scholarly journals TIMBRE IN MUSIC: PROBLEMS OF DEFINITION

2020 ◽  
Vol 11 (87) ◽  
Author(s):  
Dmytro Reshetnik ◽  
Keyword(s):  
Electronic Music ◽  
Comparative Method ◽  
Electroacoustic Music ◽  
Musical Composition ◽  
Musical Work ◽  
Computer Study ◽  
Musical Acoustics ◽  
Powerful Stimulus ◽  
Definition Of ◽  
Made In

The purpose of the study is to substantiate the possible approaches to the definition of the concept of "timbre", as well as to establish possible options for its definition, which were derived in modern musicology. It is established that timbre, timbre, as a key characteristic of sound, is one of the leading means of expression in the art of music. The dynamic development of the system of musical means of expression in the compositional practice of the twentieth century (both in electronic and acoustic music) has reduced the issue of timbre to a number of important topics in the creation of the theory of modern musical composition. The general spirit of experimentation and the active search for new approaches to sound have led to a significant change in the attitude of composers of the late XX – early XXI century to the sound organization of works. Therefore, the analysis and study of the basics of the specifics of musical timbres and the principles of their psychological perception has become an extremely important task for music science. It is established that today in science a huge amount of material has been accumulated, which indirectly or directly affects the properties and specifics of the musical timbre. A great contribution to the development of the problem of timbre was made in both musicology and musical acoustics. But the most intense advances in the study of timbre have taken place in musical psychoacoustics, especially in the field of electronic music. It was the search for electronic and then electroacoustic music that became a powerful stimulus for the computer study of the nature of the timbre. Practical tasks set by composers in the late 50's – early 60's in the field of electronic synthesis, raised the question of identifying objective and subjective parameters of sound, and therefore timbre, in a number of pressing issues of musical acoustics. Also with the help of the comparative method it was found that in music science it is permissible to complement "acoustic" and "musicological" definitions of the term "timbre", but "acoustic" will always be broader, and "musicological" – more accurate. Since musicological definitions of timbre (in addition to importance for timbre theory) are of great importance for the conceptual apparatus of music theory and professional generalization, ie allow to state the phonetic, phonological and articulatory side of a musical work and its performance.

scholarly journals EDITORIAL

2000 ◽  
Vol 5 (2) ◽  
pp. 65-65
Keyword(s):  
Popular Music ◽  
Computer Music ◽  
Electronic Music ◽  
Academic Research ◽  
Experimental Music ◽  
Electroacoustic Music ◽  
Generic Term ◽  
Methods And Techniques ◽  
The Many ◽  
Definition Of

The definition of genres within electroacoustic music, electronic music or computer music is extremely difficult. In recent times it seems that, for some, the term electroacoustic music has become a euphemism for acousmatic composition; computer music has so many different categories that it has become a generic term hardly used at all but replaced by interactive, algorithmic and the many other sub-genres which now predominate. This is probably a natural and expected evolution through the development and globalisation of technologies and the dissemination of aesthetics, but when Organised Sound issued a call for articles relating to the use and application of computers and technology in ‘popular music’, we may have, inadvertently, guaranteed that no one would understand what we meant. We had imagined that there were many people using what to date had been seen as largely academic research tools and applications and applying them in exciting ways to new forms of commercial experimental music and electronica. We had imagined that the potential of ‘glitch’, ‘électroacoustique’ or ‘microsound’ and the many other genres of contemporary electronica would yield articles about the desires, methods and techniques of young composers and laptop performers.

Music after the Fall

2017 ◽  
Author(s):  
Tim Rutherford-Johnson
Keyword(s):  
New Media ◽  
Contemporary Music ◽  
The United States ◽  
Art Music ◽  
Sound Art ◽  
Musical Composition ◽  
Western Art ◽  
Wide Range ◽  
Definition Of ◽  
The Cold War

By the start of the 21st century many of the foundations of postwar culture had disappeared: Europe had been rebuilt and, as the EU, had become one of the world’s largest economies; the United States’ claim to global dominance was threatened; and the postwar social democratic consensus was being replaced by market-led neoliberalism. Most importantly of all, the Cold War was over, and the World Wide Web had been born. Music After The Fall considers contemporary musical composition against this changed backdrop, placing it in the context of globalization, digitization, and new media. Drawing on theories from the other arts, in particular art and architecture, it expands the definition of Western art music to include forms of composition, experimental music, sound art, and crossover work from across the spectrum, inside and beyond the concert hall. Each chapter considers a wide range of composers, performers, works, and institutions are considered critically to build up a broad and rich picture of the new music ecosystem, from North American string quartets to Lebanese improvisers, from South American electroacoustic studios to pianos in the Australian outback. A new approach to the study of contemporary music is developed that relies less on taxonomies of style and technique, and more on the comparison of different responses to common themes, among them permission, fluidity, excess, and loss.

Need of Human Rights as a Better Way of Life

Think India ◽  
2019 ◽  
Vol 22 (3) ◽  
pp. 72-83
Author(s):  
Tushar Kadian
Keyword(s):  
Human Rights ◽  
Basic Needs ◽  
Research Paper ◽  
Human Being ◽  
Way Of Life ◽  
Labour Unions ◽  
The People ◽  
The Subject ◽  
Definition Of ◽  
Made In

Actually, basic needs postulates securing of the elementary conditions of existence to every human being. Despite of the practical and theoretical importance of the subject the greatest irony is non- availability of any universal preliminary definition of the concept of basic needs. Moreover, this becomes the reason for unpredictability of various political programmes aiming at providing basic needs to the people. The shift is necessary for development of this or any other conception. No labour reforms could be made in history till labours were treated as objects. Its only after they were started being treating as subjects, labour unions were allowed to represent themselves in strategy formulations that labour reforms could become a reality. The present research paper highlights the basic needs of Human Rights in life.

Defining hormesis: the necessary tool to clarify experimentally the low dose–response relationship

2002 ◽  
Vol 21 (2) ◽  
pp. 103-104 ◽  
Author(s):  
G Carelli ◽  
I Iavicoli
Keyword(s):  
Dose Response ◽  
Low Dose ◽  
Experimental Models ◽  
Assessment Criteria ◽  
Response Relationship ◽  
Dose Response Relationship ◽  
Specific Context ◽  
Definition Of ◽  
Time Specific ◽  
Made In

The authors comment on Calabrese and Baldwin's paper ‘Defining Hormesis’, which, to date, is the first attempt to provide a definition of hormesis that goes beyond the different interpretations of this phenomenon reported in the literature. While appreciating the effort made in this study to place hormesis in a general and at the same time specific context, the authors believe some clarifications are needed as regards the quantitative features of this phenomenon. In this connection, they speculate on whether Calabrese and Baldwin think it appropriate to include hormesis assessment criteria in the document, referring in particular to those reported in a previous paper. The authors share Calabrese and Baldwin's conclusion that future experimental models designed to study hormetic phenomena must necessarily include the time factor, which not only guarantees this phenomenon will be detected, but is also able to detect the specific type of hormesis.

The construction of units in conversational talk

2000 ◽  
Vol 29 (4) ◽  
pp. 477-517 ◽  
Author(s):  
MARGRET SELTING
Keyword(s):  
Conversation Analysis ◽  
Activity Type ◽  
Seminal Work ◽  
Conversational Context ◽  
Linguistic Unit ◽  
Definition Of ◽  
Made In

The notion of Turn-Constructional Unit (TCU) in Conversation Analysis has become unclear for many researchers. The underlying problems inherent in the definition of this notion are here identified, and a possible solution is suggested. This amounts to separating more clearly the notions of TCU and Transition Relevance Place (TRP). In this view, the TCU is defined as the smallest interactionally relevant complete linguistic unit, in a given context, that is constructed with syntactic and prosodic resources within their semantic, pragmatic, activity-type-specific, and sequential conversational context. It ends in a TRP unless particular linguistic and interactional resources are used to project and postpone the TRP to the end of a larger multi-unit turn. This suggestion tries to spell out some of the assumptions that the seminal work in CA made in principle, but never formulated explicitly.

Music Material Development Techniques (Lectures in «Principles of Music Analysis») 

2020 ◽  
pp. 53-69
Author(s):  
Р.Х. Лаул
Keyword(s):  
Final Section ◽  
High Efficiency ◽  
Music Analysis ◽  
Detailed Examination ◽  
Musical Composition ◽  
Musical Form ◽  
Musical Work ◽  
Saint Petersburg ◽  
Material Development ◽  
Development Processes

Настоящий материал продолжает серию публикаций лекций Рейна Лаула по анализу музыки в Санкт-Петербургской (Ленинградской) консерватории. Шестая лекция завершает обзор приемов разработочного развития музыкального материала. В нее вошли шесть из двадцати пяти приемов в авторской классификации (эпизодическая тема, производная тема, варьирование, полифонические варианты, приемы подвижного контрапункта, полифонические структуры), способствующей систематизации разработочных процессов. В поле зрения автора включены неспецифически сонатные способы преобразования музыкального материала, благодаря чему сонатность предстает в гибком и взаимодополняющем взаимодействии с иными принципами формообразования. Особое внимание уделено специфике применения полифонических средств развития музыкального материала в контексте сонатного формообразования. В ходе детального рассмотрения финала симфонии В. А. Моцарта Юпитер оказываются тесно связанными технологический, композиционно-драматургический и стилевой аспекты становления музыкальной формы. Заключительный раздел, обобщающий содержание лекции в целом, содержит пример практического применения предлагаемой автором методологии. Тем самым доказывается ее целесообразность и высокая эффективность как в аспекте анализа интонационной драматургии музыкального произведения, так и в достижении главной аналитической цели в формировании объективного представления о содержательной сути каждого этапа в развёртывании музыкальной композиции. This material continues the series of publications of R. H. Lauls lectures on music analysis at the Leningrad (Saint Petersburg) Rimsky-Korsakov State Conservatory. The sixth lecture concludes the review of techniques for developing musical material. It discusses six of the twenty-five techniques in the authors classification (episodic theme, derived theme, variation, polyphonic variants, mobile counterpoint techniques, polyphonic structures), which contributes to systematization of the development processes. The authors field of view includes non-specific Sonata methods of transforming the musical material, so that sonateness appears in a flexible and complementary interaction with other principles of formation. Special attention is paid to the specifics of using polyphonic means of developing musical material in the context of Sonata formation. The detailed examination of the finale of Mozarts Symphony Jupiter, shows that technological, compositional, dramatic, and stylistic aspects of the formation of a musical form appear to be closely related. The final section summarizing the content of the lecture as a whole contains an example of practical application of the methodology proposed by the author, proving its expediency and high efficiency not only in the aspect of analyzing the intonation drama of a musical work, but also of achieving the main analytical goal to form a reasoned judgment about the content of each stage in the deployment of a musical composition.

ASSOCIATIVITY AS A FORMATION SOURCE OF A MUSICAL COMPOSITION EDITING FORM OF THE SECOND HALF OF THE 20TH CENTURY

2021 ◽  
pp. 22-31
Author(s):  
ZARINA DENISOVA
Keyword(s):  
Characteristic Feature ◽  
20Th Century ◽  
Musical Composition ◽  
Musical Work ◽  
The Status ◽  
Associative Connection ◽  
New Type ◽  
General Scientific ◽  
A Chain ◽  
Russian Composers

The object of the research in this article is associativity as a characteristic feature of 20th century art. The nature, the role of the association in the work of artistic thinking, the principles of its functioning are considered. The subject of the research is the editing form of a musical work of the second half of the 20th century. Particular attention in the article is paid to the consideration of such an important factor influencing the formation of a stable associative connection as repetition. At the same time, it is specified that repetition is caused by a specific life situation. This repetition forms a chain of associations that create an integral content space of a musical work. The work uses general scientific research methods in the framework of comparative and logical analysis, including generalizations and comparisons. The work is based on the analytical method and has a systemic interdisciplinary nature as well. In revealing the specifics of the installation form, the author of the article turns to the theory of compositional ellipsis V. Bobrovsky. The main conclusion of the study is that the importance of associativity in the work of Russian composers in the second half of the 20th century is increasing, reaching the status of a characteristic feature of artistic thinking. The process of expanding associativity manifested itself, in particular, in the emergence in musical creativity of a new type of form creation - editing. The analysis revealed the features inherent in the montage type of construction of a work of art. This is the dismemberment of thematic material, the syntactic isolation of thematic structures, the organization of the form «from the end», the internal unity of the mosaic structure, and others. The novelty of this research lies in the fact that for the first time associativity is considered as a source of montage shaping, in the choice of research methodology, as well as in the identification of special features of the composition, manifested in the conditions of montage drama.

Regarding Electronic Music

Tempo ◽  
1966 ◽  
pp. 2-11 ◽  
Author(s):  
Aurelio de la Vega
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
Aesthetic Experience ◽  
The Other ◽  
Musical Composition ◽  
Electronic Medium ◽  
The Public ◽  
The World ◽  
Twentieth Century Music ◽  
Long Time

For a long time now—long when we consider the quick, changing time-scale of our days—electronic music has been with us. The public at large usually remains cold, confused or merely dazed when faced with any new aesthetic experience. Critics, musicologists and the like still seem, as usual, to be unable to predict what will happen to this peculiar, mysterious and often anathematized way of handling musical composition, while many traditionally-minded composers consider it a degrading destruction of the art of music. On the other hand, the electronic medium seems to attract a long, motley caravan of young, inexperienced and often unprepared ‘beatnik type’ self-titled composers, who believe that the world began yesterday and that you only have to push buttons and prepare IBM cards to obtain magical results. Probably not since Schoenberg proclaimed the equal value of the twelve semitones of our sacred but by now obsolete tempered scale has twentieth-century music been faced with such a bewilderment.

scholarly journals Analysis of the data of hydrogeochemical monitoring of groundwater in the North Sivash artesian basin

2019 ◽  
pp. 64-71
Author(s):  
K. Ya. Bulakhova ◽  
S. M. Sudarikov
Keyword(s):  
Research Area ◽  
Geological Structure ◽  
Hydrogeological Model ◽  
Artesian Basin ◽  
Correlation And Regression Analysis ◽  
The North ◽  
Gypsum Content ◽  
Definition Of ◽  
Aquifer Complex ◽  
Made In

The results of hydrogeochemical monitoring of the Sarmat-Meotis-Pontic sediments aquifer complex of the North Sivash artesian basin have been analyzed. The analysis based on a routine observations for 16 producing wells. The observations were made in the period from 2014 to 2017 years. A correlation and regression analysis has been made for definition of dependencies between changes in the concentrations of the normalized components. The results obtained allow us to evaluate the main factors of formation of the chemical composition of groundwater. At the present stage, metamorphosed waters are pulled up from the lower strata of the complex, that leads to an increase in the amount of mineralization. The formation of sulphate waters is primarily associated with the peculiarities of the geological structure, namely, the high gypsum content of quaternary deposits and the presence of hydraulic connection with the overlying aquifers. One of the reasons for the formation of sulphate waters is the anthropogenic impact associated with the close location of the acid accumulator containing sulfur tailing. The results obtained allow us to proceed to the next stage of the survey — the creation of a natural hydrogeological model of the research area and the carrying of the thermodynamic modeling.

scholarly journals An Exploration of Digital Fashion in Pandemic Italy: Districts, Designers, and Displays

2021 ◽  
Author(s):  
Keyword(s):  
Digital Technologies ◽  
Field Research ◽  
Research Approach ◽  
Technological Changes ◽  
Design Production ◽  
Definition Of ◽  
Fashion Designers ◽  
Cultural Media ◽  
Made In

Change is at the heart of the definition of fashion, as many theorists, designers and cultural analysts have shown. This article takes up this perspective to question the role of fashion design in the 21st century in the relation to cultural, media and technological changes. Adopting a field research approach, the paper analyses the interaction between fashion, designers and digital technologies that are emerging in Italy in order to re-grasp Made in Italy in a futuring perspective. The case studies were selected for their relevance to the digital in terms of design, production, and display. The paper analyses that the pandemic crisis is having on the Made in Italy, stimulating new ways of designing, understanding, producing, and consuming fashion.

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