Musical Works Research Articles

Deep Learning-based Intelligent Music Composition System: Assisting Composition and Arrangement

Music is a complex sound art, which is not only closely integrated with human hearing, emotion, behavior and other factors but also interconnected with many other factors such as the musical environment, the composer, and the background of the piece's creation. In practical application, the lack of methods for analyzing and summarizing musical works makes it difficult for music creators and arrangers to fully understand their creative intentions, and thus problems such as inaccurate compositions and unreasonable arrangements often occur in the actual creative process. In this paper, a new intelligent music composition system is proposed by combining the information fusion method of deep learning and the information composition method of music works. The system greatly improves the creation efficiency and provides music creators with inspiration and innovative ideas.

ROLAND DYENS'S CONSTRUCTIVIST LEARNING APPROACH: THE PIÈCÉTUDE CONCEPT

This study aims to pedagogically analyze the first ten piécétudes from Roland Dyens’s Les 100 de Roland Dyens album. Based on a constructivist learning approach, document analysis was employed to explore how Dyens’s innovative piécétude concept—combining technical exercises with musical pieces—contributes to guitar education and supports students' musical development. The term piécétude eliminates the distinction between technical studies and musical works, allowing students to enhance their technical skills within a musical context. Each piece was examined under the categories of general characteristics, suggestions for teachers and students, and difficulty level. The findings demonstrate that Dyens’s piécétudes transform technical practice from a monotonous routine into an artistic and creative experience. The integration of diverse musical styles enables students to explore various timbres, improve their interpretative abilities, and develop a deeper understanding of musical expression. By merging technical and musical elements, these works provide learners with an engaging and holistic educational resource. This study underscores the significance of constructivist approaches in guitar pedagogy, emphasizing how piécétudes serve as effective tools that simultaneously foster both technical proficiency and musical artistry.

УРОКИ МУЗИЧНОГО МИСТЕЦТВА ЯК ЗАСІБ РОЗВИТКУ ЕМПАТІЇ ТА ЕМОЦІЙНОЇ ЧУТЛИВОСТІ МОЛОДШИХ ШКОЛЯРІВ

Introduction. The article deals with the importance of musical art education in the development of empathy and emotional sensitivity in primary school pupils. Emphasis is placed on the significance of music as a means of forming a student’s emotional sphere, developing empathy, and understanding one’s own and others’ emotions. The pedagogical conditions, methods and techniques that contribute to the deepening of the emotional perception of musical works, the formation of cultural listening skills and the expression of feelings through musical activity are analysed. The role of the music teacher as a guide to the world of emotional perception and spiritual enrichment of the pupils is analysed separately. The vectors for creating an atmosphere of trust, support and emotional openness, which is the key to the effective development of empathic skills in children, are identified. The importance of emotional and value attitudes to music in the process of aesthetic education of primary school pupils is determined. The purpose of the article is to provide a theoretical basis for the effectiveness of musical education as a means of developing empathy and emotional sensitivity in primary school pupils, to analyse the conditions, methods and techniques that contribute to the formation of emotional perception of musical works, to the development of the ability to empathise and to express one’s own feelings through musical activity. The main methods used in the research are analysis and synthesis of scientific sources in order to study the problem of developing empathy and emotional sensitivity of primary school pupils in music education; generalisation of empirical data; analysis of pedagogical experiences in order to determine the directions that form and develop empathy in music education. Results. In addition to the importance of music education in the development of empathy and emotional sensitivity in primary school pupils, we can also talk about the influence of music on the psycho-emotional state of pupils outside of exclusively educational classes. Music plays an important role in children’s social adjustment and interaction with the world around them. In particular, it contributes to the formation of a deeper and more diverse emotional image in schoolchildren, as well as to the development of personal and social competence. This is particularly important in the early school years, when children are actively learning the basics of communication and beginning to realise the importance of mutual understanding and acceptance. By discussing musical works, pupils learn to «decode» feelings that may be hidden behind notes and melodies, and to understand that music, like communication, is a language through which different experiences can be expressed. An important condition for the development of empathy in adolescent students is to provide them with tasks that allow them to value self-determination in situations of moral choice. A person’s moral choice is an important factor in the development of his or her emotional and value sphere. Originality. The article first describes the variability and flexibility in the choice of methods and approaches that can be used by music teachers to develop empathy and emotional sensitivity in primary school pupils. Conclusion. Music education is becoming an important part of the learning process, contributing to the development of empathy, emotional sensitivity and social maturity in pupils. By developing communication skills through music, pupils learn to feel each other, to predict and understand reactions, to be sensitive and attentive to other people’s emotions. This is particularly important for primary school children who are just beginning to understand how social relationships and interpersonal interaction work.

Основні показники сформованості відчуття ритму в музично обдарованих дітей старшого дошкільного віку

The article is devoted to the definition and characterization of the main indicators of the formation of a sense of rhythm in musically gifted children of senior preschool age. The main concepts of the study aredefined, in particular, «giftedness», «musical talent», «sense of rhythm». It is noted that the formation of a sense of rhythm in musically gifted children involves the ability to accurately perceive and reproduce rhythmic structures, distinguish the tempo and duration of sounds, synchronize their actions with the musical beat, and also show creativity in creating between auditory and motor perception, which allows them to easily adapt to various rhythmic patterns. The article emphasizes the main indicators of the formation of a sense of rhythm in musically gifted children of senior preschool age, which are the following: perception of rhythm as the ability of a child of senior preschool age to distinguish and correctly determine rhythmic patterns and structures, tempo and duration of sounds in musical works by ear; reproduction of rhythm as the ability to accurately and consistently reproduce given rhythmic patterns; synchronization of movements with rhythm (co-intonation); stability of rhythmic feeling; creative manifestations in movements to music (improvisation in rhythm). The author of the article concludes that in older preschool age motor- plastic processing of musical material is important in the development of rhythmic skills, skills of perceiving metro- rhythm, coordination of movements with the nature of music, helping children to better understand the connection between movement, sound structure and emotionality of a musical work. Musically gifted children demonstrate a higher level of synchronization of movements with rhythm, emotionally expressive rhythmic reproduction and the ability to creative rhythmic improvisation.

Chinese National Opera in the Perspective of Feminism

Since the early 1980s, "feminism" was firstly introduced into China from the field of literature, but compared with this trend in literature, art and film, feminist music criticism in Chinese music criticism has been in a nearly blank situation. Even if there are a few pieces of literature on the subject, most of them focus on gender politics and the struggle for women's rights as reflected in the meaning of the scripts of music and theatre works, but do not go deeper into the music itself. In addition, among all kinds of musical works, opera is the most suitable text mode, the script has the gender differentiation of musical roles, and the content of the opera is expressed through the form of theatre, which can better explore the gender connotation of the musical elements. In this paper, we will collect and organise the literature, take the feminist perspective as the landing point, synthesise the scholars' viewpoints, and discuss the diversified development of feminist music research, the embodiment of feminism in opera, and the study of the opera "The White Haired Girl" under feminism.

THE DIGITAL REFLECTION OF CULTURES: ANALYSES OF SAMİ YUSUF’S L’AMOUR VİVANT VOL. 2

This study examines the processes of cultural interaction and change through digital platforms within the framework of acculturation, digital acculturation, and interculturality. The impact of digital acculturation on the transmission and transformation of cultural values is analyzed through the musical works of Sami Yusuf. The study emphasizes that, with digitalization, cultural elements interact in digital environments and are reshaped, accelerating intercultural interactions by bringing together different cultural components. Employing a descriptive research model and literature review, the digital acculturation processes are examined using content analysis, and the role of digital platforms in preserving and transmitting cultural values is assessed. The findings indicate that digital platforms contribute to the preservation and transmission of cultural values and support intercultural interactions. In this context, the study aims to provide new perspectives on cultural interaction and adaptation processes by revealing the impact of digital acculturation on social structures.

Conductors’ views on individual practice activities

This study explored how professional conductors understand the role of individual (purposeful) practice and how they describe the contents of such practice. Twelve professional conductors were interviewed and content analysis was used to analyze the data. The results show that the participants understood conducting as a lifelong learning process. Through intensive individual practice, they had built up a significant repertoire of musical works. Being well prepared allowed them to impart knowledge, which helped them to achieve an authoritative and communicative relationship with musicians. While technical aspects such as baton technique had been important during early career stages, these were mostly no longer practiced. Studying the score was perceived as the most central practice activity aiming at performance improvement. It required disciplined, persistent, and goal-oriented learning, and thus carried the marks of purposeful practice. Individual activities during score study were mainly carried out mentally and in particular situations supported with external tools (e.g., piano, audio recordings). The findings shed light on differences in opinion and implicit tensions, especially regarding memorization and the use of tools.

Royalti Karya Seni Musik Sebagai Harta Bersama dari Perspektif Hukum Kebendaan Perdata dan Kompilasi Hukum Islam

This study aims to find out the legal perspective on civil law and the legal compilation of Islamic law in viewing the royalties on musical works as objects of joint property in marriage starting from the case in late 2023 of a musician sued by his wife in connection with the distribution of royalty on songs that have been created during marriage to be made equal to common property. This study uses methods of normative jurisprudential analysis with analysis of relevant legislative regulations and also previous research. The urgency of this research is that there is no law that clearly regulates that royalty can be used as joint property and ownership of its rights so that the laws in force at the moment can not respond and accommodate the needs of an increasingly dynamic society. Law as a non-final instrument will always be in a status of law in the making to adapt to the needs of society in its time. The results of this study indicate that the royalties on musical works still have the opportunity to be used as objects, in this case it is an object of joint property if referring to the theory of legal validity of Articles 499 of KUHPerdata and KHI especially Article 91(3) while keeping in mind the rights inherent in such musical works.

Virtual Choir Indonesia Menyanyi (VCIM): Uniting Indonesia through Music and Technology

This study discussed the Virtual Choir Indonesia Menyanyi (VCIM) where VCIM utilizes digital technology to build harmony in the diversity of Indonesian culture. Through this study, various ethnic elements were connected to an inclusive platform through collaborative musical expression. This initiative not only enriches the nation's cultural heritage but also strengthens unity amidst differences, showing that music can unite the hearts and souls of the Indonesian people. In the era of globalization and technological advancement, virtual choirs have become an effective platform for cross-cultural collaboration, enabling the creation of collective musical works that transcend geographical boundaries. This study aims to analyze how digital technology in Virtual Choir Indonesia Menyanyi facilitates the unification of voices from various cultural backgrounds while also becoming a medium to introduce Indonesian national identity to a global audience. Using a qualitative approach based on descriptive-analytical analysis, this study explores the production process, dynamics of virtual collaboration, and social and cultural impacts of this project. Data were collected through in-depth interviews with participants, content analysis of virtual choir recordings, and surveys of international audiences regarding perceptions of Indonesian culture. The results of the study show that VCIM has not only succeeded in creating a harmonious musical performance but has also made a significant contribution to increasing global recognition of Indonesia's cultural diversity. This study also confirms that digital platforms not only function as communication tools, but also play a transformative role in strengthening intercultural connections, fostering unity in diversity, and strengthening national identity at the international stage.

Methods of Expressing the Artistic Features of Musical Works on The Rubab Prima Instrument

This article analyzes the artistic possibilities of the rubab prima instrument in expressing musical works and the methods of their expression. The work highlights the possibilities of expressing the content and emotional state of the work through the timbre, dynamics, agogy, and articulation features of the rubab prima. At the same time, the performance technique and specific methodological approaches in the interpretation process are analyzed. The article reveals the elements of musical speech characteristic of the rubab prima and their importance in enhancing the artistic effect in musical works. Based on the results of the analysis, ways to achieve artistic and expressive coherence in the performance of the instrument are recommended.

I’m Actually Just Making Stuff Up – Reflection on Game Mechanics in Musical Performance

This reflection explores the ideas, methodologies, and implications of integrating game mechanics into live musical performance. These concepts are examined through the compositional, rehearsal, and performance process of the author’s work I’m Actually Just Making Stuff Up, a string quartet piece in which performers are randomly selected to improvise and the others must guess who the improviser is. Topics discussed include the relationship between audiences of a performance (usually not the players) and the “audience” of a game (often the players themselves). Connections are drawn between spectating board games, watching gaming streams, and seeing live music. Furthermore, this essay considers how an audience can learn the rules of the game, the objectives of the players of the game, and a group’s social dynamics as they play. This reflection also discusses how game mechanics in musical works can be an avenue to directly examine concepts such as the perceptual difference between improvisation and composition, since the audience watches the players attempt to make that distinction themselves over the course of the game. The reflection details the process of designing the systems and rules of I’m Actually Just Making Stuff Up, and the author’s attempts to balance the game. The rehearsals and premiere of the piece with the JACK quartet at New Music on the Point 2022 are described, focusing on what choices the quartet made and how that impacted the performance (particularly their “musical names”). The paper also discusses a second performance with a different instrumentation, and how different combinations of instruments can have an impact on the difficulty of the mechanics of the game (such as how to avoid detection as the improviser). It concludes with a discussion of whether an “ideal” performance of such a work exists, and what that means for both the performers and audience.

The Music of rural Life in the novels «Sandro from Chegem» by Fazil Iskander and «The Shaanxi Opera» by Jia Pingwa: harmony of Nature and the Past

The article analyzes the novels of F. A. Iskander "Sandro from Chegem" and Jia Pingwa "The Shaanxi Opera" from the point of view of the presence of musical images associated with specific musical works, performers, genres, directions, etc. Music influences the themes and issues, the images of the main characters, the character system, the plot, the motivational structure of these books. In Fazil Iskander's novels "Sandro from Chegem" and Jia Pingwa's "The Shaanxi Opera", music is what preserves the old, rural culture, provides cultural continuity in an urbanizing and simplifying world. The music of the Qin opera and Abkhazian songs reveal in the novels the rhythm, respectively, of Chinese and Caucasian rural ‒ labor, family, love, and natural existence. The music of Fazil Iskander and Jia Pingwa allows them to characterize the heroes of their works, to create an otherworldly harmonic chronotope. The music in "Sandro from Chegem" and in "The Shaanxi Opera" affects human and natural reality, considering them for themselves as an opportunity to sound in space. Finally, the music in these works can overcome death, carrying the memory of oneself through despair, farewell to the deceased and the transition from life to life. The relevance of the article is determined by the high interest of modern literary criticism in comparing works created in different national cultures, in particular in Russian and Chinese, as well as to the artistic interaction of literature and music. The novelty of the article is due to the previously unseen comparison of the novels of Fazil Iskander and Jia Pingwa in terms of identifying the forms and analyzing the functions of their musical component, as well as from the point of view of their belonging to similar literary phenomena ‒ "village prose", "root-searching literature".

김영재 거문고 독주곡 “마무(馬舞)” 장단 및 리듬분석

The geomungo solo piece Mamu, composed by Kim Young-jae, a composer and holder of the title Geomungo Sanjo (National Intangible Cultural Heritage of Korea), is a quintessential programmatic music piece that vividly captures the movement and form of a horse through the unique characteristics of the Geomungo. This composition, structured in five movements, maximizes the instrument’s distinctive features through rhythmic interpretation. The Jangdan (Korean rhythmic patterns) and rhythmic characteristics of each movement have been analyzed as follows. First, the Mu Jangdan is positioned at both the introduction and the conclusion of the piece, playing a crucial role in cohesively linking the beginning and the end through the use of the thematic melody. Second, the Jajin Taryeong Jangdan is performed over 41 measures, presenting the thematic rhythm and utilizing 13 variations of rhythmic patterns to effectively depict the image of a horse dancing. Third, the Hwimori Jangdan is performed over 33 measures, rhythmically portraying the horse warming up before a full gallop. After introducing the thematic rhythm, a total of seven variations of rhythmic patterns are employed. Fourth, the Jungjungmori Jangdan is performed over 20 measures and uniquely employs melody as the primary expressive element rather than rhythmic variations. It portrays the horse pausing to catch its breath before a full gallop. Fifth, the Danmori Jangdan utilizes various duple-meter rhythmic variations to depict the image of a horse in full gallop and its breathing, which is expressed through the modern playing technique of glissando. In conclusion, the rhythmic and jangdan analysis of Kim Young-jae’s newly composed geomungo solo piece Mamu (Horse Dance) demonstrates a rhythmic approach to the unique characteristics of the geomungo. By presenting thematic melodies and rhythms, the piece achieves a cohesive atmosphere while harmoniously blending traditional and modern techniques and playing styles, Through this study, it is hoped that various new compositions will be created by modernizing traditional jangdan, leading to the evolution of innovative and diverse musical works.

Ксенакис и Кейдж: два ничто – два небытия – два начала музыки

The article examines the origins of the philosophical foundations of music in the artistic worldview systems of J. Xenakis and J. Cage, outstanding representatives of the Western musical avant-garde of the second half of the 20th century. Both authors started from a personal interpretation of the categories “nothing” and “non-existence”, leaving to being only the ontological status of “a specific something – a piece of music”. The unique interpretations of the substantial status of “nothing” and the process of “nothing” transitioning into something, as well as individual versions of the semantic system “nothing – creative personality – musical composition” are of interest for understanding the ways of forming creative initiative by each of the composers. Trying to synthesize their own artistic worldview on the basis of various philosophical teachings about nothingness, non-existence and existence, both composers proposed a radical rethinking of the creative process and new ways of justifying the existential status of a musical work, putting forward and defending new aesthetic ideals of musical art.

On the Automatic Recognition of Jeongganbo Music Notation: Dataset and Approach

The Jeongganbo notation, the first music representation system in East Asia capable of jointly expressing pitch and duration, has been extensively used—and still is—in the Korean music tradition since its inception in the 15th century. In this regard, there exists a plethora of music works that exclusively endure as physical sheets, which not only constitutes a heritage preservation challenge due to the inherent degradation of this format but also impedes the use of computational tools to study and exploit this music tradition. While the Optical Music Recognition (OMR) field, which represents the research area devoted to devising methods capable of automatically transcribing music sheets into digital formats, has addressed this issue in a number of music notations from the Western tradition, no previous research has considered the preservation of Jeonganbo scores. In this context, this work presents the following contributions: (i) the first data assortment of real Jeongganbo scores for OMR tasks; (ii) a collection of synthetic data generation and augmentation mechanisms to alleviate the scarcity of manual annotation; and (iii) a neural-based transcription scheme based on state-of-the-art OMR strategies specifically tailored to Jeongganbo scores. The experiments performed prove the validity of the approach—performance rates close to a \(90\%\) of success—and open new research avenues for under-resourced yet challenging music notations.

Gaya Bahasa Pada Lirik Lagu "Bertaut" Karya Nadin Amizah

The lyrics of “Bertaut” by Nadin Amizah feature various stylistic devices that enhance the emotional message and deep meaning of the work.This study aims to analyze the figurative language used in the lyrics of Bertaut, a song by Nadin Amizah. As a meaningful piece of musical art, the song contains various linguistic elements that effectively convey deep emotions to its listeners. The research employs a qualitative descriptive approach using content analysis methods to identify and interpret the figurative language within the lyrics. The findings reveal that Nadin Amizah utilizes a range of figurative language, including personification, metaphor, hyperbole, and repetition, to enhance the emotional tone and meaning of the lyrics. These stylistic elements not only beautify the lyrics but also depict the emotional bond between the writer and her mother, which serves as the central theme of the song. This study provides insights into how figurative language can be effectively utilized in musical works to convey messages and build emotional connections with listeners.

FORMATION OF ANALYTICAL THINKING THROUGH THE ANALYSIS OF INTERPRETATIONS OF MUSICAL WORKS IN THE PROCESS OF TRAINING A SPECIALIST MUSICIAN

The purpose of the study was to reveal the key aspects of the formation of analytical thinking through the analysis of interpretations of musical works. In the process of conducting this study, such methods as monitoring and surveys were used, as well as the identification of key analytical aspects of performers and their systematization. As a result of the study of the processes of forming analytical thinking based on listening to musical interpretations, its components were revealed. These are the skills of artistic perception of music, the system of comprehension of works, and the components of a musical composition, which are of key importance in the context of performers' thinking. The skills of artistic perception of works include focusing on the object, analysing it as a multifaceted phenomenon, and gaining knowledge about the object as a whole and its individual elements. The indicators of the importance of the analysis of interpretation of works for students to see the prospects of their own interpretation of the formation of high artistic taste, and the multifaceted disclosure of stylistic and epochal features inherent in the work were obtained. The key components of musical interpretation in the context of the activities of prominent representatives of art of the 20th and 21st centuries were discovered. They are a number of means of articulation and phrasing, individual approaches to creating a dramatic plan of composition through the sequence of climaxes and the nature of dynamic shades, operating with ranges of registers and principles of sound production.

Issues of legal qualification of the radio broadcasting organization program as an object of related rights

The article analyzes legal provisions on copyright, related rights, and media regulation concerning radio broadcasting programs. It establishes that the formation of a broadcasting program lacks creative character and results from the broadcaster’s organizational and technical activities. Therefore, Ukrainian legislation correctly classifies it as a subjectof related rights rather than copyright. However, the updated legislation contains several shortcomings that complicate the legal qualification of broadcasters' related rights.The term ’’program of a broadcasting organization’’ fails to reflect that individuals without organizational status can also act as broadcasters. Given recent changes in media regulation, the term «organization» should be removed from legislative terminology in this context. A program created and transmitted by a broadcaster should be referred to simply as a ’’broadcasting program’’, without reference to an organization.Furthermore, the legal definition of a broadcasting organization's program unjustifiably disregards the «program concept» of a broadcaster, which, according to the Law of Ukraine ’’On Media’’, serves as the fundamental basis for forming broadcasting content. The program concept is crucial for broadcasters' activities, and its violation constitutes non-compliancewith legal requirements or license terms for audiovisual media. Therefore, legal provisions should emphasize adherence to the program concept when forming a broadcasting program.Additionally, the classification of audio content within radio broadcasting programs in the Law of Ukraine ’’On Media’’ requires clarification. Regarding musical works, the law fails to consider that radio broadcasters can transmit only phonograms containing musical performances.The term «audio work» is inaccurate, as it refers to a mode of perception rather than a distinct category of works. Moreover, the law does not specify the types of content typically included in radio broadcasting programs. These inconsistencies should be addressed to eliminate legal ambiguities and align regulations with broadcasting practices.

Musical Samplers in the Museum of Musical Works: The Nature, Status, and Value of Nineteenth-Century Oxford Degree Exercises

Musical Samplers in the Museum of Musical Works: The Nature, Status, and Value of Nineteenth-Century Oxford Degree Exercises

The image of Zhenya Komelkova in the opera by Tan Jianping "The Dawns Here Are Quiet"

The subject of the study is the analysis of the musical and dramatic features of the opera "The Dawns Here Are Quiet" by Chinese composer Tang Jianping, based on the novella by Boris Vasilyev. The work examines the interaction of Russian literary tradition with Chinese musical style, as well as the expressive means used in the opera to reveal the characters' personalities. Special attention is given to the musical image of Zhenya Komelkova, one of the key characters of the opera. Her vocal line, the evolution of the musical accompaniment, and her dramatic role in the development of the plot are explored. Key scenes are considered in which Zhenya goes from cheerfulness to the realization of her tragic fate. The article analyzes vocal and instrumental means, such as timbral solutions, harmonic content, and rhythmic changes that enhance the emotional impact on the listener. The study employs methods of music-theoretical analysis that allow for the identification of features of vocal parts and orchestral accompaniment. A comparative method is used to study the musical language of the opera in the context of Russian and Chinese traditions. The novelty of the research lies in the detailed examination of the interaction between Chinese musical tradition and the Russian literary original. The analysis of Tang Jianping's opera demonstrates how the composer adapts traditional methods of Chinese musical theater to convey the dramatic line of Russian classics. An important contribution is the study of Zhenya Komelkova's vocal part, her evolution throughout the work, and the use of musical means to convey her emotional state. The main conclusions of the conducted research are the identification of musical techniques that contribute to the creation of vivid artistic images and the revelation of the dramaturgical role of music in shaping the emotional impact on the audience. An original methodology for analyzing military themes in musical works has been developed. The study opens new perspectives for investigating the intercultural dialogue in the field of contemporary music.