Aspects Of Music Research Articles

Performing the changing landscape

This exposition refers to arts-based research on simultaneous performative walking and singing practice in a changing environment. The act of walking is put in the context of landscape and singing representing two aspects of relation to the environment – inner and outer landscape. The object of research is traditional and authorial songs and their bodily and sensual interconnection with the process of experiencing landscape. This experience is gained with a group of artists and environmentalists who have over the course of more than a year repetitively walked through the landscape of the natural park Prokop Valley in Prague and its adjacent urban areas. Qualitative research is taken within the project “Walking as a liquid constant in urban space and landscape”. The method of data collection uses mental maps, inspired by the concept of Kevin Lynch, as a means of documentation. The exposition has three parts 1) the opening video essay, 2) Opus caementicium, autoethnographic reflection of the site, where the project takes place, and 3) Fugue of the vanishing world – an essay on the musical aspect of the project. Chapter titles are inspired by musical terminology that has content connotations in the text or mirrors the structuring of text and musical compositions.

Data structures for music encoding: tables, trees, and graphs

One of the challenges in planning a digital edition is the selection of the encoding system and representation format that the edition will use to encode musical information. This decision affects the form of the edition not only through the descriptive capabilities of the encoding format, but also through the format's adherence to certain data structures such as tables, trees, and graphs. Far from being straightforward containers, each of these structures possess unique qualities that constrain the encoding process into considering the music within the parameters of that data model. Data that does not fit must be cajoled into the chosen model, with varying degrees of success. Recent work has developed arguments for the use of certain formats in specific cases based on features and interoperability, but a thorough review of the suitability and sustainability of the underlying data structures has yet to be conducted. This paper explores the problem of music representation in data structures from the perspective of musical domain. By encoding the same passages of music in multiple hypothetical formats it demonstrates the musical aspects and, particularly, the relationships that the data structures commonly used in music encoding variously excel at, privilege, or struggle with representing. I argue that encoding projects should consider the constraints that the data structures of a format impose on their encoding; whether there are instances that would be unsatisfactorily modelled, the data biases this creates, and therefore whether it would be advisable to extend the representation format to accommodate another data structure.

Cultural scientific school development of the Odesa National A. V. Nezhdanova Academy of Music

The article presents an overview of the current state of cultural studies of the Department of Theoretical and Applied Cultural Studies of the Odesa National A. V. Nezhdanova Academy of Music (ONMA), as well as an overview of modern scientific cultural studies of the mentioned higher educational institution. The purpose of the research is to determine the perspectives and directions of cultural studies of the Department of Theoretical and Applied Cultural Studies of the National Academy of Sciences. Research methods. To achieve the goal, general scientific and special methods were used, including: historical-cultural, structural-functional, analytical and informational to establish the specifics of cultural research works of ONMA scholars. The scientific novelty of the obtained results lies in the comprehensive analysis of the problems of applied cultural studies of the Department of Theoretical and Applied Cultural Studies of the leading higher educational institution of arts of the Odesa National A. V. Nezhdanova Academy of Music, which develops cultural studies in the musical aspect. Conclusions. Using the example of the department of theoretical and practical cultural studies of the Ukrainian National Academy of Sciences, we traced how cultural studies transforms from an abstract philosophical field to a scientific and practical one. This opinion is based on a review of candidate's theses, which trace the movement towards applied cultural studies, which fully reflects the features of the modern state of scientific practice. The interdisciplinary nature of the field opens up great potential for a flexible understanding of cultural practices.

Study of Musicality in the Recitation of Religious Hymns

Religious traditions across the globe have their unique ways of reciting sacred hymns based on different melodic structures. Whether it is the chanting of Veda mantras in Hinduism or the recitation of Salaah in Islam or the singing of psalms in Christianity, there is a melodic flow in these hymns. Hymns have their own melodic appeal that makes them stand out among various melodic compositions, regardless of their language. The objective of this paper is to study the musicality of different religious hymns by selecting a few hymns from different traditions. This paper limits its study to the musical aspects of the oral traditions of reciting sacred hymns of different religions and it attempts to explore the unique musical elements in these hymns and also offers an insight into the artistic expressions across different religious cultures, through their musical recitations. Audio samples of the hymns are collected from various sources including field recordings, online resources and interviews. The collected data is subject to musical analysis by giving notations to the selected audio samples using musical notes of the Indian system of music, analyzing tonal variations and vocal techniques, and comparing the musical features to study the similarities and distinctions. The results of the analysis include finding the musical phrases from the chanting of different hymns, listing the observed commonalities and differences, and realizing the limited scope of melody. Eventually, the study accentuates the power of the musical notes, even with limited combinations, in building an effective auditory impact. These findings have significant implications on understanding the role of music in diverse religious traditions. This in turn results in establishing the fact that music has been an integral part of religious practices which takes it beyond the level of entertainment.

Ave Maria out of context: prosody, poetry or piety?

ABSTRACT Focusing on singability and audience reception, this is a case study on Duy ey sevgili sesimi! ‘Hear, o beloved, my voice’, a Turkish version of Schubert’s Ellens Gesang III (D. 839; Opus 52, No. 6). The study provides a data-driven discussion on the reception of this version by the primary text user, i.e. the performer, the secondary text users, i.e. the listeners, and a first-hand account of the intentions behind the choices of the target song lyricist. The data provide evidence for a hierarchical understanding of Johan Franzon’s three layers of singability: prosodic, poetic, and semantic-reflexive. However, the hierarchical ordering of the layers depends on the priorities of each user group. The performer has focused on the musical aspects of the song rather than the target text itself. Listeners with no background in music or translation have prioritized the semantic-reflexive layer. Listeners with a background in translation studies have paid attention to the poetic and semantic-reflexive layers. In contrast, those listeners with musical training or a special interest in music have regarded the lyrics as subordinate to the original composition, standing aloof from the translation of a classical song. Such diverging views point towards a more fine-grained understanding of singability.

Peculiarities of Stepan Budnyi’s Artistic Works: Song and Musical Aspects

The poetic, prose and memoir works of Ukrainian writer Stepan Budnyi are considered in the article. He has left a noticeable mark in the history of Ukrainian literature of the 1950s. The focus of the research includes the analysis of the song concept, used frequently by the author and designated as a genre (in his own works). Many poetic works of S. Budnyi, characterized by melodiousness, emotionally elevated mood, simplicity of expression, vivid imagery, and the presence of striking figurative details, have a musical orientation. The frequency of the poet’s use of the song lexeme is counted in the article, indicating the folk-song character of S. Budnyi’s entire poetic heritage. This is reflected particularly in the titles of poetic works, evoking musical associations simultaneously. The poet has preferred those poetic works containing musical terminology in his translations from various languages. It is revealed that S. Budnyi’s relatively small prose heritage also includes musical motifs. Similar to poetry, the song in the writer’s prose works holds a distinct place and is a leading motif throughout his entire creative output. The author’s position and understanding of the essence of beauty are traced through the expressions of the lyrical heroes in prose sketches about music, song and dance. The author’s appeals to song and music are also considered in the writer’s epistolary. Texts by S. Budnyi, set to music by various Ukrainian composers such as Yaroslav Vyshyvanyi, Oleh Herman, Bohdan Klymchuk, Bohdan and Ivan Kravchuk brothers, Faina Moldavska, Volodymyr Obukhivskyi, Mykhailo Obleshchuk, Andrii Plishka, and others, are distinguished. Attention is drawn to the linguistic features of the writer’s artistic works, emphasizing especially that the author’s neologisms, used frequently, imbue the texts with a peculiar musicality. In general, Stepan Budnyi’s poetry has an original sound, impressing with a variety of artistic means, especially the vivid metaphorical expressions.

1960년대 한-일 대중음악에 나타나는 비틀즈의 영향을 통한, 대중음악의 수용의미 분석 - 1960년대 양국 밴드 음악의 비교를 중심으로

Since the Beatles’ arrival in New York on February 7 th , 1964 was broadcast, they have shaken up not only the United States but also the world’s popular music market. Korea and Japan, which were strongly influenced by American pop culture at the time, were also influenced by British-style band music including the Beatles. Based on this cultural phenomenon that Korea and Japan experienced simultaneously in the 1960s, this study examined the patterns of cultural spread in the Anglo-American region between the two nations via a comparison of the music of the two countries at the time. This study compared Korean and Japanese 60s popular music in terms of melodies and harmonies that were influenced by British-style band music represented by the Beatles. As a result, the band music of both countries exhibited similarities and differences in musical aspects. A common factor is that the band music of both countries follows the Beatles’ band formation and arrangement method; however, differences were also observed. In the case of Korean bands, excluding their adapted songs, the musical influence of the Beatles is not easy to find. Korean band Add4’s songs were made using pentatonic scales, which give the feeling of Korean folk music. The band Keyboys wrote songs in the trot genre. In the case of Japan, other examples can be found. The band The Spiders and The Dynamites used music as similar to the Beatles as possible, thereby reflecting the Beatles’ melodic and harmonic characteristics as much as possible. Jackey Yoshikawa and the Blue Comets showed enka tendencies. Based on our results, Korea’s 1960s band music localized new English-American music and accepted it in a compromise manner. Japanese band music also attempted to localize, but attempted to copy the trend of English-American music represented by the Beatles. It was confirmed that attempts had also been made. Based on these differences in cultural acceptance between the two countries, the patterns of cultural transmission at the time in the Anglo-American world can be summarized as follows. 1. The public’s level of exposure to Anglo-American culture was different in the two countries. 2. The music production companies of the two countries had different approaches to the newly forming English-American music. Thereafter, Korean and Japanese popular music in the 70s and 80s took different paths. This difference can be viewed as the result of the two countries’ different acceptance of Anglo-American music from the 50s, 60s, and 70s, which are considered a time of differentiation in Anglo-American popular music genres such as rock, rock‘n’roll, and R&B. The occurrence of the phenomenon of cultural acceptance influencing later generations of music is believed to be repeating with the birth of K-pop. Accordingly, the formation of modern K-pop and its differences from J-pop can be considered as future research tasks.

Ethnological-Historiographic View on Seven Ancient Extant Christian Liturgies

The author analyses comparatively seven ancient extant Christian liturgies: Roman Catholic Tridentine mass, Byzantine liturgy of the Eastern Orthodox Churches, four liturgies of the Oriental Orthodox Churches: Alexandrian-Coptic, Antiochian-Syriac, Armenian and Ethiopian, and finally the liturgy of the Churches of the East: Assyrian and Ancient. Furthermore, the author researches inculturation of Antiochian-Syriac liturgy and Churches of the East liturgy in South India, as well as liturgies in Eastern Catholicism and Western Orthodoxy. This study explores historical events that are crucial to understanding the origin and development of ancient liturgies, as well as major architecture, painting, drama and music aspects of liturgies from ethnological perspective.

Multimodal Embodiment Research of Oral Music Traditions: Electromyography in Oud Performance and Education Research of Persian Art Music

With the recent advent of research focusing on the body’s significance in music, the integration of physiological sensors in the context of empirical methodologies for music has also gained momentum. Given the recognition of covert muscular activity as a strong indicator of musical intentionality and the previously ascertained link between physical effort and various musical aspects, electromyography (EMG)—signals representing muscle activity—has also experienced a noticeable surge. While EMG technologies appear to hold good promise for sensing, capturing, and interpreting the dynamic properties of movement in music, which are considered innately linked to artistic expressive power, they also come with certain challenges, misconceptions, and predispositions. The paper engages in a critical examination regarding the utilisation of muscle force values from EMG sensors as indicators of physical effort and musical activity, particularly focusing on (the intuitively expected link to) sound levels. For this, it resides upon empirical work, namely practical insights drawn from a case study of music performance (Persian instrumental music) in the context of a music class. The findings indicate that muscle force can be explained by a small set of (six) statistically significant acoustic and movement features, the latter captured by a state-of-the-art (full-body inertial) motion capture system. However, no straightforward link to sound levels is evident.

Preschool Institutions Offer Music Education and Musical Games

This issue focuses on an essential aspect of children's lives, specifically the musical games played by preschool-aged youngsters. This study examines the musical games implemented in our preschools. Several genres of music exist in our country, but due to factors such as the influence of other musical traditions, a high level of dedication, and the complexity involved in their creation, we primarily focus on their songs. The level of professional development among educators in our country has significantly improved. However, there are still notable deficiencies, particularly in what we can refer to as "techniques.". This refers to the modernization of equipment and facilities in preschool institutions. Additionally, there is a pressing need to enhance the proficiency of educators, particularly in playing musical instruments, especially children's instruments. Specifically, there is a need for educators to improve their skills at playing the piano, considering its significance and various musical aspects. In order to achieve further professional progress, it is necessary for the educator to consistently participate in the seminar until they have fulfilled the minimum requirements. As a result, elementary school children who participate in music education develop a strong and comprehensive musical foundation.

PRINCIPLES OF TEACHING IN THE FORMATION OF ACADEMIC CULTURE OF FUTURE PIANISTS

The principles play an essential role in solving the problem of musicians’ training. It is proved that the implementation of the principle of humanistic orientation requires the recognition of the intrinsic value of the personality of music; adherence to the principle of academic knowledge helps to form a deep understanding of musical aspects and a responsible approach to music performance; the involvement of the principle of integration allows to take into account the diverse professional activities of future pianists; the principle of musical consciousness forms the value of music.

Remote music therapy group sessions during the COVID-19 pandemic with adults with psychotic disorders and staff: A multiple case study

The aim of the present study was to investigate the influence of 12 remote music therapy group sessions with adults with psychotic disorders during the pandemic of COVID-19 (February-June 2021). Two different methods were used: a) Nordoff-Robbins scales 1 and 2 with six caretakers, b) thematic analysis of semi-structured interviews with six caretakers and three caregivers. The clinical approach used in the sessions was Synthetic Music Therapy. Even though the music therapy group was remote and despite the social withdrawal and isolation due to the universal quarantine, there was evidence of significant positive changes in the caretakers’ clinical image, as their social skills improved. Furthermore, the caretakers managed to build and maintain a consistent and trusting therapeutic relationship. During the music therapy process almost all group members showed evidence of a linear progress in psychological and musical aspects, approaching the fully functioning state of being, called FA-fonie (FA-voice). Almost all participants highlighted that they would prefer the music therapy group to have been conducted at location. In the section of discussion, a further analysis of the results, the research limitations and proposals for future research are presented.

Implementation of Vector-Based Melody Extraction for Plagiarism Detection Using Szymkiewicz-Simpson Coefficient

Plagiarism is topical within the music industry. It is filled with circumstances such as the potential of massive losses coupled with a “false-positive” court ruling due to the blurred line of plagiarism factor. This research aims to solve the gray line of music plagiarism by exploring the potential of the Szymkiewicz-Simpson coefficient toward musical aspects of music. Melody and Rhythm are chosen as the main features to focus on in the research. MIDI files of music involved in court cases are used as data for the study, with limitations put on what cases can be used for the research. Using a threshold range of 0.1 to 0.25, detection accuracies for melodic plagiarism range from 45% to 60%, while rhythm plagiarism ranges from 60 to 65%. This shows that the algorithm of plagiarism detection has a tendency to detect non-plagiarism cases and is more effective towards rhythm plagiarism detection rather than melodic plagiarism detection against existing plagiarism cases.

Symbolism in the 19th Century, its Projections on the Age of Psychology of Unconscious and Musical Aspects of That Trend

Symbolism in the 19th Century, its Projections on the Age of Psychology of Unconscious and Musical Aspects of That Trend

Dancing Presence and Awareness:

In this article, I argue that the dance practice of ‘Khaita – Joyful Dances’ has been intentionally designed as a mindfulness practice with the aim of fostering presence and awareness by the Dzogchen master Namkhai Norbu. The three Khaita principles of awareness (Dems, Gyu and Drig) revolve around aspects of proprioception, smooth movements, musicality, spatial and group awareness and guide dancers to the here and now. They demand non-judgmental, purposeful and non-reactive attention, hence mindfulness, that results in more mature states of awareness and presence

Piano na Mangueira : A Brazilian Story about Music and Essentialism

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

The Geno-song and Pheno-song of the "Sirens": The Finnish, Swedish, and Italian (Re)Translations of the Musical Prose of "Sirens"

ABSTRACT: The challenge in any translation, but especially in translations of Joyce and of Ulysses , is that a work of art is never one voice, one utterance, but is built upon an entire literary tradition in the postmodern intertextual process. In this essay, we focus on the case of "Sirens," an episode in which the undertone of the textual surface is not only literary tradition but, intermedially, the forms, signifiers, and experience of music. In the thinking of Roland Barthes, a musical text, or writing aloud, includes phenotext, the regular mode of communication, and genotext, which refers, without denotation, directly to the body. This, according to Barthes, causes friction, the grain of the voice. In this essay, we examine how (re)translations of "Sirens" into Swedish, Italian, and Finnish recreate this friction in their respective literary horizons, through their different linguistic possibilities. We find that, in their performances of the geno-song and pheno-song of the musico-literary intermediality of Joyce's "Sirens," the Swedish, Italian, and Finnish translators either stop to explicate the symbolic in the mode of pheno-song or convey the semiotic in the legato line of geno-song, but rarely are they able to include both and convey the grain of "Sirens." Our contention is that "Sirens" should not be reduced to symbolic denotation, but that the musical aspect of the episode should also not be emphasized in an overly analytic, formal way. Through examples of i) verbal music, ii) fragmented polyphony, and iii) microstructural analogies to music, we argue that the target-text reader should hear the grain of fictive language against the musical voice.

Neuromotricity in early childhood education. Development tables as an interdisciplinary proposal according to the BAPNE method

The aim of this research is to review the basis of neurodevelopment in early childhood education and provide interdisciplinary development tables that encompass cognitive, kinesthetic, and musical aspects. After reviewing numerous authors, and in order to provide early childhood education teachers with a reliable overview of the subject, we present here tables that are always conditioned by genetic and environmental factors. The development tables offer guidance information in areas such as language, motor coordination, gross motor skills, fine motor skills, spatio-temporal relationships, time horizons, logic, numerical relationships, and rhythmic motor, melodic, and socio-musical aspects, among others. Keywords: Neurodevelopment, Neuromotricity, Bapne, Body percussion, cognitive functions, executive functions.

Musical Scholarship of the “Golden Age” of the Qing Dynasty Based on 17th and 18th Century Books and Treatises

In 1772, by the order of the Emperor Qiánlóng, work began on the compilation and copying of the collection of classical Chinese works known as the Sìkù Quánshū, which included books on musical philosophy, aesthetics, drama, palace ceremonies, as well as treatises on European music theory written at that period of time in China. The detailed review of some of these works presented in the article is aimed at introducing new information about the content of music theory sources from the times of the reign of Kāngxī and Qiánlóng into the corpus of Russian musical scholarship. The authentic documents of the era demonstrate that the “Golden Age” of the musical culture of the Qīng court possessed its own stylistic characteristic features, as reflected in the diverse scholarly interests of Chinese scholars in the 17th and the 18th centuries. As part of the new cultural and political reality, classical Chinese musicology was inculcated with a number of transformative aspects, from the revolutionary theoretical expositions of Emperor Kāngxī to his active implementation of Western European musical knowledge. On the other hand, the strict fixation in the treatises of the musical aspect of the ceremonial events of the palace confirms the intention of the Qīng emperors to preserve traditional rituals as the foundation of their own political stability, explicitly demonstrating a continuity of the art of music of previous dynasties.

Music Jaranan Turangga Yaksa in Dongko Village Trenggalek Regency (Study Ethnomusicology)

Jaranan Turangga Yaksa is an original art from Dhongko Village, Trenggalek Regency. Turangga Yaksa is a horse with a giant head and ridden by a knight who can control amarah, syaitonah, lauamah, dan serakah. This art is the result of creations from the Baritan ceremony (bar ngarit tanduran), local people usually hold tayub parties which aim to express gratitude for the harvest they have received. In this research, Jaranan Turangga Yaksa was studied ethnomusicologically by taking several approaches, namely describing the notation, musical aspects and organology found in the musical instrument Jaranan Turangga Yaksa. The research was conducted in Dhongko Village, Trenggalek Regency. The data collection method was carried out by interviewing several sources such as Mbah Mu'an (Creator of the Jaranan Turangga Yaksa music), chairman of the Sanggar Purwo Budaya, singer, dancer, and also pengrawit. Observe the development of musical accompaniment, and also perform FGD (Forum Group Duscussion) to deepen information and data to make it more valid. The description of the musical notation used by the author includes using number notation on balungan instruments and also vocals. The use of the terms plak, dlang, dhe as notation for percussion instruments such as kendang. Writing drum notation using notasi balok, and also using symbols as another term in writing gamelan notation. From the musical aspect, Jaranan Turangga Yaksa music has its own drum beats that differentiate it from other jaranan music such as Jaranan Buto, Jaranan Senterewe, Jaranan Pegon, and Jaranan Dor.