Musical Themes Research Articles

Becoming Official

This article addresses technological and aesthetic intersections between DJing and modern video game audio modding, with the aim of elucidating a technological context that allows game scorers without programming backgrounds to practice audio design and programming for video games. Game audio modding is a form of music remix that depends on access to game audio programming and design technologies that are embedded in game code. Though modern audio modders still require access to this code to create advanced audio mods, game audio programming and design technologies have grown in accessibility, such as the audio middleware program FMOD Studio, the design and functionality of which resembles technologies used by DJs. In fact, DJs are uniquely suited to modern game audio modding, and hence game audio design and programming, as these activities necessitate looping and transitioning between musical themes, as well as designing and programming such techniques in relation to gameplay, resulting in a kind of gameplay-automated DJ for modded scores. To elucidate this point, this article will use video game music composed by Lena Raine, and its accompanying audio programming project file designed and programmed by Kevin Regamey and Power-Up Audio, for the 2018 multiplatform two-dimensional platformer game Celeste, as an instructive example.

Picture Editing and Music: A Marriage of Invisible Arts

Picture Editing and Music: A Marriage of Invisible Arts

The musical-poetic world of Gustav Mahler’s early chamber-vocal cycles

he relevance of the paper is in the target setting of the early vocal creative work of Gustav Mahler, an outstanding Austrian composer – the Cycle of Songs to Josephine Poisl, Fourteen Songs and Romances from Youth, Songs of a Wayfarer. This study is focused on exploring the early chamber-vocal cycles of G. Mahler in terms of style and musical theme features. The said topic has not yet been an object of a separate study. It was partly covered by such musicologists as I. Barsova, I. Leopa, D. Mitchell, Z. Roman, who studied the genesis and interaction issues of the word and music in the above-mentioned chambervocal cycles by G. Mahler. The research methodology is based on biographical, historical-cultural, system-analytical and comparative methods.

Advertising an Sub Culture Food: Arm Burger as ‘Underground Meal’

Food sources in food products greatly help the economy in Indonesia, especially in the city of Bandung, thus making culinary products increasingly mushrooming in the community. One of the entrepreneurs in the city of Bandung in food products is Army Zein as the owner of Arm Burger in Bandung since 2017. Arm Burger products have a different concept from other products, because they have an underground music theme. In the process of preparing this design focuses on visual photography on Arm Burger products to avoid a broader discussion. The purpose of this design is to provide a burger image with a strong underground music theme to potential consumers, through visual advertising on social media, to be more interested and make potential consumers want to buy Arm Burger products. The data collection process used in this design uses qualitative methods based on facts that will be developed again. The results obtained in this design are that there are still many people who do not know and think that Arm Burger product photography does not illustrate the theme of underground music. Through the visual design of Arm Burger product photography advertisements, it is hoped that the visual image of underground music can be conveyed better.

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)

Letter from the Editors

Letter from the Editors Christa Cole, Miguel Arango Calle, Emily Barbosa, and David Orvek Greetings from the editorial team of the Indiana Theory Review! Since the publication of our 36th volume in early Fall 2020, the journal has seen many changes that we are very excited to share with you! The first change was the decision to accept three new co-editors to replace Abigail York, the outgoing co-editor. The editorial team now includes Christa Cole (continuing from 2019–20), Miguel Arango Calle, Emily Barbosa, and David Orvek. Adding two new positions to the editorial team has not only helped to ensure that the journal runs smoothly and consistently, but has also lightened the workload of each editor—leaving us time to think about the bigger picture and the ways in which we hope to shape the future of the journal and its place in the music theory community. One of the first tasks the new editorial team took on was expanding and diversifying our editorial board, whom we depend on for the peer reviews that make an academic journal possible. In this process of expansion, we were concerned with diversifying the range of life experiences as well as research interests that are represented on the board. Toward this end, we are excited to welcome fifteen new board members from all around the world! Each of these new members brings with them invaluable experiences and perspectives that—along with the expertise of the continuing board members—will help to enrich ITR for years to come. A huge thank you to new and continuing board members! We couldn't do this without you. We are also proud to announce that due to revenue from subscriptions to ITR through Indiana University Press, we are now able to pay our copy and graphics editors for all of the hours they put into making each volume of ITR look great. Thank you to each one of the staff editors that made this volume possible! Our final addition to the journal this year is a new article format: the analytical essay. Analytical essays are papers that are narrower in scope or shorter in length than a standard article (~5,000–12,000 words), but that nonetheless contribute to existing scholarship on the repertoire at hand through nuanced, thoughtful analytical commentary on a piece or set of pieces. We hope that this new format will prove to [End Page v] be a fruitful one and that it will provide early-career scholars with a new outlet through which to share their work with the field. ________ This volume begins with sounds from the early seventeenth century—meantone temperament, stretto fuga, sequences, and excerpts from keyboard-accompanied ensemble works by Monteverdi, Rovetta, and Cozzolani fill the pages of Evan Campbell's article, "On the Relationship Between Meantone Temperament and Counterpoint in the Early Baroque." Campbell first discusses two meantone limitations: (1) the meantone gamut and (2) Banchieri's "rule of strict counterpoint." With a performance practice where ensembles tuned to match the meantone keyboard accompaniment in mind, Campbell then considers the relationship between these meantone limitations, contrapuntal techniques, and compositional design. Scott C. Schumann invites our readers to reassess Stravinsky's well-known dictum: "music is, by its very nature, essentially powerless to express anything at all." In his article, "Distorted Topics in Stravinsky's Neoclassical Works: Alterations of Conventional Musical and Expressive Ideas," Schumann examines—and often recomposes—short excerpts from Stravinsky's music, suggesting that the composer relied on musical topics to convey expressive meanings in works like L'Histoire du soldat and the Violin Concerto. In her article "Ellen Taaffe Zwilich, Symphony No. 2, and Elements of Her Compositional Style," Amanda Bono elucidates the compositional language of a living American composer who may be unfamiliar to many readers. Throughout her detailed structural analysis of the three-movement Symphony No. 2 (1985), Bono provides examples of key devices such as ostinati, pedal points, unisons, and tonal centers, offering a valuable resource to the reader interested in music of the past several decades. We are proud to inaugurate our new analytical essay genre with David H. Miller's essay, "Hidden Endings and Disappearing Measures in...

탄둔의 ‘무협영화 3부작’ 음악의 ‘중서융합’ 요소 연구

Tan Dun, a representative composer of modern Chinese music, has been producing the most notable achievements in the field of Chinese film music by working on “Three Trilogy of Martial Arts” such as “Crouching tiger Hidden Dragon”, “The Heroes” and “The Banquet”. He is famous for his characteristics of actively giving traditional Chinese ideas by exquisitely converging Chinese and Western music elements. These works need to be emphasized in that they can explore strategies to communicate with the international community through Chinese culture. Tandun, who composed three film music, represents consistency in creative style in terms of composition technique, while showing some difference in specific music arrangement depending on the content and form of the film narrative. Therefore, this research focuses on the music theme design of “Crouching tiger Hidden Dragon”, “The Heroes” and “The Banquet”, which are referred to as “Musical Movie Trilogy”, analyzes and compares the film's narrative and music harmony firstly, then discusses how Western music was fused and embodied with the elements of traditional Chinese music.

2015 특수교육 기본 교육과정 음악과 성취기준의 중요도-실행도에 관한 특수교사의 인식

Purpose: The purpose of this study was to identify the perception of special education teachers on the importance and performance of music achievement standards in the 2015 Basic Curriculum of Special Education. Method: A survey was conducted among special education teachers with experience teaching music subjects across the country. Results: First, the importance was in the order of habituation, listening, and expression. Teachers recognized the core concept of ‘music and communication’ in ‘habituation’ at most, while they recognized the core concept of ‘elements of music’ in the ‘expression’ at least. Second, the performance was in the order of habituation, listening, and expression. Teachers applied the core concept of ‘use of music’ in ‘habituation’ at most, while they indicated the core concept of ‘element of music’ in the ‘expression’ at least. Third, 92 of the 94 achievement standards showed a significant difference in importance and performance. Conclusion: This study suggested the need to investigate ways to increase teacher performance. The findings of this study will provide preliminary data for effective teaching and learning direction, as well as basic music curriculum.

Analysis of the types of reflection of cross-curricular learning topics in 2015 revised elementary school music textbooks

학교 교육에 대한 국가‧사회의 다양한 요구는 국가 수준의 교육과정을 추구하는 우리나라에서 범교과 학습 주제를 통해 반영된다. 차기 교육과정인 2022 개정 교육과정에서도 10개의 범교과 학습 주제를 각 교과의 내용에 맞게 반영하기를 요구하고 있다. 따라서 이 연구는 음악 교과의 관점에서 초등학교 음악 교과서에 반영된 범교과 학습 주제의 현황과 유형을 분석함으로써 시사점을 도출하는 것을 목적으로 하였다. 이를 위해 첫째, 범교과 학습의 개념을 정립하고 우리나라 교육과정에서 범교과 학습 주제가 어떻게 제시되어 있는지 살폈다. 둘째, 초등학교 음악 교과서에 반영된 범교과 학습 주제별 현황을 분석하였다. 셋째, 초등학교 음악 교과서의 범교과 학습 주제의 반영 유형을 분석하였다. 연구 결과, 초등학교 음악 교과서의 범교과 학습 주제 반영 현황에서 인성 교육이 가장 많은 비중을 차지하였으며, 경제‧금융 교육은 전혀 반영되어 있지 않았다. 범교과 학습 주제의 반영 유형은 크게 제재곡 반영 유형과 학습활동 반영 유형으로 나눌 수 있었는데, 음악 교과서가 포함하는 다양한 악곡과 학습활동이 다양한 범교과 학습 주제와 조화를 이루어 제시되어 있었다. 향후 음악 교육에서의 범교과 학습 주제의 구현을 위하여서는 범교과 학습 주제의 개념과 범위, 음악 교과 교육의 방향에 적합한 정보가 제공되어야 한다는 점, 주제별로 적합한 제재곡 발굴과 학습활동 개발 등의 후속 연구가 이루어져야 함을 제안하였다.In Korea, which pursues a national-level curriculum, various demands of the country and society for school education are reflected through cross-curricular learning topics. The next curriculum, the 2022 revised curriculum, also requires that 10 cross-curricular learning topics be reflected according to the contents of each subject. Therefore, the purpose of this study is to derive implications by analyzing the current status and types of cross-curricular learning topics reflected in elementary school music textbooks from the perspective of music subjects. To this end, first, the concept of cross-curricular learning was established and how the cross-curricular learning topics were presented in the national curriculum. Second, the current status of each subject of cross-curricular learning reflected in elementary school music textbooks was analyzed. Third, the types of reflection of cross-curricular learning topics in elementary school music textbooks were analyzed. As a result of the study, personality education was the most reflected among the topics of cross-curricular learning in elementary school music textbooks, and economic and financial education was not reflected at all. The types of reflection of cross-curricular learning topics could be largely divided into the type of reflection of sanctioned songs and the type of reflection of learning activities. Through this, various music and learning activities included in music textbooks were presented in harmony with various cross-curricular learning topics. In order to implement cross-curricular learning topics in music education in the future, the concept and scope of cross-curricular learning topics should be presented, information suitable for the direction of music education, and follow-up studies such as finding suitable songs for each topic and developing learning activities should be conducted.

The space between image and music in the film 'Without Words'

This paper examines the relationship between music and image in the experimental film Without Words directed by Miloš Radivojević (1972). The interaction of music, through Kornelije Kovač's improvisation and musical theme, silence, through the absence of noise, speech and sound design, and image, as an experimental, non-narrative form, provides fertile ground for analysis: that of each individual element's effect on the viewer, as well as of their joint, interdependent creation, which conveys a strong impression. This analysis focuses on the process of constructing the music score through music improvisation, and the effective use of the musical theme in this film, as well as its multi conventional role within a non-conventional film system.

СМЫСЛОВЫЕ КОДЫ «ШОА-СИМФОНИИ» МИХАИЛА БРОННЕРА

In the dialogue between the composer and the listener, a significant role is played by musical images that carry information about the semantic codes of the works. It is easier to get it in music related to the word. To help the listener in choosing an adequate vector of music perception, the author often names instrumental works as well. The article introduces for the first time into the scientific context the programme five-part “Shoah Symphony” by the contemporary Moscow composer M. Bronner (born in 1952), which reflects the theme of the Holocaust. In the creative heritage of the composer, who works in various genres, one third of the compositions is associated with images of sacred texts of the Old Testament, which is due to the national identification of the author and the importance of the Holocaust (Shoah) theme for him. The originality of M. Bronner’s “Shoah Symphony” lies not only in its programme (I Lullaby; II Chorus of Children’s Souls; III Scrolls from Ashes; VI My People; V Psalm), but also in the presence of a companion work of 2014 in the genre of oratorio. The author’s libretto of the oratorio makes it possible to identify semantic accents by attaching verbal text to musical themes, including Yiddish songs and Kaddish fragments. Discovering the semantic codes of Mikhail Bronner’s “Shoah Symphony” will contribute to the expansion of the audience.

CROSS-CULTURAL CONNECTIONS IN BRIGHT SHENG'S OPERA THE SONG OF MAJNUN

The article is devoted to the opera The Song of Majnun by Bright Sheng, the modern American composer of Chinese origin. This one-act opera was composed in 1992 and premiered in Chicago. In Russian musicology, this work is being studied for the first time. The authors analyze the history of the creation of the opera, the plot, composition, dramaturgy, and the specifics of the musical style. They pay special attention to the search for cross-cultural connections - the interaction of elements of Eastern (Persian, Chinese, Tibetan) and Western European cultures. The libretto of the opera is based on the plot of an ancient Persian legend. The composition of the opera was influenced by the art of the Persian book miniature of the 13th century. For the musical themes of the main characters Majnun and Laila, folk songs of ethnic Tibetans from the Chinese province of Qinghai were used. Many opera melodies are composed with the use of pentatonic scale. The orchestration uses techniques typical for Beijing Opera Orchestra. Conclusions are drawn about the peculiarities of combining elements of Chinese folklore and European composing technique of the 20th century. The importance of the opera The Song of Majnun for the further work of Bright Sheng is noted.

НАЦИОНАЛЬНАЯ ЛЕКСИКА КАК ВАЖНАЯ СЕМАНТИЧЕСКАЯ СОСТАВЛЯЮЩАЯ ФОРТЕПИАННЫХ СОЧИНЕНИЙ КОМПОЗИТОРОВ БАШКОРТОСТАНА

The article considers one of the essential issues of piano pedagogy — comprehending the meaning of a music piece. A significant contribution to the solution of this problem was made by the methodology of semantic analysis of the content of a musical work, developed in the laboratory of musical semantics of the Ufa State Institute of Arts named after Z. Ismagilov. An important stage in the work of teachers was mastering the basics of practical semantics, as well as testing its provisions and technological methods directly on the piece of music. The intonational formulas revealed in the study, migrating from text to text, were important in analysing the musical themes of the work and provided practising teachers with a “key” to deciphering the content. To study the semantics of works by Bashkir composers, this technique proved to be very effective. The intonational vocabulary of Bashkir folklore was used both intuitively and consciously by the composers of the Republic to create their national style. Using the example of works by Bashkir composers, the article examines semantic units of the national style, which become peculiar “guides” in the process of comprehending the content of a musical work, which can help a teacher when working in a piano class.

Ресайклинг советской эстрады в телешоу «Голос»

The article explores how The Voice re-actualizes the Soviet era songs and symbols. The nature of the show’s interaction with Soviet culture is traced through five parameters: the geography of the participants, the repertoire, the figure of one of the mentors, voice timbres, and specifics of interpretation. The Voice, like the all Union song festivals of the Soviet era, strives for geographical pervasiveness and maximum ethnic diversity within the project. This diversity, however, turns out to be very conditional. It does not imply musical immersion into different cultures, but is limited to a linguistic, and, at most, arranging reworking of the titular nation’s culture. Among the Soviet pop music themes, in the highest demand in the show are dramatic love ballads, songs about nature, and compositions about the artist’s fate. Alexander Gradsky, being one of the mentors, gave newly found relevance to the half-forgotten hits of the Soviet time, creating a new image of the Soviet music stage, far from sterile piety and emotional restraint. The analysis of participants’ timbres and the peculiarities of their vocal technique shows that The Voice brings back the fashion for trained, powerful and velvety voices of the Soviet estrada. Another trait noticed was the two vectors of the performing interpretation of Soviet pop songs. Most of the contestants tend to become completely identical, indistinguishable from the original (canonical) version of the song, while only few dare to radically rethink the Soviet-time songs, striving to show their originality and uniqueness by significantly changing the well-known music.

Violin concerto by Gian Carlo Menotti: at the intersection of opera and instrumental genres

The relevance of the study is to study the instrumental works by G. С. Menotti, known worldwide primarily as an opera composer. His four concerts, unfortunately, did not receive such recognition as his operas, unfairly remaining in the shadow of the latter. The Violin Concerto, which was recorded only twice in the first 44 years after its premiere in 1952, is no exception. Performing interest in this work intensified in the late twentieth century, but scientific research is still isolated, and they do not cover the question: whether the interpretation of a purely instrumental genre influenced the opera aspirations and skills of the composer and if so, how?&#x0D; The main objective of the study is to trace the interaction of opera and instrumental principles in Menotti's Violin Concerto and to identify the peculiarities of the interpretation of the chosen genre due to such interaction.&#x0D; The methodology includes historical (to consider circumstances of the creation and the performance of the concerto), comparative (to identify common features in the theme and compositional organization of the concert and the opera "Amal and Night Guests"), as well as structuralfunctional, genre-style and intonational-dramatic methods (for a comprehensive analysis of the work).&#x0D; Results and conclusions. Menotti's Violin Concerto is considered in the aspect of opera influences due to the author's many years of experience in the field of theatrical music. The lack of dissemination of the work in the world of violin was stated, the names of its performers were given — from the premiere to the present. The structure and figurative content of the concert are characterized, the ratio of typical and atypical genre features is indicated, the presence of elements of end-to-end tonal and thematic development within the cycle is emphasized. The properties of music themes, which reflect the typical for Menotti operas mixed type of vocal intonation with a combination of cantilena and declamatory phrases, are analyzed. The figurative-thematic connection between the concert and opera works of the composer is traced, in particular, by comparing certain episodes of the Violin Concerto and the opera «Amal and Night Guests». Theatrical influences at the compositional and dramaturgical level, such as «cadre» fragmentation of sections and frequency of their changes in the opening and closing movements of the concert, proximity to the end-to-end opera stage in the middle part, are revealed. An analogy between the ratio of solo and orchestral parts in concert and in Menotti's operas is made. Emphasis is placed on the leading role of the violin solo in the concert, which is determined by the exposure of most music themes in its part, virtuosity of presentation, the presence of a large number of purely solo episodes, including two cadences. At the same time, it is noted that the originality of Menotti's concert is not only due to opera influences, but also to the dedicate the work for a specific performer — the American violinist Efrem Zimbalist. The close cooperation of the two musicians affected the character of the solo part in the concert and, indirectly, its music content.

Will she or won’t she? The ambivalence of female musicianship in two paintings by Bernardino Licinio (1489–1565)

Abstract This article examines the depiction of sexual propo­sition, the corruption of female virtue and the ambivalent allurements of secular music in a pair of 16th-century Concert paintings by the Venetian artist Bernardino Licinio. It argues that Licinio’s multi-figure concerts, centred on the music-making of young women, both parody and invert the classical elegiac theme of the pauper amans, the impoverished poet-lover who condemns the power of wealth and bestows poetry instead of gold on his beloved, only to be rejected due to her vanity and materialism. The pauper amans theme appears in several 16th-century Venetian strambotti and early madrigals, which are decidedly satiric in tone. In his paintings, Licinio reverses the familiar roles of poet and beloved, and the refined music of the virtuous-seeming young woman is challenged by the dissonant sound of her older male admirer shaking a purse full of coins or by his bold physical advances, which impede her playing. The dissonant and crude gesture of offering her coin payment equates the young woman’s art of music with her sexuality. It alleges not only her corruptibility and low status as a piece of merchandise for sale, but also debases the spiritually elevating art of music, with its noble and abstract figurations of love. The motif of the shaken purse with its ‘music of gold’ first appears in the Venetian dialect comedy La buelsca (c.1514), and is repeated in a series of later songs and poems centred on the subject of the grasping, mercenary prostitute in the 1520s and 30s. Licinio’s paintings play with such popular literary and musical themes but ultimately prefer visual ambiguity and unresolved narrative tension to their frankness and specificity.

MUSICAL SONORITY AS A PERFORMATIVE QUALITY OF A LITERARY TEXT

The ways of recreating musical sonority in the text are studied within the theory of literary intermediality. The subject of research is the structural performability of text which helps to stage the performance of musical pieces within it. Specifi c textual strategies are discussed, which promote the perception of music in a literary text through the features of a sounding but not musical text, i.e. semantization of a musical piece. In this connection, the notion of performative writing is outlined, which can represent its mediality by showing what it talks about and, by doing so, its going beyond propositional senses. The study relies on the ideas of German mediality expert Sybille Krämer and literary mediality theorist Uwe Wirth. A short story by contemporary German writer Friedrich Christian Delius “The Future of Beauty” (2018) is analyzed. The ways in which the writer creates a free jazz concert with optimal musical sonority are studied. The famous 1966 concert of jazz saxophonist Albert Ayler is presented as an immediate musical event, with the actualization of sensory perception and interpretation of the sounding in a social and historical context. The performative dimension of the text, which highlights musical sonority, is achieved on the border of sound realization through the use of musical instruments, bodiliness of musicians, gestures, development of musical theme and assigning meaning to specifi c sound images, metaphorization of the sound, and creating images in one’s perception. The writer works within the modes of intertextuality and intermediality. He singles out solos, emphasizes the importance of communication between musical instruments and perceives the dynamics of a concert as a single event. Musical sounding is determined by the social and historical time; it is designed for an emotionally active and thoughtful recipient; its echo is vibrant for a long time and causes understanding of some regularities of human development. The study of musical sonority in literary texts highlights the process of sense creation and points to the productivity of borderline creative phenomena that a text-concert undoubtedly belongs to. Key words: intermediality, performability of text, musical sonority, free jazz, Friedrich Christian Delius.

Instructional evaluation of Music Course in Elementary and Secondary Schools based on SOLO Theory

Teaching Instructional evaluation can improve teachers' teaching capacity. It can not only understand students' learning level, make reference for teachers' following teaching programme and students' study proposal, but also put forward guiding suggestions for teachers' teaching design. At present, the "New Curriculum Standard" advocates comprehensive and diversified instructional evaluation, so as to put forward more propose directional evaluation results and grades for teaching process. However this will give rise to some new challenges for students and front-line teacher. This article will try to put forward an effective implementation path for the teaching evaluation of music subject in compulsory education stage based on the concept of SOLO theory and the characteristics of music subject teaching.

Methodological proposal for piano learning through Ecuadorian music in the conservatories of music of Ecuador, 2022

The research aims to develop a pedagogical proposal that incorporates strategies for learning of traditional Ecuadorian music by learning the piano. This study is of a non-experimental design of the proactive, quantitative and cross-sectional descriptive type, with a sample of twenty students from the educational institution, two questionnaires prepared and validated by expert judgment have been used, applied through the survey technique. The results obtained indicate that 75% of the students have a high command of the piano, and 55% of the students have an average knowledge of the musical themes corresponding to Ecuadorian music. A proposal was achieved that was developed from the adaptation of ten Ecuadorian works that include Ecuadorian musical rhythms such as the corridor, passacaglia and San Juanito. The proposal displays methodological strategies that mark different moments of the learning process: Introduction, Development, Conclusion, Evaluation and Reinforcement. Each one presents specific activities to develop while learning the piano through Ecuadorian music.

Influence of performance in Spanish language and literature on physical education and music grades

The aim of this research was to analyze the influence of performance in the subject of Spanish language and literature on the grades in the subjects of Physical Education and Music and whether there were differences by sex or not. The participating sample was made up by a total of 451 students (235 boys and 216 girls), aged between 10 and 13 years old, in the fifth and sixth grades of Primary Education. The results show, on the one hand, a positive correlation between the grades of the three subjects and, on the other hand, in terms of gender, significant differences only in the subject of Music whose grades are higher in girls compared to boys. Nevertheless, these statements should be considered taking into account that academic performance was measured only with one instrument ant that the sample, besides being limited in size, was accessed with a non-probabilistic method. Based on these results, it is suggested that future studies could encompass different research methodologies and include, in turn, new variables as well as other collectives which are also concerned with this regard.