Polyrhythm and Musical Culture

2007 ◽  
pp. 383-395
Author(s):  
Bob Brozman
Keyword(s):  
Musical Culture

THE CLASSIC GENRE OF THE ORAL TRADITION OF AZERBAIJAN IS "MUGHAM"

2020 ◽  
pp. 6-10
Author(s):  
Mammadov R.
Keyword(s):  
Folk Music ◽  
Oral Tradition ◽  
Single System ◽  
Musical Culture ◽  
Musical Tradition

This article is dedicated to the classical mugham genre. It analyzes the main genres of musical culture in Azerbaijan. The author studies the process of emergence of this genre, as well as its main types. Studies folk and national musical art, analyzes the classification of all genres of the oral musical tradition and combines them into a single system of genres of Azerbaijani folk music.

Sacred music: hereditary problems in national musical culture

2019 ◽  
Vol 2(13) (2019) ◽  
pp. 7-12
Author(s):  
Larysa Ihnatova ◽  
◽  
Oleksandr Marach ◽  
Anatolii Levchenko ◽  
Liliia Stets ◽  
...  
Keyword(s):  
Sacred Music ◽  
Musical Culture

Feeling From Music

2018 ◽  
Author(s):  
Ellen Winner
Keyword(s):  
Emotional Response ◽  
Empirical Support ◽  
Musical Culture ◽  
Life Event ◽  
Philosophical Position ◽  
Conflicting Evidence ◽  
Aesthetic Distance ◽  
Experience Emotion

This chapter addresses the emergence of feelings in the music listener. We hear a sad piece and feel sad, but we are not sad about the music, and nothing bad has happened to us. Some philosophers have therefore concluded that music cannot elicit emotion. Instead, perhaps we are confusing the emotion we hear expressed in the music with the emotion we feel. But research shows that people do feel emotions from music, and they distinguish the emotions they hear in the music from the emotions the music makes them feel. There is no empirical support for the philosophical position that we do not experience emotion from music. However, emotions from music are softened by aesthetic distance—we know these emotions are caused by the music and not by a life event. The chapter concludes with a consideration of some conflicting evidence about whether the emotional response to music is innate or influenced by one’s musical culture.

Extraordinary voices: Helen Keller, music and the limits of oralism

2019 ◽  
Vol 4 (2) ◽  
pp. 139-156
Author(s):  
Michael Accinno
Keyword(s):  
World View ◽  
Musical Culture ◽  
Vocal Production ◽  
Cultural Logic ◽  
Human Voice ◽  
Shared Identity ◽  
Helen Keller ◽  
Voice Teacher ◽  
Musical Practices ◽  
Opera Singers

Abstract This article examines iconic American deafblind writer Helen Keller's entræ#169;e into musical culture, culminating in her studies with voice teacher Charles A. White. In 1909, Keller began weekly lessons with White, who deepened her understanding of breathing and vocal production. Keller routinely made the acquaintance of opera singers in the 1910s and the 1920s, including sopranos Georgette Leblanc and Minnie Saltzman-Stevens, and tenor Enrico Caruso. Guided by the cultural logic of oralism, Keller nurtured a lively interest in music throughout her life. Although a voice-centred world-view enhanced Keller's cultural standing among hearing Americans, it did little to promote the growth of a shared identity rooted in deaf or deafblind experience. The subsequent growth of Deaf culture challenges us to reconsider the limits of Keller's musical practices and to question anew her belief in the extraordinary power of the human voice.

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