Hasil untuk "Music"

Anıl Erkılınç, Sertan Demir, Mehtap Uçar Tören

Halk, geleneksellik, modernizm ve postmodernizm gibi kavramlar, tarih boyunca farklı bağlamlarda çeşitli disiplinler tarafından tartışılmış ve anlamları, dönemsel dinamikler ile değer sistemlerine bağlı olarak sürekli değişip dönüşmüş, kesin yargılara varılamamıştır. Yapılan araştırmalarda folklor, sosyoloji ve kültürel antropoloji gibi alanlarda halk kavramının farklı açılardan değerlendirildiği gözlemlenmiş, gelenek ile modernizm arasındaki çatışmanın toplumsal dönüşüm süreçlerindeki karmaşıklığı vurgulanmıştır. Modernizmin anlaşılma çabası genellikle temel ilkeleri ve etkileri üzerine yoğunlaşmıştır. Geleneğin modernizmin tam bir karşıtı olarak algılanmasının, bazı sorunlara yol açabileceği düşünülmektedir. Her iki kavramın da birbirleriyle çatışması zorunlu değildir; hatta birbirleriyle doğrudan ilişkili ve birbirlerinin gelişimine katkı sağladığı düşünülebilir. Tarihsel olarak gelişimlerini birbirinden ayrı düşünmek, sağlıklı bir yaklaşım değildir. Ayrıca, postmodernizmin evrenselcilik ve ilerlemeci ideallere karşı çıkarak yerel, öznel ve çoksesli bir bakış açısı sunduğu gözlemlenmiştir. Bu çalışmanın odak noktası olarak ele alınan Sabahat Akkiraz'ın vokal icrasını, Bedük’ün ise çalgısal düzenlemelerini gerçekleştirdiği Yeşil İpek adlı eser, Türk halk müziğinin postmodern dönüşümünü örneklemektedir. Geleneksel ve modern müzik unsurlarının sentezlendiği bu eser, geleneğin zenginliğini korurken günümüz teknoloji imkanlarının kullanıldığı bir icra tarzı ortaya koymaktadır. Bu araştırma, geleneksel değerlerin modern dönemdeki dönüşümünü anlamak için nitel bir araştırma deseni kullanılarak gerçekleştirilmiştir. Akademik dergilerde yayınlanmış makaleler, kitap bölümleri ve çevrimiçi veri tabanlarından elde edilen literatür, belirli başlıklar altında gruplandırılmış ve farklı disiplinler ve yaklaşımlar altında incelenmiştir.

Nataliya BYELIK-ZOLOTAROVA, Natalya ZOLOTARYOVA, Viacheslav BOIKO et al.

The relevance of the study is determined by the need to cover the significance, uniqueness and means of performance of one of the masterpieces of the Viennese Classical School — Fantasia in c minor, op. 80 for mixed choir, piano and orchestra by Beethoven. The aim of this publication was to study the problems of performance interpretation of the legacy of the Viennese Classical School using the example of L. Beethoven’s Fantasia for piano, soloists, mixed chorus, and orchestra. Research methods were: creation of an information background; comparative analysis and structuring of information; identification of the categories that make the basis of the problem; generalization of obtained data. The materials based on audio and video recordings of the work by prominent representatives of the performing arts were used. The literature on the stylistic and compositional atmosphere of the era of Viennese classicism, as well as on features of the genres of the work was also used. The results of the study revealed the interrelationship of all components of the problem being studied. They evidenced the inseparability of such elements as genre, musical form, instrumentation, manner of performance, a certain historical period, as well as the stylistic orientation prevailing within it. Its main categories were identified while studying the chosen topic, as well as their dependency on the temporal, stylistic, individual, and psychological (performers’ personalities) context was established. These facts became a theoretical and methodological contribution to art science, history of performance, as well as music pedagogy. As a conclusion of the study on performing interpretation of the Viennese classics using the example of Fantasia by Beethoven, its genre stylistic and compositional technical universality was determined; the process during which the piano becomes a solo concert instrument; the role of improvisation in the large-scale synthetic genre; development of a single performance concept by the conductor, pianist and choirmaster, diversity of artistic and psychological types of performance while preserving the main author’s idea. The research of this topic has wide prospects in the future, thanks to its volume, multi-vector nature, connection with a wide range of musical subjects, and sensitivity to individual styles of interpretation in the context of different epochs. This is emphasized by the value of classical heritage, the need to preserve and popularize it.

Parker T. Gordon

Dorka Porogi

Árpád Ódry’s Art of Performance In 1896 the second-year academy student Árpád Ódry was already mentioned by critics as possessing the rare talent of being “able to speak”. The young journalist who first recognizes Ódry’s talent, Sándor Hevesi, will later become the director of the National Theatre. My research focuses on how Ódry’s methods represented an acting ideal and a new school at the beginning of the 20th century by introducing natural (but not naturalistic) performance methods. These methods have proved to have a lasting effect until the present. Ódry’s natural performance methods, however, can only be achieved with the special techniques of the acting profession.

Paolo Pinamonti

The story of the missed collaboration between Alex North and Stanley Kubrick for the soundtrack of the film 2001: A Space Odyssey (1968) is faced, in the light of the recently recorded North score for the film. The score highlights not only the too close analogies of North’s various music cues with the temporary tracks chosen by Kubrick but also their original position in the film; film that has suffered until the last many changes. In this research, an aspect that has not been investigated so far has emerged- that of the relationship between North’s music and that of Vaughan Williams, author of the soundtrack for Charles Frend’s film Scott of Antartic (1948). This film curiously has some similarities with Kubrick’s masterpiece, montage of photographic images with special effects, prevalence in the mixing of ‘natural’ noises over music. Furthermore, the analysis of the soundtrack, made from the composer’s point of view, does not want to question the integrity of the filmic text, but, in the light of more recent studies (Platte, 2018), open a plural perspective.

Andrés Rey

El presente artículo discute sobre la adaptación a la guitarra de la obra El Poncho de Eduardo Fabini por parte de Atilio Rapat. La adaptación contó con la aprobación del propio compositor y es quizás una de las obras más interpretadas del repertorio de Fabini. Luego de una breve contextualización histórica de ambos autores se propone una comparación de la versión original con la de guitarra, con el fin de reflexionar sobre los problemas de adaptación que surgen en la transcripción a este instrumento.

Dominikus David Biondi Situmorang

In Indonesia, undergraduate thesis is still a pretty scary end task for most students. Many of them do procrastination, keep away from supervisors, do non-productive things as a form of anxiety diversion, and the most extreme is to commit suicide as a result of excessive academic anxiety on undergraduate thesis. The education counselor as one of the college internal agents is expected to solve the problems that often occur every year. Based on Cognitive Behavior Therapy (CBT) counseling approach, the academic anxiety experienced by students is a cognitive distortion caused by maladaptive core beliefs. The process to change the student's core beliefs to be more adaptive can be done with a modern technique, that is through music. In its application, CBT counseling using integrative technique through music consists of two, passive and active music therapy. What we need to know more about how CBT views academic anxiety as a problem and how the way to use integrative technique through music, so that counselors in Indonesia can comprehend conceptually about CBT counseling intervention with music appropriately in the future, in order to help students free from academic anxiety towards undergraduate thesis.

Magdalena Walter-Mazur

W XVII i XVIII wieku status ksieni żeńskiego klasztoru był zbliżony do statusu feudalnego władcy. Reprezentowała ona klasztor wobec władzy duchownej i świeckiej, oraz czuła się odpowiedzialna za jego materialny dobrostan, skąd nierzadko wynikała konieczność utrzymywania dobrych relacji i pertraktowania z osobami, od których klasztor był w jakimś względzie zależny. Dobre stosunki należało utrzymywać także z opiekunami potencjalnych bogatych kandydatek do zakonu, które mogły wnieść pokaźny posag, ważny z punktu widzenia materialnego funkcjonowania wspólnoty, a także z własnymi koligatami i wszelkimi osobami, które mogły wywierać wpływy w częstych sporach majątkowych,. Nadciągający okres kasat klasztorów wymagał tego, by decydentom zaprezentować klasztor jako dobrze uposażony i wzorowo funkcjonujący. Wreszcie, w niespokojnych czasach, nieraz przychodziło się ksieniom układać z dowódcami przemaszerowujących przez ich ziemie lub miasta wojsk. Wychodząc od opisu wydarzeń utrwalonych w kronice benedyktynek sandomierskich, spisywanej w latach 1762-1780, ukazuję w jaki sposób w prowadzonych przez przełożoną działaniach dyplomatycznych była wykorzystywana muzyka wykonywana przez klasztorną kapelę. Przykłady, jakie chciałam tu przywołać, ukazują funkcję reprezentacyjną i „towarzyszącą” muzyki w klasztorze benedyktynek sandomierskich,  a także rolę koncertu jako „daru” powodującego zaciągnięcie zobowiązania.

Adam Hart

Music education is rightly recognised as an important part of children’s social, creative and academic development. Current UK policy holds that all children should have the opportunity to learn a musical instrument and have access to quality music education. In practice, however, many primary schools do not have the resources and guidance to deliver this, and with the pressures of literacy and numeracy attainment, the more advanced aspects of music education, such as notation and theory, often seem unachievable goals. Primary schools increasingly utilise tablet devices, such as iPads, to improve interactivity, engagement and accessibility in other aspects of learning, but this approach is yet to be widely adopted within music classes. As part of a wider research project funded by the Arts and Humanities Research Council, this study examines the effectiveness of such tablet applications in a Year 5 class on performance and composition, and assesses how this approach might function on a wider level. All children have the right to a music education which allows them to develop their expression and understanding. The modes of interaction and representation with which children are accustomed from regular use of tablets may help to ensure that this is present in every music class.

Alfalah Alfalah

The work, entitled “Bakisa in Lapiak Nan Salai” is presented in order to complete the study in Post- Graduate Program on Art Study and Composition at ISI Padangpanjang. This work was performed on January 1, 2011 in the Auditorium building Bustanoel Arifin Adam ISI Padangpanjang. The idea of this work is the description of the cultural life of the community charge Singgalang Tanah Datar, West Sumatra Province are always equal and balanced between earthly life and the hereafter. The balance can be seen in economic activity and religious traditions that are still patterned. In general, people Singgalang work in the fields or in the fields and mangilang taboo. From these observations, the phenomenon raised performer as basic starting point of departure or the creation of composition “in Lapiak Nan Bakisa Salai”. were poured through both sound sources in the form of non-traditional instruments and traditions. Source of creation of this work are artt works and some of the paper, namely: Work of Elizar Koto “ Dialog Without Theme” in 2000 (the writer has role as one of the musicians), “Encari Alternative 1”, 1994 and “Water”, 1996 . The work of Pande Made Sukerta “If Music In ....”, in 2008, the work of M. Halim “Kraying Samail”, in 2007, by I Wayan Sadra titled “Drone”, in 2008, and works Asril Mukhtar titled “Genta”, in 2010. In addition there are several posts as a source of study, namely: description of work tasks Akhitr M. Halim titled “Fanatic Bagurau Darek Minang people,” Mukhtar Asril entitled “Saluang and sang” , Suka Harjana’s writings titled “The writing of Contemporary Music, past and now, and the writing of Y. Sumandio Hadiyo Hadi ‘The Art in Religion Ritual’. The preparation of this work done the last ten stage works approved by the supervisor to be submitted as a final exam. The work is divided into 3 (three) parts, each of which has a different atmosphere, namely: the first part, has the atmosphere of peace, the second part of the atmosphere has faltered, and the third had a persistent atmosphere. Key words : “Bakisa di Lapiak Nan Salai”, Singgalang.

Valentina A Maslova

The article is aimed at showing that the poetic words may have a special energy, a special mystical power. Poetic words are like a spiral, screwed into a rhythm and meaning, and a special music of the verse

Donna Davis

“As a baby boomer, I was part of the generation that grew up with rock and roll. I recall the first time I heard my mother respond to explicit lyrics my older brother was listening to and thinking what a renegade he was. They weren’t nearly as explicit as the lyrics of today’s music, and while I swore that I’d never become my mother, I now find myself fighting with my children to turn it off! Perhaps mom was not so far off-base after all!” This 2-page Family Album Radio transcript was written by Donna Davis and published by the UF Department of Family, Youth and Community Sciences, March 2012.

Ivan Moody

Sestavek se ukvarja z vprašanjem »zmernega« oziroma »ublaženega« modernizma v odnosu do srbske cekvene glasbe 20. stoletja, pri čemer prihaja do zaključka, da njegov vpliv – v dialogu s pravoslavno duhovnostjo in pomisleki, ki zadevajo liturgično umetnost – ni bil samo pozitiven, ampak je še daleč, da bi bil izčrpan.

Stefan Rohringer

Anna J. Reisenweaver

As one of the oldest instruments known to mankind, the flute is present in some form in nearly every culture and ethnic group in the world. However, in Western music in particular, the flute has taken its place as an important part of musical culture, both as a solo and an ensemble instrument. The flute has also undergone its most significant technological developments in Western musical culture, moving from the bone keyless flutes of the Prehistoric era to the gold and silver instruments known to performers today. During the Renaissance and Baroque periods in particular, however, the flute rose to popularity as a solo instrument and began to evolve into its modern form. New developments in the design and mechanics of the instrument drove this increased interest, which ultimately gave the flute a prominent position in music that has lasted throughout history.

Nicolai Jørgensgaard Graakjær

This article examines music in television commercials from a text analytical perspective. An analytical framework is presented involving three interrelated analytic levels: the text, the co-text and the con-text. The level of con-text is presented as a transtextual matter of the relationship between the music appearing in the television commercial and music from outside the commercial. The level of co-text is presented as an analytical issue regarding the relationship between the different textual elements of the television commercial – a primary level of audiovisual signification is identified. The level of text is presented as a matter of the specific structure of music in television commercials and a number of formats are described. Arguably these three interrelated analytical levels are pivotal for the textual analysis of music in television commercials. Each level is discussed and further developed into a number of analytical categories, and throughout, the analytical levels and categories are illustrated with references to recent television commercials broadcast in Denmark.

Elina Caroli

This paper studies the link between local identity reconstructions and the spread of cultural and ethnic tourism in Salento (Apulia), where, during the last ten years, cultural politics and territorial marketing have rekindled tourism. This process stemmed from the revalorization of the local Greek-based language (griko) and from the heritage policies concerning tarantism and the pizzica, the music formerly used during the rituals. The success of this so-called “renaissance” is nonetheless ambiguous and its ransom could very well be the showcasing of a society offered to tourists in an aesthetic and exotic fashion. The images offered to and internalized by tourists, actually end up reinforcing the prejudices of a timeless, a-historical land, appealing because of its primitive nature. However, social problems do remain and call for serious consideration, while tourist flows and the number of secondary residences has been on the rise.

Andrej Rijavec

Klangliche Realisierungen im Werk von Uroš Krek

Vytautas J. Stauskis

Investigations of acoustics of halls of different types and volumes have disclosed good or acceptable values of the music sound clarity index C80, while the reverberation times of these halls were found to be either very short or very long. Subjectively, the acoustics of these halls are considered to be unsatisfactory. For example, the reverberation time measured in the hall of the Vilnius Opera and Ballet Theatre is about 1 s, while the values of the C"n index are either good or acceptable. A church the volume of which is 22 650 m3 has acceptable C80 values both in the performers's places and in the front rows. Similar results were obtained in other halls too. First Published Online: 14 Oct 2010

Anthony Jackson