scholarly journals The Performance Gesture as a Theatrical Refl ection of New Contexts of Genre and Style in Contemporary Piano Music

ICONI ◽  
2019 ◽  
pp. 116-124
Author(s):  
Oleksandr O. Perepelytsia ◽  
Keyword(s):  
Theoretical Analysis ◽  
Performance Practice ◽  
Contemporary Music ◽  
Piano Music ◽  
Musical Language ◽  
Piano Performance ◽  
Modern Music

The article deals with the expressive role of gestures in the art of piano performance in relation to both classical and contemporary music. According to theoretical analysis, it is demonstrated that the issue of the performance gesture in contemporary music, in connection with the theatricalization of performance, as well as due to the fact that performance in many cases acquires the features of visual play-acting, stands out from the overall issue of artistry. The general provisions of the artistic gesture in contemporary piano music are complemented by multiple positions related to the art of playing the clusters, strings, pedals, using sound gestures, as well as theatricalization of the performed musical material. The article provides a detailed description of the categories of gestures adopted in the practice of modern music. They are: gestures related to performance of clusters; interspersed with verbal sounds in the process of playing the piano, the so-called verbal and sound gestures; related with playing on the strings by using fi ngers, sticks or other items; associated with playing pedals; theatricalized gestures. In conclusion: the expansion of the boundaries of musical language, and the emergence of performances and theatricalized compositions in performance practice has led to the expansion of the thesaurus of performance gestures’ and of its informative functions. In contemporary music gesture has become a bearer of meaning and forms one of the strata providing meaning to composition.

The Contemporary Composer in the Classroom

1986 ◽  
Vol 3 (3) ◽  
pp. 341-352 ◽  
Author(s):  
Peter Owens
Keyword(s):  
Secondary School ◽  
Music Education ◽  
Contemporary Music ◽  
Creative Work ◽  
Music Teaching ◽  
Modern Music ◽  
Avant Garde ◽  
Current State ◽  
School Music

This article is a revised version of a talk given by the author before an international symposium on music education in Hortos, Greece, in 1985. It considers the current state of modern music, suggesting that there have been some important changes in direction since the avant-garde styles of the 1950s and 1960s; and it reflects on some of the implications of these changes for secondary-school music teaching.Some proposals are made for factors likely to facilitate the success of contemporary music which children hear or perform. In the original talk these points were illustrated with recorded examples, indicated here by numbers in the text. The role of children as contemporary composers themselves is also discussed in terms of the method and motivation by which creative work may be encouraged.The educational writers on whom the author bases much of his argument are clearly acknowledged throughout the text. Otherwise, opinions derive from experience of teaching and writing music for children in England and in France.

scholarly journals Typical Texture Formulas in Contemporary Music for Button Accordion of Ukrainian Composers: Review and Systematization

2021 ◽  
pp. 65-71
Author(s):  
A. Stashevskyi
Keyword(s):  
System Analysis ◽  
Contemporary Music ◽  
Practical Significance ◽  
Musical Language ◽  
Modern Music ◽  
Urgent Task ◽  
Musical Works ◽  
Work Samples ◽  
First Time ◽  
Instrumental Texture

The relevance of the topic and problem statement. In the process of formation and development of the original style of button accordion music one of the most important roles is played by the factor of texture, which fully embodies the instrumental specificity of the button accordion, and reflects the originality of forms and varieties of musical fabric in button accordion works. The study of the peculiarities of texture organization, as well as highlighting the main trends in texture formation in modern button accordion music, in particular in the works of Ukrainian composers, is seen as an urgent task to understand the essence of the phenomenon of modern button accordion, and in general — to develop domestic musicology in instrumental art. In previous works of the author of this article, an attempt was made to systematize the textured formations of modern button accordion music, which are determined by the specifics of the design of button accordion keyboards (Stashevskyі, 2021). Continuing further study of the textured organization of modern music for button accordion, there is a need to identify and systematize other typical for this work samples of texture and its components, the structure of which is not due to the structural configuration of sound keys on button accordion keyboards. That is, those that are more universal, but, at the same time, are characterized as typical of modern button accordion art. The purpose of the study is to study the most typical textural elements and combinations of modern button accordion music, as well as their systematization based on the analysis of their internal structural organization. The methodology used in this article is based on the use of methods of theoretical musicology (primarily, analysis of elements of musical language and means of expression), as well as methods of structural and system analysis, generalization and classification. The results. The systematization of typical original texture formulas of modern button accordion creativity carried out in this work provides their division into certain groups and kinds (subgroups) in the middle of these groups, in particular: reverberation (chordal and mixed); stereophony (pulsation, transmission, unison); pedalling arpeggio (rhythmic, non­rhythmic); pedal scale (cluster crescendo); monophonic structural­modular constructions (chromatic by broken intervals; gamma­shaped­arpeggio based on a 5­element fingering group); chord transpositions (interval­algorithmic (chromatics; m3; m2­B2; etc.), thematic­melodic); simplified accompaniment (alternation of tessitura­polar sounds); multi­octave duplications (unison, decomposed­arpeggio). The topicality of the work lies in the fact that for the first time in modern musicology the textured elements of modern button accordion music have received analytical discourse and systematization. The practical significance of the work lies in the possibility of its use in theoretical courses on the study of button accordion art, as well as in the practical work of button accordionists. Conclusions. To sum up, we can state that the considered original textural elements and formulas are typical for modern button accordion music, as they occur in works in many cases. The typical button accordion texture formulas considered in this article, which are often found in the artistic plane of musical works, play an important role in the formation of a kind of stylistic handwriting of modern button accordion speech. At the same time, they, in contrast to the group of determinant texture formulas, reflect a certain universalism of their presentation, as they can be transferred to other instrumental texture (keyboard instruments) conditions and implemented in them.

scholarly journals The role of Russian pianists in the formation of accompaniment art

2021 ◽  
pp. 34-40
Author(s):  
Tat'yana Aleksandrovna Levashova
Keyword(s):  
Piano Music ◽  
Piano Performance ◽  
International Recognition ◽  
Ensemble Performance ◽  
History Of ◽  
Extension Of Functions ◽  
Pedagogical Function

The Russian tradition of piano performance has been winning international recognition for several centuries. The names of S.V. Rachmaninoff, S.T. Richter, K.N. Igumnov, A.B. Goldenweiser and others, are inscribed in the history of the piano music and pedagogics. At the same time, such a sphere as accompaniment remains unheralded. The author of the research attempts to estimate the role of the above mentioned pianists in the formation of accompaniment art. Based on the analysis of the experience of performance and pedagogical work of the pianists, the author reveals their importance for the development of the Russian accompaniment tradition. This topic hasn’t been critically considered and analyzed. However, the history of piano music is rich in examples when concert pianists take on the role of accompanists. Their contribution to the practice of ensemble performance has influenced the development of accompaniment art. The work of S.V. Rachmaninoff, S.T. Richter, K.N. Igumnov, and A.B. Goldenweiser has influenced various aspects of accompaniment art: the extension of functions of an accompanist; the importance of the role of an accompanist in the interpretation of music pieces; the extension of the pedagogical function of an accompanist in the ensemble; the formation of a methodological background based on the accompaniment experience.   

scholarly journals Sounds of lament, melancholy and wilderness: The Zenithist revolt and music

Muzikologija ◽  
2005 ◽  
pp. 131-144 ◽  
Author(s):  
Melita Milin
Keyword(s):  
Folk Music ◽  
Contemporary Music ◽  
Literary Texts ◽  
Modern Music ◽  
The Balkans ◽  
Positive Account ◽  
Western Influence ◽  
Concert Reviews ◽  
Creative Forces

The aim of writing this article is to analyze how the articles published by Zenith magazine (1921-1926) reflected the role of modern music within the framework of Zenithism - a movement relating to Dadaism and Futurism. The founder of the movement Ljubomir Micic and the Croatian composer Josip Slavenski both settled in Serbia and shared similar views concerning the Zenithist role of art. They sought to create a novel artistic expression free from Western influence, rooted in primitive and intrinsic creative forces of Eastern, and more specifically, Balkan peoples. Nevertheless, the intellectual sophistication and radicalism of their ideas differed somewhat whereas Micic was inclined towards experiment and provocation (i.e. his announcement of a Balkan "Barbarogenius"), Slavenski's aim was to revise and transform the archaisms preserved in old layers of folk music (primarily that of the Balkans), thus yielding an original modernist language. When in 1924 Micic moved from Zagreb to Belgrade, Slavenski was already there, only to leave for Paris in winter of the same year and remain there until the following summer. This may explain Slavenski's single contribution to Zenith, a piece composed before he met Micic. Zenith's articles on music included a positive account of Prokofiev, whose works were seen as representative of the movement's intentions. The article was an abridged translation of Igor Glebov's (pseudonym of Boris Asafiev) text printed in V'esc (in German). Micic himself was the author of another contribution - a concert review, which served as an opportunity to express his views on contemporary music, one being an appraisal of Stravinsky whose music was felt to correspond to Zenithist aesthetics. He was labeled a musical 'Cubist', who composed music of 'paradox and simultaneity'. In the same article Antun Dobronic (a nationalist Croatian composer) was criticised on the basis that his music was not 'Balkanized' enough. Micic, who obviously had little or no musical education, was unable to find any musical critics who would adhere to his views. Several other articles in Zenith, such as concert reviews and literary texts with reference to both old and new composers, shed more light on the spirit of the movement and contribute to our understanding of it.

scholarly journals Piano Pieces by a Prominent Representative of the Azerbaijani Composition School Ogtay Rajabov

2021 ◽  
Vol 4 (1) ◽  
pp. 140-151
Author(s):  
Elmira Humbatova
Keyword(s):  
Theoretical Analysis ◽  
Piano Music ◽  
Emotional States ◽  
Musical Language ◽  
Piano Works ◽  
Technical Performance ◽  
Aesthetic Taste ◽  
Special Place ◽  
The Rich ◽  
First Time

The article is dedicated to the piano creativity of Ogtay Rajabov, a brilliant representative of the 20th-century Azerbaijani school of composition. It should be noted that O. Rajabov is the author of many pieces for piano, and among them, the genres written for young pianists have a special place. The article analyzes some of these pieces. They include some small miniatures such as “Barkarolla”, “Lyric dance”, “Joke”, “Thought”, “Lyric waltz”, “Naughty kids”, “Remembering the Past”, “Remembering my mother”, “Sad mood” and “My memories”. In his works, the composer was able to bring the world of children to life with great skill. The article provides a theoretical analysis of each piece and specifies the stylistic characteristics inherent in the composer’s piano music. In the works, the traits of O. Radjabov’s composing style, a kind of transfer of elements of folk music, the different images within a  small play, the rich imagination of the composer and many other things are highlighted. These works play an important role in the development of the technical capabilities, artistic thinking and aesthetic taste of the young performer. Here, the main characteristic feature is the variety achieved through dynamic nuances, the different development of the melody, the use of different registers, and other similar aspects. Such works are also extensive in terms of the subject matter. So, the images of various characters are reflected here. The purpose of the research is to analyze some of the small miniatures that hold a special place in O. Rajabov’s piano creativity work and set forth his stylistic features. The research methodology is based mainly on theoretical-comparative principles. The miniatures have been theoretically analyzed in terms of the means of expression of musical language and been characterized by its results. The theoretical and methodological basis of the research is constituted of works by Russian and Azerbaijani musicologists available in this field. The scientific novelty of the research lies in pioneering a study of the composer Ogtay Rajabov’s piano creation and his directly analyzed miniatures as a research object for the first time. That is to say, in this article, O. Rajabov’s piano works have been subjected to theoretical analysis for the first time. Conclusions. The contents commonality of the last four pieces, including the fourth one among the ten pieces we have analyzed, has united them somewhat in a series. As for such pieces as “Joke”, “Naughty kids”, “Lyric waltz”, “Barcarolle” and “Lyric Dance”, they mostly combine in one theme the different moods and emotional states of children’s world, expressing it in itself. Among the features that summarize and differentiate the pieces, there is a preferred type of texture, the methods of theme development, use of polyphonic style. In particular, the contrast that occurs as a result of dynamic nuances when playing the theme in different registers is observed in most of his pieces. The analyzed pieces serve as a valuable tool for the formation of a young pianist’s aesthetic taste, as well as the development of artistic and technical performance.

ARTISTIC AND AESTHETIC EDUCATION AND MUSICAL PSYCHOTHERAPY OF A SPECIALIST’S TRAINING

2020 ◽  
Vol 384 (2) ◽  
pp. 222-232
Author(s):  
P. V. Menshikov ◽  
G. K. Kassymova ◽  
R. R. Gasanova ◽  
Y. V. Zaichikov ◽  
V. A. Berezovskaya ◽  
...  
Keyword(s):  
Performance Practice ◽  
Piano Music ◽  
Traumatic Experiences ◽  
Special Role ◽  
Native Culture ◽  
History Of ◽  
The Subject ◽  
And Performance ◽  
The Many ◽  
Special Meaning

A special role in the development of a pianist as a musician, composer and performer, as shown by the examples of the well-known, included in the history of art, and the most ordinary pianists, their listeners and admirers, lovers of piano music and music in general, are played by moments associated with psychotherapeutic abilities and music features. The purpose of the study is to comprehend the psychotherapeutic aspects of performing activities (using pianists as an example). The research method is a theoretical analysis of the psychotherapeutic aspects of performing activities: the study of the possibilities and functions of musical psychotherapy in the life of a musician as a “(self) psychotherapist” and “patient”. For almost any person, music acts as a way of self-understanding and understanding of the world, a way of self-realization, rethinking and overcoming life's difficulties - internal and external "blockages" of development, a way of saturating life with universal meanings, including a person in the richness of his native culture and universal culture as a whole. Art and, above all, its metaphorical nature help to bring out and realize internal experiences, provide an opportunity to look at one’s own experiences, problems and injuries from another perspective, to see a different meaning in them. In essence, we are talking about art therapy, including the art of writing and performing music - musical psychotherapy. However, for a musician, music has a special meaning, special significance. Musician - produces music, and, therefore, is not only an “object”, but also the subject of musical psychotherapy. The musician’s training includes preparing him as an individual and as a professional to perform functions that can be called psychotherapeutic: in the works of the most famous performers, as well as in the work of ordinary teachers, psychotherapeutic moments sometimes become key. Piano music and performance practice sets a certain “viewing angle” of life, and, in the case of traumatic experiences, a new way of understanding a difficult, traumatic and continuing to excite a person event, changing his attitude towards him. It helps to see something that was hidden in the hustle and bustle of everyday life or in the patterns of relationships familiar to a given culture. At the same time, while playing music or learning to play music, a person teaches to see the hidden and understand the many secrets of the human soul, the relationships of people.

The role of S and Mo doping on the dissociation of water molecule on FeOCl surface: Experimental and theoretical analysis

2021 ◽  
pp. 131353
Author(s):  
Xiao Liu ◽  
Wenyi Zhang ◽  
Mingguo Peng ◽  
Guangqun Zhai ◽  
Linchao Hu ◽  
...  
Keyword(s):  
Theoretical Analysis ◽  
Water Molecule ◽  
Mo Doping

From great man to fittest survivor: Reputation, recapitulation and survival in Victorian concepts of Wagner's genius

2009 ◽  
Vol 13 (2_suppl) ◽  
pp. 415-445
Author(s):  
Bennett Zon
Keyword(s):  
Richard Wagner ◽  
Victorian Culture ◽  
Modern Music ◽  
Scientific Terminology ◽  
The Arts ◽  
Victorian Period ◽  
Musical History ◽  
Survival Of The Fittest

The transposition of the Great Man into the Fittest Survivor is at the very root of an endemic interchange between the sciences and the arts in late Victorian culture, giving rich metaphoric substance to more heavily concretised scientific terminology. Herbert Spencer's famous phrase, “survival of the fittest” is, arguably, one of the most commonly transposed and consequently influential scientific expressions of the Victorian period, and as such, one of its most malleable idioms. In Victorian musicology this influence is especially obvious in biographical works which privilege Richard Wagner as the greatest genius of musical history. Thus in Mezzotints in Modern Music (1899) James Huneker declares that “Wagner carried within his breast the precious eucharist of genius. ” It is the attitude of Huneker and like-minded musicologists, like C. Hubert H. Parry, William Wallace, Francis Hueffer and Richard Wallaschek, which forms the basis of a three-part exploration of Wagner's genius, covering (1) the role of “endurance” in Victorian definitions of genius, from Carlyle and Sully to Galton; (2) the influence of German morphology on evolutionary terminology in Britain, with particular reference to ontogeny, phylogeny and recapitulation; and (3) Spencer's adaptation of German morphology and his influence on Victorian perceptions of Wagner's genius. These collectively argue through the paradigm of Wagner that the formulation of late Victorian musical genius was incomplete without recourse to evolutionary terminology of survival. Indeed, for Victorian musicology, Wagner, the Great Man, had evolved Into Wagner, the Fittest Survivor.

Talking Fingers: An Interview Study of Pianists' Views on Fingering

1997 ◽  
Vol 1 (1) ◽  
pp. 87-107 ◽  
Author(s):  
Eric Clarke ◽  
Richard Parncutt ◽  
Matti Raekallio ◽  
John Sloboda
Keyword(s):  
Motor Skill ◽  
Common Ground ◽  
Procedural Knowledge ◽  
Contemporary Music ◽  
Declarative Knowledge ◽  
Standard Approach ◽  
Primary Determinant ◽  
Role Of Teachers ◽  
Technical Considerations

Seven professional pianists were interviewed to gather their views on various aspects of piano fingering. The issues covered included technical considerations, the influence of interpretation and composers' markings on fingering, the effects of different Performance circumstances, and the role of teachers in determining fingering strategies. An analysis of the participants' responses revealed both a considerable amount of common ground in their attitudes to these matters, and some strikingly different attitudes. Five primary themes emerged: i) while Standard fingerings form the basis for these performers' strategies, a greater use of Standard fingerings in sight-read as opposed to rehearsed or memorised performance was predicted by the participants; ii) those performers with a deeper involvement in, and earlier exposure to, contemporary music considered themselves to have a less Standard approach to fingering; iii) physical considerations not only represent constraints on fingering, but also offer opportunities to employ positively pleasurable fingerings which may be highly idiosyncratic; iv) while interpretation is universally regarded as the primary determinant of finger choice, attitudes range from a refusal to contemplate a fingering until musical matters have been resolved to the belief that a Single best fingering can be found onto which interpretative choices are mapped; v) the participants appear to have good declarative knowledge of the more abstract and Strategic aspects of their approach to fingering, and essentially procedural knowledge of what they do in any particular circumstance, as found in previous research on motor skill.

Evaluation-driven design of a robust coreference resolution system

2003 ◽  
Vol 9 (3) ◽  
pp. 281-306 ◽  
Author(s):  
ANDREI POPESCU-BELIS
Keyword(s):  
Working Memory ◽  
Theoretical Analysis ◽  
Coreference Resolution ◽  
Knowledge Sources ◽  
Narrative Texts ◽  
Data Annotation ◽  
Evaluation Measures ◽  
Optimal Behavior ◽  
Resolution System

In this paper, we describe a system for coreference resolution and emphasize the role of evaluation for its design. The goal of the system is to group referring expressions (identified beforehand in narrative texts) into sets of coreferring expressions that correspond to discourse entities. Several knowledge sources are distinguished, such as referential compatibility between a referring expression and a discourse entity, activation factors for discourse entities, size of working memory, or meta-rules for the creation of discourse entities. For each of them, the theoretical analysis of its relevance is compared to scores obtained through evaluation. After looping through all knowledge sources, an optimal behavior is chosen, then evaluated on test data. The paper also discusses evaluation measures as well as data annotation, and compares the present approach to others in the field.

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