Hasil untuk "Music and books on Music"

Андрій Бєдний

Статтю присвячено обґрунтуванню значущості сенсу розуміння імпресіонізму як музичного стилю у виконавському музично-інструментальному мистецтві баяністів. Застосований принцип художньо-образної візуалізації музики композиторів-імпресіоністів, метод усвідомлення стильової значущості імпресіонізму в музиці та визначення художнього-образного контенту імпресіоністичного стилю різних композиторів; обрано рефлексивну візуалізацію за принципом персоніфікованої інтерпретаційної унікальності виконавця для розкриття основних образно-характеристичних особливостей музичних творів при виконанні їх на баяні. Підкреслено значущість візуалізації образів як мистецько-виконавської категорії, що становить особливий феномен для музиканта-виконавця в контексті його сприйняття та відтворення музики композиторів будь-якого стилю. Представлене художньо-естетичне розуміння образного відображення дійсності в творах мистецтва, що мають спорідненість їх програмної сутності або творчо-уявлюваного сенсу (художників, композиторів, виконавців). Яскрава образ-но-стилістична палітра розкрита на основі композиторів-імпресіоністів К. Дебюссі та ексцентричного композитора-реформатора Е. Саті, які обрали для розкриття власних почуттів образний зміст та виконували власні твори на своїх «класичних» музичних інструментах. Представлена можливість візуалізації музичних образів композиторів-імпресіоністів створює власну образно-стилістичну уяву в усвідомленні баяніста-виконавця та його інтерпретаційної версії щодо музичних характеристик конкретних творів імпресіоністичного стилю. «Сади під дощем» К. Дебюссі та «Гносієни» Е. Саті, відображаються у технологічних прийомах відтворення баяністами, звукообразних та темброво-динамічних комплексах і особливостями інтонування. Підсумовано результати образно-стилістичних характеристик обраних творів композиторів-імпресіоністів у виконанні на баяні.

Ka Chun Lin

Wind bands constitute pivotal cultural artifacts in the development of Western music in Asian countries. From the time of the late Qing dynasty, the government positioned military bands as cornerstones for modernization, with Canton emerging as a critical center for the evolution of music for military bands in China. The wind band of Canton’s Pui Ching Middle School stood among the most influential school bands, yet academic inquiry into wind and military bands remains conspicuously absent from the modern Chinese musicological discourse. This article employs qualitative methodologies, in order to analyze historical publications to reevaluate the social significance of Pui Ching wind bands in the pre-war era. The band provided numerous significant musical performances of Western music for Cantonese society, participated in community events, functioned as a cultural diplomatic entity, and trained numerous wind performers on wind instruments, who subsequently exerted a great influence on the Lingnan region during the postwar period. The research introduces newly discovered instruments from the pre-war period from the school, offering fresh perspectives on the band’s significance throughout the modern musical development in China. Additionally, the study examines the present-day challenges in the task of preserving historical instruments while endeavoring to reconstruct the cultural significance of these artifacts.

Jane Pettegree

Тетяна Борисівна Булах

У статті розглядається феномен сучасної музики прославлення та поклоніння, що набуває дедалі більшого значення у контексті сучасних релігійних практик та займає одне з суттєвих секторів розвитку музичного мистецтва. Музика поклоніння проаналізована як соціокультурний та мистецький феномен, який виходить за межі традиційних релігійних форм і створює нові можливості для колективного та індивідуального вираження релігійних переживань. Виявлено, що сучасна музика поклоніння значною мірою формує досвід віруючих, використовуючи широкий спектр інструментальних та аудіовізуальних засобів, що надають богослужінню емоційної інтенсивності та естетичної виразності. Значну увагу приділено аналізу еволюції музичного супроводу в богослужіннях від простих вокальних форм до високоінтенсивних мультимедійних виступів, які включають складні звукові та візуальні ефекти. Акцентовано на тому, що сучасне поклоніння перестає бути лише звуковим явищем, перетворюючись на аудіовізуальний досвід. Візуальні проекції, які супроводжують тексти пісень і сцени з природними пейзажами, стають важливою складовою релігійної традиції, впливаючи на сприйняття сакрального та участь присутніх у богослужінні, що набуває значення соціальної події. У статті виявлено, що такі мультимедійні форми музичного поклоніння впливають не лише на естетичний досвід, але й на соціальну динаміку релігійної громади, формуючи нові очікування щодо ролі музики в релігійному житті. Підкреслено, що така музика часто викликає віруючих до активної взаємодії, створюючи атмосферу сакральної причетності. Разом з тим виявлено, що високий рівень професійного виконання може призводити до зниження участі віруючих у співі та загальному музичному процесі, що, своєю чергою, викликає виклики для традиційних церковних форм поклоніння. Акцентовано на необхідності критичного переосмислення сучасних форм музичного прославлення в контексті їхнього впливу на релігійні цінності та формування духовного досвіду. Поставлено питання про баланс між технологічною естетикою та сутністю сакрального в релігійних практиках, оскільки використання мультимедійних засобів та високоякісної музики може формувати нові типи релігійної соціалізації, що суттєво відрізняються від традиційних форм.

José Luis Besada, Olga Sánchez Kisielewska

Jeryl Johnston

Contrary to the mythologies of both oversimplification and esoterism so often mistakenly associated with African music, lead drummers of various West African musical traditions often organize their musical material using similar coherent, sophisticated, and measurable techniques. To begin to illustrate this, I compare studies of gahu and adowa by David Locke (1998) and Willie Anku (1992) to two transcriptions that I have prepared: “Miwua Agbo Mayi,” an example of agbadza, and “Esikesi,” a dùndún performance. I analyze the lead drum parts according to organizational techniques defined by Locke, Anku and Simha Arom (2004). Additionally, I provide basic background information about each genre, along with analyses of form for the two cases in which none have been provided before. I focus on these examples’ common techniques of organizing rhythmic variations: variation by amplification, timing displacement, filling or emptying of musical space, and segmentation.

Susanna Välimäki

This article concerns the life and career of composer Betzy Holmberg Deis (1860–1900), a woman artist of Finnish-Norwegian heritage who pursued an active career in Central Europe in the late 19th Century. Methodologically the research represents feminist music history and biographical research, which highlights women’s agency. The research material consists of original historical material from several archives, mainly in Finland, Norway, Denmark and Germany. In focusing on a women composer who until now has been omitted from scholarly writing on music history, the author aims to contribute new knowledge to the history of Nordic music. Holmberg Deis was successful in her composition studies at the Leipzig Conservatory. Her chamber and orchestral works, including a symphony, were performed during her lifetime in several countries. The orchestral works are lost, but a few of her chamber music compositions have survived. These make an original contribution to the late and neo-romantic Nordic repertoire.

Daniela Fugellie

Adrian Dunn, Leah Gipson, Marisol Norris

In an audio interview, Adrian Dunn, discusses his album, The Black Messiah, with Leah Gipson and Marisol Norris. As a commentary on religious life in the U.S., the music was initially performed the year that Donald Trump was elected president in resistance to dominant, white Christian nationalism and hate speech. Dunn sought to preserve this history in an album. Dunn explains that The Black Messiah affirms Black liberation and justice, and situates responsibility with all persons as the work of a shared humanity. The discussion reflects on American musical traditions, narratives, Black spirituality, and an integral relationship between music and freedom.

Ghorban Elmi, Payam Homayuni amlashi

Abstract The mystical-apocalyptical literature includes the writings that the mystic shows his/her mystical experiences. Mechthild of Magdeburg and Ruzbihan Baqli are mystics in the Christian and Islam regions who have written the Flowing light of the godhead and Kashf al-Asrar va Mukashefat al-Anwar (the Unveiling of Secrets and Revelations of Lights) in this literary genre. These books in spite of having small and big differences and distinctions which come from their religious-mystical traditions have concordant directions, too. The analogies range from the form and type of revelation (apocalypse) to the genre and depiction of the text, so they make a comparison possible. The direct encountering of the human being and God is the spirit of these works which is expressed in terms such as love, enthusiasm, unity and union, light, and wonder. ‘Mysticism’ usually refers to the cognition that the mystic gains the insight or the special perception in there by meditation, prayer, or none-intermediary illumination. In addition, ‘mysticism’ is usually  commented to the direct intuition and none-intermediary experience of God. The meaning of this word can be explained by three concepts: consciousness, presence, and transformation.  Symbols, allegories, and apprehensible metaphors- totally referred to as literary arrays- are unique aspects of mystical texts to convey the purpose of the mystic. ‘Mukashifah’ means unveiling in the sense of illumination or epiphany. The opposite words are ‘satr’ and ‘istitar’. They show the act of veiling and occultation. ‘Kashf’ has come in Islamic mystical works as well as the Quran and Tradition. The synonyms of this word in English are revelation or apocalypse which have come from Christian mystical works in addition to the Bible especially in the Book of revelation or Revelation (Apocalypse) to John. The Flowing Light of the godhead is a book which has the Medieval features, for example, the language and culture of the nobilities, the Beguines with their consideration to asceticism, poverty, and assistance for souls at the moment of death and in their afterlife, the university-trained in theology and mainly the Dominicans. Consideration of the Flowing Light of the Godhead is on the presence of God, the mystical conduct of the human soul, and their union by love. The Mechthild’s mysticism is the type of ascent and descent, presence and absence. Kashf al-asrar (the unveiling of Secrets) is a book that has many intuitive‌‌‌‌ claims like shathiyyat (shatahat: ecstatic utterances). Kashf (to take away the veil of divinity) and iltibas (clothing with divinity) are two styles of Ruzbihan’s mystical experience. The features of his book are noticing the concept of appearance and disappearance, or occultation and presence in addition to confessing the giving of grace of God from upward by kashf. The comparable cases in these two works are the inability to saying about the revelation, God and His descriptions as the object of revelation, the intuition of the light, the capacity of the human being to understand God, understanding self-insignificance, God’s grace, and kindness as a starting point of revelation, compliance of prayer, love, enthusiasm and spiritual marriage, butler and wine, divine music, wonder, union, and unity. In the two forms of mystical experience (i.e. extrovertive and introvertive), inexpressibility is occasionally the claim of many mystics. But, in spite of the problem of ineffability, mystics have never been silent. Indeed, they have been called from God until passing up self-will for the sake of God’s will. In apocalyptical encounters with God and describing his descriptions, Mechthild with experience of transcendental God and yet the omnipresent of God sanctifies and glorifies two manifestations of God. In Ruzbihan’s opinion, the acts of God are the epiphany of His attributes that are for their part, selfsame of His essence. Nonetheless, the unveiling of God’s attributes through the manifestation of His acts is not the same as God’s incarnation in any way.  The intuition of light in their revelations sometimes is the development of their cognition from God to their souls and sometimes God is interpreted as light because of the intensity of His presence and the impossibility of God to be seen directly due to the existential capacity of the creatures, God browbeats the mystics who want to know more about Him while that they are not able to endure encountering the totality of God. Mechthild and Ruzbihan as creatures versus God have humility and modesty.  In these writings which have many amorous terms, God yearns to communicate with the mystic. According to the interpretation of Ruzbihan, in the totality of the contexture of kashf and iltibas, the mystical experience is just the consequence of the grace, love and kindness of God. In both cases, God even before creation had sought Mechthild and Ruzbihan. They are divine favorites. God does not refuse their demands; this could show that the mercy attribute of God overcomes His justice feature.  The love that has a longing and seeking in itself/herself soars to the spiritual marriage to God. Here, the place of the lover and beloved are always changing and these adorations and lovemaking go forward so much that the recognition of duality becomes impossible and the appearance of unity and union is revealed. The concepts of love and marriage in Mechthild’s book have a background that comes from the Bible and the tradition in Christianity. In Mechthild’s opinion, love has an independent character common among human beings and God. It is, thus, the operant of the union. The thinking structure of Ruzbihan is love and aestheticism, too. So, the understanding, experience, and realization of inward monotheism from unity are provided only by the experience of love. These amorous attitudes usually pass from the region of official religion. The mystical literature is usually full of allegories and metaphors related to wine like wineglass, butler, and wine so these two works are no exception, too. The similarity aspects of these revelations are God as a butler for His graciousness and development of the cognitive growth of the mystic. In these books, God sometimes appears as a minstrel and instrumentalist, of course with the unique and transcendental sound. Indeed, the revelation is not only visual but also auditory and of course existential. The wonder and astonishment of the mystic in the mystical journey occur after passing several states and stations and at the end of his/her conduct. This operant is due to the inability in the intellectual analysis of his/her mystical experience impressed by the presence of God. One of the genuine aspects of mysticism in the two religions of Islam and Christianity is the problem of the unity or union between the creator and creature. Eventually, Mechthild as a mystic considers the three persons of the Trinity as one God. But this divine union is the intertwinement of two separate persons, not complete annihilation and not melting in the godhead. Indeed, the final aim of the union is the experience of God’s love. Inward monotheism in the opinion of Ruzbihan is explanatory of wonder and God is love, lover, and the beloved simultaneously. In this situation, the contrast between multitudinous and one is removed, so both the one and the other are visible. Nonetheless, the self or soul of the human being is never annihilated perfectly, although too much presence of God overcomes this self and destroys it. Mechthild and Ruzbihan due to their thoughts and writing their revelations had foes and adversaries in their lives. But God always protects them with His supports. In the end, the mystical journey and conduct of Mechthild and Ruzbihan with any distance and intermediary with God, and with their passivity and transcendental wonder, eventually get to union or unity with Him.  This article, adopting a comparative method, looks at the dialogue between these two mystics by analyzing the described experiences to better understand their concordant apocalyptical phenomena.

Nadya Rany Sekar Pambajeng, Suryati Suryati, Musmal Musmal

Artikel ini disarikan dari penelitian yang berjudul “Teknik Vokal Dan Pembawaan Lagu Keroncong Stambul “Tinggal Kenangan” Ciptaan Budiman BJ Oleh Subardjo HS”. Ada beberapa permasalahan yang menjadi alasan untuk melakukan penelitian lebih mendalam dan hasilnya dapat digunakan sebagai referensi tambahan. Penelitian ini menggunakan metode penelitian deskriptif kualitatif sebagai pendekatan dalam menggali data-data serta tahapantahapan yang harus dilalui sesuai dengan prosedur. Sumber-sumber data diperoleh melalui metode observasi, wawancara, dan dokumentasi. Dalam meneliti teknik vokal dan pembawaan lagu keroncong stambul “Tinggal Kenangan” ciptaan Budiman BJ, terlebih dahulu menganalisa seputar teknik vokal keroncong, bentuk dan karakter lagu stambul. Setelah melakukan analisis pada teknik vokal dan pembawaan lagu keroncong stambul “Tinggal kenangan” ciptaan Budiman BJ, selanjutnya melakukan wawancara kepada beberapa pelaku musik keroncong, meliputi pelaku yang mempunyai latar belakang akademisi serta pelaku yang memang seorang praktisi musik keroncong. Dari hasil penelitian dapat diketahui bahwa teknik dan pembawaan lagu keroncong stambul “Tinggal Kenangan” ciptaan Budiman BJ mempunyai karakter dan ciri khas lagu yang mendayu, dan dibawakan dengan teknik dan improvisasi sesuai dengan pembawaan Subardjo HS.   This article is extracted from a study entitled “Vocal Technique And Stylized Keroncong Stambul Song“Tinggal Kenangan” Budiman BJ creation by Subardjo HS”. There are a number of problems that are Reasons for doing more in-depth research and the results can be used as additional references. This sudy uses qualitative descriptive research methods as an approach in exploring the data and the stages that must be passed in accordance with the procedure. Data sources were obtained through observation, interviews, and documentation. In researching vocal technique and stylized keroncong stambul song Tinggal Kenangan Budiman BJ creation, especially first analyzing the keroncong vocal technique, the form and character of the stambul song, after analyzing the vocal technique and stylized keroncong stambul song Tinggal Kenangan Budiman BJ creation, then interviewing some actors keroncong music, including actors with background behind academics and practitioners of keroncong music. From the result of the study, it can be seen that the Vocal Technique And Stylized Keroncong Stambul Song Tinggal Kenangan Budiman BJ creation has the characteristic song and presented with technique and improvisation in accordance with styled by Subardjo HS. Keywords: vocal technique, styled, keroncong stambul

Paolo Somigli

Starting from the reading of two recent publications, the proceedings of the panel Towards a Critical Pedagogy for Undergraduate Popular Music History Courses in the Twenty-First Century (in «Journal of Music History Pedagogy», V, 2014, pp. 99-152) and Popmusik-Vermittlung. Zwischen Schule, Universität und Beruf (edited by M. Ahlers, Berlin, LIT, 2015), this article critically addresses some aspects of the relationship between commercial music, school and education (to what end should we introduce popular music in schools, which contents and methods should we use, etc.), paying attention in particular, but not exclusively, to Italy. The conclusion emphasizes the need for the school didactics of popular music to become fully integrated into the discipline-specific knowledge, and stresses that this requires advanced, specific musical and musicological competences on the part of teachers.

Fernando Gil Araque

Presentación

Cherry Hense

Young people recovering from mental illness may benefit from ongoing musical opportunities in the community following music therapy engagement in mental health services. In this paper I describe the second cycle of a Participatory research project investigating young people’s musical identities in their recovery from mental illness. This cycle explored the types of services needed for young people’s ongoing recovery and compared these against the reality of service provision in the local area. Findings revealed the need for a unique advocacy body to facilitate partnerships between institutions and community-based services and lead to the forming of a Youth Music Action Group to address this unmet need.

Cook Nicholas

The traditional musicological conception of performance is as the reproduction of pre-existing texts. This makes no allowance for the extent to which meaning emerges from the act of performance, and from the interactions between the various participants in performance events. A broadly semiotic approach focusses attention on such issues, and in this article I illustrate such an approach in terms of the communicative function of the mazurka ‘script’ and the role of performance gesture in conditioning musical meaning. I argue that, instead of thinking in terms of the reproduction of works, it is better to borrow Jeff Pressing’s term and think in terms of performances referencing scores, traditions, and other pre-existing entities: this way it is possible to conceptualise performances that range from the Werktreue ideology or tribute bands to parody or burlesque. Discourses of the relationship between works and performances are mirrored by those between performances and recordings, and consideration of the latter helps to clarify features shared by both: creativity, collaboration, and semiosis.

Kateřina Smékalová

The aim of this thesis is to examine in detail a collection of church songs which was collected by Hynek Bím during 1911 in Vnorovy. Today, the source is stored in the archives of the EU AVČR in Brno under the signature A1084. A substantial part of this thesis is concerned with the analysis of the church songs and identification of their variants. For these purposes it was necessary to use other resources. One of them is Jan Josef Božan's hymnbook Slavíček rájský from 1719 which serves as a source for inquiry about the changes of the church songs' textual and melodic component in the folk environment. Although the songs in Bím's collection are classified according to the date when they were recorded, this thesis sorts the songs out with regard to their function. There are advent songs, lent songs, pilgrim songs, songs praising saints, banqueting songs, and one wedding song. Another general section is created for songs which are not related to the church year as it is in Slavíček rájský.

Nico Schüler

Članek ponuja primere, kako vključevanje glasbe nezahodnih kultur prispeva pri študiju v mejah “strnjenega” učnega načrta, v katerem so različne glasbene discipline močno povezane druga z drugo: na primer teorija, zgodovina, izvajalska praksa, pedagogika itd. ter njihove poddiscipline. Medtem ko se članek osredotoča predvsem na glasbeno teorijo, zvočne zaznave in muzikologijo, pa so splošni komentarji namenjeni razširjanju pogleda na glasbo z globalnim pogledom.

Ismael Fernández de la Cuesta

La restauración llevada a cabo en el antiguo monasterio de San Zoilo de Carrión (Palencia) permitió recuperar diversos fragmentos musicales entre los que destaca un tiento de Peraza. La complejidad estilística de este tiento permite suponer que la forma que exhibe en la actualidad es fruto de sucesivas acciones de organistas posteriores, quienes pudieron introducir en ella elementos de modernidad. Nada impide, por tanto, atribuir la primitiva forma que pudo tener esta obra en origen, al amigo de Francisco Guerrero, primer músico importante de la saga de los Peraza, Francisco el padre (1564-1598).

Anppom Opus

David Butler