. MUSICAv0 tends to overestimate ozone (O3), likely due to overestimated stratosphere-to-troposphere flux of ozone. Both models significantly underestimate fine particulate matter (PM2.5) at two surface sites in East Africa. The MUSICAv0 simulation agrees better with aerosol optical depth (AOD) retrievals from the Moderate Resolution Imaging Spectroradiometer (MODIS) and tropospheric nitrogen dioxide (NO2) column retrievals from the Ozone Monitoring Instrument (OMI) than WRF-Chem. MUSICAv0 has a consistently lower tropospheric formaldehyde (HCHO) column than OMI retrievals. Based on model–satellite discrepancies between MUSICAv0 and WRF-Chem and MOPITT CO, MODIS AOD, and OMI tropospheric NO2, we find that future field campaign(s) and more in situ observations in the East African region (5∘ S–5∘ N, 30–45∘ E) could substantially improve the predictive skill of atmospheric chemistry model(s). This suggested focus region exhibits the largest model–in situ observation discrepancies, as well as targets for high population density, land cover variability, and anthropogenic pollution sources.
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Todd, R. Larry. "Late Brahms, Ancient Modes". Nineteenth-Century Music Review 15, nr 3 (26.06.2018): 421–42. http://dx.doi.org/10.1017/s1479409818000319.
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History has often viewed Brahms as a Janus-faced composer who turned his gaze backward to contemplate the accumulated riches of music history even as he sought late in his career to exploit new means of musical expression. On the one hand, he habitually collected passages from a long line of composers that breached the traditional prohibition against parallel fifths and octaves; he exchanged ideas with musicologists such as Nottebohm, Mandyczewski and Adler, and read early issues of the Vierteljahrsschrift für Musikwissenschaft; and he indulged from time to time in a distinctive musical historicism. But on the other hand, his music was embraced for showing a way forward for a number of next-generation composers who would contend with twentieth-century modernism, most notably of course Schoenberg, in his essay ‘Brahms the Progressive’, but also Anton von Webern, whose transitional Passacaglia op. 1 was unthinkable without the precedent of Brahms’s op. 90, and whose aphoristic miniatures betrayed the concentrated expression and opening up of register in Brahms’s late Klavierstücke.This essay considers one still relatively little-explored facet of Brahms’s historical gaze – his use of modes in his later music, and their potential for creating alternative means of musical organization that challenged, and yet were somehow compatible with, tonality. Examples considered include the first movement of the Clarinet Trio op. 114 and slow movement of the String Quintet no. 2 op. 111. Unlike Brahms’s earlier compositions that treat modes as signifiers of a style of folk music or simulated folk music, the later instrumental works seem to juxtapose principles of modal organization within the context of tonal compositions. Thus, in the first movement of the Clarinet Trio, eerie passages in fauxbourdon impress as allusions to a distant, archaic musical other, as if Brahms the historian were searching for the distant roots of his musical aesthetic.
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Chessa, Luciano. "L'Arte dei “Romori”: Leonardine Devotion in Luigi Russolo's Oeuvre". Leonardo 41, nr 1 (luty 2008): 43–48. http://dx.doi.org/10.1162/leon.2008.41.1.43.
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The author has discerned a deep interest in the occult arts at the core of Luigi Russolo's Art of Noises. Such an interest is confirmed by Russolo's admiration for Leonardo da Vinci. Leonardo's writings on music and acoustics constituted in fact a scientific and spiritual paradigm for Russolo; the former's mechanical musical-instrument projects were important models for Russolo's own, from 1913's intonarumori to the nuovo istrumento musicale a corde of 1931. Perhaps because of the futurists' ambivalent position toward the figure of Leonardo (proto-futurist or passatista), Russolo profusely quoted Leonardo but carefully avoided mentioning any borrowing.
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Smith, Benjamin. "Tracking Creative Musical Structure: The Hunt for the Intrinsically Motivated Generative Agent". Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 9, nr 5 (30.06.2021): 101–7. http://dx.doi.org/10.1609/aiide.v9i5.12648.
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Neural networks have been employed to learn, generalize, and generate musical pieces with a constrained notion of creativity. Yet, these computational models typically suffer from an inability to characterize and reproduce long-term dependencies indicative of musical structure. Hierarchical and deep learning models propose to remedy this deficiency, but remain to be adequately proven. We describe and examine a novel dynamic bayesian network model with the goal of learning and reproducing longer-term formal musical structures. Incorporating a computational model of intrinsic motivation and novelty, this hierarchical probabilistic model is able to generate pastiches based on exemplars.
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McAdams, Stephen. "Musical Forces and Melodic Expectations: Comparing Computer Models and Experimental Results". Music Perception 21, nr 4 (1.06.2004): 457–98. http://dx.doi.org/10.1525/mp.2004.21.4.457.
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Recent work on "musical forces" asserts that experienced listeners of tonal music not only talk about music in terms used to describe physical motion, but actually experience musical motion as if it were shaped by quantifiable analogues of physical gravity, magnetism, and inertia. This article presents a theory of melodic expectation based on that assertion, describes two computer models of aspects of that theory, and finds strong support for that theory in comparisons of the behavior of those models with the behavior of participants in several experiments. The following summary statement of the theory is explained and illustrated in the article: Experienced listeners of tonal music expect completions in which the musical forces of gravity, magnetism, and inertia control operations on alphabets in hierarchies of embellishment whose stepwise displacements of auralized traces create simple closed shapes. A "single-level" computer program models the operation of these musical forces on a single level of musical structure. Given a melodic beginning in a certain key, the model not only produces almost the same responses as experimental participants, but it also rates them in a similar way; the computer model gives higher ratings to responses that participants sing more often. In fact, the completions generated by this model match note-for-note the entire completions sung by participants in several psychological studies as often as the completions of any one of those participants matches those of the other participants. A "multilevel" computer program models the operation of these musical forces on multiple hierarchical levels. When the multilevel model is given a melodic beginning and a hierarchical description of its embellishment structure (i.e., a Schenkerian analysis of it), the model produces responses that reflect the operation of musical forces on all the levels of that hierarchical structure. Statistical analyses of the results of a number of experiments test hypotheses arising from the computer models' algorithm (S. Larson, 1993a) for the interaction of musical forces as well as from F. Lerdahl's similar (1996) algorithm. Further statistical analysis contrasts the explanatory power of the theory of musical forces with that of E. Narmour's (1990, 1992) implication-realization model. The striking agreement between computer-generated responses and experimental results suggests that the theory captures some important aspects of melodic expectation. Furthermore, the fact that these data can be modeled well by the interaction of constantly acting but contextually determined musical forces gives support to the idea that we experience musical motions metaphorically in terms of our experience of physical motions.
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Ashley, Richard. "Musical form: A challenge for models of musical cognition". Physics of Life Reviews 34-35 (grudzień 2020): 40–41. http://dx.doi.org/10.1016/j.plrev.2020.05.002.
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Farbood, Morwaread M. "A Parametric, Temporal Model of Musical Tension". Music Perception 29, nr 4 (1.04.2012): 387–428. http://dx.doi.org/10.1525/mp.2012.29.4.387.
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tension in music is a high-level concept that is difficult to formalize due to its complex, multidimensional nature. This paper proposes a quantitative model of musical tension that takes into account the dynamic, temporal aspects of listening. The model is based on data from two experiments. The first was a web-based study that was designed to examine how individual musical parameters contribute directly to a listener's overall perception of tension and how those parameters interact. The second study was an in-lab experiment in which listeners were asked to provide continuous responses to longer, more complex musical stimuli. Both studies took into account a number of musical parameters including harmony, pitch height, melodic expectation, dynamics, onset frequency, tempo, meter, rhythmic regularity, and syncopation. As an initial step, linear and nonlinear models were explored for predicting tension given analytical descriptions of various musical parameters. These models were tested on the continuous-response data from Experiment 2 and shown to be insufficient. An alternate model was proposed based on the notion of a moving perceptual window in time and the concept of trend salience. High correlation with empirical data indicates that this parametric, temporal model accurately predicts tension judgments for complex musical stimuli.
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Agarwal, Gaurav, Sachi Gupta, Shivani Agarwal i Aul Kumar Rai. "Emotion classification for musical data using deep learning techniques". International Journal of Reconfigurable and Embedded Systems (IJRES) 12, nr 2 (1.07.2023): 240. http://dx.doi.org/10.11591/ijres.v12.i2.pp240-247.
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This research is done based on the identification and thorough analyzing musical data that is extracted by the various method. This extracted information can be utilized in the deep learning algorithm to identify the emotion, based on the hidden features of the dataset. Deep learning-based convolutional neural network (CNN) and long short-term memory-gated recurrent unit (LSTM-GRU) models were developed to predict the information from the musical information. The musical dataset is extracted using the fast Fourier transform (FFT) models. The three deep learning models were developed in this work the first model was based on the information of extracted information such as zero-crossing rate, and spectral roll-off. Another model was developed on the information of Mel frequencybased cepstral coefficient (MFCC) features, the deep and wide CNN algorithm with LSTM-GRU bidirectional model was developed. The third model was developed on the extracted information from Mel-spectrographs and untied these graphs based on two-dimensional (2D) data information to the 2D CNN model alongside LSTM models. Proposed model performance on the information from Mel-spectrographs is compared on the F1 score, precision, and classification report of the models. Which shows better accuracy with improved F1 and recall values as compared with existing approaches.
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He, Jing-Xian, Li Zhou, Zhen-Tao Liu i Xin-Yue Hu. "Digital Empirical Research of Influencing Factors of Musical Emotion Classification Based on Pleasure-Arousal Musical Emotion Fuzzy Model". Journal of Advanced Computational Intelligence and Intelligent Informatics 24, nr 7 (20.12.2020): 872–81. http://dx.doi.org/10.20965/jaciii.2020.p0872.
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In recent years, with the further breakthrough of artificial intelligence theory and technology, as well as the further expansion of the Internet scale, the recognition of human emotions and the necessity for satisfying human psychological needs in future artificial intelligence technology development tendencies have been highlighted, in addition to physical task accomplishment. Musical emotion classification is an important research topic in artificial intelligence. The key premise of realizing music emotion classification is to construct a musical emotion model that conforms to the characteristics of music emotion recognition. Currently, three types of music emotion classification models are available: discrete category, continuous dimensional, and music emotion-specific models. The pleasure-arousal music emotion fuzzy model, which includes a wide range of emotions compared with other models, is selected as the emotional classification system in this study to investigate the influencing factor for musical emotion classification. Two representative emotional attributes, i.e., speed and strength, are used as variables. Based on test experiments involving music and non-music majors combined with questionnaire results, the relationship between music properties and emotional changes under the pleasure-arousal model is revealed quantitatively.
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Noreland, Daniel, Sergio Bellizzi, Christophe Vergez i Robert Bouc. "Nonlinear modes of clarinet-like musical instruments". Journal of Sound and Vibration 324, nr 3-5 (lipiec 2009): 983–1002. http://dx.doi.org/10.1016/j.jsv.2009.02.043.
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Gershenfeld, Neil. "Musical instruments, models, and machines". Journal of the Acoustical Society of America 95, nr 5 (maj 1994): 2888. http://dx.doi.org/10.1121/1.409364.
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Plotkin, Richard, i Jack Douthett. "Scalar context in musical models". Journal of Mathematics and Music 7, nr 2 (lipiec 2013): 103–25. http://dx.doi.org/10.1080/17459737.2013.820804.
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Simon, Scott J. "Computer models of musical creativity". Journal of the American Society for Information Science and Technology 58, nr 10 (2007): 1553–55. http://dx.doi.org/10.1002/asi.20610.
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Bilbao, Stefan, i Michele Ducceschi. "Models of musical string vibration". Acoustical Science and Technology 44, nr 3 (1.05.2023): 194–209. http://dx.doi.org/10.1250/ast.44.194.
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Saputra, Julian, Agi Prasetiadi i Iqsyahiro Kresna. "Acapella-based music generation with sequential models utilizing discrete cosine transform". IAES International Journal of Artificial Intelligence (IJ-AI) 13, nr 3 (1.09.2024): 3371. http://dx.doi.org/10.11591/ijai.v13.i3.pp3371-3380.
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Making musical instruments that accompany vocals in a song depends on the mood quality and the music composer’s creativity. The model created by other researchers has restrictions that include being limited to musical instrument digital interface files and relying on recurrent neural networks (RNN) or Transformers for the recursive generation of musical notes. This research offers the world’s first model capable of automatically generating musical instruments accompanying human vocal sounds. The model we created is divided into three types of sound input: short input, combed input, and frequency sound based on the discrete cosine transform (DCT). By combining the sequential models such as Autoencoder and gated recurrent unit (GRU) models, we will evaluate the performance of the resulting model in terms of loss and creativity. The best model has a performance evaluation that resulted in an average loss of 0.02993620155. The hearing test results from the sound output produced in the frequency range 0-1,600 Hertz can be heard clearly, and the tones are quite harmonious. The model has the potential to be further developed in future research in the field of sound processing.
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Wang, Hui-Min, i Sheng-Chieh Huang. "Musical Rhythms Affect Heart Rate Variability: Algorithm and Models". Advances in Electrical Engineering 2014 (17.09.2014): 1–14. http://dx.doi.org/10.1155/2014/851796.
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There were a lot of psychological music experiments and models but there were few psychological rhythm experiments and models. There were a lot of physiological music experiments but there were few physiological music models. There were few physiological rhythm experiments but there was no physiological rhythm model. We proposed a physiological rhythm model to fill this gap. Twenty-two participants, 4 drum loops as stimuli, and electrocardiogram (ECG) were employed in this work. We designed an algorithm to map tempo, complexity, and energy into two heart rate variability (HRV) measures, the standard deviation of normal-to-normal heartbeats (SDNN) and the ratio of low- and high-frequency powers (LF/HF); these two measures form the physiological valence/arousal plane. There were four major findings. Initially, simple and loud rhythms enhanced arousal. Secondly, the removal of fast and loud rhythms decreased arousal. Thirdly, fast rhythms increased valence. Finally, the removal of fast and quiet rhythms increased valence. Our work extended the psychological model to the physiological model and deepened the musical model into the rhythmic model. Moreover, this model could be the rules of automatic music generating systems.
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RIJO LOPES DA CUNHA, MARIA M. "The Burda: Reweaving the Mantle, Renovating Arab Music Tradition between Egypt and the Arab Levant". Yearbook for Traditional Music 54, nr 2 (grudzień 2022): 141–64. http://dx.doi.org/10.1017/ytm.2022.20.
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AbstractThis article critically considers how the musical piece, “Al-Burda,” has introduced ground-breaking formal and rhythmic innovations within Arab contemporary traditional music. I explore the centrality of Mustafa Said’s musical adaptation of Arabic prosody in generating new rhythmic modes whilst highlighting Said’s claims of continuity with an Arab literary and musical tradition through the musical adaptation of the poetics of mu’arada, which means building upon pre-existing models. This article draws upon postcolonial theory as a fundamental tool of analysis for the underpinning socio-political commentary present at every stage of creation and production of “Al-Burda.”
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MAGEE, GAYLE SHERWOOD. "Song, Genre, and Transatlantic Dialogue in Gosford Park". Journal of the Society for American Music 2, nr 4 (23.10.2008): 477–505. http://dx.doi.org/10.1017/s1752196308080140.
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AbstractHidden in plain sight, the five songs in the middle of, Gosford Park (2001) prepare the audience for the untangling of sordid relationships and the resolution of a murder mystery at the end of the film. This article presents a detailed analysis of the film's central musical sequence using video captures, reception history, transcriptions, and other approaches from music history and film studies. As is shown, the close relationship between music and image reflects the fascination of US audiences with British-themed films and the equally complicated appeal of Hollywood films to British audiences. Additionally, the songs provide a surfeit of narrative information crucial to the resolution of the multiple story lines. Lastly, the songs complicate and expand the work's seemingly straightforward murder-mystery genre to include such incompatible models as the British heritage film, Hollywood musicals, melodramas, and the double feature. Informing this musical sequence, and the entire film, is a complex, reciprocal transatlantic exchange founded on mutually inaccurate, yet often irresistible, myths of history and identity.
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Cocos, Mihail, i Kent Kidman. "Musical Modes, their Associated Chords and their Musicality". Recreational Mathematics Magazine 9, nr 16 (1.06.2022): 65–70. http://dx.doi.org/10.2478/rmm-2022-0005.
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Abstract In this paper we present a mathematical way of defining musical modes and we define the musicality of a mode as a product of three diferent factors. We conclude by classyfing the modes which are most musical according to our definition.
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Gembris, Heiner. "Maria Manturzewska’s model of the lifespan development of professional musicians in the light of recent research and cultural changes". Musicae Scientiae 27, nr 4 (15.11.2023): 827–41. http://dx.doi.org/10.1177/10298649231191430.
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The lifespan trajectory of musical achievement in the field of classical music and the factors that promote or hinder the development of talent in music are the focus of Manturzewska’s model of the lifespan development of professional musicians. This article aims to describe Manturzewska’s model briefly, relate it to recent research, and explore the extent to which it fits the diversity of musical careers of contemporary professional musicians. A brief depiction of the developmental model provides insight into the six developmental phases of the model and the factors that influence them. Recent research investigating talent development and career research in music suggests that Manturzewska’s theoretical model is largely consistent with findings from expertise research, research examining the determinants of musical development, and current models of talent development. The development of musicians with traditional careers as orchestral musicians in permanent, full-time employment or as successful soloists in contemporary musical culture is likely to be represented largely accurately in Manturzewska’s model. However, the diversity of typical portfolio careers, characterized by simultaneous irregular musical and non-musical activities in musical and non-musical fields, cannot be depicted in a single, more-or-less linear development model. Appropriate research, especially long-term studies that model the lifetime development of professional musicians (not only) in classical music, is lacking. Furthermore, Manturzewska’s model addresses important aspects that have been insufficiently studied by others, such as the development of professional musicians in the second half of life, and provides a sound and inspiring basis for future research.
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Braae, Nick. "Catch the references if you can: Marc Shaiman and stylistic pastiche". Studies in Musical Theatre 18, nr 2 (1.10.2024): 139–54. http://dx.doi.org/10.1386/smt_00158_1.
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This article explores Marc Shaiman’s use of stylistic pastiche in Catch Me If You Can. Building on previous studies of style imitation in musical theatre, I develop a model for analysing different forms of pastiche. This model categorizes instances of pastiche according to the specificity of the stylistic reference, the function of the pastiche and how the pastiche is integrated into the song. Each component of the model is illuminated through a selection of examples. In Catch Me If You Can, I argue that Shaiman tends to use intra-opus (song) references in order to enhance the lyrical and narrative content, while his broader style references tend to be used for setting and reinforcing aspects of time and place. I conclude with the suggestion that this model could be deployed on other musicals. This will lead to a better understanding of how Shaiman’s practices align or deviate from other composers who engage with this widespread technique.