Music is neither a construction of pitches nor a linear arrangement of vocal parts, but rather an energetic shaping through time that integrates articulation, harmony, melody, and rhythm. Music ...expresses a kind of gesture in the dimension of sounds. In most cases, musical expressions, compared to linguistic expressions, are more like a state of motion or a behavior of sounds originating from physical sensations. Musical gesture can interpret the emotional expression and meaning of music from a perspective that is closer to the nature of music. Such an interpretation is not constrained by the traditional analysis of form and content, self-discipline and heteronomy, subjectivity and objectivity. It is more about how to stimulate the sensory systems to join in and understand the behavior and contents of music expressions in order to synthesize the meaning of music in different dimensions.
In this article, I focus on three defining characteristics of group creativity:
improvisation, collaboration and emergence. To demonstrate these three
characteristics, I present several examples of ...group creativity in both music and
theater. Then I explore how structure and improvisation are always both present in
group creativity. Improvisations contain elements of structure and structured
performances contain improvisational elements. I conclude by suggesting some
implications for musical education and for education in general.
Fuzzy relational music perception concerns the representation of congruent connections between musical features as fuzzy relations used to individuate and assemble concepts and conceptual ...hierarchies. This article presents two universal fuzzy domains of discourse, harmony H and grouping G, which partition sets using triangular norms (t-norms) based on generalised har- monic root support and generalised time regularity, respectively. Fuzzy re- lations between the sets of the domains are formed in the innate fuzzy neural architecture of a dedicated music faculty. Fuzzy relations are shown to be necessary representations for interconnection between the domains to indi- viduate and assemble concepts. Concepts are individuated and assembled by virtue of fuzzy set resemblance relations between domains, or fuzzy logical implication relations in one or both domains through time. Fuzzy resem- blance relations comprise the properties of weak reflexivity, weak symmetry and antitransitivity in a H ⨉ G Cartesian product space. Fuzzy implication relations involve fuzzy overlap (or continuation) of elements, calculated us- ing a t-norm operator (min operator), in one or both domains of the product space. Supplementary theory is incorporated to explain polyphonic structure, involving pluralistic superimposition of independent fuzzy relational hierar- chies. Broadly, fuzzy relational music perception is a rationalistic model that builds on generative theories and associative-statistical and connectionist ap- proaches by providing a compact and coherent process for determining inter- action across musical parameters.
The article proposes the concept of neo-tribalism (Maffesoli 1996) as a theoretical tool in the study of policies for the creative industries. Neo-tribalism entails a turn to pre-modern forms of ...social organisation based on solidarity, as in traditional tribes, but it also denotes that the solidarity is more liquid. The paper illustrates the analytical relevance of this concept with Nordic examples. In general, economic forms of instrumentalism have significantly impacted the Nordic countries in recent decades and can be observed explicitly within the creative industries. Moreover, welfare economics has constituted a vital component in the post-war construction of western welfare states. Thus, it might seem reasonable to assume that the discipline of economics can provide cultural policy researchers with a complete range of analytical tools to analyse cultural policy that targets the creative industries. However, in this article, it is argued that economics faces limitations when it comes to explaining and interpreting political communication about the creative industries. The article discusses ways in which public authorities in the Nordic region seem to emulate neo-tribal trends from the corporate sector in their policy documents, in addition to pursuing more traditional utilitarian goals. Governing bodies can use this emulation as an instrument for the generation of increased feelings of belonging within the creative industries and society overall. When authorities add a neo-tribal touch to policy documents, they can also bolster their credibility among creative workers who themselves participate in neo-tribal networks. Thus, textual, visual and musical elements that promote feelings of solidarity and belonging are probably best interpreted as a softer form of economic instrumentalism that mirrors the pre-modern and liquid characteristics of neo-tribes. Some policy documents might fail to comply with utilitarian principles from welfare economics but instead derive rhetorical support from a logic that is closer to a neo-tribal one.
In the oktoechos tradition, liturgical hymns are sung in eight modes or eight colours (known as eight 'niram' in Indian liturgy). In this paper, recurrent neural network (RNN) models are used for ...oktoechos genre classification with the help of musical texture features (MTF) and i-vectors. The performance of the proposed approaches is evaluated using a newly created corpus of liturgical music in the South Indian language-Malayalam. Long short-term memory (LSTM)-based and gated recurrent unit (GRU)-based experiments report an average classification accuracy of 83.76% and 77.77%, respectively, with a significant margin over the i-vector-DNN framework. The experiments demonstrate the potential of RNN models in learning temporal information through MTF in recognising eight modes of oktoechos system. Furthermore, since the Greek liturgy and Gregorian chant also share similar musical traits with Syrian tradition, the musicological insights observed can potentially be applied to those traditions. The generation of oktoechos genre music style is discussed using an encoder-decoder framework. The quality of the generated files is evaluated using a perception test.
The strength of schooling--stretching the mind and being challenged by the unfamiliar--lies in creating new understandings, in critical reflecting, and going beyond initial ways of hearing and ...thinking.
The purpose of this paper focuses on American composer Elliott Carter and his Piano Sonata (1945-46). Elliot Carter’s Piano Sonata is a representative example of his distinctive modernist style. ...After his early works written largely in Neoclassical idiom, Carter embarked on a new musical path in this work. His innovative approach to form, harmony, thematic design, metric elements, sound, and timing according to the common sonata structures differ significantly from the traditional approaches to this form. The compositional aesthetic of this work has become one of the hallmarks of American musical modernism, foreshadowing the compositional direction of piano sonatas in the latter half of the twentieth century. Carter’s music has known for his metrical complexity, in which metric modulation and polyrhythmic application largely emerged after 1948. The trademark is specifically launched in his Cello Sonata (1948). The 1945 Piano Sonata is the piece a few years earlier in which rhythmical complexity began to expose. Author demonstrates the layer of rhythmical pulse through the method of thematic analysis, rather than merely focusing on metric modulation technique. In contrast to most scholarships that have a rigorous study for Carter’s eclectic deed on the fusion of European neoclassicism and American avant-garde, the author discusses the composer’s new compositional approach in the Sonata. Finally, author’s analysis concentrates on specific innovative aspects that make the work unconventional, showing why Carter is one of the most important voices of American modernism.
We introduce a method for computer-assisted analysis of orchestration. We also look into the role that texture and orchestration have in structuring musical form. The method comprises a numerical ...representation, a hierarchy of ‘textural situations’ and measures for heterogeneity, diversity and complexity of orchestral-textural configurations.
Nous présentons une méthode d'analyse de l'orchestration assistée par ordinateur. Nous examinons également le rôle que jouent la texture et l'orchestration dans la structuration de la forme musicale. La méthode comprend une représentation numérique, une hiérarchie de "situations texturales" et des mesures de l'hétérogénéité, de la diversité et de la complexité des configurations orchestrales-texturales.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
En este artículo se examinan las limitaciones que presentan los abordajes analíticos centrados en la caracterización formal a la hora de estudiar las expresiones musicales populares desarrolladas en ...la urbe bonaerense entre finales del siglo XIX y comienzos del XX. Con el objetivo de dar cuenta de estas limitaciones, es analizado un estilo para voz y guitarra interpretado a finales del siglo XIX en las adaptaciones escénicas de la novela Juan Moreira de Eduardo Gutiérrez. En primer término, son introducidas las definiciones de este género halladas en una serie de trabajos musicológicos tempranos y es examinada la influencia que las mismas tienen en su análisis. En segundo término, es caracterizado y contextualizado el estilo de la obra Juan Moreira, y realizado un análisis de sus rasgos formales entre finales del siglo XIX y las primeras décadas del siglo XX. Finalmente son estudiados los aspectos performativos y los procesos de significación del ejemplo seleccionado y, a partir de ello, son puestas en evidencia las tensiones que surgen entre las conceptualizaciones etic y emic de este género.
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