Western Musical Elements in Japanese Koto Music: Affective Media in Sonic, Visual and Behavioural Context

2021 ◽  
pp. 39-58
Author(s):  
Henry Johnson
Keyword(s):  
Musical Elements

‘Remplis l’air d’alegresse pour ce seigneur chery des cieux’: Music in the Entries of Nobility and Other Dignitaries in Late Renaissance France (c.1585–c.1615)

2021 ◽  
Vol 146 (1) ◽  
pp. 181-218
Author(s):  
ALEXANDER ROBINSON
Keyword(s):  
Dance Music ◽  
Late Renaissance ◽  
Musical Elements

AbstractAlthough royal entries have long been studied by scholars, those undertaken by nobles and other political figures have generally attracted less attention. This is particularly true in musicological literature, a fact undoubtedly attributable to the paucity of surviving documentation on this topic. Yet music often played an important part in these spectacles, both by underlining the dignitary’s status and by enhancing key components of the symbolism deployed. Rather than concentrating on one particular event, this article brings together information about as many entries as possible made by such figures into French cities in the late sixteenth and early seventeenth centuries. This enables us to make general observations about the types of music used in these events (such as fanfares, Te Deums and dance music) in order to draw possible connections with extant musical sources, and also to ponder why certain musical elements mattered more than others to the contemporaries describing these occasions.

Visualisation of different harmonisations varying in mode, consonance & dissonance

2021 ◽  
Author(s):  
Konstantinos Giannos ◽  
George Athanasopoulos ◽  
Emilios Cambouropoulos
Keyword(s):  
Past Research ◽  
Auditory Stimuli ◽  
Modal Interaction ◽  
Variable Roughness ◽  
The Subject ◽  
Highly Correlated ◽  
Listening Task ◽  
The Relationship ◽  
Tonal Stimuli ◽  
Musical Elements

Visual associations with auditory stimuli have been the subject of numerous studies. Colour, shape, size, and several other parameters have been linked to musical elements like timbre and pitch. In this paper we aim to examine the relationship between harmonisations with varying degrees of dissonance and visual roughness. Based on past research in which high sensory dissonance was associated with angular shapes, we argued that non-tonal and highly dissonant harmonisations will be associated with angular and rough images, while more consonant stimuli will be associated with images of low visual roughness. A fixed melody was harmonised in 7 different styles, including highly tonal, non-tonal, and random variations. Through a listening task, musically trained participants rated the stimuli in terms of enjoyment, familiarity, and matched them to images of variable roughness. The overall consonance of the stimuli was calculated using two distinct models (Wang et al., 2013; Harrison & Pearce, 2020) and a variant of the aggregate dyadic consonance index (Huron, 1994). Our results demonstrate that dissonance, as calculated by all models, was highly correlated with visual roughness, and enjoyment and familiarity followed expected patterns compared to tonal and non-tonal stimuli. In addition to sensory dissonance, however, it appears that other factors, such as the typicality of chord progressions and the sense of tonality may also influence this cross-modal interaction.

scholarly journals Significant Moments in Improvisational Music Therapy

2021 ◽  
Vol 21 (3) ◽  
Author(s):  
Katelyn Beebe
Keyword(s):  
Music Therapy ◽  
Emotional Expression ◽  
Emotional Processing ◽  
Therapeutic Process ◽  
Body Movement ◽  
Clinical Work ◽  
Case Examples ◽  
The Moment ◽  
Interactional Patterns ◽  
Musical Elements

Four composite case examples are presented and discussed as they relate to emotional expression, significant moments in the therapeutic process, and communication using a variety of modalities in music therapy with adults diagnosed with intellectual and developmental disabilities. Building on therapeutic awareness through discussing musical elements, body movement and posture, countertransference, and interactional patterns, the implications of deep emotional connection and processing are approached using primarily nonverbal methods. Composite vignettes from the author’s clinical work demonstrate awareness of these factors in the moment as they impacted the session, therapeutic relationship, and other professionals’ understanding of music therapy in this population. Implications for emotional processing in clinical practice are presented as they relate to the concepts presented in this paper.

scholarly journals L’acte musical : éléments d’analyse

L Homme ◽  
2004 ◽  
pp. 231-248
Author(s):  
Stephen Blum
Keyword(s):  
Musical Elements

scholarly journals The phenomenon of signed music in Deaf culture

2021 ◽  
Vol 20 (4) ◽  
pp. 259-271
Author(s):  
Marina Radić-Šestić ◽  
Mia Šešum ◽  
Ljubica Isaković
Keyword(s):  
Technological Development ◽  
Deaf Culture ◽  
Past Century ◽  
Deaf Community ◽  
The Past ◽  
Art Form ◽  
Cultural Frameworks ◽  
Musical Perception ◽  
Musical Elements

Introduction. Music in the Deaf community is a socio-cultural phenomenon that depicts a specific identity and way of experiencing the world, which is just as diverse, rich and meaningful as that of members of any other culture. Objective. The aim of this paper was to point out the historical and socio-cultural frameworks, complexity, richness, specific elements, types and forms of musical expression of members of the Deaf community. Methods. The applied methods included comparative analysis, evaluation, and deduction and induction system. Results. Due to limitations or a lack of auditive component, the members of Deaf culture use different communication tools, such as speech, pantomime, facial expressions and sign language. Signed music, as a phenomenon, is the artistic form which does not have long history. However, since the nineties of the past century and with technological development, it has been gaining greater interest and acknowledgement within the Deaf community and among the hearing audience. Signed music uses specific visuo-spatial-kinaesthetic and auditive elements in expression, such as rhythm, dynamism, rhyme, expressiveness, iconicity, intensity of the musical perception and the combination of the role of the performer. Conclusion. Signed music as a phenomenon is an art form that incorporates sign poetic characteristics (lyrical contents), visual musical elements and dance.

scholarly journals Analisis Komposisi Musik “Kuasa Tanah”

2019 ◽  
Vol 2 (1) ◽  
pp. 49
Author(s):  
I Putu Adi Septa Suweca Putra
Keyword(s):  
Qualitative Method ◽  
New Work ◽  
Packaging System ◽  
Independent Music ◽  
Balinese Gamelan ◽  
Scientific Foundation ◽  
The Difference ◽  
Musical Elements ◽  
Infinite Dynamics ◽  
The Way

 Tulisan ini bertujuan untuk mengupas dan memahami lebih mendalam cara kerja musik “Kuasa Tanah” yang dikomposisi oleh musisi Bali Dewa Ketut Alit yang secara terselubung menanamkan nilai intelektual dalam proses perwujudannya. Setiap komponis tentu memiliki metode tersendiri untuk mewujudkan karyanya. Perbedaan metode dan wujud karya yang dihasilkan dapat memberikan ciri khas tersendiri bagi setiap komponis. Tulisan ini lebih merujuk kepada persoalan musikalitas yang terjadi pada peristiwa karya ini. Persoalan musikalitas sangat penting dipahami dan dikupas untuk melihat musik secara tekstual. Melalui persoalan ini, pada giliran selanjutnya, dapat digunakan sebagai pengetahuan serta landasan keilmuan dalam membuat suatu karya, dan diharapkan dapat membuka cara pandang masyarakat agar musik tidak hanya dianggap sebagai hiburan semata. Berdasarkan metode kualitatif dari wawancara dan transkripsi yang dilakukan, dalam analisis penulis ditemukan bahwa dalam karya ini terdapat pembaharuan tata racik yang tercermin dari cara kerja komponis dalam mengolah elemen-elemen musik yang telah dipilih. Keseluruhan karya ini menggunakan beberapa jenis instrumen yang terdapat dalam gamelan Bali. Meskipun medium yang digunakan ialah beberapa instrumen lokal dari gamelan Bali, tetapi musik yang dihasilkan bersifat universal. Ini menunjukkan bahwa gamelan akan secara elegan hidup berdampingan di atas kesetaraan dan bergelora sebagai musik yang mandiri di tengah-tengah dinamika musik global yang tiada batas.  This paper aims to explore and understand more deeply about the music of “Kuasa Tanah” (or the power of land) composed by a Balinese musician named Dewa Ketut Alit which covertly instills intellectual value in the process of its manifestation. Broadly speaking, each composer certainly has his own method for realizing his work. The difference in methods and forms of the work produced can also provide distinctive characteristics for each composer. This article is more referring to musicality problems that occur in “Kuasa Tanah” The issue of musicality is very important to understand and peel to see music in a textual manner. Through this issue, in the next turn, it can be used as knowledge and scientific foundation in making another new work, and is expected to open a society’s perspective so that music is not only regarded as merely entertainment. Using qualitative method through interview and transcription done, in the analysis is fount that in “Kuasa Tanah”, there is a renewal of the packaging system that is reflected in the way the composer works in processing the selected musical elements. The entire work uses several types of local instruments found in Balinese gamelan. Although it uses several instruments from Balinese gamelan, but the music produced is sounded universal. This shows that the gamelan will elegantly coexist above equality and surge as independent music amidst the infinite dynamics of global music.

Influence of Number of Different Pitches and Melodic Redundancy on Preference Responses

1974 ◽  
Vol 22 (3) ◽  
pp. 198-204 ◽  
Author(s):  
Patrick T. McMullen
Keyword(s):  
Interaction Effect ◽  
Significant Degree ◽  
School Age ◽  
Response Scale ◽  
Preference Responses ◽  
Musical Elements

The problem of this study was to determine if melodic complexity, defined as number of different pitches or melodic redundancy, influences preference responses of school-age subjects. The test melodies presented to the subjects consisted of nine original, randomly-generated, 48-pitch melodies in which all musical elements (except number of different pitches and redundancy) had been held constant or randomized. Subjects indicated their responses to these melodies on a seven-point response scale. The results indicate that the two melodic complexity factors of number of different pitches and melodic redundancy do influence preference responses of school-age subjects to a statistically significant degree when highly controlled melodies are employed. No interaction effect between these two complexity variables appears to be present. Melodies generated from five or seven different pitch alphabets are preferred to a statistically significant degree over those generated from twelve different pitch alphabets; and melodies containing low or intermediate levels of redundancy (as designated in this study) generally are preferred to a statistically significant degree over highly redundant melodies.

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