scholarly journals “DURMA” (Model Penciptaan Pesan dan Kesan Musik Melalui Pembenturan Teks Lirik dengan Ekpresi Musik)

2020 ◽  
Vol 12 (1) ◽  
pp. 23-32
Author(s):  
Bondan Aji Manggala
Keyword(s):  
Popular Music ◽  
Musical Expression ◽  
Scientific Publications ◽  
Good Night ◽  
Works Of Art ◽  
Audio Recordings ◽  
Musical Works ◽  
Artistic Research ◽  
Musical Creation

ABSTRACT This article is part of a report on the results of artistic research (works of music) in the field of music. Briefly expresses experience and some knowledge findings related to the process of creating musical works of art. "Durma" is an editorial for this artwork, which contains three works of music with a popular music creation approach. Inspired by the anxiety of observing the infertility of creativity in the area of popular music in Indonesia, through "Durma" the thought was made to model the creativity of popular music by paying attention to the clash of lyric texts with musical expressions to produce messages and impressions of songs that are not public. In the habits of popular music, the elements of lyric text and musical expression are linear and mutually reinforcing relationships. It has never been imagined before that when a popular musical creation thinks a little freely and tries to clash ideas with an established knowledge of popular music creation, it will instead create ambiguity and the complexity of a refreshing taste. The outputs of the "Durma" artistic research include (1) art work products in the form of audio recordings of three songs entitled (a) Candles, (b) Girls, and (c) Good Night, (2) research reports, and (3) scientific publications articles that unravel the knowledge behind this work process.Keywords : Music creation, popular, clash of musical expressions and lyric texts ABSTRAK Artikel ini adalah bagian dari laporan hasil penelitian artistik (karya musik) di bidang musik. Secara singkat, ini mengungkapkan pengalaman dan beberapa temuan pengetahuan terkait dengan proses penciptaan karya seni musik. "Durma" adalah editorial untuk karya seni ini, yang berisi tiga karya musik dengan pendekatan penciptaan musik populer. Terinspirasi oleh kecemasan mengamati ketidaksuburan kreativitas di bidang musik populer di Indonesia, melalui "Durma" pemikiran dibuat untuk memodelkan kreativitas musik populer dengan memperhatikan benturan teks lirik dengan ekspresi musik untuk menghasilkan pesan dan tayangan lagu yang tidak umum. Dalam kebiasaan musik populer, unsur-unsur teks lirik dan ekspresi musik adalah hubungan linier dan saling menguatkan. Belum pernah terbayangkan sebelumnya bahwa ketika sebuah ciptaan musik populer berpikir sedikit dengan bebas dan mencoba untuk bertabrakan dengan pengetahuan mapan tentang ciptaan musik populer, ia malah akan menciptakan ambiguitas dan kompleksitas rasa yang menyegarkan. Output dari penelitian artistik "Durma" meliputi (1) produk karya seni dalam bentuk rekaman audio dari tiga lagu berjudul (a) Lilin, (b) Gadis, dan (c) Selamat Malam, (2) laporan penelitian, dan (3) artikel publikasi ilmiah yang mengungkap pengetahuan di balik proses kerja ini. Kata kunci: Penciptaan musik, populer, benturan ekspresi musik dan teks lirik

Art works, ontology of

2018 ◽  
Author(s):  
Gregory Currie
Keyword(s):  
Standard View ◽  
Nelson Goodman ◽  
Works Of Art ◽  
Starting Point ◽  
Art Works ◽  
Musical Scores ◽  
Musical Works ◽  
History Of ◽  
Physical Objects ◽  
Ontology Of Art

In trying to decide what kinds of thing art works are, the most natural starting point is the hypothesis that they are physical objects. This is plausible only for certain works, such as paintings and sculptures; in such cases we say that the work is a certain marked canvas or piece of stone. Even for these apparently favourable cases, though, there is a metaphysical objection to this proposal: that works and the physical objects identified with them do not possess the same properties and so cannot be identical. There is also an aesthetic objection: that the plausibility of the thesis for painting and sculpture rests on the false view that the authentic object made by the artist possesses aesthetically relevant features which no copy could possibly exemplify. Once it is acknowledged that paintings and sculptures are, in principle, reproducible in the way that novels and musical scores are, the motivation for thinking of the authentic canvas or stone as the work itself collapses. For literary and musical works, the standard view is that they are structures: structures of word-types in the literary case and of sound-types in the musical case. This structuralist view is opposed by contextualism, which asserts that the identity conditions for works must take into account historical features involving their origin and modes of production. Contextualists claim that works with the same structure might have different historical features and ought, therefore, to count as distinct works. Nelson Goodman (1981) has proposed that we divide works into autographic and allographic kinds; for autographic works, such as paintings, genuineness is determined partly by history of production: for allographic works, such as novels, it is determined in some other way. Our examination of the hypothesis that certain works are physical objects and our discussion of the structuralist/contextualist controversy will indicate grounds for thinking that Goodman’s distinction does not provide an acceptable categorization of works. A wholly successful ontology of art works would tell us what things are art works and what things are not; failing that, it would give us identity conditions for them, enabling us to say under what conditions this work and that are the same work. Since the complexity of the issues to be discussed quickly ramifies, it will be appropriate after a certain point to consider only the question of identity conditions. For simplicity, this entry concentrates on works of art that exemplify written literature, scored music and the plastic and pictorial arts.

Musical Expression among Deaf and Hearing Song Signers

2016 ◽  
Author(s):  
Anabel Maler
Keyword(s):  
Deaf Culture ◽  
Deaf People ◽  
Musical Expression ◽  
Musical Performances ◽  
Use Of Space ◽  
The Third ◽  
Musical Works ◽  
Musical Resources

Deaf people are often portrayed as living in a world of silence, cut off both from experiencing musical works and from musical expression. There are, however, many different forms of musical expression in Deaf culture, including “song signing.” This essay explores the idea that deafness, rather than being a disadvantage for musical expression, actually enables distinctive musical performances within the context of song signing. The first section surveys the different varieties of signed song performance, the second contains analyses of videos, and the third compares the Deaf and hearing song-signing communities. Analysis of multiple song-signing videos reveals that deaf and hearing song signers exploit different techniques in expressing themselves musically. The analyses explore the signers’ principal differences in terms of communication, use of space, and rhythmic techniques. The videos analyzed throughout the article reveal how both deafness and hearing can be musical resources in the context of song-signing performance.

scholarly journals «MUSIC FRESCOES» BY BOHDANA FILTS AS A FACTOR OF DEVELOPMENT OF CREATIVE AND POTENTIAL FORCES OF THE MUSICIAN'S PERSONALITY

2020 ◽  
Vol 1 (190) ◽  
pp. 81-85
Author(s):  
Valentina Belikova ◽  
Keyword(s):  
Educational Process ◽  
National Character ◽  
Musical Language ◽  
Musical Expression ◽  
Creative Potential ◽  
Considerable Effort ◽  
Creative Imagination ◽  
Musical Works ◽  
Piano Cycle ◽  
The Individual

The activity of a teacher of music-pedagogical profile always involves the use of musical works. The latter makes it possible for teachers to use such musical works, the musical basis of which is available both for performance by the teacher and for perception by students. After all, students' perception of a teacher-performer will always be brighter than the perception of technical means for sounding a piece of music. In the classroom there is a kind of creative search for the teacher-performer (performance always requires considerable effort of imagination, creative inspiration). The teacher's verbal preface will help pupils to reproduce in their minds the necessary musical image, which serves to be a special coverage of the individual to whom there is a specific dedication of the cycle. The means of musical expression used by the composer influence the feelings of the listeners, develop their creative imagination, and the school lesson turns into a long-awaited musical meeting with the music of Bohdana Mykhailivna Filts. The piano cycle «Musical Frescoes» is an example of glorifying the musical impressions of the artist, which remained from the meeting with people of previous years, who became her friends and good acquaintances, with whom Bohdana Mykhailivna had to work in the field of Ukrainian musical art. Summing up the review of «Musical Frescoes» by Bohdana Filts, we highlight the general features of the musical language of the composer's works that influence and develop the creative potential of the future specialist, namely: application of traditional forms of musical expression (two-part and three-part musical forms); use of foreslags, soft syncopated rhythmic shifts; use of sound comparisons of polar registers; combination of homophonic-harmonic and polyphonic textures of representing musical material; emphasizing with a dynamic line the wavy development of musical phrases of the work, etc. The national character of the musical language of Bohdana Filts' works is manifested in the whole complex of expressive means of the composer's piano cycle, which provides a basis for the active use of the cycle in the educational process of various levels of musical institutions.

scholarly journals Ha Dou Ken Music: Mapping a joysticks as a musical controller

2019 ◽  
Author(s):  
Gabriel Lopes Rocha ◽  
João Teixeira Araújo ◽  
Flávio Luiz Schiavoni
Keyword(s):  
Popular Culture ◽  
Musical Instrument ◽  
Sound Synthesis ◽  
Musical Expression ◽  
Interaction Interface ◽  
Ease Of Access ◽  
Musical Interaction ◽  
Electronic Games ◽  
Musical Creation

The structure of a digital musical instrument (DMI) can be splitted up in three parts: interface, mapping and synthesizer. For DMI’s, in which sound synthesis is done via software, the interaction interface serves to capture the performer’s gestures, which can be mapped under various techniques to different sounds. In this work, we bring videogame controls as an interface for musical interaction. Due to its great presence in popular culture and its ease of access, even people who are not in the habit of playing electronic games possibly interacted with this kind of interface once in a lifetime. Thus, gestures like pressing a sequence of buttons, pressing them simultaneously or sliding your fingers through the control can be mapped for musical creation. This work aims the elaboration of a strategy in which several gestures captured by the interface can influence one or several parameters of the sound synthesis, making a mapping denominated many to many. Buttons combinations used to perform game actions that are common in fighting games, like Street Fighter, were mapped to the synthesizer to create a music. Experiments show that this mapping is capable of influencing the musical expression of a DMI making it closer to an acoustic instrument.

Musical Expression

2020 ◽  
pp. 163-189
Author(s):  
William P. Seeley
Keyword(s):  
Appraisal Theory ◽  
Comprehensive Model ◽  
Musical Expression ◽  
Sensorimotor Processing ◽  
Musical Works ◽  
Psychology Of Music ◽  
Alternative Theories

Chapter 6 explores philosophical discussions about the nature of music expression. Musical works are inanimate artifacts. It has, as a result, been thought to be puzzling that listeners attribute expressive qualities to them. The chapter evaluates two alternative philosophical solutions to this puzzle: contour theory and embodied appraisal theory. Current research in psychology of music suggests that the conjunction of these two alternative theories provides a comprehensive model for how music carries and conveys information about the affective contours of ordinary behaviors. An appeal to facts about sensorimotor processing can in this case, as in the previous chapter, be used to dissolve a longstanding philosophical puzzle about art.

The Endurance of Subjectivity

2020 ◽  
pp. 183-196
Author(s):  
Mark Evan Bonds
Keyword(s):  
Popular Music ◽  
Instrumental Music ◽  
Western Thought ◽  
Musical Expression ◽  
Multiple Generations ◽  
Inner Self ◽  
Human Psyche

In spite of modernism’s aesthetics of objectivity, both the projection and the perception of subjectivity have endured. Having grown accustomed to hearing composers in their works over the course of multiple generations, beginning in the 1830s, listeners could not and did not suddenly change their assumptions about the nature of musical expression. The belief that music—particularly instrumental music—comes from deep within the human psyche was too firmly rooted in Western thought to be dislodged altogether. Composers’ claims of self-expression have nevertheless become considerably more muted and ambiguous. Critics, in turn, have become far more cautious about drawing direct connections between an artist’s works and inner self, even if the nature of that connection continues to fascinate, particularly in the realm of popular music.

Streaming Media Players

2020 ◽  
pp. 138-176
Author(s):  
Catherine Dwinal
Keyword(s):  
Mobile Devices ◽  
Streaming Media ◽  
Recording Device ◽  
Works Of Art ◽  
Musical Works

Streaming media players are newer devices in the music teacher’s toolbox but are becoming more commonly found in the classroom. Being one of the more modern kids on the block, there are even more opportunities to create activities and resources specifically for these devices. Use your devices as a tool for your instruction. Such as a remote for your computer or as your recording device for assessments. Students can use interactive instrument apps to perform together, create VR and AR experiences on their own, or use their devices to interact with their recorders to practice. Mobile devices are perfect for allowing students to have more independence in their learning and create their own musical works of art.

Identifying Musical Works of Art

1990 ◽  
Vol 24 (4) ◽  
pp. 75 ◽  
Author(s):  
Jo Ellen Jacobs
Keyword(s):  
Works Of Art ◽  
Musical Works

scholarly journals Mitologia artystyczna na kontrkulturowych ścieżkach: Roy Harper

2018 ◽  
Vol 15 (2) ◽  
pp. 127
Author(s):  
Marek Jeziński
Keyword(s):  
Mass Media ◽  
Popular Music ◽  
The Political ◽  
Political Dimension ◽  
The Public ◽  
Musical Works ◽  
The World ◽  
The Mass Media ◽  
Fairy Story

<p>W artykule niniejszym przedstawiam polityczny wymiar muzyki popularnej w kontekście działań mitologizacji własnej twórczości przejawianych przez politycznie i społecznie zaangażowanych wykonawców z kręgu miejskiego folku i rocka, na przykładzie brytyjskiego artysty Roy’a Harpera</p><strong>Artistic Mythology on Counterculture Paths: Roy Harper</strong><p>SUMMARY</p><p>The article presents the political dimension of popular music in the context of actions meant to mythologize their own musical works by politically and socially engaged urban folk and rock performers, as exemplified by a British artist Roy Harper. The case of this performer shows that artistic mythology can be gradually constructed strictly according to the patterns taken from mythical narratives that function in all cultures in the world. It serves the specifically understood process of mythologizing the activities of an artist and the personality created by the performer. Harper’s biography is a contemporary version of the heroic myth transmitted to the public through the mass media and complemented with themes originating from folkloristic stories such as the magic fairy story. A myth like that is a certain pivot around which a mythological narrative is developed, consisting of diverse elements essential to a specific artist.</p>

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