scholarly journals A pianist and his musical instrument (on the example of Alexandre Tharaud’s works)

2021 ◽  
pp. 76-84
Author(s):  
Y. Voskoboinikov
Keyword(s):  
Classical Music ◽  
Comparative Method ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Educational Process ◽  
Important Place ◽  
Modern Media ◽  
Media Space ◽  
First Time ◽  
The Relationship

The relevance. The modern media space is full of musical experience of different cultures, which is embodied by musical instruments. Each of them with its uniqueness occupies the same important place on the stage as a composer, a piece of work and a performer. First, only by their appearance and name, and then by timbre, volume, range, musical instruments (solo or in an ensemble or orchestra) objectify the sound space, set the parameters of artistic communication. A musical instrument as an artifact exists in musical activity not as a certain thing, even exceptionally valuable, but, first of all, as a “mediator of use” (Voronin A. Myth of technology. Moscow: Nauka, 2004. P. 65). It is the process of its use that needs to be understood not only in broad historical and cultural contexts, but also in the scale of creative activity of one performer. The aim of the article is to try to use the example of the famous pianist Alexandre Tharaud (1968) to consider the process of understanding the “horizons” of his creative world through the selection and development of certain musical instruments, including pianos of modern production. Such a problematic prospect includes: on the one hand, the purely economic relationship between the musician and world brands and requires a definition of the artist-ambassador at the music market, on the other — highlights the performance search for reliable “mediators” for their own version of the music, new opportunities for dialogue with the historical past. The methodology. It is based on the comparative method, the application of the apparatus of organology in historical retrospect, as well as on the methodological approaches used by E. Nazaikinsky and A. Voronin. The results. The problem of the relationship between the piano firm and the performer was raised in the historical context. On the example of Alexandre Tharaud’s discography the modern mechanisms of the relationship between the piano firm and the performer were revealed. The topicality. It is the first time Alexandre Tharaud’s experience in media representation of piano products is summarized. It is the first time the piano works and performance in terms of instrumental resources involved in the Alexandre’s performance was analyzed. The practical significance. The material can be used in the educational process, as well as by professionals who are interested in this prospect for further study of the performance issue. The conclusions. Nowadays, pianists master a significant number of musical instruments. Guided by individual sound perceptions, they choose their priority brand. A professional performer is able to adjust the musical concept of the work in relation to the existing piano during the game. The performer adapts a piece of music to the instrument through a complex of feelings such as hearing, touch, sight, smell, and, emphasized by Alexandre Tharaud, the feeling of pain which is familiar to all performers. Alexandre Tharaud in his own music albums, represented not only the original performance versions of classical music, but also each time opened a new refraction of the sound spectrum of a particular piano company, through the original artistic and sound representation of each of the works. In the modern media space, Alexandre Tharaud has created a treasure trove of sound spectra of Steinway and Yamaha pianos, which combine such timbre capabilities that can meet the artistic needs of almost every artist.

scholarly journals The Research of the Relationship of Preferred Musical Styles and Personal Features of Music Teachers

2019 ◽  
Vol 7 (2) ◽  
pp. 41-56 ◽  
Author(s):  
Anna A. Kharzhevskaia
Keyword(s):  
Classical Music ◽  
Music Teachers ◽  
Positive Influence ◽  
Educational Process ◽  
Personal Resources ◽  
Education Psychology ◽  
Relationship Of ◽  
The Relationship ◽  
Musical Styles ◽  
Musical Preferences

The present article researches the relationship of musical preferences of adolescence (pop, rock and rap) and modernity (classical, pop, rock, music lovers) with the display of personal features, such as empathy, emotional exhaustion, state and trait anxiety, pedagogical style and coping strategies. The musical genres and trends are considered as musical preferences and precedential musical phenomenon revealed empirically during the self-analysis by the subjects. The experimental study was carried out on the basis of Moscow Pedagogical State University and consisted of 4-5th-year students of Music Department. The connections between personal features and preferred musical styles of modernity were detected. The students considering classical music to be their favorite musical direction having a high level of personal resources. These results display the positive influence of classical music to the personal resources of future music teachers. This phenomenon demands further investigations and using in the field of musical education psychology. These results highlight necessity of detailed consideration on classical music relationship and personal features of bachelor students musical department during the educational process.

The Anthropomorphic Analogy: Humanising musical machines in the early modern and contemporary eras

2018 ◽  
Vol 23 (2) ◽  
pp. 167-180
Author(s):  
Rebecca Cypess ◽  
Steven Kemper
Keyword(s):  
Seventeenth Century ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Physical Computing ◽  
Western Art ◽  
History Of ◽  
Musical Systems ◽  
Historical Contextualisation ◽  
Sensor Interfaces ◽  
The Relationship

Since the late twentieth century, the development of cybernetics, physical computing and robotics has led artists and researchers to create musical systems that explore the relationship between human bodies and mechanical systems. Anthropomorphic musical robots and bodily integrated ‘cyborg’ sensor interfaces explore complementary manifestations of what we call the ‘anthropomorphic analogy’, which probes the boundary between human artificer and artificial machine, encouraging listeners and viewers to humanise non-musical machines and understand the human body itself as a mechanical instrument.These new approaches to the anthropomorphic analogy benefit from historical contextualisation. At numerous points in the history of Western art music, philosophers, critics, composers, performers and instrument designers have considered the relationship between human musician and musical instrument, often blurring the line between the two. Consideration of historical examples enriches understandings of anthropomorphism in contemporary music technology.This article juxtaposes the anthropomorphic analogy in contemporary musical culture with manifestations of anthropomorphism in early seventeenth-century Europe. The first half of the seventeenth century witnessed a flourishing of instrumentality of all sorts. Musical instruments were linked with the telescope, the clock, the barometer, the paintbrush, and many other instruments and machines, and these came to be understood as vehicles for the creation of knowledge. This flourishing of instrumental culture created new opportunities for contemplation and aesthetic wonder, as theorists considered the line between human being and machine – between nature and artifice. Manifestations of the anthropomorphic analogy in seventeenth-century conceptions of musical instruments help to contextualise and explain similar articulations of the anthropomorphic analogy in the present day.

scholarly journals Scales of sustain and decay: making music in deep time

Popular Music ◽  
2020 ◽  
Vol 39 (1) ◽  
pp. 108-120
Author(s):  
Philipp Kohl
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
Radioactive Material ◽  
Industrial Processes ◽  
Small Scale ◽  
Nuclear Decay ◽  
Electric Guitar ◽  
Deep Time ◽  
Music Making ◽  
The Relationship

AbstractThis article explores the relationship between the human time of music making and the temporal layers that pervade the natural resources of musical instruments. It therefore offers case studies on two of popular music's most common instruments, the electric guitar and the synthesiser, and their symbolic and material temporalities: guitar players’ quest for ‘infinite sustain’ from Santana to today's effects manufacturers and the ‘psychogeophysical’ approach by artist and theorist Martin Howse, who developed a synthesiser module using radioactive material in order to determine musical events by nuclear decay. While language uses metaphors of sustain and decay as figurative ways to express both musical and planetary dimensions, practices of music offer alternative ecologies of relating the seemingly unrelatable scales of deep time and musical time. If in the Anthropocene humankind becomes aware of its role as a geophysical force, thinking about making music in the Anthropocene requires an awareness for the temporalities involved in the materials at hand. Besides an ecological perspective, the article looks at various media (magazines, ads, and manuals) and thus positions economical mechanisms of the musical instrument manufacturing market as a small-scale experimental setting for larger-scale industrial processes.

scholarly journals HISTORY OF INNOVATION IN MUSIC, WITH REFERENCE TO DHRUPAD SINGING STYLE

2015 ◽  
Vol 3 (1SE) ◽  
pp. 1-3
Author(s):  
Sharmila Taylor ◽  
Kamna Sisodia
Keyword(s):  
Classical Music ◽  
Musical Instruments ◽  
Natural Process ◽  
Special Importance ◽  
Important Place ◽  
Historical View ◽  
Sanskrit Drama ◽  
Singing Style ◽  
History Of ◽  
Indian Classical Music

Changing the tradition of history is a natural process of nature. In the context of the Dhrupad singing style in the Indian classical music world, if we take a historical view, the practice of singing Dhruva and Prabandha songs before this style was prevalent. The ritual form of Dhruva songs is found in Sanskrit drama texts from pre- to late India. Dhruva has an important place in terms of song composition.Even in the exorcisms used in the puvarang before the Natyarambha, the Dhruvas have special importance due to the use of musical instruments. Originally, the verses of songs which are used within the play are called Dhruva to make those situations intensified or to intensify the character of the characters in various situations of the play. They are also related to the lyricists due to their use of various parts of the lyricists. इतिहास की परम्परा में परिवर्तन होना प्रकृति की स्वाभाविक प्रक्रिया है। भारतीय शास्त्रीय संगीत जगत में ध्रुपद गायन शैली के सन्दर्भ मं हम ऐतिहासिक दृष्टि डालें तो इस शैली के पूर्व ध्रुवा एवं प्रबन्ध गीतों को गाने का प्रचलन था। ध्रुवा गीतों की परम्परा का क्रियात्मक रूप भरत के पूर्व से लेकर परवर्ती संस्कृत नाटक ग्रंथों में पाया जाता है। गीत रचना की दृष्टि से ध्रुवा का महत्त्वपूर्ण स्थान है।नाट्यारम्भ से पहले पूर्वरंग में प्रयुक्त बहिर्गीतों में भी ध्रुवाएं वाद्यप्रयोग की उपरंजक होने के कारण विशेष महत्व रखती हैं। मूलतः नाट्य की विभिन्न परिस्थितियों में रसानुभूति करा कर उन परिस्थितियों को तीव्र बनाने अथवा पात्रों के चरित्र को उभारने के लिए जिन छन्दोबद्ध गीतों का प्रयोग नाट्य के भीतर किया जाता है वे ध्रुवा कहलताी है। गीतकों के विभिन्न अंगों का इनमें प्रयोग होने के कारण ये गीतकों से भी सम्बन्ध है।

scholarly journals The post-truth phenomenon in coverage of the gender-based violence issue in Spain’s pandemic media space (on the material of ABC)

2021 ◽  
Vol 8 (1) ◽  
pp. 35-44
Author(s):  
Maria V. Simonova ◽  
Keyword(s):  
Modern Science ◽  
Gender Based Violence ◽  
State Of Emergency ◽  
Spanish Society ◽  
Modern Media ◽  
Media Space ◽  
Gender Based ◽  
Linguistic Methods ◽  
First Time ◽  
Official Data

The article is devoted to the phenomenon of post–truth in the modern media space, particularly in Spain. For the first time, the neologism “post-truth” was recorded in the explanatory dictionaries of the Spanish language in 2017. It was nominated for the “word of the year”. Interest in studying this phenomenon is growing every year as post-truth has become an integral part of the modern media space around the world. The phenomenon is widely studied in modern science. The research material for the article is the daily social and political newspaper ABC, which is considered one of the leading publications related to quality press in Spain. The author examines the phenomenon of post-truth on the material of newspaper publications devoted to the problem of violence against women during the state of emergency in Spain (from March 14 to June 21) due to COVID-19. The analysis of the published material in the newspaper (more than 250 articles) showed that journalists are actively using linguistic techniques of manipulative influence on the reader — exaggeration of facts or their distortion/inaccuracy, use of affective vocabulary, vivid and memorable phraseological units, epithets, comparisons, reference to unreliable sources and appeal to civil liability. All these linguistic methods contribute to the formation of a distorted picture of the actual situation in Spanish society regarding gender-based violence. The author revealed that the statistics in the newspaper do not correspond to the official data. All this testifies to the phenomenon of post-truth in the modern media space in Spain. The findings confirm that modern journalism plays on people’s emotions and feelings to attract the reader.

scholarly journals Issues of the Interview Genre in Contemporary Media Space

2021 ◽  
Vol 4 (1) ◽  
pp. 11-17
Author(s):  
Alla Medvedieva ◽  
Serhii Chernenko
Keyword(s):  
Practical Knowledge ◽  
Comparative Method ◽  
Scientific Work ◽  
Scientific Article ◽  
Media Discourse ◽  
Relevant Today ◽  
Modern Media ◽  
Media Space ◽  
Analysis And Synthesis ◽  
Contemporary Media

The purpose of the research is to investigate the problems of the genre in modern media discourse. Research methodology. When writing a scientific article, research methods are used: analysis and synthesis (analyzed and systematized the work of the interview genre have been analyzed and systematized), a comparative method (parallels of interviews in the world and Ukraine have been made), generalization and systematization (summarizing has been made due to practical knowledge and work with diverse literature). Scientific novelty. This article is relevant today, despite the huge number of ready-made materials and articles. Scientific work will help to understand the essence of conducting one of the most complex genres of information journalism and will demonstrate the problems of interviews in Ukraine. Conclusions. During the study of the interview genre in the modern media space, the problems of the interview genre were analyzed through scientific works. It has been established that interviews are a special genre in modern media discourse that helps to reveal or create something completely new and show another angle of the interlocutor. Being one of the leading genres on television, the interview makes a significant contribution to the growth of popularity in a modern environment on the leading channels of the country. Psychological factors have been disclosed, which contribute to the success of communication with a guest; potential problems, the main difficulties faced by the interviewer have been outlined. It has been proved that during the conversation, important moments that turn into information are revealed. The fact that in modern information space, especially in Ukrainian media, there is a lack of qualification of leaders during interviews, is accentuated. Based on them, we summarized the main problems and features of the interview genre. As a result, while working with the article, we have made a conclusion about the main problems of the genre on modern television.

scholarly journals Musical discourse in the conditions of modern media space

2021 ◽  
Vol 1 (118) ◽  
pp. 170-177
Author(s):  
Olga V. Bochkareva ◽  
Keyword(s):  
Social Situation ◽  
Music Programs ◽  
Fan Culture ◽  
Important Place ◽  
Modern Media ◽  
Life Problems ◽  
Media Space ◽  
Musical Discourse ◽  
The Media ◽  
The Individual

Musical culture plays an important role in the formation and development of the individual and is conceived as a space of dialogue, a space of spirituality. The media image of real reality formed in the media arises on the basis of the collectively developed semantic field of the presented information, which fixes the values of the perceiving audience in the process of their actualization. The mechanism of valuable media space functioning is available to relevant persons with their understanding of the cultural, political, social situation that recognizes the majority of the audience, individual vision of the leader (real or imaginary) elevated to the rank of Zeitgeist. The semblance of reality, a simulacrum is born when a real event in the consumer's mind is not comparable in scale to how it is presented in the media: complex life problems are simplified, overgrown with an imaginary value context, and the insolubility of contradictions is removed, offered in the form of a ready-made answer in an accessible package, thereby real reality is mythologized. An important place in the media space is occupied by modern musical discourse, which performs an informational and evaluative function based on the use of certain language means in music reviews, digests, essays, creative portraits of musicians, art chronicles, reports, music programs, documentary audio and video films, etc. Musical discourse in the modern media space is presented in three categories: professional, profane and mixed. The phenomena occurring in the modern media space, such as the growth of fan culture, the abundance of blogs, bloggers, etc., indicate the predominance of non-professional content over professional, the expansion of which requires solving new ethical, philosophical, educational and upbringing problems. Music programs broadcast by the Kultura channel: «Absolute Hearing» (presenter – Gennady Yanin, «Not dull Classics» (presenter – Sati Spivakova) etc., restore thesocial significance of art on the basis of respect for the creators and their work, revive the educational principles of domestic music-critical journalism, perform an important function of «service to music».

Toward a triangular theory of love for one’s musical instrument

2020 ◽  
pp. 030573562096114
Author(s):  
Robert J Sternberg
Keyword(s):  
Emotional Support ◽  
Musical Instrument ◽  
Musical Instruments ◽  
The Other ◽  
The Relationship ◽  
Three Components

This article presents an application of a triangular theory of love as it applies to love for musical instruments. The triangular theory comprises three components: intimacy, passion, and commitment. Intimacy, which is primarily emotional, refers to feelings of closeness, connectedness, warmth, communication, and emotional support. Passion, which is primarily motivational, refers to feelings that one cannot live without another, that one needs another in one’s life, and that one cannot even imagine one’s life without the other. Commitment refers to the decision to love and to stay in the relationship indefinitely. These components are applied in the article toward love of musical instruments, and the theory is given as an account of some of the factors that may lead students of musical instruments either to stay with those instruments or to quit playing them. A measure is described that could be used to assess love of musical instruments (and that is currently being validated), and empirical findings from past studies on the triangular theory of love are presented.

scholarly journals CREATING AN INTERACTIVE MUSICAL EXPERIENCE FOR A CONCERT HALL

2018 ◽  
pp. 143-152
Author(s):  
Svitlana Antoshchuk ◽  
Mykyta Kovalenko ◽  
Jürgen Sieck
Keyword(s):  
Augmented Reality ◽  
Gesture Recognition ◽  
Classical Music ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Musical Experience ◽  
Finger Movements ◽  
Concert Hall ◽  
Augmented Reality Technology ◽  
Posture Recognition

In this paper we introduce a Kinect based posture recognition approach that can classify the user’s pose and gesture and match them to a set of predefined musical instruments. The efficiency of the approach is then demonstrated using two applications. The Virtual Orchestra system uses pose- and gesture-recognition along with Augmented Reality technology to add a virtual musical instrument into the scene, both visually and audibly: the visual representation of the instrument is placed into the user’s hands and the sound of the corresponding instrument is played. An additional functionality is that the user can control the intensity and the pitch of the sound by changing the speed of his hand or finger movements. The Magic Mirror game is the second application developed for the Berlin Concert Hall that uses the posture recognition approach to introduce the visitors to some classical music pieces and familiarize them with various classical musical instruments.

The Aesthetics and Technological Aspects of Virtual Musical Instruments: The Case of the SuperPolm MIDI Violin

1999 ◽  
Vol 9 ◽  
pp. 115-120 ◽  
Author(s):  
Suguru Goto
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
Interactive Art ◽  
Computer Based ◽  
The Relationship ◽  
A Performance

The author discusses how his critical stance against conformity in computer-based interactive art eventually led him to create his own instrument as a way towards individual artistic sensitivity and thought. He first outlines the development and creation of a virtual musical instrument, the SuperPolm, as well as its technical points. He then addresses the relationship between gesture and music and the variety of human perceptual experiences that may occur during a performance on a virtual musical instrument. Finally the author presents the background of the SuperPolm's development and discusses cultural and technological aspects of interactivity.

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