Use Of Musical Elements Research Articles

Effect of Music Therapy on Mental Disorders

Music therapy is a therapeutic intervention that utilizes the power of music to promote physical, emotional, cognitive, and social well-being. It involves the skilled use of musical elements by trained therapists to achieve therapeutic goals and address the unique needs of individuals. Music therapy has gained recognition for its positive impact on mental health, offering a non-invasive and creative approach to address various psychological challenges.

Wzorce i eksperymenty: struktury kompozycyjne w muzyce popularnej Japonii

This work is a study of Japan’s popular music and its theoretical aspects, as well as an analysis of the influence of jazz music on its development. It begins by defining Japanese music, then the history of music in Japan in the 20th century is outlined. Subsequent chapters are devoted to music theory, with particular emphasis on comparing the use of intervals and scales in Western and Japanese music. The work discusses the theory of Japanese scales, analyzing their structure and function in the context of modern Japanese music. The next chapter focuses on the popular music in Japan in the 21st century, while identifying its characteristic features. Special attention is given to the influence of jazz on the development of Japanese popular music and its presence in today’s musical culture. The final chapter compares mainstream popular music from Japan, Poland and the USA, showing the differences and similarities in styles, structure and use of musical elements. The paper ends with conclusions emphasizing the importance of understanding cultural and theoretical context in music research.

국악-재즈 크로스오버와 전통 확장 이데올로기

Since the late 20th century, plenty of collaborative works among Korean traditional musicians and jazz performers have emerged in the realm of “changjak gugak (lit. creative national music).” In 2020s, within the scene of traditional music-based crossover works, “elite” jazz musicians’ active participation and the use of musical elements of jazz music have become more and more visible.
 During the same period, the discourses of “expansion,” “popularization,” and/or “modernization” of tradition has constantly circulated and consumed as a bundle of “spirit of the times.” Those discourses became intertwined together and thereby produced and reproduced two differentiated ideological time-spaces of “gugak musicians and listeners-premodern era-oldness-Korean (traditional) culture/music” and “the public(laymen)-modern times-newness-Western culture/music.” Because of these ideological frames, a variety of new gugak-jazz works constructed by a set of conventionalized and oft-outdated jazz performance skills and composing styles are often automatically categorized as examples of “musical expansion/modernization/ popularization” of traditional music that offer new kinds of experience, Many of those gugak-jazz crossover works which are totally not new in terms of artistic device are represented as new things “inertially” due to this existence of state-driven ideological discourses that semiotically connect the Western music to newness, which result in the crossover musicians’ benefit from the gugak-related financial aid programs offered by the state. Those discourses often ideologically dominate traditional music performers and related participants, thus the established style of gugak pieces with jazz-related elements are introduced as a “new expansion” of traditional music by musicians themselves as well as gugak-related mass media. This paper critically argues that such discursive convention that often unfairly elevates all kinds of gugak-jazz crossover works should be reconsidered and productively deconstructed for better understanding and critic of crossover gugak works.

Analisis Lagu "Selamat Ulang Tahun" Karya Jamrud

The purpose of this study was to describe the song Happy Birthday by analyzing the form and relationship of the musical elements contained in it. This study used a qualitative type of research with a content analysis approach. The research instrument used was in the form of song analysis notes, literature study, song literacy on the internet, and re-transcription of songs that the researchers did themselves. The technique of data analysis is to dissect each of the musical elements in the song separately, see the role of each element in each other, and how the musical elements are recombined in an interrelated relationship. made with a time signature of 4/4 using the basic note on the A Major scale and with a tempo of MM = 120 or 120 beats per minute, is a song that begins with the 3 beat opmat technique before entering the first beat in the initial barometer of the song. With all the elements that have been notated and analyzed, this causes the use of motifs and tones in the melody and chord accompaniment, including a simple type. When the melody of the song combines with the text that is straightforward and firm, there is an impression that the song is quite simple but more masculine. With the combination of melody and harmony in the text, with the firmness of the lyrics, this song is easily accepted by music listeners of all ages and backgrounds. So that researchers can prove that the use of musical elements in the song is closely related to the popular Happy Birthday song in the community.

Kur'ân Tilâvetinde Teğannî

In this study, the use of musical elements in the recitations of the Qur'an is examined within the framework of the concept “taghanni” in the light of historical data, lexical information, and technical findings. The concept of “taghanni” (reciting in a melodious voice) is expressed as an indispensable element of the Qur'anic recitation in the hadiths "He who does not recite the Qur'an with taghanni is not from us", “Allah never listens to anything as he listens to a prophet with a beautiful voice chanting the Qur’an aloud”, “Allah the mighty and sublime, never listens to anything as he listens to a prophet chanting the Qur’ân” which are the most important hadiths of the Prophet about the recitation of the Qur'an. Within the framework of these hadiths the use of music in the recitation of the Qur'an (taghanni) will be a very correct step for the Qur'an and humanity to meet, get closer and finally merge. The concept of "taghanni" in the Qur'anic recitations, identical and contradictory meanings and interpretations of the concept, and its jurisprudence are analysed. The existence of taghanni in the recitation of the Qur'an is revealed through the recitation of the verses of Âl-i İmran Surah 190-194 with the help of the piraat sound analysis program. In the same verse sample, the core information about the inner music of the Qur'an is presented. Our study has an importance in terms of handling the Qur'anic recitations musically.

A randomized controlled trial of 25 sessions comparing music therapy and music listening for children with autism spectrum disorder

Background: Music therapy is based on the use of musical elements by a trained and qualified therapist. Clinical researches have suggested that children with Autism Spectrum Disorders (ASD) may benefit from MT. In this regard, this study examines if MT is more effective than simply listening to music for children with ASD. Method: A 8-month RCT has been carried out comparing music therapy (MT) to music listening (ML) for children with ASD aged from 4 to 7 years old. Thirty-seven participants were randomly assigned to one of the two groups (MT vs. ML). The outcome measures were the Clinical Global Impression (CGI), the Childhood Autism Rating Scale (CARS) and the Aberrant Behavior Checklist (ABC) in each condition (MT and ML). Results: CGI scores decreased more for participants in the MT than in the ML condition. This clinical improvement was associated with an improvement of autistic symptoms on lethargy and stereotypy ABC subscales. Conclusion: Our findings suggest that music therapy is more efficient than music listening for children with ASD. The present study thus supports the consideration of MT as a rightful add-on to ASD healthcare programs.

Recognizing creativity in the music classroom

This study examined trainee music teachers’ judgements of the musical creativity of secondary age students. Nine pieces of music composed by Year 8 students (13 years of age) were evaluated by 17 postgraduate, trainee teachers. These musical pieces were sorted into a diamond-shaped formation according to how creative they were perceived to be with the most creative pieces placed at the top and the least creative ones placed at the bottom of the diamond. This approach helped the trainee teachers achieve some agreement in their evaluation of the students’ creativity. As well as a practical approach to recognizing musical creativity, the analysis of the trainees’ responses led to the identification of some attributes, such as representing the stimulus idea well and making imaginative use of musical elements and musical devices, which can help teachers to recognize, evaluate and promote children’s creative responses in music.

Teaching receptive labelling to children with autism spectrum disorder: A comparative study using infant-directed song and infant-directed speech

Background There is a growing body of literature investigating the efficacy of music interventions for children with autism spectrum disorder (ASD); however, little empirical research has been conducted into the use of musical elements to facilitate language learning.Methods This crossover-design study compared the responses of 22 children with ASD (M age = 5.88 years) to sung and spoken instructions embedded into a computer-based communication intervention designed to teach receptive labelling.Results There was no significant difference between the sung and spoken conditions. Following both conditions, there was a significant increase in receptive labelling skills; skills were generalised and were maintained at follow-up. A difference in group performance was found.Conclusion Further research is required to investigate child characteristics that may impact on children's performance using this approach.

When Seve Met Bregović: Folklore, Turbofolk and the Boundaries of Croatian Musical Identity

In 2006 the Croatian singer Severina Vučković attempted to represent Croatia at the Eurovision Song Contest with a song arranged by Goran Bregović, the ex-Yugoslav musician from Sarajevo. Before the song “Moja štikla” [My Stiletto] had even been released, the Croatian (and Serbian) mass media had questioned its “Croatianness” in an escalating sequence of claims and counter-claims to authenticity. Its use of musical elements based on folk song and dance left it open to allegations that it had compromised folk music's authenticity; those elements’ regional associations (especiallygangaandrerasinging from Lika and Herzegovina) connoted spaces which had been marginalized as “eastern” or “Balkan” in comparison to privileged inland and coastal traditions; the involvement of Bregović (represented as Serbian throughout the Croatian mass media) enabled suggestions that the song presented “Serbian folklore” or belonged to the Serbian genre of “turbofolk”—and all this in the particularly sensitive context of a competition which was supposed to symbolize Croatia's full European membership.

The Use of Music in Popular Film: East and West

Even before the advent of sound in film late in the 1920s, music has been inextricably connected with film performance. Whether used as a backdrop for film action, or as the principal focus for a cinematic scene, moviegoers have come to expect that film and music go together to the extent that the absence of music is considered a distinct stylistic choice on the part of a film director. Despite the close association of music with film, its use in cinematic tradition is not the same everywhere. In fact, the use of musical elements in different film traditions is one of the clearest ways of distinguishing these traditions from each other. This is hardly surprising. Although film is an almost universal artistic form today, it embodies at base a particular medium of expression—and this medium serves as a conduit for the distinct aesthetic sensibilities of the society for which the film is produced. In a real sense, the musical dimension of film is one of the principal semiotic levels on which the film-maker communicates with his audience.

Bach en kommunikasie – 'n verlustiging met die mensekind

ABSTRACT The integration of intellect and emotion in the service of communication is a hallmark of Bach's music. This view is endorsed by considering Bach's position in music and his position in music history. The former demonstrates that his music should be heard as the art of manipulating pitch in a dimension of time and the latter offers convincing demonstration that the composer can never be isolated from the time in which he lived. The guiding principle is the maintenance of an order governed by the arithmetical and mathematical treatment of numbers. Both the structure and the content of his work, as exemplified by the part played by the bass, his transmutation of rhetorical figures of speech into musical figures and his use of musical elements to communicate affects, are apt illustrations of his rational ethic. Examples are the Chromatic Fantasy and Fugue in D minor and the ecstatic Sanctus from the Mass in B minor. The majority of these elements can not be isolated aurally and must ultimately be co...