Use Of Musical Instruments Research Articles

Music Arrangement in Kurdish songs in Suleimani

Performed music is an important and unique part of the world's music center and its different situations are analyzed through several scientific theories. The Kurdish Music Center has its own efforts in the field of composing and distributing music and can be classified into different categories and by resorting to these scientific principles can be treated scientifically. Since the beginning of its establishment, Sulaymaniyah has been a city full of artistic products and various innovations. Therefore, working on this entity is an important task of scientific research and excavating the history of this invention requires more scientific research, especially since the state of scientific research in the field of music and analysis of production situations is not at the necessary level. This research is an examination of the musical works that have been distributed in the city of Suleimani. It also classifies and distinguishes works in terms of stage and style. Along with these is the analysis of each of the songs sampled by the researcher in terms of form, harmony, distribution of words and use of musical instruments

Nail Alterations From Musical Instruments: Insights for Dermatologists Treating Musicians.

Long-term practice and performance with a musical instrument predispose musicians to several skin conditions and nail disorders. We conducted a comprehensive literature search of the PubMed, Scopus, and Google Scholar databases for articles on nail alterations in musicians. Complications were divided into modifications of the nail surface and nail plate, soft-tissue abnormalities, and periungual tissue and distal pulp disorders. Health care professionals should be aware of these various modifications related to the use of musical instruments and provide preventive measures.

Playing by ear and the development of music skills at pre-school age

The aim of the present research was to investigate the evolutionary course of rhythmic development in pre-school children in a private kindergarten (age 4–5 years) in Athens, Greece, through Lucy Green’s ‘Playing by ear’ method. Tools and strategies taken from qualitative methodology, and more specifically from action-research were used. What was investigated was to what extent the ‘Playing by ear’ method developed the rhythmic skills of the students and to what extent it enhanced the students’ ability to play music in small groups without the teacher’s instructions. It is important to mention that the research was conducted in connection with the goals set in the Analytical Curriculum of the Greek Ministry of Education and Religious Affairs (ΥΠ.Ε.Π.Θ.). The results of the research showed that Green’s ‘Playing by ear’ method helped the students’ development of rhythmic ability with the use of musical instruments, as well as their rhythmic ability through kinetic behaviour. It also helped students to engage in early experimentation. Finally, the method enhanced the students’ ability to play music in small groups without the teacher’s continuous and direct instruction, developing in this way new communication and cooperation practices and skills.

Розвиток самосвідомості педагогів музичного спрямування

The article presents the results of theoretical and methodological analysis of scientific achievements of foreign and domestic scientists in their study of the problem of psychological readiness of specialists who investigate it in terms of special education, remedial and rehabilitation effects on children with intellectual, autistic, speech and kinesthetic dysontogenesis disorders. Analysis of literature sources shows that the psychological readiness of a specialist in special education is an integral part of teacner education consisting of the motivational, emotional and activity-related attitude of an adult to changes in behavioural, regulatory, developmental, intellectual, sensory perception of cooperation with a child, aimed at the correction and compensation for central nuclear disorders and their consequences. The psychological readiness of a music therapist is presented as the following components: praxeological, assertive, and internal. Each component is represented by parameters of intellectual, motivational, volitional, self-regulatory, evaluative, creative, communicative, corrective and compensatory psychological mechanisms. It is determined that the personal traits of a musician-teacher are manifested in a situation of their awareness of the need for special professional training to perceive the psychological characteristics of children with special educational needs. It is noted that without the formed psychological readiness of a specialist in the field of music, their supervision of training, psychological support, a negative attitude towards ‘special’ children and cooperation with them are established. Music therapy requires special training of specialists who are not only competent in the field of music, the influence of music, and the use of musical instruments, but also what ensures the phenomenon of its effectiveness and reliability of scientific and practical results. Music therapy has recently begun to be used in special education, and this work involved specialists in the field of music. Scientists studying the pedagogical and psychological qualities of a music teacher point out the criteria such as high-quality musical abilities, the ability to encourage children to cooperate, reveal musical abilities in these children, develop musical taste in them and understanding of the material, make efforts while learning to play instruments, by creatively approaching the use of musical material and systematically supporting motivation and contributing to the creative development of children. The article presents levels of music therapists’ professional awareness of the problems of cooperation with children with special educational needs, and their acceptance, assimilation, processing, and implementation of musical content. The article presents the criteria developed by the author and levels of psychological readiness of a specialist in musical development regarding adequate interaction with children differentiated according to a specific nosology. It is determined that such cooperation should take place in the context of not only musical but also special work within the framework of music psychotherapy. It is concluded that it is necessary to develop and test a structural and functional model of professional special psychological training of music specialists with a significant emphasis on psychotherapeutic assistance. Keywords: music therapy, special education, psychological readiness, music therapist, children with special educational needs.

Musical culture of screen direction

The article examines the phenomenon of music in audiovisual art. The work of Ennio Morricone in world cinema is analyzed. This approach made it possible to deeply reveal the role of music in the screen arts and to show the peculiarities of the collaboration between the director and the composer. Signs of collective authorship in the screen arts have been identified, which provoked the emergence of creative tandems, a director-composer. In addition, the director's creativity was studied in the context of the composer's practices of creating music for audiovisual art. Composer practices of Ennio Morricone in different directorial models are analyzed. The main features of the author's style of the composer are revealed, his innovative approaches in creating music for the screen and symphonic music are revealed. The experimental music of a prominent composer is characterized. The main techniques of E. Morricone's tonal music are singled out and the specifics of the use of musical instruments in the artist's scores are clarified. The artist's use of various composing technologies is analyzed. It is substantiated that the composer tried to reform film music and modern music in general. The composer's unique ability to work in a cinematographic production team has been proven. It is shown that sometimes the screen music of the maestro became more popular than the films for which it was written.
 In the development of the topic, the methods of scientific analysis, comparison, and generalization were comprehensively applied. Analytical and systematic methods in their unity were involved to consider the art-historical aspect of the problem.
 As a result, the specifics of the use of musical means in screen arts are determined through the study of creative models of the director and composer, the relevance of using the systematic method in studying the peculiarities of composers' creativity in the context of audiovisual art and production is proven.

Music in Christian worship in Nigeria in light of early missionary attitude

When the protestant Christian missionaries arrived in Nigeria in the 19th century, they disallowed native music as well as the use of musical instruments in the church because of the fear that these would encourage their converts to retain their heathen practices. However, today the solemn congregational hymns they introduced have been either supplemented or replaced with vibrant instrumental music in most churches. The article investigated the reasons why the missionaries banned instrumental music and assessed whether the musical innovations made by Nigerian Christians have hindered or helped the growth of Christianity. Applying the reader-oriented and phenomenological approaches, the article found that phases of musical adaptations in terms of indigenous genres, instruments and traditional and modern dance modes were introduced principally through the youth fellowship groups, indigenous choirs, the Aladura and the Neo-Pentecostal churches. While some critics have argued against these innovations, they have been found to have biblical support, particularly in the psalms. Among other advantages, the indigenous adaptations enhance interest in worship and cater for preferential musical tastes among worshippers. Most churches have come to value the new musical genres so much that they no longer can do without them during worship. Therefore, instrumental music has helped the growth and development of the church in Nigeria in several ways.Intradisciplinary and/or interdisciplinary implications: This research involves both the Old and New Testaments as well as Christian music. It holds that rather than being a hindrance to the Christian faith in Nigeria, instrumental music has helped its growth tremendously.

Marching to the Beat of Their Own Drum: How Beta-Israel Uses Liturgical Music to Maintain its Roots Within a Foreign Culture

Known as Falasha, Ethiopian Jews lived in isolation for centuries practicing an ancient, pre-talmudic form of Judaism, which traces its origins back to Solomon and Sheba.” It was not until 1984 that this Falasha community, known as Beta-Israel, was covertly airlifted from Sudan during the civil war and brought to the State of Israel. Their arrival was accompanied by quite the culture shock for a variety of reasons, a significant one being religion. Much of the community quickly assimilated into modern society, leaving behind their traditional religious Ethiopian roots. As a result, the Beta-Israel community became a minority, a waning religious sect of Judaism in Israel. Yet, those who maintained their roots continued their practices with full vigor. Included in these practices is their unique liturgy, liturgical music and use of musical instruments in prayer. This paper will examine texts which discuss Ethiopian liturgical music in depth and explore what role this music plays in preserving their community.

Listening with Elephant Ears

This article addresses Listening with Elephant Ears, a contemporary music composition and performance created by the author together with the Elefantöra (Elephant Ear) ensemble. Elefantöra is a norm-critical music ensemble that includes both disabled and non-disabled musicians. When musicians are defined as disabled, normative assumptions regarding the correct use of musical instruments and expert definitions of good sound generate rehabilitative approaches to music that perpetuate exclusions of ableism. This article examines the intersections that exist between exclusions of ableism and exclusions based on musical virtuosity. It focuses on the ways in which Elefantöra contests both exclusions of ableism and virtuosity in their creative reappropriations of sound technology. Composed in the fall of 2020 as a collaborative artistic research engagement, Listening with Elephant Ears was first performed at the Lund Contemporary Music Festival in Sweden, October 2021. The article draws on ethnographic and sound material generated from my artistic research engagement with Elefantöra. Created during the COVID-19 pandemic, Listening with Elephant Ears actively reappropriates the Zoom video conference software as a music technology. The piece embraces Zoom’s limitations and emphasizes the aesthetic value of the audio distortions and digital interference that Zoom introduces into musical performance. Critiquing regimes of regulation that situate disabled musicians differently to non-disabled musicians, Listening with Elephant Ears applies care as a theoretical perspective from which to reflect critically on rehabilitative approaches to music and the associated exclusions of ableism and musical virtuosity.

Спронк В. Испытание параметров музыки: Хальберштадтское исполнение ORGAN2/ASLSP Джона Кейджа как экспериментальная система

Is being performed at Halberstadt, Germany, by ORGAN2/ASL SP (1987), an organ piece by the American avant-garde composer, John Milton Cage (1912–1992), music theorist and pioneer in aleatorics, electronic music and the non-standard use of musical instruments, whom music critics have called one of the most influential American composers of the 20th, known for his radical attempts to subvert listeners’ conventional ideas of what music is and should be. With this performance, with a running time of 639 years and being the world’s longest performance of a piece of music that will reach its finale at 2640, with a break at 2319, the initiators of the ORGAN2/ASLSP organ piece at Halberstadt seek to explore in practice the direction of the musical movement set by the composer — “as slowly as possible” that Cage laid out for the work. ORGAN2/ASLSP invites listeners to reconsider what we mean by music: is something still music if the length of performance exceeds the length of human life? In essence, Organ2/ASLSP contains the idea of a paradigm shift stemming from the transformation of musical technology, presented by the composer as a transition from linear to complex thinking, from determinism to indeterminism, to the creation, instead of static art objects, of moving and changing artistic processes that predetermine a new technique and aesthetics of music performance. ORGAN2/ASLSP’s performance questions the boundaries of musical performance, from the role of the performer to the role of the listener, the material and temporal conditions of music, to articulate how slow is “as slow as possible”, prompting us to essentially reconsider the fundamental parameters of music.

КЫРГЫЗСКИЕ МУЗЫКАЛЬНЫЕ ИНСТРУМЕНТЫ И МУЗЫКАЛЬНАЯ КУЛЬТУРА В СОВРЕМЕННЫХ УСЛОВИЯХ

The article discusses the features and problems of using, creating musical instruments (traditional Kyrgyz and modern) and an attempt is made to determine their role and place in the national cultural and social sphere. It is indicated that the musical educational process is associated with the use of musical instruments. And, the quality of teaching musical art at all levels is determined by the effective element, which is a musical instrument. The article is devoted to the consideration of the patterns of evolution of musical instruments and the features of the Kyrgyz musical instrument and the musical instrument as a whole, which constitutes the cultural and creative content of a new stage in the development of musical culture.

The vibrational properties of native and thermally modified wood in dependence on its moisture content

The vibrational properties of spruce (Picea abies Karst.) and European beech (Fagus sylvatica L.) were investigated in this study in dependence on the relative humidity (RH). The RH was measured at 20 °C ranging from oven-dried to 85%. For the evaluation of the vibrational properties the dynamic modulus of elasticity E’ and the damping coefficient tan δ were measured at 7 climate steps. The same samples used for the vibrational tests were afterwards mildly thermally modified at 180 °C and measured at the same climate steps. Both wood species were compared and evaluated considering the property changes (E’, tan δ, sorption isotherms and volume swelling) due to the thermal modification. The chosen modification resulted in a marginal change in the vibrational properties of spruce, whereas the properties of beech were clearly changed. The vibrational properties of beech could be improved in the usual RH range (35–85%) due to this thermal modification. For spruce, it was concluded that a mild modification, conducted in this study, is not suitable for improving the vibrational properties. Further conclusions concerning the underlying causes as well as the use in musical instruments were drawn.

NU dan Musik Religi: Dialektika Agama dan Budaya

Music, in its development, follows social and cultural needs. In the Islamic world, music has long been discussed in terms of how Islamic law regulates the use of musical instruments or listening to songs. From the two opinions that allow and prohibit, Nahdlatul Ulama has long engaged in a dialectic of musical art with religious law through the provision of a platform for both containing and developing musical art. Through the approach of Sufism and historical evidence of the success of preaching through art, religious music, which is a manifestation of the transformation of musical art in the present, has become one of the effective media for spreading Islamic values among children and the general public.
 

Methodological approaches to the formation of the pre-service Music teachers' systematic idea of the national musical culture

The work is devoted to the formation of a systematic idea of the national musical culture (NMC) in the music teachers training process. The expediency and validity of four pedagogical approaches have been determined. It concerns systemic, culture-based, activity-centred and hermeneutic approaches. Based on the conceptual provisions of researchers' works, as well as the method of systemic genre modelling of musical culture, the idea of the structure of the NMC as a systemic and holistic phenomenon is accepted as a guideline. The basis of the NMC is the tradition of folk art, folklore of large and small peoples belonging to a single nation. Folklore is a complex phenomenon that should be presented and studied as a system of song, dance, and instrumental genres (mythological, ritual and magic, calendar and ritual, epic, game, etc.) The author describes that the genre model of the NMC used in the study allows to cover all the main characteristics and elements of the cultural practice of music, such as: the activities of performing musicians; functioning of theatres, concert organisations, creative unions; work of educational institutions; production and use of musical instruments, sheet music and books; media activity, etc. Therefore, the NMC can be considered not only in terms of its genre content. However, with any approach, from any point of view, the theoretical reflection of musical culture will be a multi-element, multi-faceted and multi-level unity. They are implemented through the application of a complex of pedagogical principles, methods and forms of education, such as: the principle of coordination and subordination of artistic cultures and their components; the principle of the "spiral trajectory" of the educational course thematic composition; the principle of the genre and style model of the NMC; the method of immersion in culture; the method of multi-artistic representation of educational material; the principle of establishing the level of cultures affinity, which regulates the involvement of comparative analysis methods; the principle of creative assimilation of the music-language system of the NMC; the didactic game method; the "hermeneutic circle" principle; the method of creating mnemonic symbols, etc.

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.

국내외 상지재활을 위한 음악중재 연구 내 악기연주 유형 및 악기 활용 분석

The purpose of this review was to analyze the use of musical instruments in music intervention studies for upper extremity rehabilitation. Twenty-one studies published in domestic and foreign academic journals were identified and analyzed. Differences were found based on the academic background of the researchers and the playing technique used. However, the activities for improving upper extremity function and the types of musical instruments employed shared a number of general characteristics. Music intervention studies in Korea were conducted mainly in the field of music therapy, while music intervention studies in other countries were conducted mainly in the medical field. Outcomes differed depending on whether the functional goals of the instrument playing involved gross motor or fine motor movement. Further research is necessary to expand the scope of instrument playing and the use of musical instruments in music interventions for upper extremity rehabilitation.

Noise Exposure and Otological Morbidity in Military Musicians in Cotonou

Introduction: Military musicians are subjected to a double risk of noise related to the use of combat weapons and then to the use of musical instruments. The objective of this study was to assess the otological damage of military music professionals in Cotonou. Methods: This was an analytical cross-sectional study carried out from July 15 to November 15, 2019. It focused on soldiers from the Music Squadron and the first Motorized Intervention Battalion of Camp Guézo in Cotonou. Results: 110 soldiers were included. The mean age was 34.3 ± 6.2 years. The sex ratio was 17.3. The instruments used were wind (74.5%), percussion (23.6%) and string (1.8%). The average length of service in the Music Squadron was 11.5 ± 6.7 years with extremes of 1 year and 25 years. They practiced military music for an average of 4.58 hours per day for 4 days per week. The mean sonometric measurement during training ranged from 89.1 dB (A) to 116.4 dB (A). Hearing loss was predominant in the military musicians group and was mild degree bilaterally (p = 0.002) and perceptual type (p = 0.007). Conclusion: Military musicians are exposed to high noise levels, putting them at risk of developing hearing problems that may limit their performance. The main otological morbidity found was hearing loss associated with a few cases of tinnitus and headache.

Figurative Interpretation of Sound in the Heroic Epic Poetry of Peoples of Siberia

The authors of the article analyse the specifics of the depiction of sound and music in the heroic epic poetry of peoples of Siberia, who have preserved their epic tradition until recently. The authors refer to a number of epic texts by Altaians, Buryats, Tuvinians, Khakassians, and Shors. As demonstrated by the review of theoretical works carried out in the article, the musical aspect of the epic, which has attracted the attention of scholars, was focused on the study of epic intonation, timbre, and the use of musical instruments to accompany the storytelling (V. I. Verbitsky, V. V. Radlov, N. P. Dyrenkova, A. V. Anokhin, N. A. Baskakov, L. P. Potapov, Yu. I. Sheikin, R. B. Nazarenko, G. B. Sychenko, O. E. Dobzhanskaya, etc.). The use of the typological method makes it possible to carry out a comparative analysis of text fragments from the epics of the Turco-Mongol peoples, based on which it is concluded that noise sounds are conveyed in texts using onomatopoeias and ideophones. Music is conveyed through the description of its impact on characters, animals, and natural objects. It can be healing and destructive. These descriptions contain a sound code, which, like all other techniques of the epic, is aimed at conveying epic images. The oral nature of the functioning of folklore works makes it possible to use expressive techniques and means that give life to a certain monotony in the performance of monumental epic texts. More particularly, these include various ideophones. Descriptions of sounds, singing, and music are presented in stable poetic stereotypes in heroic epic poetry, which constitute the fund of the “common places” of the epic. The comparison of these descriptions shows their similarity in the structural, poetic, and compositional form, as well as in the same set of artistic and pictorial means used to create images.

Utilization Of Educational Media In Language Learning

Educational media is one of the aspects that determine the success of learning. Language learning uses specific learning media because it requires a unique approach. The purpose of this study was to determine the educational media used in language learning and their effectiveness. The research method used is a literature review; the article's source comes from the Scopus database. The number of articles used as data sources is 16 articles. The study results found that the learning media used in language learning were: social media, Facebook, website, mobile learning, and Android. The entire educational media utilizes technology. Only one educational medium was found that did not utilize technology, namely the use of musical instruments. The results showed that the educational media used was effective. The use of educational technology in learning provides opportunities for further development in its use strategy.

A Study of the Influence of Music on Audiences’ Cognition of Animation

How do animation directors and music composers integrate personal creativity and expression into their work, and how do audiences understand and appreciate it as being important and worthy of discussion? This study explores the influence of music on audiences’ cognition of animation by using both quantitative and qualitative methods. Scholars specializing in aesthetics and music have conducted much research on music aesthetics and music itself. In recent years, further studies on music and film have also been carried out. However, there is a lack of research regarding audiences’ cognition of music in animation. This study focuses on the popular form of sand animation and provides insights into audiences’ cognition differences and preferences in order to uncover the core factors. The findings are that: (1) the audience perceived more consistent and subtle differences in the use of musical instruments, rhythm cadence and video–audio fit; there were also obvious differences in the perceptions of vocal skills, performance skills and musical style as well as emotional transmission; (2) three aspects of the audiences’ evaluation of an animation were affected by music: creativity, cultural meaning and preferences. The seven elements that constitute animation music (use of orchestration, vocal skills, musical style, rhythm cadence, performance techniques, emotional transmission and video–audio fit) exerted varying degrees of influence on the audiences’ evaluation of the animation film. Amongst these, video–audio fit was found to be the most important element, as it simultaneously affected the audiences’ evaluation in terms of creativity, cultural meaning and preferences; (3) audiences of different ages and professional backgrounds showed significant differences in evaluating animation films in terms of creativity, culture and preference; and (4) differences in music had a significant impact on audiences’ perceptions and evaluations of 10 facets of animation films, including the story content, role identification and spiritual fit.

Sejarah Musik Melayu di Kota Medan, 1970-2000

This article discusses the influence of foreign cultures on the existence of Malay music in Medan City in the period 1970-2000. The arrival of various foreign communities in Medan City also brings their original culture. The acculturation of foreign communities with ethnic Malays produces a beautiful blend of cultures. This study uses the historical method in four writing steps, namely; heuristics, verification or criticism, interpretation, and historiography, with a cultural approach. Ethnic Malay as an egalitarian society can accept foreign culture with open arms. The interaction of the Malay people for hundreds with foreign cultures has brought significant changes to their culture. This can be seen from the various musical genres that influence Malay music. In addition, the use of musical instruments from various foreign cultures also enriches the treasures of Malay music. Even though it was influenced a lot from foreign cultures, Malay music still survives and exists today.