Hasil untuk "Music and books on Music"

Vjera Katalinić

The term »salon music« has been generally defined as both a space of music making and as a type of music that is performed there. In the first instance (concerning space), it can be observed from three perspectives: as a distinguished space of music-making within the aristocratic or bourgeois house, as a socially exclusive event, and as a convivial gathering. Yet, the use and the interpretation of the notion »salon« is connected more with urban environments, although the aristocracy and the affluent citizens organized such gatherings on their summer estates as well. This paper deals with occasions when such music gatherings were organized on various occasions in Zagreb and its vicinity during the »long 19th century«. The second part is focused on such events within the family of the composer and aristocrat Dora Pejačević and in the houses of her friends where she participated as well, all in the context of musical life within the local environment. It also presents a series of speculations on further possible places of such events and suggests some starting points for future investigations.

Mèhèza Kalibani

In 1877, the invention of the phonograph enabled a new hearing practice that created a bridge between spaces and times. For the first time in human history, it was possible to record sound and replay it independently of its original source. The phonograph was used worldwide, including in regions where people were considered “primitive” according to the Western ideologies of the time. Today, these early recordings of non-European musical traditions are stored in European archives. From early on, they have been studied by scholars or used for cultural projects in museums. A look at the collections of many historical sound archives clearly shows that the colonial era (for Germany especially from 1900 to 1914) was the golden age of this collecting practice. Thus, these sound recordings embody a certain “sensibility” due to their relation to colonialism. In fact, a considerable part of the recordings was produced under hegemonic power relations. But how are they heard today, what stories and discourses do they transmit, and how do we deal with them? Close listening, listening to history, collective listening, and listening to the silences are some of the theoretical-methodological approaches developed in recent years in the context of dealing with historical sound recordings. In this article, I will introduce these approaches and highlight their advantages and gaps. In order to bridge the gaps thus identified, I will introduce “discourse analysis of the historically audible,” a cultural-historical approach to historically sensitive sound recordings. Discourse analysis of the historically audible is a cultural-historical approach to sound recordings from colonial contexts which can facilitate the past-present dialogue between former colonized people and former colonizers.  previous article back to index next article

Élise Petit

Roland Toth, Tobias Dienlin

Listening to music can cause experiences of nostalgia and melancholia. Although both concepts are theoretically related, to date they have not been analyzed together regarding their emotional and cognitive profiles. In this study, we identify their theoretical underpinnings and determine how they can be measured empirically. We analyze how listening to music causes nostalgia and melancholia, and whether both experiences are related to different behavioral intentions. To this end, we conducted an online experiment with 359 participants who listened to music they considered either nostalgic, melancholic, or neutral. Afterward, participants answered 122 questionnaire items related to nostalgia and melancholia. Using Structural Equation Modeling, and more specifically Multiple Indicators and Multiple Causes Modeling, we first developed two new scales: the Formative Nostalgia Scale and the Formative Melancholia Scale. Both scales consist of five items each. Results showed that listening to music indeed increased nostalgia and melancholia. Although considerably different, the concepts are related. Listening to nostalgic music increases melancholia, whereas listening to melancholic music does not increase nostalgia. Also, both experiences are related to different behavioral intentions. Whereas experiencing nostalgia was associated with a stronger intention to share the music and to listen to it again, experiencing melancholia revealed the exact opposite relation.

Maya I. Shinkareva

The article explores the informative value of the most common oppositions “typical vs. individual”, “traditional vs. unique”, “stable vs. dynamic” for the study of evolutionary processes in music. The dichotomous method helps to reveal the dialectic of the general and the individual. On top of that, it is instrumental in discovering new approaches and meanings behind them. At the same time, the concepts of “typical”, “traditional”, and “stable” are understood as a generally accepted, recognizable (at the level of a compositional solution), essential and basic property of the form, while the concept of “metamorphosis” is understood as something special, changeable and non-conventional. The study focuses on the fugue as the key polyphonic form commonly perceived as the embodiment of strict traditions of academicism and, to a certain degree, of conservatism. At the same time, the fugue effectively demonstrates the interaction of technical and aesthetic aspects of the archetype and its numerous stylistic modifications. This is extremely important as regards studies into the evolution of the fugue and the discovery of its internally open and creative nature. Examples of fugues in various composing practices—from the heyday of the Baroque to the present day—show metamorphoses as an organic process that naturally permeates the entire history of the form. Diverse and sometimes paradoxical compositional solutions of the fugue provide a ground to supplement the above list of antonymic pairs with one more opposition: “morph vs. metamorphosis” (“morph” is a Greek word for “form”). This opposition makes it possible to identify the relations between different compositional and structural units of the invariant form and their variants in a modified form.

Antonio Almagro García, Rosa María Perales Molada, Isabel Segura Moreno

Este trabajo es un acercamiento al conocimiento de la capilla de música de la antigua colegiata de Santa María de los Reales Alcázares de Úbeda, Jaén (1258-1852), la primera de las tres existentes en la ciudad, a través del estudio y presentación de la documentación conservada en el Archivo Histórico Municipal de Úbeda —en las actas capitulares municipales conservadas de los siglos XVII y XVIII— y en el Archivo Ducal de Medinaceli (Sevilla), en donde recientemente se han localizado las únicas actas capitulares conocidas de la colegial. Las dificultades del estudio vienen marcadas por la lamentable escasez de fuentes documentales que a su vez lleva a la limitada, aunque importante, existencia de bibliografía sobre el tema. Con todo, se aportan datos de enorme interés sobre un aspecto de la historia musical ubetense muy desconocido —objetivo fundamental del estudio—, al tiempo que se abren caminos para nuevas investigaciones como objeto de futuros trabajos.

David Livingstone

Pete Seeger would have turned one hundred and one on May 3 of this year. To commemorate these ten decades plus one year, I would like to look at eleven of the most remarkable aspects of Pete Seeger’s life, work and legacy. This paper will examine the cultural impact and oral tradition of the music, songs and books of Pete Seeger. This legendary folk musician's career spanned eight decades and touched on many of the key historical developments of the day. He is responsible for some of the iconic songs which have not only helped define American culture, but even beyond. Seeger was also a pioneer in a number of fields, using his music to propagate political convictions, ecological themes, civil rights, world music, education, etc. The folk singer also had his finger on the pulse of a number of developments in American history and culture. He was friends with a number of prominent musicians and artists and influenced an entire range of younger musicians and activists.

Dr. Kenneth Aigen

The next section is dedicated to Benedikte Barth Scheiby who recently passed away.

Carol Ann Blank

In the United States, children who suffer trauma or abuse receive services through Children’s Advocacy Centers (CACs). Over 800 CACs provided treatment and services to nearly 325,000 children in 2016 (National Children’s Alliance, 2016b).  CACs coordinate the work of multidisciplinary teams (MDT) including law enforcement, mental health, medical, and social service personnel to help children and families heal. CACs are autonomous groups made up of affiliations with many local agencies. This article provides a description of the National Children’s Alliance (NCA) standards for implementing treatment, including the state of music therapy implementation in CACs. The literature has shown that music therapy can be helpful to address needs of children and families who have experienced trauma, suggesting that this may offer a helpful treatment modality in CACs. However, music therapy is rarely available in CACs. This may be, in part, a result of the lack of randomized controlled trials, a key determining factor for inclusion in the annotated bibliography that accompanies the NCA Standards (National Children’s Alliance, 2013). Music therapy practice has addressed the clinical needs of children and teens who have been abused. This work is often presented in clinical reflections, not randomized controlled trials. Music therapy is currently not included in the treatment modalities utilized by CACs because of a perceived lack of evidence base. This article attempts to synthesize the information available to provide CACs with the current state of research in music therapy with children who have been abused. This article also provides music therapists with a depth of information about the structure and function of CACs, including a synthesis of the NCA Standards of Practice. The article presents a description for the implementation of music therapy services in a CAC in New Jersey and includes recommendations for music therapists who wish to seek out opportunities for clinical practice at CACs

Noémi KARÁCSONY

The present paper aims to reveal the essential features of 19th century French opera, highlighting those aspects which contributed to the eventual crystallization of a dramatic work seeking to reflect the characteristics of French music and culture. The manner in which melody, harmony, rhythm, dynamics, tempo and timbres are used is analysed, focusing on two representative works of the French Romanticism: Saint-Saëns’ Samson et Dalila and Bizet’s Carmen. Harmonic innovations, floating melodies, strong rhythmic patterns along with the marked influence of folklore and Oriental culture contribute to the distinguishing of 19th century French opera. Finally, attributes of the French singing school and the role of the mezzo-soprano voice in the compositions of the 19th century French operas are revealed.

Marcin Miotelka

Helder Teixeira

A questão fundamental da investigação que ora se apresenta se concentra em aspectos ligados à acústica e a fatores sonoros com características perceptivas notáveis; fenômenos e eventos que ocorrem num muito breve espaço de tempo nos períodos transitórios do som da flauta. A preocupação com tais eventos está intimamente relacionada ao aspecto perceptivo que os mesmos imprimem à execução musical. O propósito focal do artigo se direciona ao legato, uma das principais ferramentas de expressividade do flautista. A importância do legato está associada à boa expressividade e ao fluxo melódico que dá sentido à frase musical. Por esta razão o estudo se concentra em análises de diversas formas de legato, tanto na flauta quanto em outros instrumentos, com utilização de programas de análises de áudio a fim de se conhecer diferentes formas de se obter sons ligados e identificar fenômenos acústicos presentes em meio ao movimento sonoro transitório dos intervalos e como tais fenômenos interferem na sensação de fluxo sonoro. Elaborado à partir da pesquisa desenvolvida na Universidade Federal da Bahia sob o título “Aticulus Temporis: estudo dos regimes transitórios do legato na flauta”, este artigo condensa as principais etapas desta pesquisa e suas conclusões.

Dragoş Ioan ŞUŞMAN

The present study takes a journey into the musical life of Romanians in Răhău, a village on the outskirts of Sebeş, studying their choral activity during the first half of the 20th century. The material is entirely based on documents from the Răhău Orthodox Parish fund at the Romanian National Archives, Alba County Service. The information that is to be presented focuses on three aspects of the musical life in the above mentioned village: the choral activity of the students of the Orthodox confessional school, that of the church choir and that of the Sfântul Gheorghe Society choir. As the documentary references are not sufficiently extensive to allow for the separate treatment of the three subjects, we will only mention them chronologically.

Roger T. Dean, Freya Bailes

Pearce (2011) provides a positive and interesting response to our article on time series analysis of the influences of acoustic properties on real-time perception of structure and affect in a section of Trevor Wishart’s Red Bird (Dean & Bailes, 2010). We address the following topics raised in the response and our paper. First, we analyse in depth the possible influence of spectral centroid, a timbral feature of the acoustic stream distinct from the high level general parameter we used initially, spectral flatness. We find that spectral centroid, like spectral flatness, is not a powerful predictor of real-time responses, though it does show some features that encourage its continued consideration. Second, we discuss further the issue of studying both individual responses, and as in our paper, group averaged responses. We show that a multivariate Vector Autoregression model handles the grand average series quite similarly to those of individual members of our participant groups, and we analyse this in greater detail with a wide range of approaches in work which is in press and continuing. Lastly, we discuss the nature and intent of computational modelling of cognition using acoustic and music- or information theoretic data streams as predictors, and how the music- or information theoretic approaches may be applied to electroacoustic music, which is ‘sound-based’ rather than note-centred like Western classical music.

Robert Witkin

The development of modern business and administrative organizations that are formally rational and technical in their structures and operations has given rise to the false conclusion that the aesthetic dimension does not figure at all in their making. The present paper argues that the opposite is the case, that the organization as a ‘rational-technical machinery’ gives rise to an aesthetic imperative characterized by those familiar elements of modernist design: the sharpness and simplicity of line, the suppression of color, the smoothness and hardness of tactile values, and the preference for planar forms. By such aesthetic means, modern organizations successfully cultivate, in their members, a presence through which the organization is made and re-made; this presence is characterized by the separation of head from body, of work life from private life, of rationality from sensuous values, of production from consumption, and of organizational function from personal expression.

José Luis de la Fuente Charfolé

Considerar la recuperación y estudio de documentos descriptivos un elemento fundamental de la reconstrucción y revisión histórico-historiográfica de la práctica musical en general, y catedralicia en particular, es un tópico que debe revalorizarse como maniobra crítica. A tal efecto, en el presente artículo, la documentación trancrita aporta datos esenciales para la crítica cualitativa de los primeros fondos polifónicos de que hay constancia escrita en la Catedral de Cuenca. A nuestro entender, el contenido de los presentes inventarios trasciende la simple cuantificación de partituras y certifica que la calidad de la capilla musical conquense, desde comienzos del siglo XVII, fue equiparable al de otras capillas hispanas de mayor notoriedad.

Oliver Schwab-Felisch, Hans-Ulrich Fuss

Freya Bailes

The author responds to points raised in Andrea Halpern’s commentary, which appeared in Vol. 2, No. 1 of Empirical Musicology Review. Discussion focuses on the apparent contradiction between self-reports of veridical mental imagery of musical timbre, and cognitive constraints on temporal memory for multidimensional sound.

Hamish Henderson

Almudena Ocaña

Ante los numerosos cambios que se han sucedido en los contextos educativos y en el mundo profesional desde la creación de la figura del maestro especialista en Educación Musical parece necesario conocer cuál es la situación de estos profesionales, cómo han llegado hasta ella y cuáles son sus demandas y necesidades, de manera que se puedan configurar propuestas formativas más afines a la realidad educativa. En este sentido trabajamos en esta investigación con un grupo de maestras que accedieron a la especialización a principios de la década de los noventa, abordando el estudio de su desarrollo profesional desde un enfoque biográfico-narrativo.