Coding of musical form: the Finale

1995 ◽  
pp. 64-90
Keyword(s):  
Musical Form

Music Material Development Techniques (Lectures in «Principles of Music Analysis») 

2020 ◽  
pp. 53-69
Author(s):  
Р.Х. Лаул
Keyword(s):  
Final Section ◽  
High Efficiency ◽  
Music Analysis ◽  
Detailed Examination ◽  
Musical Composition ◽  
Musical Form ◽  
Musical Work ◽  
Saint Petersburg ◽  
Material Development ◽  
Development Processes

Настоящий материал продолжает серию публикаций лекций Рейна Лаула по анализу музыки в Санкт-Петербургской (Ленинградской) консерватории. Шестая лекция завершает обзор приемов разработочного развития музыкального материала. В нее вошли шесть из двадцати пяти приемов в авторской классификации (эпизодическая тема, производная тема, варьирование, полифонические варианты, приемы подвижного контрапункта, полифонические структуры), способствующей систематизации разработочных процессов. В поле зрения автора включены неспецифически сонатные способы преобразования музыкального материала, благодаря чему сонатность предстает в гибком и взаимодополняющем взаимодействии с иными принципами формообразования. Особое внимание уделено специфике применения полифонических средств развития музыкального материала в контексте сонатного формообразования. В ходе детального рассмотрения финала симфонии В. А. Моцарта Юпитер оказываются тесно связанными технологический, композиционно-драматургический и стилевой аспекты становления музыкальной формы. Заключительный раздел, обобщающий содержание лекции в целом, содержит пример практического применения предлагаемой автором методологии. Тем самым доказывается ее целесообразность и высокая эффективность как в аспекте анализа интонационной драматургии музыкального произведения, так и в достижении главной аналитической цели в формировании объективного представления о содержательной сути каждого этапа в развёртывании музыкальной композиции. This material continues the series of publications of R. H. Lauls lectures on music analysis at the Leningrad (Saint Petersburg) Rimsky-Korsakov State Conservatory. The sixth lecture concludes the review of techniques for developing musical material. It discusses six of the twenty-five techniques in the authors classification (episodic theme, derived theme, variation, polyphonic variants, mobile counterpoint techniques, polyphonic structures), which contributes to systematization of the development processes. The authors field of view includes non-specific Sonata methods of transforming the musical material, so that sonateness appears in a flexible and complementary interaction with other principles of formation. Special attention is paid to the specifics of using polyphonic means of developing musical material in the context of Sonata formation. The detailed examination of the finale of Mozarts Symphony Jupiter, shows that technological, compositional, dramatic, and stylistic aspects of the formation of a musical form appear to be closely related. The final section summarizing the content of the lecture as a whole contains an example of practical application of the methodology proposed by the author, proving its expediency and high efficiency not only in the aspect of analyzing the intonation drama of a musical work, but also of achieving the main analytical goal to form a reasoned judgment about the content of each stage in the deployment of a musical composition.

Pandemic meaning making: messing toward motet

2021 ◽  
Vol ahead-of-print (ahead-of-print) ◽  
Author(s):  
Mary Beth Schaefer ◽  
Sandra Schamroth Abrams ◽  
Molly Kurpis ◽  
Charlotte Abrams ◽  
Madeline Abrams
Keyword(s):  
Participatory Research ◽  
Research Method ◽  
Design Methodology ◽  
Research Team ◽  
Research Study ◽  
Literacy Practices ◽  
Meaning Making ◽  
Musical Form ◽  
Content Type ◽  
At Home

Purpose In this child–parent research study, three adolescents theorize their meaning-making experiences while engaged in exclusive online learning during a three-month stay-at-home mandate. The purpose of this study is to highlight youth-created understandings about their literacy practices during COVID-19 in order to expand possibilities for youth-generated theory. Design/methodology/approach This child–parent research builds upon a critical dialectical pluralist (CDP) methodology, which is a participatory research method that looks to privilege the child as a co-researcher at every stage of the inquiry. In this research study, the adolescents work together to explore what it means to create and learn alone and then with others via virtual platforms. Research team discussions initially were scaffolded by the parent–researchers, and the adolescents developed their analyses individually and together, and their words and insights situate the findings and conclusions. Findings The musical form of a motet provides a metaphor that three adolescents used to theorize their meaning-making experiences during the stay-at-home order. The adolescents determined that time, frustration, and space were overarching themes that captured the essence of working alone, and then together, in messy, orchestrated online ensembles. Originality/value In this youth-centric research paper, three adolescents create understandings of their meaning-making experiences during the stay-at-home order and work together to determine personal and pedagogical implications.

How to Understand Musical Form

1948 ◽  
Vol 89 (1261) ◽  
pp. 78
Author(s):  
W. R. A. ◽  
J. Raymond Tobin
Keyword(s):  
Musical Form

Arthur Benjamin's Piano Concerto

Tempo ◽  
1952 ◽  
pp. 19-21
Author(s):  
John Cowan
Keyword(s):  
General Public ◽  
New Work ◽  
Musical Form ◽  
Piano Concerto ◽  
Widespread Interest

The solo concerto, and in particular the piano concerto, is still the most popular musical form amongst the general public to-day. Therefore the appearance of a new work of this variety by a well-known composer is inevitably a matter of widespread interest.

scholarly journals KARYA MUSIK YOUTH KELOMPOK MUSIK SOLOENSIS (Kajian Proses Penciptaan Dan Makna Teks Lagu)

2019 ◽  
Vol 11 (2) ◽  
Author(s):  
Bekti Setyo Utomo
Keyword(s):  
Creative Process ◽  
Musical Composition ◽  
Musical Form ◽  
Major Scale

ABSTRACT This paper focuses on the creative process of the song entitled Youth, and also the meaning of the lyrics. The lyrics and the structure of the music presented is a contradiction between the lyrics and the musical form. The song Youth created by the Soloensis music group used the major scales. Then, the character of their musical composition is cheerful and uses instruments that are not normally played in their works. The song Youth is a song with a message about the anxiety of the creator's youth. In the end, the content of the message is transformed into a song with a contrasting musical composition. This music constructs an atmosphere of anxiety and sadness using the diatonic major scale which is usually cheerful. Kata kunci : musik youth, soloensis, makna teks lagu

scholarly journals BENTUK LAGU MARS FKIP UNIVERSITAS PGRI PALEMBANG IRINGAN MUSIK FORMAT ORKESTRA

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Silo Siswanto
Keyword(s):  
Higher Education ◽  
Performing Arts ◽  
Arts Education ◽  
Academic Community ◽  
Musical Form ◽  
Science Center ◽  
Study Program ◽  
Education Study ◽  
Performing Arts Education

<p>The motto of PGRI Palembang University is that the campus advances with quality. Then a need for faculties to make a stragi in providing encouragement and motivation to the academic community to carry out the tri dharma of higher education. (FKIP) Palembang PGRI University through its highest leadership in the faculty gave a letter of assignment to work on the Mars song FKIP PGRI Palembang University to one of the music art lecturers in the performing arts education study program named Silo Siswanto, M.Sn. Then the Mars song was finished on July 23, 2018 and was launched on July 31, 2018 in the FKIP University of Palembang PGIP judicial event held at the Science Center building at the PGRI University in Palembang. Regarding the form in the Mars song, of course, this song has pieces of melody that are often known by the term phrases or musical sentences that make up the song. while the accompaniment music is arranged in an orchestra format. The formulation of the problem. (1) What is the form of Mars FKIP University PGRI Palembang song. (2) How is the accompaniment of Mars FKIP Palembang PGRI University music with orchestra format. The results of the discussion FKIP march song has a poly metric musical form where the antecedent phrase and consequent phrase do not have the same number of bars for example period C has 9 bars consisting of the phrase d 4 bars and the phrase e 5 bars.</p><p><br />Keywords: Song Form, Mars Song, Orchestra</p>

scholarly journals Transformasi Musik Balaganjur Teruna Goak Ke dalam Musik Jazz

Panggung ◽  
2019 ◽  
Vol 29 (3) ◽  
Author(s):  
Ade Surya Firdaus ◽  
Hendra Santosa ◽  
Ni Wayan Ardini
Keyword(s):  
Musical Form ◽  
Basic Form ◽  
Literature Study ◽  
Musical Arrangements ◽  
Jazz Music ◽  
The Creation ◽  
Experimental Stage ◽  
Formation Step

ABSTRACT           The Megoak-goakan tradition from a Panji Village is played with Balaganjur Teruna Goak music, both of which are very interesting when they are transformed into jazz because they have the same basic musical form. This article aims to provide an overview of the process of transformation of Balaganjur Teruna Goak Village in Panji Village into jazz music. The process of transformation into jazz music was carried out with the creation method of exploratory which began with a literature study on the Megoak-goakan tradition in Panji Village, Buleleng, and then conducted participant observations, interviews, and continued with experiments on various musical motifs which were considered suitable with a jazz music. The results are obtained from observing and analyzing the process using the theory of basic form of music of Pono Banoe and Prier’s. It is found that Balaganjur Teruna Goak's music had a lively expression with the phrases of antecedent (question) and consequent (answer). Furthermore, the experimental stage begins with pouring musical inspiration that is used in this work in several stages through writing notation. The formation step is done by assembling existing motifs and then formed into a unified whole composition. The creation of jazz music is based on Balaganjur music, and in its creating processes does not neglect the work of others so that it is possible that in its motifs and patterns on musical arrangements have adopted the previous works.Keyword: Teruna Goak, Balaganjur, Jazz Music, Transformation, Panji VillageABSTRAK           Tradisi Megoak-goakan dari Desa Panji dimainkan dengan musik Balaganjur Teruna Goak. Keduanya sangatlah menarik jika ditransformasikan ke dalam musik jazz karena memiliki bentuk dasar musik yang sama. Artikel ini bertujuan memberikan gambaran bagaimana proses transformasi musik Balaganjur Teruna Goak Desa Panji ke dalam musik jazz. Proses transformasi ke dalam musik jazz dilakukan dengan metode penciptaan dari penjajakan yang diawali dari studi literatur tentang tradisi Megoak-goakan di Desa Panji Buleleng, kemudian melakukan pengamatan langsung, wawancara, dan dilanjutkan dengan percobaan berbagai motif musik yang diperkirakan cocok dengan musik jazz. Hasil yang didapat dari pengamatan dan proses analisis menggunakan teori bentuk dasar musik Pono Banoe dan teori bentuk musik dari Prier. Musik Balaganjur Teruna Goak memiliki ekspresi yang bersemangat dengan frase antiseden (tanya) dan konsekuen (jawab). Selanjutnya, pada tahap percobaan dimulai dengan cara menuangkan inspirasi musik yang akan digunakan dalam garapan ini secara bertahap melalui penulisan notasi. Tahap pembentukan dilakukan dengan merangkai motif-motif yang telah ada kemudian dibentuk menjadi suatu kesatuan komposisi yang utuh. Penciptaan musik jazz yang berdasarkan musik Balaganjur ini, pada penggarapannya tidak mengabaikan hasil karya orang lain sehingga kemungkinan dari segi motif dan pola garap musikal mengadopsi yang sudah ada sebelumnya.Kata Kunci: Teruna Goak, Balaganjur, Musik Jazz, Transformasi, Desa Panji

scholarly journals Keruncong Stambul Fajar Dalam Acara Selamat Laut Di Pulau Mendanau Kabupaten Belitung

SELONDING ◽  
2019 ◽  
Vol 13 (13) ◽  
Author(s):  
Irwansyah Irwansyah
Keyword(s):  
Field Observation ◽  
Fishing Communities ◽  
Musical Form ◽  
Main Approach ◽  
Traditional Art ◽  
The People ◽  
Island Community ◽  
Secondary Function ◽  
The Village ◽  
And Linguistics

Mendanau Island is one of the islands located in Belitung archipelago. People in Mendanau island mostly work as fishermen. The fishermen community in Mendanau island, precisely in the village of Suak Gual, held a ceremony once a year called Selamat Laut. This ceremony was held in several days by performing traditional art performance, one of them is Keruncong Stambul Fajar(KSF) music. KSF music consists of several instruments namely three ukulele, one viul / violin, one acoustic guitar, and a bass guitar. KSF music is played at the completion of the Selamat Laut ceremony during a shared meal called Bedulang. This study aims to reveal the form of presentation, function and reason of KSF music taking part in the ceremony. The ethnomusicological approach is used as the main approach in this study, with the help of other sciences such as anthropology, sociology and linguistics. The research was conducted by field observation and literature review.The Selamat Laut ceremony is a form of expression of the request for salvation and a request to be kept away from the bad things that may happen while sailing, which in the implementation is led by a village shaman followed by all fishing communities in the village of Suak Gual. KSF music itself was involved in the ceremony as the performers after the Selamat Laut ceremony to accompany the people enjoying the meal, that presented as musical and pantun performances using traditional clothes on the stage. The KSF Group of Pengekar Campo presenting two songs called KSF Semol and KSF Dua Mol, with a musical form of 20 bars for KSF Semol and 18 bars for KSF Dua Mol. Music KSF has two functions i.e. primary and secondary function. The primary functions included the function as a means of entertainment, and as an aesthetic presentation. Secondary functions included the function as solidarity enchancher and as a communication medium. Through the function of the KSF music make it as music that always involved in various events, that KSF music can be said as the identity of the Mendanau island community. Keywords: Selamat Laut Ceremony, Musical Performance, Keruncong Stambul Fajar.

scholarly journals Contrapuntal text and rondo (in the poetry of Desmond Egan and Jaroslav Seifert)

2019 ◽  
Vol 52 (1) ◽  
pp. 345-358
Author(s):  
Radomil Novák
Keyword(s):  
Musical Form ◽  
Graphic Form ◽  
The Common ◽  
Poetic Texts ◽  
The Impact ◽  
Poetry And Music

This paper is concerned with the complicated relationships between poetry and music. It tries to show that one of the common denominators between both arts can be the musical form in poetry, strictly speaking a method of poetry creation based on a musical principle. For this paper, two illustrations of this process are chosen: an Irish poet Desmond Egan’s contrapuntal poems (chosen from all Egan’s poetry) and a Czech poet Jaroslav Seifert’s Mozart in Prague. The conclusions concern the impact on the reader’s reception of poetic texts, which in their graphic form or theme stimulate references to music. We conclude that knowing (active and passive) the musical principles of counterpoint and ronda can help readers to better understand the structure, theme and meaning of the texts.

Sign in / Sign up

Export Citation Format

Share Document