Hasil untuk "Literature on music"

Lucija Mlakar, Vesna Posavčević

Autism Spectrum Disorder (ASD) is a complex neurodevelopmental condition that typically emerges in early childhood, marked by difficulties in communication, social interaction, behaviour, and emotional regulation. Despite these challenges, many children with ASD demonstrate exceptional musical abilities, making music a powerful medium for enhancing self-expression, fostering social bonds, and supporting neurological development crucial for speech and social skills. Historically, minimally verbal children with ASD were often excluded from research due to the difficulty of assessment using standardised tools; however, recent advancements have enabled more inclusive studies. Over the past decade, naturalistic approaches have gained prominence, with music therapy emerging as a particularly promising intervention. A systematic literature review, based on original research sourced from PubMed, Sage, and ScienceDirect, examined six studies involving children aged two to twelve years with minimal verbal abilities and a clinical diagnosis of autism. These studies consistently found that music therapy significantly supports the development of language and social communication skills, while also enhancing fronto-temporal brain connectivity. The review contributes valuable insights into the current state of research, underscores the importance of early intervention and parental involvement, and lays the groundwork for further exploration into the role of music therapy in language development for children with ASD.

Petr Haas

Oleg Yanush

The article deals with basic techniques and means of expression in literature like spontaneity and stream of consciousness. Taking into consideration different literary devices of expressing and depicting thoughts, experiences, moods, the author focuses on those two phenomena in language of prose, poetry, music lyrics of well-known authors of the 20th century. The author has deeply studied different researches on the topic, fulfilled particularly by prominent philosophers and psychologists of 19th and 20th centuries. Spontaneity is defined as human quality, which determines as well as influences the reaction on changing of certainty or unusual lifetime conditions. Within this connection the author mentions the theory for researching concepts of spontaneity and creativity. Attention is paid to spontaneity and creativity as different categories, but strategically linked. After all, he claims that a high degree of spontaneity does not mean creativity. Both categories can be applied in literature or song writing, in a skillful manner in particular. The author proposes the definition of the phenomenon of stream of consciousness as a stylistic device for the linguistic organization of the written text, which shows the complicated process of mental thinking with deep concentration on thoughts and feelings. Also, it is necessary to add that some authors determine several parts of this process (the stream): the pre-impulse to think, the thought, and the external circumstances at present time, that is simultaneously, evoking some reactions and changing the thinking process, closely connecting it with the concept of spontaneous poetry and prose. The attention has been emphasized on the spiritual life of the individual, the spontaneity of the emergence of thoughts and images, combination of the conscious and the unconscious, the rational and the sensual, increased emotionality, etc. Special attention is also paid to spontaneity and stream of consciousness as essential concepts in order to differentiate synonymic of lexemes denoting behavioral traits of a person's character, which look alike at first glance only: impulsivity, improvisation and quick burst of emotionality. These characteristics of human actions have also been distinguished and differentiated. As a result of analysis of both concepts, the author concludes to support the idea of common features for spontaneity and stream of consciousness, taking into account that in literature these concepts are implemented in poetic texts as literary devices. That is why the necessity to explore literary works in further scientific investigations is signified by the represented research. Keywords: spontaneity, stream of consciousness, techniques, expression, artistic means, literary device. Information about the author: Yanush Oleg Bogdanovych – PhD in Linguistics; Associate Professor of the Department of Methods of Teaching Ukrainian and Foreign Languages and Literature; Educational and Scientific Institute of Philology; Taras Shevchenko National University of Kyiv. E-mail: obyanush@gmail.com   REFERENCES Alfred, A. Encyclopedia.com (n.d.). URL: https://www.encyclopedia.com/ people/medicine/psychology-and-psychiatry-biographies/alfred-adler [in English]. Cambridge Dictionary. English Dictionary, Translations & Thesaurus (2023). URL : https://dictionary.cambridge.org/ [in English]. Callanan, J.J. (2017). Kant on the spontaneous power of the mind. British Journal for the History of Philosophy, 25(3), 565-588. https://doi.org/10.1080/09608788.2016.1263183 [in English]. Glinka, N., Voloshchuk, I., & Usyk, G. (2021). Stream of consciousness as a constituent of the poetic of spontaneity: literaly and lingo poetic aspects. 8th SWS International Scientific Conferences on ART and HUMANITIES – ISCAH Proceedings 2021. https://doi.org/10.35603/sws.iscah.f2021/s10.24 [in English]. Foreign Literature of the 18th – 20th centuries. URL: https://jaaj.club/book.aspx?enname=culture&id=69 [in Ukrainian]. Joyce, J. (1922). "Ulysses". Harmondsworth: Penguin, 1986, (1040) [in English]. Kipper, D., & Hundal, J. (2005). The spontaneity assessment inventory: The relationship between spontaneity and non-spontaneity. Journal of Group Psychotherapy, Psychodrama and Sociometry, 58, 119–129 [in English]. Kreator: Extreme Aggression. (2017). Remastered "Stream of Consciousness" (4th song on the album). Music Grinder, E.Q. Sound and Cherokee Studios, Hollywood, California. Label: Sanctuary records group ltd., Noise (Europe), Epic (USA), Length 37:28 min. [in English]. Longman Dictionary of Contemporary English (2003). Pearson Education Limited Publ. [in English]. MBBS, A.K. (2010). Spontaneity and Improvisation in Psychoanalysis. Psychoanalytic Inquiry, 30 (3), 222–234. [in English]. Moreno, J.L. (1955). Theory of Spontaneity-Creativity. Sociometry, 18 (4), 105 [in English]. Morgan, E. (2020). Centenary Selected Poems. Carcanet Classics; Carcanet Press [in English]. Scottish Poetry Library (2023). Scottish Poetry Library – The world's leading resource for Scottish poetry. URL: https://www.scottishpoetrylibrary.org.uk/ [in English]. Spontaneous or Impulsive? How to Know, What to Do (2024). CHADD. URL: https://chadd.org/attention-article/spontaneous-or-impulsive-how-to-know-what-to-do/ [in English]. Standifird, J.J. (2019). Kerouac's Spontaneous Prose: Merely "Stream of Consciousness" Or a Genre all its own? URL:https://www.academia.edu/39225909/Kerouac_s_Spontaneous_Prose_Merely_ Stream_of_Consciousness_Or_a_Genre_all_its_own [in English]. Stream of consciousness as the creative method of Virginia Woolf. URL: https://journals.indexcopernicus.com/api/file/viewByFileId/ 910045.pdf/ [in English]. Stream of Consciousness – James Joyce's "Ulysses". URL: https://blogs.baruch.cuny.edu/gimmeshelter/2013/02/12/stream-of-consciousness- james-joyces-ulysses/ [in English]. What is stream of consciousness. URL: https://gorodenok.com  [in Ukrainian]. Wordsworth, W. (2016). Preface to the Lyrical Ballads. by: William Wordsworth. Createspace Independent Publishing Platform, 34 [in English]. Yang, Zh. (2015). Dialectics of Spontaneity: The Aesthetics and Ethics of Su Shi (1037-1101) in Poetry. BRILL, 236 р. [in English].

Egaputra Tweeda Pinta, Suwarno Wisetrotomo, Pipin Garibaldi

Artikel ini bertujuan untuk memberikan penilaian dalam bentuk kritik pada pertunjukan (Permainan) Sonata Ysaÿe nomor dua ‘Obsession’ sebagai karya musik yang virtuoso. Sonata ‘Obsession’ dipengaruhi oleh karya Bach yaitu Partita E mayor Prelude. Permasalahan yang disoroti adalah perbedaan interpretasi oleh lima pemain biola pada praktik pertunjukan sonata ‘Obsession’, pada konser musik biola skala internasional dari video media sosial YouTube. Penelitian ini merupakan penelitian kualitatif dengan pendekatan kritik seni Feldman. Tahapan penelitian yaitu studi literatur, observasi tidak langsung, dan dokumentasi  dari audio-visual.  Analisis data menggunakan kerangka kritik seni Feldman yang meliputi tahapan deskripsi, analisis formal, interpretasi, dan penilaian. Hasil penelitian yang diperoleh dari lima pemain biola pada konser skala internasional menunjukkan, walaupun karya Sonata Ysaÿe ‘Obsession’ mengandung ritme tempo cepat (virtuos), tetapi secara musikal memikat, menunjukkan unsur ekspresif, estetik, dalam bentuk musik bebas. Performance Critic on Ysaÿe's Violin Sonata 'Obsession' Through Feldman's Art Critic Theory Abstract This article aims to provide an assessment in the form of criticism on the Performance (Play) of Ysaÿe's Sonata Number Two 'Obsession' as a virtuoso piece of music. Bach's Partita E Major Prelude influences the' Obsession' sonata. The problem highlighted is the difference in interpretation by five violinists regarding the practice of performing the sonata 'Obsession' at an international scale violin music concert from a YouTube social media video. This research is qualitative research with Feldman's art criticism approach. The research stages are literature study, indirect observation, and audio-visual documentation. Data analysis uses Feldman's art criticism framework, which includes stages of description, formal analysis, interpretation and assessment. The results of research obtained from five violinists at international scale concerts show that, although Ysaÿe's Sonata 'Obsession' contains fast tempo rhythms (virtuosic), it is musically very captivating, showing expressive, aesthetic elements in the form of free music. Keywords: critic, Obsession sonata, Eugene Ysaÿe, Feldman art critic

Gabriella Márta GORBAI

Religion and Spirituality as Protective Factors for the Mental Health of the Students at the Faculty of Reformed Theology and Music. This study focuses on certain aspects of spiritual well-being and examines how religiosity and spirituality can serve as protective factors in maintaining mental health and function as coping mechanisms. After a (non-exhaustive) review of the relevant literature on this subject, we present some practices and reflections used during group activities with the students of the Faculty of Reformed Theology at Cluj-Napoca. Ideally, the work of a religion teacher also has spiritual dimensions. It is important that the training includes reflections on religious, Christian spirituality. Reflecting on spirituality serves a dual purpose: on the one hand, it helps students view their spirituality as a resource for the protection of their mental health, and, on the other hand, it helps them recognize that the awareness and development of religious spirituality is also their professional duty, as it has a direct impact on the students entrusted to them. During groupwork with the future religion teachers, our primary focus was on clarifying and deepening their awareness of spiritual capabilities and reflecting on key concepts of religious spirituality (such as prayer and the image of God), which can serve as resources in protecting their mental and spiritual health.

Birger Hjùrland

Jie Xiong, Wen-qin Wang, Kuandong Gao

Carlos Gutiérrez Cajaraville

Alessandro Cazzato

L’esperienza didattica di tutti i giorni ci porta ad affermare che l’insegnamento del violino può trarre enormi benefici dalle pratiche musicali collettive in ensemble più o meno grandi. Ciò si dimostra particolarmente evidente se consideriamo l’esperienza d’ensemble di quattro violini non accompagnati, formazione storicamente molto legata alla didattica tradizionale: la natura della formazione, infatti, permette di instaurare molteplici confronti, analogie, sfide positive tra i componenti del gruppo, i quali possono vantare o meno le stesse competenze strumentali (gruppo omogeneo o non-omogeneo). L‘esecuzione d‘ensemble per quattro violini, infatti, implica interazioni di natura musicale e sociale tra gli esecutori: la performance musicale d‘ensemble è un affare tipicamente collettivo. Ciò porta a chiedersi: quali sono le basi teoriche a supporto dell’affermazione secondo cui la pratica collettiva è di supporto a quella individuale, e che benefici si riscontrano (e.g. indipendenti in ambito musicale, sviluppo dell’auto-regolazione)? In tale prospettiva, il presente lavoro intende orientare il lettore nell’ampio panorama teorico della didattica collettiva, affrontando il ciclo dell’auto-regolazione nella pratica efficace di studio, i principi dell’apprendistato cognitivo e dell’apprendimento cooperativo, il ruolo benefico di interventi di educazione tra pari in ambito musicale. In fin dei conti, l’obiettivo è approfondire, in ambito didattico, i legami tra pratica collettiva e individuale ed esplorare il potenziale impatto dell’ensemble di quattro violini sulla pratica violinistica individuale.

César F. Lima, Saloni Krishnan, S. Scott

Although the supplementary and pre-supplementary motor areas have been intensely investigated in relation to their motor functions, they are also consistently reported in studies of auditory processing and auditory imagery. This involvement is commonly overlooked, in contrast to lateral premotor and inferior prefrontal areas. We argue here for the engagement of supplementary motor areas across a variety of sound categories, including speech, vocalizations, and music, and we discuss how our understanding of auditory processes in these regions relate to findings and hypotheses from the motor literature. We suggest that supplementary and pre-supplementary motor areas play a role in facilitating spontaneous motor responses to sound, and in supporting a flexible engagement of sensorimotor processes to enable imagery and to guide auditory perception.

Al Evangelista, Alen Agaronov, André Dramé et al.

Angela Viora, “Phenomenology of big hair caught up in the wind at night” (2:25); Al Evangelista, “How to dance with Filipinx ancestors?” (4:42); Sonia York-Pryce, “Sôma” (4:48); Claire Vionnet and André Dramé, “Dereskina” (5:39); W. Donnie Scally, “Reconfiguring sensory experience: The sounds of 100 rounds of karate shadowboxing” (6:00); Alen Agaronov, “Meeting the definition of human subjects research: A case study” (7:00).

Benjamin Virc

Z namenom implementacije interdisciplinarnega teoretskega aparata za proučevanje libretov v multimodalnih umetniških konfiguracijah v polju glasbenega gledališča avtor članka predstavi lastno inovacijo – analitično orodje Vokalurlinie. Ta nam kot zanesljiv metajezikovni zapis bimodalne kongruence besedne in glasbene prozodije omogoča pertinentno reševanje problemov, povezanih s prevajanjem in adaptacijo libreta, z namenom zagotavljanja karseda optimalnih pogojev pevske izvedbe in percepcije.

Cristina Scuderi

The article examines the role of the theatrical agent in the operatic circuits of the late nineteenth and early twentieth centuries on the eastern Adriatic coast in the light of his relations with theatre management, impresarios and fellow agents. There were many different types of theatrical agent involved in managing operatic seasons, and they had different working practices.

Tori Holmes

In the tumultuous electoral year of 2018, when public security was in the political spotlight in Brazil, and social media took on heightened political prominence, the intersection of popular music and digital culture put urban violence in the country’s cultural spotlight via an internet meme about stray bullets, inspired by one of the hit songs of the Carnival period, “Que Tiro Foi Esse” [What Was That Shot] by Jojo Todynho. This article analyses the “Que Tiro Foi Esse” (QTFE) meme, its origins, and its circulation, as well as exploring how a catchphrase originating in popular music, given an association with public security by the participants of an internet meme, was subsequently taken up in grey literature relating to that same socio-political topic by civil society data activists. Whilst “QTFE” was only one in a maelstrom of memes created and shared by Brazilians in 2018, I analyse it as a prominent example of the function of memes as “cultural touchstones” (Milner) in the country. In so doing, I show how it captured and expressed the social, cultural, and political mood of the country in a pivotal and polarised year, as well as signalling the intertwining of digital culture with traditional cultural industries and practices, with politics, and with the field of public security specifically.

Sobhan Sheykhivand, Zohreh Mousavi, Tohid Yousefi Rezaii et al.

Emotion is considered to be critical for the actual interpretation of actions and relationships. Recognizing emotions from EEG signals is also becoming an important computer-aided method for diagnosing emotional disorders in neurology and psychiatry. Another advantage of this approach is recognizing emotions without clinical and medical examination, which plays a major role in completing the Brain-Computer Interface (BCI) structure. Emotions recognition ability, without traditional utilization strategies such as self-assessment tests, is of paramount importance. EEG signals are considered the most reliable technique for emotions recognition because of the non-invasive nature. Manual analysis of EEG signals is impossible for emotions recognition, so an automatic method of EEG signals should be provided for emotions recognition. One problem with automatic emotions recognition is the extraction and selection of discriminative features that generally lead to high computational complexity. This paper was design to prepare a new approach to automatic two-stage classification (negative and positive) and three-stage classification (negative, positive, and neutral) of emotions from EEG signals. In the proposed method, directly apply the raw EEG signal to the convolutional neural network and long short-term memory network (CNN-LSTM), without involving feature extraction/selection. In prior literature, this is a challenging method. The suggested deep neural network architecture includes 10-convolutional layers with 3-LSTM layers followed by 2-fully connected layers. The LSTM network in a fusion of the CNN network has been used to increase stability and reduce oscillation. In the present research, we also recorded the EEG signals of 14 subjects with music stimulation for the process. The simulation results of the proposed algorithm for two-stage classification (negative and positive) and three-stage classification (negative, neutral and positive) of emotion for 12 active channels showed 97.42% and 96.78% accuracy and Kappa coefficient of 0.94 and 0.93 respectively. We also compared our proposed LSTM-CNN network (end-to-end) with other hand-crafted methods based on MLP and DBM classifiers and achieved promising results in comparison with similar approaches. According to the high accuracy of the proposed method, it can be used to develop the human-computer interface system.

Ewa Bogula

Teodor Leszetycki (1830–1915), urodzony w Łańcucie, wykształcony w Wiedniu pod kierunkiem Carla Czernego i Simona Sechtera, znany jest dzisiaj głównie jako wybitny pedagog fortepianu. Swoją muzyczną działalność rozpoczynał jednak przede wszystkim jako pianista oraz kompozytor. Osiągał sukcesy wirtuozowskie, a jego twórczość muzyczna zyskiwała uznanie krytyki. Podobnie jak wielu dziewiętnastowiecznych pianistów, Leszetycki sięgnął po gatunek koncertu fortepianowego i pragnął zapewne być wykonawcą solowych partii tego, jak i innych skomponowanych przez siebie utworów.             Analiza wczesnej działalności artystycznej Leszetyckiego i jego młodzieńczego dorobku pozwala dowieść, że osiągał on sukcesy kompozytorskie i wirtuozowskie. Owe sukcesy kompozytora ilustrują artykuły prasowe z lat 40, 50, i 60-tych XIX wieku, a także pierwsze biografie twórcy spisane jeszcze za jego życia. W artykule zaprezentowane zostało jednoczęściowe dzieło Leszetyckiego, prawdopodobnie nigdy przez niego nie wykonany Concerto symphonique pour le piano et l’orchestre c-moll [op. 9] i autograf tejże kompozycji ze zbiorów Biblioteki Kongresu w Waszyngtonie (US-Wc ML96.L4678 no. 1 Case). Niniejsze rozważania prowadzą do odpowiedzi na pytanie dlaczego utwór prawdopodobnie nigdy nie trafił do repertuaru koncertowego samego twórcy lub kogoś z grona jego wybitnych uczniów, a jego premiera odbyła się dopiero w XXI wieku, tj. w 1977 r. w Stanach Zjednoczonych.

Mária Strenáčiková, Mária Strenáčiková

The paper focuses on the changes in the artists' lives caused by the COVID-19 related measures. It brings information from research conducted in October 2020. The sample consisted of 40 Slovak professional performers – musicians and actors, completing their Additional pedagogical studies at the Academy of Arts in Banská Bystrica. From the questionnaire and the semi-structured interviews answers, we found that the changes affected several areas in the artists' lives, especially their work activities and further their income level, mental state and leisure time. Despite numerous additional difficulties, most respondents do not intend to change their profession. Most artists described the changes as negative, although not all considered them onerous, and some respondents said that they did not feel any changes.

Jana Erjavec

Prispevek predstavlja potek urejanja in evidentiranja glasbene zbirke starejših rokopisov iz arhiva Opatijsko-mestne župnije Celje (SI-Co) ter nekatere novosti o slogovni podobi ohranjene glasbe ter njenih najpomembnejših prepisovalcih. Napredek v tehnologiji ter izboljšani raziskovalni pogoji so spodbudili ponovno obravnavo, ki je razkrila zanimiv, večplasten potencial za prihodnje poglobljene raziskave, zlasti zaradi sledi, ki nakazujejo na raznolik izvor gradiva in namembnost repertoarja.

Andrzej Pytlak

Biografowie Mieczysława Karłowicza (Adolf Chybiński, Henryk Paweł Anders) nie opisali jego najważniejszych kontaktów z orkiestrą Hansa Windersteina (Winderstein-Orchester, znana także jako Leipziger Philharmonisches Orchester). Od 1896 r. zespół ten prowadził intensywną działalność koncertową w Lipsku. Był aktywny także poza granicami Niemiec – odbywał podróże koncertowe po wielu krajach lub pełnił w nich funkcję orkiestry sezonowej. Czterokrotnie (w l. 1899–1901 i 1904) występował w sezonie wiosenno-letnim w Dolinie Szwajcarskiej w Warszawie. W czerwcu 1901 r., wykorzystując obecność orkiestry Windersteina w Warszawie, Karłowicz odbył z nią próbę, podczas której wykonał fragmenty swojej Symfonii e-moll „Odrodzenie”. Kompozytor uczęszczał także na koncerty Windersteina podczas swojej wizyty w Lipsku w marcu 1906 r. i w trakcie pobytu w tym mieście od października 1906 do czerwca 1907 roku. Choć nisko oceniał kwalifikacje lipskich filharmoników, zdecydował się wynająć ich na kolejną próbę orkiestrową. Drugie przesłuchanie Karłowicza z kapelą Windersteina odbyło się prawdopodobnie w kwietniu 1907 r. (potwierdza je o rok późniejsza pocztówka kompozytora do Bolesława Domaniewskiego). Podczas tego przesłuchania Karłowicz wykonał kilka swoich poematów symfonicznych, w tym Rapsodię litewską. Był jednak niezadowolony z interpretacji tej kompozycji przez zespół Windersteina i dlatego później blokował próby wykonania jej przez inne niekompetentne orkiestry.

Tomasz Jeż

Recenzja książki: Michaela Žáčková Rossi, The musicians at the Court of Rudolf II. The musical entourage of Rudolf II (1576–1612) reconstructed from the Imperial Accounting Ledgers, Prague 2017