Musical Score Research Articles

20세기 소련 작곡가 카푸스틴의 음악에 나타난 재즈적 요소 - <피아노 협주곡 2번 Op. 14>를 중심으로

Amid changes in world politics and the chaos of musical culture in the 20th century, the need for research on the fusion of classical music and jazz emerged. Therefore, this study reveals the characteristics that the jazz elements in “Kapustin’s Piano Concerto No. 2 Op. 14” (Concerto) combined with classical music to contribute to the evolution of modern music. Analysis of various aspects such as musical form, tempo, rhythm, melody, harmony, and instrumentation based on the orchestral score revealed that Kapustin’s Concerto exhibited musical diversity and innovation through the fusion of classical music and jazz, and was a work that went beyond the boundaries of tradition and experiment. Kapustin developed a unique musical style by incorporating jazz elements into classical music and demonstrated the potential of the third stream. Kapustin’s musical fusion was clearly revealed as a new trend in modern music in which various musical elements interacted. These results can help find and create new works by promoting the popularization of classical music and innovation of popular music.

FORMATION OF CONDUCTING AND ORCHESTRAL COMPETENCE OF FUTURE TEACHERS MUSICAL ART

The article proves the formation of conducting and orchestral competence of future music teachers. The formula for the successful performance of an orchestra largely depends on the professional training of the leader of the group, the formation of his conducting and orchestral competence, which includes certain qualities, among which are communication skills, which perform many important functions in the development of the individual. It is proven that several types of communicative skills are distinguished in the scientific environment, namely: informationalcommunicative, regulatory-communicative and affective-communicative. It has been established that the conducting and orchestral competence of future music teachers is formed in the process of working on an orchestral score under the conditions of introducing certain qualities into the rehearsal and stage-performance process. In the process of working on an orchestral score, the conducting and orchestral competence of future music teachers is formed in the process: analysis of the orchestral score of a musical work; detailed analysis of a musical work; works on fragments of musical works; improvement of conducting technique skills; reading orchestral parts; fixation of musical material. It has been proven that the formation of conducting and orchestral competence of future music teachers is realized in the process of individual classes and independent work of students of higher education. At the same time, the following teaching methods are introduced, such as: practical classes, counseling, the method of reading from a letter, the method of artistic context, the method of emotional drama, the method of working in an orchestra, the interpretation of a musical piece, the method of working on the orchestral score of a musi

Bridging Thai music notation to Western music scores through innovative conversion and evaluation

Research on bridging Thai music notation to Western music scores through innovative conversion and evaluation by developing a Thai music notation printing program through innovative research For converting Thai musical notation into an international musical score by researching documents and related research along with advice from music experts. After that, the program was tried and evaluated by three experts and 20 test users. The results of the research showed the creation of a program to Thai music notation to Western music note structure conversion called XxX Notation (Triple Note) by accessing the domain http://www.music.msu.ac.th/xxxnotation-v2, which is under the website of the College of Music, Mahasarakham University. Music can be saved online, reused, and edited. Able to export notes to paper through printers, PDF, Word, and Excel. Able to listen to the sound of printed notes. It is the sound of a large gong, which is an instrument in the main melody of Thai music. And can increase or decrease speed. To Thai music notation to Western music note structure conversion. Use Thai music notation input, convert the data to MusicXML, and display it as an international note. The results of the quality assessment of the Thai music notation printing program from 3 experts to evaluate the quality of the program in 4 aspects found that the program evaluation results were the highest quality with an average of 4.68, and the quality assessment results from 20 users were the highest quality with an average of 4.76.

Vocal Demands of Musical Theatre Rehearsals: A Dosimetry Study

To investigate singers' vocal load by documenting three types of vocal doses (time, cycle, and distance doses) and sound pressure levels during the four phases of rehearsal and how the vocal doses vary between singers across rehearsals in the musical Nine, written by Maury Yeston. Five student-singers participating in the musical Nine gave informed consent to participate in the study. All five participants were assigned female at birth and female-identifying individuals. They attached a KayPENTAX APM 3300 dosimeter sensor to their lower neck and wore the accelerometer during four three-hour rehearsals throughout the rehearsal process (the music learning phase, the choreography learning phase, the blocking learning phase, and the dress rehearsal) of the musical. The dosimeter records neck vibrations at a rate of 20 samples per second. but it does not record linguistic content. A dosimetric analysis of five student singers identified variability in voice production throughout the rehearsal process. According to the dosimetry findings, singers employed extensive low-frequency voicing below the first passaggio, with belting and mixed vocal strategies as the predominant stylistic choices when performing in Nine. Additionally, the singers used an occasional head voice effect at specific moments. The roles of Carla, Saraghina, La Fleur, and Ensemble One and Two required specific vocal ranges due to the musical score. Researchers have yet to establish a safe baseline vocal dose for singers. The vocal dose is affected by many factors, such as duration of phonation, frequency range, SPL, and styles of vocalism required by the score. Louder and heavier vocalization produces larger distance doses, representing the cumulative load placed on vibrating tissue. The cycle dose, distance dose, and SPL reported in this study varied within and between singers. The phonation density graphs show this variability and the low tessitura required by the score. Time doses ranged from 4% to 7% of rehearsal time; this short dose suggests that the rehearsals provided healthy conditions for the successful rehearsal process with efficient attention to the vocalization of a score that requires heavy vocal styles, including belting. While the rehearsal pace was not alarming, the demands of the score alone may prove to be much greater than the vocal dose reported through the rehearsal. Further studies are needed to establish the overall dose of each Broadway role to serve as parameters for vocal pacing and voice care.

The influence of tonality, tempo, and musical sophistication on the listener's time-duration estimates.

Music listening affects time perception, with previous studies suggesting that a variety of factors may influence this: musical, individual, and environmental. Two experiments investigated the effect of musical factors (tonality and musical tempo) and individual factors (a listener's level of musical sophistication) on subjective estimates of duration. Participants estimated the duration of different versions of newly composed instrumental music stimuli under retrospective and prospective conditions. Stimuli varied in tempo (90-120 bpm) and tonality (tonal-atonal), in a 2 × 2 factorial design, while other musical parameters remained constant. Estimates were made using written estimates of minutes and seconds in Experiment 1, and the reproduction method in Experiment 2. Two-way analyses of variance (ANOVAs) showed no main effect of tonality on estimates and no significant interactions between tempo and tonality, under any condition. Musical tempo significantly affected estimates, with the faster tempo leading to longer estimates, but only in the prospective condition, and with the use of the reproduction method. Correlation matrices using the Pearson correlation coefficient found no correlation between musical sophistication scores (measured using the Goldsmiths Musical Sophistication Index [Gold-MSI]) and verbal or reproduction estimates. In conclusion, together with the existing literature, findings suggest that (1) changes in tonality, without further changes in rhythm, metre, or melodic contour, do not significantly affect estimates; (2) small changes in musical tempo influence only prospective reproduction estimates, with larger tempo differences or longer stimuli being needed to cause changes in retrospective estimates; (3) participants' level of musical sophistication does not impact estimates of musical duration; and (4) empirical research on music listening and subjective time must consider potential method-dependent results.

Cultural integration and innovation in string music: A study on the transformation of Heze string music

This article seeks to scrutinize the reasons and factors for the transformation and evolution of Heze String Music. Changes in the practice of Heze String Music as observed by both cultural bearers and the younger generation of Heze string players can significantly contribute to sculpting the future trajectory of Heze String Music. The article's analysis can inform cultural policy and heritage conservation efforts. Recognizing the factors driving changes in Heze String Music may guide policies to support the continued vitality of this tradition, including education initiatives, funding support, and other cultural sustainability measures. This qualitative study employs methodologies including participant observations and interviews. The research is further enriched by the compilation and collection of audio and video recordings, historical records, concert programs, news articles, musical scores, images of musical instruments, and other significant print materials. This article reveals that the transformation and evolution of Heze String Music have been significantly influenced by sociocultural transformations, cross-genre interactions, education, economic, and technological advancements.

Formidling av det fragmenterte

The development of musical drama in Norway took place during specific cultural and economic conditions which contributed both to a sporadic performance tradition and a number of unfinished or unperformed works. The history of musical drama in Norway, then, is partly a history of that which did not take place.
 The field’s archival situation remains partly opaque, with music scores, libretti, and other source materials dispersed across libraries, archives and museums; in private ownership or presumed lost. This has had historiographic consequences both for the perspective of theatre and music history studies, as well as for the performing arts.
 The recently founded Society for Norwegian Musical Drama Heritage (FNMA) has initiated the creation of a digital compendium to increase the accessibility of established knowledge as well as of the historical source materials of Norwegian musical drama from the mid-1750s up to the 2nd World War.
 Taking as their starting point an understanding of the dispersed history of musical drama – performed and unperformed – as an unarranged archive, or reservoir, the authors discuss the potential of a digital compendium as a cultural heritage tool.

Generating Fingerings for Piano Music with Model-Based Reinforcement Learning

The piano fingering annotation task refers to assigning finger labels to notes in piano sheet music. Good fingering helps improve the smoothness and musicality of piano performance. In this paper, we propose a method for automatically generating piano fingering using a model-based reinforcement learning algorithm. We treat fingering annotation as a partial constraint combinatorial optimization problem and establish an environment model for the piano performance process based on prior knowledge. We design a reward function based on the principle of minimal motion and use reinforcement learning algorithms to decide the optimal fingering combinations. Our innovation lies in establishing a more realistic environment model and adopting a model-based reinforcement learning approach, compared to model-free methods, to enhance the utilization of samples. We also propose a music score segmentation method to parallelize the fingering annotation task. The experimental section shows that our method achieves good results in eliminating physically impossible fingerings and reducing the amount of finger motion required in piano performance.

High School Concert Band Directors’ Self-Efficacy for Classroom Management

The purpose of this study was to examine relationships between high school concert band directors’ self-efficacy for classroom management, efficacious sources, and classroom management behaviors. Participants ( N = 271) completed the Band Director Self-Efficacy for Classroom Management scale and responded to items about their demographic and school characteristics, formal preparatory experiences, stress from student behavior, support and trust, and satisfaction with recent classroom management. Additionally, participants rated their effectiveness for using classroom management behaviors. Participants’ level of satisfaction with their recent classroom management was the strongest positive predictor of their self-efficacy for classroom management scores, followed by their ratings of parent resource support. When participants indicated higher stress from student behavior or higher administration resource support, they also had lower self-efficacy for classroom management scores. Results indicated that several classroom management behaviors predicted participants’ self-efficacy, including establishing routines and procedures, keeping students on task, and rarely referring to the music score or lesson plan. Implementing and refining effective classroom management behaviors may improve the likelihood of directors gaining positive mastery experiences and lessen the influence of stress from student behavior on their self-efficacy for classroom management.

Sharing the Joy of Music: A Music Cataloger’s Guide to Training Library Staff with Limited Music Expertise

ABSTRACT Countless academic libraries are unable to commit staff time to handle the multiple workflows required by a music library, such as ordering, procurement, and cataloging. Music librarians often rely on support from staff in other departments with limited musical backgrounds. Drawing from resources offered by the central library, a University of Tennessee music cataloger created guidelines for training non-musical library staff in identifying various musical formats. The training was meant to improve the workflow of music materials from acquisitions, cataloging, and processing departments. The training focused on illustrating the differences between a variety of commonly found musical score formats. The goal was to increase staff effectiveness and reduce errors in ordering and processing music materials. Ultimately, the training enabled library staff to identify best options and apply sound judgment when fulfilling order requests. These guidelines included illustrations with examples of different formats with cover images, title pages, music notation pages, and a brief bibliographic description of MARC fields 100, 245, 240, 250 and 300. By evaluating bibliographic records from WorldCat and showing physical examples of various musical manifestations, non-musical library staff were able to contribute more effectively to the operations of the music library. Furthermore, during the process of training and following up with staff, it became clear that the need for basic music training was greater than initially perceived and that numerous other units within the library needed this training. This paper offers guidelines for music library training from both the University of Tennessee and the music library literature.

Detection of Musical Borrowing Using Data Science

ABSTRACTData science may be used to determine similarities between musical scores. Programs are written in C++ to capture note progressions from musical scores and to compare progressions from different songs to identify overlapping areas. These tools enable the study of musical borrowing across musical genres and may assist in copyright violation cases. Results indicate that within the Celtic music genre, borrowing occurs across greater than 10% of the songs.

Задостойник Рождеству Христову демественного многоголосия: варианты распева

The article is devoted to the study of one demestvenny polyphonic hymn: the "zadostoynik" for the Nativity of Christ (irmos of the 9th song of the festive canon, performed at the liturgy instead of the hymn to the Theotokos «It is truly meet to bless thee»); the history of its origin and existence is traced according to 11 singing manuscripts of the 17th - the first quarter of the 18th century, fragments of manuscripts and musical examples are given. In the light of the newly discovered aspects of the mutual influence of two styles of early Russian polyphony – troestrochy («triplets») and demestvo - the author wrote two articles in parallel in 2023: a more general “On the problem of interaction between the styles of early Russian polyphony in the 17th century (on the example of zadostoyniks)”, and the present one, dedicated to only one of the zadostoyniks - the Christmas one. The article describes all the cycles of demestvenny zadostoyniks in which there is a Christmas one, while building a historical picture of the change in forms and ways of recording demestvenny polyphony: in the form of a part of a separate voice in a separate book, in the form of a hook score of Kazansky (demestvenny) notation and in the form of musical notation scores. Analyzing demestvenny notation and transcripts, some of which were made by Evgeny Skurat, the author identifies 3 different chants of the Christmas zadostoynik: the main, parody variant, quoting the voice «put'» from a similar triplets chant, and a paraphrase variant using the initial motive "put' strochnoy" in solo “pochin demestvom”. The elite, court tradition of Russian polyphonic singing in its heyday mastered a new method of composing demestvenny scores using the technique of parody, counterfactual. In one of the variants of the chant, we see elements of an innovative polyphonic writing technique: imitation in augmentatio and in diminutio in all four voices of the score.

Spiritual Concerts of Maxim Berezovsky: the Problem of PostAuthor Editions

A complex of issues related to the editing of the musical texts of three well-known choral concerts by the outstanding Ukrainian composer of the classical era Maksym Berezovsky was studied. The sources of the sheet music were identified and systematized - musical manuscripts of the second half of the 18th - 19th centuries and editions of the 19th - 20th centuries. The purpose of the research is determined, which involves comparing the sheet music of M. Berezovsky's spiritual concerts from the collections of the 1980s and 1990s with the variants available in the musical and manuscript sources of the second half of the 18th century. The method of comparative analysis is applied, which provides grounds for identifying common and distinctive features in the handwritten and published musical texts of spiritual concerts by M. Berezovsky. Traces of later editorial corrections made during the preparation of the analyzed concerts for publication in 1817–1818, 1904, and 1995 were revealed. It is indicated that this practice had already begun at the beginning of the 19th century, in the process of preparing for the publication of the concert "Don't repudiate me in my old age". It is noted that as a result of such editing, the original author's text was transformed in each of M. Berezovsky's three concerts. It has been proven that vocal delivery, harmony, texture, melodic relief, etc. were subject to correction. It was concluded that the corrected versions of the text are post-author revisions. It is emphasized that the found spiritual concerts of M. Berezovsky have reached our time in the form as they were conceived and written by the composer, because they were not published in the 19th century. It is indicated that the biography of M. Berezovsky was also revised in the 19th century and that now it is important to clean it of fictional layers, restoring the real facts on the basis of real-life documentary materials.

Combining piano performance dimensions for score difficulty classification

Predicting the difficulty of playing a musical score is essential for structuring and exploring score collections. Despite its importance for music education, the automatic difficulty classification of piano scores is not yet solved, mainly due to the lack of annotated data and the subjectiveness of the annotations. This paper aims to advance the state-of-the-art in score difficulty classification with two major contributions. To address the lack of data, we present Can I Play It? (CIPI) dataset, a machine-readable piano score dataset with difficulty annotations obtained from the renowned classical music publisher Henle Verlag. The dataset is created by matching public domain scores with difficulty labels from Henle Verlag, then reviewed and corrected by an expert pianist. As a second contribution, we explore various input representations from score information to pre-trained ML models for piano fingering and expressiveness inspired by the musicology definition of performance. We show that combining the outputs of multiple classifiers performs better than the classifiers on their own, pointing to the fact that the representations capture different aspects of difficulty. In addition, we conduct numerous experiments that lay a foundation for score difficulty classification and create a basis for future research. Our best-performing model reports a 39.5% balanced accuracy and 1.1 median square error across the nine difficulty levels proposed in this study. Code, dataset, and models are made available for reproducibility.

An efficient method to build music generative model by controlling both general and local note characteristics

It has been shown that since the rapid development of the entertainment industry, music generation has become a focused research topic. Numerous methods for creating music, or musical notes specifically have been announced, each with distinct characteristics and advantages. These methods usually concentrated on these two aspects: the overall harmony of the whole music score and the link between adjacent notes, which this research referred respectively as the general and local aspects. This study proposes a model with combined methods that is capable of deriving benefits from these both aspects, hence creating music with good quality in terms of both quantitative and qualitative evaluations. Various results based on those have been discussed and judged for efficient enhancing as well as for future development opportunities. The value of Average Pitch Interval (API) achieved a remarkable value of 1.43, along with the note range of 12.145; while on the subjective aspect, survey participants gave 6.81 score for the generated music, yet only about 70% of them can distinguish the generated from the genuine pieces of music.

Assessment of musical preferences and its association among Indian population

Introduction and Aim: Music is known to have positive effects on humans and enhances mental health. This study presents the outcomes of a preliminary research that investigates Indian’s music preferences between string (sitar) and percussion (parai) instruments. Materials and Methods: 85 participants made up the sample (25 males and 60 females), who were aged between 18 and 60 and came from different regions of India. The participants responded to an online survey made up of Likert scale questions using Google forms. Results: According to preliminary findings from this study, female participants scored significantly (p<0.05) higher on the music preference scale for the string (sitar) instrument than male participants did. When compared to urban areas, people in rural areas have significantly (p<0.05) higher music preference scores. The participants’ preference score for percussion instruments was significantly (p<0.05) high as compared to string instruments. The male participants revealed significantly (p<0.05) high score for music importance when compared to the female participants. Conclusion: The study assessed the music preferences (sitar and parai) of Indian with an aid of questionnaire study with Likert scale. According to the study's findings, musical choices vary depending on a number of variables, including gender, age, place of residence, occupation, and musical instruments.

That Obscure Object that Sounds. Metamorphoses of the Composer’s Score in the Opera Industry

In the 20th century, the composer’s music score acquired the status of the firmest and almost sacred core of the opera in stage performance. Battles between traditionalists and Regieoper lovers are still ongoing both online and offline. However, oaths of allegiance to it and accusations of wrongdoing against it show that it is almost impossible to maintain the inviolability of the score in theater practice. The history of opera presents various approaches to this problem. From the birth of the art of opera, the composer was an equal contributor to the show, just like the set designer, stage manager, or impresario. However, their position underwent changes until the 19th century when the phenomenon of repertoire theater emerged, and the operatic canon began to establish itself. From then on, music started to be considered a sacred element of every opera evening. Nevertheless, even the most traditionalistic opera houses nowadays modify the original scores by removing especially long passages, changing original arias, and rewriting default music or text.This article o5ers a historical essay on the relationship between composers and the opera industry, and discusses types of modifications to opera scores, such as cuts, inserts, and the pasticcio phenomenon.

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.

Polyphonie als Nymphomanie

Using Bach's »Ich ruf zu dir, Herr Jesu Christ« in NYMPHOMANIAC as an example and drawing on metaphor theory, the paper shows that pre-existing music in film comprises simultaneously a cinematic recontextualization of music and its musical editing for the film. Following this, the idea of an »inexistent pre-existence« is presented as a corrective antithesis to the conventional designations of this phenomenon such as »pre-composed music«, »pre-existing music« or »musical quotations«. The concept of »inexistent pre-existence« intends to correct the approach whereby pre-existing film music is reduced to its extra-filmic text (musical scores or extant musical records). Instead, the paper argues for understanding and focusing on the differences between textual variants as a productive music-analytical challenge.

Link to the Library of Congress: Transcribing Sheet Music of the Musical Theater

Link to the Library of Congress: Transcribing Sheet Music of the Musical Theater