scholarly journals Evidences and Applications of Proverbs, Parallelism, Fables in Abigbo Musical Structure

2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Okoro, Justice Chukwudi
Keyword(s):  
Musical Structure

Primary education students' experience of the expressiveness of authentic modes in Gregorian chant

2020 ◽  
Vol 22 ◽  
Author(s):  
Tihomir Prša ◽  
Jelena Blašković
Keyword(s):  
Primary Education ◽  
Fourth Grade ◽  
Second Grade ◽  
Gregorian Chant ◽  
Musical Structure ◽  
Education Students ◽  
School Year ◽  
Second Grade Students ◽  
Fourth Grade Students ◽  
The Church

Expressiveness of the church modes is reflected in their character and association of certain states with a specific mode or single Gregorian composition which possesses unique expressiveness. An important characteristic of Gregorian chant on the tonality level is diatonic singing based on scales without chromatics, using only one semitone in the tetrachord whose musical structure reflects the expressiveness of Gregorian chant. Such expressiveness achieves character specificities which each mode respectively reflects. Various modal material in the form of typical melodic shifts in a certain composition conditions the expressiveness of Gregorian music and influences the listening impression and assessment of individual Gregorian tunes. The goal of this work is to examine primary education students' experiences of the expressiveness of Gregorian modes and explore if today's auditory sense accustomed to two tonality genres, major and minor, recognises what has been stored in the heritage of Gregorian chant repertoire for centuries. The research was conducted in the school year 2018/2019 with students of first, second, third and fourth grade of primary school (N=100). The results have shown that first and second grade students express higher auditory sensibility in recognizing specific characteristic of authentic Gregorian modes. Third and fourth grade students are audibly less open and perceptive considering tonal character differences in the authentic Gregorian modes. Key words: Gregorian chant; modality; old church scales; students in primary education

scholarly journals Modifications in the Topological Structure of EEG Functional Connectivity Networks during Listening Tonal and Atonal Concert Music in Musicians and Non-Musicians

2021 ◽  
Vol 11 (2) ◽  
pp. 159
Author(s):  
Almudena González ◽  
Manuel Santapau ◽  
Antoni Gamundí ◽  
Ernesto Pereda ◽  
Julián J. González
Keyword(s):  
Topological Structure ◽  
Phase Synchronization ◽  
Random Network ◽  
Small World ◽  
Surrogate Data ◽  
Musical Structure ◽  
Beta Band ◽  
Tonal Music ◽  
Frequency Bands ◽  
Concert Music

The present work aims to demonstrate the hypothesis that atonal music modifies the topological structure of electroencephalographic (EEG) connectivity networks in relation to tonal music. To this, EEG monopolar records were taken in musicians and non-musicians while listening to tonal, atonal, and pink noise sound excerpts. EEG functional connectivities (FC) among channels assessed by a phase synchronization index previously thresholded using surrogate data test were computed. Sound effects, on the topological structure of graph-based networks assembled with the EEG-FCs at different frequency-bands, were analyzed throughout graph metric and network-based statistic (NBS). Local and global efficiency normalized (vs. random-network) measurements (NLE|NGE) assessing network information exchanges were able to discriminate both music styles irrespective of groups and frequency-bands. During tonal audition, NLE and NGE values in the beta-band network get close to that of a small-world network, while during atonal and even more during noise its structure moved away from small-world. These effects were attributed to the different timbre characteristics (sounds spectral centroid and entropy) and different musical structure. Results from networks topographic maps for strength and NLE of the nodes, and for FC subnets obtained from the NBS, allowed discriminating the musical styles and verifying the different strength, NLE, and FC of musicians compared to non-musicians.

Komponisten, Interpreten und Editoren debattieren über Notation

2019 ◽  
Vol 33 (1) ◽  
pp. 64-81
Author(s):  
Dörte Schmidt
Keyword(s):  
New York ◽  
International Association ◽  
Contemporary Music ◽  
Second Step ◽  
John Cage ◽  
Musical Structure ◽  
New Developments ◽  
The Relationship

Abstract The article discusses how new developments in the notation of contemporary music were negotiated within the framework of the Darmstadt Summer Courses and which interests and actors played a role in this. The first part examines the publications and publication projects that emerged in the context of the Notation conference in 1964. The focus is on the interests of institutions such as the International Music Council and the International Association of Music Libraries, in whose name the New York publisher Kurt Stone attempted to persuade the International Music Institute Darmstadt to cooperate and, following on from the debates there, to systematically record various forms of notation together. In a second step, the content of the debates at the conference is examined, with a particular focus on the different and sometimes conflicting perspectives of interpreters and composers. Numerous connections to fundamental aesthetic discussions of the time can be worked out, in particular to the relationship between the composer’s intention and interpretation, which was renegotiated in a form of notation that was individualized to the extreme. Finally, with a view to later discussions, this topic is pointed to the question of the relationship between morphology and musical structure, exemplified by positions of Wolfgang Rihm (1982), Klaus Huber (1988) and John Cage (1990).

Recovery from memory failure when recalling a memorized performance: The role of musical structure and performance cues

2021 ◽  
pp. 102986492110254
Author(s):  
Roger Chaffin ◽  
Jane Ginsborg ◽  
James Dixon ◽  
Alexander P. Demos
Keyword(s):  
Vocal Music ◽  
Musical Structure ◽  
Public Performance ◽  
Memory Failure ◽  
And Performance ◽  
Written Recall ◽  
Performance Gains ◽  
Over Time

To perform reliably and confidently from memory, musicians must able to recover from mistakes and memory failures. We describe how an experienced singer (the second author) recovered from mistakes and gaps in recall as she periodically recalled the score of a piece of vocal music that she had memorized for public performance, writing out the music six times over a five-year period following the performance. Five years after the performance, the singer was still able to recall two-thirds of the piece. When she made mistakes, she recovered and went on, leaving gaps in her written recall that lengthened over time. We determined where in the piece gaps started ( losses) and ended ( gains), and compared them with the locations of structural beats (starts of sections and phrases) and performance cues ( PCs) that the singer reported using as mental landmarks to keep track of her progress through the piece during the sung, public performance. Gains occurred on structural beats where there was a PC; losses occurred on structural beats without a PC. As the singer’s memory faded over time, she increasingly forgot phrases that did not start with a PC and recovered at the starts of phrases that did. Our study shows how PCs enable musicians to recover from memory failures.

The Magical Number Two, Plus or Minus One: Some Limits on our Capacity for Processing Musical Information

2002 ◽  
Vol 6 (2) ◽  
pp. 185-219 ◽  
Author(s):  
Adam Ockelford
Keyword(s):  
Cognitive Processing ◽  
General Principle ◽  
Empirical Work ◽  
Theoretical Framework ◽  
Musical Structure ◽  
Magical Number ◽  
Level 3 ◽  
Level 1 ◽  
Level 2

Like all fields of human artistic endeavour, music is constrained by our cognitive processing requirements and limitations (Swain, 1986; Lerdahl, 1988; Huron, 2001). This articleconsiders particular forms of constraint pertaining to the relationships that the structure-seeking mind (subconsciously) fabricates between perceived musical events. It is proposed that 2±1 may be a universal limitation pertaining to the level of relationships so ideated. That is, in terms of Lewin'S (1987) theoretical framework in which “intervals” can be intuited between the “elements” of musical “spaces”, it is posited that the cognition of musical structure occurs either through intervals (level 1), through intervals between these (level 2), or — in some circumstances — through intervals between these(level 3). This proposition is explored through the psychomusicological model developed by Ockelford (1991, 1993, 1999), which too analyses musical structure in terms of the relationships that may be cognised between its discrete perceptual components. In particular, the model identifies a type of cognitive link through which events (at any level) arefelt to imply others the same or similar — through so-called “zygonic” relationships. This theory suggests a further general principle: that the highest level of relationship inoperation at any given point must be zygonic if the music is to be structurally coherent. Evidence for this, and for the limit on the level of relationships of 2±1, is offeredthrough a series of musical examples, which illustrate a variety of musical organisation in action. Finally, empirical work is suggested to explore further the theoretical ideas that arepresented here.

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