The agonizing afterlives of the traditional religion conquest and the cultural oath system alterations by the adherents of imported foreign religions to Nigeria brought spiritual favoritism to the Bible and the Quran as an object of oath. Consequently, the traditional religion suppressions emboldened Nigerian leaders and politicians to do away with the fears of the traditional gods, which they had earlier feared and venerated. Therefore, this study explores the afterlives of traditional religious slavery and the foreign politics of modern oath systems and their consequences on the socio-political lives of Nigerians. The study adopted an ethnographic method that included participant observation, interviews, and textual analysis. Secondary data were sourced from books and the internet. More so, the song of Fela Anikulapo was analysed, which exposes and itemizes the negative effects of traditional religious slavery in Nigeria. Based on the religious diversity theory, the study argues that Nigerian religious tradition differs from the foreign religious philosophies and doctrines; however, the skewedness of the two unequal religions has negative consequences on the socio-political lives of the people. Finding reveals that the exterminations of the cultural oath systems contributed to Nigeria's downfall with in-depth corruption, abject poverty, suffering, lack of social amenities, hopelessness, and sickness, ‘JAPA’, and early deaths in Nigeria. Findings also reveal that music is a useful weapon of historicity and excellent cultural ideological reawakening, and that music is significantly valuable to sustainable development. The study concludes that the antidote to cure Nigeria of endemic political imbroglio and economic challenges permanently is the resuscitation of the fearful cultural oath systems.
Alberto Gómez-Carballa, Alberto Gómez-Carballa, Alberto Gómez-Carballa
et al.
IntroductionRecent evidence suggests that external stimuli can shape transcriptomes, a field emerging as sensogenomics. Specifically, the analysis of capillary blood samples has shown that musical stimuli can modulate gene expression patterns, not only in healthy individuals but also in those with age-related cognitive disorders (ACD).MethodsUsing targeted transcriptomics with Nanostring nCounter, we present groundbreaking evidence indicating that brief exposure to music can also impact the buccal transcriptome in both healthy donors and ACD patients.ResultsOur findings reveal that music elicits stronger transcriptomic effect on patients compared to controls, driving global upregulation in ACD patients but downregulation in controls. The most significantly dysregulated genes in ACD patients include LGALS3 (downregulated) and CXCL8 (upregulated), whereas in controls, THOP1 was the top significant gene (downregulated). These genes play important roles in normal brain functions and are also altered in neurodegenerative conditions. Weighted Gene Co-expression network analysis reveals relevant and significant modules, both positive and negative correlated with music, implicated in neurodegenerative (e.g., autophagy) and immunological processes (e.g., IL-1, MHC).DiscussionCollectively, these results suggest a complex interplay between music and molecular responses in the human body, and highlight the potential of musical stimuli to influence gene expression patterns outside systemic circulation, paving the way for further exploration of music’s therapeutic applications.
Zeynep Polat , Mahmut Selman Ildır, Beyza Yıldırım
et al.
The definition of attachment is characterized as the emotional bond established between the baby and the caregiver. It is known that this bond, which can be described as emotional, is associated with consistency and continuity. Attachment styles help understand the ways individuals establish, maintain, and connect with other people during adolescence, adulthood, and old age. The attachment styles that the baby establishes with the caregiver in the early period of life affect adulthood and adolescence, the schema formation of interpersonal relationships in these periods, and the qualities of the relationships to be established. On the other hand, the influence of Turkish makams on people's emotions has a place in many different areas (confidence, strength, courage, and sadness). At this point, it is thought that individuals' attachment styles may have a match with their music preferences. With this connection, the study aimed to investigate the relationship between university students' attachment styles and Turkish makam preferences. Preferences for three of the Turkish makams (Isfahân, Kûçek, and Sabâ) are the subject of the research. For this purpose, the "Three-Dimensional Attachment Styles Scale" was applied to 384 university students after the makam recitals. The results of the analysis revealed that there was no significant relationship between attachment styles and Turkish makams (Isfahân, Kûçek, and Sabâ) preferences. In addition, Turkish makam preferences do not show any significant differences according to sex, age group, and attachment style. This research is a pioneering study investigating the relationship between Turkish makams and attachment styles. It is intended to serve as a resource for future studies.
Several books, studies and videos are available on the Internet on the importance and role of singing in schools and choral singing, and on effective ways of learning songs and choral works. As a result of technological progress, MIDI recordings and digital choral parts are available to choirs and choir leaders to facilitate the rehearsal and learning process. However, what on the one hand seems modern and innovative (digital pianos, audio and video recordings, easy and fast communication, streaming, virtual choirs) can have a negative impact on the other. At international conferences and symposiums, it is common to see choirmasters making hand gestures to sound one or more parts, as a kind of attraction to show off solfa singing. It is not always clear, however, what the intelligent use of solmization can do beyond the two-(three-)part singing or vocal warm-up. The following chapters will point out why reading music with a relative system of solfa is beneficial, and why learning to sing a part or a choral work with the help of piano is less supported.
The contemporary performative scene is defined by the interaction of the means of artistic expression, which determines a permanent renewal of the scenic language. This article discusses the multiple stage practices that animate in the play the theater and music, in their complementarity or dynamic confrontation. These interactions are presented here from the perspective of the specific musical work of the artist Jean-Jacques Lemêtre, who facilitated a voice and movement rhythm workshop at the Faculty of Theater and Film of the Babeș-Bolyai University, March 2023. Unique figure in the theatrical musical landscape, he has been the musician, composer, luthier, and interpreter of the sound universe of the Théâtre du Soleil company's performances for more than forty years. This work aims to demonstrate that music for theater is a special genre born through the process of organic integration of the theatricality of the stage, by assuming the risk of being contaminated by the impurity generated by the actors' bodies that emit their own sound universe. The music for theater is enriched and energized by these experiences born from the osmosis of sound-enhanced image into organic and fruitful connections.
Drawing on international literature, and without claiming to be exhaustive, this paper aims to review how research on the social practices of movement accompanied by music relates to international mobility and issues faced by migrant populations. The paper addresses the question of how dance studies can contribute to the exploration and understanding of different forms of international migration, both individual and communal.
The Constitution of the Democratic Republic of Timor-Leste (RDTL) was born from the womb and soul of the Maubere people which flows in the veins and body of the nation of Timor-Leste through the lyrics and national anthem (Pátria-Pátria) and describes the identity of the ideals of the Maubere homeland. The basic values embodied in the face of the RDTL constitution from the soul of the state are contained in the preamble to the constitution as an embryo for realizing the ideas and notions of the state or staatfundamentalnorm. This anthem is only sung in the Portuguese version and there is no Tetun version, which is one of the national languages of Timor-Leste. So, the law for me, like music for anyone who understands the lyrics will also understand the meaning of the music. Similar to the law that was born from the womb and the soul of the Maubere people which flows in the veins and body of the nation of Timor-Leste through lyrics and national anthem (Pátria-Pátria), which describe the identity of the ideals of the Maubere homeland.
Law in general. Comparative and uniform law. Jurisprudence
Music education has been influenced by many people throughout history, but arguably none of them have done so as much as the monk, Guido D’Arezzo. His teaching methods have been embraced and developed by music educators throughout the centuries. For example, it is recorded that Guido was the first to use the five-line staff as we use it today. This was especially groundbreaking in a world of rote memorization. Today it is used globally in music education. The roots of solfege are also found in Guido’s writings; his syllables have been adapted by Zoltan Kodály. Not only that, but John Curwen’s hand signs are derivative of the so-called Guidonian Hand. Guido’s writings also provide ideas on including composition in teaching music. These ideas have been adapted by John Feierabend, a proponent of improvisation in the music classroom. Therefore, many of our modern practices can be traced back to the roots of Guido’s ingenuity.
Susanne Metzner, Susanne Metzner, Susanne Metzner
et al.
Music-imaginative Pain Treatment (MIPT) is a form of music therapy addressing pain experience and affective attitudes toward pain. It includes two self-composed music pieces: one dedicated to the pain experience (pain music, PM) and the other to healing imagination (healing music, HM). Our non-experimental study addresses patients with chronic somatoform pain disorders participating in MIPT. The goal is to gain insight into the direct effect mechanisms of MIPT by combining outcome measures on both the objective physiological and subjective perception levels. The research questions are directed toward changes in pain experience and heart rate variability and their correlations. Thirty-seven hospitalized patients with chronic or somatoform pain disorders receiving MIPT participated in this study. Demographic data and psychometric measures (Symptom Check List SCL90, Childhood Trauma Questionnaire CTQ) were collected to characterize the sample. Subjective pain experience was measured by McGill Pain Questionnaire (SF-MPQ), and Heart Rate Variability by 24 h-ECG. Data analysis shows a reduction of reported pain from MT1 = 19.1 (SD = 7.3) to MT2 = 10.6 (SD = 8.0) in all dimensions of the SF-MPQ. HRV analyses shows a reduced absolute power during PM and HM, while a relative shift in the autonomic system toward higher vagal activity appears during HM. Significant correlations between HRV and MPQ could not be calculated. Findings are interpreted as a physiological correlate to the psychological processes of the patients. Future studies with more participants, a control-group design, and the integration of medium- and long-term effects are recommended.
Розглядається медіаційна роль психоаналізу в процесах еволюції культури та становлення культурології як молодої наукової дисципліни. Висвітлюються різноманітні аспекти психоаналізу як дієвого посередника розвитку культури та мистецтва загалом і культурології зокрема. При цьому основна увага приділяється медіаційній складовій психоаналізу як одній із головних засад формування культурології як науки в цілому.
Elisama da Silva Gonçalves Santos, Anderson Brasil
The social projects in music are a modern topic in the field of music education. Due to the importance of the point provided here, it is indicated the expansion of the object learning and teaching music beyond the aspects of social context in which these music social projects are inserted. Therefore, we seek to achieve an expanded look at the musical experiences offered in social projects not only in Brazil, but also in contexts with refugees originally from countries at war. In this article, we also illustrate experiences in social projects located in North Dakota, in the United States. Through dialogues with researchers of music education, we seek to reflect on the situation of refugees from countries at war, the sense of belonging, and the role of music education in communities in relation to the demands that permeate the musical aspects.
CONFERENCE DETAILSISME Special Music Education and Music Therapy Commission pre-conferenceseminar ‘Music across the lifespan: The role of special music education and musictherapy’Mozarteum University, The Orff Institute12-14 July 2018, Salzburg, Austria
La Sonata Omaggio a Boccherini es considerada una de las principales obras del repertorio contemporáneo de guitarra. Aunque la Sonata ha sido materia de algunos estudios en el ámbito académico, poco se ha dicho sobre la relación de esta obra con la tendencia del Neoclasicismo musical del siglo XX. En este artículo, se emplean la propuesta de “concepto estético del neoclasicismo” de la musicóloga Ruth Piquer–Sanclemente y la teoría del “anacronismo metamórfico” de la musicóloga Martha Hyde con la finalidad de determinar cuáles son los recursos compositivos del Neoclasicismo presentes en la Sonata Omaggio a Boccherini. Para contextualizar el estudio, se hace una aproximación al surgimiento e instalación del Neoclasicismo francés, y a cómo, en este proceso, emerge una reivindicación de la guitarra en España y Europa. Como parte central se procede al análisis musical de fragmentos específicos que establecen una relación con el pensamiento neoclásico; particularmente, se ahonda en el análisis del tercer movimiento Minuetto. En este estudio, se devela cuáles fueron los recursos compositivos del Neoclasicismo empleados en el proceso creativo de la obra; el reconocimiento de estos elementos permite explorar cómo Castelnuovo–Tedesco desarrolló recursos compositivos propios de la estética musical de su tiempo.
Проаналізовано загальнокультурні, естетичні та художні компоненти професійної діяльності хорових диригентів. Розглянуто загальні положення й принципи збагачення культурологічної складової, елементи поліхудожнього підходу в теорії та практиці професійної діяльності сучасного диригента-хормейстера, котрий володіє мистецтвом творчої інтерпретації музичного твору. Осмислено підхід до вивчення проблем взаємодії й інтеграції різних видів і форм художньої діяльності в сучасному мистецтвознавстві.
Ключові слова: музична культура, виконавське мистецтво, музикант-виконавець, індивідуально-авторські ознаки.
In this design study, we introduce a novel class of digital audio effects that extend the recently introduced modal processor approach to artificial reverberation and effects processing. These pitch and distortion processing effects mimic the design and sonics of a classic additive-synthesis-based electromechanical musical instrument, the Hammond tonewheel organ. As a reverb effect, the modal processor simulates a room response as the sum of resonant filter responses. This architecture provides precise, interactive control over the frequency, damping, and complex amplitude of each mode. Into this framework, we introduce two types of processing effects: pitch effects inspired by the Hammond organ’s equal tempered “tonewheels”, “drawbar” tone controls, vibrato/chorus circuit, and distortion effects inspired by the pseudo-sinusoidal shape of its tonewheels and electromagnetic pickup distortion. The result is an effects processor that imprints the Hammond organ’s sonics onto any audio input.
The concept of concert management in the Republic of Croatia encounters numerous obstacles in any attempt to institutionalize it. Unlike other countries in the European Union, there is no register of the concert stages, venues as well as facilities for the provision of hearing / consumption of music in the form of performances. Process management organization is incomplete, and institutions that are closely associated with such events do not carry out the classification, categorization and analysis of events that are within the concerts' domain. Commercial music, economically far most cost-effective, is completely ignored and within the framework of cultural events not even the slightest attention is given to it. On the contrary, it is considered the music of poor quality and completely irrelevant.
This paper tries to frame the mentioned genre, which includes various musical directions that economically bring significant benefits and help the survival of these related activities indirectly, and ultimately have a positive impact on the economy. Comparing global trends it speaks about the position of the Croatian music industry and lists the main obstacles for setting up a solid foundation for the construction of an adequate system of indexation of concert businesses that, as part of the creative industries records a meteoric economic growth.
Aires de danzas y bailes de sabor popular ―los llamados en la época sonsonetes populares― plagaban las tonadillas de la segunda mitad del siglo XVIII, hasta el punto de ser considerados elementos consustanciales a este género. En el presente artículo proponemos estudiar cómo los compositores de tonadillas usaban estos sonsonetes
populares, y para ello partimos del fandango, concretamente el teatral a tres partes. A través del análisis de diversos casos vemos cómo los compositores de tonadillas manipulaban y adaptaban un material sonoro y coréutico sobradamente conocido por el público según la intención dramática de la obra, desde la síntesis caricaturesca hasta usos metafóricos y conceptuales.
This essay argues that Willa’s Cather’s The Song of the Lark (1915) approaches the novel as an acoustic archive, a textual space for sound preservation. While the novel proves the author’s early and sustained interest in recording the American West’s diverse cultures and socially marginalized groups, it also proclaims the value of high art and live performance. By exploring the contradictory feelings and desires that music evokes in different listeners and then narrating the difficulty of capturing them in a fixed narrative, The Song of the Lark reveals the cultural and temporal instability of Western identity and regional writing in the modernist period.
The year 2011 was very rich and creative for the musicologist Constanta Cristescu. Three volumes of musicology creations were published under her signature. Among them, the work presented here is called “Contributions to the Capitalisation of the Musical Tradition from Banat and Transylvania” edited by the Editura Muzicala from Bucharest. The contents are divided into two large chapters: I. Historiography, Rhetoric and Stylistics and II. Ethnomusicology. Chapter I has six studies; four of them deal with different aspects of the Romanian music of a Byzantine tradition. They are as follows: 1. The Rhetoric and the Stylistics of the Romanian Music of a Byzantine Tradition; 2. Stylistic Features of the Romanian Singing with a Byzantine Tradition of Ardeal; 3.Tradition and Innovation in the Liturgical Music of a Byzantine Tradition; 4. The Oral in the Hymnography of a Byzantine Tradition. The other two studies of the first chapter present, using two novel manuscripts, two important personalities of the church teachers and singers of Arad from the end of the 19th century and the first part of the 20th century, Valeriu Magdu and Atanasie Lipovan.