This article examines less conventional approaches in piano performance and their potential to expand the performer’s creative space through techniques such as arpeggiation, rhythmic asynchrony, body language communication, and experimental pedalling—all drawn from historical performance practices. Using Schubert’s piano works as a foundation, the study integrates insights from historical treatises, the author’s critical commentary, and practical experimentation, with key findings illustrated through video demonstrations. In exploring alternatives to conventional music performance paradigms, the article articulates a historically informed perspective that foregrounds creative agency and encourages performers to develop their creative voices through expanded interpretive possibilities.
У виконавському мистецтві визначення темпу твору є одним із найважливіших інтерпретаційних завдань. Визначення темпу у творі ранніх періодів (музиці Ренесансу чи Бароко) є ще складнішим, оскільки пов’язане з тогочасними законами метроритмічного розвитку, описаними у трактатах з теорії музики XVII–XVIII століть. Дане дослідження зосереджене на проблемі визначення й узгодження темпу під час виконання української партесної музики. Упродовж XVII–XVIII століть ритмічна організація музичного матеріалу та швидкість його відтворення були нероздільно пов’язані. Інтерпретація музики цього періоду згідно з канонами сучасного трактування метру й ритму є невідповідною. Для стилістично правильного відтворення музики доби Бароко необхідне розуміння принципів музичної теорії XVII століття. Таких досліджень співвідношення темпу й метру в бароковій музиці в українському музикознавстві, зокрема і щодо української партесної музики, украй мало. Отже, результати, описані в публікації, збагатять теоретичний арсенал сучасних інтерпретаторів давньої музики та музикознавців, дослідників барокової культури. Автором розглянуто загальну практику відбивання tactus у системі мензуральної нотації західноєвропейської музики бароко, принципи співвідношення парного та пропорційного метрів, способи графічного позначення зміни темпу виконання. Простежено спорідненість способів метроритмічної організації партесних творів із принципами ритмічного розвитку мензуральної системи. Проаналізовано теоретичні праці цього періоду, написані на теренах тогочасної України, і розглянуто приклади взаємозалежності метру, ритму, гармонічних змін і тексту з темповим їх утіленням у партесних творах. Для аналізу обрано шість партесних концертів із рукописів, віднайдених у місті Валява Перемиської єпархії. Узагальнено принципи трактування парних і непарних музичних розмірів щодо їхніх темпових характеристик, а також відповідні способи узгодження темпу в разі зміни розміру в партесній традиції.
Igor Stravinsky’s late style is usually considered in terms of the works’
structure. Following Joseph N. Straus, this article attempts to highlight
expressive, semantic and self-referential dimensions in Stravinsky’s late
compositions. These dimensions emerge there with particular clarity and
partly contradict the usual assessments of this music as abstract and
constructivist; as such, they also challenge the composer’s own statements.
Bu araştırma Hicaz makam dizisi ile işlenen armoni dersinin bilişsel alan başarısına etkisini ortaya koymak amacıyla
yapılmıştır. Tek grup ön test-son test deneysel deseninin kullanıldığı araştırmada, çalışma grubu 27 öğrenciden
oluşmaktadır. Araştırmanın nicel verileri araştırmacı tarafından geliştirilen Makamsal Armoni Başarı Testi ile
toplanmıştır. Başarı testi, çalışma grubuna araştırmacı tarafından verilen 9 haftalık Hicaz makam dizisi ile entegre
edilmiş armoni dersi öncesinde ve sonrasında uygulanmış ve toplanan veriler SPSS veri işleme programında
analize tabi tutulmuştur. Yapılan analizler sonucunda öğrencilerin deney öncesinde Başarı testinden aldıkları puan
ortalamalarının, deney sonrasında yapılan Başarı testinden aldıkları puan ortalamalarından anlamlı derecede
farklılaştığı görülmüştür. Ayrıca çalışma grubuna online anket şeklinde uygulanan “Hicaz makamı ile işlenen armoni
dersine yönelik öğrenci görüşleri” cevaplarının incelenmesi sonucunda ise öğrencilerin büyük kısmının Hicaz
makamı ile işlenen armoni dersine karşı olumlu görüş bildirdikleri görülmüştür.
Cet article a pour objectif de montrer les différents niveaux de socialisations musicales à l’œuvre dans l’élaboration, la réception, et les effets de réalité d’une norme musicale socialement construite : le tempo des baterias des écoles de samba cariocas. Pour ce faire, il s’agit de prendre en compte les cadres socialisateurs, ainsi que les socialisations musicales d’acteur·rices occupant des positions opposées dans l’espace social du carnaval des écoles de samba (mestres de bateria par rapport aux juré·es de bateria, mais aussi mestres de bateria entre eux). Par la mise en perspective du caractère socialement construit de la norme technique, des modalités de son imposition et des différentes socialisations musicales des mestres et des juré·es, il est possible de comprendre le rapport à différents registres de légitimité culturelle entretenu par ceux-ci. Par la mise au jour des dispositifs institutionnels multidimensionnels à l’œuvre dans la définition du « bon » tempo, des processus de son acceptation (ou pas) par les pratiquant·es, c’est également l’articulation entre processus collectifs et individuels de socialisation que l’on souhaite éclairer.
This article looks at the play, Dipina tsa Monyanyako, which was made with a group of domestic workers in South Africa. The article explores how song is used as a strategy to locate ways of creating and making in South Africa. Song therefore registers a historical way of imagining and how marginalised groups; women have written themselves into history.
The production is a creative conversation where song is used to express care and anger in everyday life. Current approaches to knowledge production are inadequate in capturing song, poetics, and interpreting the forms of performances black women engage. The article makes a case for song as a form of black feminist theatre-making aesthetic. Using Dipina tsa Monyanyako, I argue that songs, silence, sighs have important methodological implications for arts-based processes and research.
In post-apartheid South Africa, performances are characterized by constant aesthetic reinvention. From precolonial expressions of life to protest theatre, performance aesthetics have been a way of revealing everyday life and struggles. For black women, theatre becomes the meeting place of the expression of their lives and a space of reflection and analysis of those lives, even though, historically, the presence of black women in theatre has been minimal. The creation of Dipina tsa Monyanyako allowed for the emergence of women as empowered subjects, and song became a portal for collective transformation.
Anne-Marie Louise Czajkowski, Alinka Elizabeth Greasley, Michael Allis
Objectives: Mindfulness has been explored in the clinical and educational fields but has rarely been studied in the music domain. This study investigated the effects of teaching eight-week Mindfulness for Singers courses on vocalists’ music education and performance. Methods: A mixed methods approach was utilized, which included controlled and randomized controlled trials using standardized and novel mindfulness measures pre- and post-intervention, interviews post-intervention and three months later, concurrent diaries, and a blinded teacher study. Participants included singing students (total n =52) and their teachers ( n =11) from a university and a music college over a period of two years. Results: Levels of mindfulness increased over the intervention for experimental participants in comparison to controls. Considering their total student cohort, teachers identified 61% of eligible mindfulness singing participants as having completed the mindfulness intervention. Experimental participants reported that learning mindfulness had positive effects in lessons, solo and group instrumental practices, and when performing on stage. They described more focus and attention, positive effects of increased body awareness on singing technique, enhanced socio-collaborative relationships, reductions in performance anxiety, and beneficial effects whilst performing, such as more expressivity and enjoyment. Conclusions: Learning mindfulness had positive holistic effects on vocal students and was well received by their mindfulness-naïve singing teachers. Findings suggest that it would be highly beneficial for mindfulness to be made available in music conservatoires and university music departments alongside singing lessons for singers to enhance their present experience as vocal students and their futures as performers and teachers.
The article is devoted to the analysis of the forms and methods
of music learning to schoolchildren during the self-isolation period. Distance
learning is viewed in the context of new trends, opportunities and risks
in relation to the various disciplines of the children’s music school curriculum,
as well as music lessons in the mainstream school. Among the most acute
problems are the vulnerability of the initial stage of musical education, losses
in the artistic side of the musical-pedagogical process, individualization
of teaching, and the impossibility of collective playing music. Separately
considered such issues as the implementation of programmed teaching
technology in the field of solfeggio and music theory; examples of algorithms
and criterion scales for organizing students’ self-control are given. Theproblems
of the transformation of listener’s perception under the influence of slide shows,
the intrusion of the laws of screen arts into musical and pedagogical activity
are touched upon. Music and educational content presented as part of large
digital educational platforms was subjected to critical analysis.
This commentary discusses and comments on the study by Trevor and Huron on the acoustical similarities between human laughter and staccato articulation in music.
This study presents a current approach to music performance analysis. The analysis of sound recordings is still a relatively new discipline of musicology although the approximate 120 years history of the musical data recording offers a wide range of possibilities. Musical recordings are preferable to live production in terms of the description of time resources in music for they allow more detailed and repeated measurement of time periods. The effort of musicology research is to find objective parameters and data from typically sound and time complicated musical recording or production in real time, which can be clearly and distinctly documented, analyzed and compared. The acquisition of this data in musicology research has always been the domain of a music theorist in the role of a listener of a live production or a recording, registering noticeable quantitative parameters of the music stream. Current attempts to use algorithmic tools in this field focus typically on tempo and dynamics. Nowadays, the practice of recording analysis is aided occasionally by various software tools for determining specific categories, such as beat extraction and spectral analysis. We are inspired by some foreign works. In the plethora of current production we were intrigued mostly by the work by José Antonio Bowen, Nicholas Cook and the activity of authors concentrated around the Center for History and Analysis of Recorded Music (CHARM). While this topic is often discussed in the anglo-american musicology on a local scale this topic is rather marginal. A rare exception is the work of Milan Kuna and Miloš Bláha Time and Music. About the dramaturgy of the resources in the musical and interpretative performances (1982).
The purpose of this qualitative study was to describe and discuss the affective, cognitive, and physical events that occur when people gather to make music. Using a theoretical framework derived from community music therapy and sociology of music, this work focuses on the experiences and perceptions of five women who participated in music therapy group work. Structured observation was used to register the participants’ affective, cognitive, and physical manifestations during the group work. Results suggested that music therapy collective music making stimulated participants to interact and develop different forms of feeling, thinking, and acting. Making music together encouraged participants to think about their feelings, roles, and judgments, reflecting that the collective experience promoted positive changes in their lives.
El Joropo es una expresión de arte popular en permanente evolución, originalmente una fiesta campesina o pueblerina que integra poesía, canto, música y danza en un sistema de creatividad improvisatoria sobre estructuras establecidas y parámetros definidos de estilo. El Joropo se caracteriza por un sistema de estructuras cristalizadas a lo largo de la historia a partir de canciones y danzas tradicionales que se erigieron en formas musicales, sirviendo como base para a variantes en la letra, o convirtiéndose en formas puramente instrumentales. El Joropo es una tradición que abarca casi la totalidad del territorio venezolano y al menos la cuarta parte del territorio colombiano. En Venezuela el Joropo es considerado el baile nacional por excelencia y existen tres tipos de Joropo clasificados por regiones con importantes variantes de instrumentación y estilo: el Joropo Oriental, el Joropo Central y el Joropo Llanero. Solamente el Joropo Llanero, extendido alrededor de la cuenca central del Orinoco, es común a Colombia y Venezuela, siendo el más difundido de todos, tanto por la amplia discografía y radiodifusión como por la abundancia de festivales, concursos y torneos que involucran a ambos países. Además es notable el auge y desarrollo urbano que ha tenido esta música en los últimos años en las respectivas capitales. Sus orígenes se remontan a las músicas ibéricas del Siglo XVII y XVIII, tales como el múltiple Fandango, las Folías, Peteneras, Jotas y Malagueñas andaluzas, sazonadas con la influencia de ocho siglos de dominación árabe y posteriormente transformadas en América con el mestizaje de elementos africanos e indígenas, bajo el sol abrasador de la Cuenca del Orinoco y la vastedad infinita de sus horizontes y llanuras. Los antecesores del Joropo incluyen la música de marineros y trovadores que llega en los galeones provenientes de España, transformándose en música arraigada en el suelo americano y dando lugar a una tradición vital y poderosa que se expresa en un alto desarrollo musical y poético convirtiéndose en emblema de la identidad nacional.
Статья посвящена одной, но весьма примечательной для английского музыкального искусства рубежа XVI-XVII веков инструментальной композиции и ее создателю Джону Копрарио (1570/1580 - 1626), широко известному в свое время педагогу, исполнителю на виоле и композитору. Сохранившееся наследие и известные факты биографии «итальянизированного англичанина» позволяют оценить значение творческой деятельности Копрарио для истории английской музыки и осознать его уникальное положение среди выдающихся коллег - соотечественников и современников (Уильям Бёрд, Томас Морли, Орландо Гиббонс, Джон Доуленд и др.). С именем Копрарио обычно связывают появление в английской музыке особой разновидности фантазии (предназначенной, как правило, для виольного консорта), называемой «инструментальным мадригалом» или «мадригальной фантазией». В композициях подобного типа яркое претворение получает гуманистическая концепция imitatio. Среди многочисленных образцов мадригальной фантазии Копрарио (их у композитора около 60) выделяется сохранившаяся без названия пьеса, сегодня также известная под заголовком «О voi che sospirate» (соответственно инципиту итальянского мадригала Луки Маренцио). Эта пьеса, появившаяся в результате приобщения английского музыканта к «новомодному» итальянскому жанру мадригала и «авангардным» поискам хроматистов XVI века, рассматривается с учетом сложившихся профессиональных традиций собственно английского музицирования.
Despite the vast research on Verdi’s compositional as well as dramatic achievements, little attention seems to have been paid to the early reception of his works in Victorian London. A review of such periodicals as The Times, The Musical Times, The Athenaeum has drawn attention to two particular aspects of relevance; Verdi’s first operas impinged upon the model represented by Rossini’s light-spirited melodiousness and provoked a sense of general bewilderment; even when opera-goers began to show clear signs of appreciation and to crowd the theatres where Verdi’s operas were performed, critics continued to object to their value and to ascribe their success to the singers’ new vocal and dramatic skills.
The current opening of musicology to questions of performance and embodied meaning calls for a theorizing of musical experience that would not remain stuck in oppositions of subject and object, mind and body, process and product. If we take experience as essentially predetermined by the musical work or, in cognitivist information processing terms, by rule-governed mechanisms for manipulating internal representations (be these rules syntactic or semantic) we shall not be able to account for the creativity of music and the production of novel meaning. The complexity or messiness of such production may seem an impediment to understanding music – it would seem to lead to the vagaries of the merely subjective, to mere appearance, or to a hopeless relativism that would in the end leave us speechless. In this essay I will take the creativity of experiencing and all the complexity that comes with it as a positive fact that might lure us to think about time and process in music. Such a thinking could open many avenues for connecting theory and practice and for connecting music theory with other disciplines of musical scholarship.
Die momentane Öffnung der Musikforschung zu Fragen der Aufführung und der ›verkörperten Bedeutung‹ erfordern eine Theorie musikalischer Erfahrung, die nicht in den Oppositionen von Subjekt und Objekt, von Geist und Körper oder von Prozess und Produkt stecken bleibt. Wenn wir Erfahrung als etwas vom musikalischen Werk Vorherbestimmtes ansehen, oder, informationstheoretisch ausgedrückt, als regelgeleitete Mechanismen, die interne Darstellungen manipulieren (seien diese Regeln syntaktisch oder semantisch), werden wir nicht in der Lage sein, die Kreativität der Musik und die Produktion von neuer Bedeutung zu erkennen. Die Komplexität und Unordnung von derartiger Bedeutungsproduktion scheint ein Hindernis auf dem Weg zum Verstehen von Musik zu sein – es scheint zu den Launen des bloß Subjektiven zu führen, zu bloßer Erscheinung, oder zu einem hoffnungslosen Relativismus der uns am Ende sprachlos zurücklässt. In diesem Essay möchte ich die in der Erfahrung liegende Kreativität in all ihrer Komplexität als positives Faktum als Ausgangspunkt nehmen, um über Zeit und Prozess in der Musik nachzudenken. Ein solches Denken öffnet viele Wege zu einer engeren Bindung von Theorie und Praxis, als auch zu einer engeren Bindung der Musiktheorie mit anderen Disziplinen der Musikforschung.