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This paper discusses the connection between categories of space in music, music production and lifestyles. The relations between the symbolic space of social connections and musical contents in the social space of various status interactions is complex and contradictory. Category of space in the music еxists in four forms. Categories of space in the description of the experience of the musical works, as well as in the way of music production (spacing) are the integral part of the special way of consumption of these works (home Hi-Fi), and represent the social status, ways of cultural consumption and habitus in general.
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Richard Clayderman and André Gagnon are two personalities of consumer cultmusic, attesting the power of sound art to impress the great masses of the public. Theirstylistic features have common elements and deserve to be caught in a musical analysis thathighlights the sound way that creates value in miniature genres with great audience.
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The present study is a tribute paid to Maurice Ravel’s musical ingenuity and craftsmanship as is evident in the second part the Concerto for Piano Orchestra in G major. The composer expands the conceptual interpretation of metre and allows it a freedom similar to that of rhythm. Within this context, a comparison with geometrical shapes and the angles from which they can be viewed can easily be accepted. Ravel shows how abstract metric thinking is completely assimilated by the expression of the aesthetic experience he aims at conveying to the public. Thus, music has an ethereal slightly melancholy texture, pervaded by a unique French “flavour”.
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Through this foray in the world of the four Nocturnes of Francis Poulenc, I have highlighted in particular the importance of the study of expressivity and of musical dynamics as analytic observations regarding the usage of the dynamic parameter. The perception of the dynamic aspects, the deciphering of the meanings and their interpretation determines the correct rendering and conveyance of the artistic expressivity. The value of the emotional message is brought forth only through a performance that can reflect the compositional desires and the emotions of the composer. The correspondence between the dynamic indications present in a musical work and the other parameters involved in the musical whole (the melody, the harmony, the rhythm etc.) endow uniqueness to the compositional language – they become defining when it comes to rendering the affective intensity of the musical discourse and they therefore enhance the sonorous expressive effect. The task of the performer, other than to master their instrument, is to unveil these "connections", to find their corresponding expression.
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In our approach, we start from the conquests of the Baroque music regarding thearchitectural pattern of the sonata, following its evolutionary path along with the flowering ofkeyboard instruments and the creation standard set by Scarlatti who, in his time, named his 555Exercises of great virtuosity, Sonatas. Starting from the 17th-18th centuries from the two types ofsonata - da camera and da chiesa, we reach the time of crystallization of the instrumentalsonata genre and form during the Viennese classicism of Haydn, Mozart and Beethoven. One ofthe great innovators in the field of sonata form and the setting of the well-known pattern oftoday is Carl Philipp Emmanuel Bach. In his turn, Haydn will approach the sonata from both astandalone and applied to chamber, symphonic and concert music. We follow the architecturalchanges of the sonata onto new horizons, from Beethoven to Schubert and Liszt. Synthesizing themetamorphoses suffered in the evolution of the sonata genre and form, we observe the tendencyof mirroring at its level the distinct elements in the creation of each composer.
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Globalization and new technological changes - processes that have accelerated inthe last 20 years together behind a new world economy "driven by technology, fuelled byinformation and driven by knowledge. Extending this new global economy has majorimplications for the structure and goals of educational institutions. Since the period oftopical information continuously decreases and the level of access to it increasesexponentially, the educational system cannot remain focused on sending a rigid set ofknowledge from teacher to student in a fixed period of time. After Alvin Toffler, "Theilliterate XXI century will not be those who cannot read and write but those who cannotlearn, learn and learn again." A diversified curriculum by introducing digital information andgain new modern methods of teaching, learning and assessment, will inevitably givecharacter education Romanian knowledge society in which it exists. Design content of schoolsubjects without serious analysis of accessibility and tackling them superficial, remainwithout positive effects in terms of musical education and, especially, will feel the effects ofsuperficiality.
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The musical-rhetorical figure possesses a rich area of representation, going from the "decoratio" function to the semantic inversion, in accordance with the Doctrine of Affections (Affektenlehre). Since the Baroque period, there have been many attempts to group musical figures by their nature and rhetorical functions. The Doctrine of Affections facilitated the transfer of the expressiveness of the figure from the vocal to the instrumental. A close connection between the rhetorical figure and the affections appears in Bach's "Orgelbüchlein". The set of 46 Chorale preludes for organ, BWV 599-644, constitute a veritable dictionary of expressive constants that can be found in the religious or even secular works composed by Bach.
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The term archetype may be defined as the original model of things and represents “an inventory of human experiences, but also of the experience accumulated by lower forms of animal life”, manifested as “symbolic elements in dreams, in the hallucinations of mad people, in myths, in folk legends. It also operates as forms or schemata organizing individual experience” (Encyclopaedia 2004, 62).Despina Petecel Theodoru notices that each creative phenomenon is ultimately based on two or three antique concepts which act as a matrix: mimesis (imitation)2 and arché (the archetype), whose sole purpose is alétheia (the truth) (Petecel 2003, 1).This is the foundation of an important orientation in the cultural life of the 20th century – archetypalism –, displayed in many branches of art (music, painting, sculpture, philosophy, literature).
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We can trace back to the pre-classical era pieces written for keyboard instruments but encompassing sonorities typical of other instruments. In Scarlatti`s Sonatas we can often perceive flute, oboe, horn, violin, guitar sonorities and so on. At a more complex level, in Bach`s works, owing to the polyphonic style, we find different simultaneous lines that can be associated with various instruments. In Haydn’s work, especially in the last Sonatas, there is a certain orchestral sound, whereas in Mozart’s, the situation is even more complex due to the notably vocal character of his melodies. However, the orchestral sonority fully reveals itself in Beethoven’s piano works, due to the existent symphonic structure, based on the continuous and more and more intricate development of the sound form, resulting in the crystallization of the sonata form, which is the foundation for music written not only for one or two instruments, but also for large orchestras and chamber music ensembles.
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The polyeleos Cuvânt bun [A Good word], thus conceived by the contemporary composer Horaţiu Alexandrescu in order to be sung by male choirs, develops, harmoniously and polyphonically, an old psaltic chant written in the middle of the 19th century by the protopsaltis Kiril Arvinte from Ciolanu Monastery in Buzãu and published by the archdeacon and musician Sebastian Barbu-Bucur in his volumes of church sacred chants. The composer creates expressive musical images, that send an inner state of peace and prayer, by rigorously respecting the functionality of the melodic formulas, rhythm and meter of the fifth tone; it is, thus, avoided, the sonoric spectacular which has nothing in common with the orthodox worship space.
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The article is the first Polish-language discussion and analysis of the contents of the eighteenth-century textbook by Robert Broderip regarding the rules of playing the piano and harpsichord. The main research emphasis has been placed on hermeneutic analysis of its content in two mutually complementary aspects: historical-musicological and executive (didactic). The article also briefly discusses the history of the creation of the pianoforte and outlined the contribution of the author of the discussed textbook to the development of didactics and methodology of playing the instrument. In addition, perspectives on the use of Broderip’s recommendations in contemporary methodology and the teaching of the pianoforte are outlined.
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The article discusses Johann Kuhnau’s fourth keyboard sonata, Der todtkranke und wieder gesunde Hiskias (The Mortally Ill and Then Restored Hezekiah), from his last volume of six keyboard sonatas published in Leipzig in 1700, known popularly as “Biblical Sonatas.” Titled as Musicalische Vorstellung einiger biblischer Historien (Musical Representation of Several Biblical Stories), the set presents a remarkably thorough and detailed musical depiction of selected scenes from the Old Testament. This is also a rare collection of keyboard music to provide a detailed narrative commentary, consisting of verbal synopses of selected stories in German, which preface each sonata, and commentaries in Italian written into notation, which underline portrayed situations, events and affections. To examine the plot-based narrative underlying the storyline of this particular sonata, some authentic discourses have been taken into consideration for analytical purposes. These included the composer’s foreword to the collection of his “Biblical Sonatas,” synopsis of the story depicted in the fourth sonata, and a comprehensive theory of musical rhetoric and the doctrine of the affections found in various 17th and 18th century sources. In this article, the author specifies distinct musical-rhetorical figures that resemble (by analogy) or refer to certain extra-musical objects or phenomena and serve as vehicles for creating different moods and establishing the atmosphere. Depending on which narrative element – action or affections – is brought into focus in each of the six sonatas, the author distinguishes between two types of sonatas, namely ‘action sonatas’ and ‘affective sonatas.’ Affections and shifts in mood experienced by Hezekiah make an important narrative element in the storyline of the fourth sonata. Hence this particular sonata falls under the category of ‘affective sonatas.’ The analysis of this sonata revealed that the narrative is constructed therein in several layers. Firstly, there is a verbal layer: to depict the story in detail and with much consistency, the composer thought it necessary to accompany notation with the synopsis of the story and verbal commentaries. Moreover, quotations from the Protestant chorale Ach Herr mich armen Sünder (Ah Lord, poor sinner that I am) imply verbal connotations of their verses. Secondly, it contains a musical-affective layer: musical devices (such as musical-rhetorical figures, key, rhythm, metre, and the like) are employed there to convey the indicated affections, such as wailing (lamento) or, in other words, sorrow, confidence (confidenza) and joy (allegrezza). The author observes that many compositional choices made by Kuhnau adhere to the standard methods of expressing affects as they were defined in the Baroque treatises. Thirdly, there is an associative layer: certain fragments and elements resemble (by analogy) and refer to extra-musical objects and/or phenomena, such as Belshazzar’s face turning pale and his limbs trembling in terror, the sesquialtera ratio (3:2), which symbolizes the numerical proportion of steps on Ahaz’s sundial and the years of Hezekiah’s life. The alternating musical textures, normally associated with sadness (adagio) and merriment (allegro), can be also mentioned as a characteristic narrative feature in this sonata. Although Kuhnau claimed to have depicted Biblical stories according to his own imagination, the analysis revealed that his writing in this sonata does not veer away from the typical musical vocabulary of the Baroque era, which nowadays requires a more sensitive ear and keener insight into compositional conventions of the period.
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The goal of this article is to show the peculiarities of Julius Juzeliūnas’ teaching methods. The specificity of composition as a discipline and its creative character naturally calls for an individual attitude to it. The qualitative survey method was applied for research. The composer taught creative work between 1952 and 2001, and over fifty students who studied under him graduated from the Lithuanian conservatoire. Adding up the creative potential of all of his students, most of the Lithuanian musical events of the last decades are covered, and it can be seen how they have shaped and continue to shape our music and reaction to it in a wider environment. Some of their compositions also receive response on a wider scale. Juzeliūnas’ school was far from being dogmatic. The term “multivector” can aptly define the results of his teaching methods as many different forces have to be taken into account: the expression of the professor’s individuality and his aesthetic principles, the development of the language of Lithuanian music, students’ individualities, and finally the historic turning point in Lithuania that changed the social relations in the country, globalisation challenges etc. Juzeliūnas applied his teaching methods individually for every student and he was open to innovation. Evaluating the creative maturity and relevance of their earlier pedagogue today most of the respondents mentioned the same most popular works – the African sketches, the symphony “Lygumų giesmės” (Songs of the Plains), and the opera “Žaidimas” (The Game). Juzeliūnas’ theoretical book “Akordo sandaros klausimu” (On the Structure of the Chord) and his encouragement to others to pursue scientific research also had a great influence.
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This study aims to survey the opinions of viola instructors, who have worked at Music Education Departments of Education Faculties’ Fine Arts Departments in Turkey during 2016-2017 academic year, on the usage of Hans Sitt Op. 116 “15 Etudes for Viola” method. This work was deemed worthy of examination due to being written solely for viola, as opposed to others which were converted from violin methods. The research was conducted using descriptive survey method; qualitative data was obtained through literature review, and quantitative data by a 15 question poll that utilizes 5-point Likert-type scale. In questiannaire “Kruskal Wallis Test” was used to determine whether there's a meaningful difference between methods in terms of their significance for lecturers. Additionally Duns Test, a comparison test for multiple variables, was applied to detect which methods caused the difference. The study revealed while instructors generally recognize the method, they don’t widely utilize it as education material.
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In this study, the effects of folk songs, which were arranged for piano in piano education, on the technical, musical and cultural development of the students, the effect of the teaching profession and the development of our national music vocabulary were investigated. Because it is thought that the usage of folk songs, which are arranged for piano education, will directly affect the motivation of our country students positively and benefit. In addition, it is aimed to find out whether folk music (folk songs) shaped in Anatolia during the centuries will contribute to the success of students in the current educational model. With this study, it is also aimed to contribute to the ongoing piano education programs. The literature was searched for this research and the necessary theoretical information was obtained. The universe of this study is the Department of Music Education students in Turkey, the sample consisted of 101 pre-service teachers selected from each undergraduate class considering a balanced number distribution in Gazi University Music Education Department in 2018-2019 Academic Year. As a result of the research, it was concluded that giving more importance to the folk songs prepared for piano during the piano education at the university would contribute to the student's motivation, success and learning more.
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Râkım Elkutlu is an important figure of the 20th century, who has brought nearly 600 religious and nonreligious works such as Mevlevî Âyîn-i Şerîfi, Tevşih, chant, composition, ağır semai, yürük semai, song, folk song, march to Turkish music. His value in Turkish music is not limited to the quantity of works he produces. He is also a valuable craftsman with a new tendency in terms of melodic style and composition character, producing works that differ in terms of mode, form and style. He successfully uses eight chant, four tevşîh, a Mevlevi Aîn-i Şerîfi and three different forms in the area of Religious Music. The purpose of this study is to examine the tonal and technical understanding of Rast Tevşîh belonging to the craftsman by examining it in terms of tone and overage, and to show the basic qualities that make it a school for Turkish Music. This situation will contribute to the development of analytical researches and the development of artist candidates who are educated in Turkish Music Education institutions. In order to accomplish this aim, notes of different copies of Rast Tevşîh were transferred to the computer environment and the work was taken as a whole in the determination of mode and overage. As a result of the study, melodic movements, condiments and mode overages in Tevşîh were analyzed in 14 chapters by considering the basis of the screen, and the composer's overages compatible with Rast mode were found.
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The study was conducted to examine the effects of voice training exercises on speaking abilities of preservice classroom teachers. The study group, created on a voluntary basis, consisted of 10 students who took “Music Education” course at the department of Classroom Teaching in the Faculty of Education, Erzincan University in the fall somestre, 2015-2016 teaching year.Voice training exercises that include relaxation, posture, respiration, resonance, phonation and articulation were applied to students in an eight-week long experimental research. In this study semi-structured interview form was used to obtain the views of the preservice teachers to evaluate effectiveness of voice training lectures that applied after individual voice training exercises. In a result, voice training is positively influenced preservice teachers' speaking ability and contributed their awareness. According to this results, in preservice and service, voice training exercises were recommended for development of teachers' speaking abilities
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