Use Of Musical Instruments Research Articles

Musical Heritage of the Pereyaslav Collegium

This article is an interdisciplinary study that aims to form a comprehensive view of music and church singing both in the educational process of collegium students and outside it. Thanks to the historical sources involved, we were able to clarify the mechanism of functioning of church singing both in the collegium and at the stage of primary (preparatory) education of future students, as well as its role in the life of collegium graduates who made careers in the major vocal chapel of the Russian Empire. The preparatory stage for the future students was studying in parish schools, where an obligatory discipline was irmoloinyi singing. It is probable that in the 18th century, the teaching of singing in the collegium was carried out in the primary classes, where Church Slavonic literacy was studied at the same time, and in the first years of the 19th century musical singing was officially reflected in the name of a separate class. All students of the collegium underwent compulsory liturgical singing practice. The most gifted of the students were members of the Episcopal Cathedral Vocal Chapel. The students of the collegium were not limited to singing only in the cathedral; they also sang during the festive processions, during the begging, as well as in the parish churches during the holidays, where they also taught church singing. Among the music books, we know for sure about several Irmologions that were used in the collegium. From the memoirs of an eyewitness of the first third of the 19th century, we learn about the singing of hymns during public exams, as well as the singing of vocal concerts during the traditional holiday greetings to the Bishop, Rector, and Prefect of the seminary. It was noted that this tradition existed in the last quarter of the 18th century. Such a practice did exist at the same time in Kyiv-Mohyla Academy, so this evidence seems plausible. The only evidence of the use of musical instruments among the students of the Pereyaslav Collegium comes from the descriptions of the May recreational festivities, when both vocal and instrumental ensembles from among the pupils were heard.

And this is what we sing – what do we sing? Exploring the football fan songs of the Northern Irish ‘Green and White Army’

This paper draws upon digital recordings of Northern Ireland football fans singing in the stadium during all 10 qualifying matches for the 2016 UEFA European Football Championship. Supplemented by participant observation and interview data with 21 supporters themselves, the paper challenges assertions within the literature which focus upon the predominance of sectarian singing amongst a section of Northern Ireland football supporters. Although vocal manifestations of football fandom may initially appear to be randomly driven by irrational emotions, on the contrary, there is an underlying structure and sequence to fandom in the stadium in which certain factors promote collective singing at particular times. The paper identifies four key themes in particular: the timing in a match; whether or not a goal has been scored; if there is a lull or a break in play; and the use of musical instruments to encourage the wider collective to sing. We argue that it is important to understand the process by which collective singing occurs in the football stadium rather than fixating upon the alleged racist or sectarian psychopathology of the individuals involved. Such knowledge may assist in supporting those fan organisations that seek to challenge discriminatory behaviour in the stadium, particularly in the current context of the European (UEFA) and World football governing bodies (FIFA) punishing fans collectively, regardless of whether or not the majority in the stadium are opposed to what is being sung in their name.

Music Therapy Interventions for Stress Reduction in Adults With Mild Intellectual Disabilities: Perspectives From Clinical Practice.

Stress is increasingly being recognized as one of the main factors that is negatively affecting our health, and therefore there is a need to regulate daily stress and prevent long-term stress. This need seems particularly important for adults with mild intellectual disabilities (MID) who have been shown to have more difficulties coping with stress than adults without intellectual disabilities. Hence, the development of music therapy interventions for stress reduction, particularly within populations where needs may be greater, is becoming increasingly important. In order to gain more insight into the practice-based knowledge on how music therapists lower stress levels of their patients with MID during music therapy sessions, we conducted focus group interviews with music therapists working with adults with MID (N = 13) from different countries and clinical institutions in Europe. Results provide an overview of the most-used interventions for stress reduction within and outside of music. Data-analysis resulted in the further specification of therapeutic goals, intervention techniques, the use of musical instruments, and related therapeutic change factors. The main findings indicate that music therapists used little to no receptive (e.g., music listening) interventions for stress reduction, but preferred to use active interventions, which were mainly based on musical improvisation. Results show that three therapy goals for stress relief could be distinguished. The goal of “synchronizing” can be seen as a sub goal because it often precedes working on the other two goals of “tension release” or “direct relaxation,” which can also be seen as two ways of reaching stress reduction in adults with MID through music therapy interventions. Furthermore, the tempo and the dynamics of the music are considered as the most important musical components to reduce stress in adults with MID. Practical implications for stress-reducing music therapy interventions for adults with MID are discussed as well as recommendations for future research.

Radiata pine fretboard material of string instruments treated with furfuryl alcohol followed by tung oil

Abstract The dimensional instability and inferior mechanical strength of radiata pine (Pinus radiata D. Don) limit its use in musical instruments. To improve its properties, a two-step treatment by furfuryl alcohol (FA) and tung oil (TO) were used involving impregnation of FA precursor solution into the wood matrix, forming a highly cross-linked resin, followed by a modification with TO. Examination using scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy revealed that FA resin was attached in cell walls and lumens, and the solidified TO in cell lumens and occluded pits. The incorporation of FA resin reduced the wood swelling coefficient by over 70% and the hydrophobic solidified TO decreased wood water uptake by over 80% enhancing wood dimensional stability. Although FA resin improved the modulus of elasticity and hardness of the wood, the modulus of rupture and impact bending strength were reduced. However, the additional TO impregnation step improved the modulus of rupture, impact bending strength, and wear resistance of the furfurylated wood. The performance of FA and TO treated radiata pine wood was better than that treated with FA or TO alone, and could meet the performance requirements of wood used for fretboard of string instruments.

Implications of cultural commodification of sinden on authenticity of local culture: a case study in Jimbe Village, Blitar District, East Java, Indonesia

This article is a critical review of the impact of tourism that causes the commodification of local culture. Through a study in the Sinden Village in Jimbe Village, as the pioneer of the development of the Sinden art in Blitar District that has been established as pioneering village by the Tourism, Culture, Youth and Sport Services (DISPARBUDPORA) of Blitar Regency, this article attempts to discuss the cultural commodification of Sinden art as one of the Intangible Cultural Heritage. This article uses a qualitative method with a case study approach. Therefore, the data in this article was obtained by the researcher by using the interview techniques and direct observation. The findings show that the commodification of the Sinden culture does not completely change the authenticity of the Sinden culture. It is because the people of Jimbe village only commodify the supporting facilities of the Sinden culture, such as songs, the use of musical instruments, and wardrobes. Whereas, the authenticity of the Sinden culture itself is not determined by those, but rather from the delivery of messages and special singing techniques.

The Design of Musical Instruments for Grey Parrots: An Artistic Contribution toward Auditory Enrichment in the Context of ACI

One particular approach in the context of Animal Computer Interaction (ACI) is auditory enrichment for captive wild animals. Here we describe our research and the methodology used to design musical instruments and interfaces aimed at providing auditory enrichment for grey parrots living in captivity. The paper is divided into three main phases: a project review and classification, sonic experiments at the parrot shelter and the design of musical instruments. The overview of recent projects that involve animals in the interaction and music-generation process highlights the costs and benefits of projects of this kind and provides insights into current technologies in this field and the musical talents of animals. Furthermore, we document a series of sonic experiments conducted at a parrot shelter to develop acoustically enriched environments through the use of musical instruments. These investigations were intended to provide a better understanding of how grey parrots communicate through sound, perceive and respond to auditory stimuli and possibly generate sound and music through the usage of technological devices. Based on the cognitive, physiological, and auditory abilities of grey parrots, and their intrinsic interest in sonic and physical interactions, we finally developed and tested various interactive instrument prototypes and here we present our design results for auditory enrichment in the context of ACI and artistic research.

Churches of Christ in Oklahoma: A History by W. David Baird

Reviewed by: Churches of Christ in Oklahoma: A History by W. David Baird Joseph Locke Churches of Christ in Oklahoma: A History. By W. David Baird. (Norman: University of Oklahoma Press, 2020. Pp. 288. Illustrations, notes, bibliography, index.) In Churches of Christ in Oklahoma: A History, W. David Baird offers a comprehensive historical outline of the titular denomination in the Sooner State, where nearly one-fifth of American Church of Christ members reside today. Although a throwback to an older genre of church history, Baird's account swiftly and efficiently chronicles the denomination's institutional history in Oklahoma. Baird begins with a helpful introduction to the Churches of Christ, an anti-sectarian form of Protestant Christianity that, modeling itself after the "primitive" Christian church of the New Testament, upholds absolute congregational autonomy. Baird's Oklahoma narrative begins with late nineteenth century mission work in Indian Territory. Held back by meager funding and the church's self-imposed organizational limits, the so-called "Indian Mission" proceeded haltingly. Nevertheless, missionaries such as R. W. Officer and Meta Chestnutt established the congregations, churches, and schools in present-day Oklahoma. Baird recounts the establishment of a firmer denominational footprint following statehood. Rejecting as unbiblical such innovations as missionary societies, Sunday schools, and organ playing, the Churches of Christ formally broke from the Disciples of Christ by 1906 and, rooted especially among poor, White, southern migrants, formed congregations across the state. The denomination's eccentric theology led early members down controversial paths, from pacifism in the wake of World War I to socialist politics amid entrenched poverty. But as the denomination achieved institutional maturity by the middle of the twentieth century and was swayed especially by the reactionary preacher Foy Wallace, the Oklahoma Churches of Christ conformed itself increasingly to broader currents of American evangelicalism. Purged of radical social criticism, the state denomination redoubled its commitment to a hardline theology, opposed civil rights, worked against gender equality, and sought to inject itself into public schools and universities before suffering decline as a denomination at the turn of the twenty-first century. Readers may be struck by the perennial omnipresence of transplanted Texans among the Oklahoma Churches of Christ. According to Baird's many biographical summaries, multitudes of notable Oklahoma church leaders came from Texas. Baird largely defers to geographical proximity as an explanation—he cites the prevalence of the Churches of Christ in southern Oklahoma along the Texas border—but leaves largely unexplored the inevitable impact that ideas and practices developed in Texas and the broader American South would have on the life of the church in Oklahoma. [End Page 220] Baird's history is, in many ways, an old-fashioned denominational chronicle that charts the rise and fall of congregations, constructs biographical summaries of leading church figures, and records the establishment and organization of various denominational schools and colleges. Rarely invoking larger demographic trends, cultural currents, or political developments, Baird—a self-professed native Oklahoman and fifth-generation Church of Christ member—typically assigns historical primacy to the denomination's theological commitments. At times, Baird's denomination can seem to operate outside of history itself. While a theology-grounded history certainly clarifies battles over the use of musical instruments during church services, for instance, it fails to offer a compelling historical explanation for the denomination's opposition to racial integration or gender equality, and Baird subsequently fails to explain the denomination's many worldly commitments and entanglements. Despite such shortcomings, Churches of Christ in Oklahoma is a helpful introduction to the denomination's historical development in Oklahoma and a worthy resource for those seeking a one-volume outline of the state denomination's formation, evolution, and future prospects. Joseph Locke University of Houston-Victoria Copyright © 2020 The Texas State Historical Association

Salafi’s Criticism on the Celebration of the Birthday of Prophet Muhammad

This article explains the standing of the Salafis on the celebration of the Prophet Muhammad’s birthday (mawlid). It will also capture some opinions of the proponents of the mawlid against the understanding of the Salafis. The Salafis’ criticism of the mawlid has been mainly built on their theological perspective due to three reasons. The first is the requirement of authenticity, as they argue that the mawlid has no argument (dalīl) both in the Qur’ān and ḥadīth. The second is the prohibition of innovation (bid‘ah) due to the status of the mawlid as an act of innovation. The third is the reprehensibility of veneration and idolatry of the Prophet Muhammad. The proponents of the mawlid, on the other side, clearly reject these arguments. They admit that the mawlid is inauthentic. However, they argue that it falls under the category of good innovation (bid‘ah ḥasanah). Therefore, it is allowed to be practiced. In addition, the Salafis also condemned some practices within the mawlid, such as serving food, the act of standing up (qiyām), the recitation of mawlid books, and the use of musical instruments. For the proponents, however, these practices are allowed as they do not violate any Islamic teachings (sharī‘ah) and they also represent a sincere expression of joy and happiness for the birth of the messenger of Allah and the noblest person, i.e., the Prophet Muhammad.

Instrumentos musicales y músicos instrumentistas en las catedrales novohispanas del siglo XVII y XVIII

El siglo XVII en la historia de la música europea está marcado por la creciente importancia de la música instrumental: música absoluta, música sin el soporte literario. Sin embargo y a pesar de la presencia de numerosos instrumentos musicales en las capillas de música de la Nueva España, la música instrumental dentro de su repertorio no se hace visible hasta las primeras décadas del siglo XVIII con la obra de Manuel de Sumaya e Ignacio Jerusalem y Stella.
 ¿Cuál fue el papel de los instrumentos dentro de las capillas de música de las catedrales novohispanas? ¿Con que fin las autoridades eclesiásticas equipaban a las capillas de música con instrumentos musicales costosos y casi siempre importados? ¿En qué momento se ha fortalecido el uso de los instrumentos musicales dentro del repertorio catedralicio?
 Algunas respuestas a éstas preguntas las podemos encontrar en los documentos de la época, otras las podemos deducir y otras más tendrán que esperar a los descubrimientos de nuevas fuentes de información.

MENINGKATKAN KEMAHIRAN MOTORIK KASAR ANAK PRA SEKOLAH DI RA BAITUSSALAM CIMAHI MELALUI BERMAIN ANGKLUNG

Abstract Learning activities in kindergartens was implemented through play activities. In carrying out the principle of learning in kindergarten there is a lot of learning strategies that can be use, one of them with "playing music". Play music including art activity for children kindergarten. When performing musical activities children can play several musical instruments as appropriate for kindergarten one IE tool music angklung. By playing the music will help the child express his feelings and creativity. For that team of researchers tried to find out the extent to which the strategy of playing the angklung can improve motor ability of abusive children. As for this research aims at: 1) to find out the capabilities of early motor rough early childhood. 2) know the planning play angklung. 3) know the process execution play angklung. 4) to find out the results of implementation of playing the angklung.The method used is the class action Research (PTK). This research was conducted in one of the kindergartens that are located in the village Setiamanah in the city of Cimahi. The research results obtained data about 1) process of learning by playing angklung can improve motor rough early childhood. 2) Impact strategy play angklung against rough motor ability of children. 3) factors that support and hinder the ability of motor rough early childhood with play angklung. The recommendations of this study are: 1) for the school, the need for the provision of the infrastructure used to support the motor ability of the rough early childhood. 2) For Educators to know the use of musical instruments in developing motor abilities angklung rough early childhood. 3) For instances of the Builder, as a reference about the strategy of playing the angklung motor ability in developing a rough early childhood. From the results of the study in this class Action was concluded that by playing angklung is a strategy that can be used to enhance the ability of a rough early childhood motor.

Analysis of the Communication Levels of the Students Studying in Music Education and Preschool Education in Terms of Music and Different Variables

The aim of this study was to investigate the communication levels of the students who are studying in music education and preschool education in terms of music and different variables. The universe of the research is composed of students studying in the music education and preschool Department of Ataturk University Kazım Karabekir Faculty of Education in 2017-2018 academic year. The sample group consists of 237 people, 128 women and 109 men, who were educated in music education and preschool education.In this study, “communication skills inventory” developed by ersanlı and balci (1998) was used to investigate the communication levels of students. (Ersanlı, K.) and Balci, S. (1998). The data were analyzed using the SPSS 21 package program and ANOVA Waryans tests were applied to examine the frequency distribution for distribution of demographic variables of the participants, the relationship between two independent variables and communication levels, and the relationship between two independent variables and communication level. The difference between variables p.0,05 was interpreted taking into account the significance level.According to the findings, there was a significant difference between the students ' communication levels and gender, family structure, The type of music they are listening to, the average listening time per week, the use of musical instrument and the duration of use per week. The communication levels of female students were higher than those of male students and the communication levels of the students in the fragmented family structure were higher than those in the other family structure. It is also important to note that the communication levels of students increase as their weekly listening time increases, and the use of the music instrument has a positive effect on the communication level. It was observed that the students who used 1 hour and six musical instruments in the Weekly environment had a high level of communication between the students who did not use the musical instrument and who used it in different periods. It was observed that the communication points of the students who listen to art music and rock music are higher than the students who listen to other types of music.It was determined that there was no significant difference between the communication levels of the students and the age, the Department of Education and the meanings expressed by music. Although there was no significant difference between the variables, it was observed that the communication level of the students aged 22 and above was higher than the students aged 21.As a result of the data obtained from the research, it was concluded that the duration of listening to music, using a musical instrument and the type of music they are listening to have a positive effect on the communication levels of the students. In the context of the results, students are encouraged to use any musical instrument in line with their listening and listening skills and to provide the necessary facilities. It is recommended that music education and preschool teachers, especially at different levels of Education, be aware that music has a positive effect on communication which is important in the development of children and in expressing themselves, and that they direct children to different social and cultural activities related to music.

Музыкальное образование в городских начальных училищах второй половины XIX – начала ХХ века

In this article, in order to find ways to develop modern music education, the experience of musical education of pupils in primary schools in the second half of the 19th – early 20th centuries, in particular, in urban primary schools under the “Regulation of 1872”, is examined. Despite the fact that singing and playing musical instruments were not included in the curriculum of urban schools and were taught outside the classroom time, various examples of teaching singing and playing musical instruments to pupils of urban schools in different regions of Russia are given in the work. The work shows that in a number of schools, for example, in Moscow urban schools, serious attention was paid to music education, singing was a compulsory subject. In some schools, for those who wish, in addition to basic subjects and more often for a small fee, training in playing musical instruments was organized. The article addresses the purpose, content, methods, forms of teaching singing, teaching aids, the use of musical instruments in the lessons, the educational level of teachers, analyzes the change in the status of the subject of singing in the process of reforming the primary education system and transforming urban schools into higher primary schools. The study shows, for example, that one of the main goals of the training was to develop and strengthen the morals of pupils. The content of the training was composed of church chants, prayers, hymns, secular patriotic songs, folk songs, and musical deed. This article may be may be interesting to music education historians, scientists and teachers, university students.

Animals Make Music: A Look at Non-Human Musical Expression

The use of musical instruments and interfaces that involve animals in the interaction process is an emerging, yet not widespread practice. The projects that have been implemented in this unusual field are raising questions concerning ethical principles, animal-centered design processes, and the possible benefits and risks for the animals involved. Animal–Computer Interaction is a novel field of research that offers a framework (ACI manifesto) for implementing interactive technology for animals. Based on this framework, we have examined several projects focusing on the interplay between animals and music technology in order to arrive at a better understanding of animal-based musical projects. Building on this, we will discuss how the implementation of new musical instruments and interfaces could provide new opportunities for improving the quality of life for grey parrots living in captivity.

Anthropological Account of Traditional Musical Instruments

The art of making a musical instrument, playing it and to move or dance to that instrument is duly considered to be an abhorrent act in Pakistan. The use of musical instruments in Pakistan is going to be extinct over time. Research in Pakistan has yet to be done in this area. The musical instruments are source of bread and butter for artists and performers as their lives are connected with these instruments. Both instrument performers and the artists were selected as respondents. The data was collected from 25 artists and performers through cluster samplings. Based on the interviews, the importance of instruments, their values and methods on the rhythms were collected from the performers (participants). The government and art Institutions in the country can play a pivotal role in saving and preserving the instruments and the artists classical culture.

THE DYNAMICS OF PIANO PLAYING IN CORPORATE CHRISTIAN WORSHIP

According to Davidson (2002:1), “ Corporate Christian Worship is the dynamic, dramatic and dialogical encounter between the triune God of the Bible and His people, in which God reveals Himself to His people and His people respond positively in an appropriate and Biblical manner.” For effective use of musical instruments in Christian Worship of which piano is a major one, care must be taken so that there can be a clear demarcation between the secular and the sacred. The appropriateness of the instrument with the issue of how and when it should be used must be taken into special consideration. As we know that, the matter of reverence and awe in worship must not be taken lightly, for our worship is to God Almighty our creator, redeemer and sustainer. Also, sensitivity in the part of the instrumentalist(s) or pianist(s) must be taken seriously. The pianist (instrument) must play with care and reverence. Issues of loudness and softness of instrument and when to play should also be taken seriously. For example, no instrumentalist should be playing the instrument prayer is on, he or she should also pray, when scripture is read, he should also open his or Bible and read along, when preaching is on, he should listen attentively, without distraction etc. The use of musical instruments in worship should serve an accompaniment role in worship, a means to an end, which is encountering God in a meaningful worship (Auda, 2012). Article visualizations:

Characterization of acoustic and mechanical properties of common tropical woods used in classical guitars

There is a need of substitution woods for the use in musical instruments because of the limited availability of some commonly used tropical tonewoods. Before substitutions can be found, it is necessary to know about the required properties. Hence, in this paper acoustical, mechanical and physical properties of four common tropical hardwoods (Indian rosewood, ziricote, African blackwood and ebony) were determined because there are less literature values for some properties available, e.g. internal friction, hardness or swelling behaviour. The acoustic properties were determined by means of experimental modal analysis, the mechanical properties by means of static bending tests and tests of the Brinell hardness. For the swelling behaviour the volume swelling and also the differential swelling coefficients were determined. With the results it is possible to look for new ‘tonewoods’ or to specifically modified woods, e.g. thermally treated wood, to substitute tropical wood species.

Nominal Group Technique: a Brainstorming Tool for Identifying Learning Activities Using Musical Instruments to Enhance Creativity and Imagination of Young Children.

The purpose of this study is to identify consensus by experts on appropriate activities to enhance the development of preschool children's imagination through the use of musical instruments. In order to obtain an in-depth understanding of teachers’ conceptions on imagination in creativity development and their beliefs about the best way to promote imagination in the classroom, the nominal group technique (NGT) was used to structure each focus group meeting. Finding shows a list of activities that have been sorted according to ranking as determined by the experts. All the experts also believe that the list of activities can boost the child's imagination because such activities have the characteristics that suit well with children.

Holiness and Worldliness

What was truly distinctive about the black Gospel music style of the Sanctified Church was its extensive use of musical instruments previously associated with “the world.” Yet, this fact presents a theological conundrum. The very churches that were so enthusiastically “embracing” the Gospel style were, at the same time, ardently emphasizing strict moral living and the repudiation of all things carnal. In this article, I suggest lines of theological reasoning that may have informed early black Holiness and pentecostal Christians in their widespread liturgical use of the Gospel style. Drawing on primary source material from COGIC founding Bishop Charles Mason, I expand Lawrence Levine’s model of the relationship between early black Sanctified churches and the secular black musical world and argue that a more nuanced conception of the Christ-world relation than is generally assumed may have undergirded Sanctified development of early Gospel music.

The Case for Musical Instrument Training in Cerebral Palsy for Neurorehabilitation.

Recent imaging studies in cerebral palsy (CP) have described several brain structural changes, functional alterations, and neuroplastic processes that take place after brain injury during early development. These changes affect motor pathways as well as sensorimotor networks. Several of these changes correlate with behavioral measures of motor and sensory disability. It is now widely acknowledged that management of sensory deficits is relevant for rehabilitation in CP. Playing a musical instrument demands the coordination of hand movements with integrated auditory, visual, and tactile feedback, in a process that recruits multiple brain regions. These multiple demands during instrument playing, together with the entertaining character of music, have led to the development and investigation of music-supported therapies, especially for rehabilitation with motor disorders resulting from brain damage. We review scientific evidence that supports the use of musical instrument playing for rehabilitation in CP. We propose that active musical instrument playing may be an efficient means for triggering neuroplastic processes necessary for the development of sensorimotor skills in patients with early brain damage. We encourage experimental research on neuroplasticity and on its impact on the physical and personal development of individuals with CP.

The gendering of musical instruments: what is it? Why does it matter to music therapy?

ABSTRACTMusical instruments are a key material resource deeply imbedded in a broad range of practices in music therapy. The local uses of musical instruments in therapeutic contexts are influenced by, and interact with, the wider usage of musical instruments in music cultures as a whole. In such a cross-contextual field, musical instruments continue to be a site through which gender is affirmed and performed with many individuals drawn to particular instruments on the basis of their affordances in terms of gender and sexuality. In this article, we will focus on how issues of gender and sexuality can shape the use of musical instruments in contemporary musical practices with consideration of the implications for music therapy practice. Using the specific example of the electric guitar, we explore how issues of gender and sexual identity have become routinely associated with the instrument through personal and cultural narratives, discourse, instrument design and the performative practices of playing.