National Music Research Articles

Research on the Protection Strategy of Traditional Culture of National Music in Shanxi Province from the Perspective of Intangible Cultural Heritage

Traditional culture of national music is different from ordinary music culture. Traditional culture of national music is a music culture with strong national and regional characteristics, which grows and develops with the nation in the process of national evolution and development. Shanxi's national music is the treasure of Shanxi's artistic development, and it is also the spiritual pillar of Shanxi's artistic culture. However, at present, the development of Shanxi's national music is not satisfactory. Therefore, in the view of intangible cultural heritage, it is of great practical significance to study the protection strategy of Shanxi's national music traditional culture by using the theory and method of folk culture. In view of the dilemma of protecting the traditional culture of national music in Shanxi Province, this paper puts forward some relevant strategies from the aspects of opening up new communication channels, infiltrating the awareness of inheriting local music culture in practical education, innovating the traditional cultural content of national music, perfecting the talent training system and increasing government investment.

Mezhkul'turnye paralleli nacional'noj muzyki: opyt Rossii i KNR

The article examines the formation and development of cross-cultural parallels of the national music of the Russian Federation and the People's Republic of China, as well as the current state of the stated issue. The author identifies a number of problems and formulates possible ways to solve them.

UNRAVELLING THE HISTORY OF A VENETIAN ANTIPHONARY

ABSTRACT We present the results of a multifaceted study of an antiphonary—liturgical song book—presumably made in Venice in 1607, now in the Ringve, National Music Museum of Norway in Trondheim1. The book is hand-sewn on raised cords, bound in full leather on cardboard covers, originally with metal clamps. The paper block consists of pages printed in black and red that include both song texts and music scores. The red ink is based on vermillion and red lead while the black ink is carbon based. The treads and cords were made of flax. The leather used was made from goat skin. Radiocarbon results confirmed the printing date. The antiphonary shows several signs of repair including the possibility of re-binding. Animal-based glue was used for the repairs as well as for the sizing of both original and repair paper. Two potential periods were identified for reparations, 1670–1710 AD and 1782–1830 AD. This case study was conducted prior to the opening of a new permanent exhibition, Soundtracks, at the Ringve Museum where the book is displayed.

National Music of Azerbaijan in the Context of Turkish Musical Culture

National Music of Azerbaijan in the Context of Turkish Musical Culture

XIV National Music Award “Golden bell” (China). Victory of the Ukrainian vocal school

XIV National Music Award “Golden bell” (China). Victory of the Ukrainian vocal school

Trumpets and Other High Brass: A History Inspired by the Joe R. and Joella F. Utley Collection. Volume 4: Heyday of the Cornet by Sabine Katharina Klaus (review)

Reviewed by: Trumpets and Other High Brass: A History Inspired by the Joe R. and Joella F. Utley Collection. Volume 4: Heyday of the Cornet by Sabine Katharina Klaus Bryan Proksch Trumpets and Other High Brass: A History Inspired by the Joe R. and Joella F. Utley Collection. Volume 4: Heyday of the Cornet. By Sabine Katharina Klaus. Vermillion, SD: National Music Museum, 2022. [xv, 336 p. ISBN 9780984826971 (hardcover), $119.95.] Illustrations, bibliography, index, accompanying DVD. In this fourth installment of a planned five-volume set, Sabine Klaus once again dives headfirst into the brass instruments collected by the late Joe and Joella Utley, now held by the National Music Museum (NMM) in Vermillion, South Dakota. Once completed, the set will present the most comprehensive view—both historical and in photographic documentation—of "trumpets and high brass" ever written. Volume 4, perhaps the set's most specific in scope, examines some 150 cornets constructed from the 1840s into the 1990s, with a noticeable weighting for instruments made from about 1880 to 1920. Klaus studies a remarkably broad range of manufacturers, both large and small, making cornets in literally every shape and size imaginable (and some unimaginable) from all the major centers of construction in the United States and Europe, as well as Japan. The book is a remarkable achievement and will surely serve as a benchmark study and baseline reference work for decades to come. Although no book can be all things to all people, Klaus must be commended for making a strong effort toward that end. Scholars—especially organologists and musicologists—will find a compilation of details on manufacturers, countless patent drawings, line drawings of valve arrangements, discussions of construction techniques, raw measurements, waveforms, X-rays, and dates and places for specific makes and models. All are useful for both general knowledge and specific study. Meticulous and numerous footnotes allow those interested in pursuing more detailed research to do so with ease. Performers, especially the modern trumpeter, will discover historical photographs of the actual instruments played by their famous predecessors, with at least passing reference to a few not owned by the NMM. Highlights include J.-B. Arban's cornets (two, both at the Musée de la musique in Paris), Walter Emerson's 1881 Courtois cornet, P. S. Gilmore's unique "Antoniophones," and the odd slide cornet–trumpet hybrid played by Louis Armstrong from his famous photo session with King Oliver's Creole Jazz Band. For the lay reader—including collectors of instruments and ephemera—the book's lavish full-color illustrations, provided at a generous average of about three per page, will provide hours of armchair browsing interspersed with enjoyable skimming. The photos of the NMM's instruments are a treat unto themselves, but advertisements, ephemera, and other historical documents make this book far more than a simple parade of cornets. Even the most focused reader will [End Page 616] find it difficult to keep to Klaus's prose without getting distracted by the figures. The elaborate dedications and engravings on many of the Utley cornets—consistently featured with a detail photo as well as an in-text transcription and interpretation—are particularly enticing, given the way they offer peeks into artisan techniques, artistry, and historical details. Two jewel-encrusted Besson cornets used for exposition displays in the 1880s (NMM 7119 and 7120) are the visual highlight of the whole book and are featured on the dust jacket. When it comes to various issues in cornet history, Klaus consistently delivers thorough explanations using straightforward and accessible language. Her comparison of Périnet and Stölzel valves in chapter 1 presents the pros and cons of each, including scientific measurements alongside clear line drawings and photographs of instruments. On "high pitch" and "low pitch" cornets (pp. 76 and 77), she concisely explains the situations in both Europe and the United States as related to each instrument and practice. Cornet history is littered with instruments named after performers but outwardly similar in construction to the untrained eye. Those interested in knowing the difference between Courtois's "Arban," "Arbuckle," "Levy," and "Arbuckle/Emerson" models will find answers in terms of construction, decoration, and marketing. The same holds true for...

CHAPEL “BESKYD” (IVANO-FRANKIVSK CITY) – POPULARIZER OF LEMKO SONGS

The article deals with the importance of Lemko folklore for the collective conducted by P. Cholovsky, the Honored Art Worker of Ukraine, Associate Professor of the Department of Folk Instruments and Musical Folklore at the Institute of Arts of the V. Stefanyk Precarpathian National University. The place of Lemko folklore in the Ukrainian musical and ethno-cultural space was described and multi-genre models of the choral repertoire, which is a vivid expression of the Lemko “soul”, were analyzed. The creative figure of P. Cholovsky as an arranger of Lemko songs and his creative work was investigated. The cultural heritage of the Lemko subethnos, widely presented in Ivano-Frankivsk, remains a “blank spot” in Ukrainian music regionalistics, Ukrainian musicology, as the merciless deportations of this group of the Ukrainian people have negatively impacted the elevation of their spiritual life. And although, such phenomena usually lead to the loss of roots or creative achievements, it is not the case with Lemkos who from the beginning have developed and cultivated their songs, dances, national costumes, etc. F. Kolessa, O. Rоzdolsky, O. Kolberg, V. Hnatyuk, Ya. Golovatsky resorted to the study of Lemko folklore. However, not so many scholars investigate this topic nowadays, in particular, there is no thorough research on the place of the Lemko song in the repertoire of Ivano-Frankivsk choir collectives. The first written mention of Lemko roots dates back to the 16th century. Lemkos are one of the multinational minorities of the Carpathian Region, who lived and worked on the hillsides of the Low, Middle and Western Beskyds. Today this territory belongs not only to Ukraine, but also to Poland and Slovakia. The Lemko culture is a sub-ethnic part of the Ukrainian folklore. Lemkos’ musical art synthesizes Polish, Slovak, Hungarian and Ukrainian cultures. To preserve the original artifacts of the Lemko culture and unite the scattered families, Lemko public organizations were founded in Galicia in the late 20th century. This process was facilitated by the positive changes in the political and cultural life of Ukraine, achieving the state’s independence in particular. In 1990, the center of the society “Lemkivshchyna” was created in Ivano-Frankivsk thanks to the support of the ardent patriot, pedagogue, linguist P. Pyrtei, and, in 1991, Lemkos of Kalush, Rozhnyativ, and Ivano-Frankivsk united into the regional social and cultural society “Lemkivshchyna”. The All-Ukrainian Society “Lemkivshchyna” appeared in Lviv in 2001. These societies became the centers of Lemkos’ cultural life on the territory of Carpathian region, and primarily artists gathered there, they contributed to the organization of creative groups – ensembles, choirs, music and choreographic groups. The “Beskyd” choir, founded in 1991 on the initiative of Ivanna Senko, the graduate of Petro Tchaikovsky National Music Academy of Ukraine, teacher of Denys Sichynsky Music College of Ivano-Frankivsk, was among such artistic organizations. Orest Turko, who was also a Lemko descendant, became the conductor of the choir. Later on, “Beskyd” was given the title of “amateur folk choir” (1995) due to the persistent and hard work of the collective and its conductor and owing to their high performing level. At present, the “Beskyd” choir of Ivano-Frankivsk Region Society “Lemkivshchyna” is an active promoter of the Lemko song in the Carpathian region. Its creative and concert palette is quite extensive, it is well-known in Europe, it actively concerts in Ukraine and neighboring states. Thanks to the great creative potential and professionalism of Maestro P. Cholovsky, the Lemko song in the activity of the choir, became the light for the restoration of the Lemko culture, language and songs in the Carpathian region. The collective firmly states that the Lemko song is one of the greatest and most interesting strata of the Ukrainian folklore, which should occupy an honorary place in the folklore hierarchy.

Analysis of National Music and Music Therapy

Analysis of National Music and Music Therapy

Unesco Department "Music, Education, Science — for Peace" at P. I. Tchaikovsky National Music Academy of Ukraine: The Strategic Dimension

Unesco Department "Music, Education, Science — for Peace" at P. I. Tchaikovsky National Music Academy of Ukraine: The Strategic Dimension

The relationship between interactive kiosk design towards usage intention in the National Music Museum of Malaysia

ABSTRACT This research aimed to propose a structural model of determinant factors to explain and predict the interactive kiosk adoption in the museum. To achieve this, we identified the determinant factors and examine the relationship between the identified determinant factors towards the usage intention. Based on the multi-level selection, the interactive kiosk in the National Music Museum of Malaysia was selected as a case study this explanatory research. A quantitative analysis using the Partial Least Square-Structural Equation Modelling procedure has been employed on 277 samples with two major assessments: outer and inner model assessments. Based on the empirical data evidence, this research proposed a structural model capable of explaining and predicting the interactive kiosk adoption in the museum. The research findings are significant to the museum authority, technology provider, or design practitioner to enhance interactive kiosk adoption in the future.

Theoretical Study on Composing Technology in National Music: A Systematic Perspective

The art of music has a long history since its development from a relatively long time. It can not only bring the viewers a more shocking thought, but also enrich people's spiritual and cultural world. And national music is also a kind of art with national characteristics, which originates from life and is also higher than life. The theory of composition technology is of great significance to the development of national music. This paper mainly analyzes the theory of composition technology and its application in national music, discusses and analyzes the role of composition technology theory in national music, hoping to have some enlightenment on promoting the inheritance, innovation and development of national music and stimulating the contemporary value of national music.

Composing for the Revolution: Nie Er and China's Sonic Nationalism by Joshua H. Howard

Reviewed by: Composing for the Revolution: Nie Er and China's Sonic Nationalism by Joshua H. Howard Chuen-Fung Wong Joshua H. Howard. Composing for the Revolution: Nie Er and China's Sonic Nationalism. Music and Performing Arts of Asia and the Pacific Series. Honolulu: University of Hawai'i Press, 2021. 271 pp. Hardcover ($80.00) or softcover ($28.00). The subject of Composing for the Revolution is Nie Er (聶耳 1912–1935), also known as Nie Shouxin (聶守信) or George Njal, the short-lived Chinese songwriter best known today for the melody he wrote for the film song "March of the Volunteers" (義勇軍進行曲 "Yiyongjun jinxingqu"; 1934/1935), which became the national anthem of the People's Republic of China (PRC), provisionally at its founding in 1949 and officially in 1978. Historian Joshua Howard packs abundant details into this first English-language biography of the national music hero of the PRC. The research is informed, among other things, by firsthand Chinese-language sources, including Nie Er's diary, letters, music, and other writings. For scholars of modern Chinese music, Howard's comprehensive account of the composer's life, works, and reception is a valuable addition to Andrew Jones's much-read chapter, published two decades ago in his Yellow Music, on Nie Er and the left-wing media culture of interwar China.1 The topics and themes covered in this current book, however, are much broader, spanning more than 100 years from the early twentieth century to the present time. It should appeal broadly to readers who are interested in modern Chinese history, musical nationalism, socialist aesthetics, music biographies, and cultural tourism. The seven chapters of this book may be read as comprising two halves. The first four chronicle Nie Er's life and music through his premature death in 1935. Chapter 1 surveys Nie Er's "formative years" in Kunming, in China's Southwest, and identifies his early musical and ideological influences. Chapter 2 is based on the author's close reading of Nie Er's diary from the early 1930s, when the composer took part in Shanghai's vibrant entertainment industry as a member of the Bright Moon Song and Dance Troupe led by the celebrity-impresario Li Jinhui (黎錦暉 1891–1967) and as a composer for the film production studio Lianhua (聯華 United Photoplay) and for Pathé Records. At the same time, Nie Er developed a radical consciousness about music's "class nature" and an ambivalence toward the consumer culture of commodified music. Chapter 3 delves into Nie Er's ideological struggle and highlights the influences of Soviet Marxist theories of art and literature on the composer's "class-inflected nationalism." It also offers a glimpse into the interplay between the rising nationalist movements of China's cultural modernists and the Marxist internationalism embraced by left-wing artists. Chapter 4 focuses on the "music itself"; the author takes a thorough look at the song structure, rhythm, melody, and lyrics of nearly a dozen of Nie Er's songs, illustrated with melodic transcription (in staff notation) and lyrics (in Chinese characters, pinyin romanization, and English translation). [End Page E-1] The second half, which includes chapters 5 through 7, examines Nie Er as a central figure in China's musical nationalism since the 1930s, and it is somewhat chronological. Chapter 5 deals with what the author calls the "politics of commemoration" and looks at how Nie Er was chosen as a "posthumous leader" of left-wing authors and musicians soon after his death and at the way his memory was preserved all the way through the Communist takeover in 1949. Specifically, it argues that the memory of Nie Er was built on a critique of the commercial entertainment styles—for example, that of Li Jinhui—and the elitist genres of music conservatories. Nie Er's songs were praised as possessing masculine qualities and martial attributes for nationalist mobilization in the wake of Japanese invasion, whereas the commercial and conservatory styles were discarded as "feminine" and thus unfit for the revolution. Chapter 6 seeks to understand the post-1949 Maoist construction of Nie Er as a "people's musician," based in part on the author's analysis of the propaganda film Nie...

College Music Education Mode from the Perspective of Cultural Inheritance of National Music

College Music Education Mode from the Perspective of Cultural Inheritance of National Music

Retracted: Interactive Teaching Based on Artificial Intelligence and Its Application in Improving National Music Appreciation Ability

Retracted: Interactive Teaching Based on Artificial Intelligence and Its Application in Improving National Music Appreciation Ability

The Emergence of the National Music of Ukraine up to Mykola Lysenko

The Emergence of the National Music of Ukraine up to Mykola Lysenko

Notes on Contributing Authors

Samson Uchenna Eze is a lecturer in Music Department, University of Nigeria Nsukka, where he teaches courses on African music, instrument techniques and performance. He has published thought-provoking journal articles that discuss glocalisation trends, cult of personality, and sexism in the Nigerian popular music scene. He is currently a graduate student at Wesleyan University, Middletown, Connecticut, United States.Ijeoma Iruka Forchu is a research fellow/lecturer at the Institute for Development Studies and Department of Music. She has B.A. (Music) from the University of Nigeria, Nsukka. She obtained M.A (African Studies) from the University of Ibadan, M.A. (Ethnomusicology) from Nnamdi Azikiwe University Awka, M.Sc. (Development Studies) from University of Nigeria Nsukka, and Ph.D. (Ethnomusicology) from NnamdiAzikiwe University, Awka. Her research interests include music in Nigerian development, gender and sexuality in Nigerian popular music and preservation of indigenous music.Kirstin Haag is a PhD candidate in Musicology at Stanford University. Her research explores sacred music practice in colonial-era Guatemalan missions. Her current project examines how a collection of early colonial music manuscripts in the European sacred tradition became the center of an Indigenous religious practice in Western Guatemala missions. Contributing to a growing discourse on colonial-era Central American cultural practices, this project highlights rare evidence of the lived religious experiences and embodied musical practices of the Q'anjob'al and Chuj Maya people. Other research interests include the performance of musical nationalism at sports games in the US and higher education humanities pedagogy.Erol Köymen is a fifth-year PhD candidate in ethnomusicology at the University of Chicago. Through the lens of an ethnographic study of Western art music in Istanbul, he is interested in the relationship among distinction, modes of capital accumulation, and (global) populism, particularly with regard to music infrastructure and secularist elite modes of circulating in and belonging to the city.Toby Wren is a composer, improviser and researcher. His artistic research outcomes include orchestral works, publications of his jazz compositions and seven albums of his original work. His publications in the fields of ethnomusicology and artistic research have investigated Carnatic music and intercultural music-making. His research deals with the ethics of interculturalism, cultural appropriation, and musical hybridity and examines how meaning is negotiated in intercultural contexts through improvisation. The research stems from his involvement and collaboration with South Indian (Carnatic) musicians in India and Australia including Guru Kaaraikkudi Mani, Ghatam Karthik, Ghatam Suresh, and Karthik Mani. Recent outputs include Krithi: Cows at the Beach (Wren and Vaidyanathan 2020) and a co-edited a book with Vanessa Tomlinson on artistic practice, Here and Now (2018). Toby has also released six albums of his original music including the recent, Black Mountain, which was critically acclaimed in national print media. Toby Wren is a Senior Lecturer at SAE Creative Media Institute where he coordinates and writes content for their Media Studies Unit and Music degree.

투리나의 피아노 춤곡에 반영된 스페인 안달루시아의 민족적 음악 요소

This study investigated the ethnic musical elements of Andalusia, southern Spain, reflected in Turina’s piano dance pieces. Turina integrated the traditional music style and impressionism music technique in Paris with the national music of Andalusia, implementing it in piano music. Turina, a composer who occupies a major position in Spanish nationalist piano music, produced the most piano works of any Spanish composers of his time. The dance suite, a large portion of his piano work list, preserves the identity of flamenco as a complex art with dance, a representative music of the Andalusia, and recreates it within the framework of traditional European music. This study analyzed Andalusian national music elements in Turina’s piano dance pieces by dividing into melodic, harmonic, and rhythmic elements. Turina’s piano dance have gained musical universality by fusion with the mainstream music trends of Western Europe beyond the limits of Andalusia, Spain.

On the Inheritance of National Music Culture and the Reform and Innovation of College Music Education

On the Inheritance of National Music Culture and the Reform and Innovation of College Music Education

Artistic Creativity in the Aspect of Cross-Cultural Communications (on the Example of the Activity of the P. I. Tchaikovsky National Music Academy of Ukraine)

The article examines the processes of artistic creativity and scientific activity in the second half of the 20th - at the beginning of the 21st centuries, using the example of cross-cultural communications carried out by representatives of the P. I. Tchaikovsky National Music Academy of Ukraine. These intercultural interactions contributed to the discovery of Ukrainian culture and its carriers in the eyes of other European creative and scientific communities. The participation of Academy representatives in the post-war international festival movement provided an opportunity to learn about and create platforms for researching mutual historical heritage, the latest paradoxes of composer creativity, and experimental approaches in reading opera canvases. These forms of artistic and scientific activity influenced the formation of national cultural and artistic fields: Ukrainian school of musical medievalism, powerful galaxy of sixties composers, equipped with the dynamics of the development of the festival movement already in Independent Ukraine. The typological characteristics of cross-cultural formats of artistic creativity and scientific activity are based around the personality-culture carrier (B. Lyatoshynskyi, O. Shreyer-Tkachenko, I. Karabyts, etc.), a creative or scientific collective, the communicative actions of which are aimed at intercultural interaction (projects of the Opera Studio of the National of the Academy of Music of Ukraine), educational and scientific programs aimed at communicative openness and replication of the results of the advanced artistic and scientific experience of the Academy (UNESCO chair) within the framework of European and world artistic spaces. Among the main communicative models of the development of artistic and scientific activity are the preservation and continuation of the best traditions of academic art, the search for and approval of new artistic principles of classical and modern art, the introduction of active concert-performance practices as models of improving professional skills, the enrichment of the repertoire of the Opera Studio with new international theatrical productions, realization of creative commonwealth with other cultural institutions of Ukraine and abroad. International art projects as a plane for cross-cultural interactions contribute to enriching the stylistic/species/technically expressive components of artistic creativity with an updated system of artistic values and norms, and also normalize the forms of cross-cultural interactions — from cooperation intentions, which form communication vectors, to the representation of artistic activity — projects between artists of different schools and countries.

Designing an Educational Concert. The Analysis of The Noah’s Ark Children’s Concert

"To design an educational concert, for it to be a valuable cultural-educational event and be attractive to children, various pedagogical, psychological, musical, and organizational aspects must be considered. These will be presented and illustrated through the analysis of the Noah’s Ark children’s concert, moderated, and conducted by the author as part of the Do Re Mi Start! educational program of the Gheorghe Dima National Music Academy. Keywords: educational concert for children, repertoire, visual elements, elements of music mediation. "