When sounds, colors, and shapes meet: Investigating children’s audiovisual art in response to classical music

This study was designed to investigate children’s audiovisual art, following intuitive listening to complete classical works from different historical periods. The study aimed to examine the effect of different musical stimuli on children’s audiovisual output. Two related questions were asked: (1) How do children visually and verbally represent music from different historical periods? (2) What musical and extra-musical elements are represented? Participants were 181 second graders (age 7.0–8.5). Three compositions were presented: a 12th-century anonymous choral from the liturgical drama “ Danielis Ludus,” Chopin’s prelude op. 28 no. 10, and Bartók’s “ Melody in the Mist” Vol. 4 no. 107, from “ Mikrokosmos.” Each composition is based on distinct musical parameters: vocal timbre, melodic contour, and texture alternations, respectively. Data consisted of 495 audio-graphic productions and related accounts. Analysis progressed in three stages abbreviated MSC: Morphological dimensions, focusing on type of symbols employed; Structural dimensions, focusing on the overall graphical design; and Conceptual dimensions focusing on the generic meanings of the productions. Results indicated significant differences in children’s reactions to each of the three compositions, showing that MSC dimensions are influenced by the type of music presented and that differences in MSC dimensions are statistically significant. Experiencing “audiovisuology” in school is one way of promoting art integration.

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Investigating style evolution of Western classical music: A computational approach

Musicae Scientiae ◽

10.1177/1029864918757595 ◽

2018 ◽

Vol 23 (4) ◽

pp. 486-507 ◽

Cited By ~ 5

Author(s):

Christof Weiß ◽

Matthias Mauch ◽

Simon Dixon ◽

Meinard Müller

Keyword(s):

Classical Music ◽

Music History ◽

Computational Approach ◽

Unsupervised Clustering ◽

Computational Experiments ◽

Data Driven ◽

Independent Evidence ◽

Audio Recordings ◽

Western Classical Music ◽

Historical Periods

In musicology, there has been a long debate about a meaningful partitioning and description of music history regarding composition styles. Particularly, concepts of historical periods have been criticized since they cannot account for the continuous and interwoven evolution of style. To systematically study this evolution, large corpora are necessary suggesting the use of computational strategies. This article presents such strategies and experiments relying on a dataset of 2000 audio recordings, which cover more than 300 years of music history. From the recordings, we extract different tonal features. We propose a method to visualize these features over the course of history using evolution curves. With the curves, we re-trace hypotheses concerning the evolution of chord transitions, intervals, and tonal complexity. Furthermore, we perform unsupervised clustering of recordings across composition years, individual pieces, and composers. In these studies, we found independent evidence of historical periods that broadly agrees with traditional views as well as recent data-driven experiments. This shows that computational experiments can provide novel insights into the evolution of styles.

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DAGESTAN PROFESSIONAL MUSICAL ART IN HISTORICAL DEVELOPMENT: THE SECOND HALF OF THE XX - BEGINNING OF THE XXI CENTURY

History Archeology and Ethnography of the Caucasus ◽

10.32653/ch172363-386 ◽

2021 ◽

Vol 17 (2) ◽

pp. 363-386

Author(s):

Elmira B. Abdullaeva

Keyword(s):

Historical Development ◽

Classical Music ◽

Species Differentiation ◽

Research Experience ◽

Musical Culture ◽

Holistic View ◽

Modern Culture ◽

The Look ◽

Historical Periods ◽

Actual Part

The article describes the patterns and features of the development of the musical art of Dagestan at different stages of its evolution over more than half a century of history. We have analyzed the components of the musical and professional tradition, giving a holistic view of it, versatile reflecting both the originality and originality, and historical variability. These include: genre-species differentiation and systemic connections, stylistics and means of musical expression.The multifaceted study and the possibility of interpreting the data obtained allows one to create an idea of the ways of the formation and development of the musical art of Dagestan during the period under consideration. The initial premises of the study can be summarized as follows.The structure of musical art is formed on the basis of the interrelationships of composer's creativity, performing practice and various cultural interchanges that undergo stylistic and genre-specific changes.The second premise was the look at the musical art of Dagestan as an actual part of modern culture. Therefore, the main source has become various forms of broadcasting musical culture (listening practice and analytical observations at concerts of classical music).Reliance on contemporary musical material and direct observation of the musical process in the field of classical, pop and other spheres of culture presupposes the study of the phenomenon in a synchronic aspect. The presence of publications by different authors and our own research experience make it possible to a certain extent to make diachronic comparisons.The important regularities in the development of the Dagestan academic musical art identified by us can form the basis for further research of genre phenomena in different historical periods.

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Students' music preferences towards classical music

Metodički obzori/Methodological Horizons ◽

10.32728/mo.15.2.2020.01 ◽

2021 ◽

Vol 15 (2 (29)) ◽

pp. 5-23

Author(s):

Antonella Mendiković Đukić ◽

Marlena Plavšić ◽

Sabina Vidulin

Keyword(s):

Negative Correlation ◽

Classical Music ◽

Strong Support ◽

Female Students ◽

Music Students ◽

Music Preference ◽

Music Preferences ◽

Moderate Negative Correlation ◽

Historical Periods ◽

Music Activities

Music preferences can be related to many groups of factors, as LeBlanc’s Interactive theory of music preference suggests. In this research four factors from the model were explored in relation to students’ preference towards classical music: students' age, their gender, their attendance of extracurricular music activities and familiarity of music pieces. Fifteen excerpts of classical music pieces from different musical-historical periods were presented to a sample of 516 students, 7 to 18 years old. Results reveal moderate negative correlation between age and preference towards classical music. Higher preference was found in female students and for familiar pieces. Students that attended extracurricular music activities preferred only some excerpts more. Findings provide strong support to LeBlanc’s model. Implications for teaching are proposed.

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Exploring the foundations of tonality: statistical cognitive modeling of modes in the history of Western classical music

Humanities and Social Sciences Communications ◽

10.1057/s41599-020-00678-6 ◽

2021 ◽

Vol 8 (1) ◽

Author(s):

Daniel Harasim ◽

Fabian C. Moss ◽

Matthias Ramirez ◽

Martin Rohrmeier

Keyword(s):

Cognitive Modeling ◽

Classical Music ◽

Geometric Model ◽

Optimal Number ◽

Theoretical Concepts ◽

Novel Approach ◽

History Of ◽

The 19Th Century ◽

Western Classical Music ◽

Historical Periods

AbstractTonality is one of the most central theoretical concepts for the analysis of Western classical music. This study presents a novel approach for the study of its historical development, exploring in particular the concept of mode. Based on a large dataset of approximately 13,000 musical pieces in MIDI format, we present two models to infer both the number and characteristics of modes of different historical periods from first principles: a geometric model of modes as clusters of musical pieces in a non-Euclidean space, and a cognitively plausible Bayesian model of modes as Dirichlet distributions. We use the geometric model to determine the optimal number of modes for five historical epochs via unsupervised learning and apply the probabilistic model to infer the characteristics of the modes. Our results show that the inference of four modes is most plausible in the Renaissance, that two modes–corresponding to major and minor–are most appropriate in the Baroque and Classical eras, whereas no clear separation into distinct modes is found for the 19th century.

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Supportive Music and Imagery Method

Voices A World Forum for Music Therapy ◽

10.15845/voices.v10i3.453 ◽

2010 ◽

Vol 10 (3) ◽

Cited By ~ 2

Author(s):

Sumi Paik-Maier

Keyword(s):

Classical Music ◽

Guided Imagery ◽

Guided Imagery And Music ◽

Case Examples ◽

Imagery Training ◽

Recorded Music ◽

Bonny Method ◽

Music And Imagery ◽

Musical Elements

The Supportive Music and Imagery Method is derived from the Bonny Method of Guided Imagery and Music (BMGIM). It uses one piece of pre-recorded music that is short and simple in all musical elements and non-classical music is often used.It aims at enhancing one’s ego by supporting one’s positive resource rather than exploring problems and issues. It is containing and highly structured compared to BMGIM and it focuses on the here-and-now.I will introduce how the SMI method is conducted by illustrating a few case examples supervised by me and conducted by graduates and trainees of the Music and Imagery training in Korea.

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Contemporary art music in Nigeria: an introductory note on the works of Ayo Bankole (1935–76)

Africa ◽

10.2307/1161372 ◽

1994 ◽

Vol 64 (4) ◽

pp. 533-543 ◽

Cited By ~ 2

Author(s):

Olabode F. Omojola

Keyword(s):

Nineteenth Century ◽

Contemporary Art ◽

Classical Music ◽

Musical Training ◽

Art Music ◽

Historical Factors ◽

Introductory Note ◽

Christian Missionary ◽

British Colonial ◽

Musical Elements

The introduction of Christian missionary activity and the British colonial administration of Nigeria in the middle of the nineteenth century led to some of the most significant musical changes in the country. Perhaps the most far reaching was the emergence of modern Nigerian art music, a genre which is conceptually similar to European classical music. This study focuses on Ayo Bankole, one of the pioneer composers of Nigerian art music.As an introductory study of Ayo Bankole, the article briefly discusses the musico-historical factors responsible for the growth of Nigerian art music as well as the nature of Bankole's musical training and experience. This provides an appropriate context for understanding and appreciating the stylistic features of Bankole's works. Drawing on examples from his works, the article establishes the eclectic nature of Bankole's style, in which European and African musical elements interact.

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Chronicles from Majnun until Layla

ARTMargins ◽

10.1162/artm_a_00072 ◽

2014 ◽

Vol 3 (1) ◽

pp. 81-86

Author(s):

Azin Feizabadi

Keyword(s):

Architectural Design ◽

Documentary Film ◽

Middle Eastern ◽

Virtual Museum ◽

The Third ◽

Iranian History ◽

Three Stages ◽

Stage 1 ◽

Two Stages ◽

Historical Periods

Chronicles from Majnun until Layla is a film project structured in three stages: 1.) The Museum of Modern Iranian History (2011–2013), 2.) Layla and Majnun (in preparation), and 3.) The Film (in preparation). Each stage bears its own approach, format, and mode of presentation. The first two stages are conceived as preparation for the third and final stage: the merging moment, which will be in the form of a feature-length, hybrid fiction/documentary film. The film depicts a couple, lovers, visiting a virtual museum of modern Iranian history. The lovers appear both as themselves and as “Layla and Majnun,” characters adapted from a classical Middle Eastern love tale. As they walk the museum, the couple engages in dialogue about their individual and collective stories, memories, dreams, rages, and desires. The lovers' affairs and conversations interact with the representations of the major historical moments of Iran being documented in the museum. In Stage 1, through the museum's architectural design and references to an official Iranian narrative taken from a high-school textbook, the various historical periods of Iran get transformed into Kairos (the Now), contradicting Chronos and scientific and analytical historiography.

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The Long Goodbye: On the Development of Critical Theory

Analyse & Kritik ◽

10.1515/auk-2008-0201 ◽

2008 ◽

Vol 30 (2) ◽

Author(s):

Anton Leist

Keyword(s):

Critical Theory ◽

Critical Theories ◽

Social Theories ◽

History Of ◽

Three Stages ◽

Philosophical Project ◽

Historical Periods ◽

Pragmatic Maxim

AbstractIt is not easy to give up on a tradition that promises to rationalize, explain, and thereby ultimately help improve, society. This article narrates the history of Critical Theory in three stages, following the dynamics of its own self-criticism during distinct historical periods and within different societies. Horkheimer/Adorno, Habermas and Honneth are read as participating in a philosophical project of societal rationalism which can be criticized by appeal to a pragmatist view of social theories, and specifically the ‘pragmatic maxim’. In spite of its post-metaphysical announcements, Critical Theory overextends itself when it seeks to reconcile fully the normative and the empirical. An alternative, and more explicitly ethical and empirically controllable, scheme for critical theories (plural!) is suggested.

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