Musical Perspective Research Articles

축제 테마곡의 창작과 정체성 구축 - 안양 춤축제 ‘별빛 안양밤’ 사례의 경영적 분석

This study explores the way festival music forms regional brand identity and creates economic value from a management and musical perspective, focusing on the Anyang Dance Festival’s theme song ‘Starry Anyang Night.’ Festival music goes beyond a simple background element and acts as a core element of the festival, forming emotional bonds and increasing participation. This study analyzes the way the musical elements of ‘Starry Anyang Night’ convey the atmosphere and message of the festival, and examines the structural characteristics and utilization possibilities of festival music. Recent advances in digital platforms and technology have shown that festival music can expand into content in the context of streaming services, digital media, XR (extended reality), and AI-based music recommendation systems. Accordingly, we examine whether parties can be leveraged as assets to include on-site content with music, and to build and scale local brands. In addition, the planning, production, and utilization process of ‘Starry Anyang Night’ is analyzed, and strengths and limitations are derived through SWOT analysis to suggest more effective utilization methods. In order for festival music to establish itself as local cultural content, a management and technical approach is essential, and it is discussed that this can have a positive effect on tourism and local economic activation.

Pengembangan Buku Program Vokasi Musik (M-VET) yang Adaptif untuk Pembelajaran dengan Siswa dengan Hambatan Penglihatan

This research aims to develop an adaptive music vocational program book as a guidebook for prospective music vocational teachers for visually impaired students. This book is designed in the context of facilitating prospective music teachers in delivering learning materials that are in accordance with the needs of visually impaired students in the field of music. The process of developing this book uses Research and Development (R&D) research methods with the Sustainable Instrument Development model consisting of Information Gathering, Planning, Establishing The Initial Product and Validating. At each stage, revisions are carried out in accordance with the newness of relevant knowledge. The development of the book is adjusted to the guidelines for becoming a level III music teacher to be more specific to visually impaired students with strategies and alternatives to learning music, such as the use of braille music notation, audio materials and learning material ideas that can help prospective music vocational teachers in learning music knowledge and skills for visually impaired students. The results of the study show that the developed books are relevant to the needs of visually impaired students and can be developed to improve the quality of individual music teachers in schools with a musical perspective in a special education environment. In addition, this book is also expected to be implemented and refined in terms of competency and accessibility units so that it can enrich the design of teaching methods that are more specific to the needs of visually impaired students.

포스트휴먼 생태주의에 기반한 초등 음악 수업 방안 탐색

Objectives This study aims to explore music lesson plans for elementary education based on posthuman ecology as an initiative for ecological transformation education. Methods First, it is examined whether recent discussions on ecological transition education can be approached through the lens of posthuman ecology. Second, the educational elements of posthuman ecology are explored from both cognitive and musical perspectives. Third, based on this exploration, a music lesson model grounded in posthuman ecology is developed. Fourth, it presents an example of a teaching-learning process for elementary music lessons aligned with the 2022 revised music curriculum. Results The music class model based on posthuman ecology consists of four stages: ‘sensing-imagining-engaging-fulfilling’. Each stage can be flexibly applied to the three areas of performance, appreciation, and creation of the 2022 revised music education curriculum. Conclusions The music teaching-learning method based on posthuman ecology emphasizes the process of encountering and experiencing music through the body, rather than focusing on universal forms or elements of music. This approach facilitates music classes in which everyone participates. Through this process, learners can creatively and experimentally expand both their music and their lives. For the effective implementation of music teaching-learning based on posthuman ecology, the teacher's role as a facilitator and their ethical attitude are essential, along with flexible class operations that cross subject boundaries and a shift in awareness regarding the physical limitations of the school environment.

Dispersion and Dialogue as a Method

This study investigates "dispersion and dialogue as a method" in musical creation, inspired by Ulrich Beck's global-local paradigm. The group "Práticas sonoras de borda" has fostered dialogues among Latin American and Iberian composers, challenging the Eurocentric bias in music education. Inspired by Paulo Freire and Paulo Costa-Lima, this approach emphasizes intuitive, non-hierarchical conversations to reveal new compositional insights. The book "Seminários dispersos em criação musical" documents this methodology, likening "dispersão" to both relaxed focus and seed spreading. This proposal aims to redefine musical perspectives, presenting initial dialogues with five composers and their works, promoting a decolonized, inclusive epistemology in music sound art.

Studying the works of a regional author in conducting classes: methodological aspects

The article discusses the features of conducting choral works without accompaniment by regional composer Vasily Ivanovich Shardakov. The preparation of a young specialist – a conductor of an academic choir – is complex and diverse, with numerous approaches in practical work, necessitating attention to the theoretical training of students, including the expansion of their musical horizons. One of the components of training is the acquaintance with works of regional significance. Knowledge of the history of choral music culture in one's region will help young specialists acquire a holistic musical perspective. Special attention in the work is given to the methodological foundations for mastering the works – through the analysis of the conducting plan to identify the difficulties presented by the manuscripts. The authors' tasks in this study include examining the main components of work in the conducting class, as well as analyzing the conducting plan of choral works without accompaniment by the composer of the Altai Territory, V. I. Shardakov. Studying the conducting techniques allows for a deeper understanding of the features of the musical language, stylistic techniques, and compositional techniques. The methodology of this research is based on a comprehensive approach: the theoretical approach to the issue under investigation consists of studying and analyzing the curriculum and the role of the discipline "Conducting," the exploratory method includes the collection and popularization of works, and the scientific method consists of musicological and methodological approaches to studying choral scores. A significant contribution of the authors lies in the analysis of the works of Vasily Ivanovich Shardakov and their presentation in the context of conducting methodology. The presented works are the result of ongoing search efforts to preserve regional musical heritage. This enriches the theoretical understanding of regional musical heritage and music in general from the second half of the 20th century. By studying the works of regional composers, young specialists expand their horizons, become acquainted with new examples of choral culture, and the creative image of the choir conductor is formed. As a result, the composer's works have gained a larger audience, found manuscripts have received modern publication, and students are being introduced to excellent examples of regional choral creativity. Undoubtedly, this work has prospects for development and the introduction of samples of choral music from other composers in the region into creative and scientific circulation.

한국 영화음악의 형성과 전개: 태동기, 조선 영화음악의 발전 과정(1897-1945)

The purpose of this study is to examine the emergence and development of Joseon film music in Korea from 1897 to 1945, and to reveal the characteristics and significance of film music history. The researcher divided the emergence and development of Korean cinema into four stages and summarized the characteristics of each period as follows: First, in the era of motion pictures, music based on Western scores allowed Joseon audiences to experience Western culture, but it lacked creativity and identity. In the era of serial dramas, there were attempts to reflect Joseon sentiments by coexisting with Japanese enka and traditional Joseon music. In the era of silent films, original music by Joseon composers was used, highlighting national identity, and popular influence expanded with the spread of phonographs and records. In the era of sound films, film music became a key element along with technological advancements, but due to Japanese censorship, it was transformed into a political propaganda tool, undermining autonomy and artistry. Through this study, the researcher confirmed that the identity, performance methods, and symbolic systems of film music varied according to the developmental stages of Korean cinema. In conclusion, Joseon film music formed and developed during the Japanese colonial period reflects the characteristics of its time. The film theme song <Arirang>, which expresses national resentment and anti-Japanese sentiment, the film theme song < Janghanmongga>, which directly transplant Japanese emotions, and film music used in state propaganda films such as <Song of Volunteers>, <Song of Sending Volunteers>, <Chosun Strait>, and < Japanese Boy> can be interpreted as songs that articulate the situation faced by colonial Korea during the Japanese occupation. This study focused on exploring how Korean film music has developed within the context of modern and contemporary history and art history. It specifically examined how this film music played a role in introducing and conveying new cultures amid the exchange between domestic and Western cultures and during the Japanese colonial period. The aim was to go beyond understanding domestic film music solely from a musical perspective and to identify its role within the significant contexts of modern and contemporary history and art history. Future research should continue to investigate the flow of film music in the post-liberation period after Korea’s liberation from Japanese colonial rule, as well as the role and characteristics of film music within the historical context following the establishment of the Republic of Korea.

음악교육에서의 AI 리터러시 역량 요소 탐색

This study examines the direction of AI literacy education in music education in the context where the concept of AI literacy is being discussed and the necessity of AI education is being emphasized. To this end, the conceptual meaning and competency elements of AI literacy were reviewed through literature analysis on AI literacy, and the AI literacy competency elements required for music education were derived. The AI literacy competencies in music education were proposed as follows: first, expanding musical perspective and insight through understanding AI, second, expressive and communicative ability through AI, third, creative and convergent media utilization through AI learning experience, and fourth, AI ethics competency that can responsibly and ethically utilize AI tools in various music activities. The AI literacy competency elements suggest directions on what content and level should be focused on when including AI in music classes, and the significance of this study can be found in that it provided basic data for understanding the essential 'AI literacy’ technology and its contents required in music education.

Collaborative composing with inclusive music ensembles: What attitude, knowledge and skills do composers need?

Traditionally, composers create music individually and autonomously. The egalitarian relationships in inclusive music ensembles, with their blend of conventional and technological music instruments and their focus on collaborative composing processes, however, might challenge professional composers to work differently. This begs the question: Which attitude, knowledge, and skills do composers need to compose collaboratively with inclusive music ensembles? To answer this question, we set up a qualitative survey study in which participants of the project Collaborative Composing with Inclusive Ensembles at the Amsterdam Conservatoire were interviewed or completed an online questionnaire. The data were analysed thematically. Findings exemplified that composers need to develop attitudes, knowledge, and skills in both the social and musical domains. From a social perspective, they need to work from a sense of equity, develop an understanding of the construct of inclusion and draw on pedagogical skills. From a musical perspective, composers need to develop an open attitude towards collaborative composing, a broad understanding of the concept of music, and digital sound production skills. Integrating these attitudes, knowledge, and skills can bring about a shift from composing for instruments to composing with people.

The Phenomenon of Bamboo Music Buskers in Semarang: An Urban Music Perspective

This study aims to explore the phenomenon of bamboo music buskers in Semarang from an urban music perspective, focusing on their role in the city's cultural landscape and the dynamics of social interactions in public spaces. The methodology used in this study is a qualitative approach with participatory observation techniques, in-depth interviews with buskers, and documentation analysis. Data collection was conducted in several strategic locations in Semarang, such as the town square, markets, and other crowded centers. The results of the study indicate that bamboo music buskers play a significant role in enriching the color of urban music in Semarang. They not only function as street entertainers, but also as cultural agents who introduce and preserve traditional music in a modern context. Bamboo music, with its unique and organic characteristics, attracts the attention of people from various circles and often creates warmer social interactions between buskers and their listeners. In addition, this study found that bamboo music buskers face challenges in the form of social stigma and government regulations that are less supportive of their activities in public spaces. The implications of this study indicate that bamboo music buskers have the potential to be developed as a city cultural asset that can support local tourism and strengthen Semarang's cultural identity. In addition, this study recommends the need for more inclusive policies and support for the sustainability of urban music rooted in local traditions, so that it can create more dynamic and culturally diverse public spaces.

Lucian Blaga’s Poetic Word from the Musical Perspective of the Composer Igor Iachimciuc

In the center of the author’s attention is the vocal cycle Poemele luminii (Poems of Light) for mezzo-soprano and piano on the poems of the great Romanian poet Lucian Blaga signed by Igor Iachimciuc in 2005. The creation of the talented composer from the Republic of Moldova Igor Iachimciuc, settled in the USA, represents a special phenomenon in the national compositional landscape at the turn of the 20th and 21st centuries. The tendency towards aesthetic and stylistic universalism, the synthetic character of the musical language in the composer’s creations is manifested through an organic synthesis of academic music with rock and popular music, as well as with national folklore (which, in the last period of the composer's activity, is complemented with folk music from other geographical areas). Consisting of 4 parts – I want to play!, Mugurii, La mare, Trei fețe – the vocal cycle Poemele Luminii is distinguished by the depth of the musical-poetic concept, the complexity of the musical language, the combination of musical processes that belong to different genres, styles and aesthetic-stylistic spheres. The treatment of the philosophical concept of Blaga’s poetry in the musical score of the cycle is analyzed. In addition to the fact that each vocal miniature symbolizes the general mood of the poem, the composer treats very carefully every emotional nuance of the literary text; therefore, the realization of the Blaga’s word in sound matter is carried out at different levels of the musical score. Aiming to amplify the meaning of the poetic word, the composer uses the deconstruction method, achieved by repeating certain words or syllables.

Sustainability of Anshun Dixi Opera as an Intangible Cultural Heritage from the Ecosystem of Music Perspective

This study presents the effort to employ the music ecosystem model in assessing the sustainability of Chinese music traditions in the context of preserving worldwide musical variety and safeguarding intangible heritage. The research focuses on the Chinese traditional opera Anshun Dixi as the subject of investigation, intending to examine the impact of sociocultural elements on its sustainability. It features conversations on the sustainability of Anshun Dixi by 16 culture bearers from 9 Tunpu villages based on an ecosystem of music. The research results further validate important evaluation indicators that influence the sustainability of Anshun Dixi, including financial support issues, a lack of career opportunities, a lack of cohesive development models within the community, and the performance system's reliance on informal means of transmission. Furthermore, the music ecosystem model exhibits connections among its five domains (learning systems, musicians and communities, contexts and constructures, infrastructure and regulations, media and the music industry), forming a complex and interconnected network.

Tinjauan Permainan Kesenian Irama Minang (KIM) Sebagai Budaya Masyarakat Minangkabau

Every region certainly has games that are often used on certain occasions andcan even be said to be part of their culture. The purpose of this study is to review one of the games in West Sumatera namely Kesenian Irama Minang (KIM) game so that it has become one of the popular cultural games in Minangkabau. In this research, the approach used is a qualitative approach with descriptive analysis methods and the data was collected by means of interviews and literature studies to complete statements from the interview results.The results found that the KIM game was introduced in the Pariaman area of West Sumatra and was first popularized at weddings. Looking at the popularity of the KIM game researchers reviewed it from a musical perspective and concluded that the KIM game has different song forms, the poems are like rhymes with rhymes a-ba-b using the Minang regional language and use a fast tempo or what is usually called with Allegro.

Analysis of Lyrics in Indonesian Folksong as Local Traditional Music

Indonesia is a country with thousands of cultures. The cultural enrichment in Indonesia was caused by this country's diversity, including various ethnic groups, languages, dialects, traditions, religions, local dances, and local music. Folksong is one of the cultural varieties in Indonesia, especially from a music perspective. In Indonesia, almost every region has its folksong, and every folksong has its different language, which can be distinguished from one another because its nature that every folksong is unique. Therefore, this research aims to analyze the lyrics in Indonesian folksong and the recognition of Indonesian traditional music, specifically folksong. The effort in this research is shown as the writer's dedication to searching the material resources through journals, books, and other reading media as this research adopts the narrative review approach. The result shows the philosophical and cultural comprehension or understanding regarding the lyrics of Indonesian folksong.

Kidung Nusaraya: Penciptaan Komposisi Musik berlandaskan Konsep Multikulturalisme Nasionalistik

Music Composition based on the Concept of Nationalistic Multiculturalism. This paper aims at analyzing textually the music composition of Kidung Nusaraya. Kidung or tembang (Javanese) means a song, but then the meaning changes into 'something beautiful'.For that reason, all songs or something beautiful can be called as a kidung, including the instrumental music composition entitled Nusaraya. The word Nusaraya is related to the word Nusantara or Indonesia that is abundant with various culture and art potentials; a nation that must realize its potentials including the music to be promoted nationally and internationally.Viewed from the musical perspective, the slogan Bhinneka Tunggal Ika shows that Indonesians are very open in enriching their national music because of their idiomatic variation. The orchestra symphony composition of Nusaraya presents a combination between some Western instruments with the instruments of Nusantara ethnical music to produce beautiful symphonic sounds. Kidung Nusaraya consists of five parts, namely 1) Dialogue, 2) Adaptation, 3) Tolerance, 4) Introspection, 6) Convention, 7) My Country Symphony 8) My Tribute, and 9) My Hope. Keywords: Kidung, music composition, multiculturalism.

토니 윌리엄스의 재즈 드럼 연주 특징 분석

This study aims to identify the jazz drumming characteristics of Tony Williams, a drummer who represents the post-bop era. To this end, we first examined the characteristics of postbop era playing, and then compared Tony Williams' and Jimmy Cobb's performances of Miles Davis' representative song So what to derive Tony Williams' playing characteristics. To analyze the performance comparison, we transcribed Jimmy Cobb and Tony Williams' performance of Miles Davis' So what. Next, we analyzed Greg Bizonet's interviews to identify his original performance. The analysis revealed that Tony Williams uses hi-hat feet and combination articulations to create a sense of musical space. He also developed the blush method. We hope that this study will help many drummers to improve their performance and provide audiences with higher quality music and a more comprehensive musical perspective.

Tęsknota za człowieczeństwem. Dehumanizacja w muzyce gry Cyberpunk 2077

Video games are often analysed as textual objects. This default literary point of view, while providing valuable conclusions, fails to observe some essential points that are realised in different modes of narration. Here I will analyse the Cyberpunk 2077 video game from a musical perspective. I will be “listening to” the game rather than “reading” it. This kind of hermeneutical approach will highlight certain ideas of CP2077. I will focus on the issue of dehumanisation, and show that musically the game places special emphasis on this. I will point out the musical characteristics that can affect players and interpret the rationale behind it.

The Commodification of Cold War Ideologies: the Reception of Casals in Japan and the Sinophone World in the Post-Cold War Era

Abstract This article examines the reception of Pablo Casals, the Spanish cellist and humanitarian, in Japan, Taiwan, China, and Hong Kong in the post-Cold War era from the perspective of consumer capitalism. It argues that although the Cold War ended in 1991, instead of being criticised, the Cold War ideologies, including communism, anti-communism, socialism, and humanitarianism, were intertwined with and consolidated by capitalism in the post-Cold War era. This article reveals how the legacies of Casals were interpreted differently in these places within the context of domestic and regional politics and discusses how the Cold War ideologies were commodified in the post-Cold War era. By conducting a multilateral dialogue between Japan and the Sinophone world, this article attempts to gain a clearer understanding of the geopolitical history of East Asia in the post-Cold War era from a musical perspective.

Translating the Lampung Oral Literature into Music for Educational Purpose: A Case Study of Pisaan on the Indonesian Island of Sumatra

A large body of data concerning oral literature around the globe have been reported. Moreover, in Indonesia, a country with multilingual and multicultural contexts, the study of oral literature has become an important aspect of investigation. One of the oral pieces of literature that exists in Indonesia is Pisaan, an oral tradition that can be found in Lampung, a province located on the southern tip of the island of Sumatra. Although a considerable amount of oral literature research has been conducted in the Indonesian context; however, to our best knowledge, little research has been paid to Pisaan oral literature, which plays an essential role in the Lampung community. Therefore, this study aimed to examine the oral literature by translating and transforming the Pisaan oral literature into lyrics and musical elements to educate future generations. This study adopted a qualitative approach using several instruments, i.e., semistructured interviews and recording tools, for data collection. A total of four women who were cultural activists in the age range of 37–76 years of age took part in the current study. The collected data were analyzed using a content analysis and a melody structure analysis. The results show that Pisaan has simple syllabification, which dominantly consists of consonant–vowel (CV) and consonant–vowel–consonant (CVC). The rhythm of Pisaan is categorized into syllabic time syllables, emphasizing the stress word based on its syllables. From a musical perspective, the Pisaan oral literature has been successfully translated and written into musical notation with the aim of preservation, which, as far as we are aware, has never before been done. However, we realize that the Western music notation in this study only serves as the initial stage of analysis and does not aim to replace the distinctive native-cultural values of Pisaan, offering an alternative instructional path for improving Lampung oral literature teaching methods and a valuable strategy to diversify undergraduate courses through comparable interdisciplinary inquiries. Therefore, limitations and suggestions for future research are also discussed.

How Wagner Landed in a Far Away Galaxy: Examining Film from a Musical Perspective

What does music add to drama, or more specifically, movies? Without music, movies today would not be the same. When it comes to creating a film, the soundtrack is arguably just as important as videography or acting. Exploring the roots that soundtracks have in opera and investigating Wagner’s leitmotif will help discover how it influenced modern-day movie scoring. Furthermore, a deeper understanding of filmmaking can be obtained by examining the role music has to play in modern movies. The soundtracks from the original Star Wars trilogy films can be used to demonstrate the application of these things by looking deeply into how each theme is formed and how each one shapes the characters it represents as well as the story that is portrayed in a film.

Echoes of the Great Catastrophe: Re-sounding Anatolian Greekness in Diaspora

Echoes of the Great Catastrophe: Re-sounding Anatolian Greekness in Diaspora