Music analysis

Incidental music of the early twentieth-century has received little musicological attention, despite its widespread use during this period of history. Theatres were a popular means by which audiences could interact with new music, and composers could experiment with new ideas and build collaborative relationships. Using a 1926 Swedish production of August Strindberg’s Till Damaskus (III), directed by Per Lindberg with music by Ture Rangström, this article argues for the importance of analysing incidental music as collaborative performance. It explores the use of ‘reflexive performance’ as a method of analysis, combined with semiotic and intermedial approaches.

Considered one of the most important composers in late twentieth century, Gyorgy Ligeti became popular with his piano etudes which are considered as revolutionary both in compositional and in pianistic aspects. His music is usually paired with Conlon Nancarrow’s music which has a chaos factor. Piano has always been a great tool for any twentieth century composer to reflect artistic points by considering the ability of neither the performer nor the instrument. Ligeti’s extreme variety of contrasting parameters can be clearly seen in his etudes. With the means of construction, as well as difficulties in performing them, these 18 works became a mile-stone in modern piano literature. Guidelines for each etude may be useful for pianists who are planning to perform these works and are unfamiliar with his style. This conference aims to lead young pianists to modern piano music, to present Ligeti's style and piano music by discussing how these etudes should be approached. The example mu...

Di dalam pelaksanaan Ipteks bagi Masyarakat berupa pelatihan “Penciptaan Lagu Model untuk Pembelajaran Anak Usia Dini - Tahap II” Tahun 2016, Prodi PG-PAUD FKIP Universitas Nusantara PGRI Kediri bekerjasama dengan IGTKI-PGRI dan IGRA Kabupaten Kediri sebagai mitra, dengan jumlah 52 orang. Menurut pengamatan, dapat diidentifikasi untuk guru TK tentang kemampuan mencipta lagu anak usia dini sangatlah rendah, sedangkan untuk ustazah RA belum pernah melakukan pencipta lagu anak usia dini untuk pembelajaran karena belum pernahnya agenda pelatihan bidang seni musik di lingkungan Kemenag Kabupaten Kediri. Dengan melalui pelatihan, peserta diberikan materi kajian tentang teori dasar musik serta teori dan praktik cipta lagu anak usia dini melalui pembuatan sinopsis karya. Pengabdian kepada Masayarakat-IbM berupa pelatihan ini merupakan rangkaian agenda yang berkesinambungan/ bertahap (multi-years). Langkah-langkah dalam mencipta lagu sama dengan pelaksanaan pelatihan di tahap 1 adalah dengan...

What, if any, similarities and differences between song and speech are consistent across cultures? Both song and speech are found in all known human societies and are argued to share evolutionary roots and cognitive resources, yet few studies have compared similarities and differences between song and speech across languages on a global scale. We compared sets of matched song/speech recordings produced by our coauthors whose 1st/heritage languages span over 20 language families. Each recording set consists of singing, recited lyrics, and spoken description, plus an optional instrumental version of the sung melody to allow us to capture a “musi-linguistic continuum” from instrumental music to naturalistic speech. Our literature review and pilot analysis led us to make six predictions for confirmatory analysis comparing song vs. spoken descriptions: three consistent differences and three consistent similarities. For differences, we predicted that: 1) songs will have higher pitch than ...

This is the first part of the paper I am writing on the connection between math and music, centered on axis representation and graphing techniques. Stay tuned for more part releases in the future, intertwined with my other uploads. A full current plan for my papers in the future is in the afterword section of this paper.

What, if any, similarities and differences between song and speech are consistent across cultures? Both song and speech are found in all known human societies and are argued to share evolutionary roots and cognitive resources, yet few studies have compared similarities and differences between song and speech across languages on a global scale. We compared sets of matched song/speech recordings produced by our coauthors whose 1st/heritage languages span over 20 language families. Each recording set consists of singing, recited lyrics, and spoken description, plus an optional instrumental version of the sung melody to allow us to capture a “musi-linguistic continuum” from instrumental music to naturalistic speech. Our literature review and pilot analysis led us to make six predictions for confirmatory analysis comparing song vs. spoken descriptions: three consistent differences and three consistent similarities. For differences, we predicted that: 1) songs will have higher pitch than ...

Numerous contemporary feature films are working on the creation of a pan-European identity. The genre of war films has been particularly active in this context, attempting to ground the emergence of European identity as arising from the Second World War. The BritishGerman co-production Laconia / The Sinking Of The Laconia (D / UK 2001, R. Uwe Janson) is a symptomatic example of how contemporary political discourses are often justified through an interpretation of the past. This film combines the submarine film with the ship disaster film: the sea, due to its visual resolving power, allows a laboratory space to be created in which, through abstraction and symbolization of what is depicted, transformations in the politics of memory – such as the creation of a new transnational collective – become possible. Title: Submarine Movies About the Second World War: Working on an Identity of European Union in Laconia / The Sinking of the Laconia (D / UK 2001, R. Uwe Janson)

Opening new sound horizons goes hand in hand with retracing the history of the spiritual traditions in which monasteries have played a decisive role in the medieval functioning of Europe. The Dominican order, whose origins lie on the Iberian Peninsula, is a particularly pertinent example of a pan-European monastic community. This chapter concentrates on the Dominican Jesus Convent of Aveiro, its cultural history and production of liturgical manuscripts in its own scriptorium. The former abbey, today a museum, holds in its library the earliest surviving collection of Dominican chant books in Portugal, produced by the sisters themselves between 1461 and 1525. From the Marian feast of Assumption, we present two examples from Compline: the antiphon Virgo Maria, non est tibi similis and Sub tuum presiduum, here used as a variant for the Salve regina. Marian chants from late medieval Aveiro will be the starting point of a multi-disciplinary research, processing the content of the sources, in order to gain insight into the cultural and musical history of the convent.

Este texto discute a possibilidade de trabalhar a apreciação musical a partir das noções teóricas de dialogia e gênero discursivo propostas pelo Círculo de Bakhtin como princípios explicativos para o funcionamento dos sistemas simbólicos. Em analogia aos gêneros discursivos linguísticos, tipos estáveis de discursos atrelados a esferas da vida cotidiana, propõe a noção de gêneros discursivos musicais, tipos específicos de músicas ligados a certas áreas de atividades sociais. Essa noção permite considerar as produções musicais e entender seus modos de funcionamento a partir dos diálogos e apropriações estabelecidos entre elas. Tais procedimentos marcam a contemporaneidade e podem ser fios condutores interessantes em um trabalho educativo de apreciação musical. Como exemplo da abordagem proposta, é apresentada a análise dialógica de uma música de Villa Lobos, enfatizando-se uma possível rede de conexões por ela engendrada. Por fim, são destacados, como resultados da proposta, alguns as...

I denne masteroppgaven ønsket jeg å utforske komposisjonsprosessen – eller poetikken – til Claude Debussys Douze études (Tolv etyder), skrevet sommeren 1915. Dette er musikk som har fascinert meg lenge med sin underfundige og raskt skiftende karakter og modernistiske stil. Noe av det som er spesielt med disse Etydene er at titlene er ganske tekniske: «For de fem fingre», «For tersene», «For akkordene» o.l., samtidig som variasjonen er stor i uttrykket. Jeg lurte på om det var noe i formuleringene i titlene (eller teknikken de beskriver) som kunne forklare både den store variasjonen og iderikdommen, og at han klarte å komponere denne samlingen på bare noen få uker etter en lang periode med liten produksjon. Jeg stilte spørsmål om hvorvidt Debussy kunne ha anvendt en personifisering eller dramatisering av musikalske elementer, om han hadde brukt en form for kompositorisk eller pianistisk begrensning av virkemidlene (en dogmatisk prosedyre), og om han hadde brukt sitater til å lage en ...

Dans notre culture médiatisée, toute distinction qui existait entre événement en direct et événement médiatisé s’estompe, puisque l’interprétation en direct ressemble de plus en plus aux spectacles médiatisés. On le voit dans l’intrusion des technologies des médias dans toute une gamme d’événements en direct, et notamment au théâtre. On le voit aussi dans les cas où les événements en direct récréent les événements médiatisés. Dans ces cas, l’interprétation « originale » en direct n’est plus privilégiée par rapport à l’adaptation médiatisée : celle-ci est devenue le référent de celle-là.

Music-theoretical introduction to a key work of the twelve-tone technique: Arnold Schönberg's "Variations for Orchestra op. 31". The seminar was part of Pierre Boulez's conducting master class at the Lucerne Festival Academy in 2011.
With the help of numerous sources from the Arnold Schönberg Center, the presentation attempted to work through the compositional genesis, but also the aesthetic and contemporary historical context of the work. The innovative and sometimes bold texture of the music is juxtaposed with great formal rigour and numerous traditional references to Brahms, Haydn, Bach and the Renaissance. Schönberg's idea of "Fasslichkeit" (comprehensibility) plays a decisive role here, which is also reflected in a curious document where Schönberg presents an alternative, tonal harmonisation of his twelve-tone variation theme as part of a radio broadcast.

Max Reger’s music is not widely known and performed. His music is often thought of as dense, highly chromatic, and hard to digest. The Telemann Variations offer a different view of this highly prolific composer, who was regarded as the most important composer next to Richard Strauss in early twentieth-century Germany. The theme, a minuet in binary form, is taken from Telemann’s Tafelmusik in B-flat Major. The variations exhibit a transparent texture, regular phrases, and formal balance. There is a fair amount of literature about the life and music of Reger, much of it written in German. However, the Telemann Variations themselves have not been subject to many scholarly writings. Chapter One of this document provides an introduction to the subject matter and addresses the techniques used for the musical analysis. Chapter Two features biographical information on the composer. The third chapter examines Reger’s performance style at the piano. There are numerous newspaper reviews, witne...

In this paper I try to outline a model that can bring out the meaningful relationships between ‘the instrumental’ and ‘the electronics’ in mixed music. The model is based on the semiotic square which is considered in semiotics as a powerful conceptual framework to examine the relationships between two terms (S1/S2) and their negative (non-S1/non-S2), terms which can be characters, situations, actions, concepts, etc. Two paradigmatic axes represent the relations between the actors of mixed music: the sources (instrumental and electronic) on the one hand, and the manipulations (real-time processing and sound projection) on the other. According to the semiotic square, the relations inside the environment are defined in terms of contrariety, contradiction and complementarity. This model allows us to start out with a purely technological description of the ‘mixed music’ genre and of individual pieces, with the advantage of a pre-operative analysis of the system. It describes the immanent...

Chopin is considered as the founder of the modern piano playing together with Liszt. He is a reformist composer of Ballades and Scherzi. In Chopin’s Scherzi, Minuetto form which is common in Beethovenian Scherzi that includes an A (started by an eight-bar theme), a B which contains the Trio and section of A that provide recurrence (or da Capo), gives way to Lied- Form or it’s developed version. In Ballades, Chopin abandones simple song conception and implements a combined style which refers to programme music and sometimes sonata form. It is asserted that, as a patriotic composer, Chopin was inspired from Mickiewicz's poems for his Ballades, but it’s much more consistent to approach Chopin’s Ballades and Scherzi, that they were created by pure subjectivity. In this works the technical approach to the keyboard was inspired by Chopin’s own studies Op. 10 and Op. 25. Chopin, whose art is culminating with Ballades and Scherzi, acquires an extraordinary and uniqe place in piano literature.

The chapter analyses and discusses Constituciones drawn up by archbishop Juan Pardo Tavera for Toledo cathedral early in 1539, lost for centuries and only rediscovered in 2014. They are collected in a lavish illuminated manuscript that epitomises the magnificence of the Toledo cathedral, but with the aim of reforming liturgical practice, in demanding greater obedience and discipline, and ensuring that the quality of liturgical performance accorded with not only the architectural splendour of the temple, but also its prestige as Spain’s primatial cathedral.
El capítulo analiza las Constituciones realizadas por el arzobispo Juan Pardo Tavera para la catedral de Toledo en 1539, perdidas durante siglos y redescubiertas en 2014. Están recogidas en un hermoso manuscrito iluminado que recoge la magnificencia de la catedral de Toledo, pero con el objetivo de reformar la práctica litúrgica al exigir una mayor obediencia y disciplina y asegurar que la calidad de la ejecución litúrgica estuviera de acuerdo no sólo con el esplendor arquitectónico del templo, sino también con su prestigio como catedral primada de España y las tendencias reformistas que empezaban a primar.

O presente trabalho propõe, a partir das (re)definições da noção de instrumento musical propostas por Schaeffer (1966) e Chion (2009), uma intersecção entre instrumento musical e instalação sonora. A proposta surge da provocação suscitada pela obra Balance., instalação sonora composta utilizando o fenômeno da realimentação (em que um som é captado por um microfone, reproduzido em um alto-falante e captado novamente, fazendo emergir um ciclo infinito) e o controle de sua plasticidade através de uma câmera que capta os movimentos do corpo do interagente. Uma segunda seção é dedicada ao relato do processo de composição e de programação no ambiente gráfico Pure Data.

Bärenreiter / Metzler, erscheint Ende 2023.

Zum 200. Geburtstag von Anton Bruckner legt Felix Diergarten die lang erwartete, grundlegend neu recherchierte Biographie vor. Zugänglich und anschaulich geschrieben, werden alte und neue Bruckner-Bilder anhand der Quellen überprüft. Jedes der 25 chronologisch angeordneten Kapitel beleuchtet eine Lebensphase, eine Begebenheit, einen Ort oder ein besonderes Thema aus Bruckners Leben mit Musik. Das Buch macht so erfahrbar, wie sich Bruckners Kompositionen in seine Lebenswelten fügen: vom oberösterreichischen Dorf in die Metropolen Europas, vom Dorfschulhaus an die Universität, von der Dorfkirche an den neugotischen Dom, von den Dorfmusikanten zu den Wiener Philharmonikern.

• Grundlegend neu recherchiert anhand der Originalquellen
• Anschaulich und zupackend geschrieben
• Dicht an der Musik

What, if any, similarities and differences between song and speech are consistent across cultures? Both song and speech are found in all known human societies and are argued to share evolutionary roots and cognitive resources, yet few studies have compared similarities and differences between song and speech across languages on a global scale. We compared sets of matched song/speech recordings produced by our coauthors whose 1st/heritage languages span over 20 language families. Each recording set consists of singing, recited lyrics, and spoken description, plus an optional instrumental version of the sung melody to allow us to capture a “musi-linguistic continuum” from instrumental music to naturalistic speech. Our literature review and pilot analysis led us to make six predictions for confirmatory analysis comparing song vs. spoken descriptions: three consistent differences and three consistent similarities. For differences, we predicted that: 1) songs will have higher pitch than ...

Turk musikisi bestekârlari genellikle bestelerinde, belirledikleri usule uygun aruz vezni ile yazilmis siirleri secmislerdir. Bu durum, her usul icin belli aruz kalip veya kaliplari oldugunu gostermektedir.  Mesk siteminin temel iskeletini olusturan usuller ve aruz vezni arasindaki iliski onemli ve anlasilmasi gereken konulardan biridir. Incelemede Lenk Fahte usulunde 17 eser ele alinmis, 13 eserin vezninin “Mef’ulu/Fâ’ilâtun/Mef’ulu/Fâilâtun” oldugu tespit edilmistir. Calismanin konusu olan Lenk Fahte usulunde, Suzinâk makaminda, Nakis Beste formundaki eserin usul-aruz vezni iliskisi baglaminda ornek eser olarak belirlenmesinin birinci derece sebebi, bestekâri Zekâi Dede Efendi’nin ayni zamanda bir kudumzen olmasidir. Ikinci derecede ise Aksut (1993:217)’un ifade ettigi gibi ozellikle Lenk Fahte usulunu hicbir bestekârda rastlanmayacak bir mukemmeliyette kullandigini dile getirmesidir. Eser usul-aruz vezni iliskisinin analizinin ardindan, makamsal acidan da ele alinarak analiz edil...

Detta arbete handlar om att dekonstruera och rekonstruera ett stycke musik och sedan undersöka hur den processen påverkar min interpretation av stycket. Jag har valt att jobba med Nicolaus Bruhns Preludium i G-dur. Metoden jag valt för min dekonstruktion av stycket är partimento, som var en pedagogik som användes för att lära ut improvisation och som utvecklades i Italien under 16- och 1700-talet. Bruhns (1665-1697) tillhörde den nordtyska skolan av organister där improvisation var en självklar del av musicerandet, även om det är tveksamt om han kom i kontakt med just partimento. Jag har gjort ett partimento som teoretiskt sett hade kunnat ligga till grund för Bruhns orgelstycke. Rekonstruktionen blir därmed när jag spelar stycket igen, såsom det är skrivet, efter denna process. Jag påvisar att denna process har haft inverkan på min uppfattning av orgelstycket på flera olika plan och därmed påverkat min interpretation av stycket