Mateus Gervásio Brandão, Cristiano Aparecido da Costa, Eliton Perpetuo Rosa Pereira
Esta pesquisa, de cunho bibliográfico qualitativo, teve por objetivo analisar comparativamente, com base na Teoria Crítica Frankfurtiana, sob a ótica de Theodor Adorno, dois gêneros musicais diferentes: a música caipira e o sertanejo universitário. Tais gêneros foram analisados com base na discussão proposta por Adorno e Simpson a respeito da música popular, se valendo das categorias apresentadas por ambos, como a estandardização, pseudo-individuação, apresentação do material e fala de criança. O objetivo foi demonstrar o potencial (de)formativo de cada um desses gêneros e ressaltar qual deles possui uma maior possibilidade de contribuir no processo de formação do ser humano e também compreender qual o nível de influência da Indústria Cultural em cada um deles. Ao final das análises foi possível concluir que os dois gêneros em questão possuem uma forte influência da Indústria Cultural e devido a isso, o potencial de deformação humana em ambos é bem aparente, embora exista na música caipira uma contribuição um pouco maior para a formação humana que no sertanejo universitário.
{"title":"Da Música Caipira ao Sertanejo Universitário","authors":"Mateus Gervásio Brandão, Cristiano Aparecido da Costa, Eliton Perpetuo Rosa Pereira","doi":"10.5216/mh.v22.70772","DOIUrl":"https://doi.org/10.5216/mh.v22.70772","url":null,"abstract":"Esta pesquisa, de cunho bibliográfico qualitativo, teve por objetivo analisar comparativamente, com base na Teoria Crítica Frankfurtiana, sob a ótica de Theodor Adorno, dois gêneros musicais diferentes: a música caipira e o sertanejo universitário. Tais gêneros foram analisados com base na discussão proposta por Adorno e Simpson a respeito da música popular, se valendo das categorias apresentadas por ambos, como a estandardização, pseudo-individuação, apresentação do material e fala de criança. O objetivo foi demonstrar o potencial (de)formativo de cada um desses gêneros e ressaltar qual deles possui uma maior possibilidade de contribuir no processo de formação do ser humano e também compreender qual o nível de influência da Indústria Cultural em cada um deles. Ao final das análises foi possível concluir que os dois gêneros em questão possuem uma forte influência da Indústria Cultural e devido a isso, o potencial de deformação humana em ambos é bem aparente, embora exista na música caipira uma contribuição um pouco maior para a formação humana que no sertanejo universitário.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47677809","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 introduction of innovative assessment techniques for the French horn can improve the process of education. The objective is to examine the effectiveness of the proposed assessment methods for improving accuracy on the French horn. The research is based on the experimental design to evaluate the effectiveness of assessment methods using statistical data analysis and paired t-test. The research took place from January to June during the 2020-2021 academic year. The sample involved 183 students from three educational institutions in the People's Republic of China. A preliminary assessment found that the academic performance of students was low. Before the implementation of the proposed assessment methods, an average score was 20.63 points interpreted by the scholars as Do not Meet Academic Expectations. After the introduction of the assessment methods, the post-implementation scores of the academic performance increased by 41.3%. The findings were interpreted as a Satisfactory level of academic performance. The paired t-test revealed significant differences in student performance learning the French horn before and after the introduction of the new assessment methods. The average difference was 3.57 points. Thus, the proposed assessment methods for the French horn playing include (1) playing by ear, (2) Instrumental Scheme Processing, (3) a range practice, and (4) an introductory exam. The research demonstrates that the proposed assessment methods can be used as a part of the standard assessment developed for teachers that include different elements of effective teaching tools and methods.
{"title":"Innovative Assessment Methods for the French Horn: Increasing the Effectiveness of Education","authors":"N. Zhou","doi":"10.5216/mh.v22.71569","DOIUrl":"https://doi.org/10.5216/mh.v22.71569","url":null,"abstract":"The introduction of innovative assessment techniques for the French horn can improve the process of education. The objective is to examine the effectiveness of the proposed assessment methods for improving accuracy on the French horn. The research is based on the experimental design to evaluate the effectiveness of assessment methods using statistical data analysis and paired t-test. The research took place from January to June during the 2020-2021 academic year. The sample involved 183 students from three educational institutions in the People's Republic of China. A preliminary assessment found that the academic performance of students was low. Before the implementation of the proposed assessment methods, an average score was 20.63 points interpreted by the scholars as Do not Meet Academic Expectations. After the introduction of the assessment methods, the post-implementation scores of the academic performance increased by 41.3%. The findings were interpreted as a Satisfactory level of academic performance. The paired t-test revealed significant differences in student performance learning the French horn before and after the introduction of the new assessment methods. The average difference was 3.57 points. Thus, the proposed assessment methods for the French horn playing include (1) playing by ear, (2) Instrumental Scheme Processing, (3) a range practice, and (4) an introductory exam. The research demonstrates that the proposed assessment methods can be used as a part of the standard assessment developed for teachers that include different elements of effective teaching tools and methods.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48367429","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}
Chinese piano music is based on folk songs, Chinese poetry, and the ethnic style, which contribute to the expressiveness of the sound and refinement of the intonation and tonal system. The paper addresses the Chinese piano music and the role of composer Chu Wanghua in shaping contemporary piano traditions, using the ‘Sounds of the Temple’ capriccio suite as an example. Based on the direct method of standardization, the paper determined the significance of the parts of the ‘Sounds of the Temple’ suite. The second part (0.93) is most significant for displaying the piano music, because it involves the use of polyphonic sounds, imitating other instruments. The first part of the suite (0.87) is based on a linear representation of sounds, imitating the sounds of bells. The third part (0.69) centers around the use of slow tempo as well as major tone deviations. Significant elements of the suite (mirror reprise, rhythmic transformation, monotonous repetition of phrases and sounds, application of guó huà techniques, texture elements) were determined on the basis of the measured complexity and harmony of performance, as well as their influence on national traditions. A comparison of performance using standard deviation suggested that the differences were based on monotonous repetition of phrases and sounds (1.07), which is attributed to a greater emphasis on the difficulty of performance than on other parameters. The paper’s practical implications involve the possibility of preserving expressiveness and ethnic elements while playing the piano, based on Chu Wanghua’s ‘Sounds of the Temple’ suite. Further studies might compare the elements that contribute to the expressiveness of performance in the ‘Sounds of the Temple’ suite by Chu Wanghua and ‘Flower Drum’ by Qu Wei.
{"title":"Chinese Piano Music: the Role of Composer Chu Wanghua in the Evolution of Modern Piano Traditions in China (the Case of the ‘Sounds of the Temple’ Capriccio Suite)","authors":"Yinan Liu","doi":"10.5216/mh.v22.73153","DOIUrl":"https://doi.org/10.5216/mh.v22.73153","url":null,"abstract":"Chinese piano music is based on folk songs, Chinese poetry, and the ethnic style, which contribute to the expressiveness of the sound and refinement of the intonation and tonal system. The paper addresses the Chinese piano music and the role of composer Chu Wanghua in shaping contemporary piano traditions, using the ‘Sounds of the Temple’ capriccio suite as an example. Based on the direct method of standardization, the paper determined the significance of the parts of the ‘Sounds of the Temple’ suite. The second part (0.93) is most significant for displaying the piano music, because it involves the use of polyphonic sounds, imitating other instruments. The first part of the suite (0.87) is based on a linear representation of sounds, imitating the sounds of bells. The third part (0.69) centers around the use of slow tempo as well as major tone deviations. Significant elements of the suite (mirror reprise, rhythmic transformation, monotonous repetition of phrases and sounds, application of guó huà techniques, texture elements) were determined on the basis of the measured complexity and harmony of performance, as well as their influence on national traditions. A comparison of performance using standard deviation suggested that the differences were based on monotonous repetition of phrases and sounds (1.07), which is attributed to a greater emphasis on the difficulty of performance than on other parameters. The paper’s practical implications involve the possibility of preserving expressiveness and ethnic elements while playing the piano, based on Chu Wanghua’s ‘Sounds of the Temple’ suite. Further studies might compare the elements that contribute to the expressiveness of performance in the ‘Sounds of the Temple’ suite by Chu Wanghua and ‘Flower Drum’ by Qu Wei.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43635087","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}
Under the conditions of multiculturalism, Chinese vocal art has formed its own unique theoretical system based on the characteristics of vocalization, articulation, diction, and breathing. The aims of the study are to identify singing features in Chinese popular and traditional music, as well as to determine the ways in which musical genres influence vocals. Two teachers of modern vocal, two teachers of traditional vocal, 30 students of the Vocal Arts Department of Peking University, and two art historians from the Central Conservatory of Music took part in the study. According to the study purpose, it was found that in traditional Chinese vocal arts, the main technique is falsetto (58%), mixed techniques (21.2%), vibrato (13.2%), overtone singing (6.1%), and glissando (1.5%) are also used. In popular singing the key technique is splitting (33.6%), also used: subtone (20.2%), vibrato (17.7%), drive (12.1%), glissando (11.1%), vocal fry register (9.2%), falsetto (3.3%), overtone singing (2%). As a result of the correlation analysis the dependence of popular singing techniques on traditional singing was determined. The coefficient of determination was 33.5%. It was also determined that when performing pop music, vibrato is controlled; noises and growling tones are used in rock music; uncontrolled vibrato, falsetto, and mixed techniques are used in opera; nasal sounds and minimal vibrato are in folk/country music; clear diction, articulation, slides, and scatting in blues/jazz; rhythmic and nasal sounds in hip-hop. The experiment results can be used in pedagogy for teaching vocals in China and abroad, as part of cultural activities related to the organization of events such as festivals, concerts, tourist programs, theatrical performances, etc.
{"title":"Peculiarities of Singing in Chinese Popular and Traditional Music: Influence of Musical Genres on Vocals","authors":"Weitao Xia","doi":"10.5216/mh.v22.73226","DOIUrl":"https://doi.org/10.5216/mh.v22.73226","url":null,"abstract":"Under the conditions of multiculturalism, Chinese vocal art has formed its own unique theoretical system based on the characteristics of vocalization, articulation, diction, and breathing. The aims of the study are to identify singing features in Chinese popular and traditional music, as well as to determine the ways in which musical genres influence vocals. Two teachers of modern vocal, two teachers of traditional vocal, 30 students of the Vocal Arts Department of Peking University, and two art historians from the Central Conservatory of Music took part in the study. According to the study purpose, it was found that in traditional Chinese vocal arts, the main technique is falsetto (58%), mixed techniques (21.2%), vibrato (13.2%), overtone singing (6.1%), and glissando (1.5%) are also used. In popular singing the key technique is splitting (33.6%), also used: subtone (20.2%), vibrato (17.7%), drive (12.1%), glissando (11.1%), vocal fry register (9.2%), falsetto (3.3%), overtone singing (2%). As a result of the correlation analysis the dependence of popular singing techniques on traditional singing was determined. The coefficient of determination was 33.5%. It was also determined that when performing pop music, vibrato is controlled; noises and growling tones are used in rock music; uncontrolled vibrato, falsetto, and mixed techniques are used in opera; nasal sounds and minimal vibrato are in folk/country music; clear diction, articulation, slides, and scatting in blues/jazz; rhythmic and nasal sounds in hip-hop. The experiment results can be used in pedagogy for teaching vocals in China and abroad, as part of cultural activities related to the organization of events such as festivals, concerts, tourist programs, theatrical performances, etc.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46789537","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 purpose of the present research is to conduct a quantitative analysis of Chinese classical music and then compare it with Western European classical music. The results obtained under the comparative analysis of samples using the Student's t-test for independent variables have shown that there is a significant difference between the studied music types. In this case, the present study presupposed analyzing a total number of 18 musical scores. Mathematical analysis facilitated forming 12 samples from independent variables that characterized the length of the studied excerpts, compassed the number of repetitions, the initial interval, and the number of unique intervals. Despite a significant contribution of European classical music to Chinese music, it suggests that Western European music is more complex than Chinese classical music. Accordingly, the results obtained can be useful in the field of musicology and music theory.
{"title":"Comparative analysis of Chinese and European classical music","authors":"Fang Lou, Huajun Wang","doi":"10.5216/mh.v22.72379","DOIUrl":"https://doi.org/10.5216/mh.v22.72379","url":null,"abstract":"The purpose of the present research is to conduct a quantitative analysis of Chinese classical music and then compare it with Western European classical music. The results obtained under the comparative analysis of samples using the Student's t-test for independent variables have shown that there is a significant difference between the studied music types. In this case, the present study presupposed analyzing a total number of 18 musical scores. Mathematical analysis facilitated forming 12 samples from independent variables that characterized the length of the studied excerpts, compassed the number of repetitions, the initial interval, and the number of unique intervals. Despite a significant contribution of European classical music to Chinese music, it suggests that Western European music is more complex than Chinese classical music. Accordingly, the results obtained can be useful in the field of musicology and music theory.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47153190","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}
Embasado na Teoria Social Cognitiva, este trabalho objetivou mensurar a autorregulação e a autoeficácia de estudantes pianistas da graduação e pós-graduação stricto sensu, na atividade de construção da performance, e estabelecer uma comparação considerando os níveis de escolaridade, idade, anos de experiência e horas de estudo. Trata de uma pequisa de campo, descritiva, com caráter quase exploratório e coleta de dados de forma online. Participaram 93 pianistas, estudantes de sete instituições de Ensino Superior de diferentes regiões do Brasil. Os resultados mostraram o perfil de autorregulação e autoeficácia nos diferentes níveis de formação, com diferenças significativas na comparação por nível de escolaridade, idade e horas de estudo diárias. A pesquisa trouxe implicações relevantes para a pedagogia da performance.
{"title":"Autorregulação e autoeficácia na construção da performance ao piano","authors":"Adriana Akemi Kikuchi Calzavara, P. Alliprandini","doi":"10.5216/mh.v22.65981","DOIUrl":"https://doi.org/10.5216/mh.v22.65981","url":null,"abstract":"Embasado na Teoria Social Cognitiva, este trabalho objetivou mensurar a autorregulação e a autoeficácia de estudantes pianistas da graduação e pós-graduação stricto sensu, na atividade de construção da performance, e estabelecer uma comparação considerando os níveis de escolaridade, idade, anos de experiência e horas de estudo. Trata de uma pequisa de campo, descritiva, com caráter quase exploratório e coleta de dados de forma online. Participaram 93 pianistas, estudantes de sete instituições de Ensino Superior de diferentes regiões do Brasil. Os resultados mostraram o perfil de autorregulação e autoeficácia nos diferentes níveis de formação, com diferenças significativas na comparação por nível de escolaridade, idade e horas de estudo diárias. A pesquisa trouxe implicações relevantes para a pedagogia da performance.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42497448","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}
Aline Moreira Brandão André, C. M. A. Gomes, C. Loureiro
A “Escala de Musicabilidade: Formas de Atividade, Estágios e Qualidades de Engajamento” desenvolvida por Nordoff e Robbins, tem sido utilizada internacionalmente por musicoterapeutas para avaliar duas categorias presentes em atendimentos musicoterapêuticos: coatividade rítmica instrumental e canto. Para que essa escala seja utilizada no Brasil, é necessário um processo de validação. Escolhemos para esse processo o Modelo apresentado por Herdman, Fox-Ruby e Badia (1998) que prevê 6 tipos de equivalências: a conceitual, a de itens, a semântica, a operacional, a de mensuração e a equivalência funcional. Para medir a equivalência de mensuração da escala, foi realizado o cálculo de porcentagem de concordância e as correlações (tetracóricas) de 5 examinadores sobre 24 trechos de vídeos analisados. Verificamos boa concordância entre examinadores em todos os subdomínios da “Escala de Musicabilidade: Formas de Atividade, Estágios e Qualidades de Engajamento”.
{"title":"Confiabilidade Inter-examinadores da “Escala de Musicabilidade: Formas de Atividade, Estágios e Qualidades de Engajamento” para validação no contexto brasileiro","authors":"Aline Moreira Brandão André, C. M. A. Gomes, C. Loureiro","doi":"10.5216/mh.v22.67027","DOIUrl":"https://doi.org/10.5216/mh.v22.67027","url":null,"abstract":"A “Escala de Musicabilidade: Formas de Atividade, Estágios e Qualidades de Engajamento” desenvolvida por Nordoff e Robbins, tem sido utilizada internacionalmente por musicoterapeutas para avaliar duas categorias presentes em atendimentos musicoterapêuticos: coatividade rítmica instrumental e canto. Para que essa escala seja utilizada no Brasil, é necessário um processo de validação. Escolhemos para esse processo o Modelo apresentado por Herdman, Fox-Ruby e Badia (1998) que prevê 6 tipos de equivalências: a conceitual, a de itens, a semântica, a operacional, a de mensuração e a equivalência funcional. Para medir a equivalência de mensuração da escala, foi realizado o cálculo de porcentagem de concordância e as correlações (tetracóricas) de 5 examinadores sobre 24 trechos de vídeos analisados. Verificamos boa concordância entre examinadores em todos os subdomínios da “Escala de Musicabilidade: Formas de Atividade, Estágios e Qualidades de Engajamento”.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46888345","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 evolution of a global musical culture may be influenced by local changes, which are described by the characteristic features of the performed musical compositions. With this in mind, the paper’s primary goal is to identify the special aspects of the Chinese art of playing the bamboo flute, while taking into account the acoustic parameters in the performance of contemporary Chinese composers and their influence on national compositional traditions. The sociometric rating index applied herein helped to determine that Feng Zicun (2.94) and Guo Wenqing (2.71) have the highest values for harmonious flute performance, as compared to other Chinese composers - Ren Tongxian, Liu Guang Yue and Zhang Chuanhao. This process is attributed to the fact that Feng Zicun was one of the first to use the flute as a solo instrument, which was made possible by changing the tempo of playing. Guo Wenqing's music-making process is based on a variety of timbres, as well as a combination of traditional intonation and contemporary forms. After studying the ways in which famous composers play the flute, the authors argue that the most important things in the uniqueness of acoustic performance include the breathing pattern (3.05), trills (2.87), changes in pitch and volume (2.40), and overtones (1.92). Respondents, on the other hand, considered the breathing pattern (2.37), pitch changes (2.19), and staccato (1.59) to be the most significant indicators. The differences are attributed to the complexity of the discussed elements, which requires respondents to be more involved in the flute playing process. The findings suggested that contemporary flute approaches (59%) have an advantage over traditional approaches (41%). The paper’s practical implications are attributed to the application of elements affecting the quality of sound in the context of teaching to play the flute. Further studies might address the positive and negative influence of European traditions of flute playing in Chinese culture.
{"title":"Chinese Art of Playing the Bamboo Flute:","authors":"Zongke Xu","doi":"10.5216/mh.v22.73248","DOIUrl":"https://doi.org/10.5216/mh.v22.73248","url":null,"abstract":"The evolution of a global musical culture may be influenced by local changes, which are described by the characteristic features of the performed musical compositions. With this in mind, the paper’s primary goal is to identify the special aspects of the Chinese art of playing the bamboo flute, while taking into account the acoustic parameters in the performance of contemporary Chinese composers and their influence on national compositional traditions. The sociometric rating index applied herein helped to determine that Feng Zicun (2.94) and Guo Wenqing (2.71) have the highest values for harmonious flute performance, as compared to other Chinese composers - Ren Tongxian, Liu Guang Yue and Zhang Chuanhao. This process is attributed to the fact that Feng Zicun was one of the first to use the flute as a solo instrument, which was made possible by changing the tempo of playing. Guo Wenqing's music-making process is based on a variety of timbres, as well as a combination of traditional intonation and contemporary forms. After studying the ways in which famous composers play the flute, the authors argue that the most important things in the uniqueness of acoustic performance include the breathing pattern (3.05), trills (2.87), changes in pitch and volume (2.40), and overtones (1.92). Respondents, on the other hand, considered the breathing pattern (2.37), pitch changes (2.19), and staccato (1.59) to be the most significant indicators. The differences are attributed to the complexity of the discussed elements, which requires respondents to be more involved in the flute playing process. The findings suggested that contemporary flute approaches (59%) have an advantage over traditional approaches (41%). The paper’s practical implications are attributed to the application of elements affecting the quality of sound in the context of teaching to play the flute. Further studies might address the positive and negative influence of European traditions of flute playing in Chinese culture.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43937077","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}
Os estudos sobre paisagem sonora vêm sendo discutidos em diferentes áreas do conhecimento, o que oportuniza os múltiplos olhares para o tema. O ambiente escolar rural foi o espaço para a produção de dados da pesquisa que ora se apresenta nesse artigo. Nesse estudo, aproxima-se a conhecida prática estética soundwalking às leituras de Jorge Larrosa sobre experiência, apontando como esta prática estética se volta às realidades acústicas de uma escola rural do município de Rio Grande/RS. Considera-se tal prática como uma alternativa de fruição musical frente aos modelos de ensino da música conservatorial e/ou historicamente fixados na forma de ouvir e fazer música. Faz-se com que este novo contexto escolar rural, silenciado e aparentemente imobilizado pela pandemia de Covid-19, seja entendido como um corpo vibrante, tensionado, revelador de um silêncio potente de sonoridades a serem vivenciadas. A partir de práticas artísticas nos entornos de uma escola rural de ensino fundamental, expõem-se como se deu a experiência acústica e os processos que lá foram estabelecidos, de forma a sublinhar a singularidade dessa experiência e das relações estabelecidas com o referido espaço.
{"title":"Experiências acústicas na paisagem sonora escolar rural","authors":"Elder Santos Oliveira, Paula Corrêa Henning","doi":"10.5216/mh.v22.70985","DOIUrl":"https://doi.org/10.5216/mh.v22.70985","url":null,"abstract":"Os estudos sobre paisagem sonora vêm sendo discutidos em diferentes áreas do conhecimento, o que oportuniza os múltiplos olhares para o tema. O ambiente escolar rural foi o espaço para a produção de dados da pesquisa que ora se apresenta nesse artigo. Nesse estudo, aproxima-se a conhecida prática estética soundwalking às leituras de Jorge Larrosa sobre experiência, apontando como esta prática estética se volta às realidades acústicas de uma escola rural do município de Rio Grande/RS. Considera-se tal prática como uma alternativa de fruição musical frente aos modelos de ensino da música conservatorial e/ou historicamente fixados na forma de ouvir e fazer música. Faz-se com que este novo contexto escolar rural, silenciado e aparentemente imobilizado pela pandemia de Covid-19, seja entendido como um corpo vibrante, tensionado, revelador de um silêncio potente de sonoridades a serem vivenciadas. A partir de práticas artísticas nos entornos de uma escola rural de ensino fundamental, expõem-se como se deu a experiência acústica e os processos que lá foram estabelecidos, de forma a sublinhar a singularidade dessa experiência e das relações estabelecidas com o referido espaço.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45620833","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}
Throughout history, social and economic events had a great impact on the development of culture and music as a part of it. As soon as different events have forced a cultural shift, the historical changes are considered important for music analysis. The research examines the court music of China, Japan and Korea in the 16th-17th centuries. Special attention is paid to the main characteristics, similarities and differences of music in these states. Moreover, a comparative analysis of court music in different countries was made. The purpose was to investigate the stages of the court music development, explored the historical and social events that influenced the shift in musical genres, and identified similarities and differences between musical art in different countries. The research discusses the contact between Chinese, Korean, Japanese and European cultures and its impact on the development of court music. Moreover, the research identifies similar and different characteristics found in classical musical genres such as nanxi drama (theatre) common in China, fairy tale singing popular in Japan, and ceremonial music performed in Korea. In the Far East countries, court music had features of both ceremonial and epic music associated with great orchestras with a wide variety of instruments. The musical instruments had many common features. The materials used to make the instruments and the production cycles were similar. Many instruments had analogues in other countries. The Chinese guzheng had many similar features with Japanese koto and Korean kayagum; pipa (China) is similar to biwa (Japan). Many instruments migrated from one country to another. The shakuhachi musical instrument moved from China to Japan and became very popular in this country. The music instrument was created in about 20 shapes and sizes to make distinctive sounds. Further research should consider other aspects that influenced the development of cultural values and court music in China, Japan and Korea. It is important to analyse other cultural changes and trends to understand the societal transformations, values and characteristics of the Far East countries.
{"title":"Court music of China, Japan and Korea in the 16th - 17th centuries: a comparative analysis","authors":"Li-ning Guo","doi":"10.5216/mh.v22.71641","DOIUrl":"https://doi.org/10.5216/mh.v22.71641","url":null,"abstract":"Throughout history, social and economic events had a great impact on the development of culture and music as a part of it. As soon as different events have forced a cultural shift, the historical changes are considered important for music analysis. The research examines the court music of China, Japan and Korea in the 16th-17th centuries. Special attention is paid to the main characteristics, similarities and differences of music in these states. Moreover, a comparative analysis of court music in different countries was made. The purpose was to investigate the stages of the court music development, explored the historical and social events that influenced the shift in musical genres, and identified similarities and differences between musical art in different countries. The research discusses the contact between Chinese, Korean, Japanese and European cultures and its impact on the development of court music. Moreover, the research identifies similar and different characteristics found in classical musical genres such as nanxi drama (theatre) common in China, fairy tale singing popular in Japan, and ceremonial music performed in Korea. In the Far East countries, court music had features of both ceremonial and epic music associated with great orchestras with a wide variety of instruments. The musical instruments had many common features. The materials used to make the instruments and the production cycles were similar. Many instruments had analogues in other countries. The Chinese guzheng had many similar features with Japanese koto and Korean kayagum; pipa (China) is similar to biwa (Japan). Many instruments migrated from one country to another. The shakuhachi musical instrument moved from China to Japan and became very popular in this country. The music instrument was created in about 20 shapes and sizes to make distinctive sounds. Further research should consider other aspects that influenced the development of cultural values and court music in China, Japan and Korea. It is important to analyse other cultural changes and trends to understand the societal transformations, values and characteristics of the Far East countries.","PeriodicalId":41009,"journal":{"name":"Musica Hodie","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-08-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46482185","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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