A Study on the Controversy of Plagiarism of Baby Shark and the Criteria for Judging the Substantial Similarity of Musical Works

This article analyzes the degree of demand for works of art (films and television films and series, literary and musical works, works of monumental art) associated with the history of the Great Patriotic War among contemporary students. This research is based on the combination of two theories, which study the dynamics and statics of culture in the society — the theory of the nucleus and periphery by Yu. M. Lotman and the theory of actual culture by L. N. Kogan. The four waves of research (2005, 2010, 2015, 2020) by the Russian Society of Socio¬logists (ROS) have revealed a series of works in various genres on this topic in the core structure and on the periphery of the current student culture; this has also allowed tracing the dynamics of demand and the “movement” of these works in the sociocultural space. The authors introduce the concept of the archetype of the echo of war. The high student recognition of works of all historical periods (from wartime to the present day) is shown. A significant complex of works has been identified, forming two contours of the periphery. Attention is drawn to the artistic work of contemporary students as a way to preserve the historical memory of the Great Patriotic War. This article explains the necessity of preserving the layer of national culture in order to reproduce the national identity in the conditions of informational and ideological pluralism of the post-Soviet period. The authors note the differentiation of youth due to the conditions and specifics of socialization in the polysemantic sociocultural space.

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Child Composers in the Old Conservatories

10.1093/oso/9780190653590.001.0001 ◽

2020 ◽

Author(s):

Robert O. Gjerdingen

Keyword(s):

Teaching Methods ◽

Classical Music ◽

Colleges And Universities ◽

Mental Ability ◽

Original Music ◽

Innovative Teaching ◽

Musical Works ◽

History Of ◽

Youtube Videos ◽

Typical Day

The original music conservatories were orphanages. Through innovative teaching methods the masters of these old institutions were able to transform poor and often illiterate castoffs into elite musicians, many of whom became famous in the history of classical music. The book tells the story of how this was done. It shows what the lessons were like, what a typical day was like for an orphan, and how children progressed from simple lessons to ones more advanced than any seen today in colleges and universities. Recent rediscoveries of thousands of the old lessons have allowed us to understand how children’s minds were systematically developed to be able to “think” in music. That is, the lessons slowly built up the mental ability to imagine the interplay of two or more voices or instruments. Today we think of Mozart as having a miraculous ability to imagine musical works in his head, but in truth many of the conservatory graduates of that era had attained a similar level of controlled musical imagination. They could improvise for hours at the keyboard, and they could quickly compose whole works for ensembles. The book is accompanied by 100 YouTube videos so that readers can hear what the lessons sounded like.

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The Musical Discourse of Servitude

10.1093/oso/9780190903879.001.0001 ◽

2020 ◽

Author(s):

Harry White

Keyword(s):

Johann Sebastian Bach ◽

George Frideric Handel ◽

Cultural Significance ◽

Imperial Court ◽

Musical Works ◽

Musical Discourse ◽

Work Concept ◽

Musical Genres ◽

Church Service ◽

Late Works

The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Baroque musical imagination which draws Fux, Bach, and Handel into the orbit of North Italian compositional practice. This typology depends on two primary concepts, both of which derive and dissent from Lydia Goehr’s formulation of the “work-concept” in The Imaginary Museum of Musical Works (1992), namely, the “authority concept” and a revised reading of the “work-concept” itself. Both concepts are engaged through the agency of two musical genres—the oratorio and the Mass ordinary—which Fux shared with Handel and Bach respectively. These genres functioned as conservative norms in Fux’s music (most of Fux’s working life was spent in writing for the church service), but they are very differently engaged by Bach and Handel. To establish a continuity between Fux, Bach and Handel, and between the servitude of common practice and the emerging autonomy of a work-based practice in the early eighteenth-century musical imagination are the principal objectives of this study.

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There Are No Such Things As Theories

10.1093/oso/9780198848158.001.0001 ◽

2020 ◽

Cited By ~ 3

Author(s):

Steven French

Keyword(s):

Scientific Theory ◽

The Other ◽

Musical Works ◽

The One ◽

Realism Debate

What is a scientific theory? Is it a set of propositions? Or a family of models? Or is it some kind of abstract artefact? These options are examined in the context of a comparison between theories and artworks. On the one hand, theories are said to be like certain kinds of paintings, in that they play a representational role; on the other, they are compared to musical works, insofar as they can be multiply presented. I shall argue that such comparisons should be treated with care and that all of the above options face problems. Instead, I suggest, we should adopt a form of eliminativism towards theories, in the sense that a theory should not be regarded as any thing. Nevertheless, we can still talk about them and attribute certain qualities to them, where that talk is understood to be made true by certain practices. This shift to practices as truth-makers for theory talk then has certain implications for how we regard theories in the realism debate and in the context of the nature and role of representation in science.

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Father Hilario Olazarán of Estella (1894–1973): Cataloguing His Musical Works

Fontes Artis Musicae ◽

10.1353/fam.2019.0002 ◽

2019 ◽

Vol 66 (1) ◽

pp. 42-51

Author(s):

José Francisco Sánchez Salsamendi

Keyword(s):

Musical Works

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Analysing and Transcribing Electroacoustic Music: the experience of the Portraits polychromes of GRM

Organised Sound ◽

10.1017/s1355771806001385 ◽

2006 ◽

Vol 11 (2) ◽

pp. 125-129 ◽

Cited By ~ 1

Author(s):

ÉVELYNE GAYOU

Keyword(s):

Research Work ◽

Electroacoustic Music ◽

Theoretical Research ◽

The Internet ◽

Primary Concern ◽

Internet Site ◽

Multimedia Documents ◽

Multimedia Tools ◽

Musical Works ◽

The 1950S

Portraits polychromes are a series of books associated with multimedia documents presented on the Internet site of the GRM since 2001. In releasing this collection, our primary concern was to increase awareness of the electroacoustic repertoire and the reserves in the GRM archives. The GRM, being a pioneering centre of electroacoustics, is fortunate to possess a consistent and significant reserve dating back to the beginning of the 1950s. At present, the catalogue contains around 2,000 works, accompanied with supplementary documents: composer's biographies, reviews, photographs, documentary movies, radio broadcasts, recorded public lectures, theoretical research work, transcriptions and analyses. In addition to the heritage value of the GRM's collection, the enterprise of the Portraits polychromes, with the aid of multimedia tools, aims to advance the progress of research on analysis and the transcription of musical works.

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Authorship in the Age of Machine Learning and Artificial Intelligence

10.1093/oxfordhb/9780190872243.013.3 ◽

2021 ◽

Author(s):

J.-M. Deltorn ◽

Franck Macrez

Keyword(s):

Neural Network ◽

Artificial Intelligence ◽

Machine Learning ◽

Musical Work ◽

Musical Works ◽

New Generation ◽

Specific Contribution

A new generation of machine learning (ML) and artificial intelligence (AI) creative tools are now at the disposal of musicians, professionals and amateurs alike. These new technical intermediaries allow the production of unprecedented forms of compositions, from generating new works by mimicking a style or by mixing a curated ensemble of musical works to letting an algorithm complete one’s own creation in unexpected directions or by letting an artist interact with the parameters of a neural network to explore fresh musical avenues. Unsurprisingly, this new spectrum of algorithmic compositions question both the nature and the degree of involvement of the creator in the musical work. As a consequence, the issue of authorship and, in particular, the assessment of the specific contribution of a (human) creator through the algorithmic pipeline may require special scrutiny when AI and ML tools are used to produce musical works.

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