Composer Research Articles

МУЗЫКА КАК ИНСТРУМЕНТ ЭФФЕКТИВНОГО ВОЗДЕЙСТВИЯ НА СОЗНАНИЕ И ПОВЕДЕНИЕ ЧЕЛОВЕКА

This article presents an analysis of the influence of music on public opinion and behavior of people in the Russian Federation. The author examines the reasons for the possibility of successfully influencing the consciousness of citizens with the help of musical compositions. In particular, in the article, using the example of songs by the artist Shaman, the author reveals the techniques by which songs are created that influence the opinions and beliefs of citizens, and the reasons why these techniques work. In this study, the author suggests that musical works today can become an instrument capable of forming a certain public opinion on a particular issue, which can be used both in favor of the state and against it.

Physiological Motivational Meanings of Farmer's Chant 'Amang Kasuruan' During the Cap Tikus Production (Semiotic Analysis, Ethnolinguistic Approach)

The cultural legacy holds a position of utmost richness in the collective human society. It manifests in diverse forms, with cultural traditions displaying unparalleled uniqueness across regions. These distinctive traits, deeply ingrained in the societal fabric, are exemplified by various customs, including the reverence for indigenous languages expressed through song. The significance of regional languages, especially in indigenous or cultural musical compositions, profoundly influences the everyday lives of communities. North Sulawesi, with its diverse tribes, epitomizes a cultural mosaic characterized by rich mores and customs. Among these, the South Minahasa tribe prominently utilizes the Tountemboan language as a linguistic emblem. This vernacular permeates daily discourse, not only in conversations but also resonating within the verses of songs and chants, inseparable from their artisanal endeavors. This study explores the motivational significance embedded in folk songs utilized during the intricate process of crafting Cap Tikus, a cultural artifact interwoven with the region's agricultural pursuits. The amalgamation of labor and lyrical expression in this context provides an intriguing subject for investigation, acting as a catalyst for instilling enthusiasm and fortitude among farmers, particularly those dedicated to cap tikus cultivation. Methodologically, the research employs a descriptive qualitative approach following Spradley's framework. It is supplemented by Semiotic analysis, drawing from Ferdinand Saussure's perspective on signs in the social milieu. Additionally, the study integrates Abraham Maslow's theory of motivational needs, outlining a hierarchical structure that encompasses physiological or basic needs. The explication of motivational underpinnings, ensuring the fulfillment of basic needs, unfolds through the impassioned rendition of folk songs during the cap tikus farming process. In essence, this research reveals the profound layers of motivation inherent in the ritualistic singing of folk songs, elucidating their role as markers and signifiers within the lyrical fabric. The comprehensive explication of these motivational meanings serves as a testament to the intricate interplay between cultural expressions, agricultural practices, and the fulfillment of fundamental human needs.

Case-based music teaching practice for lower grades: taking SCH patients as an example

BackgroundMusic education plays an important role in primary and secondary school teaching, not only cultivating students’ artistic appreciation ability, but also having potential therapeutic value. For special groups, such as patients with schizophrenia, music education may provide a way for them to express and communicate, thereby promoting mental health. This study is based on actual cases and discusses the intervention effect of music on mental illness patients in primary and secondary schools.Subjects and MethodsThis study selected 60 primary and secondary school age group schizophrenia patients and designed a specific music education course for 12 weeks. This course includes music appreciation, vocal music, and instrument training. The effectiveness is measured through the Minnesota Multiple Personality Inventory (MMPI), music composition assessment, and feedback from parents and teachers. Statistical analysis was performed on experimental data using SPSS 24.0.ResultsAfter the course, participants showed significant progress in emotional expression, social interaction, and self-awareness. Music education not only enhances their music skills, but also promotes communication and self understanding with others. Parents and teachers have also reported that students perform more stably and positively in their daily lives.ConclusionsCase-based music teaching in primary and secondary schools has significant benefits for patients with schizophrenia. Through music education, these students can better communicate with the outside world, express themselves, and have a deeper understanding of themselves. It is recommended to further explore the diverse applications of music teaching in the field of special education.AcknowledgementScientific Research Program Funded by Shaanxi Provincial Education Department (No.22JK0168).

Figuras y geopolíticas del ruido y de la escucha: En tierra yankee (1895) de Justo Sierra

Abstract: The travel chronicles En tierra yankee (Notas a todo vapor) (1895) by Porfirian intellectual Justo Sierra Méndez lead us to reflect on the ways in which they imagined the sonic and the audible in relation to changing urban spaces, the Mexico/United States border, and communication and transportation technologies such as the steam train in unequally modernized spaces. The narrator employs a terminology of musical composition and sound to indicate the emergence of an economic and industrial hegemony that reorganized the new noises that marked the modern rhythms of the first half of the twentieth century. Noise holds a prominent place in establishing and unveiling postcolonial and racist relations with the other (the Yankee , the Afro-descendant). The nature of the travel narrative as a genre was not limited to mobilizing bodies or goods but also encompassed aural sensitivities, enabling a reflection on the geopolitics of sound, and listening. At a time when ideas and discourses are developing about the need for a Latin Americanist front to counteract North American postcolonial impact, the problematization of Latinamericanism is manifested through noise according to Sierra.

Poésie et astronomie. De l’antiquité au romantism edited by Florian Barrière and Caroline Bertonèche

This collection of essays edited by Florian Barrière and Caroline Bertonèche presents an anthropological and cultural approach to astronomical themes in poetic works from antiquity to the Romantic period (with emphasis on Latin literature and British Romantic poetry). Apart from the main subject, the framework spans myth, theater, natural philosophy, and musical composition. Although the reader can tell that the emphasis is on the philological aspects of works, it is done with much careful consideration of contemporary scientific and philosophical debate and a good knowledge of the critical literature.

Diegetic and nondiegetic sounds in film scoring of Pengabdi Setan film

Background: This research examines the 2017 film Pengabdi Setan scoring function. Joko Anwar wrote and directed the film Pengabdi Setan, released on September 28, 2017. This film is a remake of a 1980 film of the same name. In this film, the score is essential for visually confirming symbols or incomplete messages. There are two types of sound: diegetic sound and non-diegetic sound. Purpose: This research aims to determine how diegetic and non-diegetic sound were used to create a horror atmosphere in the film Pengabdi Setan. Methods: The authors described the audio analysis results in the form of diegetic and non-diegetic sounds using a qualitative descriptive analysis. Documented assessment and observation were employed as data collection techniques. Results: The results indicate that infrasonic sound (infrasound) and sub-bass frequencies in the form of non-diegetic sounds emotionally impact audiences. The typical frequency is 31 Hz, and although it is inaudible to the human ear, the audience can sense the vibrations of this frequency. This frequency can typically only be perceived as a “chest rumble.” In general, both diegetic and non-diegetic sounds in the film Pengabdi Setan contribute to completing the defective message symbol. The combination of infrasonic sound effects, sub-bass, and musical composition validates the visual messages or symbols. Implications: This research can theoretically serve as a resource for future researchers interested in studying diegetic and non-diegetic sound in film. Directors and cinema sound engineers can use this research to construct diegetic and non-diegetic sound in their films, particularly horror films.

The Evolution of Piano Technique and Its Impact on Modern Chinese Piano Development: A Theoretical Exploration

This paper explores the development of the piano in modern China, focusing on its role in Chinese music education, performance, and composition. With the introduction of Western music and culture, the piano gradually became an integral part of Chinese musical culture. The study investigates the factors influencing the development of the modern Chinese piano, including social history, cultural environment, and the music education system. The research employs a literature review methodology to analyze the evolution and changes in theories of modern Chinese piano development, as well as the significant theoretical perspectives and academic ideas associated with them. The study examines the historical background, cultural environment, piano performance techniques, teaching methods, and the contributions of Chinese piano composers and musicians. The findings highlight the importance of studying modern Chinese piano development theory for piano education and performance. The research aims to deepen the understanding and application of relevant theories, fostering innovation and improvement in piano art. Furthermore, the exploration of piano development theories promotes the preservation and transmission of Chinese music culture, enhances academic research, and facilitates international exchange in the field of Chinese music. The study concludes that the continuous study of technical theory is crucial for the development of the piano in China. The improvement of current technical theory serves as a catalyst for advancing Chinese piano art and strengthens the preservation and transmission of Chinese musical cultural heritage. The findings provide theoretical guidance for piano teaching and performance practice, contributing to the continuous advancement of piano art in China.

Research on Chord Generation in Automated Music Composition Using Deep Learning Algorithms

Research on Chord Generation in Automated Music Composition Using Deep Learning Algorithms

С. В. Рахманинов и Ф. И. Шаляпин: вокальная фразировка

The paper is devoted to the analysis of S. V. Rachmaninoff’s ideals of vocal phrasing in the aspect of the composer’s collaboration with F. I. Chaliapin. The aim of the study is to clarify the essence of the concept – the picture of the whole musical composition, which helps the performer to find the key to phrasing, using the example of Elégie Op. 3 No. 1 es-moll by S. V. Rachmaninoff. The scientific novelty of the study lies in providing insight into the concept of S. V. Rachmaninoff’s Elégie Op. 3 No. 1 es-moll from the perspective of the art of phrasing. As a result, the author comes to the conclusion that Elégie grows beyond the limits of a chamber piano miniature and reaches the emotional intensity of the scale of a symphony.

Discerning Sound Ethnobiology in the realm of Ethnomusicology: A Study of Deori Folk Musical Instruments

Folk music has always been known to be the best source of connecting us to our culture and keeping our identity alive as an individual and as a group. The concept of melody and the artistic pursuit of musical composition were probably unknown to early players of musical instruments. A musical instrument is used to make musical sounds. Once humans moved from making sounds with their bodies-for example, by clapping-to using objects to create music from sounds, musical instruments were born. The purpose and meaning of musical instruments differs from region to region and from culture to another. Instruments have special significance in music. The Deoris belong to the Sino-Tibetan family of Mongoloid stock. They are considered to be one of the communities found in Assam and some parts of Arunachal Pradesh in North- East India. The word ‘Deori’ means the offspring of Gods and Goddesses. The Indian Constitution has regarded the Deoris as a scheduled tribe of Assam and they are considered to be a small plains tribe. The Deoris have their own language which is the Deori language. Customarily the Deoris are divided into four clans namely ‘Dibongiya, Tengaponiya, Bongiya, Patorgoyan’ which are present till date. This paper studies the vitality of sound ethnobiology, ethics of instruments, crafting and classification of musical instruments in the field of Ethnomusicology. Musical instruments are constructed in a broad array of styles and shapes, using many different materials. It mainly explores and discerns the variety of Deori traditional musical instruments from a closer proximity in the realm of material culture under the broader context of folklore. The crafting processes and the materials used for the making of the musical instruments of the Deoris is discussed in a detailed manner.

Originality, influence, and success: a model of creative style

Creative workers strive to achieve success and influence by producing original output. In this paper we define and measure originality and influence, based on a new model of style. We apply the methodology to Western classical music composed since the 15th century, and test it using extensive data on the content of musical compositions, popular success, and biographical information. We find that more original composers tend to be more influential upon the work of their later peers and more successful with present-day audiences. A positive association between originality and influence also holds across works by a given composer.

Choral concert “The soul calls for an owner...” by Yurii Alzhniev: genre­stylistic and compositional features

The relevance of the research. The musical work of the well-known Ukrainian composer, a bright representative of the Kharkiv school of composers — Yurii Alzhniev — is widely known and respected in the modern musical culture of Ukraine. The artist is the author of a large number of large-scale and small-scale works for symphony and chamber orchestras, orchestra and ensemble of folk instruments, a significant number of choral, vocal, vocal-symphonic works, theatre music, separate compositions for various instruments and instrumental ensembles, etc. Today, the most significant samples of Yurii Alzhniev’s works are deservedly within the scope of scientific and research attention of domestic musicologists. After all, these works are now increasingly being performed by leading Ukrainian groups and soloists, on concert stages in various regions of Ukraine and abroad. At the same time, many bright musical compositions of the artist, which were created by him in recent years and represent a high artistic value, remain out of research attention. One of such opuses in Yurii Alzhniev’s creative portfolio is the choral concert “The sound of the Master’s soul...” for a mixed unaccompanied choir, in which national features of Ukrainian traditional choral singing and original author’s decisions regarding the organization of the compositional structure and stylistic filling of the work are skilfully and highly artistically interwoven.
 The purpose of this article is to identify the compositional and genre-stylistic features of Yuri Alzhnev’s choral concert “The sound of the Master’s soul...” for a mixed a capella choir, through a musico-logical analysis of this work.
 At the heart of the methodology of the work are the methods and techniques of musicological analysis used in theoretical musicology. In particular, this is a method of complex analysis, which is used in the implementation of a holistic analysis of a selected piece of music, as well as separate theoretical methods: genre and style analysis, analysis of musical form, intonation analysis, analysis of elements of musical language. In addition, systematic and system-forming methods, the method of comparative analysis, methods of systematization, synthesis, and generalization are involved in the work methodology.
 The results obtained in the course of achieving the goals in this article are focused on revealing the compositional and genre-stylistic features of the choral concert “The sound of the Master’s soul...” for a mixed a capella choir, through the musicological analysis of this work.
 The novelty of the work lies in the fact that the choral work of the famous Ukrainian composer Yuriy Alzhnev in recent years has found its musicological interpretation for the first time in the form of his choral concert “The soul calls for an owner...” The genre-stylistic and compositional specifics of this work are defined, the authorial approaches to the realization of this composition in the outlined aspects are summarized.
 The practical significance of the performed musicological analysis of the selected work lies in the possibility of using it in the study of the musical work of modern Ukrainian composers, disciplines related to musical composition and choral art, as well as a musicological supplement to the use of this music in concert performance practice.
 Conclusions. Turning to the creation of his choral concert “The soul calls for an owner...” Yurii Alzhniev chose this genre typical for choral music, relying mostly on a complex of traditional means and canons. At the same time, he created a rather interesting and individualized musical drama in this work, in which he skilfully used and expanded the possibilities of a simple verse form, integrating features of the three-part and rondo forms into it. In terms of style, the composer, once again, significantly enriches the relatively traditional musical presentation of the concert, “decorating” it with intonation freshness, interesting textural and compositional solutions, “spiciness” of harmonic language, etc. At the same time, the intonation basis of the work radiates its deep national character and belonging to the Ukrainian choral tradition. This is the essence of the authorial musical and linguistic specificity and the originality of Yurii Alzhniev’s choral style, which was deeply and vividly manifested in the choral concert “The soul calls for an owner...”.

Comparative Study of Musical Timbral Variations: Crescendo and Vibrato Using FFT-Acoustic Descriptor

A quantitative evaluation of the musical timbre and its variations is important for the analysis of audio recordings and computer-aided music composition. Using the FFT acoustic descriptors and their representation in an abstract timbral space, variations in a sample of monophonic sounds of chordophones (violin, cello) and aerophones (trumpet, transverse flute, and clarinet) sounds are analyzed. It is concluded that the FFT acoustic descriptors allow us to distinguish the timbral variations in the musical dynamics, including crescendo and vibrato. Furthermore, using the Random Forest algorithm, it is shown that the FFT-Acoustic provides a statistically significant classification to distinguish musical instruments, families of instruments, and dynamics. We observed an improvement in the FFT-Acoustic descriptors when classifying pitch compared to some timbral features of Librosa.

SYMBOLIC MUSICAL RESYNTHESIS AS AN EKPHRASTIC COMPOSITIONAL PRACTICE USING COMPUTATIONAL METHODS

In my artistic work, I explore the affordances of computational methods from the discipline of artificial intelligence for music composition. Grounded in philosophical perspectives that revolve around the notions of trans- and post-humanism and cybernetics, I understand the mediating role of computers in music composition as having the potential to expand a composer’s creative process by providing him with novel ways of exploring relationships between musical material and structure. Under this premise, music composition becomes a process that occurs through the assemblage between human actors and technological artifacts, and this association should result in new, interesting, and valuable artistic works. In this text, I will discuss a personal compositional practice that I understand as ekphrastic, based on the notion of symbolic resynthesis of musical symbolic information employing computational methods, as means for composing an original piece in response to the madrigal “Io Mi Son Giovinetta” by Claudio Monteverdi.

ABDUCTIVE REASONING AS A MODEL FOR MUSICAL CREATION IN JULIO ESTRADA’S MUSICAL WORKS

The paper deals with two philosophical postulates that although at first sight both do not have a direct link, it is my hypothesis that there may be a connection between them since in each one imagination plays an important role in the process of scientific discovery. On the one hand, it deals with the abductive reasoning by Charles Sanders Pierce (1839–1914), focusing on the problem related with abduction and scientific imagination, graphicacy or the ability to represent ideas through images, beelddenken or “pictorial thinking” as a form of communicating ideas without the use of any verbal form, and synthetic topology responsible for studying the qualitative relations of any 3-D geometrical structure. On the other hand, the author presents the philosophical postulates of the Theory of Composition: discontinuum-continuum by Julio Estrada (*1941), where reality and imagination play an important role in the process of musical creation, presenting a two-fold methodology of creation, (1) the macro timbre where the homogenization of the components of the rhythmsound takes place, and (2) the chronography, a graphic representation of the rhythmsound in movement. The latter is exemplified in this paper with the three examples of Estrada’s musical compositions, (1) the graphical score of eua’on UPIC (1980), (2) graphical recording for the series yuunohui’ (1983–2020), and (3) the topological variations included in the ishini’ioni String Quartet (1984–1990).

Ghanaian Choral Music Compositional Styles: An Appraisal of The Approach of Jacob Paulinus Johnson

The paper sought to present a compositional style of J. P. Johnson emanating from a consensus of three of his choral art compositions. The paper also presented a background of J.P. Johnson tracing his musical background, influences and development as an astute Ghanaian art music composer. Data was collected through interviews and music score analysis. The selected songs were analysed to bring to the fore techniques of traditional indigenous Ghanaian music idioms employed in J. P. Johnson’s Wɔnhyɛ Twerampɔn Enyimnyam (Tell Ye the Glory), Wonyi Ewuradze Ayɛ (Let us Praise God) and Da Yi Na Ewuradze Ahyehyɛ (this is the Day the Lord has made). The analytical parameters adopted for the study included melody, harmony, rhythm, and form. The paper examined J. P. Johnson’s exploration of traditional idioms such as call-and-response phrasings, repetition, text-tune relationships, and parallel thirds in his creativity. These compositional techniques depict his cultural belief as an African composer with knowledge of Western music tradition. Keywords: Compositional Styles, Identity, Generation, Choral Art, Re-labelling, and Language.

Exploring the Characteristics of the Musical Composition of Guangxi's Modern Piano Work "The Dance of the Bronze Drumn"

"The Dance of the Bronze Drumn" is a piano work with Guangxi's national characteristics. The composer, Wu Liyun, is a teacher of the Composition Department of Guangxi Arts University. This work combines the ethnic characteristics of Guangxi Dong tones and modern compositional techniques, fully utilizes modern non-harmonic phonemes in the form of different rhythms and speeds, so that the piano timbre presents the image of different brass drums. This paper discusses the musical creation characteristics of the work as well as the piano playing techniques by analyzing the musical characteristics, compositional techniques and musical structure of the work.

Trends in Informatization of Electronic Music Composition Data in the Context of Distance Education

INTRODUCTION: With the development of information technology in education, many educational institutions and companies have flocked to the emerging online education market. MOOC is a new method of e-learning that has changed the world and significantly impacted the educational community.OBJECTIVES: This paper aims to present typical features for developing an online music education platform using MOOC music, AI-based music learning software, and interactive real-time music learning.METHODS: This paper discusses different models of music teaching methods and pedagogy and summarizes the advantages and disadvantages of such models.RESULTS: Online music education is an internet technology that fully uses the Internet right to organize good music education.CONCLUSION: Based on the characteristics and content of music education, this paper presents possible suggestions for the sustainable and healthy development of new data and information models for music education on the Internet in the future.

Unleashing Creative Synergies: A Mixed-Method Case Study in Music Education Classrooms

Algorithmic music composition has been gaining prominence and recognition as an innovative approach to music education, providing students with opportunities to explore creativity, computational thinking, and musical knowledge. This study aims to investigate the impact of integrating algorithmic music composition in the classroom, examining its influence on student engagement, musical knowledge, and creative expression, as well as to enhance computational thinking skills. A mixed-method case study was conducted in three Basic Music Education classrooms in the north of Portugal, involving 71 participants (68 students and 3 music teachers). The results reveal: (i) both successes and challenges in integrating computational thinking concepts and practices; (ii) pedagogical benefits of integrating programming platforms, where programming concepts overlapped with music learning outcomes; and (iii) positive impact on participants’ programming self-confidence and recognition of programming’s importance. Integrating algorithmic music composition in the classroom positively influences student engagement, musical knowledge, and creative expression. The use of algorithmic techniques provides a novel and engaging platform for students to explore music composition, fostering their creativity, critical thinking, and collaboration skills. Educators can leverage algorithmic music composition as an effective pedagogical approach to enhance music education, allowing students to develop a deeper understanding of music theory and fostering their artistic expression. Future research should contribute to the successful integration of digital technologies in the Portuguese curriculum by further exploring the long-term effects and potential applications of algorithmic music composition in different educational contexts.

Analysis on the effect of Cultural Emotional Expression on the State of Jazz and Pop in the Far East

Music and the ability to express emotions are deeply connected and this connection is a universal phenomenon. The recent meteoric rise of the Asian music industry and genres such as J-pop (Japanese pop), C-pop (Cantopop), and K-pop (Korean pop) reaching international audiences suggest cultural factors play a role in its success. However, there has not been a general analysis of how these genres of music, representing different modes of emotional expression, have manifested in the current landscape of Eastern and Western cultures. Our paper posits that Eastern cultures, heavily influenced by collectivist Confucian values, may lead to limited emotional expression and less diversity of musicianship in our current era. Our paper analyzes and compares the most popular musicians and albums of three groups of the past 30 years: Eastern pop, Eastern Jazz, and Western Jazz. Our results show that Eastern Jazz had more emotional complexity and diversity compared to those of Eastern pop. Our results also show that Western Jazz had more variety in the instruments that were used and the age of the musicians. Eastern Jazz did not have many new jazz musicians, signaling the decline of jazz’s popularity. By analyzing the social and cultural effects of music composition and range within genres of music, we may get a better understanding of the nuanced differences between cultures and have better insight into what makes music from different countries so unique. Future research should focus on expanding the analysis of Eastern music to include audience perception of music genres.