The evangelical revivals (known in English as ‘awakenings’ and in Gaelic as na dùsgaidhean) of the nineteenth and twentieth centuries had an immediate impact upon singing and music-making in Presbyterian communities in the Western Isles as well as a significant long-term effect on both traditional and sacred musical practice and performance. Awakenings often led converts to re-evaluate their participation in traditional music-making and singing and compelled many to give up their secular music practices upon conversion. Even so, music-making itself was not discouraged, and these religious revivals created an environment which encouraged converts to replace their secular repertoire with spiritual songs and hymns, and to embrace the singing and new composition of spiritual songs to express their newly experienced Christian faith. This article examines the impact of religious revivals on music-making in the Outer Hebrides – particularly Lewis – and the significant musical shifts, including the composition of new repertoire, which took place within communities as a result.
SMP Negeri 1 Karangmoncol in Purbalingga Regency is the only junior high school in Purbalingga that implements keroncong extracurricular activities. The purpose of implementing the keroncong extracurricular is introduce keroncong music to students. The problem in this research is how the keroncong music extracurricular learning method in SMP Negeri 1 Karangmoncol. The research method used is descriptive qualitative.
Data were obtained through interviews, qualitative observation, and documentation. The results show that (1) there are five methods used by the keroncong extracurricular teacher in the keroncong extracurricular learning process, five of which were the lecture method, the discussion method, the question and answer method, the peer tutoring method, and the drill method; (2) From the five methods, it is found that the drill method is the most frequently used in the learning process. It is because the keroncong extracurricular requires more psychomotor skills from students to be more skilled and fluent in playing keroncong musical instruments.
The clergyman and composer Georg Prenner can indubitably be regarded as one of the most outstanding figures originating from the Slovenian ethnic territory in the second half of the sixteenth century. The present paper summarizes the preliminary findings and provides new scholarly insights into Prenner’s biography, his social environment, his religious and cultural life, his priestly career and, finally, his remarkable personality.
El presente trabajo relata una experiencia pedagógica sobre la interpretación de un dúo de cámara, en el contexto áulico de una carrera universitaria de grado. Los eventos ocurridos se narran haciendo foco en las interacciones docente-alumnos y alumno-alumno. Para dar cuenta de estas relaciones, se seleccionaron y describieron en detalle dos situaciones en la clase, partiendo desde un registro de video. El relato de las situaciones pone en relieve aspectos de la enseñanza y el aprendizaje que tienen poca consideración en los ámbitos de formación camarística. Al abordar las interacciones generadas entre los músicos, se hace hincapié en aquellas que involucran habilidades de concertación y comunicación en la interpretación grupal. Para concluir, se propone reflexionar y debatir sobre los supuestos, habilidades, características y prácticas pedagógicas de las asignaturas de ejecución grupal en los ámbitos de formación musical.
Music and books on Music, Musical instruction and study
In this article part of musical activities of two federal Sokol organizations
(JSS and SSKJ) in interwar Yugoslavia will be thoroughly examined. Despite
the fact that these organizations were primarily focused on development of
gymnastics and certain individual sports, cultural advancement of its
members as well as of Yugoslav population also occupied an important place,
particularly in the 1930s. As a result of broadening of Sokol’s work,
musical amateurism started to gain prominence in Sokol legions, societies
and parishes (župe). This was reflected in the proliferation of Sokol vocal
and instrumental ensembles, as well as their performances in various Sokol
units, both in urban and rural areas. The flourishing of musical activities
among Sokols from different parts of the country led to the change of
circumstances in the cultural sphere of these regions, particularly in the
undeveloped ones. Among other things, this included giving an impetus to the
preservation and popularization of tamburitza orchestras and epic singing to
the accompaniment of the gusle, promotion of national and Slavic music
repertoire and enrichment and diversification of musical life.
En este trabajo analizamos la Pasión según San Mateo desde un ángulo emocional. La importancia del manejo de las emociones con el fin de persuadir al oyente es ya un clásico desde la Retórica de Aristóteles. Descartes al tratar las pasiones al final de su vida, vincula su dominio con el concepto de virtud. Esta unión de lo ético y emocional se revela fundamental para la Reforma protestante. De esta concepción ético-afectiva se inspira el compositor a la hora de interpretar musicalmente el texto evangélico y la recreación poética del msimo. El objetivo de la Pasión según San Mateo, dentro del ámbito religioso, sería conmover al oyente sumergiéndolo en el drama de la Pasión para así reforzar su fe cristiana. La capacidad de persuasión emocional trasciende, hoy en día, el marco religioso para el que fue creada esta Pasión, pudiendo contribuir a la edificación de una conciencia moral laica partiendo de un relato lineal (el evangelio) glosado con arias y coros que involucran al oyente (creyente o no) en el drama. En este artículo ponemos en paralelo las definiciones y descripciones que Descartes hace de las pasiones y la musicalización que realiza J.S.Bach de estas en la Pasión según San Mateo
Music and books on Music, Musical instruction and study
Keroncong Music is a music that has different character from other musics, including several techniques in vocal performance, such as luk, nggandul, embat, gregeland cengkok. Nowadays keroncong music does not only perform keroncong songs but also performs popular songs accompanied by keroncong music. When performing popular songs accompanied by keroncong music, usually the performance of each singer will be different. This study aims to determine how the vocal performance of popular songs in keroncong music. The research method used was qualitative. Data collection techniques used observation, interviews, and document study. The results showed that in performing pop songs with a slow tempo accompanied by keroncong music, the techniques used by keroncong singers tended to be Ngeroncongiwhich means that singers still use some keroncong singing techniques such as luk, nggandul, embat, gregel, and cengkokalthough the songs performed have pop genre. Whereas in performing pop songs in fast tempo that are accompanied by keroncong music, the techniques used by keroncong singers tend to pop (ngepop), which means the singers still show pop techniques and improvisation.
In this article we discuss the critical reception of the work of composer
Stanojlo Rajičić (1910-2000), whose presence in the public musical life of
Belgrade was noted already in the 1920s, when he was a student at the
“Stanković” Music School and then the Belgrade Music School. The critical
reception of his compositional work can be followed for almost seven
decades. Performances of Rajičić’s works often provoked controversies and
polemics - which speak not only about the composer’s oeuvre itself, but even
more so about the state of musical life of Belgrade, Serbia and Yugoslavia
in the 20th century. Thus we analyze the reception of Rajičić’s work in the
light of historical events that crucially influenced the development of
Serbian art music throughout the twentieth century. The article is based on
the study of extensive archival material preserved at the Institute of
Musicology SASA, Radio Belgrade, as well as private collections.
Character education at SLB Negeri 1 Pemalang has not been able to run optimally since the emergence of the Covid-19 pandemic affecting the learning activities having to be carried out online. However, the efforts made by one of the teachers at SLB Negeri 1 Pemalang to create religious characters through song videos show that character education can still be done by utilizing technological advances in online learning. This study aims to describe and analyze children's song videos used by teachers to create religious characters for students with intellectual disabilities of class IV C at SLB Negeri 1 Pemalang. The research method of this study is descriptive qualitative. The results of this study show that the videos of songs by Nussa and Rara entitled "Rukun Iman", "Rukun Islam", and "Berkata Baik atau Diam" can be used by teachers to create religious characters for students with intellectual disabilities. The three songs have elements of similar musicality that are easy to be learned and mastered by students in the children's age group. The lyrics of these songs contain Islamic trilogy in the form of basic concepts of character building, namely aqidah, sharia, and morals. The three songs are presented in the form of animated videos so that it is interesting. It eases students with intellectual disabilities to accept and understand the learning material provided.
Este trabajo pretende recoger argumentos del campo de la cognición musical corporeizada que defiendan la importancia de respetar la naturaleza participativa de las mascaradas-cimarronas costarricenses. Específicamente, se revisan los trabajos de Hagen y Bryant (2003), Gallese, Eagle y Migone (2007), Rizzolatti y Fabbri Destro (2008), Cross (2008, 2010), Jacquier y Martínez (2014), Leman (2010), Martínez (2008, 2014), Merker y otros (2009), van Noorden (2010), y Johnson (2007).
Music and books on Music, Musical instruction and study
Until the end of the twentieth century in Byzantine musicological science
there were two diametrically opposite approaches to the interpretation of the
Byzantine neum notation systems and post-Byzantine music heritage after the
Fall of Constantinople. Western European scholars, ignoring the
post-Byzantine Chant tradition and the last semeography reform from the early
nineteenth century, looked at the problems of the musical past only from the
perspective of the Middle Ages. Greek researchers have shared the belief that
the condition of an adequate understanding of the mid-Byzantine notation, or
the so-called old method, is the knowledge of analytical neum system and
theory, the basics of which were set up by musicians from the end of the
seventeenth and during the eighteenth century, and were finally shaped by
Chrisantos, Gregory and Chourmouzios and officially accepted in the Greek
church in 1814. The path to overcoming the issues relating to the development
of neum notation, and finding an adequate manner of decoding it, led through
the understanding of the phenomenon of "interpretation" and other tendencies
that marked the post-Byzantine music practice. Two scientists -the Danish
Jørgen Raasted, a follower of the Western European musicological methods
established by founders of Monumenta Musicae Byzantinae, and Greek theologist
and musicologist Gregory Stathes - are specifically responsible for the
reconciliation of the different methodological approaches. After numerous and
often heated debates, the Danish scientist eventually largely accepted the
views of his Greek counterpart. Moreover, he himself insisted, at the
musicological conferences organized during the 1980s, on reviewing the
controversial issues: the existence of chromatic intervals in the psalmody of
the Middle-Ages, the problem of syllabic and melismatic interpretations of
stenographic neum records, and so on. Concerning the above mentioned issues,
the contemporary trends in Byzantine musicology are presented in the
conclusion of the paper. It is worth noting that the most influential
scholars nowadays follow “a middle path”, the distinction between the once
exclusive Western option and the no less “hard” Greek traditional option.
[Projekat Ministarstva nauke Republike Srbije, br. 177004: Identiteti srpske
muzike od lokalnih do globalnih okvira: tradicije, promene, izazovi]
Secara umum penelitian ini menunjukkan bahwa Identifikasi Rithme dan Melodi Kuda Lumping yang ada di Marendal memiliki Ritme dan Melodi yang sama pada umum nya, Tetapi seiring dengan perkembangan Zaman dan meningkat nya pengalaman pemain musik Kuda Lumping maka dalam beberapa bagian Ritme dan Melodi variasi tertentu. Penelitian ini di maksudkan untuk mengetahui bagaimana Ritme dan Melodi kuda lumping yang ada di Marendal. kiranya penelitian ini dapat menjadi pedoman maupun acuan bagi para muda – mudi yang pada zaman ini banyak meninggalkan musik yang bersifat Kebudayaan.
L’evoluzione storico-musicale nella prima metà del Quattrocento è caratterizzata dall’internazionalizzazione della cultura musicale europea ed si pone in continuità con il processo culturale del primo umanesimo. La categoria di ‘evoluzione’ e l’idea stessa di ‘rinascita’, ovvero quella “leggenda di un progresso” (Martin Le Franc, Johannes Tinctoris) discussa da Reinhard Strohm, sono concetti che oggi devono essere letti non soltanto nel senso di una omologazione stilistica, ma anche come aspetto distintivo di una ricerca d’identità culturale. Anche dal punto di vista storico-musicale siamo di fronte alla costituzione di un nuovo gusto europeo nato dalla fusione di stili e di pratiche locali che si espanderà, grazie alla trasmissione delle compilazioni manoscritte, per tutto il continente e al quale aderiranno, in maniera disomogenea, anche compositori di regioni più remote.Il Concilio di Basilea non costituisce solo un dato storico circoscrivibile agli anni in cui si svolse il sinodo, così come non è da considerarsi solo un fatto empirico riguardante la sola città della Svizzera settentrionale. Esso deve piuttosto essere assunto come un evento paradigmatico per la storia della cultura del Quattrocento. Gli incontri fra intellettuali ed artisti, l’interazione fra musicisti di diverse regioni europee che si incontravano grazie ai frequentissimi spostamenti delle corti e delle cappelle, fanno del Concilio la piattaforma virtuale sia per la ricerca di una nuova identità culturale sia per la nascita di nuovi repertori e pratiche musicali. Il Concilio trascende quindi i confini contingenti della città di Basilea trasformandosi in una vera e propria “dinamica culturale” in cui i singoli individui contribuiscono alla continua trasmissione e fusione di esperienze musicali diventando vettori di una nuova mentalità musicale che raggiunse anche gli angoli più remoti dell’Europa.
Music and books on Music, Musical instruction and study
Joana Mariz de Sousa, Marta Assumpção de Andrada e Silva, Léslie Piccolotto Ferreira
OBJETIVO: Verificar se professores de canto de diferentes gêneros musicais utilizam expressões metafóricas ("imagens") como ferramenta didática para trabalhar a ressonância vocal, se existe correspondência fisiológica pretendida para cada metáfora empregada e os motivos para utilização de tal linguagem. MÉTODOS: A amostra foi composta por 20 professores de canto, com experiência profissional mínima de cinco anos, atuantes em quatro abordagens do ensino de canto, sendo cinco professores por abordagem. Os professores responderam um questionário baseado em pesquisas já concluídas na área. As questões abordaram o histórico na docência de canto e a utilização ou não de metáforas. Aos professores que responderam afirmativamente foi solicitada a citação de três imagens correntemente utilizadas no ensino da ressonância bem como a explicação dos eventuais objetivos fisiológicos e musicais associados. As entrevistas foram gravadas em aparelho digital, transcritas na íntegra, analisadas e categorizadas. RESULTADOS: Dos professores entrevistados, 90% utilizavam imagens no trabalho com ressonância por motivos didáticos técnicos e musicais; 88,8% dos professores que afirmaram utilizar tal linguagem e que disseram ter objetivos fisiológicos associados não os descreveram de forma objetiva ou não os distinguiram de objetivos musicais e proprioceptivos. CONCLUSÃO: A maioria dos professores pesquisados utiliza metáforas como ferramenta didática, por acreditar que elas estimulam a propriocepção e a musicalidade, e que a instrução por meio de linguagem fisiológica é muito complexa. Tal achado pode estar associado ao fato de que esses profissionais tendem a não separar o processo fisiológico de produção da voz do processo subjetivo da criação artística.<br>Purpose: To verify whether singing teachers of different music styles use metaphoric expressions ("imagery") as didactic tools to teach vocal resonance, whether there is a desired physiological correspondence for each metaphor, and the reasons to use this kind of expression. METHODS: The subjects were 20 singing teachers with at least five years of professional experience teaching one of four different musical styles (five teachers of each style). They answered questions based on other studies in the area, regarding their teaching experience and their use of metaphoric expressions. The teachers that confirmed using imagery to teach vocal resonance were asked to describe three examples currently used, and to explain its physiological and musical goals. The interviews were digitally recorded, fully transcribed, and posteriorly analyzed and classified. RESULTS: From the teachers interviewed, 90% used imagery for pedagogical reasons, concerning either technical or musical matters; 88.8% of the teachers that affirmed to use metaphoric expression with physiological purposes were not able to describe precisely what they were trying to achieve, or mixed physiological goals with musical and proprioceptive objectives. CONCLUSION: Most of the singing teachers that participated in this study used metaphors as didactic tools, believing that this kind of imagery stimulates proprioception and musicality, and that instruction through physiological language is excessively complex. This finding might suggest that these professionals tend not to isolate the physiological process of voice production from the subjective process of artistic creation.
(francuski) Le mot texture désigne, selon la définition du dictionnaire Robert, la disposition des fils d'une chose tissée, s'appliquant tout naturellement aux principles du tissage et, par extension, peut concerner l'arrangement d' éléments sonores. Dans le vocabulaire musical, le terme "texture" est peu fréquent et le plus souvent ignoré par les dictionnaires spécialisés; cette notion occupe pourtant une place déterminante dans la réflexion d'un grand nombre de compositeurs depuis les années cinquante. Permettant d'envisager notamment sous un angle nouveau les questions du timbre et la conception de l'écriture orchestrale, elle sera envisagée successivement dans des œuvres de Ligeti, Lutoslawski, Brown, Carter, Feldman et à travers la démarche électro-acoustique.