Hasil untuk "Music and books on Music"

Peter Manuel

Una cosa notable en el discurso sobre el flamenco, sea en publicaciones o las redes sociales, es la presencia de polémicas, a veces feroces y mordaces, en torno a temas como el de tradición-contra-innovación, la definición del flamenco y sus perímetros, y el papel de sitios o comunidades específicas en el desarrollo y el estado actual del género. Creo que en el fondo de muchas de estas controversias hay una cuestión básica: ¿Es el flamenco un arte universal, o es algo inherentemente embebido en capas de sentido y sentimiento sociales, vinculados a comunidades específicas, sean de etnicidad, barrio, o hasta familia? De hecho, el flamenco es un género raro en el sentido de que ha crecido y florecido en ambas maneras y contextos, de una manera que ha enriquecido el arte, y al mismo tiempo ha impulsado polémicas, confusiones, y mistificaciones.

عبدالعزيز طلبة عبدالحميد, محمد محمود زين الدين, رضا جرجس حكيم شنوده et al.

The aim of the current research is to determine the effectiveness of using web quest in a flipped classroom in developing the cognitive aspect of scientific research skills among students of the College of Education. Scientific Research Skills: The research tools were the achievement test, the research sample consisted of 15 male and female students, and the SPSS program was used to test the research hypotheses. The results of the research found a positive effect on students ’post-test scores, and the researcher used one experimental group with pre and post measurement tools The research, which was represented in an achievement test to measure the cognitive aspect. The results of the research concluded: There is a statistically significant difference at the level of significance (0.05 ≥ α) between the mean scores of the students of the experimental group that uses (an inverted learning environment based on cognitive journeys) in the pre and post application of the achievement test. Linked to scientific research skills in favor of the post application. هدف البحث الحالي إلى تحديد فاعلية استخدام الرحلات المعرفية في بيئة الفصل المعكوس لتنمية الجانب المعرفي لمهارات البحث العلمي لدى طلاب كلية التربية. وتم الاعتماد على التصميم التجريبي القائم على مجموعه تجريبية واحدة بحيث تضمن التصميم التجريبي المتغير المستقل الرحلات المعرفية في بيئة الفصل المعكوس، والمتغير التابع مهارات البحث العلمي. وتمثلت أدوات البحث في الاختبار التحصيلي، وتكونت عينة البحث من 15 طالباً وطالبة، وتم استخدام برنامج SPSS لاختبار فروض البحث. وتوصلت نتائج البحث إلى وجود تأثير إيجابي على درجات الاختبار البعدي للطلاب واستخدمت الباحثة مجموعة تجريبية واحدة مع القياس القبلى والبعدى لادوات البحث والتى تمثلت فى اختبار تحصيلي لقياس الجانب المعرفي. وتوصلت نتائج البحث إلى: يوجد فرق دال إحصائياً عند مستوى دلالة (0.05 ≥ α) بين متوسطي درجات طلاب المجموعة التجريبية التي تستخدم (بيئة تعلم معكوس قائمة على الرحلات المعرفية) في التطبيق القبلي والبعدي للاختبار التحصيلي المرتبط بمهارات البحث العلمي لصالح التطبيق البعدي.

В. В. Петренко

Означено різні розуміння речі в контексті культури. Здійснено спробу аналізу феномену речі в контексті розуміння Ж. Лакана, К. Маркса та М. Гайдеґґера. Порушено питання: що значить річ у сучасному суспільстві, яких трансформацій це поняття зазнавало в історичній перспективі? Масове суспільство продукує масове виробництво, яке заповнює продуктами споживання всі сфери буття людини. Проаналізовано таке положення речей, відповідно до якого річ на різних рівнях (фізичному, соціальному, ціннісному тощо) проявляється по­різному, а також має різні характеристики і властивості, що засвідчує нове розуміння речі в контексті інформаційного суспільства, у якому нівелюється річ фізична і реалізується річ символічна. У результаті виокремлення цих двох понять ми намагались зрозуміти, яким чином річ реалізується в бажанні, адже саме бажання є тією направленістю, яке спонукає людину обирати, і саме цього позбавлена людина ХХІ ст.

Yang Fuyin

The purpose of this article is to understand Canzone Napoletana in the context of a centuries-old national song culture. Today, the concept of Neapolitan song refers to a clearly defined layer of vocal culture with specific characteristics. The beginning of its history dates back to the 1830s, the time of the organization of the Festa di Piedigrotta song festivals. This study attempts to expand the traditional view of Neapolitan song as a phenomenon exclusively in the last decades of the 19th and first half of the 20th centuries. Research Methodology. This article is based on the traditional research methods, the leading of which are historical and genre. Results. The earliest references to the song culture of the peoples of the Apennine Peninsula date back to the 13th century. In the 1530s, the first collections of madrigals and villanelles, a genre of songs born directly in Naples, appeared. Its integration character is revealed through the unification of folk and composer lines as integral features of Italian vocal music. The specifics of the culture of the southern regions of the Apennine Peninsula and its role in shaping the poetic and music style of the Italian Renaissance are emphasized. The role of Villanella as a mega-generator, that became the mouthpiece of the Italian style in European music of the 16–17th centuries, is defined. In the evolution of national genres of songs, Canzone Napoletana is considered the next stage that inherits the frottola — villanelle — madrigal line. The novelty lies in thorough understanding of the inner unity of Italian song culture. Canzone Napoletana at the turn of the 19–20th centuries is considered part of the evolutionary process, which comes from carnival songs of the Middle Ages, through villanelles and madrigals of the 15–16th centuries, the Baroque opera style, until its heyday. The practical significance. Studying the origin of Canzone Napoletana enables to gain greater insight into these evolutionary processes, explaining the phenomenon of this genre of song at the turn of the 19th and 20th centuries.

Mateusz MEISNER

brak

V. V. Kornienko

Здійснена культурологічна рефлексія кроскультурного діалогу Україна — Франція, репрезентованого значним масивом досліджень, що охоплюють широкий спектр багатовікової історії тісних і плідних культурних та економіко-політичних зв’язків між країнами. Зазначається, що осягнення минулого в контексті загальної культурно-історичної пам’яті надає змоги спрогнозувати майбутнє в ракурсі історичної перспективи, що в практичній площині визначає напрями подальшої співпраці в різних сферах на основі культурного взаємозбагачення, а в теоретичній площині гарантує виокремлення раніше недосліджених аспектів, що водночас зумовлює подальше формування наукового гуманітарного знання, засадничої бази новітнього культурного ландшафту.

Elena P. Krasovskaya

The article examines the basic characteristics of concentration as most important property of attention of future teachers-musicians and the methods which help its effective formation during piano lessons. Studying of scientific approaches to this concept of a context of physiology, the general psychology, pedagogy showed that concentration acts as the most important psychological condition of deeper understanding of objects and the phenomena, optimum course of cognitive and practical activities of the person, especially in the course of the learning and creativity. A person activity, enthusiasm and continuing interest in a concentration subject help increase of attention concentration. The success of development of this property of attention in many respects depends on application by the teacher of special receptions for the organization of activity with an object, allocations in new aspects, their analysis and comparison, search for new properties of an object, ways and opportunities of its application or improvement. Special focus is placed on characteristics of the conceptual ideas of music pedagogy for development of attention concentration of students. The carried-out analysis of positions of authoritative representatives of performing art and music pedagogy showed that concentration is a starting point of musical and performing creativity and an important condition of efficiency of pianist work. Summarize experience of outstanding representatives of piano performance and theatrical pedagogy allowed to suggest the effective approaches to development of concentration as the significant quality in no small measure influencing disclosure of creative potential of future musician-teacher and defining a possibility of his productive self-realization in an instrumental and performing activity. The author comes to a conclusion that the ability to concentrate can be developed under the leadership of the teacher during training in a class, on rehearsals and also in homework when performing specially organized exercises. The persistence in mastering the concentration equipment by performance of specially organized exercises will allow the musician to operate consciously process of attention, it is essential to increase concentration time on the solution of a creative task.

Heinz J. Dill

Kevin

Ivana Medić

Ten years ago, tasked with reviewing Marina Frolova-Walker’s first book Russian Music and Nationalism: From Glinka to Stalin (Yale University Press, 2007), I praised the author for dismantling long-standing myths and questioning the activities of some of the sacred cows of Russian music history, and for writing about the topics that “annoyed” her in a most enlightening and gripping way. After reading Frolova-Walker’s latest book, Stalin’s Music Prize: Soviet Culture and Politics, I was thrilled to see that the author is still busting myths, charting the hitherto unexplored areas of Soviet music history, and narrating a fascinating and often hilarious story of the rise-and-fall of Stalin’s prize for artistic achievements. Frolova-Walker provides brilliant insight into the inner workings of the Soviet institutional and cultural system, and the power play that affected the process of rewarding artists whose work was meant to stand for the best that Soviet culture had to offer.

Tom Collins, Robin Laney

This article describes and evaluates an algorithm called Racchmaninof-Jun2015, referred to hereafter as Racchmaninof, which generates passages of music in a specifiable style. For generating all four parts of a Bach hymn (one of two target styles evaluated as part of a listening study – the other being Chopin mazurkas), we found that only five out of 25 participants performed significantly better than chance at distinguishing Racchmaninof’s output from original human compositions. These participants had a mean of 8.56 years of formal musical training and mode “daily/weekly” regularity of playing an instrument or singing. In the context of relatively high levels of musical expertise, this difficulty of distinguishing Racchmaninof’s output from original human compositions underlines the promise of our approach. Current trends and issues in the area of automatic stylistic composition are introduced and discussed and we consider the potential for applying our algorithm to additional composers and/or genres of music.

Margarete Arroyo, Silvia Regina C. C. Bechara, Heraldo Paarmann

Este artigo compartilha e discute procedimentos metodológicos que se valeram da internet como campo empírico e como instrumento de investigação acerca da aprendizagem musical por adolescentes e jovens brasileiros. Tomando como referência três pesquisas que envolveram nativos digitais, o objetivo deste texto está em ressaltar a internet como contexto e instrumento instigador para a pesquisa contemporânea na área da educação musical. As três investigações qualitativas tiveram coletas de dados realizadas entre janeiro de 2011 e abril de 2015 e utilizaram procedimentos da pesquisa documental na internet, da etnografia virtual e do estudo de casos múltiplos on-line. Além das possiblidades que essas três pesquisas na e com a internet indicaram, outras investigações mostram-se plausíveis como estudos longitudinais e comparativos.

O. V. Ieroshenko

Розглядається семантико-емоційна складова вокального мистецтва в кон-тексті провідних музично-естетичних теорій Західної Європи другої половини XVIII ст. — теорії наслідування й теорії вираження, з’ясовуються спрямування та розвиток філософсько-естетичної думки зазначеного періоду стосовно емоційно-психологічних факторів музичного й вокального виконавства на прикладі трактатів музикантів і філософів, зокрема К. Ф. Е. Баха, Х. Ф. Д. Шубарта, Дж. Херріса, Д. Уебба, Ж.-Ж. Руссо, Д. Дідро, М. Шабанона та ін. Відзначено зв’язок означеної проблематики з теорією музичної інтерпретації й підкреслено значення семантико-інтерпретаційного (герменевтичного) методу для цього дослідження.

Hilary Moss

This position paper presents a new paradigm about the intrinsic structure and nature of arts and health practice. This paradigm is based on a variety of research experiences over twenty years working as a music therapist, musician, music and health practitioner, researcher and director of an arts and health programme in university teaching hospitals, community contexts, and non-governmental organizations in Ireland and the UK. The aim of this paper is to propose a new perspective on the term arts and health, to encompass all arts related activity that exists in contexts related to health. This paradigm aims to counter the artificial and defensive barriers constructed between practitioners and professional groups within the field, encourage greater respect and understanding between practitioners and assist in identifying training and development needs for the various arts professionals working in contexts related to health and well-being. It is proposed that the current commonly held assumptions surrounding definitions of arts and health and arts therapies are unhelpful and problematic and should be refined.

Thomas Fogg

The Acknowledgment—in which this note is, at least in part, an exer-cise—is a tricky genre: there are always too many people to thank but too few words fit for the task. A game presents itself: to avoid where possible repetitions of the golden word—the T–word—and its few synonyms; in other words, no thanks, no gratitude. Keith Richards (2010, 549), in his autobiography Life, has a tidy solution: a single “my thanks to . . .” and then two sober columns of alphabetically ordered names. Similarly, in one of the more moving exemplars, Roger Parker (2006, xi–xii) follows “thanks to . . .” with a sentence almost two pages long, where he honors each addressee with a personalized vignette held between semicolons. With tongue presumably in cheek, Tamara Levitz (2012, xvii) interrupts the steady toll of T–words when, rather than thank her proofreaders, she “thinks” them.

Jerome Lewis

This commentary discusses the anthropological implications of Richard Widess’ paper by summarizing some anthropological approaches to music, especially focusing on the way musical participation inculcates and transmits an aesthetic orientation that guides action across cultural domains such as politics, economics and religion. The paper ends by suggesting that the heart of human culture is more likely to be an aesthetic orientation than a script or set of rules, and traces out some reasons why music does this so well.

Lajić-Mihajlović Danka

This paper offers an ethnomusicological perspective on competitions of guslars (players of a single-stringed musical instrument gusle predominantly used to accompany the voice of a singer reciting epic poetry), here interpreted as a specific form of public music performance. First competitions were organized between World Wars (1924-1933), afterwards being established in 1971 and since then organized (with a short interruption) in Serbia, Montenegro and the Republic of Srpska. Apart from gusle players and the audience participating in this interaction, these competitions introduced into the focus the very organizers as well. The importance of collectivity as an idea interwoven into epic ethos has become a powerful means of manipulation used by authorities. Their interests have been put forward primarily through the poetic content of new songs. Ideology, though, is not only reflected in the competition repertoire. It is also felt in other forms of public gusle playing practice (such as performances with miscellaneous programme, concerts etc.). The sense of competitiveness, as a type of communicational situation, is far strongly felt in the music dimension. Limited in duration, the performance was reduced to only fragments of songs, which, on the other side, caused a change in gusle playing. The traditional style implied economizing with player’s energy and dramatization tailored to suit the context of long-lasting songs, whereas per-forming of fragments resulted in a more grandiose style aimed at making momentary impression: intensive, vigorous singing in the upper vocal register, using a wide range of expressive devices within short time etc. After studying the competition rules, key formal regulations, and the organization of competitions so far, I discerned that those epic poems have been dominantly regarded as poetry. One of crucial reasons for this is wider communicability of verbal to music discourse, but also more straightforward conveyance of ideological messages through words. Syncretism, which is quintessence of artistic expression in epic poetry, demands paying more attention to the musical component. This artistic expression has always been the domain of players‟ creativity, in contrast to the poetic component which is standardized, fixed, and which a contemporary gusle player is only presenting. The contribution of competition to the evolution of gusle playing practice, especially in regard to its role in the shaping of collective identity, demands reconceptualization of such cultural events in which guslars associations, state institutions and experts would also take part.

Thomas Hochradner

»Polnila« med »velikimi skladatelji« – t.i. »mali mojstri« - povzročajo različne probleme pri pisanju glasbene zgodovine. Na eni prihaja do enostranskega gledanja na dela »malih mojstrov«, dokler jih obravnavamo po kriterijih, ki smo jih razvili za »vrhunske skladbe«. Na drugi strani pa pomanjkljiv vpogled v vire komplicira vrednotenje tistih skladateljev, ki niso dosegli izstopajoče pozicije v glasbenem repertoarju, pred katerim se, pa čeprav kot ozadje, profilirajo »velika« dela. Te in take metodološke in arhivske težave se prvič obravnavajo ob salzburškem okolju Wolfganga A. Mozarta in linškem Antona Brucknerja. Iz česar naj bi izšel katalog kriterijev, po katerih se določen skladatelj obravnava kot »mali mojster«, kar bo lahko rabilo kot podlaga muzikološkim študijam pri utemeljevanju njihovega pomena in priljubljenosti.

Julia Grandela del Río

Lucy Forrest

In preparing for their death, patients with terminal illnesses may express a need to explore and confirm their identity in terms of their familial, social, cultural and ethnic heritage. This paper examines the mechanisms which underlie the construction of individual and basic group identity, the latter of which is also referred to as ethnicity. The maintenance and evolution of identity over time and across different places is explored, and the use of music as a means to construct, express and sustain identity discussed. Finally, the role of music therapy, and specifically the use of music-facilitated life-review in addressing issues of ethnicity and identity in palliative care is explored through the case study of 'Gretel', an Australian woman of Russian descent who was diagnosed with a terminal illness. This article is based on a paper written in partial fulfilment of the Masters of Music Degree in Ethnomusicology at Goldsmiths College, University of London, 1999.

Norberto Torres Cortés