Musical Stage Research Articles

How are Mozart’s Operas Indebted to Enlightenment Ideals?

This paper undertakes a rigorous examination of the Enlightenment ideals embodied within Mozart's operas and their subsequent influence. Mozart's musical compositions were profoundly shaped by the Enlightenment era, reflecting the aspirations of freedom, democracy, and equality. The article points out that Mozart incorporated cultural elements and enlightenment ideas from different countries into his opera creation, especially his work Don Giovanni was deeply influenced by cultural traditions, combining musical tragedy with comedic characteristics. The article also mentions that Mozart embodies the idea of equality in the Enlightenment through the assignment of roles in the opera, and each character has the opportunity to have direct contact with Don · Giovanni, showing the directness and equality of the characters. In addition, the article discusses how Mozart spread the ideas of the Enlightenment through his opera, and how his operas reflected the spirit of freedom, reason, and openness. "Don Giovanni" can become his masterpiece, through careful character shaping and musical stage design, it conveys the core values of the Enlightenment, has a profound impact on the society at that time, and has become a classic in the history of music.

Language choices reflecting social changes: multilingualism in the popular music of Guinean jelis

ABSTRACT This paper explores multilingual popular music in the Republic of Guinea (West Africa) by focussing on hereditary musicians of Manding origin, known as jelis or griots. I demonstrate how jeli songs developed in the course of recent Guinean history as divided into three periods: the Colonial period (1898–1958), the Decolonial Socialist Regime of Sekou Touré (1958–1984), and the Liberalisation period (1984 – present). While the Colonial period featured the dominance of European music and languages in the public domain, the jeli music and Maninka language appeared at the forefront of Guinean popular music stage in the radically decolonising Socialist regime of Sekou Touré. The Liberalisation period saw a growing capitalist economy and the rise of Susu urban music. In this more competitive context, the jeli songs have become truly multilingual, featuring other local Guinean languages, mainly Susu and Pular, which now appear as mixed registers, or urban vernaculars, influenced by French through code-mixing and borrowings. The transitions between local languages, however, are constrained by the song structure, first, reflecting the actual patterns of multilingual language use in Guinea, but also potentially signalling more discreet identities of the musicians reinforced via using Maninka jeli family names as professional ‘brands’.

Design of a Music Stage Documentation Photography Book Tani Maju Band

Malang City is one of the cities in Indonesia that has a rich and diverse music history. One of the famous music groups from Malang City is Tani Maju. Established since 1999, Tani Maju continues to enliven the music scene in Malang City until today. This research is a project by the author who has also been a documentation stage photographer for Tani Maju since 2009 until now. This research will result in a photography book documenting Tani Maju's music stage as the main medium. Music stage documentation photography is a branch of photography that focuses on documenting music performances. This photography book will contain photos of Tani Maju on stage, taken by the author from 2009 to mid-2019, and has undergone photography quality selection and editing processes by the author. The design method applied in this research is using a qualitative approach. The general aim of this design is to create a photography book that contains documentation of Tani Maju's music stage, and the benefits derived from this research and design are to add one form of visual artwork for the author and Tani Maju Band in the form of a music stage documentation book.

Exercise-associated Hyponatremia Developing Immediately after a Musical Stage Performance in a Healthy Actress.

Exercise-associated hyponatremia (EAH) is a life-threatening dilutional hyponatremia that typically occurs during or immediately after exercise in endurance athletes. A 49-year-old actress experienced dizziness 15 min after a 2-h stage performance while drinking several bottles of water. Thirty minutes later, the patient fell unconscious and was hospitalized. On admission, she showed dilutional hyponatremia (117 mmol/L) with extremely elevated arginine vasopressin (11.3 pg/mL). After initial treatment with 3% saline, her sodium levels immediately increased, and she recovered consciousness without developing subsequent osmotic demyelination syndrome. This case emphasizes the need for caution against excessive fluid intake during and/or after exercise to avoid EAH, even in non-athletes.

Research on Cross-Cultural Digital Communication Strategy of Musical Theatre Dance Based on Pattern Recognition Technology

Abstract The dissemination and development of musical theater promote each other; smooth dissemination can promote development, and comprehensive development can expand the time and space of dissemination. With the development of time, the effective digital communication strategy of musical theater has gradually become the direction of research. The study utilizes pattern recognition technology to combine sensors for action pattern recognition of musical theater dance and first develops a human motion model that meets the needs of musical theater dance action. The sensor system was designed and developed from three parts, such as acceleration measurement sensors, plantar pressure measurement shoes, and a data acquisition motherboard. On this basis, the pattern recognition method of this paper is combined with the musical to realize the improvement and optimization of the musical stage, and the digital communication strategy of the musical dance is proposed according to the audience communication model. The sensor-based pattern recognition method of this paper has reduced the average output error of accelerometers by another 60%, and the average output error of gyroscopes by 48% after the calibration of its sensors, and the recognition rates of the eight patterns oriented to the musical theater dance are all above 91%. Based on the digital communication strategy of this paper, the communication effect of the musical theater in the digital platform attention to the total number of people, the total number of viewers, and the revenue of the theater company increased by 150,000 people, 53,000 people, and 28,000 yuan, respectively. This study, based on pattern recognition of musical digital communication strategies in practice, achieved good results. It provides an effective path for the development and promotion of musical theater.

The Aesthetics and Mechanics of African Dance, Costumes and Rattles in Yibo Koko’s Seki Dance Drama

With its distinctive form and content, African dance stands apart, carving out a unique identity that sets it apart from other continents. Its inherent rhythm possesses a magnetic quality capable of compelling people to move, transcending language barriers—an attribute that has propelled African musicians, particularly those from Nigeria, to a dominating position on the global music stage. This paper delves into traditional African dance, explicitly focusing on the rhythmic opulence found in the dance of rattles, costumes, and water pots within Seki. This captivating dance drama pays homage to the vibrant culture of the Niger Delta in Nigeria, Africa. Authored by Yibo Koko, the Seki dance drama undergoes a transformative journey, skilfully repackaging the traditional village square theatre into a digitalized theatrical experience accessible both as a live performance and in the dynamic space of new media. The paper employs a robust methodology and theoretical framework, drawing on dance theories, historical surveys, and analytical reviews of Seki performances to unravel the nuanced layers of this artistic expression. In scrutinizing Seki, this paper not only sheds light on the captivating exploration of rhythmic elements, including rattles, costumes, and water pots, but also underscores the broader impact of Seki's performance. The dance drama is a compelling canvas that radiates colours and a flawless rhythm, capturing global attention and playing a pivotal role in restoring the splendour of African ancestry. Through this repackaged theatre experience, Seki becomes a vehicle for exporting African culture, offering a renewed perspective that transcends borders and celebrates the rich heritage embedded in the dance's vibrant tapestry.

SELF-EFFICACY AS A MEDIATOR BETWEEN KNOWLEDGE STRUCTURE AND MUSIC STAGE PERFORMANCE OF MUSIC MAJOR STUDENTS: A PROPOSED MODEL

As an important part of music education, music stage performance has developed rapidly within the framework of modern university higher education. However, there are still many problems in the research and teaching practice. Music stage performance evaluation and related research did not consider students ' psychology, resulting in poor teaching effects. Most of the research objects of knowledge structure are teachers, ignoring the promotion of students ' knowledge structure to music stage performance. Besides, many existing studies focus on how music improves patients ' self-efficacy but ignore how self-efficacy improves music stage performance. Thus, this study aims to propose a model to explore the stage performance of music major students in universities and the covariates that can improve stage performance.

Specificity of Using Phonograms in Popular Music

The purpose of the research. This article attempts to characterise the interaction of sound directing practices with popular music during stage performances and concerts. The research methodology employed to address the set objectives consisted of a historical-cultural approach to analyse the development process of digital sound recording formats and innovations in concert touring practices, a philosophical-aesthetic approach when considering the aesthetic principles of the music and sound concept in concert performances, and a method of theoretical generalisation to draw conclusions and justify the specific features of the outlined issues. The scientific novelty of this article lies in being the first in Ukrainian science to substantiate and sequentially describe the work on recording playback phonograms in the studio, as well as their subsequent use together with live performances by artists during a long-anticipated concert tour as a unified music and sound image of the creative ensemble, based on teaching and sound engineering experience. Conclusions. With the development of digital means of artistic expression, the use of phonograms in popular music has gained significant momentum, with the main argument in favour being the "the main focus is the show programme". This, to some extent, justifies artists' performances to pre-recorded playback. Therefore, based on analyzed examples, the specificity of the sound engineer's work with a complex scheme of simultaneous use of phonograms from a player-recorder (HDR) and the sound accompaniment of the creative ensemble during stage performances is elucidated. The issues related to this practice and recommended methods to avoid them are highlighted. It is determined that the concert sound director is a central figure in creating a popular music stage performance. The level of artistic and spectacular event, regardless of the chosen performance format (playback or live performance) of the creative performer/ensemble, depends on their professional skills and practical experience in utilising innovative sound equipment. The use of a full or partial phonogram during a concert, presented to an enthusiastic audience, is a matter of professional ethics and the integrity of the artist(s). Failure to uphold these high components results in complete ruin of the performer's or creative ensemble's stage career. The final choice remains with the artists. Keywords: sound directing, popular singing, backing vocals, instrumental performance, studio sound recording, phonogram, sound equipment.

Evaluation on the application of conjugate materials in the sound effect and stage effect of modern dance.

The emergence and application of conjugate materials provide a broader space for the performance of sound and presentation effects on the modern music stage. This article compared and analyzed the application of conjugated materials and traditional methods in modern dance sound effects and stage presentation effects through experiments, found that the application of conjugated materials on modern stages had the effect of enhancing visual effects. Its overall reflectivity, color saturation, brightness, transparency, etc. remain in the range of 78%-97%, which is better than traditional methods. In addition, the use of conjugated materials can also improve auditory performance, have greater penetration and durability, and reduce the impact of external noise; in terms of audience experience and dancer experience, the average proportions also reached 87.8893% and 89.3867% respectively. In addition, it also has high temperature resistance and antibacterial effects, with a maximum temperature resistance value of 314.28°C and an antibacterial effect of 95.86%, indicating that it can still maintain stability under high temperature conditions and has a good inhibitory effect on the proliferation of bacteria and viruses. These findings will lay the foundation for further expanding the application of conjugated materials on the modern dance stage.

‘Honor the source’: Race, representation and intellectual property in Jelly’s Last Jam

The story of the development of Jelly’s Last Jam (1992) stands uniquely at the intersection of racial politics, intellectual property, the power of storytelling and the authority of those who tell stories and present them on the stage. By the time the show opened on Broadway, Alan Lomax had been trying for nearly three decades to get his book Mister Jelly Roll (1950) adapted for the stage or screen. Now the story of Ferdinand ‘Jelly Roll’ Morton had become a musical, with a book by George C. Wolfe and music and lyrics by Luther Henderson and Susan Birkenhead, and Wolfe’s script ensured that Morton’s story linked up firmly with the history of jazz and race in America. But Lomax’s name and book title were nowhere to be found in the show’s credits, nor in interviews and other commentary about the show. Although musicologist Lawrence Gushee referred to Mister Jelly Roll as ‘the point of departure for all subsequent biographical writing on Morton’, George C. Wolfe stated only that ‘the stories of black people’ are ‘not stored in the history books […] they’re stored in the music’. In this study, I offer new evidence that explains the curious misdirection in Wolfe’s public utterances based on a close study of archival sources in the Library of Congress’s Alan Lomax Collection, of the complete and unedited recordings of Lomax’s interview with Morton released for the first time in 2005 and of press coverage of the producers’ efforts to bring Morton’s story to the musical stage. This article synthesizes the public and private legacy of the show’s development to provide perspectives on a larger racial reckoning that resonates offstage as well as onstage.

EMOTIVE-AXIOLOGICAL APPROACH IN MUSICOLOGY AND MODERN THEORY OF OPERA EXPERIENCE

In the context of the art of vocal and stage performance, the issues of the influence of the musical factor on the process of impersonation of the singer-actor, the existential nature of the art of impersonation, the psychological mechanisms of understanding and appropriation of the text-consciousness of the character by the performer, the processuality of experiencing as an activity of the opera performer and character, musical stage images and forms are touched upon, along with the issues of internal and external action of the character, modality factors of vocal intonation, including the expected circumstances of the role. The syncretism of the opera text as an integral interdeterministic system of stage action meaning, which has an emotional impact on the audience and performers through all three channels of communication - visual, auditory, and verbal, makes it possible to define the opera within the framework of emotionalology as a new branch of social psychology. An attempt is made to show that personal and collective emotions generated by an opera performance are decisive in a syncretic opera text.

<em>Roblox</em> and Meta Verch

<em>Roblox</em> and Meta Verch

Der Pester Lloyd als Quelle musikhistorischer Forschungen •

AbstractThe cultural exchange processes can also be formulated from the point of view of transfer research, because plurality and hybrid cultures are primarily characteristic of the Central European communication space. The actors of these cultural mediation processes, who had the authority to shape and transport knowledge and culture, were authors, translators, publishers, journalists, and critics. As far as the research initiative of the author of this study is concerned, which focuses on the period between 1867 and the turn of the century (around 1900), it must be stated that this period has so far been only sparsely investigated. As a result of our own wide-ranging press-historical research, a cultural-historical database of the most important German-language organs of this epoch was created, whereby the focus was primarily on the culture section, mainly on the feuilleton yield of these newspapers. In addition to literature and theater, there was also intensive reference to neighboring disciplines, since art criticism, art history and, last but not least, the musical stages in Pest and Vienna were given plenty of space in these organs. In the following, an overview of the history of the press is given in a compact form, followed by selected finds on the subject of music from the last third of the nineteenth century.

About new stage genres in the music of the second half XX century

New musical and theatrical genres that demonstrate post-non-classical musical thinking are considered. The most common are happening, performance and instrumental theater. Genres are considered differently by V. Petrov, M. Pereverzeva, Yu. Gnirenko and M. Katunyan, but, however, without disclosing their ontology and logical basis. The main distinguishing features of the new stage forms are the openness of the structure, the creative function of the performers and temporal unlimitedness, which indicates the rhizome and rhizome thinking of the composers. It is proposed to consider the new musical and theatrical realities as non-linear, in particular dissipative, based on a non-linear type of determinism – self-determinism. On its basis, a rational construct is established in the form of self-organization (performer), or performing will, which provide the musical material with the quality of integrity. Alternative musical theater is another form of new musical stage genres that have emerged in the post-non-classical era, or in the post-modern era. It is presented by alternative opera and alternative ballet, which establish the aesthetics of consonance, antimimesis and display (instead of experience), as well as the multivariant implementation of the musical and theatrical concept (concert, theater stage, etc.). The works of the American composer D. Cage, the Russian composer V. Martynov, the Belarusian composers V. Kuznetsov, L. Simakovich, A. Korotkina were selected as analytical material.

A conversation with Jeanine Tesori

Jeanine Tesori, in conversation with Raymond Knapp and Holley Replogle-Wong of the UCLA Center for Musical Humanities, discusses her journey, creative process and commitment to telling the stories of people underrepresented on the musical stage. The Q&A that followed, with members of a recent student production of Fun Home, engaged her in further discussions about contemporary musical theatre and the specific challenges of bringing Fun Home to life onstage.

The Current Situation of the Language of Advertising in Azerbaijan: The Role and Impact of Advertising

Advertisements, with their palette, color, attractiveness and, of course, errors, enter our homes through television, radio, mobile phone, wall paintings, billboards, various objects placed on the streets, web banners, web pop-ups, sky writings using small planes, seats at bus stops, human billboards, magazines, newspapers, dining tables behind seats in flights, taxi doors, musical stage performances, subway platforms and trains, labels on fruits in supermarkets, supermarket vouchers or various other means. The development of Azerbaijan's economy has significantly increased the role of advertising. In countries with a market economy, private property is widespread. As is known, the main place in the private sector is occupied by entrepreneurial activity. Entrepreneurs, in order to sell their goods and services, must first promote them in the market. Therefore, advertising is considered the most profitable tool. In this regard, advertising is an important integral part of the economy. Advertising has a significant role in increasing revenue. However, an advertisement should be designed in such a way that it is accessible to the target audience, so while designing the advertisement, the appropriate target audience should be studied first.

Signed Music in the Deaf Community

In the spring of 2019, the first signed musical stage production was performed at Festival Clin d’Oeil—the world’s largest deaf arts festival that brings thousands to Reims, France, biennially. Surrounded by visual and performing arts, an invited delegation from Canada debuted the musical The Black Drum internationally, incorporating physical theater, signed music, projection, and dance. Signed music is an inter-performance art that demonstrates musical elements by culturally deaf individuals who have explored creating musical performances with their hands and bodies. These performances operate according to a distinct artistic style, incorporating elements of signed languages; rhythmic hand, facial, and/or body motions; and media video arts. This article offers insight into the performers’ process and development of a deaf-created signed musical for an international audience, the ways signed music galvanizes community and identity through self-expression, and the impact of The Black Drum on an international audience at Festival Clin d’Oeil. Through ethnomusicological analysis and reflection with perspectives as insider-outsider-mediator, signed music has been researched by the authors and observed throughout the development of The Black Drum in preparation for its Canadian and European premieres. The festival setting is a place where new types of performances are welcomed and evaluated for their acceptance into the community. Responses from audience members and performers revealed that signed music is an emerging genre of its own.

“Operetta and me? … Never!…” – On the trail of a forgotten operetta composer, Ákos Buttykay (1871–1935)

AbstractThe research project Chapters from the History of 20th Century Hungarian Operetta: The Operetta Art of Ákos Buttykay has as its subject the operetta art of Ákos Buttykay (1871–1935), who was unjustly disqualified from the operetta canon. The subject is highly topical and necessary since the reconstruction of the history of 20th-century Hungarian operetta has been complicated by the fact that, with the exception of a few popular and well-known operetta composers – including Pál Ábrahám (Paul Abraham), Imre Kálmán (Emmerich Kálmán) and Ferenc Lehár (Franz Lehár) – the oeuvre and biography of the composers who were instrumental in the development of the Hungarian operetta style have yet to be reviewed. This shortcoming became evident to me during my research into the history of 20th century Hungarian operetta and the reconstruction of Buttykay's career and operetta works – using archival sources and contemporary press sources – is the first step towards filling this gap. I chose Buttykay mainly on the basis of my preliminary research and findings, as a composer who had written dozens of operettas and whose name was associated with the most successful operettas of the Hungarian musical stages in the first half of the 20th century.

Application of the Interactive Art of New Media Installation in Concert Stage Performance

“New media installation art” is the product of the combination of new media art and installation art, while interactive art originates from the integration and development of installation art and sound art in the context of new media. The interactive installation art can restore the performance scene of the music stage to the audience from the visual and auditory aspects through the sound interactive installation. In this context, this study analyzes the application of technology and the creation of stage scenes in the installation of interactive art in the music stage performance, and makes use of the installation of interactive devices to make the audience have a sense of substitution and experience the cultural ideas conveyed by the works.

Особенности инструментовки произведений для плац-концерта духового оркестра: современная практика

The article examines the main structural elements of parade ground concerts, including compositions of various genres and styles which affect the musical stage dramaturgy and the peculiarities of orchestration of the musical set of the program. Very frequently in programs of parade ground concerts the attention of the audiences is drawn towards musical compositions of a pronounced national character, as well as the use of folk instruments, which supplement the program with a special color and emphasize the characteristic features of the performance of a wind band of any particular country. Basing himself on his own experience and on the study of parade ground concerts performed by wind bands in Russia and in European countries, the author has analyzed and formulated the main techniques and principles of orchestration of various elements of orchestral textures, examined the particular features of their interaction, and has highlighted the tessitura principle of the inner organization of the wind band as the predominating element for the preparation and performance of musical compositions in a program of a parade ground concert. In addition, the general and particular peculiarities of orchestration intrinsic to wind music are emphasized here, and some regularities of use of orchestral means are determined.