NO NAME OF FEMALE COMPOSERS IN THE WESTERN MUSIC HISTORY

2014 ◽  
Vol 3 (7) ◽  
pp. 45-45
Author(s):  
Tarkan YAZICI ◽  
Şefika İZGİ TOPARLAK
Keyword(s):  
Music History ◽  
Western Music

On the musically melancholic: temporality and affects in western music history

2020 ◽  
pp. 1-21
Author(s):  
Yonatan Bar-Yoshafat
Keyword(s):  
Music History ◽  
Western Music

Inference of Mode in Melodies

1999 ◽  
Vol 17 (2) ◽  
pp. 223-239 ◽  
Author(s):  
Piet G. Vos ◽  
Paul P. Verkaart
Keyword(s):  
Temporal Structure ◽  
Stimulus Presentation ◽  
Music History ◽  
Western Music ◽  
Tonal Music ◽  
Continuous Scale ◽  
Gevolgd Door ◽  
Stimulus Length ◽  
Musical Genres ◽  
The Impact

Listeners' ability to infer the mode (major vs. minor) of a piece of Western tonal music was examined. Twenty-four subjects, divided into two groups according to their level of musical expertise, evaluated 11 musical stimuli, selected from J. S. Bach's "Well-Tempered Clavier". The stimuli included both unambiguous and ambiguous examples of the two modes, as well as one example of a modulation (from minor into major). The stimuli consisted of unaccompanied melodic openings of compositions, each containing 10 tones. Stimulus presentation and evaluation took place in nine progressively longer steps, starting with presentation of the first two tones, followed by their evaluation on a continuous scale, with 0 = "extremely minor" and 100 = "extremely major," and ending with evaluation of the complete stimulus. The results showed that mode inference followed the prescribed modes and tended to become more definite with increasing stimulus length. Experts were generally more definite in their inferences than were nonexperts. Surprisingly, the temporal structure of stimuli also appeared to affect mode inference. The degree of definiteness of mode judgments did not systematically differ between the two modes. It was concluded that listeners are able to infer the mode of a piece of music in the absence of explicit harmonic cues. The generalizability of the results with respect to music pieces of late periods in Western music history and the impact of different musical genres on mode inference are discussed. /// Onderwerp van onderzoek betrof het perceptuele onderscheid tussen majeur en mineur. Vierentwintig proefpersonen, verdeeld in twee groepen die verschilden in nivo van muzikale expertise, evalueerden 11 hen onbekende muziek stimuli, gekozen uit J. S. Bach's "Wohltemperierte Klavier". De stimuli bevatten zowel ondubbelzinnige als ambigue voorbeelden van de twee toonsoort geslachten, alsmede een voorbeeld van modulatie (in dit geval van mineur naar majeur). De stimuli bestonden uit ongeharmonizeerde melodische openingen van composities, elk 10 tonen lang. Stimulus aanbieding en (majeur/mineur) evaluatie vonden plaats in negen toenemend langere stappen, beginnend met de aanbieding van de eerste twee tonen van een stimulus, gevolgd door een evaluatie daarvan (op een continue schaal met 0 = "uitgesproken mineur" en 100 = "uitgesproken majeur"), en eindigend met de evaluatie van de complete stimulus. De resultaten lieten zien dat de evaluaties de profilering der voorgeschreven toonsoortgeslachten volgden en stelliger werden met toenemende stimulus lengte. De experts bleken doorgaans zekerder in hun kwalificaties dan de nonexperts. Verrassend genoeg bleek ook de temporele struktuur der stimuli de beoordeling te beïnvloeden. Geconcludeerd werd dat luisteraars in staat zijn om het geslacht van de toonsoort waarin een muziekstuk staat te identificeren in afwezigheid van expliciete harmonische informatie. De generalizeerbaarheid der resultaten met betrekking tot muziekstukken uit latere perioden in de Westerse tonale muziekgeschiedenis alswel de mogelijke invloed van verschillende muzikale genres op de majeur/mineur interpretatie werden ter discussie gesteld.

scholarly journals Globalisation and western music historiography

Muzikologija ◽  
2015 ◽  
pp. 9-21
Author(s):  
Katy Romanou
Keyword(s):  
Western Europe ◽  
Music History ◽  
Historical Thinking ◽  
Cultural Relativism ◽  
Western Music ◽  
Terminal Phase ◽  
General Music ◽  
European Culture ◽  
Western Development

Globalisation of musicology and music history aims to fuse the divisions created during Western music?s acme, and is referred to as ?post-European historical thinking?. Therefore, ?post? and ?pre? European historical thinking have much in common. One aspect of this process of fragmentation was that music history was separated from theory and that Western Music Histories succeeded General Music Histories (a development described in some detail in the article). Connecting global music history with ?post-European? historical thinking is one among numerous indications of Western awareness that European culture has reached some sort of a terminal phase. Concurrently, countries that have been developing by following Western Europe as a prototype, are leading today some past phase of Western development, which, with the ideas of cultural relativism prevailing, are not considered inferior.

Western Music History as a Teaching Topic in Taiwan

2021 ◽  
pp. 11-22
Author(s):  
Jen-yen Chen
Keyword(s):  
Music History ◽  
Western Music

Introduction

2017 ◽  
Keyword(s):  
Working Class ◽  
New England ◽  
Music History ◽  
Country Music ◽  
Western Music ◽  
Regional History

This introductory chapter studies what local working-class New Englanders often refer to as “traditional country music,” particularly the so-called “New England country and western music.” The practitioners of and participants in this regional form of country music use live, local music to drive community events, and they are active stewards of the music's regional history and traditions. New England country and western music, history, and sociability are interwoven with national and international forms of commercial country music. The chapter also examines how the national and international commercial country music industry's diminishing interest in showcasing country music as a regional, working-class music has negatively impacted the vibrancy of New England, and has both threatened and fortified the region's sense of inheritance to the mantle of country music authenticity.

scholarly journals An Evaluation of Music’s Adherence to Benford’s Law Throughout History

2021 ◽  
Vol 67 (1) ◽  
pp. 73-84
Author(s):  
Sybil Prince Nelson ◽  
◽  
Brian Wickman ◽  
Jack Null ◽  
Eric Gazin ◽  
...  
Keyword(s):  
Music History ◽  
Western Music ◽  
Benford’S Law ◽  
Large Collection ◽  
Time Period ◽  
Benford's Law ◽  
Post War ◽  
Mathematical Connection

Western Music history can be divided into six major categories: Medieval, Renaissance, Baroque, Classical, Romantic, and Post-War. We analyzed a large collection of music from each time period and discovered a clear mathematical connection. Within each time period, we found that the note frequencies measured in hertz (Hz) and note durations are all Benford distributed. We also found that as music progressed through time, note lengths adhered closer and closer to the Benford distribution with the exception of the Post-War time period.

scholarly journals A historical section from Ottoman- Serbian musical interactions: Stevan Mokranjac’s Istanbul concertsOsmanlı-Sırp müzik ilişkilerinden tarihsel bir kesit: Stevan Mokranjac’ın Dersaadet konserleri

2016 ◽  
Vol 13 (1) ◽  
pp. 139
Author(s):  
Evren Kutlay
Keyword(s):  
Ottoman Empire ◽  
Music Performance ◽  
Music History ◽  
Western Music ◽  
Historical Documents ◽  
Archival Research ◽  
Specific Research ◽  
Musical Interactions ◽  
Choral Society ◽  
Musical Interaction

<p>Stevan Mokranjac, who is among the founders of Serbian national music, came with the Belgrade Choral Society to Ottoman lands to give a concert in 1895, during the reign of Sultan Abdulhamid II. Mokranjac’s visit is important both in terms of presenting the developments in Western music area in Ottoman Empire as well as showing the diplomatic interactions of the two countries in relation to music. In this concerts it is observed that the Western music performance and composition practices that the Ottomans initiated during 19. century were adopted by the Serbian musicians. Moreover, the constructional similarities and interactions in institutionalization of Western music in both countries takes attention.</p><p>This article aims to reveal the Ottoman-Serbian musical interaction, about which no specific research was not traced, in line with the composer, musician, conductor Stevan Mokranjac, who is not very well known in Turkish music history, and Belgrad Choral Society’s Istanbul visit through the support of historical documents obtained by archival research.</p><p> </p><p><strong>Özet</strong></p><p>Sırp ulusal müziğinin kurucularından Stevan Mokranjac, Belgrad Koro Topluluğu’yla birlikte 1895 yılında, Sultan II. Abdülhamid’in hükümdarlığı döneminde konser vermek üzere Osmanlı topraklarına gelmiştir. Mokranjac’in bu ziyareti hem Osmanlı İmparatorluğu’nda Batı müziği alanındaki gelişmeleri gözler önüne sermek hem de iki ülke arasındaki diplomatik ilişkilerin müzik bağlamında etkileşimini göstermek bakımından önemlidir. Bu konserlerde Osmanlı’nın 19. yüzyılda temellerini attığı Batı müziği icra ve yaratı geleneklerinin Sırp müzisyenlerce adapte edildiği gözlemlenmiştir. Ayrıca iki ülkenin Batı müziği yapılanmasındaki kurumsal benzerlikler ve etkileşimler dikkat çekmektedir.</p><p>Bu makale, bugüne kadar hakkında hiç yayın tespit edilememiş Osmanlı-Sırp müzik ilişkilerini, yine Türk müzik tarihinde tanınmayan ve araştırılmamış besteci, müzisyen, şef Stevan Mokranjac’ın korosuyla İstanbul ziyareti düzleminde, konuyla ilgili tarihsel belgeleri arşiv çalışması ile ortaya koyarak gözler önüne sermeyi hedeflemektedir.</p>

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