Polityczne i społeczne uwarunkowania klimatu intelektualnego Półwyspu Apenińskiego w pierwszych siedmiu dekadach XIX w. skutkują powstaniem w Europie odrębnej odmiany romantyzmu, wykazującej elementy znacznie odbiegające zarówno od francuskiej, jak i od niemieckiej myśli o muzyce. Autorka podejmuje próbę odpowiedzi na pytanie, jakie czynniki sprawiły, że w mozaikowym kontekście kulturowym Państwa walczącego o niepodległość i zjednoczenie, twórczość Fryderyka Chopina mogła od razu cieszyć się istotnym zrozumieniem zarówno pod kątem jej artystycznej wartości, jak i historycznego znaczenia.
Faktem powszechnie znanym jest praca Romana Palestra w rozgłośni Radia Wolna Europa, o jego kontaktach z paryską Kulturą oraz jej redaktorem naczelnym, Jerzym Giedroyciem, wiadomo natomiast bardzo niewiele. Tymczasem, poza opublikowanymi na łamach tego najważniejszego polskiego pisma emigracyjnego tekstami Palestra, w archiwum Instytutu Literackiego w Maisons-Laffitte zachowała się korespondencja kompozytora z Jerzym Giedroyciem. Pisane w latach 1951–87 listy pozostają świadectwem ich długoletniej znajomości, skupionej na sprawach ważnych dla polskiej muzyki i kultury. Celem artykułu jest przybliżenie relacji Romana Palestra z Jerzym Giedroyciem w świetle zachowanej korespondencji.
As an important part of humanities, music plays an important role in cultivating students' cultural quality, artistic quality and ideological quality. Based on the methods of interview, literature research, observation and interview, this paper makes an in-depth study and Discussion on the relationship between humanistic quality and music education in Colleges and universities. And how to play the role of music education to promote the development of humanistic quality of college students are analyzed and discussed.
Andreas Schlegel, Clemence Debaig, Daniel Strutt
et al.
A Goldsmiths based AHRC funded project within the ‘Tackling the Impact of COVID-19’ UKRI call. In collaboration with LASALLE College of the Arts Singapore, Akram Khan Dance Company, and Target3D. In this experimental test session recorded in July 2020, two dancers, one in London, and one in Singapore, are dancing together, but virtually, each wearing an inertial sensor motion capture system. Live and pre-captured dance data was streamed from a dancer in a similar studio space in LASALLE college in Singapore, some 6700 miles away, with barely noticeable delay or latency. Although with occasional technical glitches, including magnetic interference with the suit, this raw footage operates as proof of concept, and a suggestion of what is to come in the next iteration of our research. We position this research practice within a historical and theoretical problematic of networked or ‘distributed performance’ and of telepresence, telematics, and virtuality in dance practice. It is not about recreating the live experience – of ‘being there’ – but rather finding forms of meaningful connection, engaged interest and attention in a digital medium which is decisively and qualitatively different.
Particularly in the later stages of his career, Glenn Gould hoped to create large-scale structural coherence in multi-movement works through his choice of tempi. In a scripted conversation with music critic Tim Page, Gould described the “rhythmic reference point” in his 1981 recording of Bach’s “Goldberg Variations.” Gould’s process in the recording studio did not involve comparison of discrete sections of music; Gould listened to or played along with the end of the previous variation to set the tempo of the following variation. Empirical analysis of Gould’s 1981 recording shows how the processual logic of Gould’s execution contrasts with the architectural emphasis of the theoretical literature on proportional tempo. In this recording, proportional tempo relationships depend on large-scale slowing across entire movements. Despite being common in Gould’s recordings, these tempo shapes have not previously been described in the scholarly or popular literature; I argue that listeners do not perceive them as tempo per se, but as structure. This heard sense of structure is created in an area underdetermined by Bach’s notation and is based almost entirely on Gould’s decisions as a performer.
Vor allem in späteren Phasen seiner Karriere wählte Glenn Gould in mehrsätzigen Werken Tempi, durch die strukturelle Kohärenz auf großformaler Ebene geschaffen werden sollte. In einem Gespräch mit dem Musikkritiker Tim Page beschrieb Gould den »rhythmic reference point« in seiner Aufnahme von Bachs ›Goldberg-Variationen‹ von 1981: Goulds Arbeit im Aufnahmestudio beinhaltete keinen Vergleich einzelner musikalischer Abschnitte; er hörte sich das Ende der vorherigen Variation an oder spielte dazu, um das Tempo der folgenden Variation zu bestimmen. Eine empirische Analyse von Goulds Aufnahme von 1981 zeigt, wie die prozessuale Logik seiner Interpretation im Gegensatz zu architektonischen Überlegungen zu Tempoproportionalität steht, wie sie in der musiktheoretischen Literatur häufig begegnen. In dieser Aufnahme äußert sich dies im großformalen Verlangsamungen über ganze Sätze hinweg. Obwohl sie in Goulds Aufnahmen üblich sind, wurden diese Tempoformungen in der wissenschaftlichen oder populären Literatur bisher nicht beschrieben. Ich argumentiere, dass Hörer*innen sie nicht als Tempo per se wahrnehmen, sondern als Struktur. Dieses gehörte Strukturgefühl erschließt sich dabei nicht aus Bachs Notation, sondern basiert fast ausschließlich auf Goulds interpretatorischen Entscheidungen.
The violin is an instrument used in various musical genres. Besides preserving, elaborating, and valuating, the classical form of the instrument as well as the classical violin repertory, an electronic version of the instrument has entered the music business many decades ago. It allows the musician to produce sounds ranging from classical violin sounds to electric guitar or even electric bass sounds. Nora Kudrjawizki (‘Angelstrings’, “One Violin Orchestra”) is an electric violinist living in Berlin and using the instrument for as many different genres and occasions as possible: playing Nirvana songs or fighting with the violin bow as an improvised sword to “Pirates of the Caribbean” music as part of her performance. Her work will be presented as a case study and will be set into a bigger framework with further electric violinist statements generated from the literature. I focus on the differences in the instrumentalist–instrument relation when playing electric or acoustic. My aim is to prove that the electric violin is mostly used to play public and impress others and that there are also musically interesting aspects and individual experiences that should be valued.
This paper explores an unprecedented artistic experience initiated by African rappers in 2007. Using the poems written by the Senegalese poet Léopold Sédar Senghor, they adapted them to rap music. This work resulted in the conception of a booklet, a CD and a DVD. It foregrounds an intermedial reception of rap that takes into account the multiple implicit and explicit relations that bind all the media used (literature, music, videography). Building on the theories of intermediality, this essay aims to show multiple processes of re-creation carried out by the artists on Senghor’s poems.
Neste artigo, investigamos as maneiras pelas quais o hibridismo temático se manifesta no choro em dois níveis distintos, nas unidades de oito e dezesseis compassos, e demonstramos como este exercício pode contribuir para a compreensão de casos ambíguos em que o conteúdo temático parece ter pouca relação com os dois tipos formais geralmente tomados como modelo na literatura, o período e a sentença. Adotamos como referencial teórico a Teoria das Funções Formais de William Caplin. A escolha desta ferramenta advém da hipótese assumida, ao início da pesquisa, de que a análise de músicas populares derivadas da música de salão europeia de fins do século XIX seria adequadamente conduzida por uma ferramenta que lida com o repertório que o antecede, dentro da mesma tradição (o alto período clássico, nomeadamente, Haydn, Mozart e Beethoven). Submetemos peças centrais do repertório chorão (em especial de Pixinguinha) à análise e reconhecemos, ao longo do trabalho, a relevância da ferramenta de Caplin e também suas limitações. Identificamos, por exemplo, três tipos híbridos compostos, estruturas não discutidas por Caplin por não serem recorrentes no repertório Clássico: Antecedente Composto + Continuação (8), Antecedente Composto + Consequente Composto => Continuação, e Apresentação Composta + Consequente Composto. Como resultado dessa pesquisa, pudemos observar que as designações tradicionais de período e sentença não são suficientemente precisas para lidar com todo o repertório do choro, sendo necessário admitir a presença de tipos híbridos.
Marcela Maksymowicz, Piotr Artur Machowiec, Gabriela Ręka
et al.
<p dir="ltr"><span>Introduction and purpose of work: </span><span>The widespread availability and multi-functionality of mobile phones among young people cause that these devices are used not only for communication, but also for entertainment, learning, and remote work. However, excessive and unconscious use of mobile phones can adversely affect health through addiction and the FOMO – fear of missing out syndrome, resulting in lower self-esteem, depression, learning difficulties, and sleep problems.</span></p><p dir="ltr">Material and method: The material was collected using the diagnostic survey method. The study involved 451 people aged 10-25, divided into three age groups: 10-15, 16-19, and 20-25. The results were compared with the literature from the last 5 years available on the PubMed database.</p><p dir="ltr"><span>Results: </span><span>Mobile phones are mainly used for communicating on social networks, listening to music, taking photos, education, and organizational matters. The majority (70.0%) of respondents admit using the telephone while eating alone, more than half (54.0%) at school or during university activities, and about one fifth (21.3%) of people while driving, cycling, riding scooter, or skateboarding. More than half of the users use the telephone in the toilet, 52.1% of which disinfect the telephone. The average time of using a mobile phone is 2-4 hours a day, but among people aged 16-19 and in the female group it is higher, over 4 hours a day. Since the beginning of the pandemic, almost three-quarters (73.3%) of respondents have been using phones more frequently. In addition, there is a significant relationship between longer telephone use and the occurrence of neck pain and problems with falling asleep.</span></p><span id="docs-internal-guid-0c372096-7fff-54ee-283b-dbc2f4eff756"><span>Conclusions: </span><span>Nowadays, mobile phones are a helpful and convenient tool for study, work, organization, or entertainment, especially among young people during COVID-19 pandemic. However, its excessive use may have a detrimental effect on sleep, while in situations requiring concentration such as learning or driving, it can result in distraction. Careful use of the mobile phone including limiting the time spent on phone applications is essential to prevent inappropriate habits and adolescents’ addiction to phones.</span></span>
The professional practice of classical music performers has been better understood and enhanced across the last two decades through research aimed at tailoring rehearsing strategies that support the development of a sense of self as an agentic and proactive learner. One approach focuses on helping students make use of various tools that can enhance their learning, particularly in terms of what they do, feel and think when practicing and performing music. This study expands literature on expertise development by embracing the idea that this line of research would benefit from additional studies where the researcher forms part of the research process as an active participant who generates data, especially when these researchers are “members” of the social world they study, and therefore have insider knowledge. Thus, this case study is focused on the first author, a professional cellist who is also a researcher in the educational psychology of music, as the only participant. It extends current research by providing a detailed longitudinal mapping of a professional cellist’s preparation across nine profiled concerts in five countries of classical-romantic repertoire and a commercial recording that resulted from 100 weeks of dedicated practice. Anonymous feedback from the audiences and interviews with an expert musician who followed the concerts and the CD recording was also collected. For the data analysis, traditional psychometric measurements were applied to test the internal consistency of the time series data as well as the relationship between variables. In addition, the application of Leximancer analysis of the self-reflections allowed the researchers to probe self-regulated learning (SRL) and self-determination theory (SDT) processes in ways that uniquely mapped, over time, her differing motivations to perform at a high level. Specifically, we report that the cellist’s psychological needs and her motivational resources changed across time within the social context of performing music publicly, and that the various self-regulatory processes she drew upon impacted (both positively and negatively) on her ongoing actions, thoughts and feelings. Implications of the study are relevant for all forms of expertise development research, and especially for understandings about the nature of skill development in the context of learning to perform demanding literature in music.
In this modernized world, scientific invention may breathe life into poetry and poetry, along with myth will recreate and redefine literature. Like the way, we collect myths; we create and intrude into myths as well. Language and the world consist of myths and finally it gives birth to life. Etymologically myth came from the Greek word 'muthos' which was later adopted by Latin. Though nowadays the word may signify something else, originally it used to refer to the combination of poetry and music. If we consider myth to be an amalgamation of poetry and music, we can easily state that myth is an imaginative creation of an entire community. This creation is also a process of knowledge production which is explained through the various sensuous colours and forms of different experiences one gathers in one's life. In this process, language as well as the colours and forms change simultaneously and with them, the experiences are re-explained. Thus, the function of myth is to turn experience into knowledge and knowledge into colours and forms. The poet uses myth to achieve a universal truth, which is a general purpose of using myth in any form of verbal arts. Because, it is myth through which the deeper truth can express itself easily and it can expand the horizon beyond the day-to-day notion of beauty. The noted journalist and author, Italo Calvino from Italy opined, Myth is the hidden part of every story, the buried part the region that is still unexplored because there are as yet no words to enable us to get them. Myth is nourished silence as well as by words. The novel Hanshuli Banker Upakathaby Tara Shankar Bandyopadhyay, which is centred on Indian freedom movement, starts with a particular myth of a whistling sound of semi-divine origin that comes from the forest at night and frightens the kahars. The use of myth along with modernity makes the novel truly polyphonic. The author portrayed the ups and downs of the residents of an insignificant and remote village called 'banshbadi', whose lives revolved around the river kopai. He described how the local beliefs, local myths and folklores were gradually changing and giving way to the modern lores and tales and creating a space for heteroglossia and polyphony. In this context, I have cited few indigenous and foreign authors, not only to strengthen my points, but also to show how myth crosses the spatio-temporal boundaries.
This article investigates how community music scholarship has taken up inclusion. Using a modified scoping review methodology, the authors analysed 47 articles published in the International Journal of Community Music from 2008 to 2018, examining how scholars have defined and operationalized the terms ‘inclusion’ and ‘inclusivity’, which were used interchangeably in the literature. The authors found that inclusion was often normatively invoked with no definition or approaches provided. In those articles that provided more detail about inclusion, many focused on musical access, such as removing auditions and not requiring previous music skill or knowledge, and processes of musical inclusion, such as creating a friendly and non-judgmental atmosphere, providing multiple ways of engaging with music-making and cultivating musical leadership among participants. Less frequent in the literature were ideas and approaches focusing on social inclusion through music, including frameworks that aimed to address and change systems that create marginalization; approaches that addressed social barriers to participation, such as transportation and childcare; and approaches that decentralized leadership to create collective responsibility and participation. The authors conclude by examining approaches from other scholarly disciplines, arguing that community music scholarship may benefit for more sustained and deliberate use of the term inclusivity, which points to the ongoing practice and effort towards inclusion. Running head: FROM INCLUSION TO INCLUSIVITY 2
Music technology can provide unique opportunities to allow access to music-making for clients with complex needs. While there is a growing trend of research in this area, technology has been shown to face a variety of issues leading to underuse in this context. This literature review is a collation of information from peer-reviewed publications, gray literature, and practice. Focusing on active music-making using new types of alternate controllers, this review aims to bring together information regarding the types of technology available, categorizes music technology and its use within the music therapy setting for clients with complex needs, catalogues work occurring within the field, and explores the issues and potentials surrounding music technology and its use in practice.
With the development of deep learning, neural networks are increasingly used in various art fields such as music, literature and pictures, and even comparable to humans. This paper proposes a music generation model based on bidirectional recurrent neural network, which can effectively explore the complex relationship between notes and obtain the conditional probability from time and pitch dimensions. The existing system usually ignored the information in the negative time direction, however which is non-trivial in the music prediction task, so we propose a bidirectional LSTM model to generate the note sequence. Experiments with classical piano datasets have demonstrated that we achieve high performance in music generation tasks compared to the existing unidirectional biaxial LSTM method.