El artículo se enfoca en el análisis estético y epistemológico de una pieza del compositor Sebastián Jatz, escrita exclusivamente con palabras, que tensionó, en el año 2011, los discursos y las prácticas en el campo de la producción de partituras de la música experimental chilena. La investigación propone que la notación verbal de aquella obra desestima una funcionalidad descriptiva referida a materiales sonoros, para dar paso a una forma de prescripción para la acción que enuncia unas condiciones de posibilidad que permiten desplegar un tipo de escucha que opera como una interrogante hacia la contingencia del lugar en el que se realiza.
{"title":"Seguimiento Continuo de Infinitos Puntos..., de Sebastián Jatz:","authors":"Santiago Astaburuaga Peña","doi":"10.5216/mh.v23.74061","DOIUrl":"https://doi.org/10.5216/mh.v23.74061","url":null,"abstract":"El artículo se enfoca en el análisis estético y epistemológico de una pieza del compositor Sebastián Jatz, escrita exclusivamente con palabras, que tensionó, en el año 2011, los discursos y las prácticas en el campo de la producción de partituras de la música experimental chilena. La investigación propone que la notación verbal de aquella obra desestima una funcionalidad descriptiva referida a materiales sonoros, para dar paso a una forma de prescripción para la acción que enuncia unas condiciones de posibilidad que permiten desplegar un tipo de escucha que opera como una interrogante hacia la contingencia del lugar en el que se realiza.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70684605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Opera performances are a collection of dialogues, dances, and songs, accompanied by a variety of instruments. The paper primarily focuses on the specific features of the influence of various Chinese violins on opera performances. The authors analyzed jinghu, erhu, dahu, banhu, and gaohu, as well as outlined the elements that make up the melody for a particular instrument in opera performances. The survey outcomes suggested that improvement of the performance program requires, as part of the staged action: adding a melody that corresponds to the production’s mood (30% of respondents); playing tunes on jinghu more quietly (27% of respondents); removing the tightness when playing banhu (25%); eliminating gaohu (18%). Further survey suggested that melodies were most clearly and correctly played with erhu (27%) and jinghu (23%), with the soft tones and piercing sounds which are typical for these violins. 10% of respondents believed that gaohu was played with many mistakes and was described by a lack of distinctive clear sounds. The respondents' perceptions of, and playing different violins in, opera suggested that the best quality performance was observed with erhu (0.92), jinghu (0.83), banhu (0.81), and dahu (0.79). The calculation results were compared using the Student's t-distribution, which suggested the similarity of values for almost all violins, except for gaohu, because playing it in opera performances was not melodious. The research findings are valuable to opera violinists studying the specific features of musical instrument and the harmony of all elements.
{"title":"The Role of the Violin and Its Elements in Chinese Opera","authors":"Q. Fu","doi":"10.5216/mh.v23.72254","DOIUrl":"https://doi.org/10.5216/mh.v23.72254","url":null,"abstract":"Opera performances are a collection of dialogues, dances, and songs, accompanied by a variety of instruments. The paper primarily focuses on the specific features of the influence of various Chinese violins on opera performances. The authors analyzed jinghu, erhu, dahu, banhu, and gaohu, as well as outlined the elements that make up the melody for a particular instrument in opera performances. The survey outcomes suggested that improvement of the performance program requires, as part of the staged action: adding a melody that corresponds to the production’s mood (30% of respondents); playing tunes on jinghu more quietly (27% of respondents); removing the tightness when playing banhu (25%); eliminating gaohu (18%). Further survey suggested that melodies were most clearly and correctly played with erhu (27%) and jinghu (23%), with the soft tones and piercing sounds which are typical for these violins. 10% of respondents believed that gaohu was played with many mistakes and was described by a lack of distinctive clear sounds. The respondents' perceptions of, and playing different violins in, opera suggested that the best quality performance was observed with erhu (0.92), jinghu (0.83), banhu (0.81), and dahu (0.79). The calculation results were compared using the Student's t-distribution, which suggested the similarity of values for almost all violins, except for gaohu, because playing it in opera performances was not melodious. The research findings are valuable to opera violinists studying the specific features of musical instrument and the harmony of all elements.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70684015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract: Konsert for violin og pop-band is an example of the appropriation of a popular music genre within western art music. By means of instruments such as the electric guitar, this composition presents progressive rock textures that function as a genre synecdoche. This article presents a perceptual and semiotic analysis of this work to determine the characteristics of these textures and the connotations that they contribute. This is supported by the study of its cultural context and the different audiences it is intended for, from its premiere at a rock festival to its survival within the chamber music scene.
{"title":"Chamber music for rock festivals: textural references to progressive rock in Ketil Hvoslef’s Konsert for violin og pop-band (1979)","authors":"Iyán F. Ploquin","doi":"10.5216/mh.v23.73305","DOIUrl":"https://doi.org/10.5216/mh.v23.73305","url":null,"abstract":"Abstract: Konsert for violin og pop-band is an example of the appropriation of a popular music genre within western art music. By means of instruments such as the electric guitar, this composition presents progressive rock textures that function as a genre synecdoche. This article presents a perceptual and semiotic analysis of this work to determine the characteristics of these textures and the connotations that they contribute. This is supported by the study of its cultural context and the different audiences it is intended for, from its premiere at a rock festival to its survival within the chamber music scene.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43847286","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This investigation applies posthumanist theories and ideas in musical composition, more specifically, to explore the possibility of achieving critical distance. To accomplish this, I explore two important concepts: defamiliarization, and the idea of being the other. Both ideas have been approached by scholars using various methods and terminologies (Rosi Braidotti, Theodor Adorno), as well as by composers (John Cage, Arnold Schoenberg, Luigi Nono, Ming Tsao, and Steven Takasugi). The result is a reflection on rethinking musical language in general, and how this became a trend in the music of the twentieth and twenty-first centuries.
{"title":"Being the other: defamiliarization processes in musical composition","authors":"Felipe de Almeida Ribeiro","doi":"10.5216/mh.v23.73322","DOIUrl":"https://doi.org/10.5216/mh.v23.73322","url":null,"abstract":"This investigation applies posthumanist theories and ideas in musical composition, more specifically, to explore the possibility of achieving critical distance. To accomplish this, I explore two important concepts: defamiliarization, and the idea of being the other. Both ideas have been approached by scholars using various methods and terminologies (Rosi Braidotti, Theodor Adorno), as well as by composers (John Cage, Arnold Schoenberg, Luigi Nono, Ming Tsao, and Steven Takasugi). The result is a reflection on rethinking musical language in general, and how this became a trend in the music of the twentieth and twenty-first centuries.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46614231","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The idea of a ‘universal music,’ which develops alongside the supposed hegemony of European classical music, has historical roots that have been expressed as disciplinary content since at least the Enlightenment. However, its current relevance is shown in processes of symbolic appropriation, which we analyze in the contemporary Brazilian scenario, where the dissemination of universalism as an unquestionable paradigm of cultural superiority guides the relationship with musical discipline and is shaped by the context of social, political, and economic fragility, which we will analyze in the case of the São Paulo Symphony Orchestra, concluding, finally, the difficulty of music in constituting itself as an epistemic object in this context.
{"title":"Universalism, or the fabrication of concert music","authors":"Marta Castello Branco","doi":"10.5216/mh.v23.72129","DOIUrl":"https://doi.org/10.5216/mh.v23.72129","url":null,"abstract":"The idea of a ‘universal music,’ which develops alongside the supposed hegemony of European classical music, has historical roots that have been expressed as disciplinary content since at least the Enlightenment. However, its current relevance is shown in processes of symbolic appropriation, which we analyze in the contemporary Brazilian scenario, where the dissemination of universalism as an unquestionable paradigm of cultural superiority guides the relationship with musical discipline and is shaped by the context of social, political, and economic fragility, which we will analyze in the case of the São Paulo Symphony Orchestra, concluding, finally, the difficulty of music in constituting itself as an epistemic object in this context.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45794815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
El presente artículo trata sobre cómo crear instrumentos virtuales que emulan instrumentos acústicos. A través del estudio de las diferentes técnicas de síntesis y muestreo sugiero que esta última es la más adecuada para tal efecto, dada su fidelidad estática y potencial para el realismo en los sonidos que genera. A pesar de ello, esta técnica también alberga importantes limitaciones que no nos permiten alcanzar el nivel de perfección deseado. De entre los numerosos instrumentos acústicos existentes, me centro en la guitarra flamenca, dado que hasta la fecha no existe ningún instrumento virtual dedicado a la misma. Con objeto de facilitar la comprensión del instrumento, ofrezco un amplio estudio de su naturaleza y timbre, así como el desglose del proceso de grabación de un instrumento virtual que emule este instrumento.
{"title":"Diseño de instrumentos virtuales: El caso de la guitarra flamenca","authors":"Jagoba Santos Bengoechea, Carlos Duque","doi":"10.5216/mh.v23.74380","DOIUrl":"https://doi.org/10.5216/mh.v23.74380","url":null,"abstract":"El presente artículo trata sobre cómo crear instrumentos virtuales que emulan instrumentos acústicos. A través del estudio de las diferentes técnicas de síntesis y muestreo sugiero que esta última es la más adecuada para tal efecto, dada su fidelidad estática y potencial para el realismo en los sonidos que genera. A pesar de ello, esta técnica también alberga importantes limitaciones que no nos permiten alcanzar el nivel de perfección deseado. De entre los numerosos instrumentos acústicos existentes, me centro en la guitarra flamenca, dado que hasta la fecha no existe ningún instrumento virtual dedicado a la misma. Con objeto de facilitar la comprensión del instrumento, ofrezco un amplio estudio de su naturaleza y timbre, así como el desglose del proceso de grabación de un instrumento virtual que emule este instrumento.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46433126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Apresenta-se um mapeamento de revistas acadêmicas brasileiras na área de Música no período 2000-2020. A identificação de novos títulos e o encerramento de periódicos demandou pesquisa bibliográfica-documental e interpessoal. Como principais resultados da pesquisa, destacam-se o levantamento de 23 títulos criados neste período, a importância dos Programas de Pós-Graduação para os periódicos brasileiros da área, os impactos da transição do mundo impresso aos meios digitais e uma mudança recente na justificativa para a criação de periódicos.
{"title":"Periódicos acadêmicos brasileiros da área de Música","authors":"Renato Borges","doi":"10.5216/mh.v23.73612","DOIUrl":"https://doi.org/10.5216/mh.v23.73612","url":null,"abstract":"Apresenta-se um mapeamento de revistas acadêmicas brasileiras na área de Música no período 2000-2020. A identificação de novos títulos e o encerramento de periódicos demandou pesquisa bibliográfica-documental e interpessoal. Como principais resultados da pesquisa, destacam-se o levantamento de 23 títulos criados neste período, a importância dos Programas de Pós-Graduação para os periódicos brasileiros da área, os impactos da transição do mundo impresso aos meios digitais e uma mudança recente na justificativa para a criação de periódicos.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41395570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Musical compositions require genre-specific sophisticated performance techniques. This paper focuses primarily on the features of Chinese pop and traditional music, based on the music genre’s influence on the vocal music. To achieve this goal, the analysis methods and the Shapiro-Wilk test were used. The study involved 218 music major students from the Beijing International Art School, Shanghai Normal University, and Guangzhou College of Music. The audience and respondents gave less preference to pop music (47% and 39%) compared to the traditional music (53% and 61%). The Shapiro-Wilk test revealed that, when it comes to pop music, the strongest preference was attributed to music geographical spread (0.867), and in the case of traditional music the strongest preference was for higher education (0.927). The paper established the specific features of different genres of music. The most common elements pertaining to pop music include: the option to apply a variety of music elements and singing techniques; rhythm stability; a simple form of vocal performance; extreme sound techniques; preserving the emotionality of the singing; a combination of Western and Chinese elements. Traditional music is characterized by a harmony of music elements and voice timbres, maintenance of the high-pitched voice, natural sound, throat singing, performance quality, preservation of Chinese traditional music elements. Traditional music instruction was the best thing for improving intonation (0.815), maintenance of sound quality (0.806), and development of vocal range (0.718). Pop music is known for a combination of various music elements (0.901), conveyance of the performance style (0.312). The paper’s practical implications boil down to determining the characteristic features of pop and traditional music, as well as elements describing vocal music. Further studies might involve a comparative analysis between Chinese pop music, traditional music, and Western pop and traditional music.
{"title":"Features of Singing in Chinese Pop and Traditional Music: the Influence of the Music Genre on Vocal Music","authors":"Mu Hu","doi":"10.5216/mh.v22.73137","DOIUrl":"https://doi.org/10.5216/mh.v22.73137","url":null,"abstract":"Musical compositions require genre-specific sophisticated performance techniques. This paper focuses primarily on the features of Chinese pop and traditional music, based on the music genre’s influence on the vocal music. To achieve this goal, the analysis methods and the Shapiro-Wilk test were used. The study involved 218 music major students from the Beijing International Art School, Shanghai Normal University, and Guangzhou College of Music. The audience and respondents gave less preference to pop music (47% and 39%) compared to the traditional music (53% and 61%). The Shapiro-Wilk test revealed that, when it comes to pop music, the strongest preference was attributed to music geographical spread (0.867), and in the case of traditional music the strongest preference was for higher education (0.927). The paper established the specific features of different genres of music. The most common elements pertaining to pop music include: the option to apply a variety of music elements and singing techniques; rhythm stability; a simple form of vocal performance; extreme sound techniques; preserving the emotionality of the singing; a combination of Western and Chinese elements. Traditional music is characterized by a harmony of music elements and voice timbres, maintenance of the high-pitched voice, natural sound, throat singing, performance quality, preservation of Chinese traditional music elements. Traditional music instruction was the best thing for improving intonation (0.815), maintenance of sound quality (0.806), and development of vocal range (0.718). Pop music is known for a combination of various music elements (0.901), conveyance of the performance style (0.312). The paper’s practical implications boil down to determining the characteristic features of pop and traditional music, as well as elements describing vocal music. Further studies might involve a comparative analysis between Chinese pop music, traditional music, and Western pop and traditional music.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44158760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sávia Leticia Menuzzo Quental, Maria Isabel Ramos do Amaral, Christiane Marques do Couto
O objetivo da pesquisa foi investigar as consequências da exposição de músicos a sons em suas práticas. Relatos de queixas ou sintomas auditivos de 28 músicos profissionais foram comparados com de 28 não músicos, todos com percepção auditiva normal. Os músicos apresentaram maior ocorrência de sintomas auditivos, especialmente o zumbido. Mesmo com a audição considerada “dentro dos padrões de normalidade”, sintomas ou queixas auditivas alertam para o risco a que músicos estão expostos e da necessidade de atenção à saúde auditiva nessa população.
{"title":"Queixas e Sintomas auditivos em normo-ouvintes músicos e não músicos","authors":"Sávia Leticia Menuzzo Quental, Maria Isabel Ramos do Amaral, Christiane Marques do Couto","doi":"10.5216/mh.v22.73177","DOIUrl":"https://doi.org/10.5216/mh.v22.73177","url":null,"abstract":"O objetivo da pesquisa foi investigar as consequências da exposição de músicos a sons em suas práticas. Relatos de queixas ou sintomas auditivos de 28 músicos profissionais foram comparados com de 28 não músicos, todos com percepção auditiva normal. Os músicos apresentaram maior ocorrência de sintomas auditivos, especialmente o zumbido. Mesmo com a audição considerada “dentro dos padrões de normalidade”, sintomas ou queixas auditivas alertam para o risco a que músicos estão expostos e da necessidade de atenção à saúde auditiva nessa população.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43453411","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper primarily analyzes aspects of college and university piano instruction based on cross-cultural music education. The paper established the elements that are most important for students to learn. 32 percent of students believe that implementing best practices would make a significant difference in the learning effectiveness. The survey revealed that only 5% of students have more than one month of full-time online learning experience. The findings suggested that 29% of the respondents developed creative thinking skills, and 26% of the respondents gained technical knowledge that contributed to strong improvisation skills. Data on productivity revealed that six out of eight study groups achieved a high level, and only group 3 (college) scored 19.6%, which is due to the lack of good grades among most students.
{"title":"Teaching Piano in Colleges and Universities Based on Cross-Cultural Music Education","authors":"Zheyuan Wei","doi":"10.5216/mh.v22.73227","DOIUrl":"https://doi.org/10.5216/mh.v22.73227","url":null,"abstract":"The paper primarily analyzes aspects of college and university piano instruction based on cross-cultural music education. The paper established the elements that are most important for students to learn. 32 percent of students believe that implementing best practices would make a significant difference in the learning effectiveness. The survey revealed that only 5% of students have more than one month of full-time online learning experience. The findings suggested that 29% of the respondents developed creative thinking skills, and 26% of the respondents gained technical knowledge that contributed to strong improvisation skills. Data on productivity revealed that six out of eight study groups achieved a high level, and only group 3 (college) scored 19.6%, which is due to the lack of good grades among most students.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-12-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42635952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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