Musical Culture Research Articles

Introduction to the inheritance and development of national music culture in the teaching of music education in colleges and universities in the Internet era

Abstract Ethnic music culture is a rare and precious artistic treasure in all national cultures, and the inheritance and promotion of ethnic music culture is an essential part of music education teaching in colleges and universities. This paper delves into the characteristics of the development and dissemination of ethnic music culture in the Internet era, with the aim of studying the integration of ethnic music culture into music education teaching in colleges and universities through the use of Internet technology. Through the collaborative filtering algorithm, students’ preferences for ethnic music works are mined so as to recommend accurate teaching resources for college students on the ethnic music online teaching platform constructed based on the collaborative filtering algorithm. In order to fully prove the effectiveness of the teaching platform designed in this paper, the rough set theory and neural network algorithm are used to construct the online teaching quality evaluation model for college ethnic music. The questionnaire survey method is used to study the status quo of ethnic music teaching in colleges and universities, and it is concluded that at present, there are problems in ethnic music teaching in colleges and universities, such as insufficient concepts of students learning ethnic music and insufficient attention to ethnic music in colleges and universities themselves. Through the analysis of the effect of the recommended algorithm, the design of the evaluation index system, and the practical application, the quantitative assessment value of the teaching quality of the ethnic music online teaching platform designed in this paper in the practical application is 92.11, which indicates that the comprehensive rating of the quality of the ethnic music online teaching in colleges and universities in this paper is excellent.

Ю. ШЕРЛИНГ. ОРАТОРИЯ «EXODUS TRIADA»: ОБРАЗНОЕ СОДЕРЖАНИЕ И КОМПОЗИЦИЯ

The article focuses on analysing the figurative content and composition of Yu. B. Scherling’s oratorio “Exodus Triada”. This work, the title of which appeals to the Old Testament book “Exodus”, raises one of the eternal themes in art — the theme of protest against violence, enslavement and humiliation of one people by another. The article analyses the verbal texts taken from different, sometimes opposite ideological sources (quotations from books of the Old Testament and philosophical works of F. Nietzsche), the role of the cast of performers (orchestra, choir, soloists), the genre, style and compositional features of the oratorio. Each of the three parts has its own title, referring to different historical periods (the Israelis in Egypt, the first Crusade, Nazi Germany), an independent programme motivating the selection of verbal texts, techniques of orchestral and choral expression. The musical and stylistic basis of the oratorio is characterised by a combination of folklore sources, allusions to Jewish folk musical culture with the author’s compositional techniques based on the experience of Western European musical culture of the second half of the XXth century (rhythmic intensity, speech singing, aleatorics, glissando in choral and orchestral parts, vertical dissonance). The general conclusion is that all means of musical and artistic expression contribute to the disclosure of the deeply human content of this work.

M.N. Zhirkov – the first researcher of the Yakut khomus: questions of origin, execution, existence

The article is devoted to a previously unexplored problem - M.N. Zhirkov's study of the Yakut khomus, the study of which he undertook for the first time in the history of Yakut musical culture. The author of this article summarizes for the first time the aspects posed by the researcher about the Yakut khomus. The subject of research is the scientific views of M.N. Zhirkov about the Yakut musical instrument - the khomus. The object of study is the scientific heritage of the first Yakut composer and an outstanding musical figure. The main results of our research are the following theses. At the beginning of the twentieth century, there was an increase in interest in traditional musical instruments and their performing practices. This statement is also relevant in relation to the Yakut khomus, which in modern conditions is experiencing its revival and active introduction into musical and cultural turnover. The article uses a retrospective and historical-comparative, as well as a comprehensive research method, in which the khomus is considered as an integral part of the traditional, and now wider, musical culture of the Yakuts, taking into account the data available today from archaeology, ethnography, and history. M.N. Zhirkov is presented as the first researcher of the Yakut khomus and as the composer and founder of the national school of composition. In the fundamental work "Yakut folk Music", published only after almost half a century after author's death (a new edition of this study dates back to 2022, made in an edition preserving the style and position of M.N. Zhirkov from the standpoint of the historical time when the famous scientific work was created), its author for the first time turned his gaze to the issues of the origin, existence, and functioning of the khomus in the traditional musical culture of the Yakuts. The materials presented by him have not previously been generalized in the scientific literature and are of great interest to modern researchers of the Yakut Khomus.

Wzorce i eksperymenty: struktury kompozycyjne w muzyce popularnej Japonii

This work is a study of Japan’s popular music and its theoretical aspects, as well as an analysis of the influence of jazz music on its development. It begins by defining Japanese music, then the history of music in Japan in the 20th century is outlined. Subsequent chapters are devoted to music theory, with particular emphasis on comparing the use of intervals and scales in Western and Japanese music. The work discusses the theory of Japanese scales, analyzing their structure and function in the context of modern Japanese music. The next chapter focuses on the popular music in Japan in the 21st century, while identifying its characteristic features. Special attention is given to the influence of jazz on the development of Japanese popular music and its presence in today’s musical culture. The final chapter compares mainstream popular music from Japan, Poland and the USA, showing the differences and similarities in styles, structure and use of musical elements. The paper ends with conclusions emphasizing the importance of understanding cultural and theoretical context in music research.

РАДЯНСЬКА ПОПУЛЯРНА МУЗИКА В 1960–1980-х рр.: ЗАГАЛЬНА ХАРАКТЕРИСТИКА Й ТЕНДЕНЦІЇ РОЗВИТКУ

The article is devoted to the development of Soviet popular music in the 1960s – 1980s. The author analyzed the song’s characteristics, identified the distinguishing features of the performer’s image and identified the main development trends. Internal and external influences on popular music are also highlighted. On the one hand, this is a factor of the penetration of Western pop culture, and on the other hand, the traditions formed under the influence of ideology within the USSR. For a long time, the official pop music was almost the only permitted option for musical creativity in the totalitarian system. It was characterized by a high level of performance skill and an orientation to the academic tradition, a predominance of a clear and refined melody, patriotic and intimate lyrics, as well as restraint and modesty of manners and a generally conservative image of the artist. At the same time, there was a search for new musical and textual forms, manifested in an appeal to more pronounced melodism, and artists’ experiments with their own style, when typical and strict clothes were replaced by bright and original outfits, the work of VIA was a vivid expression of this. As an alternative to the pop music, an amateur author’s song appears and develops. For the author’s song of the romantic direction, which arose during the period of Khrushchev’s liberalization, idealization of military achievements, travels and life trials, which were full of lyricism and light humor, was inherent in the romantic form; however, later, with the beginning of the collapse of the liberal course, the protest work of bards came to the fore – the themes of exposing cruelty began to dominate, irony and sarcasm appeared in the texts, and in some places the vocabulary was reduced. The image of a Soviet bard was formed – a poet-musician with a guitar. During Gorbachev’s socio-political transformations, the state, which used to be the main actor in musical culture, conceded its positions to young representatives of amateur creativity. That’s when disco and rock music become popular. Disco was characterized by an orientation towards rhythmic textures and themes of urban romances, while the manner and image of the performers were dominated by looseness and extravagance. Soviet rock was based on «big beat» and the social themes of the lyrics, and the artist’s style stood out for its simplicity and freedom. Pop music begins to depart from the formed tradition, adopting certain features of disco and even rock. More electronic music is appearing, lyrics are becoming less serious, expressing simpler meanings, and artists’ styles are becoming more casual.

The Two-Way Drive in Modern Informational Music Teaching and Traditional Music Culture Inheritance

Abstract This article explores the application of digital information technology in music education, especially in teaching traditional music. Taking the intersection of conventional music culture and applied teaching practice, the article utilizes advanced algorithmic techniques - Support Vector Machines and Apriori Association Rule Algorithm - to construct an innovative model of emotional cognition and stylistic categorization of traditional music. This model integrates standard music emotion cognition and style classification into modern informationized music teaching. To verify the model’s effectiveness, the researchers selected 500 pieces of traditional Chinese music as samples, trained and tested using the constructed model, and compared it with other algorithmic models. The test results show that the model outperforms BP neural networks and Linear neural networks regarding emotion perception. Specifically, the model shows efficient performance with mean square error (MSE) and correlation coefficient (CC) averages of 0.0099 and 90.50% on the test set, respectively. In addition, the model has the shortest processing time and is lower than the IM-Apriori algorithm regarding space consumption, showing its efficiency and resource-saving advantages. The model’s accuracy ranges from 75.23% to 90.06% in classifying traditional music. In summary, the model proposed in this paper improves the accuracy and efficiency of emotional cognition and style classification of conventional music and provides essential technical support for effectively integrating traditional music into modern informative music teaching.

The Application of Multiple Music Cultures in College Music Teaching in the Background of Internet

Abstract In advancing quality education, there is a pressing necessity to equip students in higher education with global perspectives and skills in intercultural communication. This study leverages the TSPCK knowledge transformation model to deliver an extensive exploration and application in the realms of goal orientation, content structuring, foundational learning, strategy deployment, and the execution of assessments within the framework of multicultural music education. The adaptive learning system’s learner model is meticulously crafted by assessing learners’ preliminary knowledge, evaluating their challenges with music knowledge, and estimating their overall knowledge proficiency, with validation conducted across six distinct datasets. Multicultural elements in college music education are strategically utilized to investigate their influence on students’ aesthetic interests and musical literacy. Empirical results indicate a residual mean score of 2.0501 for music aesthetic literacy within a multicultural context, suggesting that exposure to multicultural music education broadens students’ perspectives significantly. Furthermore, this educational approach encourages students to cultivate a deeper appreciation and respect for the nuances and commonalities across various cultures. Enhancing the quality of music education in tertiary institutions and promoting a profound understanding and proficiency in diverse music cultures are identified as pivotal elements in achieving these educational outcomes.

THEORETICAL FOUNDATIONS OF TEACHING MUSIC LITERACY IN ELEMENTARY SCHOOL STUDENTS OF GENERAL SECONDARY SCHOOL

This article presents the analysis of music education in the 20th and 21st centuries in the “Music culture” classes of primary secondary schools and the teachers’ and students’ involvement in the organization of music clubs. taking into account psychological and physiological aspects, purposeful use of interactive, interactive methods, composition of musical impressions and formation of necessary musical knowledge, skills, skills, competence, 34 hours of musical literacy or lessons in an orderly step-by-step manner , the order in which it should be passed, from simple to complex, ways and means of achieving musical literacy as a result of efficient use of time are shown.

Research on the Teaching Effect of Virtual Reality Technology in Simulating Ethnic Vocal Performance Environment

Abstract As an important part of Chinese culture, ethnic vocal music culture contains rich cultural and historical connotations and fully embodies the national spirit of a nation. As an important place of education, schools integrate traditional music culture into the school music curriculum. The dissemination of traditional music culture plays an important role in the inheritance. In this paper, we use 3D animation and 3D roaming to construct the virtual environment of the national vocal performance environment as well as the content of the music curriculum, adopting the concepts related to the classical scene to the contradictory space to realize the scene interaction. The DBSCAN algorithm is used to preprocess the vector data collected from geographic, remote sensing and topological vectors. Texture, lighting, and shadow effects are added to the scene rendering to enhance the realism of virtual reality interactions. Monte Carlo simulation is employed to denoise the generated virtual scene and optimize the environmental scene of ethnic vocal performance. Evaluating the effect of teaching use of the model, students’ motivation to learn ethnic vocal music was improved compared to the pre-test. The average difference between the pre and post-tests was 1.6102. The P-value of the sample test for each question item was 0, which is less than 0.05, indicating that students’ motivation to learn ethnic vocal music has undergone a significant change. In the teaching feedback, the number of students whose cognitive level of ethnic vocal music reaches level 2 or 3 is 148 in total, accounting for more than 90% of the total number of students, and the teaching of the simulated performance environment improves the student’s ability to feel and other abilities of ethnic vocal music to a certain extent.

Radio «Kultura» Music Content

Introduction. Radio “Kultura” is a producer of musical intentions, a translator of traditions and innovations in modern musical art. The musical content of the analyzed media is characterized by a multifaceted musical palette. Informing about musical events and processes, radio “Kultura” becomes a unique platform for the actualization of musical culture, public discussion of musical issues, formation of worldview orientations and musical requests of the audience. Relevance and aim of the research. The relevance of scientific research is determined by the absence of research into the musical content of radio “Kultura” in the modern scientific discourse. The aim of the articles is to analyze musical content radio “Kultura” in the focus of the problem-thematic paradigm and media consumption. Methodology. While carrying out the research, general philosophical and general scientific (theoretical, empirical) methods were used, in particular, the method of terminological and conceptual analysis, analysis of scientific literature, synthesis, induction and deduction, generalization, monitoring, content analysis, online surveys, statistical analysis. Results. It has been clarified definition the concept of “musical content”. The problem-thematic range of materials was analyzed. An online survey was conducted of reception the audience musical content of radio “Kultura”. Conclusions. Having analyzed the music content of radio “Kultura”, we identified the main thematic groups: news of the musical life of Ukraine, the most important events in the field of world music, stories about outstanding musical figures, musical genres and styles, trends in the music industry at the local and global levels, cultural and musical events, innovations, etc. In the analyzed media, the problems of the functioning and transformation of folk music, the connection of the author/performer with other participants of the musical ecosystem, pricing in the industry, age and gender discrimination in show business, music piracy, etc. are actualized. The results of the survey state that the respondents choose radio “Kultura” consciously and rationally, taking into account the quality of the musical content, the reputation of the media, and thematic priorities. Musical content partially meets their informational expectations.

Роль сценической практики в обучении студентов-вокалистов

The analysis of the professional training of vocal students reveals the role of stage practice in the educational process of the University of Arts as the leading one that determines the professional portrait of a graduate. The study determined that the professional training of vocal students should be personalized, since the performer embodies a set of individual personal characteristics and creative abilities, in solving problematic issues of which vocal stage practice plays a key role. The artistic and pedagogical space of stage practice can provide special conditions for the development of creative and personal abilities of students, in which the task of music education changes, namely, the individual is centralized as a co-author of the reproduced musical notation. The professional education of future vocalists is a complex process due to the multifaceted nature of educational activities, in which the foundations of folk musical culture, literature, musical literacy, solo chamber and opera performance, and stage practice are closely intertwined.

"Noise and Fury Signifying Nothing": Music, Sound, and Class in Covent Garden

Abstract: In the mid-eighteenth century, Covent Garden played host to a variety of different types and classes of people. It was the site of the Theatre Royal, Covent Garden, the Shakespeare's Head tavern, and numerous brothels. It also included the residences and shops of famed writers and artists. Yet despite its reputation as a meeting place for all ranks, the square had clear class divisions between those who lived in the fashionable houses on the northern side and the working people of the street market further south. This essay examines the different sonic territories within Covent Garden and how they were marked by gender and class. Starting with sites of musical performance, I propose that music can tell us much about the aural experiences of the time. An examination of maps and images of the market illustrates how sound helped to reproduce and reinforce elite attitudes toward lower-class people. Music also relegated women to certain roles within that environment and tells us much about attitudes toward female labor. Finally, the history of musical culture in Covent Garden Market demonstrates how permeable class boundaries could be even when there was an interest in resisting change and upholding a strict class hierarchy.

Features of metaphors in song discourse based on the texts of rock musicians

This article is devoted to the study of some linguistic and stylistic features of the English and Russian-language song discourse. The study is based on examples taken from the rock band songs. The lyrics of the songs were analyzed for the use of such a linguistic means of expression as metaphor. Research has shown that both Russian and English-speaking authors often use this linguo-stylistic means of expressiveness during the writing of their musical works to give euphony, a special expressive coloring and to convey their emotional state. It was revealed that song lyrics are an important element of musical culture and can convey to listeners not only musical, but also socio-political and philosophical ideas, while using various metaphorical constructions to give a vivid image. The article considers the impact on the imagination, emotions of the Russian and English-speaking listener through the use of metaphor and how this linguistic means draws attention to a certain feature of the described phenomenon and reflects the author’s attitude to the text.

ФОРТЕПИАННЫЙ КОНЦЕРТ ЧУ ВАНХУА «МОЯ РОДИНА»: СПЕЦИФИКА ПРЕЛОМЛЕНИЯ ИММАНЕНТНЫХ СВОЙСТВ ЖАНРА

The article analyses the piano concerto “My Homeland” by the Chinese composer Chu Wanghua, written under the impression of the war film “The Battle on Shangganling Mountain” (1956). The work is based on the song “My Homeland”, which is very popular among the Chinese people. In the Concerto, the composer turns to a generalized programme, which, as revealed in analysing the composition, is directly related to the plot of the film. Based on the immanent properties of the concerto genre, Chu Wanghua presents the listener with its nonstandard interpretation. As the initial form, Chu Wanghua chooses free variations, a structure typical to the Chinese national tradition, interpreting them in accordance with the musical content of the work. The Concerto reveals the features of the sonata cycle and the sonata allegro in the role of the supporting form. At the same time, the work bears the signs of a suite, a genre widely spread in Chinese musical culture. Masterfully owning the compositional technique, Chu Wanghua implements in the Concerto such immanent features of the genre as game logic, virtuosity, competitiveness, concertising, improvisation, which are presented in the work with varying degrees of intensity. According to the concept, “My Homeland” can be attributed to a synthetic type, where virtuosity and the desire for symphonisation are equally represented. In terms of composition, the Concerto is an atypical form, but rather approaches the concertina in scale (the composition sounds about fifteen minutes). According to the principle of the performing parts ratio, the Concerto belongs to the parity type.

«Поэма экстаза» А. Н. Скрябина: феномен героя на вершине экзальтации культуры

This article attempts to trace the evolution of the image of Scriabin’s hero. An important stage in this process is "Poem of Ecstasy" for a large symphony orchestra, the first single-movement symphony-poem by Alexander Scriabin. The article highlights the trend of increasing emotional elements in the musical culture of Western Europe, starting from the turn of the 16th — 17th centuries, up to the beginning of the 20th century, culminating in a type of exaltation, i. e. highest emotional saturation. In this research perspective, the thesis is revealed: culture "exalts", and Scriabin’s hero rejoices in ecstasy. The scientific narrative touches upon the genre of the poem itself, and examines the origins of the formation of the image of Scriabin’s symbolist hero — the human creator. The special features of the metaphorical world of Scriabin’s creativity are revealed, their connection with traditional romantic motifs of Western European musical art is emphasized, as well as their further significant divergence from romantic musical and aesthetic attitudes.

Учебная дисциплина «Народная музыкальная культура» в системе среднего профессионального образования: проблемы и перспективы

Folk musical culture is one of the significant disciplines in the system of secondary vocational education, which does not enjoy any academic or methodological support in the present day. The article discusses the key problems associated with the implementation of this training course, such as the lack of modern teaching manuals and compilations of demonstration material, and most importantly, the currently outdated methodological approach, according to which folk musical culture is regarded as a summation of folklore texts. The author substantiates the relevance of developing a different — namely, a culturological — approach to the study of the discipline, which would ensure the perception of its object as an integral multidimensional phenomenon. For the implementation of this initiative, a thematic plan is proposed, drawn up on the basis of the author’s own teaching experience within the framework of the teaching load, which is provided for by the current educational standards. As it was being formed, the requests and interests of students were taken into account, identified as a result of a sociological survey of students at the Kaluga S. I. Taneyev Regional Music College. In conclusion, means of solving the problem of educational and methodological support are determined with a focus on the capabilities of the modern digital educational environment.

THE ROLE OF SELECTIVE EDUCATIONAL COMPONENTS OF THE PROFESSIONAL DIRECTION IN THE TRAINING OF THE FUTURE TEACHER OF MUSIC ART FOR THE FORMATION OF NATIONAL SELF-AWARENESS OF PUPILS

The research focuses on the role of selective educational components of the professional direction in the training of the future teacher of music art for the formation of national self-awareness of pupils. It has been found that today the problem of forming national self-awareness goes into the plane of the feeling of inner freedom of a Ukrainian and the desire to defend the interests of the state in the political, economic and cultural sense directly, taking part in it, demonstrating the active position of a citizen, a patriot. It has been emphasized that the special responsibility for the education of the young generation is the charge of the teacher of music art, who is able to effectively form the national self-awareness of pupils by means of Ukrainian musical culture, influencing not only the intellectual, but also the emotional sphere of the personality. The role of the teacher of music art as a translator of the national cultural heritage of the people in the conditions of school practice becomes an important link in the formation of pupils’ national self-awareness. It is during this period of schooling that the pupil’s ability to self-assert own personality is formed, therefore it is very important that in the process of perceiving the best examples of Ukrainian opera music, they should be able to critically evaluate historical events, identify themselves with people-images, “try on” the roles embodied in the plot lines of works that force them to realize faith in their nation and pride in it in real life. The analysis of psychological-pedagogical literature provides grounds for determining the training of the future teacher of music art for the formation of the national self-awareness of pupils by means of selective educational components of the professional direction as an integral process that includes a persistent desire for work, the presence of knowledge, abilities, skills related to the experience of cultural heritage of the Ukrainian people (songs, rituals, works of Ukrainian classical composers, etc.).

История музыкальной культуры дореволюционной Кяхты в новой книге М. А. Белокрыса

The monograph of M.A. Belokrys “Music life of provincial Russian town as phenomenon of cultural heritage (Eastern Siberia, Kyakhta, XVIII - early XX century)” has been reviewed (Omsk, OmSU Publisher, 2023, 200 p.). It's pointed out that in edition mentioned above the author could widely represent the set of methods and approaches that are appropriate for historic and cultural literature and these ones are used while working on stated issue. The musical life of prerevolution Kyakhta has been seen in various forms and aspects (from home musical education, singing choirs, amateur orchestra till touring-concert activity of coming musicians, musical clubs and other cultural and educational associations). The correlation between economic development of Kyakhta and its condition of musical life has been made. General and particular features in generation and development of musical culture of Kyakhta in comparison with other urban settlements of Eastern Siberia in prerevolution period have been found out.

О СПЕЦИФИКЕ ПОНЯТИЯ «КИТАЙСКАЯ ФОРТЕПИАННАЯ ШКОЛА»

The article is devoted to one of the most important phenomena of Chinese musical culture — the formation of the Chinese performing and pedagogical piano school in the projection of cultural dialogue. The study of this phenomenon requires a historical and theoretical underintercultural dialogue. The purpose of the study is to provide a musicological understanding of the essence of the concept of “Chinese piano school”. The object of the research is Chinese piano art. The subject of the research is the process of formation of the Chinese piano school in the context of cultural dialogue. The concept of the “piano performing school” in Chinese musical culture and its specificity, which was the result of cultural and artistic exchanges between Chinese and Western pianists, the study of the achievements of Western European piano schools and active interaction with them, will be examined for the first time in musicology. The author identifies and systematises three components of the concept of “Chinese piano school” (as a direction in the national musical art; as a creative team; as a methodological system), and also outlines the most significant achievements in the pedagogical and methodological training of professional performers. The results of the study can be used in teaching courses on the history of piano performance and methods of teaching piano playing.

Exploration of Digital Inheritance Ideas of Chinese Traditional Music Culture in the Information Age

Abstract In the era of information technology, with the deepening of cultural heritage protection, the importance of digital technology intervention in traditional art and culture for protection and inheritance has become more significant, and the digital inheritance of Chinese traditional music culture has also received widespread attention. In this paper, we first preprocess the traditional music signal and extract the Meier multifrequency coefficients, then use the feature as the input of the deep confidence network, and then keep tuning the parameter training to get the optimal network model, and finally utilize the obtained optimal model to recognize the traditional music. Based on this basis, this paper focuses on the concept of the digital heritage of Chinese traditional music culture through three steps: recognition, processing, display, and dissemination. We also designed and developed a Chinese traditional music culture APP for Chinese traditional music lovers and inheritors and examined the effect and performance of the APP application based on the music recognition model in this paper. The modeling methods proposed in this paper meet the usage requirements by having accuracy rates above 90%. 73.25% of the audience expressed satisfaction and very satisfaction with the overall application effect of the Chinese traditional music APP. In this paper, the Chinese traditional music digital APP proposes an effective means of communication for the solution of digital inheritance and also provides a realizable path for the digital inheritance of Chinese traditional music culture.