As Cirandasde Heitor Villa-Lobos, ainda que pequenas em sua extensão, configuram-se como uma grande referência no repertório pianístico do compositor brasileiro. Sua particularidade está na complexa ...e intrincada relação entre uma série de citações de melodias folclóricas infantis e o entorno criativo proposto por Villa-Lobos que, envolvendo tais melodias, reescreve-as. Assim, as relações entre melodia folclórica e sua envolvência constituem um processo contínuo de ressignificação. Esta dissertação pretende articular duas abordagens – análise estrutural e contextual – de maneira a propor uma leitura sincrônica das próprias Cirandase dos cenários culturais, sociais e políticos que as constituem.Nesse sentido, a relação dialógica entre música, partitura e contexto é pensada através da utilização da Teoria dos tópicos. Os tópicos constituem-se, nesta dissertação, como figurações musicais características que comportam esta relação fluida entre análise estrutural e contexto(s). Por meio desta perspectiva, este trabalho tem como objetivo estabelecer uma ponte entre as Cirandase três temáticas essenciais que constituem três dos quatro capítulos deste documento – temática nacionalista, temática infantil e temática luso-brasileira.A obra de Villa-Lobos é, ainda hoje, considerada um produto da sua “instintividade” e “genialidade” e, com isto, a sua análise reverte para segundo plano em prol da mitificação biográfica em torno da figura do compositor. Só mais recentemente, a abordagem analítica aplicada à sua obra tem vindo a ganhar forma e com ela fomentam-se discussões sobre processos de composição e recepção da produção do compositor brasileiro. Acompanhando este desenvolvimento, está o processo contínuo de reestruturação da Teoria dos tópicos para abarcar a realidade musical brasileira, iniciado nas últimas décadas. Assim, nesta dissertação, propõe-se uma análise das Cirandasque contribua de forma inovadora para uma leitura da produção de Villa-Lobos e, através desta, fomenta-se os estudos sobre os tópicos na realidade brasileira do início do século XX.
En este trabajo se aborda la cuestión de cómo el estilo musical influye en la emoción percibida y sus consecuencias pedagógicas. El primer problema lo encontramos en la propia definición de estilo. ...En este trabajo proponemos una definición del estilo y una aplicación del mismo. A posteriori, llevamos a cabo experimentos a sujetos para entender las respuestas emocionales al propio estilo. Escogimos seis estilos o "técnicas" (barroco, clasicismo, romanticismo, pandiatonismo, dodecafonismo serial y modo frigio). Se mide la respuesta emocional y se analizan los resultados (los cuales se miden en músicos y no músicos). Encontramos diferencias en los estilos, tanto en el modo (mayor-menor) como en la experiencia (músicos-no músicos), incluyendo patrones complejos en la valencia y activación. Por último, proponemos que todo el conocimiento derivado de este trabajo sea incorporado a los temarios de los conservatorios y facultades de música.
KEYWOBDS: popular music, race, ethnicity, gender, sampling, corpus studies AS is well known, the field of music theory has traditionally been focused almost exclusively on the music of White men. To ...help foster demographic diversity within music theory discourse, Nicholas Shea (2022)-in nis data report from Vol. 17(1) of this journal-offers an encoding scheme to compensate for what he identifies as racial, ethnic, and gender biases in corpus studies of popular music. ...it is representation, not diversity, that should be the main goal when creating a corpus, given a particular population of interest. The choice of which songs to include in a corpus is thus a question of how to represent the statistical population most faithfully, and there have been different ways to approach this issue. Because it is difficult, if not impossible, to identify all the possible songs that belong to a particular style, music researchers have traditionally used some version of the exemplar sampling method (Buil, 2005), also known as typical case sampling (Patton, 2015).
Digital geographies and musical geographies are proliferating. This article considers a topic at the intersection of both: videogame music. It argues that, through attention to such music, ...geographical approaches to videogames, and to music, can be radically expanded. Specifically, it argues that instrumental score, increasingly employed in major videogame franchises, should be subject to greater focus. Close analysis of instrumental score offers new ways of understanding the spatiality of musical style, structure and form. This article illustrates the potential of greater geographical engagement with instrumental music through the case study of the Legend of Zelda: one of the most popular videogame franchises. It concludes by suggesting new directions for research in the geographies of gaming, and in the geographies of music.
Genre Complexes in Popular Music Silver, Daniel; Lee, Monica; Childress, C Clayton
PloS one,
05/2016, Letnik:
11, Številka:
5
Journal Article
Recenzirano
Odprti dostop
Recent work in the sociology of music suggests a declining importance of genre categories. Yet other work in this research stream and in the sociology of classification argues for the continued ...prevalence of genres as a meaningful tool through which creators, critics and consumers focus their attention in the topology of available works. Building from work in the study of categories and categorization we examine how boundary strength and internal differentiation structure the genre pairings of some 3 million musicians and groups. Using a range of network-based and statistical techniques, we uncover three musical "complexes," which are collectively constituted by 16 smaller genre communities. Our analysis shows that the musical universe is not monolithically organized but rather composed of multiple worlds that are differently structured-i.e., uncentered, single-centered, and multi-centered.
What are the factors that determine how long a person chooses to listen to an unfamiliar piece of music? We examined this question across three experiments in which we played participants novel ...repeating multi-instrument stimuli and recorded their listening times and reasons for their decisions to either continue or stop listening. To influence the habituating effects of repeating musical material drawn from a large stimulus library (> 450 items), we manipulated novelty along several musical dimensions. In Experiment 1, all instruments entered simultaneously. In Experiment 2, instrument entrances were also offset in time. In Experiment 3, we composed core multi-instrument loops and manipulated them to further minimize harmonic variability, minimize rhythmic variability, introduce spatialization, or change timbral characteristics. Novelty introduced by instrument entrances was the strongest determinant of listening times, though harmonic variability and timbral features were also important. Subjective enjoyment was the best predictor of listening times, mediating the effects of the degree of perceived groove in a stimulus, the urge to move, interest in a stimulus, perceived complexity, and congruency with current mood. We conclude that naturalistic looping musical stimuli serve well to examine the diverse psychological and musical determinants of choice behavior underlying music consumption.
Lyrics-to-melody generation is an interesting and challenging topic in AI music research field. Due to the difficulty of learning the correlations between lyrics and melody, previous methods suffer ...from low generation quality and lack of controllability. Controllability of generative models enables human interaction with models to generate desired contents, which is especially important in music generation tasks towards human-centered AI that can facilitate musicians in creative activities. To address these issues, we propose a controllable lyrics-to-melody generation network, ConL2M, which is able to generate realistic melodies from lyrics in user-desired musical style. Our work contains three main novelties: (1) to model the dependencies of music attributes cross multiple sequences, inter-branch memory fusion (Memofu) is proposed to enable information flow between multi-branch stacked LSTM architecture; (2) reference style embedding (RSE) is proposed to improve the quality of generation as well as control the musical style of generated melodies; (3) sequence-level statistical loss (SeqLoss) is proposed to help the model learn sequence-level features of melodies given lyrics. Verified by evaluation metrics for music quality and controllability, initial study of controllable lyrics-to-melody generation shows better generation quality and the feasibility of interacting with users to generate the melodies in desired musical styles when given lyrics.
Music is considered a vital element in young people's lives. It functions as an important means for expressing the emotions and feelings they experience in a daily basis. As such, this study explores ...the music preferences of high school Brazilian students (N = 940), 530 female (56.9%) and 410 male (43.1%) participants between 14 and 20 years old (M = 16.14 years old, SD = 1.22). The main instrument for data collection was the Questionnaire on Musical Style Preferences, which was adapted to the Brazilian context and encompassed 33 different music styles. A principal component analysis resulted in five dimensions representing different musical styles: (1) Intense, (2) Unique, (3) Sophisticated, (4) Contemporary, and (5) Mellow. The results of this study reinforced theory of the five-factor model of musical preference. Results also suggest that Mellow music was the most preferred while Sophisticated music was the least preferred among participants. Regarding gender, male participants showed a greater preference towards Contemporary, Intense, and Sophisticated music, whereas women generally preferred Mellow and Unique. Regarding age, participants under 20 years old showed a greater preference towards Mellow musical styles as compared to older participants. On the one hand, regression analyses showed that preferences towards Intense music decrease with age. On the other hand, gender was a better predictor for music preferences than age. Although the results of this study correspond to those of previous studies, more research studies are necessary to further explain musical preferences within the Brazilian context.
The purpose of this study was to explore how a preservice music teacher constructed his own learning in a graduate-level independent study course with a music education faculty member as the ...facilitator. In this course, the student wanted to learn how to play the trumpet and improve his knowledge of jazz improvisation and style. Questions guiding this study included: How did the preservice music teacher direct his learning and construct knowledge in this course? How did the music education faculty member serve as a facilitator during this process? Data collection included journals, reflective sessions, and video recordings of classes. Data analysis involved coding with prompts from constructivist theory to assist with portraying the sequencing of teaching and learning during the semester. Findings suggest that allowing the preservice music teacher to construct his learning helped him reflect on what he had learned and plan for future teaching experiences. Recommendations include incorporating student input into coursework planning, and implementation for preservice music teachers provides opportunities for more in-depth learning of subject material. Integrating different musical styles into all coursework also helps prepare preservice music teachers for teaching a wide variety of musical styles.
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