St. Petersburg Conservatory and the Beginnings of Russian Musicology

2018 ◽  
pp. 223-248
Author(s):  
Olga Panteleeva
Keyword(s):  
Music Theory ◽  
Classical Music ◽  
Leading Role

This chapter looks at St. Petersburg Conservatory and Soviet musicology. The St. Petersburg Conservatory bears Nikolai Rimsky-Korsakov's name not only on account of the composer's contribution to the Russian classical music canon, but because he is perceived as a progenitor of the institutionalized study of music in Russia—both practical and theoretical. It is true that Rimsky-Korsakov played a leading role in shaping the first syllabi of music-theoretical courses at the St. Petersburg Conservatory. However, the lineage that connects these courses to the present-day curricula is by no means as direct as it is sometimes painted. The chapter then argues that under Rimsky-Korsakov, music theory was seen as the handmaiden to composition, which hindered the institutionalization of historical musicology.

“When I Was at School, I Played All Classical Music”

2018 ◽  
pp. 33-38
Author(s):  
Vic Hobson
Keyword(s):  
Public Schools ◽  
Music Education ◽  
New Orleans ◽  
Music Theory ◽  
Classical Music ◽  
Elementary Years

This chapter explores Armstrong’s education in music at Abijah Fisk School. He learned music theory using the tonic sol-fa system that was taught in all New Orleans public schools. He sang songs from the Eleanor Smith Manual of Music (book 1). The program of music education in New Orleans was entirely vocal: there were no instrumental lessons. The music in the elementary years was sung in unison without part singing.

Understanding Turkish Classical Makam: Identifying Modes Through Characteristic Melodies

2021 ◽  
Vol 7 (5) ◽  
Author(s):  
Adem Merter Birson ◽  
Ahmet Erdoğdular
Keyword(s):  
Middle East ◽  
Music Theory ◽  
Classical Music ◽  
Building Blocks ◽  
Modal System ◽  
Turkish Republic ◽  
Modern Approach ◽  
Idiomatic Expression ◽  
Oral Form ◽  
Extended Interaction

In Turkish classical music, characteristic melodies known as “çeşni-s” form essential building blocks in makam, the modal system of the Middle East. Since around the beginning of the Turkish Republic (1923), Turkish musicologists adapted the makam system for Western staff notation and devised an approach to music theory based on scales. This modern approach, while currently widespread, has its limitations; in particular, the makam scales do not reflect the characteristic melodies that are often so important to the idiomatic expression of makam. For this reason, one needs extended interaction with experienced musicians in order to learn how to interpret the scores, via an oral form of pedagogy traditionally known as “meşk.”

scholarly journals Composing by Laypeople: A Broader Perspective Provided by Arithmetic Operation Grammar

2020 ◽  
Vol 44 (1) ◽  
pp. 17-34
Author(s):  
Guido Kramann
Keyword(s):  
User Interface ◽  
Music Theory ◽  
Significant Contribution ◽  
Classical Music ◽  
Arithmetic Operation ◽  
Theoretical Background ◽  
Primary School Children ◽  
Approaches To Teaching ◽  
The Everyday ◽  
Everyday Creativity

Abstract Many existing approaches to teaching laypeople to compose are based, to a certain extent, on simply hiding the theoretical background. This is done, for example, by offering ready-made musical events that can be combined in any way to organize them in time. A different approach is taken in the work presented here. As an alternative to classical music theory, with all its complications, the generative composition method Arithmetic Operation Grammar (AOG) is used, which is much easier to learn. This approach has been taken in the conviction that the leaner theory on which it is based, in combination with the compact symbolic representation of entire compositions, can make a significant contribution to bringing forward the “everyday creativity” in the field of ubiquitous music. Furthermore, in the field of sonification, AOG offers the possibility of sonifying data that do not inherently include time as an ordering parameter. To prove practical use of this approach, AOG is combined with a user interface that is more suitable for adults as a target group and another one that is more appropriate for primary school children.

scholarly journals A STUDY OF MUTHUSWAMI DIKSHITAR’S EXPERTISE ON VARIOUS ELEMENTS OF MUSICOLOGY REFLECTED THROUGH HIS COMPOSITIONS

2021 ◽  
Vol 2 (2) ◽  
pp. 83-92
Author(s):  
Utpala Karanth ◽  
Dr. R Rangan
Keyword(s):  
Music Theory ◽  
Classical Music ◽  
The South ◽  
Sufficient Knowledge ◽  
South Indian ◽  
Indian Classical Music ◽  
Indian Music ◽  
Ancient Texts

Musicology is the study of scientific and intellectually handling of music. This is a colossal subject of music and inquest into the History and phenomenon of music including; life and works of Composers and performers, music theory like melody, rhythm, harmony, modes, aesthetics, form etc. The Historical evidences of Indian Classical music have been discussed in several ancient texts like Veda’s, Upanishads, epics way back 2000 years ago. The Rigveda, Yajurveda, Samaveda and Atharvaveda contains ritual hymns and incantations (vedic chants) , praising the specific dieties during the Sacrificial rituals. The South Indian music has a phlegmatic and pedagogic nature when compared with the music of other unconsecrated Hindustani traditions. This paper highlights the proficiency of Dikshitar’s knowledge of Musicology bequeathed from his father Ramaswami Dikshitar, a scholar, musician, learned musicologist, and recipient of many honours and emoluments in the knowledge of music gained sufficient knowledge in musicology who had settled down at Tiruvarur where Dikshitar was born. Tiruvarur then was a seat of learning of Sanskrit and Vedanta. Dikshitar’s compositions reflect his deep and thorough knowledge widely through the interpretation of their literature as seen in famous compositions like ‘Vatapi Ganapatim Bhaje’, ‘Amrutavarshini’ and others will be discussed with the various rasas created through the ragas as enunciated in the Natyashastra of Bharat Muni.

Understanding the structure of musical compositions: Is visualization an effective approach?

2016 ◽  
Vol 16 (2) ◽  
pp. 139-152 ◽  
Author(s):  
Roberto De Prisco ◽  
Delfina Malandrino ◽  
Donato Pirozzi ◽  
Gianluca Zaccagnino ◽  
Rocco Zaccagnino
Keyword(s):  
Music Theory ◽  
User Satisfaction ◽  
Classical Music ◽  
Evaluation Study ◽  
Interactive System ◽  
Great Effort ◽  
Structural Elements ◽  
Visualization Technique ◽  
The People ◽  
Graphic Elements

Experienced musicians have the ability to understand the structural elements of music compositions. Such an ability is built over time through the study of music theory, the understanding of rules that guide the composition of music, and countless hours of practice. The learning process is hard, especially for classical music, where the rigidity of the music structures and styles requires great effort to understand, assimilate, and then master the learned notions. In particular, we focused our attention on a specific type of music compositions, namely, music in chorale style (four-voice music). Composing such type of music is often perceived as a difficult task because of the rules the composer has to adhere to. In this article, we propose a visualization technique that can help people lacking a strong knowledge of music theory. The technique exploits graphic elements to draw the attention on the possible errors in the composition. We then developed an interactive system, named VisualMelody, that employs the proposed visualization technique to facilitate the understanding of the structure of music compositions. The aim is to allow people to make four-voice music composition in a quick and effective way, that is, avoiding errors, as dictated by classical music theory rules. We have involved 40 people in testing VisualMelody in order to analyze its effectiveness, its usability, and the overall user satisfaction. We partitioned the people involved in the evaluation study into two groups evenly splitting the musical expertise. Then, we had one group use VisualMelody without the visualization facilities and the other using the tool enhanced with our visualization. On average, people in the group that used our visualization were 60% faster and produced music with less errors.

Mozart’s “Dissonance” and the Dialectic of Language and Thought in Classical Theories of Rhythm

2019 ◽  
pp. 125-140
Author(s):  
Michael Spitzer
Keyword(s):  
Eighteenth Century ◽  
Classical Theory ◽  
Music Theory ◽  
Classical Music ◽  
Abstract Concept ◽  
Musical Rhythm ◽  
Language And Thought ◽  
Historical Tradition

Chapter 8 challenges the abstract concept of musical rhythm prevalent in most music theory and philosophy. By contrast, the author argues that rhythm is intrinsically expressive. He supports this claim by introducing the reader to a rich historical tradition of rhythmic theory in the eighteenth century. The classical theory of rhythm was cognitive, written by philosophers and pedagogues who read Leibniz, and in tune with the cognitive qualities of classical music itself. Another of classical rhythm’s expressive aspects was its linguistic character. It imitated the nature of primitive grammar, as imagined by contemporary linguists. The author concludes the chapter by showing how these ideas can enhance our understanding, and hearing, of a piece by Mozart.

The Renaissance Flute

2020 ◽  
Author(s):  
Kate Clark ◽  
Amanda Markwick
Keyword(s):  
Sixteenth Century ◽  
Music Theory ◽  
Classical Music ◽  
The Internet ◽  
Transverse Flute ◽  
Renaissance Music ◽  
Simple Language

The last four decades have seen a revival of interest in the renaissance transverse flute. The few collections of surviving original flutes from the sixteenth century have increasingly attracted musicologists, instrument makers, and players to examine, measure (and copy), perform, and record on them. Renaissance flute workshops and summer courses attract students and amateur players in several corners of Europe every year. At the same time, renaissance manuscripts and early prints have increasingly become available on the internet, providing an ever-expanding supply of materials for flutists wanting to experience renaissance music for themselves. This handbook for renaissance flute players offers all the information needed to buy, maintain, and learn to play the renaissance flute, whether alone or in consort. It explains how to read and interpret renaissance music whether from original notation or in modern editions, how to make your own transcriptions, and how to write your own diminutions. It also introduces readers to the basics of renaissance music theory, in clear and simple language. At a time when the gap between the professional “classical” music world and its public seems to have grown irrevocably, this book aims to demystify the business of making beautiful music together. It is a key to the elegant, cylindrical flute that was played all over Europe in the age of polyphony and to the gentle art of consort playing.

Characterization of RF Sputtered ZnO Piezoelectric Films Using Transmission Electron Microscope

1975 ◽  
Vol 33 ◽  
pp. 86-87
Author(s):  
Kemining W. Yeh ◽  
Richard S. Muller ◽  
Wei-Kuo Wu ◽  
Jack Washburn
Keyword(s):  
Integrated Circuit ◽  
Acoustic Waves ◽  
New Technology ◽  
Surface Acoustic Waves ◽  
Electromechanical Properties ◽  
Leading Role ◽  
Saw Devices ◽  
Transmission Electron ◽  
High Degree

Considerable and continuing interest has been shown in the thin film transducer fabrication for surface acoustic waves (SAW) in the past few years. Due to the high degree of miniaturization, compatibility with silicon integrated circuit technology, simplicity and ease of design, this new technology has played an important role in the design of new devices for communications and signal processing. Among the commonly used piezoelectric thin films, ZnO generally yields superior electromechanical properties and is expected to play a leading role in the development of SAW devices.

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