scholarly journals Khorezm Dutor Moments

2021 ◽  
Vol 03 (04) ◽  
pp. 199-202
Author(s):  
Shodmonova Durdona ◽  
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Issues related to the classical samples of Uzbek classical music heritage occupy one of the leading places in the modern music culture. In this regard, among the Bukhara Shashmakomi, Fergana-Tashkent status roads, Khorezm status categories, Dutor status, in our opinion, are of great interest. In particular, the study of the generality and differences in the interpretation of their old rare and diverse new performance, in full case or in the recording of parts into a note, is of paramount importance. This article is about the status of Khorezm

Author(s):  
Elena Vladimirovna Lygina

The present article, developing a comprehensive approach to the classification of instrumental ensembles with a domra, aims at detecting the principles which can serve as a basis for the creation of various models of such objects. The author suggests analyzing the aspects of existence of the phenomenon under study from various positions: as music groups, and from the viewpoint of music compositions created for such groups. The article considers and compares the models of concert groups according to the number of their members and instrumental components, as well as according to the genre and style peculiarities of the repertoire of instrumental ensembles with a domra and their cooperation with composers. This classification method helps to comprehensively cover the work of a large number of musicians, both the members of ensembles and composers. The modeling of various systems of the creation of methods of classification of instrumental ensembles helps to study the peculiarities of the existence of such groups in modern music culture. The author arrives at the conclusion that at present, the music performance spectrum of Russia contains a vast range of ensembles with various instrumental contents and different numbers of members. The diversity of genre and style models of such groups is reflected in their repertoire - from folklore, classical music and modern composers schools to jazz, rock, pop-music and performance.   


2015 ◽  
Vol 2 (4) ◽  
pp. 315-326
Author(s):  
R.N. Pati ◽  
Shaik B. Yousuf ◽  
Abebaw Kiros

Ethiopia upholds unique cultural heritage and diverse music history in entire African continent. The traditional music heritage of Ethiopia has been globally recognized with its distinct music culture and symbolic manifestation. The traditional songs and music of the country revolves around core chord of their life and culture. The modern music of Ethiopia has been blended with combination of elements from traditional Ethiopian music and western music which has created a new trend in the music world. The music tradition of the country not only maintains the cultural identity but also maintains social cohesion through cultural expression at different social occasions and resists cultural changes infused through globalization. The globalization has brought a series of transformation and changes in the world of Ethiopian music through commercialization, commodification and digitalization of cultural expressions apart from hijacking the cultural rights of traditional musicians. The younger generations have been attracted towards western music undermining the aesthetic and cultural value of music tradition of the country. The international enactments relating to protection and safeguarding of cultural rights of people are yet to be appropriately translated into reality. The emergence of culture industries and entertainment houses has posed serious threats to local culture and led to disappearance of local traditions, musical heritage and their replacement by popular global music. The cultural homogeneity and commodification has replaced the multiplicity of cultures in this globalized era. This paper based on review of published articles and content analysis critically unfolds sensitive areas of cultural shock and violation of cultural rights exposed to traditional musicians and traditional singers of Ethiopia during last couple of decades.Int. J. Soc. Sci. Manage. Vol-2, issue-4: 315-326


2019 ◽  
Vol 7 (3) ◽  
pp. 151-162
Author(s):  
Nina P. Rikhter

In this article, in order to find ways to develop modern music education, the experience of musical education of pupils in primary schools in the second half of the 19th – early 20th centuries, in particular, in urban primary schools under the “Regulation of 1872”, is examined. Despite the fact that singing and playing musical instruments were not included in the curriculum of urban schools and were taught outside the classroom time, various examples of teaching singing and playing musical instruments to pupils of urban schools in different regions of Russia are given in the work. The work shows that in a number of schools, for example, in Moscow urban schools, serious attention was paid to music education, singing was a compulsory subject. In some schools, for those who wish, in addition to basic subjects and more often for a small fee, training in playing musical instruments was organized. The article addresses the purpose, content, methods, forms of teaching singing, teaching aids, the use of musical instruments in the lessons, the educational level of teachers, analyzes the change in the status of the subject of singing in the process of reforming the primary education system and transforming urban schools into higher primary schools. The study shows, for example, that one of the main goals of the training was to develop and strengthen the morals of pupils. The content of the training was composed of church chants, prayers, hymns, secular patriotic songs, folk songs, and musical deed. This article may be may be interesting to music education historians, scientists and teachers, university students.


2002 ◽  
Vol 17 (2) ◽  
pp. 83-92
Author(s):  
Beatrice S Harper

This article presents the results of a survey that was carried out among UK and German professional classical musicians between November 2000 and April 2001. The UK Musicians’ Union and the German musicians’ union, the Deutsche Orchester Vereinigung (DOV), assisted greatly with the duplication and distribution of the questionnaires. Selected results have been disseminated to the respondents via the UK Musicians’ Union journal, Musician. A full report will appear in Cultural Trends, to be published in 2002 by the Policy Studies Institute, London. The survey covered many aspects of musicians’ perceptions of occupational health and safety, the provision of appropriate information, their general working conditions, and their health. One of the main aims was to bring to the forefront a discussion of musicians’ working conditions and to raise awareness of the range of problems that exist. Key findings identify areas of concern to the respondents, in particular, regarding the environmental conditions of their workplaces. Additionally, findings indicate the use and effectiveness of the measures used by musicians to ameliorate a range of occupational hazards. This article also reports the respondents’ hearing problems, and which medical and alternative practitioners the sample consulted in cases of work-related ill health. The contrasting structure of the profession determined the choice of the United Kingdom and Germany for this study. The UK classical music workforce is predominantly freelance, whereas in Germany there are relatively few freelance musicians, and most orchestral musicians have the status of local government employees. One of the aims of the survey was to elicit information that might indicate whether such different conditions of employment affect the working lives of musicians. This article is organized in two parts. The first part places this survey in context and discusses the particular range of health problems highlighted by the respondents. The second part presents the survey and its findings.


2011 ◽  
Vol 71 (6) ◽  
pp. 709-724 ◽  
Author(s):  
Fei Zhao ◽  
David French ◽  
Vinaya KC Manchaiah ◽  
Maojin Liang ◽  
Sharon M Price

Introduction: Adolescents and young adults have been shown to be the age group most at risk of music-induced hearing loss (MIHL), which is already evident and increasing among this group. Objective: The purpose of this review is to provide further insight into the effectiveness of education programmes on attitude and behaviour towards loud music exposure in adolescents and young adults, and to suggest positive and influential ways of delivering hearing health education. Methods: Literature searches were conducted using various databases, including PubMed, Google Scholar and Cumulative Index to Nursing and Allied Health Literature (CINAHL). Authors went through the abstracts of these articles to identify those which were potentially relevant; subsequently the full articles were retrieved. Results: This review highlights the dangers of significant exposure to music on hearing mechanics in adolescents and young adults, and shows that this danger continues to increase with modern music culture. Because the consequences are not immediate, it is difficult for the young to perceive the seriousness of a problem that may not present itself for many years. Conventional education may go a little way in helping to raise awareness but a raised awareness of consequences does not, in itself, change behaviour. There is a significant gap in literature regarding effective methods of education that will inspire attitude change, and have a bearing on actions. Conclusion: This review has concluded that there is a lack of understanding of how to best influence and educate adolescents and young adults in a way that will motivate and encourage a change in listening habits. It is of vital importance that these groups are made aware of the immediate and future dangers, and how changes in listening behaviour do not necessarily lower their enjoyment.


Indialogs ◽  
2014 ◽  
Vol 1 ◽  
pp. 134
Author(s):  
Mohan Ramanan

2021 ◽  
Vol 1 (1) ◽  
pp. 5-7
Author(s):  
Qian Zheng

Piano accompaniment has a history of more than one hundred years. Chinese national instrumental music has a long history and rich culture, which is an indispensable part in the history of Chinese folk music. With the development and change of modern music, Chinese folk music has entered an era of diversified development. As the "king of Musical Instruments", the combination of piano and Chinese national instrumental music was born by good luck. This paper mainly serious piano accompaniment used in folk music in the production, the status quo, so that more people understand, accept and pay attention to this new things, and even more to develop and innovation, to create more excellent works.


2021 ◽  
Vol 1 (5) ◽  
pp. 109-112
Author(s):  
Nataliia Krechko ◽  
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Yuliia Sokolova ◽  
Keyword(s):  

2006 ◽  
Vol 3 (3) ◽  
pp. 523-534
Author(s):  
ANYA SUSCHITZKY

Richard Taruskin, The Oxford History of Western Music, 6 vols. (Oxford and New York: Oxford University Press, 2005)Until recently, serious students of music did not read sweeping histories of music. In a time of increasing specialization, we do not expect to find new ideas in such work. This has changed with the publication of Richard Taruskin's History of Western Music. Monumental in its scope and original in its approach but informal in its prose and always engagingly direct, it offers a provocative perspective on the whole of music's history and sets fresh agendas for anyone interested in music and its relation to the history of ideas, politics and culture. Taruskin's History differs from all previous projects of its kind in that it does not principally survey famous works by famous composers. Focusing instead on particular issues within a chronological framework (his chapter titles refer, amongst other things, to feudalism, humanism, enlightenment, virtuosos, transcendentalism and totalitarianism), and selecting composers whose music contributes to the consideration of those issues (sometimes omitting well-known figures or placing familiar works in radically new contexts), he sets out quite simply to explain why music has been composed as it has, and to show how its existence has relied not on composers in isolation but on a whole musical culture of composers, patrons, performers, critics and many others. Rather than relegating historical events and ideas to the status of context or calling them extra-musical, he places them at the centre of his narrative and in intricate dialogue with music; so while his close analyses of music will mean most to those with musical training, they are part of an argument about history that will be suggestive and illuminating to any reader.


Society ◽  
1967 ◽  
Vol 4 (9) ◽  
pp. 55-59
Author(s):  
Joseph Bensman
Keyword(s):  

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