Hasil untuk "Music and books on Music"

ОЛЕКСІЙ БОЯР

У сфері хорової музики Р. Штраус утілював найпотаємніші бажання, навіяні античними алюзіями, які згодом розвивав у музичних драмах. Актуальність теми зумовлена необхідністю з’ясувати місце й функції хорової музики у творчості композитора, визначити роль хорової музики як прогресивної творчої сфери, у якій формувалися, народжувалися і розвивалися основні ідеї та індивідуальні естетичні принципи митця. Мета дослідження — розглянути процеси і виявити особливості впливу античної культури на мистецтво, літературу і філософію Німеччини XVIII–XIX століть, зокрема на творчість Ріхарда Штрауса, проблему дослідження хорової творчості композитора як яскравого прикладу реакційного впливу давньогрецької культури. Методологія дослідження полягає у поєднанні історико-культурного, біографічного, описового й жанрово-функціонального методів. Результати дослідження. Розглянуто чинники впливу античної культури на німецьку класико-романтичну, а також ознаки їх взаємодії у філософії, науці, літературі і музиці. Охарактеризовано алгоритми асиміляції елементів давньогрецької культури в різні сфери мистецтва в Німеччині другої половини ХVІІІ — першої половини XX століть. Розкрито формування і трансформацію естетичної основи творчого методу Ріхарда Штрауса під впливом античної культури, простежено композиторську інтерпретацію давньогрецького міту про Дафну та його сюжетне втілення в однойменній опері та окремих хорових творах. Здійснено музикознавчий огляд «античних» хорових композицій Р. Штрауса, визначено їх місце в його творчому доробку. У висновках підкреслено, що саме музика для хору відкриває слухачам і науковцям справжнього Р. Штрауса, який у своїх творах утілював високі античні ідеали.

Nicoletta Leone

All’inizio del XX secolo, il nuovo governo di Mustafa Kemal Atatürk si interessò a portare innovazione nella scena musicale turca, dando inizio ad un nuovo genere di musica turca che doveva fondere gli elementi tradizionali con lo stile compositivo occidentale. È sotto questa luce che bisogna analizzare la musica di Fazil Say (1970-): le sue composizioni sono affacci nella storia e tradizioni del suo Paese, e in ognuna di esse egli trova nuovi modi di evocare suoni e ambienti, con e senza la presenza di veri e propri strumenti tradizionali turchi. Con questo lavoro si è voluto esplorare la storia della musica turca dal Novecento ad oggi e il contributo di Fazil Say in qualità di uno dei massimi esponenti della musica del suo Paese, tramite un’analisi della forma e della struttura di due sue composizioni per violino che riassumono appieno il suo stile compositivo: la prima Sonata per violino e pianoforte e Cleopatra per violino solo.

أحمد عبدالله الروبي, مني مصطفي زيتون, محمد محمود زين الدين et al.

The current research aims to identify the effectiveness of the proposed program based on expert systems applications in developing digital transformation skills for middle school teachers. To achieve the research objective, the researcher developed a preliminary design for the program. He then designed a pre- and post-test to measure the cognitive aspect associated with digital transformation skills, and a skill performance observation card. The researcher administered the test and observation card to the teachers before and after they completed the program, which was tailored to their group type. After applying the tools before and after the program to the control and experimental groups, the results indicated a statistically significant difference at the 0.5 level between the average scores of the group taught using the program based on expert systems applications on the post-test of the skill performance observation card, in favor of the experimental group ويهدف البحث الحالى إلى التعرف على فعالية البرنامج المقترح القائم على تطبيقات النظم الخبيرة فى تنمية مهارات التحول الرقمى لمعلمى المرحلة الإعدادية، ولتحقيق هدف البحث قام الباحث بوضع تصميم مبدئى للبرنامج ثم صمم الباحث: اختبار قبلى وبعدي لقياس الجانب المعرفى المرتبط بمهارات التحول الرقمى، وبطاقة لملاحظة الأداء المهارى، وقام الباحث بتطبيق الإختبار وبطاقة الملاحظة قبلياً وبعدياً على المعلمين بعد دراستهم خلال البرنامج المعد حسب نوع مجموعاتهم. وبعد تطبيق الأدوات قبلياً وبعدياً على المجموعتين الضابطة والتجريبية أشارت النتائج إلي وجود فرق ذات دلالة إحصائية عند مستوى 0.5 بين متوسطي درجات المجموعة التى تدرس بنمط البرنامج القائم على تطبيقات النظم الخبيرة فى التطبيق البعدى لبطاقة ملاحظة الأداء المهارى لصالح التطبيق البعدي للمجموعة التجريبية

Žarko Cvejić

This reappraisal of “Begegnung,” a seldom discussed Hugo Wolf setting of the eponymous poem by Eduard Mörike, shows that despite its ostensible simplicity, the poem, typically for Mörike, harbours a wealth of ambivalent meanings, which are only further enriched in Wolf’s setting.

Diego García-Peinazo

El modo frigio, poco habitual en el canon del rock anglosajón, es, sin embargo, un elemento estilístico profusamente empleado en el heavy metal. En especial, la supertónica descendida (b2) ha sido abordada en relación con su apropiación desde la masculinidad en el heavy metal y con su uso en estos repertorios como elemento de tensión y disonancia, en ocasiones vinculado a lo oscuro y a la fatalidad. El presente artículo examina procesos inter/hipertextuales y transfonográficos en torno al modo frigio, al intervalo de segunda menor y a la supertónica descendida en la música metal en España. Se presentan una diversidad de representaciones de esta estructura melódica o armónica, desde imaginarios sobre lo andaluz, español, árabe y flamenco en música que conectan estas estructuras musicales con el exotismo y el orientalismo, hasta su uso como marcador estilístico del metal sin evocaciones territoriales explícitas. Este signo musical, continuamente reapropiado dentro de un entramado complejo de significados presentes en la canción popular grabada de las bandas de metal, conforma un espacio de primer nivel en la enunciación de narrativas patrimoniales diversas. Estos aspectos son vinculados en el artículo a la construcción de discursos en torno a las identidades nacionales en España y la recreación de comunidades imaginadas basadas en mitos históricos y héroes nacionales, desde la exaltación de figuras como la del Cid hasta la evocación del pasado de Al-Ándalus.

Guilherme Antonio Sauerbronn de Barros

Susan Maury, Nikki Rickard

Choir membership has been shown to improve emotional states and facilitate social connectedness. It is, however, less clear whether these benefits are unique to group singing or are shared by other social group activities that include some of the characteristics of choirs other than singing, such as music listening and social interaction. This research compares older Australians who are members of either a choir that both produces and listens to music in a social context, an exercise group that incorporates music listening and movement with social interaction, or a current events discussion group with social interaction but no music content. Participants were administered emotional state and cohesion questionnaires at two test times, just prior to and immediately after the session, to determine the short-term (60–90 minutes) effects on emotional state and social cohesion as result of different social activities containing varying levels of music engagement. A two-way Analysis of Variance (ANOVA) revealed significant improvements in positive affect and cohesion scores, and a decrease in negative affect and tiredness scores, over time for all groups. The choir and exercise groups were also observed by two raters who recorded observable behaviors categorized using the circumplex model of emotion. Findings revealed that both groups demonstrated significant increases in Activated Pleasant (high positive affect, high arousal) behaviors over time, but with no differences between the two groups. Taken together, these studies suggest that well-being benefits are shared by self-selected leisure social group activities, and that the effects can be observed within a very short time frame using both self-report and behavioral measures. The authors suggest that future research incorporates suitable control groups into research designs to better articulate any unique benefits that group singing may confer.

Miguel Farías

Based on a comparative analysis of two Chilean films produced in the beginnings of the sound era, El hechizo del trigal (The Wheatfield Spell, Eugenio de Liguoro, 1939) and Escándalo (Scandal, Jorge Délano, 1940) this article offers a study of the uses of music within Chilean cinema, incorporating not only the internal role of music but also its historical and social dimensions. In so doing, I seek to contribute to a field that has barely been developed in the study of music in Chile.

Ana Lúcia Fontenele

O presente artigo aborda a atuação de Almirante e Pixinguinha na condução do repertório e dos arranjos realizados por Pixinguinha para a orquestra popular do programa radiofônico O Pessoal da Velha Guarda. O programa tinha como objetivo divulgar estilos musicais não veiculados pela mídia da década de 1940, época em que outros estilos musicais despontavam, alguns deles com grande influência da música estrangeira, como o bolero e o samba-canção. Alguns pesquisadores da música popular no Brasil da época, como também intelectuais e compositores, manifestavam-se com relação a tal fato, como também buscavam formas de divulgar o repertório de músicas consideras por eles como de “raiz”, como também a música folclórica de várias regiões do Brasil. O cantor e produtor radiofônico Almirante, juntamente com os músicos que integravam a equipe de alguns de seus programas das décadas de 1930 e 1940, como os programas Curiosidade Musicais e Orquestras e Músicos do Brasil, concentraram-se na concepção e efetivação do programa O Pessoal da Velha Guarda, que foi transmitido na Rádio Tupi do Rio de Janeiro, no período de 1947 a 1952. No palco desse programa de auditório exibiam-se músicos e cantores que integravam um grupo regional de choro e a orquestra popular liderada por Pixinguinha.

Daniela Păcurar-Neamț

The Theatricality of Vocal Chamber Music In a wider sense, the first form of devising in the music world was ‘dramma per musica’ in the seventeenth century, but also the early cantata. Another genre, born in the nineteenth century, in the alloy of music with poetry, is lied. His roots are found in improvised play on certain themes, attested in the salons of romantic artists. This is how the famous miniature cycle “Die Schöne Müllerin” by Franz Schubert, and others has appeared. In the 21st century, the genre changes its content or timbral composition, among the forms of expression that the interpreter can use are also the theatrical ones. The mime, the gesture, the posture, the costume, the stage movement and eventually the set design’s details enrich the interpretation of intrinsic musical dramaturgy. An analysis of the possible theatrical „counterpoints” deepen my own interpretative vision on the work “Elegie for a Wine Barrel” composed by Violeta Dinescu.

Katarina Šter

The Carthusians selected and emended the traditional liturgical chant texts of the liturgy in order to bring them closer to the biblical texts. The comparison of the selected responsories from various traditions (Carthusian, Benedictine, Cistercian, Cluniac, Aquitanian) shows that it was respect for tradition of the texts as well as the melodies that led the Carthusians in their successful re-sacralization of the repertoire.

John G. Lazos

The dioceses of Chiapas (1548) and of Tulancingo (1866) were founded at distant times and separate places. Among their music collections they share a common name, that of José Antonio Gómez y Olguín (1805-1876). Gómez was for decades the first organist of the Mexico City Cathedral and a pioneer of music practice in the Mexican capital, all this until he decided in his maturity to leave for latter above diocese. Then, within the north of Oaxaca in the Mixteca region, the parishes of Santiago Chazumba and San Cristóbal Suchixtlahuaca share similar musical connections. The majority of the musical manuscripts from these four music archives are from the nineteenth century. In the following pages, I will outline each one of these four significant music collections, particularly how we came to know them, as well as its rescuing, organizing, cataloging and current effort to share their sonorous memories. The research into these archives brings to light the legacy of various Mexican born composers as well as that of those whose works came from abroad. It is through the study of these collections of music manuscripts that a deeper understanding begins of what remains still the undiscovered richness of this music period: the independent Mexico.

José Manuel Izquierdo

Journal Musicologica Brunensia

Bruno H. Repp

Todd, Cousins, and Lee (2007) have presented some intriguing data suggesting that body size, as measured by standard anthropometric indices, is related to the preferred beat period in a perceptual task. Curiously, however, they did not find a significant sex difference, even though the women in their sample were clearly smaller than the men. Another recent study of preferred spontaneous tempo (McAuley et al., 2006) likewise failed to find a sex difference in a large sample of young adults. It is unclear why body size should have an effect only within each sex group.

Yu Wakao

[Editor]

Rafael Serrallet

Salah El Mahdi

Se ofrece una visión general de los diferentes tipos de danza folklórica en Túnez cuyas principales características son estar estrechamente ligada a la música vocal e instrumental y poseer un marcado carácter de improvisación por parte del bailarín con respecto al ritmo que acompaña a dicha música, así como un análisis de los aspectos que conciernen a la preservación de su rico legado coreográfico.

Marcel Cobussen

According to Gérard Genette, paratextual elements can be defined as that what comes against, beside, and in addition to the text (a score for example) 'itself'. In that sense, they are always subordinate to 'their' text. The paratext is all material other than, though very closely connected to, the 'actual' text: the cover, the author's name, the title, preface, illustrations, notes, etc. It is therefore located in the space between inside and outside, the space between still belonging and not yet belonging to the text. This essay first of all investigates how paratextual elements (especially breath marks) are necessary to provide a musical text (in this case Debussy's Syrinx for solo flute) with a (temporary) meaning and how they direct possible interpretations. Secondly, this essay also suggests that within the musical text 'itself', paratext is always already present (for example in ornamentation). However, in Syrinx, the borders between text and paratext are remarkably porous, creating a noteworthy questioning and shifting of hierarchies.