scholarly journals The Musical Ludo Mix of Taiko no Tatsujin

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Constantino Oliva
Keyword(s):  
Digital Games ◽  
Musical Form ◽  
Musical Performances ◽  
Musical Compositions ◽  
Original Musical ◽  
Musical Characteristics ◽  
Musical Practices ◽  
Taiko Drumming ◽  
Media Mix ◽  
Musical Literacy

This paper analyzes the Taiko no Tatsujin (Bandai Namco 2001/ 2018) franchise and the musical literacy it conveys. While previous accounts of game musical literacy have focused on the competence necessary to interpret references across media (van Elferen 2016), this paper expands on the concept, and includes the discussion of live performances and oral traditions.The musical compositions included in Taiko no Tatsujin pertain to the Japanese phenomenon of media convergence known as media mix (Steinberg 2012), as they have been previously popularized by anime and geemu ongaku (or game music) (Yamakami and Barbosa 2015). However, the musical participation initiated extends its references to the practice of Japanese taiko drumming, a largely oral, non-notated musical form, which cannot be reduced to a musical repertoire. The resulting, emerging ludo mix, a form of media mix centered around digital games (Blom 2019; Bjarnason 2019; Picard and Pelletier-Gagnon 2015; Steinberg 2015), presents original musical characteristics, representing and synthesizing a dynamic musical culture.The conclusions show that game musical literacy is based, not only on competence with previous media forms, but also with various different forms of participation in musical performances, or musicking (Small 1998), which concur in constructing game musical literacy. The musical side of the ludo mix can therefore be expressed through a large variety of musical practices.

scholarly journals Communicating through music: creating accessible songs for Individuals with memory loss

2021 ◽  
Author(s):  
Hallie Anthony
Keyword(s):  
Verbal Memory ◽  
Memory Loss ◽  
Research Process ◽  
Future Research ◽  
Human Communication ◽  
Information Retention ◽  
Scholarly Literature ◽  
Musical Compositions ◽  
Original Musical ◽  
With Memory

This Major Research Paper (MRP) is a research-­creation project that explores the role, impact and influence of music n human communication. More specifically, this MRP investigates the way that music can assist in cognitive comprehension and information retention in individuals with varied forms of memory loss and considers the ways that music can be used to assist in aiding verbal memory and communicating emotion. It also offers insight on methods that could be utilized to further study this area of research. As a research-­creation project, this MRP includes three original musical compositions (Composition A1, Composition B2, and Composition C3) that were developed in response to the scholarly literature on this topic. The three musical compositions that have been produced for this project aim to communicate emotion, create aesthetic satisfaction, and aid in reinforcing the production of memories based on the information presented in the compositions. The composition creation process was informed by information gathered throughout the research process that addresses topics such as: the influence of music on individual listeners, emotion in music, and musical techniques that can be used to successfully communicate ideas. Beyond the scope of this MRP/research-­creation project, these compositions aim to serve as a basis for testing cognitive function in individuals with varied forms of memory loss. Detailed discussion of the design of the musical compositions, including information related to the composition influences, and a breakdown of each composition are included alongside the MRP’s focus on scholarly literature and research. Furthermore, the potential implications of these compositions, including the ways they could assist in future research, is discussed.

My country, my music: Imagined nostalgia and the crisis of identity in a time of globalization

2016 ◽  
Vol 35 (1) ◽  
pp. 47-59
Author(s):  
Chee-Hoo Lum
Keyword(s):  
Qualitative Research ◽  
Research Study ◽  
Phenomenological Study ◽  
Music Educators ◽  
Global City ◽  
Qualitative Research Study ◽  
Music Classroom ◽  
Musical Characteristics ◽  
Musical Practices ◽  
City Identity

This qualitative research study seeks to examine definitions of Singapore music, music by Singapore composers and musics of/in Singapore through the eyes of tertiary music educators in a local institute of teacher education, and to determine pedagogical implications of such definitions in the space of the music classroom. Extensive informal interviews with seven tertiary music educators (key informants) serve as the methodological base for this phenomenological study. Findings suggest that music educators should give focus to the historical, socio-cultural and musical characteristics of the lived and living musical practices that comprise Singapore while being cognizant of contradictions brought forth by recent migratory flows and the emergence of a global city identity.

Teaching Songwriting with MIDI Projects

2021 ◽  
pp. 112-174
Author(s):  
Will Kuhn ◽  
Ethan Hein
Keyword(s):  
Music Theory ◽  
Real World ◽  
Electronic Music ◽  
Practical Approach ◽  
Musical Form ◽  
Music Genres ◽  
Production Practice ◽  
Original Musical ◽  
House Music

The projects in this chapter introduce MIDI recording, sequencing, and editing techniques for composition and songwriting. The projects include strategies for enabling students to quickly generate a large amount of original musical material quickly. Beginner songwriters and composers find empty DAW sessions to be daunting, so it is essential to build their confidence. Therefore, the chapter gives techniques for quickly generating melodic and drum sequences, duplicating them, and creating variations on them. This approach also has the benefit of mirroring “real-world” professional production practice. The projects cover drum programming and arranging, as well as writing chord sequences, basslines, and short melodies. A pragmatic instrument taxonomy of “drums” and “not-drums” is used, and the typical instrumental layers in contemporary electronic music genres are explained. Also presented is a practical approach to relevant music theory concepts. Finally, three popular genres—future bass, house music, and trap—are used to introduce musical form.

Another View at the Interaction of Poetry and Music in Jazeps Vitols’ Choral Works

2014 ◽  
pp. 116
Author(s):  
Ilma Grauzdiņa
Keyword(s):  
Comprehensive Analysis ◽  
A Cappella ◽  
Musical Form ◽  
Choral Works ◽  
Comprehensive View ◽  
Musical Compositions ◽  
Total Product ◽  
Characteristic Features ◽  
Individual Style ◽  
Poetry And Music

The aim of the research is to explore creation of musical form of Jazeps Vitols’ (1863-1948) most expanded a cappella choral works. Although Jazeps Vitols’ choral works have been discussed in monographs and in several scientific articles, the musical form of choral songs is offen individual, therefore students still have difficulties to determine the musical form of compositions, and this aspect provokes ardent discussions among experts. The author of the article bases her opinion first of all on a comprehensive analysis of the poem (images, language, dramaturgy, composition) set in the choral work and, secondly, on the comparison between results of analysis and implementation of these parameters in J. Vitols’ music. Such an approach lets to define more accurately the musical form of choral song – the total product born out of the cooperation of the two arts. Furthermore, such comprehensive view allows to reveal important characteristic features of individual style of the composer and stylistic details of musical compositions, understanding of which could be useful for performers – conductors and singers.

scholarly journals Samuel Beckett and music an absurd essay about the idea of musicality and musical form in Samuel Beckett’s short pieces - influences and possibilities

Muzikologija ◽  
2004 ◽  
pp. 113-120
Author(s):  
Nadezda Mosusova
Keyword(s):  
Samuel Beckett ◽  
Musical Form ◽  
Musical Language ◽  
Musical Compositions

The premise of musicality of Beckett?s short dramas contains more questions than answers. Is the musicality of text present only in the work of Samuel Beckett? Do only the (musical) stage remarks in Beckett?s dramas suggest the idea of musicality? Can the absurdity of his output be expressed with music and through music? Some short musical compositions, especially by Alexandre Scriabine, can be in some way compared with Beckett?s "dramaticules", but only in form not in the meaning and musical language. The question of hidden influences remains to be developed.

Singing and Survival

2019 ◽  
pp. 14-48
Author(s):  
Dan Bendrups
Keyword(s):  
Participant Observation ◽  
Social Function ◽  
The Other ◽  
Sources Of Information ◽  
Rapa Nui ◽  
Musical Performances ◽  
Culture Bearers ◽  
Musical Characteristics ◽  
The One ◽  
Over Time

This chapter describes traditional Rapanui music as passed down from precontact times and preserved by Rapanui culture bearers in the 1870s. It draws on two main sources of information: descriptions provided by early explorers and ethnologists on the one hand, and knowledge collected through participant observation fieldwork on the other. The chapter describes the contexts for musical performances in precontact Rapa Nui, as well as the instruments, dances, adornments, and other items associated with performance. It then describes the musical characteristics and social function of precontact Rapanui songs and chants, with explanations of the various styles and categories that have been applied to Rapanui songs over time.

scholarly journals CHARLES WESLEY, METHODISM AND NEW ART MUSIC IN THE LONG EIGHTEENTH CENTURY

2021 ◽  
Vol 18 (2) ◽  
pp. 271-293
Author(s):  
MARTIN V. CLARKE
Keyword(s):  
Eighteenth Century ◽  
Sacred Music ◽  
Art Music ◽  
Musical Culture ◽  
Musical Settings ◽  
Original Musical ◽  
Musical Characteristics ◽  
Congregational Singing ◽  
The Aesthetic ◽  
Long Eighteenth Century

ABSTRACTThis article considers eighteenth- and early nineteenth-century Methodism's relationship with art music through the original settings of poetry by Charles Wesley by five notable musicians: John Frederick Lampe, George Frideric Handel, Jonathan Battishill, Charles Wesley junior and Samuel Wesley. It argues that the strong emphasis on congregational singing in popular and scholarly perceptions of Methodism, including within the movement itself, masks a more varied engagement with musical culture. The personal musical preferences of John and Charles Wesley brought them into contact with several leading musical figures in eighteenth-century London and initiated a small corpus of original musical settings of some of the latter's hymns. The article examines the textual and musical characteristics of these the better to understand their relationship with both eighteenth-century Methodism and fashionable musical culture of the period. It argues that Methodism was not, contrary to popular perception, uniformly opposed to or detached from the aesthetic considerations of artistic culture, that eighteenth-century Methodism and John and Charles Wesley cannot be regarded as synonymous and that, in this period, sacred music encompasses rather more than church music and cannot be narrowly defined in opposition to secular music.

Adémar de Chabannes (989–1034) and Musical Literacy

2013 ◽  
Vol 66 (3) ◽  
pp. 605-638
Author(s):  
James Grier
Keyword(s):  
Eleventh Century ◽  
Vertical Axis ◽  
Musical Notation ◽  
Relative Pitch ◽  
Innovative Technique ◽  
Musical Practices ◽  
Intellectual Context ◽  
The Impact ◽  
Musical Literacy

Abstract In the second half of 1027, Adémar de Chabannes contributed the musical notation to the production of an elaborate liturgical manuscript (currently Paris, Bibliothèque nationale de France, MS latin 1121) at the scriptorium of Saint Martial in Limoges. While doing so, he introduced the innovative technique of placing the neumes in strict alignment along the vertical axis of writing in accordance with their relative pitch. The accurate heighting of the neumes revolutionized the teaching of music at Saint Martial, and eventually throughout Aquitaine. Instead of relying on the rote communication of melodies from more experienced singers, younger musicians could turn to the visual transmission of chant through the medium of notation, now made more transparent by the use of accurate heighting. This article investigates the musical and intellectual context in which Adémar introduced the innovation of accurate heighting to the scriptorium at Saint Martial, the role of tonaries (now equipped with precise intervallic information) in musical pedagogy, and the impact of these devices on musical practices at Saint Martial through the eleventh century.

scholarly journals Communicating through music: creating accessible songs for Individuals with memory loss

2021 ◽  
Author(s):  
Hallie Anthony
Keyword(s):  
Verbal Memory ◽  
Memory Loss ◽  
Research Process ◽  
Future Research ◽  
Human Communication ◽  
Information Retention ◽  
Scholarly Literature ◽  
Musical Compositions ◽  
Original Musical ◽  
With Memory

This Major Research Paper (MRP) is a research-­creation project that explores the role, impact and influence of music n human communication. More specifically, this MRP investigates the way that music can assist in cognitive comprehension and information retention in individuals with varied forms of memory loss and considers the ways that music can be used to assist in aiding verbal memory and communicating emotion. It also offers insight on methods that could be utilized to further study this area of research. As a research-­creation project, this MRP includes three original musical compositions (Composition A1, Composition B2, and Composition C3) that were developed in response to the scholarly literature on this topic. The three musical compositions that have been produced for this project aim to communicate emotion, create aesthetic satisfaction, and aid in reinforcing the production of memories based on the information presented in the compositions. The composition creation process was informed by information gathered throughout the research process that addresses topics such as: the influence of music on individual listeners, emotion in music, and musical techniques that can be used to successfully communicate ideas. Beyond the scope of this MRP/research-­creation project, these compositions aim to serve as a basis for testing cognitive function in individuals with varied forms of memory loss. Detailed discussion of the design of the musical compositions, including information related to the composition influences, and a breakdown of each composition are included alongside the MRP’s focus on scholarly literature and research. Furthermore, the potential implications of these compositions, including the ways they could assist in future research, is discussed.

Opera-Based Instrumental Parodies in Antonio Vivaldi's Concertos

10.34690/112 ◽  
2020 ◽  
pp. 46-67
Author(s):  
Анна Сергеевна Пастушкова
Keyword(s):  
Comparative Analysis ◽  
Musical Form ◽  
New Classification ◽  
Musical Compositions ◽  
Antonio Vivaldi

В статье рассмотрена проблема композиционных параллелизмов между инструментальными концертами и оперными ариями Антонио Вивальди. Введены термины для описания типов «театрализованной» ритурнельной формы и композиционного устройства концертов. Показано влияние признаков оперной арии на форму и жанровую специфику частей инструментального концерта. Предложена новая классификация примеров протяженного цитирования оперных арий в инструментальных концертах, среди которых - неизвестные ранее цитаты, обнаруженные автором статьи в концертах RV 139, RV 159 и RV 189. The article deals with thematic concordances between instrumental concertos and operatic arias by Antonio Vivaldi. New terms are proposed in order to describe the types of ‘operatic' ritornello form and sections of musical compositions. Comparative analysis of the music material of arias and corresponding concertos shows the influence of operatic aria's features to musical form and genre of concerto's movements. Based on various types of such influence, new classification of all presently known cases of the operatic arias reworked by Vivaldi for his instrumental concertos and vice versa is delivered. Proposed classification includes previously unknown cases of self-borrowing discovered by the author of this article in the instrumental concertos RV 139, RV 159 and RV 189.

Sign in / Sign up

Export Citation Format

Share Document