Musical Expression Research Articles

The Study of the Qing Dynasty Yanyanyue

During the Qing dynasty, Yanyan Yue served as a backdrop to court ceremonies and a dynamic platform for cultural diplomacy. Innovations in banquet music during this period reflected a blend of Han Chinese and Manchu traditions, allowing the Qing court to celebrate its grandeur and sovereignty through these musical expressions. This paper summarizes the evolution of Yanyan Yue, especially the development of Yanyan Yue in the Qing Dynasty, and combs the composition of the musical instruments of Yanyan Yanyan Yue. The purpose is to illustrate the national development and integration in the Qing Dynasty through the changes in musical instruments.

Етноісторичні мотиви (сюжети) в музичному мистецтві України другої половини 18 – початку 19 століття

The purpose of the article is to study ethno-historical motifs in the musical art of Ukraine in the second half of the eighteenth and early nineteenth centuries, with a special emphasis on folk art and its influence on the development of orchestral, choral and individual musical performances. The article examines the cultural and social changes of this era and their impact on the evolution of kobza and bandura art, which served not only as a means of musical expression but also as an important element of preserving national identity and historical memory. The article describes in detail the ethno-historical motifs that were manifested through musical art, reflecting social moods, historical events and the heroic past of the nation. Considerable attention is paid to the analysis of the interaction of folk traditions with professional art forms, revealing the richness and diversity of folk art of that time. The research methodology is based on an integrated approach to the study of historical, musical and cultural aspects, using archival documents and scientific sources, which allows a comprehensive assessment of the influence of ethno-historical motifs on the formation of the cultural landscape of Ukraine in the period under study. Particular attention is paid to the role of kobzars and bandura players, who, by performing historical and contemporary themes, contributed to the preservation of national identity and the reproduction of cultural heritage. The scientific novelty of the study lies in an in-depth analysis of the contribution of musical groups and individual performers to the development of the region’s art, with an emphasis on their interaction with folk traditions and professional music in the context of historical and cultural processes. Conclusions. The emphasise the importance of studying ethno-historical motifs in the musical art of the late eighteenth and early nineteenth centuries as key elements in the formation of Ukraine’s cultural identity, pointing to the need for further research in this area to better understand the role of musical art in the contemporary cultural context.

Harmony through Time: The Evolution and Impact of Music from Ancient Roots to Contemporary Realms

This paper explores the evolution of music, from its origins in traditional tunes created by unknown authors, to its current status as a multi-billion-dollar industry. It discusses how musical instruments have transformed over centuries, from ancient African drums to modern electronic synthesizers, and how these transformations have influenced different musical expressions. The paper also examines the societal, technological, and cultural shifts that have shaped the trajectory of music, with a particular emphasis on the significant impact of advancements in recording and distribution technologies. Furthermore, it explores the profound significance of music in human experience, highlighting its role as a universal language that transcends linguistic, cultural, and temporal boundaries. Drawing on biblical references and historical accounts, the paper emphasizes the enduring relevance of music as a means of emotional expression, cultural identity, and spiritual connection. Ultimately, it advocates for discernment in musical choices and the pursuit of uplifting and harmonious melodies when navigating the everchanging music landscape. Keywords: Music Evolution, Cultural Significance, Musical Instruments, Music language.

Reimagining Inclusive Music Education: Reflections from a Black Music Educator

Abstract: The Eurocentric canon remains the predominant focus of music education often excluding the role of music and experiences of Black individuals and people of color. This singular perspective creates an incomplete and inaccurate understanding of the comprehensive nature of music and the humans who create, perform, and engage with it. In this article, the author shares her experience as a Black music educator and her aspirations for a music profession that incorporates the full range of human music engagement and expression. The paper begins with a reflection on W.E.B. DuBois’s double consciousness followed by an exploration of the nuances, complexities, contradictions, and beauty of being a Black educator in a primarily white field. Subsequently, the essay presents four conceptual principles for a reimagined, inclusive music education approach, drawing inspiration from Sylvia Wynter’s “new science of the Word.” These principles advocate retelling the music education narrative to incorporate historically marginalized voices, reorienting music education to be human-centered, embracing interdisciplinary approaches to view music teaching and learning, and acknowledging the power of music in uplifting the human condition. Finally, this paper proposes a pathway for reconciling diverse identities prevalent in American culture with music education and academia.

Post‐Apocalypse: The ‘Ring’ Cycle

AbstractIn the late 1970s, Lebbeus Woods embarked on an ambitious project: to depict Richard Wagner's The Ring Cycle. Jörg H Gleiter, Professor of Architectural Theory at the Technical University Berlin, takes us through the intersected worlds of music, drama and visual expression, suggesting that both Wagner and Woods are critics of Enlightenment. Exploitation of Earth, greed and envy are the beginning of the End, for Wagner. A century later, Woods extends this negative mythology.

Empowering Joint Musical Expression in Singer-Pianist Duos through Exploration of Text

Abstract: This article considers the many ways that musical partners can encourage and empower partnership in the form of joint musical expression. Examining, unpacking and living within the text—its words and punctuation, origins, emotion and subtext—is a very accessible, discussion-provoking, and effective way to nurture that sought-after shared sense of ownership of a particular piece of music. Through exploration of structure, meaning, and timing, teams can unleash the expressive potential of their unified musical voices.

Piano na Mangueira : A Brazilian Story about Music and Essentialism

Abstract: In 1992, the samba school Mangueira honors Tom Jobim in its carnival parade. Two different musical expressions emerge from this: a samba-enredo by the school and the song “Piano na Mangueira” by Jobim and Chico Buarque. Although both represent musical encounters and mutual homage, their character is directly affected by sound and material systems that we recognize as “music theories,” in a broad sense. The challenge of representing a piano in the samba school, as well as the encounters and disagreements in this context, lead to a historical, social, and musical-analytic investigation that goes beyond images of music and seeks musical aspects of interaction. Thus, we are faced with the role of essentialism in Brazilian music, which not only determines it, but also constitutes an obstacle to what interfaces between musical systems could be, as we present in our conclusion.

Vibrotactile perception of music

While music is primarily experienced through audition, many aspects of music can also be experienced through somatosensation. Vibrotactile stimulation occurs when a tactile stimulus displaces the skin at a specific carrier frequency. When the carrier is frequency modulated, it can create a complex waveform and when it is amplitude modulated, it can create a rhythmic pulse. These vibrotactile aspects of music have long been recognized as important by music performers, providing a valuable source of non-auditory feedback that may support musical expression. Critically, these same vibrotactile aspects of music may also support the perception of music and voice in individuals with hearing loss. This paper will provide an overview of research conducted over the last decade that has clarified the aspects of music and voice that may be perceived through somatosensation along with some insight into neural underpinnings of these perceptions. Specific features of music considered will include pitch, rhythm, and timbre. Also considered will be the manner by which sensitivity to these features may change as a function of hearing loss, experience, and the properties of stimulation.

Research on Music Form in the Field of Ethnic Musicology: Analysis of the Music Culture Style of Southwest Lu

This paper explores its unique musical culture style through field research on the musical form of Southwest Lu's advocacy music. First, this article. The activities of advocacy music in folk etiquette, festival celebrations and other occasions are analyzed, and its diversified performance forms and repertoire selection are revealed. Secondly, this text, the improvisation and flexibility of advocating music in the process of playing are discussed, highlighting its unique charm in music expression. Finally, through an in-depth analysis of the musical culture style of advocating music, it is emphasized that it is Ethnic musicology, The important value in.

기악곡의 감상 교육에서 서사의 활용 - 베토벤의 “운명” 교향곡을 중심으로 -

Instrumental music is not easy to deal with the appreciation education because the musical content is highly abstract. Moreover, since the phrase "appreciate music" is often used in schools, there is a tendency to immediately encounter difficult instrumental music as objects of appreciation rather than objects of listening. This study highlights the terminological relation between appreciation and listening and suggests that teachers make use of narrative materials which enable to show the musical structure of the piece. As exemplified in Beethoven's "Fate" Symphony, the value of the work can be appreciated by examining the entire flow of the piece. In order to lead listeners to musical imagnation, there are already some narrative materials in visual forms for this piece, but pictures tend to hinder students from chasing musical expression. Therefore, the researcher instantiates how to develop narrative materials in wording. This approach enhances cohesiveness of listening to music and contributes to conducting comprehensive appreciation of understanding, enjoying, and evaluating.

Expression in the music of Andrzej Krzanowski

Abstract Despite the many research perspectives from which Andrzej Krzanowski’s music has been analyzed, so far there is no study that would attempt to interpret this work from the point of view of expression. The aim of the text is to answer the question about expression in Krzanowski’s music and his original compositional style. In the article, I refer primarily to the score (in Mieczysław Tomaszewski’s terms – the phase of musical conception). The starting point is the performing cast, with very often goes beyond the traditionally understood instruments (whistles, sirens). I am trying to find out what are the roots of using such an unusual cast and what significance it has for issue at hand. A separate place in the text is devoted to the expression of the voice as well as the influence of vocal genres (song, aria, chorale) on the instrumental music of this composer. The last issue related to the expression of the piece is the layer of verbal instructions. The number and repetition of many of them indicate how important for Krzanowski was not the recording itself, but its interpretation in performance. The analysis of Krzanowski’s scores in terms of the above-mentioned aspects ultimately leads to the conclusion that the musical choices he made resulted from the author’s autobiographical experiences, which shaped the original language of the author’s musical expression and, consequently, its type of expression.

Zofia Lissa’s participation in attempts to define formalism and realism in music in the 1940s and 1950s. Using the category of musical expression to create patterns of division

Abstract During the famous 1949 conference in Łagów Lubuski Zofia Lissa called for the creation of music that would be rich in expression. Her argument reveals an interesting affinity between Marxism and the theories of Jean-Jacques Rousseau, with his attempt to “historically” (“objectively”) establish the primacy of emotion in art over pure form. At the same time, however, emotions were divided in Łagów into desirable and detrimental, which manifested itself in the most shocking way when three critics – Włodzimierz Sokorski, Józef Chomiński and Zofia Lissa – surprisingly unanimously, or similarly, judged Zbigniew Turski’s Symphony No. 2 “Olympic”. What is surprising in the context of the Łagów conference is not just the collective, ruthless attack on Turski, but also the fact that very little effort was made to explain the nature of the emotional impact of music. Lissa’s attempt at theoretical analysis did not elicit any response; moreover, as the minutes show, she did not present the entire material she had prepared. How much and for how long this subject had been on her mind is evident from her pre-Łagów paper, published in Myśl Współczesna in 1948, in which she mentioned her lost work from before the Second World War. After the Łagów conference she continued to study the problem and included the results of her investigations in a paper that brought her notoriety, because she invoked the name of Vladimir Ilyich Lenin in the title. In the present article I take a small step – through an analysis of selected contributions by Lissa – towards reconstructing her way of thinking in order to understand what priorities guided her and what goals she set for herself.

The fundamental elements of rhethoric and their impact on music art

Relevance. Rhetoric, traditionally associated with effective speech, also deeply influences musical composition and interpretation, particularly in string and plucked instruments which are emblematic of Ukrainian national art. This article explores the significant interplay between rhetorical principles and musical expression, emphasizing its relevance in the context of contemporary performance art.Purpose. The study aims to investigate how rhetorical principles, specifically the inventio techniques, apply to musical expression and performance. It seeks to enrich the theoretical framework of Ukrainian musicology with innovative approaches to the application of rhetorical inventio in music.Methodology. The research is grounded in the linguistic musicology of B. Asafiev�s school and incorporates a detailed examination of the tone-sound specifics of expressive sound production in music. The methodology involves analyzing the inventio principles and their impact on the artistic components of instrumental playing.Results. The study identifies the intensity of the artistic component in instrumental music creation and performance, highlighting the role of rhetorical principles in shaping the expressive sound production and performer�s artistic stance. It also recognizes the theoretical innovation brought about by integrating rhetorical inventio into musicological discourse.Conclusions. The findings demonstrate that rhetorical principles, particularly inventio, significantly enhance musical expression and instrumental performance. This integration not only supports the improvisational skills of musicians but also contributes to a richer and more nuanced understanding of musical composition and its performance in the modern era. The research underscores the potential for further exploration and application of rhetoric in musicology, promising advancements in both theoretical and practical dimensions of musical art.

Training the musical attention: Towards a new generation of methods in music education

A crucial aspect of musical ability is a music-specific empathic capacity that enables the performer to uncover subjective meanings from musical materials and fully feel them during performance. Based on insights from both theoretical and empirical research into the psychology of music performance and from pedagogical practice, this capacity is thought to rely on a more general empathic ability and can be nurtured easily in most people, including those scoring rather poor on standard musical aptitude tests measuring “melodic”, “rhythmic”, or “harmonic” skills. In my paper, I present the theoretical bases of a new pedagogical approach for nurturing in musicians the capacity of feeling the elements of musical meaning in real time (in the act of performance): I introduce a new theory of musical expressiveness by defining, from a psychological point of view and from the perspective of the performer’s phenomenology, the various layers of musical meaning (the “what” system) and the temporal-attentional abilities that enable to express them in real time (the “how” system). The paper concludes with a short introduction to a novel implementation of the above model of performer’s phenomenological processes into performance teaching: a full training of musical attention called “Practice Methodology”.

Studying unique musical effects and techniques in Iranian instruments and voice

The Musical effects and techniques in Iranian music have a great impact on the musical expression and composer's intention. Besides, Iranian instruments and vocals have unique capacities that have their special techniques. In this research, the techniques have been investigated separately for Tār, Kamāncheh, Santūr, Ney, and Iranian voices. Also, musical effects have been reviewed in general. Some of these techniques are written and some are unwritten, but they are noticeable and obvious to musicians. Therefore, Iranian composers especially in their improvisations, use these techniques along with the other two elements of articulation and musical expression, to create effective compositions.

Practical Teaching of Music Curriculum in Colleges and Universities Based on Multiple Intelligences Theory

Abstract Traditional piano teaching usually focuses on students’ mastery of music skills and music theory, but neglects the cultivation of students’ musical expression and creativity. In this paper, the multiple intelligence theory is used as the guiding theory, and the multiple hybrid teaching model of the piano course is established by combining the flipped classroom. The Fuzzy-CDF model is introduced to quantify students’ piano music cognitive level, the Apriori algorithm is used to generate piano music knowledge point sequences, and multiple algorithms are used to collaborate on personalized recommendations of piano music knowledge resources for students. For the application effect of the piano music multivariate hybrid teaching model established in this paper, a teaching experiment was conducted to analyze it with H Music Academy as an example. The results show that the combined ability of song arrangement and playing and singing of the experimental class improved by 9.74 and 11.10 points respectively compared with the performance of the control class, and the average value of the difference between the pre-and post-tests of the experimental class’s note recognition ability compared with that of the control class reached 5.8 points. The application of Multiple Intelligences Theory can stimulate the individual’s sensitivity to timbre, pitch, and meter, fully enhance students’ musical expression and creativity, and make piano learning more effective.

Analysis of the role and influence of sight-singing and ear training on vocal learning skills

Abstract Sight-singing and ear training is one of the essential introductory courses for music majors, and the effectiveness of sight-singing and ear training teaching directly affects students’ growth and progress in music. In this paper, we have combined relevant contents of sight-singing, ear training, and vocal learning to construct a flipped classroom teaching model for sight-singing and ear training using the flipped classroom teaching process. Secondly, taking the students of L Conservatory of Music as the research object, two different questionnaires were designed for students and teachers, and the teaching experiment comparison method was used to test the role of sight-singing and ear-training flipped classroom on vocal music learning skills. Finally, the parameters of the multiple linear regression model were estimated using the least squares method, and the model was used to analyze the specific effects of sight-singing and ear training on vocal learning skills. It was found that after the flipped classroom teaching of sight-singing and ear-training, the ear-training scores of students in the experimental class were 90.43±9.26 points, which were 17.06 points higher than those of students in the control class, and there was no difference in the pre- and post-test scores of sight-singing and ear-training. The regression coefficient of students’ musical expression was 0.306. Every 1 percentage point increase in musical expression would enhance vocal learning skills by 0.306 percentage points. Sight-singing and ear-training can help students better master the basic skills of vocal music, cultivate their sense of rhythm, and enhance their vocal music learning skills.

Classification of Styles and Expressive Characteristics in Higher Vocals Teaching - Based on Emotional Calculation Approach

Abstract Higher vocational vocal music teaching not only lies in enhancing students’ grasp of notes but also in deep emotional expression and emotional transmission. How to realize the precise classification of emotions expressed by musical style and features is an urgent problem to be solved. In this paper, starting from the classification of acoustic features and music styles, the STFT algorithm is used to extract the music features, and the music emotion model is constructed by combining the two-dimensional emotional psychological model. Based on the Turkish music emotion dataset, the acoustic data are preprocessed by using methods such as frame splitting, pre-emphasis, windowing, and mute frames, a deep confidence network extracts the music features, and the SVM model is introduced to establish the emotion classification model of music style and expression features. To verify the effectiveness of the model, this paper uses the dataset to analyze the music style and emotion classification dimensions, respectively. It is found that the classification accuracy of the Renaissance music category in classical music reaches 97.94%, and the accuracy of the music emotion classification of the model when the music data preprocessing slice granularity is 5 s is 0.838. The DBN-SVM model can realize the emotion classification of the music style and expression characteristics, which can provide a reference for the teachers to carry out targeted vocal music teaching and for the students to realize the release of emotion and emotional resonance when singing in vocal music. It provides a reference for teachers to carry out targeted vocal music teaching and for students to realize emotional release and resonance during vocal singing.

СПЕЦИФИЧЕСКИЕ ОСОБЕННОСТИ РУССКОГО ВОЕННОГО МАРША ВТОРОЙ ПОЛОВИНЫ XIX ВЕКА

The article is devoted to the peculiarities of the Russian military march of the second half of the XIXth century. It examines the qualitative characteristics of the melody, harmony and instrumentation of the march, provides examples of the specific style of the march, as well as the main means of musical expression. Examples are given of the widespread use of dotted lines, trioles and syncopation, as well as other aspects of rhythmic diversity and the intensification of contrasts in the march. The temporal basis, metrical constancy and accentuated dimensionality of the rhythm of military marches of the period under study are considered. In addition, the article reveals a phenomenon in which the harmony of marches in some cases is of greater artistic interest than the melody, which lacks a certain musical expressiveness and individuality. The harmonic side of marches is considered, which consists in expanding the range of chords of the subdominant group, as well as increasing the tonal contrast between the parts. A parallel is drawn with the marches of the Prussian army, whose tonal plan was based on the tonic-dominant ratios in the first part and the interpretation of the trio in the key of the subdominant. The specificity of the musical form developed by that time is touched upon. The practice of march instrumentation is traced, aimed at enhancing sonority through the widespread use of tutti.

Exploring the Impact and Innovative Application of Piano Art Instruction in the Context of Deep Learning

Abstract Social progress and technological development have brought sweeping changes to the field of art education. The innovative development of piano art instruction, as a part of art education, has a significant impact on students and the academic world. The study proposes a deep learning-based model for piano art instruction, taking into account the current state of piano art instruction, and investigates the impact of this model on students’ piano playing skills and appreciation of music art. The experimental group’s students improved their playing skills in the eight dimensions of fingering, timbre, pitch, rhythm, musical expression, emotional output, body language, and stage image. Except for timbre and stage image, the p-values of the experimental group and the control group in the other six dimensions of piano playing skills were less than 0.05, which effectively improved. In terms of music art appreciation, the total number of excellences in the three dimensions of aesthetic perception, artistic performance, and cultural understanding was 118, 131, and 126, respectively, and the total number of excellences in the experimental group was 32, 45, and 39. Obviously, piano art instruction based on deep learning has a positive impact on the students’ piano-playing skills and ability to appreciate music art.