Musical Terms Research Articles

Gatekeeping and fence-making: Themes and discourses of musicianship in UK music therapy training

Music therapy pedagogy remains under-researched in the United Kingdom, with much pedagogic knowledge held implicitly by experienced trainers and supervisors. Musical training requirements are further under-theorised, emphasising a ‘high degree of musicianship’ as a single criterion while leaving unclear how musical and therapeutic identities are integrated within the Music Therapist/musician. This article presents findings from interviews with five experienced UK trainers carried out in 2017–2018. Interviews were analysed from two perspectives: a thematic analysis identified trainers’ views on what ‘being a Music Therapist’ means in musical terms, while a discourse analysis helped show how trainers position music therapy in relation to musicianship more generally. Findings suggest trainers understand musicianship in music therapy as a combination of distinct musicianship characteristics, where exceptional achievement in one does not make up for lack in another. Trainers’ assessments of competence across these characteristics not only act to identify suitable candidates for training (gatekeeping) but also discursively construct the practice of music therapy itself and distinguish it from other musical practices (fence-making). The UK music therapy training context has developed rapidly since these data were collected. Nevertheless, this study gives an account of recent pedagogic thinking on musicianship which remains relevant to current music therapy training.

The use of an interactive whiteboard in solfeggio teaching

This paper explores the application of digital technology, that is, interactive whiteboards, in solfeggio lessons. Digital technology, such as computers and interactive whiteboards, is gradually becoming part of the classroom, both in general education and music schools. In addition to traditional teaching tools (blackboard, chalk/markers, piano, and printed textbooks), computer programs and web applications can be beneficial complements to solfeggio lessons. The music classroom for teaching solfeggio is a great place where interactive whiteboards can be integrated. However, to effectively implement any form of digital technology in solfeggio, the teacher must be competent, IT-literate, know basic musical terms in English, and be receptive to the modern possibilities offered by technology. The aim of this paper is to demonstrate the possibility of using an interactive whiteboard in solfeggio teaching. Employing a descriptive methodology, the study entailed the application of the interactive whiteboard for certain classroom activities while covering topics in solfeggio such as intonation, music dictation, and theoretical musical concepts. The research revealed that the interactive whiteboard can primarily function as a conventional whiteboard without its multimedia capabilities, allowing the written content to be preserved. In addition, interactive whiteboards have numerous advantages when utilized for singing musical examples, writing musical dictations, and practicing theoretical musical content.

특수교육 기본 교육과정 변천에 따른 시기별 음악 교육과정의 내용 및 초등학교 음악 교과서 분석

Objectives This study aims to analyze the changes in the content of music education from the first curriculum of special education to the latest curriculum and provide the characteristics and implications of music textbooks by each period.
 Methods The analysis of music curriculums was focused on the composition of curriculum documents and the changes in content; 11 music textbooks were analyzed from the perspectives of “music area and activity,” and “musical concept and element.” For music area and activity, the ratios of music area and activity type were ana-lyzed, and for musical concept and element, learning content and the grade hierarchy of learning content were analyzed.
 Results The content and content composition of music curriculums have been organized the same as those of the general curriculums since the 2011 curriculum. Music element was suggested with a focus on “sound” in the 2008 and 2011 curriculums, but it was mostly replaced with musical terms in the 2015 and 2022 curriculums. First, in the textbook analysis for the ratio of music areas, the area of “appreciation” was the highest in the 2008 and 2011 music textbooks and the area of “singing” was the highest in 2015 music textbook. When it comes to the ratio of activity types, the activity related to “sound” was the highest across the areas of singing, instrument, and appreciation in the 2008 music textbook. In the 2011 and 2015 music textbooks, activity related to “musical concept and element” was the highest. In the area of creation, two activities, “making sounds” and “changing lyrics,” were most frequently observed. In the area of daily life, the activity of “play” was the highest across all the textbooks. Second, the results of analyzing the musical concept and element showed that the level of the 2008 music textbook was similar to the lower grades of other textbooks, and the 2011 and 2015 music textbooks had a similar level of learning contents on “rhythm, form, tempo, and dynamic”. On the other hand, in terms of “melody” and “timbre,” association and hierarchy between grades had no distinct differences, and “harmony” was not sug-gested in most of the textbooks. In activities related to the characteristics of sound, instructional errors were found in the association with musical concepts.
 Conclusions The scope and level of music education content in special schools need to be improved; simulta-neously, research on systematic teaching and learning is required. This study explored the trend in music cur-riculums and the results of analyzing music textbooks. The findings are expected to provide useful basic data for developing the music curriculum of special education and for writing elementary school music textbooks. Further research should be conducted based on this study.

A Vocal approach of the Bel Canto tenors

The revival movement of the Italian bel canto and the singing technique practiced by tenors of the early 19th century are some of the main topics of my research. The paperwork proposes to readers a comprehensive approach to the music terms “vocal virtuosity” and “bel canto” in connection with the tenor voice. I hope the results overcome the scientific barrier, and propose to the current generation of masculine singers real and applicable solutions to the problems of the bel canto repertoire, especially in understanding and solving the hardest virtuosity passages.

Образ Вены в оперной пародии Иоганна Непомука Нестроя «Роберт-дьявол»

The article is devoted to the analysis of the image of Vienna in the parody Robert der Teuxel (1833) by the Austrian playwright and comedy writer Johann Nepomuk Nestroy (1801– 1862). The primary source of the play was Giacomo Meyerbeer’s opera Robert le diable, which had been presented to the Viennese public three months earlier. The main change that the playwright made in his play, compared to the original plotline, was the transfer of the action to the Austrian capital during the times of Nestroy’s life. Such a dramaturgical solution makes it possible for us to observe how the literary and musical side of the play has changed as the result of this. The image of Vienna presented by the playwright and the composer Adolf Müller Sr. who collaborated with him is researched through various codes: the geographical, the socio-economic, the cultural and the musical. The character of the Austrian capital is manifested through the inclusion in the text of the play of toponyms directly related to Vienna, some of its landmarks that carry allegorical meanings in the context of the plotline, vivid linguistic techniques, as well as the transformation of Meyerbeer’s characters into the colorful types of the inhabitants of the Viennese suburbs. In musical terms, the urban “entourage” is realized through the use of the genres iconic to Austrian culture: the dances (mainly the waltz and the ländler), marches and yodeling.

Words and meanings – decolonising dance-music terminology

This article aims to identify and situate problems of dance and music terminology arising when we, as scholars in this field, write about a practice in another language than that spoken by the practitioners. This happens ever more often because English is rising to become a world language. In the first section of the article, a brief discussion of political argumentation regarding language hegemony outlines the context in which the problem arises, and the minimal room there is for any general language decolonisation. The second part of the article attempts to illustrate the problems arising from a linguistic perspective. Translation is about conveying the meaning of a word as it appears in each specific context. Then the one actual meaning suffices even if five more English words might be needed to give all the meanings. An academician investigating a phenomenon labelled by the word needs the whole range of meanings to understand how the word is situated in its language. The third, applied part discusses possible measures for achieving decolonisation, such as how one can navigate between a mother tongue and a hegemonic language. It asks if the many non-native users should have a say on the norms of academic English, discusses principles for borrowing terms between languages, and points to the need to analyse the different ranges of meanings carried by dance and music terms in any language. The article concludes with the argument that even modest measures such as these can bring more respect to languages. Language are tools for people to make sense of their surroundings and culture, just as is the research of traditional music and dance. By strengthening their esteem, we increase the stringency of our research and support them in a world mostly politically barren to language diversity.

“But first let’s have a dance”: Music in Aphra Behn’s Plays

ABSTRACT This quantitative analysis of Aphra Behn’s musical terms demonstrates that her comedies need to be understood in the context of seventeenth-century music. As a Restoration dramatist, Behn experienced the early phase of the Baroque. Despite the considerable presence of music in her works, scholarship on Behn and music has been neglected. Nodes of her preferred terms—dance, sing, song, and musick—are mapped and analyzed, focusing on four of the most musical plays: The Revenge (1680), The Roundheads (1682), The Luckey Chance (1687), and The Emperor of the Moon (1687). As a collaborator with professional musicians, dancing masters, and actors, Behn demonstrates facility with instrumentation and a range of musical affects, dance forms, and song types. Her comedies exemplify a theatrical phenomenon that had an intelligible, palpable, but ephemeral impact on characters and audience members alike. Her original comic musicals provide keys for understanding how music functioned in art and culture.

음악교과서 내 국악 용어 검토 및 제언

Purpose: This study examines related terms by dividing Korean traditional music terms in middle and high school music textbooks revised in 2015 into terms related to Jangdan, Tori, and Sigimsae, and proposes ways to present correct terms based on the reviewed contents.
 Methods: The Korean traditional music terms in the 2015 revised middle and high school music textbooks are divided into terms related to Jangdan, Tori, and Sigimsae, and the related terms are reviewed, and a method of presenting the correct terms is proposed based on the reviewed contents.
 Results: In terms related to jangdan, accent of jangdan and Hanbea were incorrectly indicated. The first beat of the jangdan was not presented with a strength. The strength was not indicated when the shape of the rhythm changed according to the wording. Hanbea was used only in tempo. Tori was explained only on the scale. Sigimsae did not distinguish between Sigimsae in performance and Sigimsae in melodic progression.
 Conclusion: The strength must be marked on the first beat and indicate that the strength changes according to the words. Tori must present only not the scale, but also the main notes, the intervals between the main notes and the Sigimsae. Jeju folk songs suggest explaining the characteristics of Seowoojeori in the concept of Tori. Sigbimsae should be presented separately as Sigimsae inperformance and Sigimsae in melodic progression.

On the Translation of the Chinese Traditional Music Terms Guided by Skopos Theory

With the development of globalization and the more frequent cultural exchange worldwide, people have more opportunities to enjoy music from different cultures. Chinese traditional music is the inherent characteristic music of the Chinese people. Therefore, it’s getting more and more important to translate Chinese traditional music terms properly so as to promote Chinese culture. However, the difficulties of English translation still exist, including the standardization of Chinese traditional music terms. From the perspective of Skopos Theory, this paper explores the translating methods of Chinese traditional music terms, which will be helpful for translators to achieve the different features of the Chinese traditional music terms in a structured way so as to improve cross-cultural communication ability and spread Chinese traditional culture.

“Afsaneh”: Recognizing a musical term in Persian poetry

“Afsaneh”: Recognizing a musical term in Persian poetry

Dynamics of Figurative-Stylistic Evolution of Solo Arrangement of the Folk Song (From «Zharty, kokhannya, lyubov ta zhenykhannya» / «Jokes, Love and Marriage» to «A my nashu slavnu Ukrayinu rozveselymo!» / «We Will Cheer Up Our Glorious Ukraine!»)

The article highlights the dynamics of the movement of artistic thought of the Ukrainian community in 1900–1918 on its way to the first attempt to form its own independent state. The data is provided on the settlement and number of Ukrainians in the specified period is intended to show a large-scale panorama of the development of the most common genres of music making in everyday life, because the universally recognized feature of the Ukrainian mentality as cordocentric already conditioned the desire for artistic self-expression, music and singing. The author’s attention is focused on the genre of arrangement Ukrainian folk songs for voice with instrumental accompaniment, which created a powerful folklore wave associated with the trends of increased national self-determination and democratization of the aesthetic foundations of Ukrainian art. The policy of the russian tsarist culturists of that time was aimed at spreading the so-called «Little russian surrogate» – encouraged the publication of artistically inferior songs that had humorous, entertaining, love-sentimental, burlesque or frankly vulgar content. However, the purposeful patriotic activity of such artists as M. Lysenko, K. Kvitka, K. Stetsenko, O. Koshyts, B. Yanovsky, Yа. Stepovy, F. Kolessa, O. Nyzhankivskyi, D. Sichynskyi, S. Charnetskyi caused a significant evolution of the genre of solo arrangement and raising it to the high level of a vocal miniature / romance, defined by the purely Ukrainian musical term «solospiv» ≈ «solosиng». The evolutionary growth significantly affected the topic of the genre, when songs of civic pathos, full of pride for the heroic past and the desire for national self-determination and statehood, began to gain national popularity.

Musikfachwörter in fachfremden Kontexten

This article focuses on the use of musical terminology in new contexts which have no connection with the original musical context. In these new contexts, musical terms are used in a figurative meaning, serving as metaphors to describe often highly complicated aspects of reality. Based on the journalistic texts in the DeReKo corpus, the paper explores the ratio between the use of selected terms in musical contexts and non-musical contexts, investigates which aspects of reality are described via musical terminology, and analyzes the functions that these metaphors perform.

Athraigh Gléas, A Ghiolla íosa : Dán Ar Dhroch-Chláirseoir

This paper consists of an edition, with translation and notes, of a previously unpublished poem on an incompetent harper. The poem, which is in séadnadh, dán díreach , was added in a later hand to the copy of Féilire Óengusa preserved in the fifteenth-century vellum manuscript UCD A 7 (formerly held at the Franciscan library in Killiney, Co. Dublin). Although its date of composition is uncertain, it is suggested here that the poem is one of a handful of satires on harpers which were composed towards the end of the Classical Irish period and which bear witness to the marginalisation and decline of the harping profession. The poem contains some poorly attested vocabulary and, although many difficulties with the text remain unresolved, it is of particular value for enhancing our understanding of some music terms.

Design for performability: a proposal for democratic redesign of the classical guitar

Mastery of a musical instrument, including an ability to reach virtuosity in expression and performance, is commonly achieved through a lifelong commitment to practise. The specific instrument played has a crucial role in this journey. This paper reports on design research that aimed to determine the potential for redesigning the classical guitar, whether iteratively or radically, from the perspective of key stakeholder groups: luthiers, composers, and performers. A total of 25 interviews were conducted and analysed to identify shared and unique concerns amongst the stakeholder groups. The findings are used to conceive and develop a new design-related musical term ‘performability’, which builds upon the established term ‘playability’ but has much stronger interactional and experiential dimensions. Furthermore, the paper provides insights into ways in which an industrial designer can contribute to classical guitar design as a fourth stakeholder. Industrial design expertise is proposed to provide a mediating and catalysing role for democratic (i.e. multi-stakeholder, multi-perspective) instrument design or redesign. The paper concludes with a proposal for a ‘design for performability’ framework suited to co-design sessions aiming to achieve a highly performable classical guitar.

‘As unknown to me as a Bohemian village’: a retrospective of Czech Baroque music in recordings

In 1843 the German travel writer, Johann Kohl, commented on the curious fact that although several German states border Bohemia, a large degree of mystery and misunderstanding lay between them; in doing so he cited a common German expression: ‘Dieß ist mir so unbekannt wie die böhmischen Dörfer’ [sic] (this is as unknown to me as a Bohemian village). Despite the centrality, innovation and importance of Bohemian and Moravian musicians in the Baroque era (and before and beyond, of course) a good deal of it has, alas, remained remote to mainstream Western musicology. This situation has, however, improved dramatically over the 50 years since Early Music first went to press. For simple reasons of space this overview is limited to Bohemia and Moravia (modern-day Czech Republic–Slovakia warrants its own retrospective), and to the period from the middle of the 17th to the middle of the 18th century. In both historical and modern terms, when speaking of a ‘Czech’ early music scene, one is usually discussing ‘Central European’ music-making more broadly (Czech ensembles are frequently international, and their repertory is broad and varied). A few central issues touched upon here relate to ideas of regional/national repertory, concepts of ownership and the centre–periphery paradigm. An unavoidable aspect of discussions of the past 50 years is the communist takeover that lasted between 1968 and 1989, which leaves a narrative of both East and West as well as insider–outsider language with which to contend. By its nature, such an overview as this comes with caveats: there is inadequate space to address all of the important issues, performers, composers and record labels that gave shape to this period. Considering that in both historical and in modern terms, Czechia (as she is now officially styled) is not a big country; in musical terms, she has punched way above her weight.

Dante, Music, and Lyric

Dante’s works contain a wealth of musical references, and his linguistic treatise, De vulgari eloquentia, is an invaluable source of knowledge regarding the performance practice of contemporary lyric poetry. Despite these indisputable facts, several scholars have cast doubt on Dante’s actual musical knowledge, and the extent to which we can interpret his references to musical performance as representing historical practice. This paper explores the issue of musical performance of lyric poems, both by Dante and as represented within Dante’s works. It addresses the question of Dante’s first-hand experience of melodic delivery of lyric poems, the meanings of musical terms in De vulgari eloquentia, Dante’s thoughts on sung performance and its relationship with texts, and every instance in which there is a suggestion that a poem by Dante was sung during his lifetime.

ITALIANISMI MUSICALI: DISTRIBUZIONE E (IN)ADATTAMENTO – IN SERBO E ALTRE LINGUE EUROPEE

A significant part of the music vocabulary in European and many world languages is rep- resented by loanwords from Italian. The paper analyzes the presence of Italian music terms in major European languages, the chronology of their borrowing and the degree of adaptation to the new language environment. As a part of the analysis of morphological adaptation, a tab- ular presentation of representative terms in seven languages, including Serbian, is given. The way in which Italian music terms arrive into Serbian is analyzed, as well as the process of their morphological and orthographic adaptation. The example of the Serbian language illustrates the narrowing of meaning of a loanword in relation to the source, as well as the possibility of a secondary semantic adaptation of the borrowed music term. The specificity of Italian words and expressions on musical scores, their practically non-linguistic nature and their invulnera- bility to morphological and semantic adaptation are likewise pointed out.

Music terms in contemporary linguistic research

Music terms in contemporary linguistic research

AN EXAMINATION ON THE LIFE AND WORKS OF ÂŞIK DAIMI

A minstrel is a person who is defined as a traveller or local folk poet who gains an identity with different upbringings, can sing poems on different subjects and perform them to the accompaniment of the instrument. Minstrels are folk artists whose roots go back to the Turkish culture of Central Asia before Islam and are known by different names in different Turkish tribes. In this ancient culture, they took on many duties from sorcery to musician. During the period they lived, they played an important role in expressing the feelings and thoughts of the people against various events. In Anatolia, minstrels have undertaken an important mission in terms of reinforcing social unity, uniting people within the framework of the same feeling, and transferring the oral heritage to future generations. In this context, they became the social memory of the period before them and shed light on the period they are in. The main aim of this study is to examine the works of Âşık Daimi, one of the important representatives of the 20th century in the minstrelsy tradition, registered in the TRT Repertoire as the source person. In the works of Âşık Daimi, it is seen that social events have an important place in addition to mystical issues in general. In addition to this, Daimi's upbringing in the minstrelsy tradition, his mastery in the instrument and the richness of the products he produced make him important. In the research, in which data were obtained by using literature review and interview techniques as a method, the life of Âşık Daimi and his place in the minstrelsy tradition, as well as a detailed literary and musical analysis of 22 works that he sourced in the TRT repertoire were included. In this context, considering the poetic structure of the work in literary terms, verse type, verse unit, syllabic meter, rhyme scheme, subject and pseudonyms used in his works; in musical terms, considering the melodic structure of the work, its genre, maqam sequence, rhythm feature, sound width, rhythmic structure, metrical pattern and form were evaluated. In addition, in the study, in which the details of the historical process of the minstrelsy and minstrelsy tradition from Central Asia to Anatolia are mentioned, the current functionality of the tradition is also examined. Keywords: Turkish Folk Music, Minstrelsy Tradition, Âşık Daimi, Musical Analysis, Literary Analysis.

Micro Language Policy and Planning in Multilingual Communities: A Qualitative Case Study of a Multilingual Band

The study of language policy and planning includes three dimensions: macro, meso and micro. To explore the language policy planning and negotiation process of multilingual community can elicit “language issues” from a micro perspective and provide reference for the governance of language diversely. This study conducts a one-year qualitative follow-up survey and in-depth interview on the Language Life of a multilingual background band in China. Through describing and presenting the language practice and dynamic ideological changing process of the multilingual community, the study reflects the language planning and policy negotiation process in its Language Life in a micro scope. The findings of this study are: Language policy arbiter has a greater impact in the process of the micro language policy planning and negotiation in multilingual communities; in the process of their negotiation, members of the community make different linguistic choices in an evolutionary way of social learning to construct a situational corpus, complete the process of language socialization and adapt to the multilingual life of the community. The corpus they constructed is not a simple monolingualism or multilingualism, but a translanguaging practice. The translanguaging practice shows a multimodal and multilingual nature in a way of “musical terms + body language + fragmented multilingualism + monolingualism”. With different of discourse environments, the strategies of multimodal combination are varied. The study proposes that language policy and planning for multilingual communities should be based on the consideration of the actual discourse environments, and that encouraging and assisting members in multilingual communities to construct multimodal and multilingual discourse and situational corpus flexibly can effectively help members in multilingual communities adapt to their multilingual life. This study provides a new and empirical case study for the micro language policy and planning of multilingual societies, which can have some enlightenment.