Although the place of animals in early modern musical thought has received some scholarly attention, their role in the works that inaugurated music historiography in the late seventeenth and early eighteenth centuries remains unexplored. The present study seeks to address this gap by examining the representation of animal musicality in two foundational works of the genre: Wolfgang Caspar Printz’s Historische Beschreibung der edelen Sing- und Kling-Kunst (1690) and the multi-authored Histoire de la musique, et de ses effets, depuis son origine jusqu’à présent (1715). It focuses on the specifically historical dimensions in the two sources’ engagement with animal musicality, exploring how this phenomenon is expressed through the historical example – the defining genre feature of the era’s historiography. The historical example, it will be argued, shapes the articulation of animal musicality in ways that reflect its three established epistemic functions – demonstrative, representative, and paradigmatic—each manifested through a distinct mode of reasoning in the source texts. Attention is also given to the underlying criteria by which knowledge of animal musicality is valued and justified in music-historical writing.
Vincenzo de Meglio, pianista e compositore, nasce a Napoli il 9 aprile del 1825. Molti suoi lavori sono stati pubblicati da Casa Ricordi, a conferma che godesse di una certa popolarità all‘epoca. Vincenzo de Meglio, il cui catalogo annovera più di 260 titoli, ha inserito spesso tra i suoi lavori le riduzioni per violino, violoncello e pianoforte di Opere liriche. In questo filone editoriale si inseriscono trascrizioni, elaborazioni e fantasie per violino, con o senza accompagnamento di pianoforte, spesso dal forte connotato virtuosistico. Il Trio sull‘Opera “Rigoletto” di Giuseppe Verdi, per pianoforte, violino e violoncello, op. 144, è stato pubblicato da G. Ricordi & C. La copertina reca la dedica “All‘Egregio Artista Ferdinando Pinto”. L‘occasione per la composizione non è nota ma dalle notizie riportate nel periodico «Napoli Musicale» la composizione risalirebbe al 1872. Il Trio è, a tutti gli effetti, una fantasia sui temi celebri: la scelta e la presentazione degli stessi temi non è posta seguendo l‘ordine in cui sono presentati nella partitura originale ma in una elaborazione a pannelli.
Literature on music, Musical instruction and study
The Ebira people view women as the weaker sex. Women are barred from touching and playing certain musical instruments. This study investigates the Ebira people and their musicality. It assesses the basis for such restrictions in the light of the possible benefits to the community if they were removed. In this study, we relied on data gathered through oral interviews, personal observation, and a review of relevant literature. The findings reveal that out of the twelve musical instruments in Ebiraland, women perform only on one which makes up 8% of the total ensembles in the area. It was also observed that of the seven musical ensembles in Ebiraland, women play instruments in two, that is, 29%. This disparity can be attributed to spiritual and masquerading activities. If women, who are more numerous, are discouraged from participating in Ebira art forms, those forms will dwindle. It is recommended that gender politics should be avoided for the sake of cultural advancement.
El objetivo de este trabajo es estudiar los aspectos de apropiación y (re)significación de las prácticas sonoro-musicales de un grupo musical indígena Emberá Chamí, a través de lo músico performativo y textual de sus canciones, estudiando aspectos en torno a los procesos identitarios y sonoro-musicales de colonialidad/decolonialidad. Considerando toda una inmersión de estudio cualitativo e interpretativo alrededor de un intercambio de conocimiento con los interlocutores indígenas, esta investigación surge a partir de las actuaciones performativas de un grupo musical indígena del Resguardo de San Lorenzo. Un grupo que, a través de la apropiación del género musical parrandero propiamente campesino, representa todo un complejo de disputa simbólica en el territorio. Por tanto, a través de las distintas narrativas tejidas, el género musical se establece como una especie de artefacto cultural contra los procesos de colonización que sucedieron en el territorio. En este sentido, las performances del grupo comprometen elementos de una cosmo-sónica que es comprendida, no solo, por las sonoridades desplegadas, sino también por las dimensiones estéticas que comprometen un pensamiento cosmo-político, derivado de una agentividad con elementos materiales y simbólicos de otras sociedades, para impactar y subvertir un proceso de colonialidad. Aquí, se establecen algunos puntos de inflexión como punto de partida para formar procesos de colonialidad/decolonialidad a través de las prácticas culturales como la música en el contexto colombiano.
This study examines the vocal improvisation in the performance of "Don't You Worry ‘Bout a Thing" from the movie Sing to improve the general comprehension of vocal methods in popular jazz music. This study aims to fill the vacuum in the current literature on vocal improvisation by studying the song's repertoire, with a particular focus on the vocal components. Researchers utilize a descriptive qualitative approach to observe and analyze the music directly, supplemented by intense listening sessions, to reveal the subtleties of vocal delivery. The goal is to explore the complex vocal improvisations that define the song, emphasizing how these aspects contribute to its overall artistic expression. This study not only provides instructional value for budding musicians but also enhances the general audience's understanding and enjoyment of jazz improvisation. This research offers a helpful update to existing knowledge by providing extensive insights into the vocal improvisation techniques used in "Don't You Worry ‘Bout A Thing". It addresses the need for more thorough data in this area. The findings emphasize the significance of improvisation in jazz, demonstrating how impromptu voice alterations can augment a song's emotional profundity and dynamic scope. The primary objective of this study is to enhance the comprehension and admiration of vocal improvisation among a broader range of people, promoting a more thorough involvement with jazz music and stimulating the growth of personal musical abilities and expressions.
Previous observations in the English language learning domain revealed that traditional techniques to memorize vocabulary were insufficient for enhancing students’ vocabulary proficiency. This issue leads to an exploration of substitute learning strategies. This study aimed to determine the effectiveness of integrating English songs into language learning to enhance students’ vocabulary mastery.This study used a quantitative research methodology. The study involved 54 students divided into an experimental group and a control group, with 40 students ultimately participating. The control group adhered to the conventional learning procedure and denoted with variable Y, while the experimental group was exposed to English Songs and denoted with variable X. The mastery of vocabulary was assessed in relation to exposure to English songs. The study’s findings demonstrated a significant improvement in vocabulary mastery among the experimental group, with an average score of 82.25, compared to the control group score, which was 63.25. Statistical analysis confirmed the effectiveness of the intervention, with a p-value of 0.000, which is well below the threshold alpha level of 0.05. The incorporation of English songs into the vocabulary learning process not only significantly improved students’ vocabulary mastery but also raised their interest and engagement levels. This study supports the use of musical component as a beneficial teaching aid in language instruction as well as pleasurable learning experiences.
Movements of robots in a swarm can be mapped to sounds, highlighting the group behavior through the coordinated and simultaneous variations of musical parameters across time. The vice versa is also possible: Sound parameters can be mapped to robotic motion parameters, giving instructions through sound. In this article, we first develop a theoretical framework to relate musical parameters such as pitch, timbre, loudness, and articulation (for each time) with robotic parameters such as position, identity, motor status, and sensor status. We propose a definition of musical spaces as Hilbert spaces and musical paths between parameters as elements of bigroupoids, generalizing existing conceptions of musical spaces. The use of Hilbert spaces allows us to build up quantum representations of musical states, inheriting quantum computing resources, already used for robotic swarms. We present the theoretical framework and then some case studies as toy examples. In particular, we discuss a 2D video and matrix simulation with two robo-caterpillars; a 2D simulation of 10 robo-ants with Webots; a 3D simulation of three robo-fish in an underwater search-and-rescue mission.
Groove, or the pleasurable urge to move to music, offers unique insight into the relationship between emotion and action. The predictive coding of music model posits that groove is linked to predictions of music formed over time, with stimuli of moderate complexity rated as most pleasurable and likely to engender movement. At the same time, listeners vary in the pleasure they derive from music listening: individuals with musical anhedonia report reduced pleasure during music listening despite no impairments to music perception and no general anhedonia. Little is known about musical anhedonics’ subjective experience of groove. Here we examined the relationship between groove and music reward sensitivity. Participants (n=287) listened to 15 drum-breaks that varied in perceived complexity, and rated each on how pleasurable they were and how much they wanted to move to them. Musical anhedonics (n=13) had significantly lower ratings compared to controls (n=13) matched on music perception abilities and general anhedonia. However, both groups demonstrated the classic inverted-U relationship between ratings of pleasure & move and stimulus complexity, with ratings peaking for intermediately complex stimuli. Across our entire sample, pleasure ratings were most strongly related with music reward sensitivity for highly complex stimuli (i.e., there was an interaction between music reward sensitivity and stimulus complexity). Finally, the sensorimotor subscale of music reward was uniquely associated with move, but not pleasure, ratings above and beyond the associations with five other dimensions of musical reward. Results highlight the multidimensional nature of reward sensitivity and suggest that pleasure and wanting to move are driven by overlapping but separable mechanisms.
Abdul Rozak, Nadra Akbar Manalu, Haria Nanda Pratama
Kesenian Tulo-tulo diciptakan oleh masyarakat Nias yang bertransmigrasi ke Kota Sabang pada tahun 1920. Kesenian ini merupakan jenis seni pertunjukan kreasi yang mentradisi, dengan penyajiannya terdiri dari unsur gerak tarian, musik dan syair yang berisikan sastra. Keberadaan musik pada kesenian ini merupakan unsur yang penting dalam penyajiannya. Konsep penyajian yang ditinjau dari aspek organologi musik dan musikologi ini dapat dilihat dari instrumentasi musik, bentuk/form, dan melodi. Ketiga unsur ini kemudian diidentifikasi dan dianalisis menggunakan teori musik konvensional. Tujuan dalam penelitian ini adalah dapat mengetahui dan mendeskripsikan secara terstruktur terkait instrumentasi, bentuk/form dan garis melodi mulai dari awal sampai akhir penyajian kesenian Tulo-tulo. Metode dalam penelitian ini menggunakan pendekatan kualitatif, dengan teknik pengumpulan data: studi pustaka, observasi, wawancara, dan dokumentasi. Penyajian musik pada kesenian Tulo-tulo dibagi ke dalam tiga unsur yaitu penggunaan instrumen musik, bentuk/bagian lagu, dan transkripsi notasi melodi pokok. Instrumen yang dipakai adalah jenis instrumen melodis, harmonis, dan ritmis, sedangkan bentuk/form terdiri dari lima frase yang masuk dalam bagian besar.
Cipriano Aguilar Fernández fue un fraile agustino cuya vida transcurrió durante el paso del Perú virreinal al republicano. En 1837 fue nombrado maestro de capilla del convento agustino de Lima. Algunas obras suyas han sido encontradas, pero ninguna en dicho convento limeño. Estas obras presentan evidencias de que fray Cipriano Aguilar asimiló el estilo musical de Joseph Haydn, pero sujeto a la forma en que dicha estética se implantó en España durante los últimos veinte años del siglo XVIII, en la cual se empleó la orquesta como acompañamiento para la música vocal litúrgica. En este contexto, el espacio conventual se convirtió en un centro para la formación de músicos, cantantes e instrumentistas limeños. Así mismo, se observa el desarrollo estético de una práctica musical que pervivió hasta veinte años después de la Independencia de España lo que permite inferir que hubo una ruptura política con la nación ibérica, pero se buscaba mantener vínculos con la cultura europea.
Dolalak is an art form that encompasses the integration of dance and music components. Dolalak, a widely known folk art form, continues to thrive in the local community of Purworejo Regency, located in the province of Central Java. This form of Dolalak art is classified within the collective folk art genre, serving as a distinctive representation of the artistic tradition found in Purworejo Regency. This research is of the qualitative descriptive type. The data collection technique employed in this research is document study. The data analysis technique in this research involves data collection, data reduction, data presentation, and drawing conclusions. The authenticity of the data is ensured through the technique of theoretical triangulation. The aesthetics of the music in Tari Dolalak reflect deep-seated cultural, religious, and creative values. Through harmony, rhythm, and emotional expression, the music in Tari Dolalak offers a captivating and profound artistic experience for its enthusiasts, solidifying this dance as an inseparable part of Indonesia's rich and valuable cultural heritage.
Objectives The purpose of this study was to develop content elements and performance expectations for integrating AI literacy with music, based on the emphasis on artificial intelligence utilization education in the revised 2022 curriculum. Methods Based on a literature review of AI literacy, this study extracted AI-related components from the “Elementary and Middle School Artificial Intelligence Education Content Standards” developed by the Ministry of Education. Subsequently, AI content elements relevant to music were identified and selected, and corresponding performance expectations for elementary and middle school levels were formulated. These content elements and performance expectations were categorized into principles and applications, aligned with the three domains of AI literacy: understanding, applying, and critiquing. Results In the “Understanding” domain, participants grasped principles related to ‘Collection and Exploration of Music Data’ and ‘Visualization and Prediction of Music Data,’ which were then applied to activities fostering an understanding of ‘Music Elements and Characteristics through AI Utilization.’ Within the “Applying” domain, principles grounded in ‘AI Advancements and Diverse Musical Applications’ were employed for activities involving ‘Performance, Creation, and Appreciation through AI-Driven Music Engagement.’ In the “Critiquing” domain, principles concerning ‘Understanding Bias and Promoting Diversity in Music Data’ and ‘Ethics and Responsible Usage of AI in Music’ were identified. This section further encapsulates content elements and performance expectations that can be utilized to comprehend broader aspects of life and careers coexisting with AI in music, extending to the ‘Copyright and Artistic Value of AI-Generated Music Works.’ Conclusions The AI literacy-enriched music content elements and performance expectations developed in this study are expected to offer insights into the future direction of curriculum development and instructional strategies within the context of AI education. These contributions are anticipated to guide the implementation of music curricula that can effectively integrate with the evolving AI education landscape, shaping the trajectory of teaching and learning.
Abstract African music studies are generally undertaken within the field of ethnomusicology. Instruction in art music composition is, however, almost always based exclusively on Western practice, with the potential of African culture as the foundation for new, experimental work remaining unaddressed. African music traditions feature unique approaches to musical elements, make extensive use of cognitive phenomena in ways different from Western music, and have different relationships with other art forms. Building upon ethnomusicological research and intercultural collaboration, my approach to teaching concepts from African traditions, which is not intended as an antidote to Western cultural practices but as a broadening of horizons, does not promote imitation or appropriation, leading instead to the development of innovative musical ideas through an understanding of African music practices. In this article, I address a curricular innovation in tertiary art music composition pedagogy: experimental music composition based on concepts from African music traditions. I describe my personal experiences in purposefully undertaking sustained activities in this direction; I explain why I believe this course of study to be valuable in decolonisation and enhancing creativity; and I suggest outcomes to which this might lead. I will refer to selected writings by the Austrian ethnomusicologist Gerhard Kubik as a thread connecting my arguments.
In this paper, I will focus on the reconstruction of the history of operetta
companies established in interwar Belgrade. I gave priority to those
ensembles that held regular performances for a longer period of time in the
late 1920s and late 1930s. Aside from making a detailed overview of several
more stable operetta theatres in Belgrade at the time, including their
repertoire and leading artists, the attention will also be paid to
uncovering the broader context of their work. The issues of state cultural
policy and the rise of competitiveness inside the local spheres of culture
and entertainment will also be discussed.
The paper discusses the approaches of different media to Holocaust
(re)presentation, with special reference to art music in the 20th century.
Following the classification proposed by Michael Rothberg on two possible
perspectives for representing the Holocaust: realistic and anti-realist
(2000), we analyse two compositions: Arnold Schoenberg’s A Survivor From
Warsaw (1947) and Steve Reich’s Different Trains (1988). The aim of the
paper is to point out how artistic music reflects and participates in the
dominant historical and contemporary discourses of Holocaust
representation, especially the discourses of “heroism” and
“non-representability”.
Prambanan Jazz sebagai salah satu festival musik skala internasional. Prambanan Jazz tergolong dalam kategori festival musik profit. Secara eksplisit festival Prambanan Jazz dapat dilihat melalui deretan musisi popular yang dihadirkan, pemberian harga tiket yang cukup mahal, serta terlibatnya pihak sponsorship dalm acara. Prambanan Jazz merupakan fenomena sosial adalah salah satu festival musik yang berhasil memperoleh loyalitas dan animo masyarakat. Fakta di lapangan seputar euphoria masyarakat menyambut hadirnya Prambanan Jazz dengan bukti dari penjualan tiket yang habis terjual dan meningkatnya antusias penonton dari tahun ke tahun. Studi tentang sebuah festifal seperti Prambanan Jazz ini dilakukan untuk mengupas dimensi bisnis dari pertunjukan musik dalam bentuk festival dan mengungkap perspektif bisnis tim pengelola. Tujuannya penelitian adalah untuk mengetahui kacamata tim promotor dalam mengelola sisi bisnis Prambanan Jazz, serta strategi dibalik kesuksesan festival. Metode studi yang digunakan adalah kualitatif deskriptif. Data yang dikumpulkan melalui wawancara dengan 4 orang narasumber yang merupakan tim inti pengelola. Hasil temuan penelitian ini menunjukkan terdapat dua pilar utama bisnis yang ada dalam Prambanan Jazz Yogyakarta. Pilar pertama adalah bisnis pertunjukan musik yang meliputi konsep dan konten yang dihadirkan dalam festival. Pilar kedua adalah tentang bisnis di dalam venue. Pengelolaan Prambanan Jazz Yogyakarta cenderung menggunakan strategi win win solution, serta strategi kurasi musik demi mendukung optimalisasi penyelenggaraan festival.
Abstract
Business Perspectives in Prambanan Jazz Festival Yogyakarta. As one of the international scale music festivals, Prambanan Jazz belongs to the category of profit music festivals. This can be seen explicitly through the rows of popular musicians presented, the ticket prices are quite expensive, and the involvement of sponsors in the event. The social phenomenon where Prambanan Jazz Festival has become one of the festivals that has managed to gain the loyalty and interest of the community cannot be avoided. Facts on the ground regarding the community's euphoria welcoming Prambanan Jazz Festival 's presence, to the fact that tickets were sold out, and the increasing enthusiasm of the audience from year to year are proof that this festival has succeeded in winning the hearts of the public.This study was conducted to explore the business dimension of this festival and reveal the business perspective of the management team. The aim is to find out the perspective of the promoter team in managing the business side of Prambanan Jazz, as well as the strategy behind the success of this festival. The study method used is descriptive qualitative. Data was collected through interviews with 4 informants who are the core management team. The findings of this study indicate that there are two main business pillars in Prambanan Jazz Festival. The first pillar is the music show business which includes the concept and content presented at the festival. The second pillar is about the business within the venue. In its management, it tends to use a win win solution strategy and music curation strategy to support the optimization of the festival
Keywords: Music Festival; Prambanan Jazz; Business
The community is very enthusiastic about welcoming music education institutions. There are many people's desire to learn music, especially piano, but not all students have the same interest in learning music. In this case the researchers limited the classical piano participants, with ages 4-6 years. Based on observations, the classical piano learning process has a very detailed learning stage, so that students experience boredom in learning. Seeing this fact, the researcher wanted to know the students' interest in learning classical piano in the Music course in Semarang. The benefit of this research is to know the students' interest in learning classical piano. So that these results can be used for the development of methods, materials, strategies, and media in classical piano learning. The development of this learning component has a beneficial impact on the owners of educational institutions, teachers and students.
The result of the discussion is that interest has a great influence on students in learning, because if the material and learning methods are not in accordance with their interests, students will not learn as well as possible, because there is no attraction for them. For students aged 4-6 years, students cannot achieve learning goals just because of interest, but other psychological factors such as intelligence, attention, talent, maturity, readiness, especially motivation that can help return the initial interest, namely learning the piano. Motivation from the closest people, usually parents play an important role in the growth of interest.
Daniel de Fretes, Puput Pramuditya, Farel Jonggi Lundito
et al.
Pembelajaran biola pada tingkat menengah mencakup berbagai teknik yang spesifik dalam rangka pembentukan intonasi yang baik, diantaranya adalah double-stops. Double-stops adalah teknik permainan violin pada tingkat menengah yang terdapat pada repertoar di berbagai gaya ataupun periode dalam kultur musik barat. Penelitian ini bertujuan untuk mengkaji implementasi teknik double-stop dalam Violin Concerto No. 2 karya Anatoly Komarowsky pada Violin Menengah I di Jurusan Musik FSP ISI Yogyakarta. Penulis menyoroti kelangkaan kajian repertoar musik violin pada tingkat menengah, terkhusus karya Komarowsky. Komarowsky adalah komposer musik violin asal Russia pada periode modern. Violin Concerto No.2 mengandung idiom, variasi teknis, dan interpretasi yang melekat pada periode modern khas Eropa Timur. Penelitian menggunakan metode kualitatif dengan pendekatan analitik secara musikologis. Hasil penelitian menunjukkan pemetaan teknik double-stops beserta penempatannya, baik pada notasi yang tertulis apa adanya maupun notasi yang tidak tertulis. Hasil penelitian diharapkan dapat menjadi rujukan bagi violinis pada tingkat menengah untuk mempelajari karya ini, terlebih lagi untuk dapat mengembangkan kemampuan teknis pada repertoar lainnya.
Abstract This study, generated from considerations of embodied cognition, observational learning, and cognitive load theory, investigated the effect of mimicking gestures on learning to play piano tasks. Fifty university students from an Australian University, with two different levels of piano-playing experience, were randomly assigned to one of the two different gesturing conditions in a 2 (gestures vs. no-gestures) × 2 (novice vs. more expertise) design. All groups viewed an animated video presentation of four musical scores being played on a piano with the hand motions visible, accompanied by the sounds of the notes played. Participants in the gesturing condition were required to gesture while watching the presentations, but in the no-gesturing condition, gesturing was prohibited. Test results indicated a significant learning advantage to gesturing with reduced cognitive load. It was also evident that the efficacy of gesturing was influenced by learner expertise and task complexity.
Music psychologists have established that some forms of musical activity improve intellectual performance, spatial–temporal reasoning and other skills advantageous for learning. In this research, the potential of active music-making for improving pupils' achievement in spatial– temporal reasoning was investigated. As spatial–temporal skills are considered to be high-level mathematical abilities, this study also aimed to explore if learning music might have an effect on pupils' achievement in mathematics, and whether spatial–temporal reasoning plays a role in this process. The study had a quasi-experimental design in which groups of children aged 4 to 7 participated in a music programme containing a variety of musical, predominantly rhythmical, activities. Parallel classes made up control groups. Throughout the intervention, pupils' attainment in mathematics, reading, writing and spatial–temporal reasoning was recorded and compared between the music and control groups. The findings of the project supported the hypothesis that music instruction has an impact on the development of spatial–temporal skills. A statistically significantly greater progression was observed in most of the intervention groups, as compared in all periods of measurement to the control groups. The attainment in general mathematics did not always differ between the intervention and control groups but the analyses provided evidence of a consistent and statistically significant enhancement in learning mathematics between the youngest participants of the programme. This knowledge could inform pedagogical practice, while further research in this area could offer more insight into the association between music and mathematics.