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The article presents the audiovisual version of the Organ concerto by composer Dmitry Kitsenko – the work which is acting at different stages of his creation in various genre forms, causing a kind of supercycle, consolidated by intertextual connections. Multimedia transformation of Concerto by introducing the visual range based on the works of A. Dürer modifies the basic concept of this work which requires a new approach to its analysis. The author defines its main directions and describes the main features, with an emphasis on the screen material and its relationship with the musical component
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The article refers to the life and creation of Bob Dylan, singer, painter, writer and . composer. The 2016 Nobel Prize in Literature was awarded to musician Bob Dylan for creating new poetic expressions within the great American song. His influence on contemporary music is deep and is the source of inspiration of many books.
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The article is as a family album that cover the life’s chronology and the creative activity of many famous violins and valuable Romanian instrumentalists. It is a memory and remembrance lesson of those who were and are Romanian rhapsodes of music.
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The article refers to one of the most important phases of individual study of choral music – analysis of choral score. The authors give a plan which can help students in elaborating such analysis. The beginners of choral art will find some guidelines regarding the modalities of drawing up of choral music score analysis
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This attempt to inventory all 1,964 songs performed at the seventy Estonian, Latvian and Lithuanian National Song Celebrations (1869 to 2014) identified twelve songs which are most representative of Song Celebrations tradition as a whole. These are songs which were remembered and repeated across different epochs of Celebration history (Tsarist, Independence, Soviet, and Renewed Independence). Song Celebrations heritage is measurable, in retrospect. At any Song Celebration, the number of songs from previous Celebrations can be counted to assess if the concert is more or less heritage-oriented.
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This research was executed to indicate listening and playing habits of first grade and fourth grade students in their first and last year who study at Faculty of Education Music Department of Teaching Fine Arts of Niğde Ömer Halisdemir University. Through this aim, semi-structured interview form was prepared for students who continue their education at Teaching of Music Department in 2016-2017 Academic year to determine listening to music and playing instrument habits of first grade and senior students. After being answered by students, content analysis was done for questions. For this research, listening and playing habits were determined by making interview with thirty-seven first grade students and thirty-two senior students which totals sixty-nine students. In conclusion, it was detected that first class students and senior students don’t play classical music with an instrument although major of them listen to this kind of music.
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The aim of this paper was by relying on the relevant theoretical sources to make scientific theoretical reflections on positive effects of exercising and performing motor activities accompanied by music. The starting point was the fact that motion, as the basic motor unit of movement, is an accompanying element in the genes of children, an inseparable part of their lives, because a healthy child feels and demonstrates an instinctive need for movement and play. Furthermore, we relied on the assumption that physical training is an essential component of physical education, and that its application presents exercising. We derived the conclusion that different factors contribute to positive effects. Therefore, apart from professional systematic preparation, the attitude toward motor activity and the outcome of work depends on the personality and motivation of an educator, who should develop students’ kinesiological knowledge, skills and habits, and thus affect their health.
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The aim of this paper was by relying on the relevant theoretical sources to enlighten the role and significance of counting-out rhymes in the development of preschool children’s musical abilities. The starting point was the fact that contemporary music pedagogy more often maintains the stance that all children are quite musically talented and capable of performing musical activities, although their achievements are of unequal quality. It is emphasized that a child’s musical ability is demonstrated through musical sensibility (hearing which implies sensitivity for the height and strength of musical tones, the sound colors, the relationship between tones based on their length) and the arousal of interests in music (which as a cognitive, emotional and voluntary reaction of a child to music can be interpreted as children's musicality). It is also pointed out that counting-out rhymes, as a type of musical activities, present the child’s most musical poetic, rhythmic and metric creativity, and that their specificity is that the counting-out rhymes stand out as children's creativity mirroring the beauty (educational, emotional, aesthetic) in the unbreakable bond between the creators and the performers of the same content within the same age range.
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Virginia Satir — who exerted a significant influence on the development of psychotherapy in general, and family therapy in particular — one of her books entitled The New People Making. In the above book, she argues that the family plays a unique role in development of man in all its dimensions — physical, mental and spiritual. With this in mind, an important research problem was considered to explain the relationship between the quality of functioning of the family system and the development of the creative personality of the individual. This article attempts to answer the question about the role of the family environment in the process of shaping the creative personality of one of the most outstanding Baroque composers — Johann Sebastian Bach.
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The paper discusses an artistic cooperation between Vienesse composer of classical era Carl Ditters von Dittersdorf, connected with Silesia for at least a quarter of age due to his duty at the court of Philipp Gotthard von Schaffgotsch, the bishop of Wrocław in his estatein Javornik and two Silesian monastic centres in Nysa and Bílá Voda. At the bishop’s court there was a person of great significance, Salvatore Ignatio Pinto, Jesuit and local confessor,the author of many librettos to Dittersdorf’s early operas and oratorios (eg. Esther and Hiob). The local aristocracy (Hoditz and Chorinsky) also kept their own musicians who collaborated with church and monastic areas of that region.The Piarists in Bílá Voda were focused on theatrical and musical activity, mainly in theirmonastic school. It is known that Dittersdorf had close contacts with the local regens chori —father Antonin Brossman (p. Damaso a San Ignatio), who not only influenced Dittersdorf’s church music style, but also raised lot of famous composers as Wenzel Müller. There is nosource proving Dittersdorf’s contacts with the closter of the Order of the Holy Sepulchrein Nysa. However, the preserved musical collection shows a huge range of the repertoireof Javornik’s court director. Moreover, probably thanks to the Dittersdorf acquaintance with Nysa’s regens chori Ignaz Pohl and prior Jacob Martini, lot of his pieces were copied, among which contra facta of operatic and oratorio arias must be highlighted.
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Swearwords and vulgarisms are traditionally considered to be taboo words, which is indeed true when observed from the perspective of standard language and standard language policy. However, in hip-hop, the criteria mentioned above are not applicable since the usage of such lexis is a constant feature or, more precisely, ‘the ID’ of the genre. In that sense, the lexis of swearwords and vulgarisms is a ‘norm’ typical for the music genre, but also a means to shock the public by protesting against the Philistine mentality and expectations, and consequently, revolt against the society as such. Therefore, the role of such lexemes in hip-hop is primarily expressive. At times, they have an identification role, when observed as discourse markers found on the margins of the society.
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New trends in the measurement technology of music and its therapeutic effect are proving once more the scientific approach of music therapy, its importance and recognition as a therapeutic method in medicine, psychology, and education. This paper is an overview of the elements that cause music therapy to be considered a scientific method. We start by defining music therapy and its area of use and continue with the research, measurement technology and examples of application at Transilvania University of Braşov, in the Creativity Laboratory. The new technology presented includes medical instruments, nuclear technology for diagnosis, and recording and measuring equipment of the body’s reactions to music. The aim of this study is to help music therapists in finding scientific ways of choosing the proper and most helpful method and music in therapy.
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Auralbook is an initiation tool used to educate and train the aural skills. It was designed on different levels of approach and is an interactive electronic music book. This software was appreciated in many countries as it became acknowledged in the education systems worldwide. Auralbook was awarded the following distinctions: Grand Award Winner - Asia Pacific ICT Award, Gold Award Winner - Asia Smartphone App Contest, Gold Award Winner - Hong Kong ICT Award, Creativity and Innovation Award Winner - HK Awards for Industries.
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The paper undertakes to highlight a few aspects of electroacoustic music performance according to the genres and sub-genres created by the composers of the second half of the 20th century and the situations in which the performers communicate their artistic intentions on the concert stage. Composer Adrian Borza’s experience in performing his own electroacoustic works completes the classification and description of this complex phenomenon which still awaits clarification and scientific fundamentation, bringing to the work an original, personalized contribution.
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With the aid of a BCI conceived and developed by the research team, EEG parameters are streamed from the Emotiv EPOC headset to generate sound algorithmically. Parameter translation is performed by eegOSC, and the stage music is generated through EEGmus, two original pieces of software developed within the project.
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The challenging side of the spectral synthesis is to integrate an advanced and versatile technology into music composition, which brings a twist in computer synthesis, that is, the sound of image morphogenesis. The genesis of the sound object resides in visual forms, by assigning sound qualities – pitch, duration, loudness and panning – to a point or line or surface and to their own brightness and color. As a result, the graphical image is transformed into sounds. In this respect, the author’s works Drones II (2012) and Increat (2003) – the latter inspired by a painting by the visual artist Claudiu Presecan, are examples of music composition positioned on the border of the audio-visual and technology domains.
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Contemporary choreographers are more and more aware of the power to capture attention not through the esthetic value of the dance, not through its emotional force, but instead by the “conceptualization” of the human body, which becomes a social and anthropological pattern. In the 21st century the human body transcends from the hyper-organic ballet body to the abstract body, from the negation of the flesh to the technological body. The development and generalization of information and communication technologies have determined the digital instrumentalisation of the contemporary dancer’s body and algorithmized choreography. William Forsythe proposes a cognitive method for computerized dance composition, from a mathematic, geometric, organized point of view. Through abstract and algorithmized choreography, through de-structuring the organic quality of the body movements, Forsythe creates a methodology of dance composition that enables artists to discover new ways to evolve. His ample scientific perspective inside the art of choreography leaves behind all cultural and artistic hindrances.
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Computer assisted composition is a phenomenon which has become more and more popular amongst contemporary composers in recent years. An example of great artistry in using information technology as a part of the creative process is demonstrated in the piece Dead Girl (Requiem E) by Austrian composer Matthias Kranebitter. The scores for both instruments (flute and electric guitar) as well as the accompanying tape have been generated using the software called AC Toolbox. This results in a highly interesting and intriguing sound which however does not lack the human element.
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