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Esed Kovačević is one of the best interpreters of sevdalinka songs in Bosnia and Herzegovina, a diligent student of Safet Isović, Omer Pobrić and others. Although fitting, the text brings significant data from the artistic career of this excellent lover of sevdalinka songs.
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In Turkish Music, forms such as taksim, açış, gazel are free-rhythm tunes performed improperly. It is important to utilize music software in order to make the notes written as a result of dictation of free rhythm samples performed and dictation of these samples as much as possible. In the study, it is aimed to reveal how the finale music program should be used in dictating free rhythm tunes in a useful and correct way. In the study, the steps that need to be done for this purpose are explained with visuals. As an example of free rhythm melody, the açış in the entrance section consisting of 31 seconds and chosen by Davut Sulari in the uzun hava named Tan Yıldızı was chosen. In addition to the finale music software with version 26, Melodyne (version 4.1.0.001) and Sound Analysis Oscilloscope (version 1.1 / 7) software were used to measure the frequency values of the required pitches in the examined icrâ sample. In the study, the data were obtained using documentary scanning (document method) and interview technique. The MIDI / Audio feature in the Finale Music program has provided a practical use for dictating the relevant performance example. The feature in question can divide the sound file of the execution into the number of measurements and announce the notes written with these sounds simultaneously. This simultaneous operation and also the ability to listen to the divided audio files of the measurements at the desired repetitions facilitated the detection of the notes and increased the accuracy. It is thought that the study will benefit new studies on the subject.
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Aim. The aim of the research is to study the usage of primary school pupils’ self-expression skills acquired within music education in various social contexts. Methods. Theoretical research method – the analysis of literature, empirical data acquisition method – questionnaire. Statistical data processing has been carried out in IBM SPSS 23 programme, using the following data processing methods: frequency analysis; Mann-Whitney U test for the comparison of two independent groups; Kruskal-Wallis test for the comparison of three or more independent groups; Kendall rank correlation coefficient for the assessment of associations between two variables. Results. In the development of self-expression skills, an important aspect is the social performance criterion that is based on pupils’ need for self-expression in a social environment of practising music. Age and gender-based correlations in the assessment of a self-expression skill criterion "Social performance" indicate that with age pupils become more independent and engaged in music-related social activities. Girls are socially more active and emotional and engage in artistic activities more often. The research confirms the role of teachers in the development of pupils’ self-expression skills, promoting integration of formal and informal learning process and transformation in formal and informal learning environment. Conclusions. The dynamics and interactions of self-expression skills’ development factors (social, emotional and intellectual) defines pupils’ individual self-expression skills and development tendencies. Self-expression is important for pupils in social aspect, as it is related to socialisation in microenvironment (family) and macroenvironment (friends) and affects cooperation and communication.
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The article, students are presented with application suggestions, and the subject of choosing an original application in line with artistic concerns is explained. The article explains the need for the right applicator for pianist-students, and offers advice on how to make their fingers feel free and comfortable, it also talks about achieving the perfect touch, and ways to find the most suitable applicator, as well as new techniques. From the principles of correct shaping of the applicator, from the innovative and contemporary principles we observe from various schools; Examples of world classics composers' application features, visuals of their solutions, and explanation of application problems in general are mentioned. The article exposes some of the piano pieces by putting the non-fingering applicator issues to the fore, as well as how to teach a student to read a finger and teach him how to create and write an applicator. In the article, 1. Application problems in piano education (finger numbers, correct hand exercises on the piano and b.); 2. Methodical exercises with the student on the application (scale, arpeggio, tonality information and applying these studies on the piano and b.); 3. Some composers' application principles (Bach, Chopin, Liszt and b.); 4. The correct distribution of the passage between hands (examples on notation); 5. Application rules - mentioned.
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Turkish music, together with its deep-rooted infrastructure, contains works in various forms. “Ağır Semâî” and “ Yürük Semâî ” which are composed of oral music forms, are performed consecutively in the classical set order. In our research, the works in the forms of “Sâkî parıldasın şafak-ı meyle câmımız rast ağır semâî ” the form of "Nihâvend Yürük Semaî Ruhsârına aybetme nigâh ettiğimi " will be analyzed in modality. The works that we will analyze in our work were composed by Münir Nurettin Selçuk, the creator of a new school in Turkish music, composer, voice performer, choir conductor, and music teacher. Münir Nurettin Selçuk has contributed to Turkish music, which has been musical in the training of young generation artists in Turkish music directly or indirectly. Selcuk, who was always open to both traditions and innovations, performed important services in order to perceive, transfer and reinterpret music. Our study is based on the descriptive research method based on the scanning model. In our research, firstly, the life and composer personality of the composer Münir Nurettin Selçuk will be mentioned, then the mentioned makams, the forms of the works and at the last stage, the works will be analyzed in terms of modality.
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The education of erudite and creative thinking young people is one of the tasks of the disciplines of the aesthetic cycle, among which is the discipline Music. Musical activities perception, performance and composition of music provide rich opportunities for provoking children's imagination, forming a creative attitude and need for creation, and building a musical culture in future users of art. In order to realize these opportunities, all the three main musical activities, appropriately distributed in the particular lessons, must be present in the music courses in the general education school. This means that tasks to include these activities in the lessons must be provided in music textbooks. In the printed editions of the textbooks of Mincheva et al. (Mincheva et al. 2018a, Mincheva et al. 2018b) is provided a balanced realization of all three musical activities, and each textbook contains the basic information that students must learn, illustrated in an appropriate way, ideas for applying the musical activities, questions, tasks, illustrations on the topic of the lesson. Separately, in an electronic carrier, the musical examples for each lesson have been provided. The electronic textbook on music is a modern and useful, and given the new conditions and imposed by the circumstances online training and a necessary version of the textbook, which includes: The entire educational content of the printed edition of the textbook; The works for listening and songs for performing assigned to each lesson, placed on the page on which they are to be used; Additional questions, tasks, suggestions for student projects, schemes, photo galleries, videos. All these additional electronic resources (also featured on the relevant page) are designed to better mastering the learning information, a deeper insight into the character of the sounding music, developing musical abilities, intelligence, creativity, emotional responsiveness of students. In the present study are analyzed the tasks from the electronic textbooks on music for 3rd and 7th grade of the author team led by Prof. Penka Mincheva (Mincheva et al. 2018a, Mincheva et al. 2018b), which relate to opera, operetta, ballet, musical and rock opera. The analyzes are made in order to prove the effectiveness of a set of methods for teaching the musical stage arts in terms of: a) Mastering the educational information, which (since the subject music is part of the disciplines of the aesthetic cycle) is part of the general culture of young people; b) Encouraging the imagination and creative thinking of students. Among the tasks assigned to students are: After listening to the musical characteristics of Odette and Prince Siegfried the main characters of the ballet "Swan Lake", third graders are asked to describe how they imagine Prince Siegfried and the evil magician Rothbart, how they look, what they are wearing and what music in nature should sound when each of the two characters appears. A similar task is to compare Odette and Odile, who are very similar in appearance, but there is a small difference between them. Here, third graders are required to try to imagine what could be the difference that helps to distinguish positive from negative female character. Children are offered to recall the "musical portrait" of Odette and to assess whether the music changes at the moment when the daughter of Rotbart Odile, appears before the Prince instead of Odette. A task addressed to 7th graders is to describe how they imagine the stage costume of the main character in Andrew Lloyd Webber's musical "Cats", whether and how she will dance while performing her famous song "Memory", how the stage will be decorated and what lighting is appropriate at this time of the musical. In another electronic resource, seventh graders are asked to compare images from productions of "Cats" and the rock opera "Jesus Christ Superstar", indicating whether they find certain characteristic differences in the stage clothing of the characters from the productions of the two works, ie. to find one of the signs by which the two musical stage genres differ from each other.
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This article attempts to discuss borders of interpretation in the light of concrete poetry. The paper compares Franz Mon’s pieces to earlier works, especially A throw of the dice will never abolish chance by Stephane Mallarme. This research is conducted in the context of Mon’s and Mallarme’s metapoetic commentary, who both show interest in the categories of playing and musical scores. The article attempts to transfer this perspective into an interpretation of four texts by Mon.
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I discuss the repertoires and music released by street musicians in the context of the growth of the record industry, the globalisation and glocalisation processes. The article is based on field research conducted during my work on the PhD dissertation The Artist, the Busker, and the Beggar. Street Performing in 21st-Century Poland in the Light of the Theory of Performance. Apart from quotations from the literature, I use the empirical material collected during this research, including excerpts from interviews with street musicians, so as to afford my readers a more in-depth picture of the presented phenomenon. In order to outline a wider context, I also present historical data, in particular quotations from 20th-century press which refer to the repertoire of musicians performing in public space. For the needs of my analysis, I first define the scope of the notion of street music, and later discuss and characterise anonymous and authored works, as well as covers of music by other composers. I have paid special attention to the use of contrafacta (among others, of the song Pescador de Hombres, known in Poland as Barka – The Boat), and the possibility of introducing changes in texts written by other authors. I present the pieces of music performed by buskers in Poland, including foreigners who play and sing in our streets, frequently presenting the music of their own countries, but also commonly known repertoires, using such tools as they find available (for instance, Latin Americans playing Polish rock hits on the Pan flute). I provide a detailed characterisation of music released on records by street musicians, which are frequently amateur productions and therefore not in keeping with professional music publishing standards.
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Creaţia corală românească, una dintre laturile importante aleafirmării artistice a poporului român, merge pe direcţia tradiţiei iniţiate decompozitorii români încă din secolul trecut. Alături de celelalte dimensiuniale creaţiei româneşti şi creaţia corală preia elemente caracteristicemarilor epoci muzicale universale (baroc, clasic, romantic, impresionist)într-un mod creator. Articolul de față își propune o incursiune în istoriamuzicii corale românești din secolul al XX – lea, concentrându-se perepertoriul dedicat corului de copii.
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The definition of the opera, framing all its successful ways ofexpression, represents the incarnation of facts, feelings and characters inhistory and the human soul. The great musicians of the eighteenth andnineteenth centuries perceived the value of this musical genre, frequentlyapproaching it, but very few were those who managed to give emotion atthe expense of fame, vibrating alongside the purity of creation. The unity ofthis genre has allowed the rise of an inner reverberation, a utopian glow,perhaps, populating an entire universe. Therefore, it is easy to understandthe difficulty involved in addressing this genre, as well as the triumph ofthose blessed with the boldness needed for the solemnity of creation.
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Abigail from Nabucco by Giuseppe Verdi is considered by themajority of musicians and critics a like, as beingone of most difficult andat the same time extremely dangerous roles.Two of the main reasons why Abigail characterison the list of mostdifficult vocal roles are: the extremely demanding melodic lines with vocaljumps of up to two octaves and the extreme character and behavior ofAbigail. The aggressiveness present in almost every scene, reveal intenseintermittent dramatic feelings of rage, jealousy, hate, sadness, mean joyand despair.
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The last works of Richard Strauss, “Vier Letzte Lieder”, opulent by the geniality of the orchestration, by the complex melos andnot least by the beauty of the poems chosen, constituted in a cycle of arare elegance and creativity, crowning a vocal-chamber creation fromabove 200 works.
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This is the second of a four-article series started in the previousissue of RevArt. These four papers follow, as the title shows, thediachronic path of the instrumental doina “Dragostea ca pe Teslui” bycomparing three of its versions. This text analyses violinist Gică Chirea’sversion, son of fiddler Ilie Chirea. At the end of the four articles, generalconclusions will be drawn about variation and the various avatars of theinstrumental love doina “Dragostea ca pe Teslui” over a period of about80 years.
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This study is dedicated to my main strategies in compositionrelated to the correlation with the idea of tradition towards the newaesthetic that I founded and I called the Archetypal Trans-Realism.The introduction gives an overview on Romanian composers and theirfolklore-oriented works (from George Enescu onwards). The paper focuseson three personal directions in composition, namely: 1. exploringtraditional resources (both Romanian and universal), 2. archetypal andspiritual multi-level approachand 3. archetypal trans-realism.The study centres on some of my related works – the ongoing cycleInterferences, the pieces involving a spiritual approach – the oratorio Jesuswith a Thousand Arms or The Path of the Human Angel (dramatic ororchestral version) and four of the trans-real syncretic works–DynamicMeditation,White Lady’s Power Places, the opera The Dreamer Awake andthe Shamanic Prologue.This study is a guide for soloists and performers in generalto a newaesthetic orientation, the archetypal trans-realism, which offers aperspective on discovering the potential of artas a source of selfdevelopment and spiritual growth.
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Din Antichitatea europeană dată și până în Postmodernismulambilicat, peisajul artistic a avut în atenție numeroase tematici și subiectetratate în diverse viziuni sau concepții artistice unice. Teme majore precumconflagrația, moravurile epocii, despotismul (de pildă: bonapartismul,stalinismul etc.), absolutismul, îndeobște exercitarea unor execese aleautorităților sau în egală măsură a mediului ecleziastic, au edificatenunțuri plastice cu valoare artistică și intens mesaj social. Fără drept de echivoc, putem socoti afișul sau chiar ilustrația ca fiindrepere-vedetă în atributul de artă militantă. Un exemplu colosal în privințaexercițiului combatant îl indică instaurarea tiparului, pentru că doar pringravură s-a putut obține un semnificativ reviriment. Timp de câteva secole,gravura a fost un partizan incalculabil în exploatarea și diseminareaimaginilor și ideilor întreprinse.
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This paper considers aspects of late 20th-century experimental music in a post-digital era, where DIY approaches of hacking now outdated digital technology have enabled new forms of artistic expression – namely, glitch and aesthetics of failure. More specifically, it will examine American composer Nicolas Collins’ approach to hacking portable CD players as a means to imitate sound production methods of turntable artists from the1980s, in such works as Still Lives (1992). The paper will then explore Collins’attempt to orchestrate this work for acoustic instruments using open musical notation in Still (After) Lives (1997). This discussion is viewed through the lens of musical borrowing, tracing Collins’ material – a canzone by GiuseppeGuami – through its varying mediums and guises, highlighting the limitations of technology and notation as a means to rearticulate a musical fragment and the fruitful artistic avenues this opens. Through the examination of a musical material, the paper goes on to scrutinize the entanglement between human, material and machine agents. I propose that understandings of such practices might be extended from the post-digital to the post-human: a collaborative network of agentic ‘things’.
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The present article is composed by a number of considerations on the book of interviews with Mihail Diaconescu, man of culture, theologian, literary historian and aesthetician. The maestro’s thoughts are profoundly animated by his faith, but without orthodox “fundamentalism”. Mihail Diaconescu is an author who saves and restores the love of beauty and of homeland. The author’s major idea is that literature, music and arts are not just beautiful, but they also engage in the “theme of the existential journey” disguised in the most beautiful aspects of contemplation, interrogation and amazement.
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