Musical Drama Research Articles

Estreno absoluto: Concert Version of Felipe Pedrell’s La Celestina (1902) in Madrid’s Teatro de la Zarzuela (2022)

<i>Estreno absoluto</i>: Concert Version of Felipe Pedrell’s <i>La Celestina</i> (1902) in Madrid’s Teatro de la Zarzuela (2022)

만 5세 유아의 자유놀이에서 나타난 노래 만들기의 양상

Objectives This study observed the musical expression and musical play of 5-year-old children in free play, and examined the genre of songs and the aspects of song-making in the process.&#x0D; Methods The researcher was participatory observation 16 5-year-old children from A daycare center located in D city for about 6 months from March to August 2021. Data were collected through video recording and recording of the process of making songs spontaneously appearing in children's free play, and data such as teacher's observation diary and researcher's diary were additionally collected and analyzed.&#x0D; Results First, song-making in the free play of 5-year-olds started with various genres of music, and appeared as trot singing, changing the words of a song while singing a cartoon theme, and making a new song with a nursery rhyme. Second, the aspects of children's voluntary song-making were expressed by expressing rhythm, playing scales with melodic instruments, and changing the words of the song, and they made Bora class battle cry, our class songs, and welcome songs.&#x0D; Conclusions This suggests that educational support for the provision and utilization of various music genres is necessary for young children's creative music-making experience, and music utilizing musical elements such as rhythm, melody, tone, and form to develop musical expression and cognitive ability. It suggests that there is a need to actively provide activities. In addition, it suggests that teachers should be sensitive to children's active musical expressions and reactions, focus on children's creativity in musical activities, and pay attention to new music created by children.

Promotion of Creative Development of Early Childhood Learners: ECE Teachers’ Perspective on How in Atebubu Amantin Municipal

The aim of the study sought to examine the impact of teacher’s creativity on the creative development of early childhood learners. In providing a clear justification to the purpose of the study, the qualitative research approach and the case study as the research design. The target population for the study was all the lower primary teachers in Early Childhood Development Model in Atebubu (ECD). The census was used as the sampling technique due to the relatively small number of the participants. Ideally, the semi-structured interview was used as the instrument for the study. The study found that Intellectual risk-taking, brainstorming, teachers’ narrative and dramatization activities promote learners’ creative abilities and development. The study concluded that teachers creating spaces for play, giving students access to time ask questions and providing learners active environment that are resource-rich, and supporting musical play in the classroom promote learners’ creative abilities. The study recommended that providing teachers with opportunities to improve their creativity via continuing professional development is an important step in enhancing their understanding of the benefits of creativity in the classroom and assisting them in becoming more creative educators.

Таджикская национальная композиторская школа: этап восстановления и определения путей развития

The aim of the research is to comprehend the cause-and-effect relationships and formulate conclusions about the prospects for the development of the Tajik national composer school. The paper presents the most difficult stage in the history of the Tajik national composer school, which was mainly due to the circumstances external to it, i.e. getting into the epicenter of the upheavals that engulfed the post-Soviet cultural space in the late XX century. It is determined that a balance of two types of musical professionalism – oral (traditional) and written (a composer’s) – is necessary for the development of the system of Tajik national musical culture. As a result of the research, it has been concluded that the full functioning of the Tajik national composer school requires the development of several areas in its activities: democratic genres (song genre, popular genre, musical drama), compositions for the orchestra of folk instruments, academic music. The main features of the Mongolian musical drama have been identified: direct continuity in the sphere of national traditions associated with the performing arts; reliance on folk melodiousness; position between two types of musical thinking – monodic and polyphonic.

From Landscapes to Projection Drama

From Landscapes to Projection Drama

Human–Robot Collaboration Using Sequential-Recurrent-Convolution-Network-Based Dynamic Face Emotion and Wireless Speech Command Recognitions

The proposed sequential recurrent convolution network (SRCN) includes two parts: one convolution neural network (CNN) and a sequence of long short-term memory (LSTM) models. The CNN is to achieve the feature vector of face emotion or speech command. Then, a sequence of LSTM models with the shared weight reflects a sequence of inputs provided by a (pre-trained) CNN with a sequence of input sub-images or spectrograms corresponding to face emotion and speech command, respectively. Simply put, one SRCN for dynamic face emotion recognition (SRCN-DFER) and another SRCN for wireless speech command recognition (SRCN-WSCR) are developed. The proposed approach not only effectively tackles the recognitions of dynamic mapping of face emotion and speech command with average generalized recognition rate of 98% and 96.7% but also prevents the overfitting problem in a noisy environment. The comparisons among mono and stereo visions, Deep CNN, and ResNet50 confirm the superiority of the proposed SRCN-DFER. The comparisons among SRCN-WSCR with noise-free data, SRCN-WSCR with noisy data, and multiclass support vector machine validate its robustness. Finally, the human-robot collaboration (HRC) using our developed omnidirectional service robot, including human and face detections, trajectory tracking by the previously designed adaptive stratified finite-time saturated control, face emotion and speech command recognitions, and music play, validates the effectiveness, feasibility, and robustness of the proposed method.

The Afterlife of an Unfinished Musical Play: Géza Csáth’s and Tamás Fodor’s Zách Klára

The name of Klára Zách is commonly associated by Hungarian readers with the ballad of János Arany or perhaps with Képes Krónika [Illustrated Chronicle], but not with Géza Csáth. The eponymous one-act musical play, composed of ten scenes, is one of Géza Csáth’s lesser-known works since it remained unpublished for decades. Although discovered in the 1960s and published by Zoltán Dér in Csáth’s selected works, Ismeretlen házban [In an Unknown House], the libretto of Zách Klára has never been adapted for the stage due to the lack of its musical parts. However, it is surprising that the screenplay of Tamás Fodor’s reinterpretation of the play in 1996 was included in Csáth’s collected theatrical works edited by Mihály Szajbély in the same year. Fodor’s adaptation of Zách Klára incorporates various texts of Csáth in addition to the original work. In this paper, I explore the transformative nature of Fodor’s text and analyse the intertextual connections between the two works by Csáth.

A Study on the Development of Music Drama Unit in Elementary School Based on Backward Design

A Study on the Development of Music Drama Unit in Elementary School Based on Backward Design

Mechanical and Structural Artefacts Used in “The Mystery of Elche”

In the city of Elche, every year, on the 14th and 15th of August, a sacred musical play about the death, the Assumption and the Coronation of the Virgin Mary is held. This event, known as the “Misterio de Elche”, is unique in the world. Since the middle of the 15th century it has been performed in the Basilica of Santa Maria and in the streets of the ancient city of Elche, located in the Valencian Community. In this work, classified as a UNESCO World Heritage Site, the interior of the temple is transformed into 2 main stages, the scaffold, located in the lower part, and the aerial stage, located in the dome at a height of 27 m. The structure and the traction mechanisms located on the aerial stage allow the aerial devices that take part in the play, “El Araceli”, “La Mangrana” and “La Santísima Trinidad”, to be raised and lowered. It should be noted that between 2 and 5 singing actors are embarked on these devices. This article describes the main characteristics of the aerial stage structure, the 3 apparatus and the mechanical systems used. In addition, the age and modifications of “El Araceli” are analysed, as well as the results of a non-destructive test carried out on this device.

«Othello» G. Verdi – A. Boito as a game of chess

«Othello» G. Verdi – A. Boito as a game of chess

REDUCING LUPUS PATIENTS' HOPELESSNESS THROUGH BEAUTY CLASS IN MALANG CITY IN HONOR OF WORLD LUPUS DAY

Lupus is a systemic autoimmune rheumatic disease with mild to severe clinical features and can lead to hopelessness if not treated properly. The purpose of this activity is to give a beauty class and see how it affects the hopelessness of lupus patients in honor of World Lupus Day. Methods: Organizing World Lupus Day activities such as experts seminars on lupus at a glance, being friendly with lupus, and staying beautiful with lupus; a musical drama and dance performance by a lupus support group with the theme “You Are Beautiful”; and a lupus beauty class. The activity was completed in one day in May 2018 by collecting pre-test and post-test data on the incidence of hopelessness in lupus patients using the Beck Hopelessness Scale (BHS). A total of 100 lupus patients participated in the activity, and all of them underwent pre- and post-testing. The Wilcoxon Signed Rank Test with α=0.05 was used to analyze the collected data. Results: All participants expressed delight and satisfaction with their participation in this activity. The mean BHS scores before and after the beauty class were 8.62+2.68 and 6.36+1.59, respectively, with a significant difference (p=0.000). Conclusion: Beauty class is a fun way for lupus patients to feel less hopeless about their illness. Every year, an activity to commemorate World Lupus Day is required, which is beneficial for lupus patients.

'Making-With' in Music Education

Music making is a general term used in music education that has little specificity, it could mean a tool for cognitive development, a performance of musical mastery, a site for discrete skill building, or in the case of the author, improvisatory music play.

The Role Music Plays in the Lives of Pre-School Children in the Offinso Municipality

The study sought to investigate the role of music in the lives of pre-school children in the Offinso Municipality and also examines how children respond to music within the pre-school learning environment. To arrive at a detailed description and identify pre-school musical experiences that will nurture their musical potential and also to observe and outline children’s actions and responses when they engage or participate in musical activities in pre-school learning environment, the researcher adopted a qualitative method approach in a conjunction with interpretivists’ paradigm and implemented the case study research strategy. The instruments used were interviews and observation. The study revealed that Children learn language structure, word formation, pronunciation, grammar, meaning, and usage of the words in the songs that they sing. Music is used for enrichment, enjoyment, self-esteem, language development, or for teaching other subjects. Children are natural musicians, and exposure to music during the early years enhances the learning process by promoting language development, creativity, coordination, and social interaction. There is a need to develop the early childhood music programme from the following perspectives; self-selected activities, opportunities for individual and small-group interaction, and developmentally and educationally sound musical activities.

Obrazy dziecięcej zabawy (z) muzyką w wypowiedziach pokolenia pięćdziesięciolatków – kontekst kulturowy i pedagogiczny muzycznej zabawy

Musical play is one of the forms of children’s activity. You can indicate its values, define goals and functions. It is a type of activity that a child undertakes voluntarily. In history, the approach of adults to children’s play has been different, but in the last century it has been noticed that through play / play, it is easier for a younger child to learn about the world and reality, and the knowledge thus acquired is more permanent. I was interested in what images of children’s musical games was remembered by adults from the 50-year-old generation who lived their childhood in conditions other than modern children. The text is an attempt to describe their experiences and place them in a pedagogical and cultural context.

The Expression of Music in the Theatre

Sangam Tamil consists of three major parts viz., Poetry, Music, and Drama. This is something that no other language in the world has. Hence, Tamil can also be called Muthamizh (The three kinds of literature in Tamil). Drama, along with music, has been developing gradually since time immemorial. Theatrical music is a mirror of worldly events. The literature also makes it clear that the Tamils excelled in art and culture. Therefore, on the basis of literary references, Poetic Tamil, Music Tamil, and Drama Tamil are the three Tamils that make history in many aspects. This approach seeks to explain from a variety of perspectives the work done by Thavathiru Sankaradas Swamigal on Musical Drama Text, mention of literary dramas such as play and dance, and his contribution to Tamil music and drama.

Ethnic mobilities and representations in Rose-Marie on stage and screen

This article interrogates representations of ethnicity in the long-lived musical play Rose-Marie from 1924, with music by Rudolf Friml and Herbert Stothart, book by Otto Harbach, and lyrics by Harbach and Oscar Hammerstein II, and its subsequent MGM film adaptations in 1936 and 1954. The story is set in Canada, and images of Indigenous people include white-created tropes of children of nature, vicious savages and drunkards. These views are manifested aurally through Indianist musical tropes of the time, and are especially evident in ‘Indian Love Call’ and ‘Totem-Tom-Tom’. Whiteness is performed opposite portrayals of Indigenous people that range from the ‘noble savage’ of the famous ‘Indian Love Call’ to Wanda, a First Nations woman characterized as violent and over-sexualized in the 1924 and 1954 versions. Friml’s multifarious score includes recognizable Indianist tropes of the time as well as quintessential operetta and musical comedy fare, thus musicalizing cultural differences through established Eurocentric means. In Rose-Marie, the title character’s mobile ethnicity shifts from being presumably French-born French Canadian in the original to English Canadian in the 1936 film (starring Jeanette MacDonald) and French Canadian in the 1954 version (starring Ann Blyth). Although Rose-Marie and Wanda behave in similar ways, Rose-Marie’s singing whiteness allows her to become a romantic lead, whereas Wanda, whose dance-dominated performance mode emphasizes a sensual physicality, is vilified because of her ethnic heritage.

Symphony Features in The Ukrainian Quintet by Borys Liatoshynsky

The paper analyses the features of a symphony style inThe Ukrainian Quintet by Borys Liatoshynsky, finding that the most researchers consider this work to be a symphony written for string quartet and piano. The grounds for this statement lie in the ideological depth of the dramatic concept of the tragic conflict in The Quintet, the scale of thematic transformations, the introduction of monothematism as the basic principle of composition, the use of semantic, genre, modal, melodic and intonation, as well as tonal and harmonic symbolism. The introduction of symphonism as the main method of building the concept led to a more ambitious interpretation of the chamber quintet genre. The author highlights the important role of polyphony in the creation of a multifaceted musical space at different levels of composition—from content, form creating, genre specificity to texture, rhythmic, melodic, and timbre development. Thus, the study dwells on the manifestations of symphonism in the musical drama of The Ukrainian Quintet.

Ukrainian Theatre: With and Without Stanislavski

The paper attempts to reconstruct the principles of leading theatre schools of Ukraine in the 19th–20th centuries, the stages of implementation of Stanislavski’s ideas, of the aesthetics of his theatre, and his method in the Ukrainian theatrical culture. Despite the myths that since the very beginning of the Soviet rule total adherence to Stanislavski’ssystem and his method was imposed, the paper reveals no less dramatic though different theatre history and the point of no return: August 22nd, 1950, when the campaign for the advanced and the in-depth study of the System by Ukrainian theatre and Ukrainian theatre pedagogy started. Despite the vast media campaign, the study of the System and the practice ofstage art differed significantly: since the 1960s the System was taught by the masters who had some other basic education than theatrical. Thus, depending from this education and being rooted in some other methodology, these mentors distinguished the elements and techniques applicable to their personal experience within the System: for instance, the disciples of Les Kurbas (Mykhailo Verkhatskyi, Marian Krushelnytskyi, Volodymyr Skliarenko, and others) and Vsevolod Meyerhold (Volodymyr Nelli) predictably accentuated the method of physical action. The repertoire policy of Soviet authorities in Ukraine in general and in Ukrainian theaters, in particular, featured a combination of dominant music drama theaters and the traditions of the theatre schools of the 19th century (with the theatre school of Ukrainian Galicia tending to a synthetic actor, while the rest of Ukraine clearly preferred “gut acting”). This produced the acting styles that go beyond both the categories of Stanislavski (theatre of imitation / theatre of feeling) and the categories of Kurbas (theatre of accentuated influence / manifestation) or other masters. Being neither synthesis nor eclecticism, these styles were determined by the traits of a particular theatre director and the traditions of his theatre.

Implementation of Richard Wagner’s Ideas in Cinematography: Music as an Important Component of the Screen Work

The paper raises a number of issues regarding the synthesis of art, its implementation in cinematography, and the role of music in these processes. The importance of combining music with other forms of art was substantiated by Richard Wagner in his theoretical works. He also used these ideas in his composing practice, in particular for creating music dramas that later changed the perception of the possible influence of the synthesis of arts on the audience. The synthesis of music with the other forms of art developed, and, at present, it often becomes the foundation of composers’ creativity: it enables increasing the level of intercultural communication, promotes the emergence of new genres, styles, and trends in art, creates conditions for updating compositional techniques, contributes to increasing the audience of mass art events. The role of music is also crucial in cinematography, which as a synthetic form of art incorporates many ideas about the interaction of arts articulated by the German composer. It is not a coincidence that R. Wagner’s music is actively used in cinematography as a powerful structuring component for the realization of the director’sidea. As a result of the study, the ideas of the interaction of different forms of art were outlined, as well as their impact on the audience and the role of music in this process, previously publicized by R. Wagner and implemented in his works, and later on in the practice of cinematography. The music by the German composer features prominently in the practice of interaction between the visuals and the musical component in filmmaking because by its nature it corresponds with many functions of music in cinema, has a high level of emotional and sensual expressiveness, and emotionally reinforces the visuals of the screen work. Cinematography as a synthetic form of art goes in line with R. Wagner’sideas about the unity of art forms and, at the same time, with the needs of 19th–20th-century society that are still relevant today. Characteristic features of cinema—spectacularity, scale, prolongation in time-space coordinates, ability to express the idea of myth-making and its embodiment in perfect visual forms—enable using the unity of music and visuals in the overall dramaturgy of the film.

Round Table: A ‘Musical League of Nations’? Music Institutions and the Politics of Internationalism between the Wars

This round table grew out of two gatherings in 2018–19 that endeavoured to bring musicologists into dialogue with recent revisions in the history of international relations.1 Our specific focus was the interwar period, more often discussed in terms of nationalism – or perhaps at best transnationalism – than within the context of internationalism, a principle that lay behind the foundation of elite governmental organizations such as the League of Nations, the United Nations, the World Health Organization, the International Labour Organization and others. As the historians Glenda Sluga and Patricia Clavin have shown, the construction of objects of global governance by these organizations ran alongside a broader sweep of non-governmental groupings that forwarded the interests of indigenous, working-class, anti-colonialist, anti-slavery and feminist causes.2 What role or roles did music play in these contexts? The case studies that follow illustrate the far-reaching implications of internationalist policies for musical institutions, groups and individuals.