Hasil untuk "Music"

Allan Wigfield, J. Eccles, K. Yoon et al.

Danis Sugiyanto, Denik Iswardani Witarti, Komarudin Subekti et al.

This research examines keroncong music as a representation of Javanese culture. The aim of the research was to interpret the lyrics of keroncong in a cultural context using thick description, Clifford Geertz. Keroncong music is also seen from a cultural diplomacy perspective. Research data was obtained from interviews and direct observation and supported by relevant literature. This research explicitly analyzes canonical songs such as Bengawan Solo, Tirtonadi, Taman Jurug, and Kota Solo to understand how cultural symbols are produced and consumed. Research data were obtained through participant observation, in-depth interviews, and focus group discussions (FGD) with a community of practitioners. Lyric analysis is integrated with High-Context Communication (HCC) theory to demonstrate how the indirect communication patterns of Javanese society are represented in keroncong musicality. The research found Javanese cultural symbols in the lyrics of keroncong songs. It highlights the city of Solo as the center of cultural civilization on the island of Java. Solo is known as “the spirit of Java.” The keroncong lyrics, which tell stories about people's lives, are able to attract and inspire love for Indonesia. Indonesian cultural diplomacy is supported by a community of keroncong music lovers abroad who act as diplomatic agents. The beauty of keroncong's musicality and poetic lyrics becomes a cultural signpost that is considered a soft power in cultural diplomacy. The conclusion of this research confirms that the rich culture of the Indonesian nation can be developed as an important instrument of cultural diplomacy. The success of cultural diplomacy requires direct contact with communities of Indonesian arts and culture lovers, at home and abroad. Keywords: Cultural diplomacy, keroncong, keroncong, soft power, thick description   ABSTRAK Penelitian ini mengkaji musik keroncong sebagai representasi budaya Jawa. Tujuan penelitian dilakukan untuk menerjemahkan lagu-lagu keroncong dalam konteks budaya dengan menggunakan thick description, Clifford Geertz. Musik keroncong juga dilihat dari perspektif diplomasi budaya. Penelitian ini secara eksplisit menganalisis lagu-lagu kanonik seperti Bengawan Solo, Tirtonadi, Taman Jurug, dan Kota Solo untuk memahami bagaimana simbol-simbol budaya diproduksi dan dikonsumsi. Data penelitian diperoleh melalui observasi partisipan, wawancara mendalam, dan diskusi kelompok terfokus (FGD) dengan komunitas praktisi. Analisis lirik diintegrasikan dengan teori High-Context Communication (HCC) untuk menunjukkan bagaimana pola komunikasi tidak langsung masyarakat Jawa direpresentasikan dalam musikalitas keroncong. Data penelitian diperoleh dari hasil wawancara, observasi langsung, dan didukung pustaka yang relevan. Penelitian menemukan simbol-simbol budaya Jawa dalam lirik lagu keroncong. Hasil analisis terhadap lagu-lagu keroncong dalam penelitian ini menonjolkan kota Solo sebagai pusat peradaban budaya di pulau Jawa, dikenal dengan istilah “the spirit of Java.” Lirik lagu keroncong yang bercerita tentang kehidupan masyarakat mampu menarik dan menimbulkan kecintaan terhadap Indonesia. Diplomasi budaya Indonesia didukung oleh adanya komunitas pecinta musik keroncong di luar negeri yang berperan sebagai agen diplomasi. Keindahan musikalitas keroncong dan lirik yang puitis menjadi soft power dalam diplomasi budaya. Kesimpulan penelitian ini menguatkan bahwa kekayaan budaya bangsa Indonesia dapat dikembangkan sebagai instrumen penting diplomasi budaya. Kesuksesan pelaksanaan diplomasi budaya memerlukan jalinan langsung dengan para komunitas pecinta seni dan budaya Indonesia, di dalam dan luar negeri. Kata Kunci: Diplomasi budaya, keroncong, soft power, thick description

Aris Setiawan, Zulkarnain Mistortoify, Yuddan Fijar Sugma Timur

This study aims to analyze the use of music in the 2024 Indonesian presidential election. Although the election was completed on February 15, 2024, the use of music as a campaign tool took place massively. This study tries to observe how music can influence public opinion to determine the direction of choice and how the public responds to the use of music in politics, in which musicians are seen as tending to be politically affiliated with or support certain candidates. Thus, a survey method was used to obtain these data. Through the approach of political involvement theory and supported by interviews, it can be seen how musicians have strategies for creating political songs. The results showed that some musicians chose to hide their names so that there would be no backlash among their fans, while others felt afraid that their candidate would lose and affect their careers. This study provides a comprehensive picture of the condition of music in Indonesia that is in contact with the politics of the 2024 presidential election and becomes a kind of roadmap for the use of music in the world of politics in the future.

Олексій Олександрович Таран

У статті здійснено комплексний аналіз композиторської спадщини Мануеля Марії Понсе (1882–1948) у контексті її впливу на формування й розвиток виконавської майстерності гітариста. На підставі історико-біографічних матеріалів та джерелознавчого опрацювання епістолярію Понсе—Сеговія простежено становлення індивідуального стилю митця (навчання в Італії, Німеччині та Франції; враження від мексиканського й кубинського фольклору) та окреслено механізми інтернаціоналізації гітари у ХХ ст. Мета дослідження полягає у з’ясуванні ролі творів Понсе у розширенні академічного репертуару та у формуванні техніко-інтерпретаційних компетенцій виконавця. Методологічну основу становлять аналітичний, порівняльно-стильовий та джерелознавчий підходи. Розглянуто ключові зразки: Sonata romántica, Suite antigua, Homenaje a Tárrega, Sonatina meridional. З’ясовано комплексне поєднання фольклорних, неокласичних, неоромантичних та імпресіоністичних рис і пов’язане з ним коло виконавських завдань: кантилене фразування, робота з баре та розширеними позиціями, арпеджіатна фактура, метроритмічні зсуви (геміоли), контроль тембрових контрастів і аплікатурної логіки, а також стильова чутливість до іспано-мексиканського колориту без спрощення чи механічного наслідування традиційних фламенко-прийомів. Уточнено видавничу історію та інтерпретаційну практику окремих опусів (зокрема, редакторські втручання Сеговії та проблеми атрибуції стилізацій). Наукова новизна статті полягає у систематизації виконавських вимог репертуару Понсе як чинника розвитку компетентностей сучасного гітариста. Практичне значення полягає у можливості використання результатів дослідження для оновлення навчальних програм, добору репертуару за рівнями складності та вироблення методичних рекомендацій щодо інтерпретації творів композитора. Узагальнено, що музика Понсе не лише збагатила концертний канон гітари, а й стала важливим чинником становлення професійної виконавської культури ХХ–ХХІ століть.

Saebyul Park, Eunjin Choi, Jeounghoon Kim et al.

The purpose of this research is to present a natural language processing-based approach to symbolic music analysis. We propose Mel2Word, a text-based representation including pitch and rhythm information, and a new natural language processing-based melody segmentation algorithm. We first show how to create a melody dictionary using Byte Pair Encoding (BPE), which finds and merges the most frequent pairs that appear in a collection of melodies in a data-driven manner. The dictionary is then used to tokenize or segment a given melody. Utilizing various symbolic melody datasets, we conduct an exploratory analysis and evaluate the classification performance of melody representation models on the MTC-ANN dataset. A comparison with existing segmentation algorithms is also carried out. The result shows that the proposed model significantly improves classification performance in comparison to various melodic features and several existing segmentation algorithms.

So Yeon Park, Blair Kaneshiro

Today, collaborative playlists (CPs) translate long-standing social practices around music consumption to enable people to curate and listen to music together over streaming platforms. Yet despite the critical role of CPs in digitally connecting people through music, we still understand very little about the needs and desires of real-world users, and how CPs might be designed to best serve them. To bridge this gap in knowledge, we conducted a survey with CP users, collecting open-ended text responses on what aspects of CPs they consider most important and useful, and what they viewed as missing or desired. Using thematic analysis, we derived from these responses the Codebook of Critical CP Factors, which comprises eight categories. We gained insights into which aspects of CPs are particularly useful—for instance, the ability for multiple collaborators to edit a single playlist—and which are absent and desired—such as the ability for collaborators to communicate about a CP or the music contained therein. From these findings we propose design implications to inform further design of CP functionalities and platforms, and highlight potential benefits and challenges related to their adoption in current music services.

Dagmara Łopatowska-Romsvik

Przedmiotem tekstu recenzyjnego są dwie publikacje monograficzne poświęcone Edvardowi Griegowi: Bernarda Piotrowskiego Edvard Grieg. Życie – Fascynacje – Dramaty oraz Agnieszki Dybowskiej-Błoch Edvard Grieg. Życie i twórczość 1843–1907. Są to jedyne tego typu pozycje w języku polskim. Wyszły one spod piór nie muzykologów, lecz skandynawistów. Z powodu popularności muzyki norweskiego twórcy w Polsce, a więc szerokiego zasięgu tych publikacji, za konieczną uznałam ich wieloaspektową ocenę. Równoczesne omówienie dwóch pozycji dotyczących tego samego twórcy pozwala na porównanie różnych sposobów przedstawienia sylwetki i dorobku artysty. Rozważana jest wartość tych pozycji dla szerokiego grona odbiorców, jak i dla osób szczególnie zainteresowanych muzyką i dla muzykologów.

Mariusz Gąsior, Zbigniew Kalarus, Piotr Przybyłowski

Professor Marian Zembala, MD, PhD — an outstanding Polish cardiac surgeon and transplant surgeon, scientist, long-time academic teacher and educator of young people, director, and also a great lover of music, poetry, theater, painting, and sailing. He was born on February 11, 1950, in Krzepice near Częstochowa. He graduated from the Medical University of Wrocław in 1974 with honors and received the Primus Inter Pares award of the Polish Minister of Health, with a possibility to choose the place of work. He chose the Heart Surgery Department of the Medical Academy in Wrocław, which was his dream. Alongside his clinical work, he developed his scientific interests. In 1979, at the age of 29, he defended his doctorate with honors. His work in the Wrocław Clinic also provided an opportunity to go for his dream internship abroad, e.g. to the hospital in Utrecht, the Netherlands, where he worked under the supervision of Prof. F. Hitchcock (1981–1985). During his stay in the Netherlands, he initiated the largest post-World War II program of Polish Heart Poolse hartpatientjes naar Nederland, under which more than 500 Polish children with severe congenital heart defects were operated on free of charge between 1981 and 1992. For this ambitious project, he received an honorary award from Utrecht University and an award from the Primate of Poland, Cardinal Józef Glemp.

Liangbo XIE, Yuyang LI, Yong WANG et al.

Aiming at the problem that long time-consuming and poor positioning accuracy using geometric method in the traditional UHF RFID indoor localization algorithm, an RFID indoor positioning algorithm based on adaptive bat algorithm (ABA) was proposed.Firstly, the phase of multiple frequency points was obtained by frequency hopping technology, and the location evaluation function of bat algorithm was established based on the angle information of multiple signal classification (MUSIC) algorithm and the distance information of clustering.Secondly, the bat location was initialized by tent reverse learning to increase the diversity of the population, and the adaptive weight factor was introduced to update the bat location.Finally, the target position was searched iteratively based on the position evaluation function to achieve fast centimeter level positioning.Experimental results show that the median localization error of the proposed algorithm is 7.74 cm, and the real-time performance is improved by 12 times compared with the traditional positioning algorithm based on the Chinese remainder theorem (CRT).

Deniz Duman, Pedro Neto, Anastasios Mavrolampados et al.

Previous literature has shown that music preferences (and thus preferred musical features) differ depending on the listening context and reasons for listening (RL). Yet, to our knowledge no research has investigated how features of music that people dance or move to relate to particular RL. Consequently, in two online surveys, participants (N = 173) were asked to name songs they move to ("dance music"). Additionally, participants (N = 105) from Survey 1 provided RL for their selected songs. To investigate relationships between the two, we first extracted audio features from dance music using the Spotify API and compared those features with a baseline dataset that is considered to represent music in general. Analyses revealed that, compared to the baseline, the dance music dataset had significantly higher levels of energy, danceability, valence, and loudness, and lower speechiness, instrumentalness and acousticness. Second, to identify potential subgroups of dance music, a cluster analysis was performed on its Spotify audio features. Results of this cluster analysis suggested five subgroups of dance music with varying combinations of Spotify audio features: "fast-lyrical", "sad-instrumental", "soft-acoustic", "sad-energy", and "happy-energy". Third, a factor analysis revealed three main RL categories: "achieving self-awareness", "regulation of arousal and mood", and "expression of social relatedness". Finally, we identified variations in people's RL ratings for each subgroup of dance music. This suggests that certain characteristics of dance music are more suitable for listeners' particular RL, which shape their music preferences. Importantly, the highest-rated RL items for dance music belonged to the "regulation of mood and arousal" category. This might be interpreted as the main function of dance music. We hope that future research will elaborate on connections between musical qualities of dance music and particular music listening functions.

Gian Luca Barbieri

Between the 1960s and 1990s, rock music was profoundly influenced by the aesthetic of the American composer and musician, Frank Zappa. The latter’s complex and irrevent quotations came from different kinds of music, which included – among other things – doo-wop, rhythm’n’blues, pop music, as well as commercial jiingles. This article explores Zappa’s musical (and textual) citations of pop art, dadaism, postmodernism and neo-baroque.

Holdsworth Quinn Ashley

This article considers the reception of pianist Nikolai Orloff (1892-1964) by the British musical press through an analysis of reviews published by The Musical Times, and also by national and local newspapers held in digital archives. A hybrid methodology was used to identify, sift, and code relevant primary source material in a large digital archive within the context of existing Orloff scholarship. Examples of the reviews relating to Orloff’s performances are given, and sugges­tions for future projects made.

K. V. Kysliuk

Обчислено візуальну репрезентабельність національного музейно-запо-відного ландшафту України як інтегральний показник за декількома критеріями (44 установи) в соціальних мережах Фейсбук та Інстаграм. Вияв-лено долученість 77–91% національних музейно-заповідних закладів до сучасних візуальних форм власної репрезентації. Натомість загальний рівень «візуальної привабливості» виявився значно нижчим: лише 30–45% національних музеїв і установ масово зацікавлюють власників соціальних акаунтів. Найбільше візуально репрезентабельним в обох мережах сумарно визначено «Мистецький Арсенал». Констатовано повне залучення музейного простору до здійснення культурної політики «лагідної українізації». Такий підхід найефективніше репрезентують «музеї під відкритим небом» (Хортиця, Кам’яна Могила, Пирогове та ін.). Зафіксовано певне протиріччя між зазначеним трендом і підвищеною візуальною привабливістю художньо-мистецьких установ без надмірних ідеологічних акцентів у діяльності, що можна  пояснити багаторівневістю української ідентичності. Ключові слова: візуальна культура, музеї і заповідники, репрезентації, українська культура.

Doreen Rumbidzai Tivenga

Contemporary Zimbabwean popular and urban genres of music namely, urban grooves and its variant Zimdancehall emerged and continue to exist at a time Zimbabwe is grappling with socio-economic and political adversities. The music is part of crucial artistic forms and dissent, hence for the ordinary Zimbabweans, it plays a significant role, detailing their experiences and survival strategies and influencing their patterns of entertainment and daily cultural practises. This article which is informed by popular culture theorists such as Karin Barber (1987) and John Fiske (1989) makes a textual analysis of Winky D's (2015) songs "Disappear", "Copyrights" and "Survivor" to examine the power of the songs in exploring the survival strategies employed by ordinary Zimbabweans in dealing with their experiences. The paper examines how the music is a source of power that fosters a response resonating with a postcolonial urban youth cultural activism seeking to empower the ordinary Zimbabweans to autonomously transcend their adversities and take control of their destinies in a country where the ruling elite are failing to improve the nation's socio-economic conditions.

Myfany Turpin, Jennifer Green

Rapikwenty is a traditional Australian Indigenous set of stories-and-songs from the Utopia region of Central Australia performed by Anmatyerr speaking adults to lull children to sleep. The main protagonist is a boy who is left to play alone in the ashes. Like many lullabies, Rapikwenty is characterised by scary themes, soft dynamics, a limited pitch range and repetition. The story-and-song form is not common in the Australian literature on lullabies, yet such combinations of prose and verse are found in other forms of verbal art of the region (Green 2014). This verbal art style is also well-attested in other oral traditions of the world (Harris & Reichl, 1997). Rapikwenty resembles other Anmatyerr genres in its song structure; yet differs in its performance style. Echoing Trainor et al. (1999: 532), we find it is the “soothing, smooth, and airy” delivery, rather than any formal properties of the genre, that achieves the lulling effect. In addition, Rapikwenty uses the recitative style known as arnwerirrem ‘humming’. The voice thus moves seamlessly between spoken story and sung verse, creating a smooth delivery throughout. We suggest that the combination of prose and verse reflects an Anmatyerr concept of song as prototypically punctuating events in a story rather than a medium for story-telling itself. This article suggests a more nuanced approach to the relationship between genre and performance styles. NOTE. The pdf version of this paper contains sound files, which may not work if you open the pdf in the browser. If this is the case, please download the pdf and open it from your computer.

Aleš Nagode

Benjamin Ipavec is deemed to be the key composer of Slovenian nationalistic movement in the 19th Century. But he also composed solo songs with piano accompaniment on German texts. He is typical representative of musical “biedermeier”. He attempted to achieve the synthesis of perfect form and profound emotional expression.

Liam Maloney

The rapid increase of technologically enhanced listening platforms gives listeners access to music with ever-increasing ease and ubiquity, giving rise to the suggestion that we should now conceptualize music as a resource similar to water; something that is utilized to achieve everyday goals. This paper proposes that music is a utilitarian resource employed by listeners to augment cognitive, emotional, behavioral, and physiological aspects of the self. To better explore these notions this paper examines the potential role of the “functions of music,” first espoused by Alan P. Merriam in 1964. Merriam suggested music has a situational use and an underlying function (music’s ability to alter the self through listening). The research presented here asserts that listeners interact with specific musical materials to achieve or orientate themselves towards contextually-rooted goals. Reinforcing Tia DeNora’s suggestion that music is a “technology of the self” this research presents the results of a 41 publication meta-analysis exploring the possible functions of music. The resultant Aggregate Thematic Functions Framework (ATF framework) identifies 45 possible utilitarian functions of music, spread across five domains of action. The framework also proposes a meta-domain and an emotional sub-domain.

Синельникова, Ольга Владимировна

Статья посвящена особенностям исполнительской интерпретации шести фортепианных концертов Родиона Щедрина, которые уже основательно утвердились в репертуаре разных пианистов мира. В статье рассматривается исполнительский стиль современных пианистов - постоянных исполнителей произведений Щедрина. Среди них Николай Петров, Екатерина Мечетина, Оли Мустонен, Денис Мацуев, Алексей Володин, Йол Юм Сон, а также сам композитор, который, будучи виртуозным пианистом, представлял на премьерах свои Первый, Второй и Третий фортепианные концерты. Значительные идеи и оригинальные замыслы получают в фортепианных концертах Родиона Щедрина яркое оформление, его музыка виртуозна, богато орнаментирована, насыщена целым рядом технических трудностей. Эти качества делают его концерты необычайно привлекательными для современных исполнителей. В настоящей статье исследуется суть новаторства Щедрина в жанре фортепианного концерта, умение композитора ярко показать солиста и его искусство владения инструментом, не пренебрегая глубиной смыслового качества музыки. На примере фортепианных концертов Щедрина, созданных в разные творческие периоды, автор статьи прослеживает эволюцию концертного стиля композитора в сторону повышения виртуозности, более тщательной детализации фактуры и тонкой нюансировки, обогащения оркестро вого фонизма. В статье отмечается, что в последних концертах Щедрин ориентировался на техническую оснащенность и исполнительский стиль отдельных современных пианистов.

Michael Chanan

J. Blacking, R. Byron, Bruno Nettl