Hasil untuk "Musical instruction and study"

Qiong Ge, Xu Li, Huiling Zhou et al.

<b>Background:</b> Although the Shared Affective Movement Experience (SAME) model suggests the crucial role of imitation and synchronization in music-induced emotion, their application in teaching settings remains largely unexplored. <b>Objectives:</b> This study compared the “Body Rhythm Teaching Method,” based on the principle of mimicking musical elements through bodily movements, with traditional lecture-based instruction. It examined the effects of both teaching approaches on brain activation patterns, measured via functional Near-Infrared Spectroscopy (fNIRS) hyperscanning and instructional outcomes (assessed through musical emotion processing and teaching quality evaluations). The aim was to investigate their efficacy in enhancing students’ musical emotional processing abilities. <b>Methods:</b> A total of 3 teachers and 103 student participants were randomly assigned to the lecture teaching group (<i>n</i> = 35), the body rhythm teaching group (<i>n</i> = 35), or the control group (<i>n</i> = 33). The musical materials used across all three groups were identical, with only the teaching methods differing. fNIRS hyperscanning imaging was employed throughout the process to record brain activity. <b>Results:</b> Results indicate that the body rhythm group significantly outperformed other groups in both behavioral and neural metrics. Specifically, during the post-test music-listening phase, participants in this group not only reported higher emotional arousal but also exhibited stronger activation levels in the bilateral frontopolar cortex (FPC) associated with multisensory integration—both significantly higher than those in the lecture group and control group. Furthermore, during instruction, students in the body rhythm group rated teaching quality higher and exhibited significantly stronger teacher–student IBS across multiple brain regions involved in socio-emotional processing. These included the left orbitofrontal cortex (lOFC) for interoceptive emotion processing, the left frontopolar cortex (lFPC) for multisensory integration, and the right superior temporal gyrus (rSTG) for social interaction. In contrast, the lecture teaching group only showed significantly higher emotional valence ratings compared to the control group. <b>Conclusions:</b> This study confirms the role of imitation and synchronization mechanisms in the SAME model for music-induced emotional responses, providing a neuroscientific basis for teaching practice.

Oğul Fatma Belma

This study explores the mediatory roles of music and dance within the Roman, Dom, and Lom/Poşa communities in Turkiye through a post-humanist and agential realism framework, drawing on Karen Barad’s theories. These cultural practices are examined as dynamic material-discursive phenomena that entangle human and non-human agencies (such as instruments, performance spaces, and socio-political contexts) to co-constitute identity, resilience, and cultural heritage. Based on extensive fieldwork in the Thracian region, Istanbul, and ongoing projects across western, southeastern, and northeastern Turkiye, the research highlights how these communities’ music and dance serve as vibrant intra-actions that negotiate marginalization, foster intercultural exchange, and reconfigure socio-economic networks. By emphasizing the agency of sound, movement, and material elements, this paper reimagines Romani cultural expressions as living processes that challenge stereotypes, affirm communal bonds, and contribute to the evolution of music in Turkiye within local and global contexts.

María Andrea Farina

En la actualidad existen una gran cantidad de espacios donde se interpreta música. Estos lugares podrían dividirse en dos grandes grupos: las construcciones proyectadas específicamente para hacer música -los auditorios, los teatros de ópera, las salas para música de cámara- y los sitios que son utilizados por los músicos o propuestos por los compositores pero que fueron concebidos inicialmente para otro uso, los que podríamos llamar "ambientes acústicos" -un espacio público abierto o cerrado, una iglesia, un galpón, un estadio, un bar-. Los espacios que conforman estos dos grupos se comportan de manera diferente; sin embargo, en la práctica musical actual se usan casi de manera indistinta. En este trabajo detallaremos el comportamiento acústico de espacios no estándar que se utilizan en la Argentina para representar espectáculos musicales y multimedia o para sitiar instalaciones sonoras.

José Miguel Barberá, Marta Vela González, Vicenta Gisbert Caudeli

Entre 2018 y 2021 se realizó una macroencuesta en la que participaron cuatro mil sujetos, todos ellos músicos profesionales y en activo, de la tradición llamada clásica y de formación académica, de noventa y seis países diferentes. Se considera que los participantes han de poseer amplios conocimientos y dominio del repertorio musical de los estilos musicales de diferentes épocas históricas, y con ello se pretende conocer la preferencia musical y dilucidar hasta qué punto ésta puede estar condicionada por el repertorio predominante a lo largo de su formación. La pregunta nuclear de esta investigación solicitaba el nombre de cinco compositores y el resultado obtenido mostró una clara tendencia hacia el barroco y el clasicismo, pues el 51,1% de la muestra coincidió citando a tres compositores: Bach, Mozart y Beethoven, reuniendo el 48,9% restante a más de novecientos compositores. La presencia de compositoras es mínima, pues solo un 3,2% del total de las respuestas se decanta por el repertorio compuesto por mujeres. Predomina el repertorio histórico frente al contemporáneo en la formación profesional, algo que puede verse reflejado tanto en la preferencia musical como en la escucha o la interpretación, ocupando en este estudio lugares poco relevantes.

Francesco Zimei

For the first time since its inception, the European Research Council Advanced Grant has awarded an Italian musicological research project, whose principal investigator belongs to the L-ART/07 disciplinary area. Its goal is to reconsider the relationship between poetry and music in a functional perspective, through a systematic examination of the lauda repertoire, from its origins to the early 16th century. This article illustrates the features and peculiarities of this research initiative, in the hope that the recent award may provide new lifeblood for the study of medieval music, which has been increasingly underrepresented and neglected in Italy, and encourage greater attention to European resources within the general field.

Kathryn Bosi Monteath

Članek obravnava opis turnirja, ki je potekal na dvoru v Mantovi med karnevalom leta 1585. Naročil ga je dedni princ Vincenzo Gonzaga pri dvornem arhitektu Oresteju Biringucciju. Biringuccijevo poročilo, naslovljeno Apparato e barriera del tempio di Amor Feretrio, opisuje gledališko sceno, sodelujoče plemstvo, predstavljene like (večinoma iz klasične mitologije in junaških del avtorjev, kot so Ludovico Ariosto, Bernardo Tasso in Curzio Gonzaga), pa tudi – zelo nenavadno za tisti čas – dvorne pesnike in glasbenike, ki so sodelovali pri dogodku. Glasba ima v opisu vidno vlogo, saj prihod vsakega bojevnika s solističnim spevom (v dveh primerih je bil to madrigal) naznani kateri izmed mitoloških likov. Eden od madrigalov je bil prepoznan kot antifonalna kompozicija dvornega skladatelja Benedetta Pallavicina. Razprava vključuje angleški prevod omenjenega opisa, povzema življenje in delo Oresteja Biringuccija ter razpravlja o vseh drugih zbranih virih o turnirju, ki se nahajajo v arhivu Gonzaga v Mantovi.

Yunus Emre Gümüş, Özlem Belkıs

Although the concept of creativity is used in a multidisciplinary area, it is naturally in the center of art education. The use of metaphors, which includes the process of expressing a concept with another concept, is a creative reproduction process. Thus, this research aims to determine the perceptions of performing arts students regarding the concept of “creativity” through metaphors. In this regard, students were asked to complete a prompt “Creativity is like . . . because . . . ” Using the qualitative research method, this study employs a phenomenological design. The study was carried out with151 fine arts faculties, conservatories, arts, and design faculties students who study at either state or foundation universities. Students produced 74 metaphors for “creativity,” which were grouped under 11 categories under three titles. Among the metaphors, the most frequently mentioned ones are freedom, ocean/sea, adventure, dream, tree/forest, and dough. The study reveals that students have positive perceptions regarding the concept of creativity. Thus, it was concluded that some changes should be made in the education program to reinforce positive opinions and eliminate negative judgments.

Ayşem Ersoy

This paper presents suggestions and exercises to solve the problems related to agility and articulation due to the anatomy of the left hand while performing the cello parts of Tchaikovsky’s Manfred Symphony and Symphony No. 4. The cognitive methods in instrument training are explored in this study. These cognitive methods are studies aimed at restructuring the unintentionally developed negative thought systems. A certain experience is consciously visualized in the brain using mental imagery. In this context, the importance of imagery and behavioral methods in performance is presented. This study examined various physical therapy techniques applied by musicians, including the Alexander technique and the Feldenkrais method— two of the most well-known methods. The discussion also focuses on methods such as yoga andmeditation that are used for mental and physical preparation in addition to left-hand anatomy, left-hand pattern, articulation, and agility. Finally, the paper provides exercise examples on the correct use of fingering and position transitions for the fast passages of the cello parts in Manfred and Symphony No. 4 in performance practices.

Paulo Eduardo de Barros Veiga

Domingos Caldas Barbosa (1738/40-1800), de pseudônimo Lereno Selinuntino, é um importante poeta do século XVIII, carioca radicado em Lisboa, autor de muitas cantigas, modinhas e lundus. Foi fundador, inclusive, da Academia de Belas Letras de Lisboa, juntamente com Belchior Curvo de Semedo Torres de Sequeira, Joaquim Severino Ferraz de Campos e Francisco Joaquim Bingre. Além de presidente dessa Nova Arcádia, Caldas Barbosa foi responsável pelo Almanak das Musas, importante antologia neoclássica, publicado em 1793, em Lisboa. Apesar de ter feito fama, enquanto vivo, quer nos salões aristocráticos portugueses, quer no Brasil, inclusive, entre muitos ouvintes analfabetos, a crítica sobre sua obra acostumou-se a colocar em segundo plano o “brasileiro papagaio”, como assim se nomeou Lereno, com humor, em seu Almanak. No entanto, não se sancionou, por assim dizer, um dos mais importantes artistas da música e da literatura colonial brasileira, de que foi compositor e intérprete, sendo um exímio poeta e violeiro, seja no Brasil, seja em Portugal, onde introduziu gêneros como a modinha. Este artigo propõe traçar, de modo sintético, o percurso da crítica dirigida a Caldas Barbosa, que recebeu ofensas inclusive de poetas consagrados, com quem participou de muitas atividades literárias no Palácio do Conde de Pombeiro, como Manuel Maria Barbosa du Bocage (1765-1805) e José Agostinho de Macedo (1761-1831). Também, comentam-se sobre alguns versos de Caldas Barbosa, procurando verificar neles expedientes expressivos que ajudem a compreender a poética lereniana. Para isso, intercalam-se a historiografia crítica mais relevante e comentários sobre as cantigas do poeta, retiradas principalmente da obra Viola de Lereno, publicada em dois volumes (1798; 1826). Em suma, levantam-se argumentos da crítica de Lereno e expõem-se observações a respeito de seus versos, buscando reconhecer-lhe o artístico. Em paralelo, comenta-se sobre a tradição crítica da obra lírica e dramática de Machado de Assis, além da crítica “neotérica” de Cícero, na Roma Antiga, propondo uma reflexão sobre a Historiografia da Crítica.

Diah Uswatun Nurhayati

Perjalanan panjang gagasan pendidikan kesenian  yang sudah dilakukan Dewantara, sampai sekarang ternyata belum dapat membuat pendidikan tersebut mampu menarik perhatian para pengembang kurikulum pendidikan di Indonesia. Diawali dengan nama pendidikan kesenian, kemudian menjadi pendidikan seni, kerajinan tangan dan kesenian, saat ini dengan nama  Seni budaya dan ketrampilan, yang ruang lingkupnya terdiri dari seni musik, tari, rupa/lukis, dan teater. Dari riwayat kurikulum pendidikan kesenian ini, dapat diketahui bahwa  sebenarnya Indonesia belum dapat memunculkan ide pendidikan kesenian yang dapat menyentuh aspek cipta, rasa, karsa itu yang bagaimana, dan pendidikan musik yang dapat memenuhi standar kompetensi itu yang seperti apa. Hal-hal semacam inilah yang belum dapat dirumuskan oleh para pengembang pendidikan khususnya seni, baik di tingkat pusat maupun di tingkat daerah. Oleh sebab itu, gagasan tentang kesenian khususnya musik dari Dewantara dapat dijadikan acuan sekaligus pedoman dalam mengembangkan pendidikan seni, kesenian atau seni budaya di Indonesia, karena kedudukan kesenian di dalam kebudayaan di seluruh dunia selalu terpakai sebagai ukuran untuk menetapkan rendah tingginya kebudayaan dari sesuatu bangsa.  Banyak pendapat bahwa kebudayaan adalah kesenian dan kesenian adalah kebudayaan. Kesenian salah satu bagian terpenting dari kebudayaan. Menghargai keluhuran bangsa adalah dengan mempelajari  keseniannya, karena ada kesenian ada penghormatan, tidak ada kesenian tidak ada penghargaan terhadap suatu bangsa.   The long journey of the idea of art education that has been done by Dewantara, until now apparently has not been able to make the education able to attract the attention of curriculum developers in Indonesia. Beginning with the name of art education, then became art education, handicraft and art, currently under the name Art culture and skills, the scope of which consists of music, dance, visual / painting, and theater. From the history of this art education curriculum, it can be seen that in fact Indonesia has not been able to come up with an idea of art education that can touch the aspects of creativity, taste, what initiative, and music education that can meet such competency standards. Things like this that have not been able to be formulated by educational developers, especially art, both at the central and regional levels. Therefore, the idea of art, especially music from Dewantara can be used as a reference as well as a guideline in developing arts education, arts or cultural arts in Indonesia, because the position of art in cultures around the world is always used as a measure to determine the low or high culture of a nation. Many opinions that culture is art and art is culture. Art is one of the most important parts of culture. Respecting the nobility of a nation is to study its art, because there is art there is respect, there is no art there is no appreciation for a nation. Keywords: ideas, art, music

Demian Alimenti Bel, Isabel Cecilia Martínez

El análisis musical anotado de las orquestas típicas de tango expone los modos particulares en que -mediante la variación y la instrumentación- se elaboran los rasgos de los patrones rítmico-melódico-expresivos y de su despliegue tonal. En este trabajo se seleccionaron fragmentos instrumentales interpretados por las orquestas de Aníbal Troilo y Osvaldo Pugliese. Se procedió a: (1) escuchar y anotar pasajes de orquesta que presentaban patrones rítmico-melódico-articulatorios; (2) analizar la superficie musical y elaborar gráficos de reducción notacional; (3) aplicar técnicas microanalíticas para describir el componente expresivo témporo-dinámico. Del análisis se desprende que la variación estilística en el tango no es aleatoria, sino que contiene, intrínsecamente, características invariantes. Es decir que hay una manera de variar que es más identitaria de un estilo compositivo que de otro. Se observó en Pugliese y Troilo el predominio de un tratamiento discursivo a nivel global y de uno a nivel local, respectivamente.

Nataša Cigoj Krstulović

Marcos Câmara de Castro

Jurij Snoj

Françoise eROCHETTE

Despite advanced technologies in auditory rehabilitation of profound deafness, deaf children often exhibit delayed cognitive and linguistic development and auditory training remains a crucial element of their education. In the present cross-sectional study, we assess whether music would be a relevant tool for deaf children rehabilitation. In normal-hearing children, music lessons have been shown to improve cognitive and linguistic-related abilities, such as phonetic discrimination and reading. We compared auditory perception, auditory cognition, and phonetic discrimination between 14 profoundly deaf children who completed weekly music lessons for a period of 1.5 to 4 years and 14 deaf children who did not receive musical instruction. Children were assessed on perceptual and cognitive auditory tasks using environmental sounds: discrimination, identification, auditory scene analysis, auditory working memory. Transfer to the linguistic domain was tested with a phonetic discrimination task. Musically-trained children showed better performance in auditory scene analysis, auditory working memory and phonetic discrimination tasks, and multiple regressions showed that success on these tasks was at least partly driven by music lessons. We propose that musical education contributes to development of general processes such as auditory attention and perception, which, in turn, facilitate auditory-related cognitive and linguistic processes.

Yobel Arista Sitepu Yobel Arista Sitepu

Tulisan ini bertujuan untuk mengetahui proses pembuatan Sarune, cara memproduksi bunyi Sarune, dan sistem pelarasan bunyi Sarune. Dimana alat musik ini merupakan salah satu peninggalan leluhur dari nenek moyang masyarakat Karo, yang sampai sekarang masih digunakan pada acara adat masyarakat karo. Dalam penelitian ini didukung oleh teori-teori yang bertujuan, agar hasil dari suatu studi kepustakaan yang saling berhubungan (relevan) terhadap pokok permasalahan yang hendak diteliti. Adapun teori yang digunakan yaitu,  Organologi, Instrumen, Sarune, Proses, Memproduksi, Bunyi, Sistem, dan Pelarasan. Dalam tulisan ini menjelaskan  sampai kepada hal sekecil-kecilnya tentang pembuatan Sarune. Secara umum tulisan ini menunjukkan bahwa adanya keberadaan pembuat Sarune pada masyarakat Karo di desa Seberaya Kecamatan Tiga Panah Kabupaten Karo. Pembuatan alat musik Sarune Karo tersebut, dikerjakan sepenuhnya secara tradisional dibantu dengan peralatan tukang pada umumnya dan dengan bahan seperti Kayu Selantam, Sisik baning/tanduk kerbau, daun kelapa, dan Timah. Adapun  hasil dari pengerjaan itu terbagi menjadi lima bagian yaitu Batang Sarune, Gundal Sarune, ampang-ampang sarune, Tongkeh Sarune, dan Anak-anak Sarune.

Claudia Mauléon

En estas páginas hacemos una breve revisión de las bases psico-biológicas sobre las que fundan las experiencias musicales, en particular las que posibilitan la comunicación entre el artista y el público. Nuestra mirada se centrará en las relaciones entre el sonido y el gesto como manifestaciones corporeizadas de las intención comunicativa del intérprete. Se revisan los conceptos de Formación Motívica Intrínseca y Pulso motor Intrínseco, y su relación con la idea de Cognición como sistema dinámico. Se tratan la teoría de los Osciladores Adaptativos Biológicos y la teoría Tau en tanto que con-tribuyen a entender el ensamble de coordinaciones sensorio-motrices en la ejecución. Posteriormente se desarrolla la incidencia de los mecanismos de simulación interna en la comunicación, para analizar finalmente el funcionamiento de estos procesos en la comunicación entre el intérprete cantante y el público.

[Editor]

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No abstract

Maravillas Díaz

The research herein focuses on the study and the analysis of music education in primary schools and schools of music in the Autonomous Basque Region. Based on the analysis and understanding of the situation in the schools, it elaborates joint action proposals to support and enhance music education, in order to bring children of six to twelve years old the possibility of enjoying making music according to their abilities.