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Artigos de revistas sobre o tema "Orchestral music Scores"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 28 de janeiro de 2023

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1

Conway, Paul. "John McCabe's Psalm-Cantata St John's, Smith Square." Tempo 68, no. 267 (January 2014): 66–67. http://dx.doi.org/10.1017/s004029821300140x.

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John McCabe is most closely associated with large-scale orchestral statements, notably in concertante and symphonic forms and in ballet scores, yet chamber and instrumental music has recently played an increasingly significant role within his oeuvre. Of his vocal music, unaccompanied choral works such as the carols have attracted most attention, whilst his major contributions to the choral-orchestral repertoire, such as the large-scale cantata, Voyage (1972) and the extended song cycle for soloists, choir and large orchestra, Songs of the Garden (both Three Choirs Festival commissions, for 197

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Urniežius, Rytis. "Two Orchestral Embodiments of Three Pieces from op. 54 by Edvard Grieg." Musicological Annual 56, no. 1 (June 30, 2020): 101–32. http://dx.doi.org/10.4312/mz.56.1.101-132.

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Lyric Suite is an orchestral version of four movements from Grieg’s Lyric Pieces V, op. 54. Three out of these four movements exist in two orchestral versions. The aim of the current research is to highlight peculiar traits of Grieg’s orchestral style in the late period of composer’s life by comparing scores of two orchestrators.

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Brook, Taylor. "ORCHESTRATION AND PITCH PRECISION IN THE ORCHESTRAL MUSIC OF MARC SABAT." Tempo 75, no. 295 (December 17, 2020): 17–30. http://dx.doi.org/10.1017/s0040298220000650.

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AbstractThis article examines the relationship between orchestration and microtonality in the music of Marc Sabat through a score-based analysis of two recent works, Asking Ocean (2016), for string quartet and large ensemble, and The Luminiferous Aether (2018), for large orchestra. Excerpts from these two compositions are discussed to highlight the challenges of composing for orchestral forces in a musical style that demands a high degree of microtonal pitch precision. Through retuning, alteration, and a sensitivity to the construction, techniques and performance practices of orchestral instru

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4

Savchenko, Ganna. "Orchestral composition multifigure as a principle of time and space organization of Ihor F. Stravinsky’s orchestral works (from early ballets to Symphony in C and Symphony in three movements)." Aspects of Historical Musicology 16, no. 16 (September 15, 2019): 242–58. http://dx.doi.org/10.34064/khnum2-16.14.

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Introduction. The early and the top works of the Russian period showed rapid evolution of Ihor F. Stravinsky’s musical thinking and style: there evolved the original musical language, the technique of composition, with the orchestral composition principles being changed. The ballets demonstrated a new sense of time and space, which is shaped by the complex of expressiveness means, with orchestrating being essential. The composer’s style evolution took place within a complex historical and cultural context, marked by a change in the cultural paradigm in the early twentieth century. The scientif

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5

Newman, George. "Ernst Roth: A Personal Recollection." Tempo, no. 165 (June 1988): 37–40. http://dx.doi.org/10.1017/s0040298200024086.

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FIFTY YEARS AGO, in March 1938, Hitler invaded Austria. I left Vienna and came to London. Now, half a century later, I look back on forty years of music publishing, first of all in the 1950's in the production department of Boosey & Hawkes, and later setting up my own business for the engraving and copying of orchestral full scores and instrumental parts for international music publishing firms.

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6

Fischer, Manda, Kit Soden, Etienne Thoret, Marcel Montrey, and Stephen McAdams. "Instrument Timbre Enhances Perceptual Segregation in Orchestral Music." Music Perception 38, no. 5 (June 1, 2021): 473–98. http://dx.doi.org/10.1525/mp.2021.38.5.473.

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Timbre perception and auditory grouping principles can provide a theoretical basis for aspects of orchestration. In Experiment 1, 36 excerpts contained two streams and 12 contained one stream as determined by music analysts. Streams—the perceptual connecting of successive events—comprised either single instruments or blended combinations of instruments from the same or different families. Musicians and nonmusicians rated the degree of segregation perceived in the excerpts. Heterogeneous instrument combinations between streams yielded greater segregation than did homogeneous ones. Experiment 2

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Miron, Marius, Julio J. Carabias-Orti, Juan J. Bosch, Emilia Gómez, and Jordi Janer. "Score-Informed Source Separation for Multichannel Orchestral Recordings." Journal of Electrical and Computer Engineering 2016 (2016): 1–19. http://dx.doi.org/10.1155/2016/8363507.

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This paper proposes a system for score-informed audio source separation for multichannel orchestral recordings. The orchestral music repertoire relies on the existence of scores. Thus, a reliable separation requires a good alignment of the score with the audio of the performance. To that extent, automatic score alignment methods are reliable when allowing a tolerance window around the actual onset and offset. Moreover, several factors increase the difficulty of our task: a high reverberant image, large ensembles having rich polyphony, and a large variety of instruments recorded within a distan

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Morein, Ksenia N., and Liudmila N. Shaymukhametova. "Ensemble Music-Making in the Mirror Reflection of 17th and 18th Century Western European Painting." ICONI, no. 1 (2019): 135–40. http://dx.doi.org/10.33779/2658-4824.2019.1.135-140.

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During the Baroque era ensemble music-making was a favorite pastime. For the nobility and the middle class “communication by means of music” was an inherent part of life: the musical language was the means of expressing respect, presenting “musical offerings” and confessions of love. In musical competitions virtuosi demonstrated their exceptional performing skills, and high-society ladies accompanied readings of poetical works with playing the harp or the lute. The desire to make music in the form of solo or ensemble performance was shared by players on various instruments endowed with differe

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9

Zharkova, Valeriya, Tymur Ivannikov, Tetiana Filatova, Oleksandr Zharkov, and Olena Antonova. "Choral Music by Samuel Barber: Genre and Style Aspects." Studia Universitatis Babeş-Bolyai Musica 67, Special Issue 1 (July 8, 2022): 63–77. http://dx.doi.org/10.24193/subbmusica.2022.spiss1.05.

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"The article is devoted to the research of choral music by Samuel Barber who was a 20th-century American composer. The research is carried out in terms of its genre and style diversity. It represents the historical stages of turning to choral art. The compositions are differentiated by voice composition into a cappella choirs and choirs with instrumental accompaniment. The orchestral scores are analyzed through the interaction of the poetic text and musical intonation taken into consideration. The figurative and semantic shades of religious and secular origin poems are discovered, the relation

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10

Anderson, Martin. "London, St John's Smith Square: David Matthews's ‘A Vision and a Journey’." Tempo 58, no. 228 (April 2004): 59–61. http://dx.doi.org/10.1017/s0040298204220150.

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A Vision and a Journey is David Matthews's op. 60 – a neat coincidence, then, that the first performance of its revised version should be part of the celebrations of his sixtieth birthday. The work is part of a series of imposing orchestral scores Matthews has been composing over the past two decades, beginning with In the Dark Time in 1983 and continuing with Chaconne in 1985 and The Music of Dawn two years later; this one followed in 1993, when it was premièred by Yan Pascal Tortelier and the BBC Philharmonic, but it underwent a thoroughgoing revision between March 1996 and March 1997. I ask

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Robinson, Harlow. "The Caucasian Connection: National Identity in the Ballets of Aram Khachaturian." Nationalities Papers 35, no. 3 (July 2007): 429–38. http://dx.doi.org/10.1080/00905990701368670.

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The ballets of Aram Khachaturian (1903-1978) occupy a special place in the history of Soviet ballet and of Soviet music. Considered along with Dmitri Shostakovich and Sergei Prokofiev as one of the leaders of Soviet music, Khachaturian devoted many years to the creation of ballet, although in the end he produced only three ballet scores: Schast'e [Happiness], completed in 1939; Gayane, completed in 1942; and Spartak [Spartacus], completed in 1954. Of these three, Gayane and Spartacus (both repeatedly revised) were notably successful, both immediately acclaimed as important new achievements in

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12

Bertagnolli, Paul A. "Amanuensis or Author? The Liszt-Raff Collaboration Revisited." 19th-Century Music 26, no. 1 (2002): 23–51. http://dx.doi.org/10.1525/ncm.2002.26.1.23.

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Liszt's reliance on copyists throughout his career and in every stage of the compositional process aroused controversly only after his death, when published letters impugned his authorship by suggesting others had orchestrated his symphonic works. Thereafter, compelling testimony from three members of the Weimar Hofkapelle during the 1850's——concertmaster Joseph Joachim, prinicipal cellist Bernard Cossmann, and the scribe Joachim Raff——has informed the secondary literature's highly partisan criticism. Suspected scribal influence is constructed as weakness in Liszt's character and music, dismis

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Toropkova, Evgeniya R. "Music education in the context of new information and distance technologies." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 127–32. http://dx.doi.org/10.30725/2619-0303-2021-2-127-132.

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The article is dedicated to the analysis of forms and methods of application of information technologies in the educational process of children’s art schools in the implementation of programs in the field of musical performance. The article considers the synthesis of the unconditional preservation of the existing traditions of the primary level of the Russian music school and the methodological expediency of using new technologies in the educational process of children’s art schools. Specific software developments, electronic educational resources are proposed for use, the application effect i

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14

LEE, Inho, and Johee LEE. "Analysis of chromatic mediant relationship in film music score with Neo-Riemannian theory." Rast Müzikoloji Dergisi 10, no. 4 (December 30, 2022): 449–61. http://dx.doi.org/10.12975/rastmd.20221041.

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Film has influenced the public as an important cultural form since the 20th century, and film music, as an integral part of film, plays an important role in shaping its content. Film music was influenced by late European Romantic music, and the Hollywood film score system was established based on composers of European descent, followed by the fusion of numerous emerging musical styles, such as Jazz, Rock, and EDM, etc. The orchestral music as the main composition of the film score has a sense of aural expectation in the sound expression, which largely comes from the chromaticization of the har

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Красильников, Игорь Михайлович. "Instrumentation in Condition of Real and Virtual Acoustics Around Music." Музыкальная академия, no. 3(771) (September 30, 2020): 178–84. http://dx.doi.org/10.34690/94.

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Инструментовкой сегодня занимаются не только композиторы, создающие оркестровые партитуры, но и широкий круг музыкантов - профессионалов и любителей, работающих в различных жанрах электронной музыки. Электронная инструментовка имеет много общего с ее традиционным видом, поскольку в обоих случаях решаются одинаковые задачи: реализация колористического потенциала исходного текста, выстраивание композиционной формы с помощью выделения ее разделов, выстраивание фактуры путем заполнения акустического пространства и прорисовки ее пластов. Различия же обусловлены разной природой музыкального материал

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Chang-Arana, Álvaro M., Dianna T. Kenny, and Andrés A. Burga-León. "Validation of the Kenny Music Performance Anxiety Inventory (K-MPAI): A cross-cultural confirmation of its factorial structure." Psychology of Music 46, no. 4 (July 18, 2017): 551–67. http://dx.doi.org/10.1177/0305735617717618.

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This research investigated whether music performance anxiety (MPA) can be theoretically understood as a unidimensional construct, and whether the factorial structure is robust across different populations of musicians with different levels of expertise. K-MPAI scores were obtained from 455 Peruvian tertiary music students (mean age = 21.19 years, SD = 3.13, range = 18–40 years) and 368 Australian professional orchestral musicians (mean age = 42.07 years, SD = 10.21, range = 18–68 years). A high order exploratory factor analysis with the Schmid-Leiman solution was performed on the K-MPAI items.

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17

Keefe, Simon P. "‘We hardly knew what we should pay attention to first’: Mozart the Performer-Composer at Work on the Viennese Piano Concertos." Journal of the Royal Musical Association 134, no. 2 (2009): 185–242. http://dx.doi.org/10.1080/02690400903109067.

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Late eighteenth-century writings bear witness to Mozart's extraordinary skills as a performer-composer. But this dual status has yet to exert a serious influence on our understanding of Mozart's piano concertos. An examination of changes to the autograph scores of his Viennese works catches him in the act of negotiating performance needs as soloist and compositional needs as author. His acute attention to detail and his intense personal involvement and commitment – evident in written testimony and in alterations to the autographs – reveal a performer-composer intent on harnessing very specific

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Shang, Rui. "A Deep Learning-Enabled Composition System Based on Piano Score Recognition." Mobile Information Systems 2022 (July 5, 2022): 1–9. http://dx.doi.org/10.1155/2022/9132697.

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Piano is used for music and comprises a stringed keyboard instrument wherein the strings are tapped by softer-coated wooden hammers. The score providing music for the piano, often a compressed transcription of orchestral music, is referred to as piano score. Presently, the Internet is overflowing with music score resources. Having so many music score resources available, professional learners and amateur music lovers are unable to identify and obtain music score information that matches their needs and wasting valuable time. Due to the rapid development of deep learning algorithms, some indivi

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19

Rupprecht, Philip. "ABOVE AND BEYOND THE BASS: HARMONY AND TEXTURE IN GEORGE BENJAMIN'S ‘VIOLA, VIOLA’." Tempo 59, no. 232 (April 2005): 28–38. http://dx.doi.org/10.1017/s0040298205000136.

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George Benjamin's rich harmonic imagination was apparent from his earliest published works. A distinctive chordal sensibility is already evident in the 1978 Piano Sonata, with its glittering streams of five- or six-pitch clusters; in the hollow bell-chords punctuating the 1979 orchestral score, Ringed by the Flat Horizon; and in the supreme stasis of the A-minor pedal chord (a six-three triad) unveiled by the icy glissandi lines opening A Mind of Winter (1981). All three pieces share a fascination with degrees of chordal resonance – the interplay of upper partials above a fundamental – and a s

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Iațeșen, Loredana Viorica. "7. Advocating the Poetics of Sound in the Cycle Les Nuits d´Été by Hector Berlioz." Review of Artistic Education 15, no. 1 (March 1, 2018): 59–73. http://dx.doi.org/10.2478/rae-2018-0007.

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Abstract By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a m

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LEHMAN, FRANK. "Scoring The President: Myth and Politics in John Williams's JFK and Nixon." Journal of the Society for American Music 9, no. 4 (November 2015): 409–44. http://dx.doi.org/10.1017/s1752196315000358.

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AbstractThroughout his career, John Williams has set the musical tone for the American presidency, most elaborately with his scores for Oliver Stone's controversial films JFK (1991) and Nixon (1995). While invested in capturing the character of these commanders in chief through musical codes, Williams's soundtracks are equally engaged in the act of the evocation and telling of “history.” Specifically, they construct a tragic myth of 1960s America in which the promise represented by JFK is destroyed from without, and Nixon from within, both by the malevolent forces of the military-industrial co

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Palić-Jelavić, Rozina. "Mise Ferde Wiesnera Livadića - O 220. obljetnici rođenja i 140. obljetnici skladateljeve smrti." Nova prisutnost XVII, no. 2 (July 9, 2019): 285. http://dx.doi.org/10.31192/np.17.2.3.

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Through his compositional contributions, Ferdo Wiesner Livadić enriched the Croatian (sacral) musical creativity of the age of Romanticism, realizing – alongside thirty church/sacral »small form« pieces – also one mass in Latin (Missa in C), and one in Croatian, with the title (Missa croatica pastoralis) as well as the titles of its parts/movements in Latin. By observing the autographical scores of the two Livadić’s masses, certain reflections regarding their similarities and differences had resulted; first of all, in terms of textual and language base, composition structure, performers’ ensam

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Patrikov, Gueorgui. "PEDAGOGICAL PROBLEMS OF WORKING ON FOUR SKETCHES FOR A SYMPHONIC ORCHESTRA BY DIMITAR NENOV IN THE CURRICULUM IN ORCHESTRA CONDUCTING BY PIANO." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (March 20, 2019): 447–52. http://dx.doi.org/10.35120/kij3002447p.

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A simple reason to make Dimitar Nenov’s Four sketches for a symphonic orchestra part of the curriculum is their high artistic value. Even though they are a comparatively early opus, the Sketches were written with respectful professionalism and impress listeners with the impact they make. Another significant consideration that makes working on Four sketches for a symphonic orchestra scores in the orchestra-conducting classes especially valuable and useful, is the opportunity for the trainees to get to know the work better and acquire important conducting skills. The process of analyzing and per

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Sprout, Leslie. "Composing Film Music in Theory and Practice: Honegger's Contributions to Les misérables and Rapt." Journal of the American Musicological Society 72, no. 1 (2019): 43–113. http://dx.doi.org/10.1525/jams.2019.72.1.43.

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Arthur Honegger composed his first sound film scores in 1933–34. For Les misérables, Raymond Bernard, who was under contract at Pathé-Natan to direct big-budget theatrical films that would compete with Paramount's French-language productions, expected Honegger to provide intermittent orchestral underscoring for already filmed sequences that privileged dialogue over music. For Rapt, the musically trained Dimitri Kirsanoff used independent financing to collaborate from the start with Honegger and Arthur Hoérée on what the director called “a hybrid form … in which music, image, and dialogue work

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Slim, H. Colin. "Lessons with Stravinsky: The Notebook of Earnest Andersson (1878–1943)." Journal of the American Musicological Society 62, no. 2 (2009): 323–412. http://dx.doi.org/10.1525/jams.2009.62.2.323.

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In 1978, Robert Craft expressed the hope that some record might be found of the lessons that the virtually unknown American composer Earnest Andersson (1878–1943) took with Stravinsky in Hollywood during 1941–42. Also missing were scores of the symphony Andersson worked on with Stravinsky. These documents have now come to light. A private collection in Pennsylvania houses Andersson's Futurama symphony and the notebook he kept of his lessons, items heretofore unseen except by family members. These sources contribute to our understanding of Stravinsky in at least two unique ways. First, Andersso

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Filatova, Tetiana. "Guitar Music of Celso Garrido-Lecca: Modern Projections of Peruan Traditions." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 134 (November 17, 2022): 139–54. http://dx.doi.org/10.31318/2522-4190.2022.134.269653.

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The relevance of the article is to deepen the analytical aspect of knowledge about Peruan guitar music of the late 20th – early 21st centuries in the context of the renewal of genre traditions of Andean music on the example of works by Celso Garrido-Lecca. Main objective of the study is to determine the influence of Peruvian traditions on the guitar music of Celso Garrido-Lecca in the conditions of modern creative contexts. The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis for: contextual consideration of the composer's creative a

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Serov, Iurii Eduardovich. "Requiem for Akhmatova." PHILHARMONICA. International Music Journal, no. 1 (January 2021): 1–13. http://dx.doi.org/10.7256/2453-613x.2021.1.34978.

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The research subject is a monumental semi-orchestral composition created by an outstanding Russian composer of the late 20th century Boris Tischenko &ldquo;Requiem&rdquo; with lyrics by A. Akhmatova. A funeral service over Akhmatova was read at the church of St. Nicholas Naval Cathedral in Leningrad on March 10, 1966. The score of the &ldquo;Requiem&rdquo; was finished on August 16, 1966. Thus, the composition with the lyrics by Akhmatova has become a tribute to her, a musical offering, and even the first monument not built with hands. The author gives special attention to the

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Molchanova, Tetiana. "MYKOLA LYSENKO’S ACCOMPANIST AND ENSEMBLE ACTIVITIES IN THE CONTEXT OF THE FOUNDATIONS OF HIS PERFORMING WORK." CULTURE AND ARTS IN THE MODERN WORLD, no. 23 (June 30, 2022): 111–21. http://dx.doi.org/10.31866/2410-1915.23.2022.260985.

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The purpose of the article is to explore the little-known areas of performing work of the famous Ukrainian composer Mykola Lysenko — his accompanist and ensemble activities. Research methodology. A system analysis, which combined analytical, culturological, and observational methods, was applied. Scientific novelty. The research is the first experience of a special analysis of Lysenko’s performing practice as an accompanist and ensemble player in domestic musicology. Conclusions. It is proved that Mykola Lysenko paid considerable attention to the types of chamber music. He was both an excellen

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Abdokov, Yuri B. "The film music by Boris Tchaikovsky: “Timbral optics” and “Visual acoustics”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2022): 104–39. http://dx.doi.org/10.35852/2588-0144-2022-2-104-139.

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There is something inexplicable in the fact that the film music of the greatest Russian composer of the 20th century, Boris Alexandrovich Tchaikovsky (1925–1996), hasn’t yet been seriously analyzed – not only as a part of his multifaceted legacy, but also as one of the very meaningful pages in the history of music and cinematography. The entire “literature” about the film music of the artist is limited with several synoptical essays (sometimes with gross factual errors and incredible contextual comparisons). But after all he, together with S. Prokofiev, D. Shostakovich, G. Popov, definitively

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Савкина, Н. П. "More About Gorchakov, Prokofiev’s Secretary." OPERA MUSICOLOGICA, no. 2 (May 1, 2021): 70–89. http://dx.doi.org/10.26156/om.2021.13.2.004.

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Цель статьи — представить новые сведения о секретаре Сергея Прокофьева Георгии Николаевиче Горчакове (1902–1995), сосредоточенные в неизвестных документальных материалах. Это был музыкант, который расшифровывал музыкальные и литературные рукописи Прокофьева, писал под его диктовку, в течение нескольких лет был проводником литературной и музыкальной мысли композитора, довел до стадии завершения несколько крупных прокофьевских партитур. Их связывало и общее вероучение, которому оба были привержены: Христианская наука. Письма Горчакова — его рассказы Прокофьеву о себе — обновляют знание о повседн

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Andriy, Strilets. "The formation of the original repertory for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts as a historical mission of Kharkiv composers (1950–1960)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (October 3, 2021): 216–38. http://dx.doi.org/10.34064/khnum1-60.12.

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Statement of the problem. The Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts has been performing for more than 90 years. However, the original works composed for this orchestra have never been the subject of serious scientific interest. The relevance of the problem is determined by the necessity to generalize the previous generations of composers’, performers’ and teachers’ experience in the field of folk instrumental art, in particular, the training in the orchestra of folk instruments as a concert unit. Analysis of recent publications shows, that the stu

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Ricketts, Matthew. "Texts—Textures—Intertexts: Brian Cherney’s Transfiguration (1990)." Intersections 37, no. 1 (May 17, 2019): 181–200. http://dx.doi.org/10.7202/1059894ar.

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Transfiguration ([1990] 1991) is one of Brian Cherney’s most ambitious compositions. Scored for large orchestra, the piece explores how memories transfigure reality and what that process might sound like. Cherney weaves together a dizzying mise en abyme of quotations—from the canonic repertoire, simulacra of European folk tunes, and his own earlier music (including most prominently Shekhinah for solo viola from [1988] 1992). Orchestral textures alternatively obscure and reveal material both directly and indirectly related to and inspired by the Holocaust, including the photograph of a Hungaria

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Du, Ling. "Clémence de Grandval in the French artistic culture of the XIX century." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (January 23, 2023): 144–58. http://dx.doi.org/10.34064/khnum1-63.08.

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Statement of the problem. One of the main issues of the humanities has always been to study urgent problems due to the proceses of economic and social life, changes of artistic guidelines, one of which is to comprehend the specifics of the functioning of contemporary art. Nevertheless, the direction of music scholarship that explores the culture of previous eras and the work of little-known «second-rate» artists remains no less important. In this aspect, the XIX century, namely the era of Romanticism, attracts attention with the flourishing of salon culture, the interest in the work of the Mus

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Hancock, Carl B. "Aesthetic Responses of Music and Non-Music Majors to Gradual Pitch Center Changes." Bulletin of the Council for Research in Music Education, no. 178 (October 1, 2008): 85–94. http://dx.doi.org/10.2307/40319341.

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Abstract The purpose of this study was to determine if music and non-music majors’ aesthetic responses are differentiated by gradually changing pitch center conditions. One hundred and forty-four university students listened to a professional recording of the second movement of Samuel Barbers Concerto for Violin and Orchestra, Op. 14 altered to have a gradually rising (sharper) or lowering (flatter) pitch center changing at a rate of 1/100 of a semitone (1 cent) per second. Participants recorded their aesthetic responses using a Continuous Response Digital Interface (CRDI). Results of a two-wa

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Ogborn, David. "Composing for a Networked, Pulse-Based, Laptop Orchestra." Organised Sound 17, no. 1 (February 14, 2012): 56–61. http://dx.doi.org/10.1017/s1355771811000513.

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Guided by the idea of participatory culture, networked pulse synchronisation and live coding have been core approaches in the activity of the Cybernetic Orchestra, an electronic performance ensemble at McMaster University in Hamilton, Canada. Following general discussion of the way in which networked pulse-based music and live coding work within this orchestra, there is specific discussion of a number of compositional models and practices that have been found effective, including code-sharing, instruction-scores, code as material, and physical performance.

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Miura, Takefumi, Ayumu Akabane, Makoto Sato, Takao Tsuda, Seiki Inoue, and Setsu Komiyama. "Score-Following System for Orchestra Music Using Audio-Signal Amplitude." Journal of The Institute of Image Information and Television Engineers 61, no. 7 (2007): 997–1005. http://dx.doi.org/10.3169/itej.61.997.

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Alegrado, Alenamie, and Adam Winsler. "Predictors of Taking Elective Music Courses in Middle School Among Low-SES, Ethnically Diverse Students in Miami." Journal of Research in Music Education 68, no. 1 (March 13, 2020): 5–30. http://dx.doi.org/10.1177/0022429420908282.

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Researchers attempting to show that music has positive effects on children need to understand and control for preexisting differences between those who do and do not select into musical participation in the first place. Within a large-scale, communitywide, prospective, longitudinal study of predominantly low-income, ethnically diverse students ( N = 31,332), we examined characteristics of students who did and did not enroll in music elective courses (band, choir, orchestra, guitar, other) in public middle schools (sixth, seventh, and eighth grades) in Miami. Predictor variables included gender

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Kelley, Jamey, and Steven M. Demorest. "Music Programs in Charter and Traditional Schools." Journal of Research in Music Education 64, no. 1 (February 19, 2016): 88–107. http://dx.doi.org/10.1177/0022429416630282.

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Since the arrival of the first charter school in Minnesota in 1991, charter schools have become one of the largest movements in educational reform. In recent years, research has emerged that has compared the effectiveness of charter schools with their traditional school counterparts. The purpose of this study was to compare the extent of music offerings between charter schools and traditional public schools in the same urban district and geographic location within the city. Results indicated that while all schools in the sample offered significantly less music than national averages, significa

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Solyanyk, M. "TheThirdString Quartet by B. Britten as a phenomenof the late composer style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 50–60. http://dx.doi.org/10.34064/khnum1-55.04.

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The paper is devoted to theproblematics of the late style in composer creativity. The typologies of the late style described in the musical science works of recent years (including the thesesby E. Nazaikinsky and N. Savitskaya) are systematized. The characteristic of B. Britten’s chamberheritage is given in the context of the achievements of the English composer’s school of аnew musical renaissance of the twentieth century. The purpose of the research is to reveal the specificity of the last opus phenomenon. Achieving the goal of the research involves using the following methods: genre approac

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Abadzhian, Harrii. "The charming horn of Kumayri, conductor-researcher Shaliko‑dzhian (creative portrait of Shaliko Paltadzhian)." Aspects of Historical Musicology 23, no. 23 (March 26, 2021): 143–59. http://dx.doi.org/10.34064/khnum2-23.09.

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Background. Topicality, objectives, methodology and novelty of the research. The creative achievements of the Honored Art Worker of Ukraine, Professor Shaliko Harehinovych Paltadzhian (1941–2020) are a significant contribution to the history of the development of Ukrainian musical culture and, of course, deserve special attention and thorough in-depth research. However, there is not still any fundamental work about this talented musician, brilliant French horn player and wonderful conductor. The author of this article was lucky to study together with Sh. Paltadzhyan at the Kharkov Conservatory

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Knobling, Birte, Gefion Franke, Lisa Beike, Timo Dickhuth, and Johannes K. Knobloch. "Reading the Score of the Air—Change in Airborne Microbial Load in Contrast to Particulate Matter during Music Making." International Journal of Environmental Research and Public Health 19, no. 16 (August 12, 2022): 9939. http://dx.doi.org/10.3390/ijerph19169939.

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The potential impact of music-making on air quality around musicians was inferred at the outset of the SARS-CoV-2 pandemic from measurements on individual musical instruments and from theoretical considerations. However, it is unclear to what extent playing together in an orchestra under optimal ventilation conditions really increases infection risks for individual musicians. In this study, changes in indoor air quality were assessed by measuring common parameters, i.e., temperature, relative humidity, and carbon dioxide, along with particle counting and determining the presence of airborne ph

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Dunnett, Roderic. "Schwetzingen: Adriana Hölszky's ‘Der gute Gott von Manhattan’." Tempo 59, no. 231 (January 2005): 37. http://dx.doi.org/10.1017/s0040298205210057.

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Adriana Hölszky – Romanian-born, but Stuttgart-based since 1976 – scored a deserved, significant hit when her first opera, Bremer Freiheit, based on Rainer Maria Faessbinder, was staged at the 1988 Munich Biennale. Two other operas – one based on Jean Genet – had their premières in Vienna and Bonn, before Stuttgart's ever-pioneering Württembergisches Landestheater commissioned Giuseppe e Silvia, based on Hans Neuenfels, in 2000. A sheaf of chamber and orchestral works have seen premières at festivals such as Styria and Vienna, and (even more aptly) at Donaueschingen.

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Yellin, Victor Fell. "Rayner Taylor's Music for The AEthiop: Part 2, The Keyboard Score (The Ethiop) and Its Orchestral Restoration." American Music 5, no. 1 (1987): 20. http://dx.doi.org/10.2307/3051857.

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Aydın, Bahar. "An examination of high school students’ social skill levels according to participation in musical activities." Cypriot Journal of Educational Sciences 14, no. 4 (December 31, 2019): 618–29. http://dx.doi.org/10.18844/cjes.v11i4.4446.

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The aim of this study is to determine the social skill levels of high school students according to their participation in musical activities. Social skills are important in all stages of an individual’s development, but due to physical and mental changes in high school years when adolescence is intensely experienced, the individual may have problems in adapting to the environment and expressing herself/himself. This study group consisted of 258 students from different types of high schools. In this research, the screening model, which is one of the quantitative research methods, was used. In t

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Crist, Elizabeth Bergman. "Aaron Copland's Third Symphony from Sketch to Score." Journal of Musicology 18, no. 3 (2001): 377–405. http://dx.doi.org/10.1525/jm.2001.18.3.377.

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Aaron Copland's Third Symphony, commissioned by Serge Koussevitzky and premiered by the Boston Symphony Orchestra in 1946, stands as the single true achievement of the composer's symphonic career. As befits such a weighty composition invested with personal and professional artistic aspirations, the genesis and evolution of the Third Symphony from sketch to score was unusually complex. The present study relies heavily on archival materials in the Copland Collection at the Library of Congress——including sketches and scores, historical recordings, and personal correspondence——to document the work

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Elpus, Kenneth, and Carlos R. Abril. "High School Music Ensemble Students in the United States." Journal of Research in Music Education 59, no. 2 (May 11, 2011): 128–45. http://dx.doi.org/10.1177/0022429411405207.

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The purpose of this study is to construct a national demographic profile of high school band, choir, and orchestra students in the United States using evidence from the 2004 follow-up wave of the Education Longitudinal Study of 2002. Results indicate that 21% of seniors in the United States’ class of 2004 participated in school music ensembles. Significant associations were found between music ensemble participation and variables including gender, race/ethnicity, socioeconomic status (SES), native language, parents’ education, standardized test scores, and GPA. Certain groups of students, incl

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Rehding, Alexander. "Music Theory's Other Nature: Reflections on Gaia, Humans, and Music in the Anthropocene." 19th-Century Music 45, no. 1 (2021): 7–22. http://dx.doi.org/10.1525/ncm.2021.45.1.7.

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The new historical paradigm ushered in by the Anthropocene offers a timely and urgent opportunity to rethink the relationship of humans and nature. Bruno Latour's take on the Gaia hypothesis, which rejects the traditional subject/object divide, shows how the human can be inscribed into the work of music theory. This turn toward Latour's Actor-Network Theory, which erases the categorical difference between human and nonhuman agents, now dressed up in cosmic garb under the banner of the Gaia hypothesis, appears to be distant from traditional music-theoretical concerns, but the connection is in f

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Matsubara, Masaki, Masaki Suwa, and Hiroaki Saito. "An Interactive Learning-aid System for Analytical Comprehension of Music by Highlighting Orchestral Score in Colors." Transactions of the Japanese Society for Artificial Intelligence 27, no. 5 (2012): 281–95. http://dx.doi.org/10.1527/tjsai.27.281.

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Höstman, Anna. "I COULDN'T MAKE A PIECE AS BEAUTIFUL AS THAT: A CONVERSATION WITH ALLISON CAMERON." Tempo 72, no. 286 (September 6, 2018): 17–30. http://dx.doi.org/10.1017/s0040298218000323.

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AbstractThe composer Allison Cameron (b. 1963) lives in Toronto. Her music has been widely performed at festivals such as Emerging Voices in San Diego, Evenings of New Music in Bratislava, Festival SuperMicMac in Montréal, Newfoundland Sound Symposium, New Music across America, Bang on a Can Marathon in New York, New York, and Rumori Dagen in Amsterdam. A dedicated performer of experimental music in Toronto, Allison co-founded the Drystone Orchestra (1989) and the Arcana Ensemble (1992). She has been improvising since 2000 on banjo, ukulele, cassette tapes, radios, miscellaneous objects, mini

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Napoles, Jessica. "The Effects of Score Use on Musicians’ Ratings of Choral Performances." Journal of Research in Music Education 57, no. 3 (September 30, 2009): 267–79. http://dx.doi.org/10.1177/0022429409343423.

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The purpose of this study was to determine whether viewing a musical score while listening (as opposed to not viewing the score) would affect musicians’ ratings of choral performance excerpts. University musicians ( N = 240) listened to four excerpts of choral music (from Vivaldi’s Gloria) and rated them on a 10-point Likert-type scale for overall impression. Some of the participants heard a professional chorus and orchestra recording, and others heard a high school group recording. For both of the recordings, participants were divided into four groups in a counterbalanced design, with one gro

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