Hasil untuk "Music"

P. Ekman

Expression is a term that has been applied to music in an extraordinarily wide range of senses; philosophers and musicologists alike remain sharply divided on what musical expression is and how it works. This essay gives a historical account of the ways in which music in and of itself—that is, music independent of words—has been regarded as expressive over the past three hundred years by surveying influences spanning Enlightenment theories of rhetoric and the imitation of emotions, Romantic aesthetics of subjectivity and self-expression, and more contemporary versions of contour, arousal, persona, and intransitive theories of expression. This review reveals the lack of a single satisfactory explanatory framework for musical expression, even while confirming musical expression’s enduring importance as “the soul of music.”

Urfan Saniylabdhawega Ridhwan, Rita Milyartini, Diah Latifah

The violin is proven to be able to build the positive character of a nation. Venezuela's experience with its program, El Sistema, where the violin instrument is learned by the wider community, has had a positive impact in terms of social and economic aspects, including a sense of empathy, cooperation, self-confidence and can help increase awareness of national identity. In Indonesia, the violin is known as a western classical musical instrument. This assumption is supported by the rise of violin course institutions that use eurocentric teaching materials. Learning from Venezuela's experience, an effort is needed to develop violin teaching materials that offer material related to Indonesian National songs, as an effort to build national character. As a first step, a review of beginner level violin books with high credibility will be carried out. The purpose of this study is to determine the characteristics of beginner level violin teaching materials. The research method used is analytical descriptive. This process is expected to produce the basics that need to be considered in the process of developing teaching materials, especially teaching materials for violin musical instruments. The researcher hopes to be able to inspire researchers who are developing music teaching materials through a content analysis process carried out by researchers to produce teaching materials with international standards.

Yawen Hu

The article considers the origins and the process of pianism in China. The relevance of the presented research is due to the contradiction that has developed in musical performance in China between the interest of pianists of various specializations, the attention of teacher-methodologists to the process of the formation of playing the piano, and the lack of awareness of musicians about the research in this area. The main emphasis is placed on the period from the middle of the 20th century to the beginning of the 21st century. The leading problem of piano culture in China in the period under study has been revealed: the discrepancy between the high level of development of technical skills and the level of development of the musical thinking of pianists. The characteristics of the activities of the most famous composers - representatives of the piano art of China have been offered. The article analyzes the influence of the piano work of European composers and musicians on the development of piano Pedagogy in China.The purpose of the research is to obtain the necessary scientific data for the further development of practical recommendations for studying the process of pianism in China. In the research the following methods were used: a holistic, structural analysis of the associative manifestations of the rich imaginative structure of the music of Chinese composers; analysis of various methods of learning to play the piano. As a result, the main trends in piano teaching in China have been revealed; actual recommendations for the development of the culture of piano performance have been formulated. The key findings. Learning to play the piano in China as a system for the development of musical thinking is built taking into account the ideas of the ancient philosophy of China. At the same time, there is a combination of national techniques in the musical pedagogy of China, and European “teaching techniques” of teaching playing the piano.

Rémy Campos

Perišić Snežana P., Rašković Božana M.

Integrative teaching represents a methodical process in which subjects are connected through a central topic, problem or experience of students, and during the teaching of a particular topic, the contents, principles, values and language of two or more subjects are applied. The aim of the presented research was to improve the work with students by identifying factors that affect their attitude towards interdisciplinary integration of content. The research was conducted on a sample of 109 students from the Faculty of Teacher Education and the Faculty of Arts. The results of the research show that the majority of respondents have a positive attitude towards integrative teaching and the integration of the content of the Serbian language and music culture, and that as such it is related to certain socio-demographic factors. The contribution of partial predictors shows that older respondents, with higher grades in studies and poorer material status, have a more positive attitude towards the integration of Music Culture content. The research partially confirmed the third research sub-hypothesis, while the first and the second were rejected. The basic research hypothesis has been partially confirmed. The implications of this research are reflected in the improvement of work with students whose socio-demographic characteristics influence the formation of a negative attitude towards integrative teaching and the integration of the content of the Serbian language and music culture.

Projo Sulaksono, Totok Sumaryanto Florentinus, Wadiyo Wadiyo

This study aims to analyze the educational values of that is implemented through the process of interaction in the musical play of the "Pantun Pitutur" song in the Suma Budhaya group performance. This study used a qualitative method with an interdisciplinary approach to sociology and education. The data were collected by using observation, interview, and document study techniques. The data analysis procedures used data reduction, data presentation, and data verification. The validity of the data used were triangulation, data sources, and theory. The results showed that in the musical play "Pantun Pitutur" there was a process of social interaction among fellow musicians, musicians with the Suma Budhaya group, and the Suma Budhaya group with the community. Social interaction occurs through communication and social contact symbolically by using language, signs, and body language. Social contact in this performance is primary and positive. The social interaction process that was impledmented contains several educational values to the community. The educational values include; 1). Religious Value; 2). Cooperation Value; 3). Pluralist Value; and 4). Responsibility Value. The results of this study can be used as a reference regarding the study of educational values.

Yuliya O. Glushkova / Юлия О. Глушкова , Inna V. Babayan / Инна В. Бабаян

The article offers a literary review of creative industries, outlines the problem field of research on this topic. The works are based on sociological, economic and philosophical ideas about creativity, art, creative industries and cultural space. The proposed theoretical framework sets the conceptual line of reflection of cultural capital. The authors emphasize the need to expand the problem field of creative industries, including such categories as cultural institutions, consumption and cultural capital. As one of the main problems of the study, it is necessary to note the definition of the heuristic component in the consumption of creative products and the accumulation of cultural capital by the population, the degree of participation of social cultural institutions in human life, the ability of integration potential to influence the formation of cultural consumption in the education system. The inclusion in school curricula of the humanitarian block – lessons of music, fine arts, as well as the collaboration of actors of all levels of education, ranging from general to professional, as well as additional education, with cultural institutions develops the space of culture, making the presence of youth obvious and attractive to different audiences activities of institutions. This collaboration is a resource for the translation and accumulation of cultural capital of the youth cohort. The article considers the focus transition of interest in the sphere of leisure: the movement of the recipient of cultural goods from the space of cultural institutions (theater, museums, concert venues) to the cultural scene of public spaces acting as platforms of shopping and entertainment complexes. Visiting such sites is a kind of compensator in the consumption of cultural institutions by social groups, since not only recreational, but also communicative and educational functions are enhanced. The shopping centers host art galleries, exhibitions, festivals, training workshops, seminars and workshops in various fields of art, creativity, education. One of the aspects of the creative economy is the problem of continuity of cultural values in modern society. In conclusion, we can conclude about the social importance of creative industries in employment, the development of local communities, small and medium-sized businesses. В статье предлагается литературный обзор по креативным индустриям, очерчивается проблемное поле исследований по данной тематике. В основе работы – социологические, экономические и философские идеи о творчестве, искусстве, креативных индустриях и пространстве культуры. Предложенный теоретический фрейм задает концептуальную линию рефлексии культурного капитала. Авторы акцентируют внимание на необходимости расширения проблемного поля креативных индустрий, включая в анализ такие категории как культурные институции, потребление и культурный капитал. В качестве одной из основных проблем исследования необходимо отметить определение эвристического компонента в потреблении творческих продуктов и накопление населением культурного капитала, степень участия социальных институтов культуры в жизни человека, способность интеграционного потенциала оказывать влияние на формирование культурного потребления в системе образования. Включение в школьные учебные программы гуманитарного блока – уроков музыки, изобразительного искусства, а также коллаборация акторов всех уровней образования, начиная от общего до профессионального, а также дополнительного образования, с культурными институциями развивает пространство культуры, делая явным присутствие молодежи и привлекательным для различных аудиторий деятельность институций. Данное сотрудничество является ресурсом для трансляции и накопления культурного капитала молодежной когорты. Рассмотрено смещение фокуса интереса в сфере досуга: перемещение получателя культурных благ из пространства учреждений культуры (театра, музеев, концертных площадок) на культурную сцену общественных пространств, выступающих в виде площадок торгово-развлекательных комплексов. Посещение подобных площадок является своего рода компенсатором в потреблении социальными группами культурных институций, поскольку усиливаются не только рекреативные, но и коммуникативные и образовательные функции. В торговых центрах размещаются картинные галереи, выставки, проводятся фестивали, обучающие мастер-классы, семинары и воркшопы в различных областях искусства, творчества, образования. Одним из аспектов креативной экономики является проблема преемственности культурных ценностей в современном обществе. В заключении делается вывод о социальной значимости креативных индустрий в сфере занятости, развитии локальных сообществ, малого и среднего предпринимательства.

Endang Wara Suprihatin, Dyah Pratamawati

This research studies the strategic conservation efforts to preserve the local image of wayang topeng or mask puppet as a traditional art performance. Ten years into the 21st century shows a great effort from the artists who joined the Wayang Topeng Malang dance studio, Asmorobangun led by Tri Handaya (43), in preserving its existence. This research studies the strategy carried out in preserving the association’s existence so it can continue, not only wayang topeng as traditional art performance but also as the professions of its artist. The efforts carried out shows an action which is systematic and modern. Therefore, the researcher is interested in exploring Tri Handaya’s effort in preserving wayang topeng communities to be able to hold monthly regular performances, establishing cooperation with the government and private sector, and serving various training for general public. Research method used was qualitative approach of single instrumental case study, which is Sanggar Wayang Topeng Asmorobangun. Data was collected with the use of interview, observation, and documentation. Data verification to establish validity was using source and method triangulation. Research results show that there are three strategic aspects in preserving local image: (1) following the tradition patterns of its predecessors, (2) conducting training for young generations, (3) designing an extensive promotional media and building relationships with stakeholders.

Sandra Mara da Cunha

Partindo da exploração dos sons produzidos pelo piano, crianças iniciantes no aprendizado desse instrumento têm material para se expressar musicalmente. Como em um quebra-cabeça em que as peças vão sendo acopladas umas às outras para formar uma imagem, temas inventados e organizados por elas dão forma a composições musicais em um jogo no qual elas são as protagonistas. Suas ideias, intenções e escolhas são acolhidas, incentivadas e orientadas e levam à aquisição da linguagem musical e pianística. Ao utilizar como dispositivo metodológico o estudo de caso, este artigo tem como objetivo refletir sobre a participação das crianças nos processos criativos, com base nos campos da educação musical e dos estudos da infância. Em um contexto educativo marcado pela integração de linguagens artísticas e por uma abordagem pedagógica na qual a construção de conhecimento acontece no compartilhamento de saberes entre professores-artistas e crianças, as invenções delas ganham vida e contribuem para a visibilização de seus modos de fazer música.

Выбыванец, Элеонора Васильевна

Самое известное произведение А. Шёнберга по причине сложности избранных музыкально-языковых средств, содержательной глубине и смысловой многозначности ставит перед исполнителями трудные интерпретаторские задачи. По мнению автора статьи, религиозные мотивы образуют важный идейно-образный и драматургический элемент этой «библии музыкального экспрессионизма», уникального средоточия философско-эстетических и музыкально-творческих представлений Шёнберга. Впервые данный опус освещается в аспекте особенностей религиозного мировоззрения композитора. Противоречивость последнего определяется ситуацией сознательного и трудного выбора вероисповедания (между христианством н иудаизмом), что не могло не отразиться на тексте и подтексте цикла. Выявленное соответствие музыкально-поэтической образности отдельных мелодрам религиозным исканиям композитора заставляет по-новому взглянуть на проблему содержательного истолкования цикла, расширив его устоявшиеся рамки.

Laura Veglia

In Mexico, indigenous’ culture vitality can be shawn by its presence in ambits far from academism, as music. We can consider at this purpose Lila Dawn’s musical production: during her career she sang both original songs and others that belong to mexican popular tradition, most of them in amerindian languages. In her work, multilingualism is always present: she writes in english and spanish; moreover, her albums contain songs in indigenous mexican languages, showing the power of preservation of these cultures.

Michael T Ullman, Scott A Miles, Robbin A Miranda

Although sex differences have been observed in various cognitive domains, there has been little work examining sex differences in the cognition of music. We tested the prediction that women would be better than men at recognizing familiar melodies, since memories of specific melodies are likely to be learned (at least in part) by declarative memory, which shows female advantages. Participants were 24 men and 24 women, with half musicians and half non-musicians in each group. The two groups were matched on age, education, and various measures of musical training. Participants were presented with well-known and novel melodies, and were asked to indicate their recognition of familiar melodies as rapidly as possible. The women were significantly faster than the men in responding, with a large effect size. The female advantage held across musicians and non-musicians, and across melodies with and without commonly associated lyrics, as evidenced by an absence of interactions between sex and these factors. Additionally, the results did not seem to be explained by sex differences in response biases, or in basic auditory or motor processes as tested in a control task. Though caution is warranted given that this is the first study to examine sex differences in familiar melody recognition, the results are consistent with the hypothesis motivating our prediction, namely that declarative memory underlies knowledge about music (particularly about familiar melodies), and that the female advantage at declarative memory may thus lead to female advantages in music cognition (particularly at familiar melody recognition). Additionally, the findings argue against the view that female advantages at tasks involving verbal (or verbalizable) material are due solely to a sex difference specific to the verbal domain. Further, the results may help explain previously-reported cognitive commonalities between music and language: since declarative memory also underlies language, such commonalities may be partly due to a common dependence on this memory system. More generally, because declarative memory is well studied at many levels, evidence that music cognition depends on this system may lead to a powerful research program generating a wide range of novel predictions for the neurocognition of music, potentially advancing the field.

Noman eNaseer, Keum-Shik eHong, Keum-Shik eHong

A brain-computer interface (BCI) is a communication system that allows the use of brain activity to control computers or other external devices. It can, by bypassing the peripheral nervous system, provide a means of communication for people suffering from severe motor disabilities or in a persistent vegetative state. In this paper, brain-signal generation tasks, noise removal methods, feature extraction/selection schemes, and classification techniques for fNIRS-based BCI are reviewed. The most common brain areas for fNIRS BCI are the primary motor cortex and the prefrontal cortex. In relation to the motor cortex, motor imagery tasks were preferred to motor execution tasks since possible proprioceptive feedback could be avoided. In relation to the prefrontal cortex, fNIRS showed a significant advantage due to no hair in detecting the cognitive tasks like mental arithmetic, music imagery, emotion induction, etc. In removing physiological noise in fNIRS data, band-pass filtering was mostly used. However, more advanced techniques like adaptive filtering, independent component analysis, multi optodes arrangement, etc. are being pursued to overcome the problem that a band-pass filter cannot be used when both brain and physiological signals occur within a close band. In extracting features related to the desired brain signal, the mean, variance, peak value, slope, skewness, and kurtosis of the noised-removed hemodynamic response were used. For classification, the linear discriminant analysis method provided simple but good performance among others: support vector machine, hidden Markov model, artificial neural network, etc. fNIRS will be more widely used to monitor the occurrence of neuro-plasticity after neuro-rehabilitation and neuro-stimulation. Technical breakthroughs in the future are expected via bundled-type probes, hybrid EEG-fNIRS BCI, and through the detection of initial dips.

Царёва, Евгения Сергеевна

В статье рассматривается музыкально-просветительская деятельность военнопленных Первой мировой войны в Сибири с 1914 по начало 1920-х годов. Опираясь на ряд неопубликованных источников, автор сосредоточил свое внимание на событиях музыкальной жизни Красноярска этих лет, вместе с тем результаты анализа научных исследований позволяют говорить о схожей музыкальной ситуации во многих других городах сибирского региона.

Mauricio Gómez Gálvez

P. Stoica, T. Söderström

Guzzetta Ce

S. Koger, K. Chapin, M. Brotons

Michael L. Mark

M. Stokes