The Musical Mode: Putting on "The Red Shoes"

1987 ◽  
Vol 26 (3) ◽  
pp. 44 ◽  
Author(s):  
Peter Fraser
Keyword(s):  
Musical Mode

Archbishop Parker’s Psalter

Tallis ◽  
2020 ◽  
pp. 147-160
Author(s):  
Kerry McCarthy
Keyword(s):  
Musical Settings ◽  
The Third ◽  
English Verse ◽  
Printed Books ◽  
John Day ◽  
Musical Mode ◽  
Vaughan Williams

Printed books of psalms in English verse were extremely popular in Elizabethan England. Matthew Parker, Archbishop of Canterbury, published his own metrical psalter in 1567. It includes eight deceptively simple musical settings by Tallis, one in each of the eight traditional modes. The third of these settings has become famous as the theme of a fantasia by Vaughan Williams. This chapter looks at Tallis’s eight “tunes” and the tradition of metrical psalms, as well as Elizabethan views on musical mode and expression. It also discusses the printer John Day, who published (sometimes with questionable accuracy) these and various other works by Tallis during the 1560s.

Lenten Practice in a Musical Mode

2010 ◽  
Vol 64 (1) ◽  
pp. 18-29
Author(s):  
Frank Burch Brown
Keyword(s):  
Musical Mode

Mission Music as a Mode of Intercultural Transmission, Charisma, and Memory in Northern Australia

2013 ◽  
Author(s):  
Fiona Magowan
Keyword(s):  
50Th Anniversary ◽  
Charismatic Leadership ◽  
Christian Music ◽  
Performance Practices ◽  
Ritual Performance ◽  
Choral Singing ◽  
Ongoing Work ◽  
Contemporary Christian ◽  
Non Local ◽  
Musical Mode

This article, focuses on the durability of Methodist “mission music” among the Yolngu, an Australian Indigenous people, and addresses questions of musical transfer between missionaries and Yolngu over fifty years that have shaped their Christian music politics. “Mission music” is marked as a genre by its association with the early missionaries among the Yolngu, their processes of teaching and transmission and its articulation with some aspects of Yolngu ritual performance practices. Today, mission music is performed together with an array of contemporary Christian musics reflecting its ongoing importance as a local, transnational and international currency. Magowan shows how hymnody has persisted for Yolngu as a musical mode of remembering and celebrating the past, illustrated first in early dialogic approaches to music teaching and choral training, and later recaptured in choral performances for the 50th anniversary festival of a Yolngu mission. She argues that “mission music,” in spite of its introduced, non-local origins, has become an experiential, rhythmical and textual sign of the “local” as it is adopted and used by the Yolngu. Choral singing is shown to be a means of embodying mission memories and facilitating local charismatic leadership, in turn, transforming Yolngu-missionary relationships over time. Ongoing work with missionary evangelists and frequent travel to foreign mission fields have also created new arenas for intercultural dialogue, leading to increasing complexity in Yolngu relationships embodied in Christian performance.

scholarly journals Musical Emotion Perception in Bimodal Patients: Relative Weighting of Musical Mode and Tempo Cues

2020 ◽  
Vol 14 ◽  
Author(s):  
Kristen L. D’Onofrio ◽  
Meredith Caldwell ◽  
Charles Limb ◽  
Spencer Smith ◽  
David M. Kessler ◽  
...  
Keyword(s):  
Emotion Perception ◽  
Musical Mode ◽  
Musical Emotion ◽  
Relative Weighting

Musical Improvisation

2015 ◽  
Author(s):  
A. J. Racy
Keyword(s):  
Cultural Values ◽  
Personal Experience ◽  
Arab World ◽  
Cross Cultural ◽  
Cultural Interpretation ◽  
Specific Performance ◽  
Performance Events ◽  
Musical Improvisation ◽  
Musical Mode

This chapter studies musical improvisation from the perspective of a performing musician and ethnomusicologist. Informed by personal experience and theory, the author explores improvisation in terms of two broadly conceived yet closely interconnected realms, musical artistry and cultural interpretation. Examples from different world contexts are presented with emphasis on the author’s area of expertise, especially the Arab World, Turkey, and Iran. Topics addressed include musical mode, emotion, ecstasy, and the cultural values and meanings attached to improvisatory practice. Cross-cultural musical fusions are closely studied. Through analysis of specific performance events, this research highlights the symbolic, social, political, and ideological meanings as well as the improvisatory artistry.

scholarly journals Classification of Mode Archetypes and Modern Problems of Music Education

2019 ◽  
Vol 7 (2) ◽  
pp. 77-95
Author(s):  
Elena M. Alkon
Keyword(s):  
Music Education ◽  
Folk Music ◽  
Modern Human ◽  
New Classification ◽  
Important Place ◽  
The World ◽  
History Of ◽  
History Of Culture ◽  
Musical Mode

Modern problems of musical education are connected with the search for new and more efficient approaches considering the challenges of our time. One of such challenges is unprecedented in history of culture music stream falling upon the modern human. The relict musical mode archetypes, on the basis of which the music of the peoples of the world has been formed for centuries, and which nourish the creativity of the professionals, could be considered as ecologically friendly “musical products”. In this article, following a number of the range of previous publications, the author offers a new classification of mode archetypes based on previously designed principle of asymmetry/symmetry supplemented with several novel approaches. This classification obviously cannot cover all existing mode archetypes of music of people of the world, but definitely addresses their considerable part. Several tables with index-based ordering the most common mode archetypes are considered to be especially significant result of this paper. The author hopes that this method of designation will contribute to the development of a methodology for the analysis of the behavior of mode archetypes in various melodic contexts. The “Solveig’s Song” by E. Grieg is regarded as one of the most famous melodies, in which the musical mode archetype of Norwegian folk music occupies an important place.

scholarly journals Metal, Machismo and Musical Mode: How the ‘Feminine’ Phrygian Second has been Appropriated and Transformed

2011 ◽  
Vol 4 (1) ◽  
Author(s):  
Sarha Moore
Keyword(s):  
Heavy Metal ◽  
Ancient Greek ◽  
Metal Music ◽  
Heavy Metal Music ◽  
The Feminine ◽  
Musical Mode

Heavy Metal music has made extensive and deliberate use of the ‘medieval modes’, particularly those starting with a semitone. Historically the second note of these modes, the Phrygian second, was deemed ‘weak’ and ‘feminine’, a far cry from the machismo of Heavy Metal. This paper describes the journey of the Phrygian mode and its semitone second note, from ancient Greek times to the present, detailing changing connotations and the consequences of these on present day Heavy Metal music. The paper will include particular discussion of how the Phrygian second supports machismo through Metal music in film, and the subgenre of Oriental Metal that can challenge the Othering of the Phrygian second. It can be argued that within Metal the Phrygian second is significant and central to its aggressive power, and that Metal has given the Phrygian second unique and innovative masculine significations that contribute new expressive aspects to the contemporary musical palette.

scholarly journals Fast Recognition using Bar-based Data Mapping for Gamelan Music Genre Classification

2021 ◽  
pp. 374-383
Author(s):  
Khafiizh Hastuti ◽  
Pulung Nurtantio Andono ◽  
Arry Maulana Syarif ◽  
Azhari Azhari
Keyword(s):  
Audio Signal ◽  
Mapping Technique ◽  
Data Mapping ◽  
Fast Recognition ◽  
Genre Classification ◽  
Feed Forward Neural Networks ◽  
Music Genre ◽  
The One ◽  
Musical Mode ◽  
Music Genre Classification

This research aims to develop a gamelan music genre classifier based on the musical mode system determined based on the dominant notes in a certain order. Only experts can discriminate the musical mode system of compositions. The Feed Forward Neural Networks method was used to classify gamelan compositions into three musical mode systems. The challenge is to recognize the musical mode system of compositions between the initial melody without having to analyze the entire melody using a small amount of data for the dataset. Instead of conducting a melodic extraction from audio signal data, the text-based skeletal melody data, which is a form of extracted melodic features, are used for the dataset. Unique corpuses are controlled based on the cardinality of the one-to-many relationship, and a data mapping technique based on the bars is used to increase the number of corpuses. The results show that the proposed method is suitable to solve the specified problems, where the accuracy in recognizing the class of unseen compositions between the initial melody achieves at 86.7%.

Musical Mode and Estimation of Time

2007 ◽  
Vol 105 (3_suppl) ◽  
pp. 1087-1092 ◽  
Author(s):  
José Lino Oliveira Bueno ◽  
Danilo Ramos
Keyword(s):  
Musical Mode ◽  
Estimation Of Time
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