Musical Art Research Articles

S.S. Prokofiev. His Mentors and Teachers.

The article considers the relationship of Prokofiev with his mentors and teachers, which influenced his development as an outstanding composer and performer. The article notes the role of his communication with his mother, a pianist, and his first teacher, R.M. Glier, in his musical development as a child. The article presents material describing the work of the teachers who taught him at the St. Petersburg Conservatory: A. K. Lyadov and N. A. Rimsky-Korsakov in the theory department, A. N. Yesipova in the piano class, N. N. Cherepnin in the conducting class. The main achievements of these musicians in terms of the development of national musical art are outlined. Ways of interaction of the pupil and the teacher on the way of acquiring the school of professional mastery are stated.

Updated of the problem of forming the artistic-figurative thinking of the future teacher of music

The article analyzes the views of scientists from various fields of knowledge on the main definitions of research. It is proven that philosophy considers thinking as the basis of human activity, a guarantee of individual freedom.
 It has been clarified that psychologists consider thinking to be an active form of cognitive activity of a person, which is based on certain requests, abilities and is closely related to society and culture.
 In the pedagogical plane, thinking is considered as an active reflection of real reality in a person's consciousness, its ability to consistently and generally establish connections between objects and phenomena and generate new ideas.
 It was found that the formation of artistic-figurative thinking is recognized as an important factor in the professional training of a future teacher of music. Based on the views of scientists, the author presents his own interpretation of the concept of "artistic-figurative thinking of a future music teacher" as a purposeful process of emotional-intellectual knowledge of the world, a process of self-awareness, which is carried out on the basis of mastering works of musical art and is realized in one's own musical-pedagogical and performing activities.
 It is proved that the updated of the problem of formation of artistic- figurative thinking is determined not only by its effective influence on the abilities of the future music teacher, his professional self-development and self-improvement in the modern conditions of the educational process. The main factors are the terrible modern challenges caused by the war, those crisis situations and emotional states in which student musicians found themselves. The formation of artistic- figurative thinking in the process of mastering vocal works will help the future music teacher to resist negative social life situations, direct his own mental instructions to a positive worldview, a humane attitude towards others and awareness of his own vitality.

Pendampingan Pelatihan Tari Sandur Manduro Pada Generasi Muda Desa Manduro Kabuh Jombang Untuk Membangun Kemandirian

Sandur Manduro is a performing art in the form of traditional theater which is rooted in or sourced from the people's way of life, born from the spontaneous life of the people of Manduro Village, Kabuh District, Jombang Regency. Sandur Manduro contains various elements of art, such as Fine Arts, Literary Arts, Music Arts and Dance Arts. Sandur Manduro's art has a ritual function, currently experiencing a decline in staging. There is no regeneration, because the Sandur Manduro players are old enough to be one of the problems. Through the Community Partnership Program (PKM) it is hoped that Sandur Manduro will be independent. One of the methods used is to provide training assistance for the Sandur Manduro dance for the younger generation of Manduro Village.

Pedagogical Activity of Music Teachers (With Knowledge of the English Language) in the Conditions of Distance Form of Organizing the Educational Process

Currently, the necessity to establish effective forms and methods of learning in a distance format is gaining particular relevance in the field of musical art development. They will allow for maintaining the quality of the educational process and ensuring the quality of students' musical activity and their acquisition of skills in practical classes. Taking into account the above, the music teacher's goal nowadays is to determine the most effective educational platform with minimal audio and video lag and to organize work in a remote format to ensure a sufficiently high-quality educational process. The purpose of the academic paper is to highlight the primary directions and tendencies of investigating issues in the scientific literature related to teaching musical art in the conditions of distance learning. In the course of the research, system-structural, comparative, logical-linguistic methods, analysis, synthesis, induction, and deduction were used to process scientific information. Abstraction and idealization were applied to study and process statistical and analytical data. Based on the research results, the concepts and components of music teachers' remote pedagogical activity, the main prerequisites, regularities, and directions of developing training in the field of music education in recent years were studied. The conducted research has shown that the students-musicians' attitude to distance learning is ambiguous, which is related to difficulties in forming practical skills. However, nevertheless, it is possible to get a positive result in the practical experience formation in this field under the condition of increased responsibility on the part of the teacher and making relevant efforts on the part of the education seekers.

Culturological Aspects of the Music-Critical Press Publications of Nestor Nyzhankivskyi

The scientific topicality. The development of Ukrainian musical art was thoroughly reflected in the various thematic newspaper materials of the composer, social and educational activist, pianist, and critic Nestor Nyzhankivskyi. The cultural, thematic content of the Galician author’s journalism, which revealed the importance of musical influence on the formation of national artistic value orientations, has become especially relevant in our present.
 The purpose of the article is to outline the development of musical culture in the 1930-s at the beginning of the XX century in Eastern Galicia through the prism of the press publications “Paths of the Ukrainian music development (In response to Mr. Anton Rudnytskyi)” and “Our musical pains” by Nestor Nyzhankivskyi, in which a social and educational figure defines a holistic worldview of cultural problems of the specified historical era.
 The methodology. The following methodology was applied when analyzing the mentioned publications of N. Nyzhankivsky: method of analysis and synthesis — for the study of sources from the history of musical art of Eastern Galicia of first third of the XX century; descriptive method — for revealing the content of music-critical materials; classifications and typologies — to characterize the analyzed newspapers publications; the method of systematization was used to generalize the results of the study and make conclusions. The combination of these methods made it possible to investigate the trends in the development of Nyzhankivsky’s music journalism in close connection with the socio-aesthetic paradigms of the time.
 The results. Among the voluminous journalistic heritage of N. Nyzhankivskyi, the press publications “Our musical pains” and “Paths of the Ukrainian music development (In response to Mr. Anton Rudnytskyi)” stand out, which were published in the pages of the magazine “Dilo” in the 1930-s. The content of these newspaper materials, which contain rich, informative material regarding the definition of the educational role of art and the understanding of the high professional level of composer’s work in the musical culture of Eastern Galicia at the beginning of the XX century, determines their cultural significance. It has been established that these socio-cultural press publications have axiological potential, which translates the system of values into the public space of the Ukrainian people.
 The scientific novelty consists in the fact that, for the first time, the content of the journalistic materials of N. Nyzhankivskyi is considered through the prism of sociocultural factors that took place in the artistic life of Lviv in the 1930s of the early XX century.
 Conclusions. Nestor Nyzhankivskyi’s press releases “Our musical pains” and “Paths of the Ukrainian music development (In response to Mr. Anton Rudnytskyi)”, which covered various aspects of musical life, played an essential role in shaping the national worldview in the multi-ethnic environment of Eastern Galicia at the beginning of the XX century. The cultural aspects of the analyzed journalistic works of Nestor Nyzhankivskyi have a significant value for modern science, as they confirm the value of Ukrainian music in the world space and emphasize the importance of human existence in culture.

Tanjidor Your History Now: The Cultural Condition of Tanjidor in the Eyes of Generation Z

Tanjidor is a type of entertainment art of the Betawi tribal orchestra that uses western musical instruments, especially wind instruments. Tanjidor was originally developed from a colonial environment. this art entered Indonesia in the 18th century through trade routes which at that time were played to accompany or parade brides. This art is played to enliven various events such as weddings, circumcisions and birthday events of the Jakarta city government.The method used in this study is qualitative with a descriptive method. The subjects of this study are the owners of tanjidor cultural studios, tanjidor players and generation Z who in this study are students of MTs N 35 Jakarta grade 7, 8 and grade 9.The results of this study show that the existence of tanjidor music art in Jakarta is influenced by various factors, namely changing tastes in society while the inhibiting factors are the entry of western art and the change of agrarian society into an industrial society. To overcome the challenges of the existence of tanjidor art in society, namely by modernizing tanjidor culture.one thing is certain, tanjidor music art is still popular among generation Z.

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Human Brain MappingVolume 44, Issue 6 COVER IMAGEFree Access Cover Image First published: 21 March 2023 https://doi.org/10.1002/hbm.25919AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Graphical Abstract COVER ILLUSTRATION Graph theory analysis reveals enhanced strength centrality in the left amygdala of vocalists and pianists, which indicates a high degree of interconnectivity between the left amygdala and other brain regions. This suggests that long-term musical training has effects on experience dependent neuroplasticity in the amygdala-centered networks, which is a generic function while performing musical arts. Volume44, Issue6April 15, 2023 RelatedInformation

THE CREATIVE APPEARANCE OF KUISHI MUKEI ABILKHAYRULY

Kui art is our precious heritage, which occupies a great place in the music art of the Kazakh people. As mentioned above, there is a separate tradition of kui art in the instrumental music of our nation - it is the Altai-Tarbagatai kui region. Kazakh art of kui performance is divided into schools of kui art depending on its location, artistic execution, and historical periods. In the presented article, we will talk about Altai-Tarbagatai, which is located in the eastern part of the country, among the traditional seven places of kui art. In this direction, emphasis is placed on the artistic endeavour of Mukei Abilkhairuly, an outstanding representative of the region with his own unique signature; the "Kosbaskan" kui of the performer is analyzed, and the striking features of his performance skills are mentioned. The main goal of the article was to consider and classify the unique creative heritage of the eastern region, including the performance style of the kuishi Mukei. While carrying out the mentioned scientific research work, we came to some news and results: although it was introduced late into the scientific circulation, the Altai-Tarbagatai region takes a prominent place in Kazakh music, distinguished by its complicated and unique melodiousness among the schools of kui art. The creativity of the kuishi Mukei, which defines the school of kui art distinguished by difficult and complex rhythms in terms of performance, is being promoted to a greater or lesser extent and can serve as a basis for scientific research in this direction. TRANSLATE with x English Arabic Hebrew Polish Bulgarian Hindi Portuguese Catalan Hmong Daw Romanian Chinese Simplified Hungarian Russian Chinese Traditional Indonesian Slovak Czech Italian Slovenian Danish Japanese Spanish Dutch Klingon Swedish English Korean Thai Estonian Latvian Turkish Finnish Lithuanian Ukrainian French Malay Urdu German Maltese Vietnamese Greek Norwegian Welsh Haitian Creole Persian TRANSLATE with COPY THE URL BELOW Back EMBED THE SNIPPET BELOW IN YOUR SITE Enable collaborative features and customize widget: Bing Webmaster Portal Back

Ethnobotanical Study of Cilokaq, Traditional Musical Art of Sasak Tribe on Lombok Island

Cilokaq is a traditional musical art of Sasak Tribe, which features several verses of songs with instruments such as gongs, drums, flutes, and gambus. The making of Cilokaq musical instrument uses plants that are obtained from nature, and this plant utilization should be well documented in order to assure the preservation of cultural heritage and also the plant resources contained in it. The purpose of this research is to identify the species of plants used in t Cilokaq musical instruments and to explore aspects of plant utilization and other ethnobotanical aspects of Cilokaq on Lombok Island. This research used qualitative and quantitative data collected through observations, interviews, documentation, and literatures study. Index of Cultural Significance (ICS) value was used to predict the importance value of each species involved in Cilokaq instruments. Informants were determined using snowball sampling technique. As a result, there were eight plants species categorized in 5 families used in making Cilokaq instruments, while there were 6 species belongs to 5 families used as offerings (andang-andang). Rotan (Calamus sp.) had the highest value of ICS (80), while Areca catechu, Gossypium herbaceum, Oryza sativa, Capsicum annuum, and Piper betle had the lowest value (8). Plants such as Ficus fistulosa, Calamus sp., and Schizotachyum blumei are species that begin to be difficult to find so that conservation action are needed in order to preserve the Cilokaq traditional art and plants species involved in it.

METHODICAL PRINCIPLES OF PREPARATION OF FUTURE TEACHERS-MUSICIANS TO LEAD FOLKLORE GROUPS

The purpose of the article is to reveal the methodological principles of training future teachers of musical art to lead folk music groups.Methodology. The main theoretical provisions of this article are based on the leading principles of the cultural approach. Such research methods as the method of artistic analysis of folklore sources, art history and pedagogical literature, the method of theoretical generalizations and conclusions are used in the investigation.Scientific novelty. The article highlights the problem of continuity of national traditions, transmission of aesthetic ideals and self-awareness of the people in modern Ukrainian society.The author developed the issue of folklore as a means of personality formation, considered folk songs as a model of aesthetic taste, high moral qualities and artistic experience of Ukrainians, as the embodiment of the national identity of the people. Attention is drawn to the originality, uniqueness and versatility of Ukrainian folk music.The article explains the methodical principles of training future teachers of musical art to lead folklore groups, which consist in: cultivating Ukrainian national identity in working with students, creative productivity of performing activities and artistic integration in the design and implementation of an artistic idea. Special attention is paid to the methods of interaction between the manager and the members of the artistic team as the basis of effective creative work.Conclusions. National folklore reveals the dynamism and multi-layered existence of Ukrainians, attests to the ways of understanding the artistic and aesthetic values of the past through the prism of the perception of modern cultural realities. The training of future teachers-musicians is interpreted by us, first of all, as a process of gaining experience of communication with folk art in the postmodern era based on the current methodical principles of interaction of student youth with samples of Ukrainian folk art.

Application of Learning Strategies and Emotional Intelligence on Learning Outcomes of Music Art Students of Tebing Tinggi Public 2 Senior High School

This study aims to compare students ’art learning outcomes through the application of accelerated learning strategies with expository learning strategies, emotional relationship intelligence with students’ learning outcomes of music art. This research is an experiment (experiment) and treatment (treatment). The study population was all students of SMA Negeri 2 and 3 Tebing Tinggi. The sample was determined by cluster random sampling technique. This study used a quasi-experimental research method. The results of the study are differences in the learning outcomes of students who learn with accelerated learning strategies both in groups of students who have high emotional intelligence and students who have low emotional intelligence. Higher learning outcomes for students who are taught the art of music with accelerated learning strategies from the expository. The high emotional intelligence learning outcomes taught with accelerated learning strategies were better than students who studied expository learning, while the learning outcomes of students who had low emotional intelligence who were taught with accelerated learning strategies were better than students taught expository learning strategies. These results indicate that the acceleration learning strategy is more effectively applied in students’ learning of the art of music in order to improve learning outcomes of high emotional intelligence.
 Keywords: expository learning strategies; music art; emotional intelligence

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Human Brain MappingVolume 44, Issue 5 COVER IMAGEFree Access Cover Image First published: 02 March 2023 https://doi.org/10.1002/hbm.25917AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat Graphical Abstract COVER ILLUSTRATION Graph theory analysis reveals enhanced strength centrality in the left amygdala of vocalists and pianists, which indicates a high degree of interconnectivity between the left amygdala and other brain regions. This suggests that long-term musical training has effects on experiencedependent neuroplasticity in the amygdala-centered networks, which is a generic function while performing musical arts. Volume44, Issue5April 1, 2023 RelatedInformation

Prometheus by S.I. Taneyev and A.N. Scriabin: Stylistic parallels in the interpretation of the mythosymbolic image

Two chronologically close musical interpretations of the myth of the ancient titan Prometheus are considered as the subject of the study: the symphonic poem by A.N. Scriabin and the chorus by S.I. Taneyev from the cycle "Twelve Choirs for Mixed Voices to the poems of Ya.P. Polonsky". The article discusses the specifics of the interpretation of Prometheus, one of the central symbols of European culture. It is noted that over its long history, the content of the Prometheus myth has been interpreted in a wide range from a rebel who goes to self-sacrifice for humanity, to an inspired artist-creator who revealed the benefits of culture to people; from the holy great martyr and prophet of the true God, to the leader of the revolutionary masses of the people. As a result of the analysis, it is concluded that the central motive in Taneyev's work is the vocation of the artist, who goes to self-sacrifice against the forces of evil and ignorance. In Scriabin, Prometheus is interpreted as the active creative energy of the Universe, entering into a struggle with matter and transforming it. The analysis also reveals a number of stylistic parallels in the legacy of the two composers, such as philosophical conceptuality, monumentality of the idea and its implementation, striving for the transformation of a person through art, rational foundations of creativity, orientation to Western European art samples. As opposite stylistic features, the composers belong to different poles of protectiveness and innovation in art, and different approaches to the use of the literary word are noted. The influence of innovative insights of composers on the development of musical art of the XX century is emphasized.

Process razvitiya kitajskoj fortepiannoj muzyki v kontekste kul'turnyh razlichij Kitaya i stran Zapada

China's piano music is in contact and fusion with national music culture and language culture, which gave birth to modern vocal music art in China. Based on the cultural differences between China and the West, this article sorts out the development history of piano music and analyzes its characteristics.

Voice as talisman: Theorising sound in medieval Japanese treatises on the musical art of sutra chanting

Voice as talisman: Theorising sound in medieval Japanese treatises on the musical art of sutra chanting

Trapping Ecosystems

On June 16, 2018, Beyoncé and Jay-Z released “Apeshit”—a trap-styled hip hop track featuring a chorus of “I can’t believe we made it / Have you ever seen the crowd going apeshit?” The much-commented-on music video for the track was framed as a hip hop takeover of the world’s most visited museum—Paris’s Louvre—featuring pop’s reigning power couple, marketed as “The Carters,” making themselves at home with a collection of dancers in flesh-colored black, brown, and beige bodysuits. While the video was generally received through the split-screen frame of either a cutting decolonial takedown of this monument to Western civilization or the ultimate in money-flaunting bling spectacle, a more subtle and complex set of issues is at play. This article examines the deep historical ambivalences at play in this pop cultural artifact. Employing multi-modal methodologies that combine visual and musical arts perspectives articulated via the frames of postcolonial studies, this analysis theorizes the cultural “traps” in effect. Ranging from the track’s “trap” sonic production and lyrical rhetoric of escape (“we made it”), to the historical trap of musealized colonial plunder and the Louvre’s labyrinthine, oft-subterranean floor plan, to the “trappings” of consumption, bourgeois self-making, and aesthetic contemplation, we seek to illustrate how this socio-cultural text destabilizes Enlightenment universalism and its public/private split.

Alternative ways of organizing distance practical classes for future music art teachers

The aim of this research was to find and study the effectiveness of alternative ways of organizing practical classes in Musical Art for Pedagogy students in the context of distance learning. The research involved semi-structured interviews with teachers and student surveys using a close-ended questionnaire. The content analysis of the answers revealed the main difficulties that the teachers had to deal with when organizing distance practical classes in Musical Art. It also enabled finding optimal ways to eliminate them. Their high efficiency was verified by conducting a pedagogical experiment. It was established that traditional methods of education are impossible during distance learning. They need to be replaced with new ones that are effective in technology-mediated learning. It was found that music teachers used special software, digital musical instruments as an alternative to traditional ones. Teachers also recorded video instructions and video lessons, and students recorded video reports on the work done. Teachers began to use new teaching methods. Distance learning yielded higher learning outcomes than the traditional one, as technologies are interesting to students and contribute to their motivation and engagement. This article was reduced to the study of the peculiarities of the organization of distance learning of students — future teachers of Musical Art. Further research should be aimed at identifying ways of organizing Music Art education in general secondary educational institutions.

The importance of musical and aesthetic education of young people in modern society

The importance of musical and aesthetic education of young people to form their spiritual world in modern conditions of the information society is clarified. The approaches of scientists to understanding the phenomenon of "musical and aesthetic education" are generalized, which gives grounds to assert that this concept is: a component of the spiritual development of the individual, his artistic and emotional sphere, aesthetic attitude to the surrounding reality; a means of developing his musical abilities in the process of conscious perception of works of musical art and critical attitude to musical phenomena; a specially organized purposeful process of forming musical qualities and musical and aesthetic consciousness of the individual. The main purpose of musical education is to teach children to understand music by familiarizing children with folk music, works of great composers and organizing music circles where you can study musical literacy, music history, and learn to play musical instruments. It is proved that teenagers are the most susceptible to the influence of music, since they are passionate about listening to music and are included in performing musical activities, striving to improve melodic hearing, fret sense, develop harmonious hearing, auditory representations and musical abilities.

Research on Music Visualization in New Media

With the current development of science and technology, technology provides a new carrier for music, and the form and quantity of music are constantly expanding. The way people come into contact with music is no longer just radio, but also TV, mobile phones, computers, etc. The number of music and video bundling is increasing, and the amount of music in independent art forms is decreasing. The integration between industries has made the combination of vision and hearing closer, music visualization has become more mature, and the art emerging in this form has also become the mainstream of music art. This paper studies music visualization through the case study method, content analysis method and literature analysis method to analyze the current development status of music visualization from two aspects: streaming media and games. On this basis, this paper studies the development trend and prospects of the future music and music industry, providing reference suggestions for the future development of the music industry.

HYBRIDITY IN MODERN NIGERIAN MUSIC

Igbo choral art music is a Nigerian genre that exhibits interesting musical hybridity as it combines a notated choral part with an un-notated orchestral part into a final musical artwork. The notated choral part is produced by the composer through a synthesis of Igbo traditional music and European classical music, while the orchestral part, based on Igbo traditional music practices, is produced by the choral director. For over five decades scholarly discussions on Igbo choral art music have focused on the notated choral part and how composers blend European classical music and Igbo traditional music principles. Although the choral part is significant, my more than two decades of participation in the genre as well as interviews with leading practitioners reveal that without the orchestral part, a composition is considered incomplete by both the practitioners and the audience. Such a critical aspect of the genre has received little to no academic attention. This article is an autoethnographic report on the orchestration principles of Igbo choral art music, its relationship with Igbo traditional music, and how such orchestration contributes to hybridity as a fundamental resource in the genre’s development.