The Renaissance Attitude Toward Interpretation in Instrumental Performance

1957 ◽  
Vol 10 (2) ◽  
pp. 79-85
Author(s):  
Imogene Horsley
Keyword(s):  
Instrumental Music ◽  
Instrumental Performance ◽  
Normal Reaction ◽  
Expression Of Emotion ◽  
The Many

Most of our performances of Renaissance ensemble music mirror only too exactly the blank appearance of the original parts. The normal reaction of the conscientious instrumentalist who has been brought up on scores sprinkled with signs indicating just how each note is to be played—as well as what tone is be to sounded and for how long—is to conclude that, if no ‘expression’ signs are present, then the composer was concerned only with pitch and duration, and that to produce anything more would be to mispresent his intentions. The resulting ‘abstract’ performance is inadvertently encouraged by those musical scholars who stress the new emphasis on expression of emotion found in the Baroque period (always in contrast to the music of earlier periods) and by the many musicologists who look at early instrumental music primarily to search for traces of its liberation from the tyranny of vocal style.

The Role of Accompaniment Quality in the Evaluation of Solo Instrumental Performance

2018 ◽  
Vol 66 (1) ◽  
pp. 92-110 ◽  
Author(s):  
D. Gregory Springer ◽  
Brian A. Silvey
Keyword(s):  
Music Education ◽  
Instrumental Music ◽  
Education Majors ◽  
Instrumental Performance ◽  
Solo Performance ◽  
Instrumental Music Education ◽  
Performance Quality ◽  
Music Education Majors ◽  
Main Effects

The purpose of this study was to examine the effect of accompaniment quality on the evaluation of solo instrumental performance. Undergraduate instrumental music education majors ( N = 71) listened to and evaluated the accuracy and expressivity of six excerpts of Haydn’s Concerto for Trumpet in E-Flat Major, which we created by synchronizing recordings of good and bad performances of a trumpet soloist with good and bad performances of a piano accompaniment (as well as a no-accompaniment condition). Participants also chose one “best aspect of the performance” and one “aspect needing most improvement” for each excerpt. Significant main effects for accompaniment condition (good, bad, or none) and solo condition (good or bad) were found, in addition to interaction effects. Results of a Solo × Accompaniment interaction signified that participants’ ratings were not independent of accompaniment condition, and this effect was moderated by the performance quality of the trumpet soloist. Additionally, participants noted different “best aspects” and “aspects needing most improvement” based on both solo performance quality and accompaniment condition.

Investigating adjudicator bias in concert band evaluations: An application of the Many-Facets Rasch Model

2017 ◽  
Vol 22 (3) ◽  
pp. 377-393 ◽  
Author(s):  
D. Gregory Springer ◽  
Kelly D. Bradley
Keyword(s):  
Rasch Model ◽  
Instrumental Music ◽  
Rating Scale ◽  
Interaction Analysis ◽  
Music Performance ◽  
Concert Band ◽  
Performance Evaluations ◽  
Large Ensemble ◽  
Measurement Framework ◽  
The Many

Prior research indicates mixed findings regarding the consistency of adjudicators’ ratings at large ensemble festivals, yet the results of these festivals have strong impacts on the perceived success of instrumental music programs and the perceived effectiveness of their directors. In this study, Rasch modeling was used to investigate the potential influence of adjudicators on performance ratings at a live large ensemble festival. Evaluation forms from a junior high school concert band festival adjudicated by a panel of three expert judges were analyzed using the Many-Facets Rasch Model. Analyses revealed several trends. First, the use of assigning “half points” between adjacent response options on the 5-point rating scale resulted in redundancy and measurement noise. Second, adjudicators provided relatively similar ratings for conceptually distinct criteria, which could be evidence of a halo effect. Third, although all judges demonstrated relatively lenient ratings overall, one judge provided more severe ratings as compared to peers. Finally, an exploratory interaction analysis among the facets of judges and bands indicated the presence of rater-mediated bias. Implications for music researchers and ensemble adjudicators are discussed in the context of ensemble performance evaluations, and a measurement framework that can be applied to other aspects of music performance evaluations is introduced.

Mary Davenport Engberg: Pioneering Musician in a Bachelors’ Frontier

2011 ◽  
Vol 5 (3) ◽  
pp. 365-394 ◽  
Author(s):  
ELIZABETH JULIANA KNIGHTON
Keyword(s):  
Pacific Northwest ◽  
Instrumental Music ◽  
Symphony Orchestra ◽  
The United States ◽  
American Music ◽  
Instrumental Performance ◽  
Musical Culture ◽  
The Pacific ◽  
Orchestral Conducting ◽  
Mixed Gender

AbstractMany women in the United States encountered resistance to their involvement in orchestral conducting and public instrumental performance—both solo and ensemble—in the early twentieth century. Mary Davenport Engberg (1880–1951), however, became involved in the developing musical culture of the Pacific Northwest without encountering opposition based on her gender. In 1911 Engberg founded the mixed-gender Bellingham Symphony Orchestra, which she conducted until she became the conductor of the Seattle Civic Symphony Orchestra in 1921, and she also performed extensively as a violinist in Seattle and along the West Coast. She was the director of an influential music school in Seattle and cofounded the Seattle Civic Opera Association in 1932. Engberg's life and accomplishments reveal the effect of regional differences in the experiences and reception of women in American music. An understanding of her contributions leads to a better appreciation of the varied roles played by women in instrumental music throughout our country's history.

scholarly journals The Simulation of Smiles (SIMS) model: Embodied simulation and the meaning of facial expression

2010 ◽  
Vol 33 (6) ◽  
pp. 417-433 ◽  
Author(s):  
Paula M. Niedenthal ◽  
Martial Mermillod ◽  
Marcus Maringer ◽  
Ursula Hess
Keyword(s):  
Facial Expression ◽  
Brain Research ◽  
Eye Gaze ◽  
Grounded Cognition ◽  
Future Research ◽  
Embodied Simulation ◽  
Facial Mimicry ◽  
Facial Expression Of Emotion ◽  
Expression Of Emotion ◽  
The Many

AbstractRecent application of theories of embodied or grounded cognition to the recognition and interpretation of facial expression of emotion has led to an explosion of research in psychology and the neurosciences. However, despite the accelerating number of reported findings, it remains unclear how the many component processes of emotion and their neural mechanisms actually support embodied simulation. Equally unclear is what triggers the use of embodied simulation versus perceptual or conceptual strategies in determining meaning. The present article integrates behavioral research from social psychology with recent research in neurosciences in order to provide coherence to the extant and future research on this topic. The roles of several of the brain's reward systems, and the amygdala, somatosensory cortices, and motor centers are examined. These are then linked to behavioral and brain research on facial mimicry and eye gaze. Articulation of the mediators and moderators of facial mimicry and gaze are particularly useful in guiding interpretation of relevant findings from neurosciences. Finally, a model of the processing of the smile, the most complex of the facial expressions, is presented as a means to illustrate how to advance the application of theories of embodied cognition in the study of facial expression of emotion.

scholarly journals THE CONCERT AND PEDAGOGICAL REPERTORY OF KHARKIV BUTTON ACCORDION SCHOOL IN TERMS OF THE GENRE AND STYLE DYNAMIC

2021 ◽  
Vol 22 (22) ◽  
pp. 7-27
Author(s):  
Strilets Andriy
Keyword(s):  
Instrumental Music ◽  
Creative Thinking ◽  
Theoretical Background ◽  
Instrumental Performance ◽  
Historical Experience ◽  
Productivity Level ◽  
Original Works ◽  
The Status ◽  
Set Up ◽  
Almost All

Introduction. The article is devoted to the study of the historical stages of the modern button accordion repertoire formation based on the genre and stylistic analysis of the repertoire models used in the process of teaching the students in the Kharkiv button accordion school. The actualization of the current research topic has set up a need for relying to a greater extent not on the printed sources, but on the reports of the witnesses, the first button accordion students of Kharkiv Conservatory, such as University professors Alexander Ivanovich Nazarenko, Anatoly Pavlovich Haydenko, Igor Ivanovich Kharkiv, as well as college professors Yevhen Leonidovych Vashchenko and Yevhen Heorhiyovych Malykhin, who were the first-hand participants in the process of the regional school formation. Theoretical background. Although the historiography of the Ukrainian button accordion art contains a fairly large amount of scientific and methodological studies (M. Imkhanitsky, V. Semeshko, A. Stashevsky, I. Snedkov, A. Svetov), many problems of the modern academic folk instrumental music remain unresolved. In particular, the concert repertoire formation in terms of a pragmatic dimension of the button accordion teachers approaches study within the Kharkiv school has not been the subject of a special interest of researchers in this area yet. The purpose of the research is to trace the stages of formation of the button accordionists’ modern concert and pedagogical repertoire on the basis of the genre and stylistic models’ analysis used in the process of teaching in the Kharkiv regional button accordion school. The object of the article is historical experience of the Kharkiv button accordion school as a component of academic folk and instrumental performance. Methods of research are conditioned by the material and formulation of the problem itself, in particular, a historical method is used to explain the organic connection of the facts, preconditions and personalities that brings together the historical experience of the Kharkiv button accordion school, a genre and stylistic method provides the embodiment of the performers original creative achievements. Results and Discussion. There are three main factors which have influenced the formation of the concert and pedagogical repertoire of the button accordion students of the Ukrainian Folk Instruments Department in KhNUA: ● the performing school and its genesis represented by particular teachers with their own repertoire preferences; ● improving the design of the instrument itself; ● the volume and quality of the original repertoire, as well as the productivity level and number of the composers working to develop it. Considering the general condition of the Kharkiv regional button accordion school of the 1950s, we can point out the prospects of the core guidelines underlying its basis: the formation of a list of clearly regulated and systematized program requirements; the impossibility of the requirements for the performance of genre forms (the absence of full-fledged imitation polyphony in the pedagogical repertoire) in full compliance with the “classical canons”; the predominance of small forms over large ones, as well as their obvious genre affiliation (songs, dances, marches); a significant shortage of the original works inciting the adaptation skills formation. Since the late 1960s the original pedagogical repertoire has been characterized by a great variety of genre and stylistic forms, such as a concert, a sonata, a suite, a partita, a fantasy, small cycles, a scherzo, a prelude, a concertino, a play, an arrangement of folk songs, arrangements of popular works, a concert etude. The representatives of five generations provide an inheritance of the traditions that represent the Kharkiv button accordion school creative experience and simultaneously transform it in accordance with the modern challenges. Conclusions. The conclusions emphasize the fact that the historically settled genre models of the performing and pedagogical repertoire of accordionists were established in the process of the Kharkiv button accordion school activity. The diversity of the original music for a button accordion is now represented by almost all existing genres and stylistic performance directions. It was the high culture of the Kharkiv musicians’ performance that brought the status of the academic art of playing folk instruments into a scientific level, as a new standard of sound and creative thinking.

scholarly journals KOMPOSISI MUSIK BADONDONG BAIBO DALAM MUSIK INSTRMENTAL

2021 ◽  
Vol 10 (1) ◽  
pp. 115
Author(s):  
Ferry Herdianto ◽  
Yusnelli Yusnelli ◽  
Freddy Antara
Keyword(s):  
New York ◽  
Instrumental Music ◽  
Music Performance ◽  
Musical Composition ◽  
Main Theme ◽  
Modern Music ◽  
The Arts ◽  
Expression Of Emotion ◽  
Evaluation Stage ◽  
The Creation

The composition of instrumental and vocal music in this creation came from the art of badondong baibo and was developed into an instrumental music performance in the form of a musical composition with an orchestra format. The principle of the formulation of the creation of conventional music science. While the purpose of this creation is 1) to create badondong baibo art with different contexts and functions into modern music compositions and develop it using conventional techniques, 2) to realize musical ideas inspired by badondong baibo art and make it a new musical composition. . While the method of creation is carried out in three stages, namely; 1) data collection stage, 2) creation stage and 3) evaluation stage. This composition can be concluded that; a) creating musical compositions derived from regional arts has its own difficulties, where the creator must understand and explore the arts of the area, b) badondong is a new musical composition that is adapted from the melodies and vocals of badondong baibo in the Danto area of East Kampar district, c) the tone of the composition this music is a modified "nandung-nandung" melody without reducing the basic "nandung-nandung" melody, d) this badondong baibo vocal is sung by a vocalist to show the main theme in the creation of this musical composition, e) this composition is in the form of an orchestra format, f) This badondong is a musical composition with a lot of development, and is presented in the context of performing arts.Keywords: badondong, baibo, composition, music. AbstrakRumusan penciptaan  komposisi ini diwujudkan dalam sebuah pertunjukan yaitu musik instrumental dan vokal yang mengangkat kesenian badondong baibo menjadi sebuah pertunjukan musik instrumental yang kreatif dan inovatif dalam bentuk komposisi musik dengan format orketra. Dimana rumusan penciptaan menggunakan prinsip-prinsip ilmu musik konvensional. Sedangkan tujuan penciptaan ini adalah 1) untuk menghadirkan kesenian badondong baibo dengan konteks dan fungsi yang berbeda ke dalam komposisi musik modern dan mengembangkannya dengan menggunakan teknik konvensional, 2) untuk merealisasikan ide musikal yang di inspirasi dari kesenian badondong baibo dan menjadikannya sebuah komposisi musik yang baru. Sedangkan metode penciptaan dilakukan dengan tiga tahap yaitu; 1) tahap pengumpulan data, 2) tahap penciptaan dan 3) tahap evaluasi. Secara aris besar kompisisi ini dapat disimpulkan bahwa; a) menggarap sebuah komposisi yang berangkat dari sebuah kesenian bukanlah perkara yang  mudah, selain harus memahami, kita juga dituntut untuk mempelajari latar belakang dari kesenian tersebut, b) badondong adalah komposisi musik baru yang bersumber dari melodi vocal badondong baibo yang terdapat didaerah Danto kecamatan Kampar Timur, c) material komposisi ini adalah potongan-potongan melodi “nandung-nandung” yang dikembangkan dengan tidak menghilangkan nuasa melodi pokok “nandung-nandung”, d) vokal dari badondong baibo dibawakan oleh seorang vokalis untuk memperkenalkan tema pokok dalam penggarapan komposisi ini, e) komposisi digarap dengan format orkestra dalam sebuah pertunjukan seni, f) badondong ini adalah sebuah komposisi musik yang dicipatkan dengan menggunakan banyak pengembangan, dimana komposisi musik ini dihadirkan dalam konteks prtunjukan.Kata Kunci: badondong, baibo, komposisi, musik. Authors:Ferry Herdianto : Institut Seni Indonesia PadangpanjangYusnelli : Institut Seni Indonesia PadangpanjangFreddy Antara : Institut Seni Indonesia Padangpanjang References:­Aziza, M. R., Soemardiono, B. (2013). Canon, Sebuah Teori Musik sebagai Tema Objek Rancang Sekolah Tinggi Seni Pertunjukan Indonesia. Jurnal Sains dan Seni Pomits. 2(2), __ _ __ .Amanriza, dkk. (1989). Koba Sastra Lisan Orang Riau. Pekanbaru: Dinas Kebudayaan dan Pariwisata Provinsi Riau.Baran, Stanley J. (2011). Pengantar Komunikasi Massa: Literasi Media dan Budaya, Edisi Kelima Buku Satu. Jakarta: Salemba Humanika.Banoe, Pono. (2003). Kamus Musik. Yogyakarta: Kanisius.Esten, M. (1990) Sastra Indonesia dan Tradisi Subkultur. Bandung: Angkasa.Lailia, D. R. (2016). Tinjauan Harmoni Pada Karya Musik “True Love Of Family”. Jurusan Pendidikan Sendratasik: Fakultas Bahasa dan Seni Universitas Negeri Surabaya.Jamalus. (1988). Pengajaran Musik Melalui Pengalaman Musik. Jakarta: Proyek Pengembangan Tenaga Kependidikan Direktorat Jendral Pendidikan Tinggi.Kusumawati, Heni. (2004). Komposisi Dasar. Yogyakarta: Fakultas Bahasa dan Seni. Universitas Negeri Yogyakarta.Herdianto, F. (2021). “Badondong Baibo”. Hasil Dokumentasi Pribadi. 2021, ISI Padangpanjang.Hutagalung, R. J. (2018). Klasifikasi Instrumen Musik pada Ensembel Musik Tradisional Batak Toba. Jurnal Christian Humaniora, 2(2), 114-126. https://doi.org/10.46965/jch.v2i2.92. Mahdayeni, M., Alhaddad, M. R., & Saleh, A. S. (2019). Manusia dan Kebudayaan (Manusia dan Sejarah Kebudayaan, Manusia dalam Keanekaragaman Budaya dan Peradaban, Manusia dan Sumber Penghidupan). Tadbir: Jurnal Manajemen Pendidikan Islam, 7(2), 154-165. https://doi.org/10.30603/tjmpi.v7i2.1125. Maran, Rafael Raga. (2007). Manusia dan Kebudayaan dalam Perspektif Ilmu Budaya Dasar. Jakarta: Rineka Cipta.Mudjilah, H. S. (2004). Teori Musik (Diktat Kuliah). Yogyakarta: Jurusan Sendratasik Program Studi Pendidikan Seni Musik, FBS-UNY Yogyakarta.Juita, N. (2015). Nilai-nilai Pendidikan Karakter dalam Pantun Badondong Masyarakat Desa Tanjung Bungo Kecamatan Kampar Timur Kabupaten Kampar. Bahasa, Sastra, dan Pembelajaran, 3(1). __ _ __ .Purnomo. (2018) Warisan Budaya Takbenda (WBTb) Hasil Penetapan Kemendikbud 2013 s.d. 2018 Untuk Wilayah Kerja BPNB Kepulauan Riau Provinsi Kepulauan Riau dan Riau. Riau: Balai Pelestarian Nilai Budaya Kepulauan Riau.Sahar, S. (2016). Merintis Jalan: Membangun Wacana Pendekatan Antropologi Islam. Jurnal Al Adyaan; Jurnal Sosial dan Agama, 1(02). __ _ __ .Syafiq, Muhammad. (2003). Ensiklopedia Musik Klasik. Yogyakarta: Adicita Karya Nusa.Sibarani, R. (2015). Pendekatan antropolinguistik terhadap kajian tradisi lisan. Retorika: Jurnal Ilmu Bahasa, 1(1), 1-17. https://doi.org/10.22225/jr.1.1.9.1-17.Sutami, Hermina. (2005). Ungkapan Fatis dalam Pelbagai Bahasa. Depok: Rumah Printing. Sumardjo, Jakob. (2000). Filsafat Seni, Penerbit ITB: Bandung.Wang, A. (2014, May). The Expression of Emotion and Feeling in Music Composition. In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14) (pp. 636-638). Atlantis Press.Turek, Ralp. (1988). Concepts and Application. New York: The University of Akron.Yohana, N., & Husmiwati, K. (2015). Kaidah interaksi komunikasi tradisi lisan basiacuang dalam adat perkawinan Melayu Kampar Riau. Jurnal Penelitian Komunikasi, 18(1), 43-56.

scholarly journals We are not a female band, we are a band!”: Female performance as a model of gender transgression in Serbian popular music

Muzikologija ◽  
2015 ◽  
pp. 135-156
Author(s):  
Iva Nenic
Keyword(s):  
Popular Music ◽  
Instrumental Music ◽  
Music Performance ◽  
Subject Position ◽  
Instrumental Performance ◽  
Female Agency ◽  
Female Performance ◽  
History Of ◽  
And Performance ◽  
Late Socialism

Instrumental performance, leadership, and authorship by women in music has historically been subjected to various repressive regimes, while many of the prejudices and restrictions regarding female musicking can still be discerned in contemporary popular music practices in Serbia. These mechanisms have been transferred into contemporary music with different ideological and stylistic inclination, such as indie music cohorts and folk- or tradition-based genres and scenes. The structural preconditions that articulate the subject position of female instrumentalists, regardless of genre or the scene they belong to are the lack of history of female playing and the requirement that they reach the supposedly higher standards of male musicians. This article starts with a brief genealogy of female instrumental music performance from late socialism to the diversity of contemporary popular music in its present neo-liberal context. Against that background it interprets the disciplining mechanisms restricting female musical creativity and performance, addressing the issues of identity and power through female agency in music.

Introduction

2019 ◽  
pp. 1-16
Author(s):  
Mark Ferraguto
Keyword(s):  
Instrumental Music ◽  
Formal Analysis ◽  
The Social ◽  
Way Of Thinking ◽  
The Aesthetic ◽  
The Many

Critics have long sought to uncover underlying narratives in Beethoven’s instrumental music, whether through formal analysis or programmatic interpretation. These approaches, while often illuminating, are also limited. Meaning in Beethoven’s music needs to be understood in a broader sense, encompassing the many relationships that this music creates and reflects (with patrons, publics, performers, and technologies, among other things). The concept of mediation offers a useful tool for thinking about the aesthetic and the social in tandem. Coupled with a microhistorical focus, this perspective provides a new way of thinking about Beethoven’s instrumental music of 1806–7 and the historiographical problems it has posed.

scholarly journals The Mystery of the Ancient Russian Domra

2015 ◽  
pp. 52-61
Author(s):  
Vera V. Makhan
Keyword(s):  
Instrumental Music ◽  
Close Relation ◽  
Musical Instrument ◽  
Instrumental Performance ◽  
Russian Culture ◽  
Old Russian ◽  
Musical Practices ◽  
History Of

Addresses the history of the old Russian musical instrument in relation to the medieval Russian culture. The author generalises existing research approaches, estimations, and findings on the origin of domra, musical practices related to it and disappearance of this mysterious instrument. The prevalence of domra in Russian instrumental music of the 16th and the 17th centuries and its close relation to the art of skomorokhs (buffoons) are revealed. The attempt is made to explore the nature of instrumental performance related to this ancient Russian musical instrument.

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