In this article we intend to present some aspects related to the origin of the concept of heterophony and the theoretical concerns of some Romanian and foreign composers on this subject. As a practical application model, we present an analysis of a musical text based on the model proposed by Teodor Tutuianu in his book Eterofonii in partituri Bachiene, the book underlying the Spectromorphy course that the author, as a professor, held at the National University of Music in Bucharest.
This study presents an audio stimulus set of 40 drum patterns from Western popular music with empirical measurements of perceived complexity. The audio stimuli are meticulous reconstructions of drum patterns found in commercial recordings; they are based on careful transcriptions (carried out by professional musicians), drum stroke loudness information, and highly precise onset timing measurements. The 40 stimuli are a subset selected from a previously published larger corpus of reconstructed Western popular music drum patterns (Lucerne Groove Research Library). The patterns were selected according to two criteria: a) they only feature the bass drum, snare drum, and one or more cymbals, and b) they plausibly cover the complexity range of the corpus. Perceived stimulus complexity was measured in a listening experiment using a pairwise comparison design with 220 participants (4,400 trials). In each trial, participants were presented with two stimuli, and they stated which of the two sounded more complex to them. The comparison data then served to calculate complexity estimates using the Bradley–Terry probability model. The complexity estimates have an intuitive interpretation: they allow calculation of the probability that one pattern is considered more complex than another pattern in a pairwise comparison. To our knowledge, this is the first set of naturalistic music stimuli with meaningful perceived complexity estimates. The drum pattern stimuli and complexity measurements can be used for listening experiments in music psychology. The stimuli will further allow measures and models of drum pattern complexity to be assessed.
Franz Liszt created a new tradition by playing transcriptions and paraphrasing the most well-known operas and works of his time on his fabulous concerts. This habit created new genres like Transcriptions (Reminiscences de Norma S. 394, Grandes études de Paganini S. 141) and Paraphrases (The Rigoletto Paraphrase S.434, The Ernani Paraphrase S. 432). The Variations on „Weinen Klagen Sorgen Zagen” fits into both categories: On the one hand Liszt paraphrases J.S.Bach’s Crucifixus and the 12th Cantata. On the other hand, he transcribes with a great craftsmanship his piano work for organ. The historical and private background of this work testifies to an extraordinary faith.
This article discusses audience education as a ‘third mission’ commitment, a specific institutional task assigned to universities by recent government legislation, as well as a preferred subject of recent debate among Italian musicologists. Starting from a distinction between various types of audiences, from the general public to the diverse group of university audiences, the article proposes two action perspectives for universities in their task of educating the public, both in a curricular and extracurricular setting, focusing in particular on the former. The notion of ‘education’ as Bildung is recalled and applied to the field of music education within the broader context of democratic education. The notion of a ‘knowledge society’, which lies at the heart of the social, political and economic development of Western societies, is also reconsidered as part of a reflection on the complexity of today’s knowledge production, in particular expert knowledge, and on the ways in which knowledge itself is acquired by the general public. Within this perspective, the article finally proposes four directions for university teaching in musicological subjects aimed at audience education: a rigorous disciplinarity, as the foundation of true cross-disciplinarity; an enhancement of historical training; laboratory teaching; the mutual support that universities can provide in their own research efforts, teaching and third mission initiatives, also thanks to Rete Universitaria per l’Educazione musicale [University Network for Music Education].
Music and books on Music, Musical instruction and study
Paris Epidemic and Art World
When reading music history writings, music textbooks a while ago, we quickly skipped those statements as “in that year cholera was raging in the city”, or “everybody who had the possibility moved to the countryside away from the epidemic”. Today however, as a global pandemic hit us as well, we are getting caught up in these findings, and we are reading every detail with special attention.
It is a fact that in the spring of 1832, Paris suffered a widespread cholera epidemic, resulting in 18,400 deaths in the city and nearly 100,000 in France. We wonder how this affected the contemporary art life? We will try to analyze this, quoting from the testimonies of the writers-poets, as well as focusing on the living conditions of some significant musicians, highlighting the events of their career from those times.
Izabela Maria z Lubomirskich Sanguszkowa była córką Henryka Lubomirskiego (1777–1850) i Teresy z Czartoryskich (1785–1868). Jej ojciec – wychowany przez daleką zamożną krewną Elżbietę z Czartoryskich Lubomirską (1736–1816), jedną z największych patronek sztuki na przełomie XVIII i XIX wieku – znany był za swojego szczególnego zamiłowania do muzyki. Zainteresowanie sprawami muzycznymi, a szczególnie operą, Henryk przekazał córce. Izabela świetnie śpiewała (w Wiedniu pobierała nauk u włoskich mistrzów – słynnego barytona Antonio Tamburiniego (1800–76), a następnie u kompozytora Stefano Pavesi (1779–1850)) i grała na fortepianie. W listach do ojca często komentowała bieżące wydarzenia muzyczne, a w oficynach wydawniczych Wiednia, Paryża, Mediolanu kupowała fragmenty wysłuchanych dzieł (głównie) operowych w opracowaniu na głos i fortepian czy też na cztery ręce. Ślady tych nabytków widać w zachowanych do dziś muzykaliach należących ongiś do Izabeli – w zbiorach Narodowego Zakładu im. Ossolińskich (zbiory sprzed zamążpójścia) i, nieznane do tej pory badaczom, Miejskiej Bibliotece Publicznej w Tarnowie (zbiory Izabeli, jej męża i dzieci). W Przeworsku, w którym Izabela dorastała, miała do dyspozycji przebogatą bibliotekę muzyczną, liczącą blisko 1400 pozycji, inwentarzem której obecnie dysponujemy. Po zamążpójściu nie zaprzestała muzykowania, prowadząc, zachowany do dziś, dzienniczek, zawierający w znacznej części nieznane 32 kompozycje, gromadząc muzykalia, dbając o wykształcenie muzyczne dzieci, wspierając twórczość kompozytorów. Kreowana przez Izabelę aktywność muzyczno-artystyczna w Krakowie i Gumniskach jest istotnym uzupełnieniem obrazu kultury muzycznej XIX-wiecznej Rzeczpospolitej.
Amanda E Krause, Solange Glasser, Margaret Osborne
Investigations of music in everyday life are dominated by a functional perspective, drawn from work using the theory of Uses and Gratifications. In so doing, we may have neglected to fully appreciate the value people place on music listening. Therefore, the present study considered if, and why, people value music listening and probed instances when they may not want to listen to music in everyday life. A sample of 319 university students residing in Australia (76.50% female, M age = 20.64) completed an online questionnaire, on which they were asked to provide short responses to open-ended questions directly addressing two research questions. Inductive thematic analysis yielded 13 themes synthesizing how participants valued listening to music, such as appreciation, emotion, time and engagement, cognitive factors, and mood regulation. Reasons for not listening to music were summarized by eight themes dominated by interference with activities that required focus or concentration, followed by environmental context, affective responses, music engagement and inversely, a preference for silence or other auditory stimuli. Fifteen percent of participants stated there was never a time they did not want to listen to music. The findings provide a novel perspective on the value of music listening beyond that considered by uses and gratifications with regard to the function of listening to music in everyday life.
Modern problems of musical education are connected with the search for new and more efficient approaches considering the challenges of our time. One of such challenges is unprecedented in history of culture music stream falling upon the modern human. The relict musical mode archetypes, on the basis of which the music of the peoples of the world has been formed for centuries, and which nourish the creativity of the professionals, could be considered as ecologically friendly “musical products”. In this article, following a number of the range of previous publications, the author offers a new classification of mode archetypes based on previously designed principle of asymmetry/symmetry supplemented with several novel approaches. This classification obviously cannot cover all existing mode archetypes of music of people of the world, but definitely addresses their considerable part. Several tables with index-based ordering the most common mode archetypes are considered to be especially significant result of this paper. The author hopes that this method of designation will contribute to the development of a methodology for the analysis of the behavior of mode archetypes in various melodic contexts. The “Solveig’s Song” by E. Grieg is regarded as one of the most famous melodies, in which the musical mode archetype of Norwegian folk music occupies an important place.
La educación musical actual está atravesando un momento de crisis a nivel global (Aróstegui, 2016). Los modelos curriculares priorizan algunas materias en detrimento de otras consideradas menos importantes o secundarias, como ocurre en el caso de la música. La preocupación desde esta área ha impulsado la publicación de numerosos artículos científicos que abordan la defensa de la educación musical en las escuelas. En este artículo se analizan las aportaciones de las neurociencias presentes en la literatura sobre "defensa de la educación musical" y se discute su solidez como argumento.
The online catalogue of the Répertoire International des Sources Musicales (RISM) contains over 1,088,000 records for music manuscripts, imprints, libretti, and treatises. Since the release in 2010, RISM has launched several initiatives to bring musicologists closer to the primary source materials they are researching. The online catalogue attempts to expand the database beyond simply recording the locations of musical sources. With the availability of the RISM data as linked open data, RISM is able to collaborate with other projects in the digital humanities and provide data as a basis for research projects. The release of Muscat, RISM’s open- source specialized software for cataloguing musical sources, has made it easier for RISM project participants to catalogue musical sources. This article will describe how the RISM online catalogue brings musicologists closer to primary source materials and how musicologists can work with RISM using Muscat to facilitate and disseminate their own source-based research.
Taher Lavzheh, Rahim Kooshesh, Abdoolah Toloueiazar
Abstract
Harmonious and rhymed prose is a literary kind of speech characterized by producing music and intonation in order to conveying meaning of the context as well as possible and influencing the addressee more. In this paper main question is “whether Sa’di in writing the Golestan, besides of applying rules of this kind of speech in Persian language, has used those characteristics of rhymed prose that exist in the main Arabic rhetoric books?” For this purpose, Characteristics of rhythmic and rhymed prose in Arabic rhetoric books have been examined by using description-annalistic approach, and brief pointing to the situation of Persian rhetoric science.
The hypothesis is based on the belief that Golistan’s author uses ideas of Arab rhetorician in composition of this book to strengthen the structure of Harmonious and rhymed prose. The aim of the present study is recognizing that Sa'di in the rhymed prose of Golistan how much has used important Arabic rhetorical resources in the field of word and meaning.
Having a critical look at the rhetorical books, New and Old Persian sources, it can be found that the researchers noted only a short definition limited to interpretation of some words or expressions based on great prose works and poetries, and not expressed their opinion by a critical attitude and also not looked on the details exactly and thoroughly of the aesthetic view. In the other side, in Arabic literature up to the Sa’di’s range, the field of rhetoric has been expanded and developed more and more. Most parts of Golistan are consistent with theories in view of Arab rhetoricians that in the following of this paper some cases are briefly mentioned:
In the period of Abuhelal Askari, main idea was that meaning is superior to the word, and meaning was not as important as word. Abd ol-Qahr Jorjani abolished that belief and so emphasized that word and meaning cannot be separated and also proved that word out of the meaning frame and context order could have no sense, so that, be attributed to rhetoric. According to Ibn Asir, rhyme has its own rules and standards. So, it is not merely coming two uniformed or symmetrically matched parts of speech. But it is necessary that the harmony and consonance be embedded in its best state and appropriate demanded place in the speech.
Ibn Asir and other great Arab rhetoricians know some conditions necessary for applying harmonious and rhymed prose and suggest the authors use them:
1- Appropriate words in speech should be chosen
2- The combination of words in sentences be at best
3- It is not correct that meaning follows the word
4- Each parts of rhythmic and rhymed prose should have different implications
5- Both parts of rhythmic and rhymed prose should be equal
6- No part should be longer or shorter than the other
Those characteristics in Golistan are obviously represented. In writing most parts of Golistan, being free from artificiality is taken into account by the author. Beautiful words, poetic compounds with bluntly eloquent rhetoric, rhetoric in sense, strong cohesion and creating consistency in the whole work, are due to Sadi’s efforts to comply with those characteristics and features in the language and expression. So as the words and expressions are without cacophony, complexity, figuration, and other negative characteristics of literary speech. In Sa’dies expression, meaning follows the word. If a sentence is complete in meaning and does not need to be figured, it comes in the same simple form. In harmonious and rhymed prose of Golistan, there are examples of literary symmetry that both of sides have the same meaning and are not according to the conditions of harmony in the view of Ibn Asir and other Arab rhetoricians. But it should be mentioned that in the artistic features of Persian language, literary repetition is pleasing and acceptable in the customary of rhetoric, and also circumlocution in harmonic and rhymed prose emphasizes the meaning to influence the audience.
Based on what was presented in the context of this study, the following points may be noted as a result of discussions: Persian books of rhetoric up to Sadi’s time, haven’t noticed to the artistic feature of consonance and harmony in prose, and rhetoricians have not tried to criticize its aesthetical aspects. So there is no doubt that Sa’di has been influenced by Arabic rhetoric that has made good criticisms on that. Sa’di has an artistic, creative and literary view about harmonious and rhymed prose and it is based on poetic and rhetoric scales of Qoran and Abuhelal Askari theories of “Word eloquence” and other rhetoricians, and Abd ol-Qaher Jorjani’s “Harmony of Word”. Making use of harmonious and rhymed prose in most parts of Golistan, Sa’di has aimed at conveying the meaning to the audience as well as possible through this kind of literary discourse. So the audience not only understands the artistic massage but also becomes familiar with music of words and their image making power, and therefore feels satisfaction more than before. Also Sa’di against the Arabs rhetoricians’ claims, in some cases proves that while observing the artistic aspects of consonance, this literary figure can be applied contrary to their views
Language and Literature, Indo-Iranian languages and literature
Este trabajo postula que el gesto realizado por un músico durante la performance puede involucrar un significado que se proyecte más allá del mero propósito de producir sonido. Se inicia con la revisión de un cuerpo de investigaciones que desarrollan el rol comunicacional del gesto en el habla y en la ejecución musical; desarrolla el concepto de gesto como acción epistémica (Kirsh y Maglio 1994; López Cano 2009; Pereira Ghiena 2009, 2010) y selecciona categorías que serán utilizadas para el análisis del gesto (Laban 1948 [1975]; McNeill 1992; Mauléon 2010). Posteriormente, analiza el gesto en la improvisación musical en un conjunto de improvisadores, incluyendo declaraciones que los músicos ofrecen en una entrevista luego de observar sus propios gestos en la improvisación. La discusión final gira en torno a (i) la posibilidad de que el gesto pueda ser pensado como una acción ineludible para el desarrollo de la performance, idea que podría ser asociada a la de acción epistémica, y (ii) la realidad de la experiencia musical como un todo indisociable, en el cual se construye el significado no solo a partir del sonido sino también del movimiento corporal que puede ser visto por el público y/o vivido por el mismo performer improvisador.
Music and books on Music, Musical instruction and study
Jak upozornil již v roce 1972 Jiří Sehnal, repertoár kancionálku Jesličky, vydaného Fridrichem Brideliem (1658) patří, vedle autorské tvorby Adama Michny, k nejvýznamnějším oživením českého hymnografického repertoáru 17. století. Hlavní přínos Jesliček je soustředěn v souboru 24 "nových" písní, jejichž texty i nápěvy jsou zde zpravidla otištěny poprvé. Většina těchto nápěvů a do značné míry i textů pochází (vedle předpokládané Brideliovy autorské tvorby) z nadnárodního repertoáru rozšířeného v dobových středoevropských pramenech. Tento příspěvek se snaží zprostředkovat základní představu o tom, jak silnou recepci zaznamenal tento celek v české hymnografii (prozatím tedy v tištěných katolických kancionálech 17.-19. století před nástupem historizující hymografie) a do jaké míry je recepce této vrstvy vánočních písní srovnatelná s recepcí písní A. Michny. Ze sledovaného celku 24 "nových" písní, otištěných poprvé v Jesličkách, se podařilo prokázat další recepci textu i nápěvu zhruba u poloviny (celkem 13) písní. Nápěvy byly ovšem v pozdějších zpěvnících potvrzeny všechny; některé z nich byly dále přetiskovány s upravenými či nově vytvořenými texty, přičemž si zpravidla vždy zachovaly svou výlučnou vazbu na vánoční repertoár. Výjimku tvoří několik písní, u kterých byl přejat naopak text a opatřen jiným typem nápěvů (vícehlasým, sólovým). Téměř celý soubor sledovaných nápěvů je přetištěn ještě v Kancionálu zv. "Svatojanském" z r. 1863. V recepci Brideliova repertoáru je možné sledovat dvě vnitřně souvislé tradice, částečně pokračující až za polovinu 19. století: redakci Šteyerova Kancionálu Českého, který řadu textů podroboval úpravám (včetně náhrad za nové texty při zachování nápěvu) a jinde přidával alternativní nápěvy (včetně vzájemných záměn mezi texty a nápěvy Brideliových a Michnových písní). Recepce této linie pokračuje pěti hojně rozšířenými přetisky Kancionálu Českého a na ně navazujícím Kancionálem, zv. "svatojanským" (1863-4), jehož používání dokládají (alespoň na textových variantách některých koled) etnomuzikologické záznamy ze začátku 20. století. Druhou linii tradice představuje redakce Holana Rovenského (1694), který otiskuje větší soubor Brideliových písní, a to buď v původní generálbasové podobě, nebo ve vícehlasých úpravách. Jeho repertoár přejímá bez větších redakčních zásahů Božan (1719) a nenotovaný Koniáš (1727, s anonymními dotisky do poloviny 19. století). Jak pokračoval život tohoto vánočního repertoáru dále, prokázal by zájem o doposud systematicky nezpracovanou českou hymnografii 19. a 20. století.
1965 was a watershed year in the life of Steve Reich. Following numerous experiments with magnetic tape, he had, while creating his tape piece It’s Gonna Rain, identified a fascinating process that would serve as the basic compositional tool of his output until about 1971, and as a foundational component of his output thereafter. Reich’s preoccupation with processoriented music in turn helped define a musical trend that shifted the standard historical narrative of twentieth -century concert music away from the reigning high modernist serialism of the 1950s toward minimalism. Defenders of the new style emphasize the cultural triumph of minimalism. For Susan McClary, minimalism is “perhaps the single most viable extant strand of the Western art-music tradition;” for K. Robert Schwarz, a specialist in this style, minimalism is “a potent force … its influence is pervasive and enduring;” and for the composer John Adams, minimalism is “the only really interesting, important stylistic development in the past 30 years” (McClary 2004:289-98; Schwarz 1997:1-17; Adams quoted in Schwarz 1996a:177). These writers often attend to minimalism’s programmatic reaction to the perceived structural complexities of high modernism with its ametric rhythms and pervasive intervallic dissonances. In contrast to high modernism, minimalism offered musical structures dearly audible to the listener; its rhythms were pulse-based, often elaborated in the context of extended repetition of short musical figures, and its pitch structures were simple, usually associated with, though not identical to, traditional diatonic constellations. Commentators may differ on the relationship minimalism takes to modernism-McClary argues in terms of a qualified Oedipal “reaction formation” to modernism; Wim Mertens argues in terms of a negative dialectical “final stage” of high modernism-but few commentators fail to situate high modernism as the central referent in describing the emergence of minimalism in music (McClary 2004:292; Mertens 2004:308). Whether the argument hinges on a theory of history beholden to Freud or one beholden to Hegel, modernism under these readings remains minimalism’s basic condition of possibility.