Musical Culture Research Articles

Anthropological turn in musical culture of the XX century

The anthropological turn in the system of cultural and musicological reflection determines the transformation of the image of man in the culture of the XX century. The ontological and phenomenological dimensions of the presentation of a person in the media space are changing. If the semiological turn was defined as a movement of structuralist and post-structuralist studies, and the visual turn is associated with the transformation of visual practices, the emergence of a certain visual environment, then the anthropological turn in music touches on the deep psycho-physiological foundations of the formation of a musical image. The purpose of the article is to determine the cultural characteristics of these turns as an aesthetic and anthropological phenomenon. The methodology is presented with comparative and systemic approaches, which makes it possible to determine the integrity of performance in music as a meta-cultural and meta-artistic integrity. The scientific novelty. The anthropological turn occurs as a systemogenesis of cultural paradigms. Systemogenesis is the uneven development of system components (subsystems). A person as a cultural phenomenon can be considered as a system, albeit in a certain context, from a certain point of view. Systemogenesis of reflection as an anthropological turn characterizes the change of the image of a person in different realities of reflection — philosophical, cultural, and art. These paradigms, in fact, musical, creative, and artistic become ecological, because they are lifesaving in terms of preserving the integrity of a person, culture, in particular musical and performing culture. The anthropological turn indicates the artist-performer behind the realization of the musical space, music as the integrity of culture. Semiological is related to notation systems, information transmission and understanding of music as a symbolic phenomenon. The visual turn characterizes the communicative aspects of performance in musical culture as a whole. The results. Cultural genesis in performance is a system genesis of paradigms dominated by either a symbiotic or a monistic paradigm, focused on authenticity, creativity, deconstruction, decomposition, etc. All this can be noted as paradigms of creativity in general. The integrity of the modeling of the modern musical space is being formed, in particular a genetic algorithm with all the properties of sound and other configurations of a synthetic vision of an artistic image. The practical significance of the article. The practical significance of the work lies in the fact that practicing musicians and musicologists join the modern cultural reflection focused on the ecosystem approach. In particular, performing activities in music are oriented both on the anthropological constants of the performer and on preserving the traditions of national performing schools. In post-classical musical cultural studies, performing activity is interpreted as a certain systemogenesis. The creation of new systems of performing culture arises as a self-sufficient synthesis based on an appeal to the origins of national musical culture, and the entire corpus of problems of performing art is presented in the context of premodern, modern and postmodern types of reflection.

Концертная увертюра «Шунчаки ҳазил» Мустафо Бафоева в интертекстуальной проекции

The theory of intertext, having taken shape in philology, semiotics and cultural studies, was developed in musicology in the last third of the twentieth century. The approach of the prominent representative of musicology in Uzbekistan, Natalia Yanov-Yanovskaya (b. 1934), complements this theory with the concept of intertextual duality in Eastern compositional music, arising from the dialogue between monophonic and multi-voice language systems. The purpose of this article is to argue the thesis put forward by N. Yanov-Yanovskaya about the awareness of national musical culture of its own self-value in modern conditions of interaction between centripetal and centrifugal factors of its development and globalization challenges. To achieve it, semantic, semiotic, hermeneutic approaches are applied, and theoretical experience of studying the phenomenon of intertextuality in music, literature and media art is taken into account.The concert overture-rondo “Shunchaki Khazil” (Just a Joke) written by Uzbek composer Mustafo Bafoyev (b. 1946) is chosen as a representative object. For the first time it is considered in the aspect of revealing the program idea with the help of the involved intertextual means. As a result of the analysis, it was revealed that the content basis of this work was the display of Western, Eastern and national cultural scenarios in three episodes of the rondo. The refrain, which included an Uzbek proverb-intext, became an expression of the composer’s creative credo: while studying and perceiving foreign national experience, try not to lose your authentic “face”, just be yourself.The intertextual apparatus contains quotation, allusion, metaphor, amalgam, image, stylization, adaptation, parody, polystylism, pentatonics, mix of multi-voice texture and timbre coloring of national musical instruments, and program-conditioned rondo form. Demonstrating its fluent mastery and revealing the ideological intent of the overture, Mustafo Bafoyev positions the centripetal platform of his work as characteristics of the Uzbek school of composers at the current stage of development both in terms of stylistic renewal and national-soil discourse. This confirms the validity conclusion of Natalia Yanov-Yanovskaya’s about the growing awareness of the national musical culture self-value as a balance to the trends of globalization.

Music Characteristics and Regional Differences in (SHE) Ethnic Minority Folk Songs: A Comparative Analysis of Ningde and Eastern Fujian Regions

Tucked away in the stunning province of Fujian in southeast China, the region has a cultural tapestry as varied and vibrant as its breath-taking scenery. Through the analysis and coding of folk songs from four different geographical regions in China (Fujian and Ningde), this paper aimed to determine the degree of mutual interaction and integration of the musical cultures of the Shen and Han nationalities into modernity. It did this by developing a new musical characteristic density map for machine music classification. The nationality known as (SHE) is a small ethnic group in the area. The traditional cultural heritage as well as the growth of the (SHE) nationality have lagged behind the rapid advancement of modern times. This study investigates how to incorporate the culture of the (SHE) nationality into modern culture in order to fully realise the goal of "going out," starting from the conventional cultural heritage and creative growth of the (SHE) nationality. This paper discusses the formation of the (SHE) Minority folk songs in the context of protecting intangible cultural heritage. It does this by using the methods of literature research, field investigation, and comprehensive analysis to gather first-hand fresh field data from the components of historical evolution, protection process, inheritance method, development dilemma, and countermeasures. Questions of development and inheritance. The world will recognise the allure of the traditional culture of the (SHE) nationality as it is continuously enhanced and vibrant.

Казахская народная музыка в саксофонных произведениях композиторов Казахстана

This article is about studying the saxophone works of Kazakh composers Arthur Orenburgsky, Alibi Abdinurov and Yulia Lebedeva, based on Kazakh folk music. These compositions have become an important part of the performing and pedagogical practice of saxophonists in Kazakhstan, and they are regularly performed at major concert venues, festivals and competitions. The purpose of the work is to study the process of creating compositions, their role in the formation of the national repertoire and the development of performing practice, as well as to identify the characteristic features in style and performance technique.The authors use various methods in their research: complex approach, including analytical and historical that includes collection and exploration of archival material, as well as anthropological method like interviews with Kazakh composers and teachers of saxophone class of the Kurmangazy Kazakh National Conservatory.The study revealed the main musical characteristics of saxophone compositions corresponding to Kazakh traditional music: metrical freedom, improvisation, uniqueness of rhythm, shaping and timbre. The studied works represent the authors’ reinterpretation of traditional primary sources, through imitation of rhythmic elements of dombra playing and sound production characteristic of folk wind instruments. These elements define the national color in music and can be considered as “ethnic identity”.From a practical point of view, this work will be useful for musicians, teachers and researchers interested in the synthesis of folk and contemporary music, unique stylistic features and new possibilities of using the saxophone in Kazakh musical culture.

Developmental Characteristics and Influencing Factors of Guzheng Performance Techniques

The guzheng, as one of the traditional Chinese musical instruments, has developed and evolved its playing techniques throughout the thousands of years of Chinese history. This paper starts from the origin of guzheng, and then analyses the development characteristics and influencing factors of guzheng playing techniques. In general, the development and evolution of guzheng playing technique is an important part of Chinese music culture, we should continue to pay attention to and promote its development, so that the guzheng playing technique will bloom more brilliantly in the new era.

Study of the Techniques of Akira Nishimura’s String Quartet No.2 <Pulse of the Lights>

String Quartet No.2 Pulse of the Lights was composed by Akira Nishimura in 1992. This piece is a representative work from the composer’s mature period, fully showcasing his personalized compositional techniques. It holds significant analytical value and influence. This paper explores how Nishimura organically blends Eastern folk elements with Western musical culture by analyzing the pitch organization, core materials, musical structure, and unique compositional techniques in the work. It also examines how he embeds his distinctive compositional methods within the materials and integrates them throughout the structure.

Research on the Artistic Style and Singing Skills of Zhejiang Folk Songs

Zhejiang folk songs, as a gem within the realm of traditional Chinese musical culture, boast a rich array of artistic styles and distinctive vocal techniques. Their origins can be traced back to various facets of rural life, including agricultural labor, festive rituals, and folk activities, reflecting the diverse customs and cultural heritage of different regions within Zhejiang. Situated on the southeastern coast, the harmonious natural environment of Zhejiang has given rise to a variety of folk song forms, ranging from mountain ballads to farm songs and fishing tunes, each showcasing its own unique charm. Particularly, the refined and understated essence of Jiangnan culture endows Zhejiang folk songs with a poetic and delicate expression in melody and lyrics, culminating in a distinctive artistic style. The dissemination of Zhejiang folk songs is not confined to specific regions; as times change and society evolves, they have gradually integrated into contemporary art realms, becoming an essential part of national and local cultural heritage. Today, amid the diversification of popular culture, Zhejiang folk songs face the challenges of modernization and the struggle of preservation. Nevertheless, they remain a cultural symbol, carrying the memories and sentiments of traditional culture. This is not merely a testament to history but also a reflection of national emotions and artistic pursuits, deserving of in-depth study and preservation.

The Vocal Cycle “Machines Agricoles” As A Manifestation Of Darius Milhaud’s Creative Credo

ABSTRACT The purpose of this study was to identify the key aspects of Darius Milhaud’s creative credo through the lens of the vocal cycle “Machines agricoles”. The musical elements in the vocal cycle were investigated to analyse its composition. The study of Darius Milhaud’s work, including his vocal compositions, revealed the influence of historical events, cultural and social trends on his music, considering the context of the time. The study also covered the unique features of Milhaud’s creative style in this particular vocal cycle. Additionally, the socio-cultural aspects of the period were highlighted. The analysis of the vocal cycle “Machines agricoles” underscored its significance in the artistic context. Therewith, issues that cause differences in its interpretation were identified. Reflecting the interaction with the cultural context and personal feelings, this cycle is not only a piece of music, but the embodiment of a new understanding of human and nature. The analysis of the composition and aesthetic aspects of this cycle revealed the profound significance of Milhaud’s creative principle. This study opened new perspectives for understanding Milhaud’s creative legacy and contributed to a broader understanding of the art and cultural context of the time. The study of the vocal cycle “Machines agricoles” by D. Milhaud helped to expand the understanding of the composer’s creative heritage and his approach to composition. The study highlights Darius Milhaud’s unique musical techniques in vocal cycles, offering insights into his creative process. It underscores Milhaud’s significance in 20th-century music and his impact on musical culture.

Editorial for the special issue on "Prediction, Creativity, and Cultural Evolution in Music Cognition".

Music making across cultures arguably involves a blend of innovation and adherence to established norms. This integration allows listeners to recognise a range of innovative, surprising, and functional elements in music, while also associating them to a certain tradition or style. In this light, musical creativity may be seen to involve the novel recombination of shared elements and rules, which can in itself give rise to new cultural conventions. Put simply, future norms rely on past knowledge and present action; this holds for music as it does for other cultural domains. A key process permeating this temporal transition, with regards to both music making and music listening, is prediction. Recent findings suggest that as we listen to music, our brain is constantly generating predictions based on prior knowledge acquired in a given enculturation context. Those predictions, in turn, can shape our appraisal of the music, in a continual perception-action loop. This dynamic process of predicting and calibrating expectations may enable shared musical realities, that is, sets of norms that are transmitted, with some modification, either vertically between generations of a given musical culture, or horizontally between peers of the same or different cultures. As music transforms through cultural evolution, so do the predictive models in our minds and the expectancy they give rise to, influenced by cultural exposure and individual experience. Thus, creativity and prediction are both fundamental and complementary to the transmission of cultural systems, including music, across generations and societies. For these reasons, prediction, creativity and cultural evolution were the central themes in a symposium we organised in 2022. The symposium aimed to study their interplay from an interdisciplinary perspective, guided by contemporary theories and methodologies. This special issue compiles research discussed during or inspired by that symposium, concluding with potential directions for the field of music cognition in that spirit.

Rhythm, noise and action: decoding R.D. Burman’s soundtracks of Bombay cinema

ABSTRACT The sustained use of ‘Western’ style orchestration in Bombay film music can be attributed to the trajectory of two kinds of musical practices, one tethered to the leisure economies developed by the colonial rule from the 19th century onwards, and second, the robust and frequent presence of travelling jazz bands from the early twentieth century. As a period of intense transformation, the decade of the 1940s saw musicians from different parts of the subcontinent move to Bombay to find work in the film industry. This process often involved adapting to new performance contexts, genres and instruments. Studios in the Bombay film industry became fecund spaces where musicians and arrangers trained in Western classical music came in heady contact with the jazz men of Bombay’s nightclubss. Focusing on the late 1960s as another transitional moment, this article traces R.D. Burman’s affective encounters with these ‘mobile musicking bodies.’ Biographies of his key musicians give us detailed accounts of their training and involvement in diverse sites of musical performance, before they arrived in the Bombay film industry. This detour informs my analysis of R.D. Burman and his team’s innovative film scores, underlining vocal effects, side rhythms and inclusion of edgy off-key sounds. Moving away from a song-driven approach, I focus on title tracks, background scores and extended instrumental set-pieces of crime and action genres that are now getting recirculated on the internet by R.D. Burman’s fans. Through a methodology that will combine textual analysis, internet ethnography and close listening, the article will argue that these new soundscapes carried the inscriptions of global music cultures and ‘extra-musical’ noise.

Techno-feudalism or platform capitalism? Conceptualising the digital society

A number of popular commentaries in recent years have contended that the emergence of an advanced, platform-oriented digital economy marks the end of capitalism as such. This paper evaluates these claims from theorists such as Mckenzie Wark and Yannis Varoufakis. Ultimately the paper suggests that a more useful and plausible alternative to them is to be found in the Regulation School assertion that ‘platform capitalism’ constitutes a new ‘regime of accumulation’: a successor to ‘Fordism’ and ‘post-Fordism’. The paper explains the historical origins of this approach, arguing for its continued usefulness and its compatibility with important recent developments in institutional, technological and media sociology. It explains the compatibility of an approach characterising ‘platform capitalism’ as a new regime of accumulation with a range of other perspectives on both ‘platformization’ and contemporary capitalism, and discusses both recent changes to popular music culture and broad trends in populist politics in recent decades as exemplifying cultural, social and political features of platform capitalism.

“An Era More than Bleak”

AbstractFerenc Farkas, a remarkable twentieth-century Hungarian composer, was one of the most influential professors of composition throughout the history of the Liszt Academy of Music, Budapest. A less known chapter of his life is his involvement in the ethnicist and anti-Semitic political movements of Hungary, during the late 1930s and early 1940s. In 1940, he was among three musicians who elaborated a proposal to establish, in line with the rise of corporatism, a Hungarian Music Chamber. One of the main aims of the new organization would have been a total exclusion of Jewish musicians from all branches of Hungarian musical culture. The Chamber was never actually founded. In 1941, Farkas left Budapest for the Transylvanian city Kolozsvár (Cluj), where he was appointed professor of composition at the Conservatory. One of his first students was György Ligeti, a native Transylvanian, born into a Hungarian family suffering under the anti-Semitic legislation of the Hungarian state. As Ligeti recollected, Farkas “wanted to teach me everything he had learned from his teacher Ottorino Respighi.” Based on archival sources, this study offers new insights into the personal and professional connection between Ligeti and Farkas during the 1940s, and also follows Farkas's post-war path from relative isolation and marginalization to the elite of state socialist music culture.

Socio-Anthropological Analysis of Musical Characteristics and Contemporary Status of Naxi Chinese Folk Songs

Background and Aims: The musical heritage of the Naxi people, an ethnic minority in Yunnan Province, China, embodies a unique blend of traditional and contemporary influences, serving as a vivid example of cultural resilience. The aim is to analyze the socio-anthropological aspects of the musical characteristics and contemporary status of Naxi Chinese folk songs. Materials and Methods: A qualitative research approach was employed, integrating ethnographic fieldwork in Tacheng Township, Yulong Naxi Autonomous County, Lijiang City, Yunnan Province, China, semi-structured interviews with three key informants, and participant observation. The data were collected in Tacheng, a region known for its rich Naxi musical culture. This approach allowed for an in-depth exploration of the interactions between the Naxi community and their musical traditions, focusing on how cultural practices are transmitted, adapted, and sustained in contemporary settings. Results: The study revealed that Naxi folk songs, particularly the genre "Guqi," are not only artistic expressions but also crucial carriers of community memory and identity. Adaptation strategies such as incorporation into cultural festivals and modern media were observed. Challenges include a generational gap in the transmission of knowledge and the impact of economic development on traditional practices. Conclusion: Naxi folk songs demonstrate significant resilience through adaptation and continuity, reflecting broader themes of cultural sustainability and identity negotiation. Recommendations for enhancing youth engagement and leveraging digital media for cultural preservation are proposed to ensure the longevity of these musical traditions.

INCREASING THE EFFICIENCY OF MUSIC EDUCATION THE IMPORTANCE OF INTERDISCIPLINARY COMMUNICATION

In the article, the scientific-theoretical basis and possibilities of using the connection of subjects in music culture classes of general education schools are analyzed in connection with the specific structural features of music classes, and methodical recommendations are put forward.

Основные этапы и некоторые тенденции становления музыкального образования в Курской Мариинской женской гимназии

The article analyses the history and practice of music education in the Kursk Mariinsky women’s gymnasium, which at the beginning of the 20th century became one of the centres of the artistic life of the provincial centre. The three main stages in the formation of the system of female gymnasium education in Kursk are studied both from the perspective of introducing gymnasium girls to musical culture, and in the aspect of identifying the foundations and the process of forming the musical traditions of the educational institution— the predecessor of the modern Kursk State University. A historiographic analysis leads to the conclusion that the information about the musical upbringing and education of pupils of the Mariinsky gymnasium in Kursk is insignificant. Hence, the purpose of the study is to collect, systematize and analyse the main aspects of the musical training of the pupils of the Kursk Mariinsky women’s gymnasium. As a result of the research, three historical stages of musical training in the gymnasium were identified. The first stage is the formation of the spiritual and religious traditions of the women’s first-class pedagogical school (since 1861), the Kursk women’s gymnasium (since 1870), and the Mariinsky gymnasium (since its inclusion in the Department of Institutions of Empress Maria, since 1871). The second is the creation of a system of additional musical education for schoolgirls, which was the result of the arrival of A.M. Abaza in Kursk and the opening of Kursk music classes by him (since 1882). The activity of the outstanding musician led not only to the active professional training of performers on academic instruments and guitar, but also to the growth of vocal and choral skills in the city. It is also significant that the direction of the choirs was carried out by him on a gratuitous basis. The third period is the result of the traditions of the previous stages; it brought musical education and enlightenment to a new level with the acquisition of a new Mariinsky gymnasium building with an assembly hall, which today, already as the hall of the Kursk State University, is recognized as the best in the region in terms of acoustics for academic vocalists, which contributes to the preservation and strengthening of the traditions of the past in our day.

Роль виолончели в рок-музыке ХХ века

The focus of this article is the actualization of the cello in the rock music of the 20th century and further performance modifications associated with this instrument in the 21st century. The article examines changes in the design features of the instrument itself (electric cello), the birth of cello rock (Electric Light Orchestra) and the cello boom in rock music in the 1990s-2000s (Apocalyptica and other bands), and from this perspective, it touches upon some aspects of creative work and features of the performing manner of some rock group musicians. Particular attention is paid to the creative activity of the Balkan duo 2CELLOS. Having done a detailed historical and cultural review of this musical phenomenon, the author draws a conclusion about the organic inclusion of cello rock in the musical culture of the 20th — 21st centuries.

BODY LANGUAGE VOCABULARY IN ALBANIAN AS A PROOF OF AN ABUNDANT AND ANCIENT LANGUAGE!

The richness of language vocabulary is directly related to the personal culture of reading and educational background of the person belonging to a specific ethnic community, altogether with the tradition, customs and folklore, as factors of its historic cultural development. The historical development of an ethnicity plays a decisive role in the richness of words and the abundance of vocabulary for specific types and fields of cultures, such as the musical culture, the culture of fine arts, legal and institutional culture, culture of housing buildings, culture of healthy living, etc. The national conscience is related to the common language speaking and the cultivation of tradition, folklore and clothing by the people living in a common geographic territory. Their fights for survival and freedom, as well as the wars for defense of the territory has produced an abundant vocabulary up to details and stylistic varieties and a detailed description of the fighting tools and processes, such as struggle, fight, wars, call for freedom, on the other hand, but also is a lack of words and poorness of vocabulary related to the technical description of the manufactured products and merchandises coming from abroad. Depending on the cultural development of the institutions, the law enforcement and written rules regulating the rights and the responsibility for obeying the legal restrictions and prohibitions has produced a better legal and institutional culture in one country, rather than in an old fashioned organization of social life in countries of a specific stage of national development, where the legal institutions were perceived as strange and hostile originating by an occupying country or nation. These institutions were only accepted as temporary and people obeyed them only by coercion, unwillingly and due to the threat of use of force, in case of lack of obedience. The culture of reading newspapers and watching TV has influenced the richness of vocabulary by meeting new words of the literary, official and the international language, except for the vocabulary of the dialects in their native language.

Voicing Papua: The Resonance of Rituals

ABSTRACT Indonesia’s new music, alive in some parts of the archipelago from Sumatra in the west to Papua in the east, can be seen as a musical expression, both in verbal and abstract sound form, resulting from cultural refraction through individual composers. Nevertheless, the centre of attention for musical culture is still Java and Bali, two main islands in the cultural politics of the archipelago. Outside the two, new music works and sources of creation for the respective composers in several regions in Indonesia are still less noticed, even ignored. This article explores the new musical expression in Papua, the easternmost part of Indonesia, especially in works based on the so-called indigenous music but still using western musical precepts in a very selective way possible. By extracting or being inspired by various forms of ritual in the areas, a young woman composer named Septina Rosalina Layan shapes the very characteristics of Papuan new music and differentiates her works from those of new music composers from other parts of Indonesia. The approach in this narrative inquiry is based on several paths, namely tracing her endeavour in combining oral and written processes and her faithfulness towards oral traditions so rich in vocal music. This essay proves that the boldness of Papuan new music is an idiosyncratic reopening of the musical treasures from the ancestral past.

Thinking Space: four arguments for the ‘fixing’ of the Olympics in the Anthropocene

ABSTRACT It is impossible not to be affected at some level when watching, even just the highlights, the opening ceremony of the 2024 Olympics in Paris. The endorphin-pumping procession enrolled multiple music cultures, spectacular and theatrical light shows, and played to Paris’s sardonic historical relations and geographical strengths while generating a ‘spectacle’ that would be hard to match or forget (even if we wanted to). This truly was a city that gave itself up and delivered a spicy ‘full-court press’ for the Olympic imagination. However, closer to home, in the wake of the emerging controversies with the development cycle for the 2032 Brisbane Olympics and Paralympics and the cancellation of the 2026 Summer Commonwealth Games by the Victorian government due to projected cost overruns, we feel that more conversation should be occurring around what the Olympic model should be into the future. We offer four propositions or thinking points that are not necessarily new, but collectively suggest, a re-visioning in light of the realities of the poly crisis that looms. The propositions circle around a shift towards a fixed site for the Games.

Application of fuzzy control algorithm in music culture communication and teaching management

Application of fuzzy control algorithm in music culture communication and teaching management