scholarly journals Emurobome Idolor and the Discourse of Nigerian Art Music: A 60th Birthday Celebration

2020 ◽  
Vol 9 (1) ◽  
pp. 58-68
Author(s):  
David Bolaji
Keyword(s):  
Music Education ◽  
Music Composition ◽  
Art Music ◽  
Empirical Method ◽  
Compositional Techniques ◽  
African Music ◽  
Philosophical Perspective ◽  
Indigenous Music ◽  
Scholarly Publications ◽  
Birthday Celebration

This article focused on some of the contributions of Emurobome Idolor in the Nigerian music studies. His scholarly contributions cut across different areas of Art Music including Ethnomusicology, Music Composition, Conducting, African Music and Music education in Nigeria. This article identifies and acknowledges the ideological concept of Idolor’s Philosophy towards excellence. Also, this article justified and abstracted some musical attributes that he portrayed as a scholar in Nigerian Art music. Empirical method of research was used for this study, through the holistic overview of some of his scholarly publications and two of his art music compositions titled “Glory Hallelujah and Nigeria’ Otoro So Owan. Through abstractive analysis of these creative works, younger art composers will learn and acquire divers’ compositional techniques that can be used and adopted in promoting African indigenous music. Key Words: Hard Work, Philosophical Perspective, Art Music and African Music

European Professors at the Cursos Latinoamericanos de Música Contemporánea: Two experiences – Piriápolis, 1974; Buenos Aires, 1977

2020 ◽  
Vol 17 (3) ◽  
pp. 329-345
Author(s):  
OMAR CORRADO
Keyword(s):  
Latin American ◽  
Music Composition ◽  
Buenos Aires ◽  
Contemporary Music ◽  
Critical Evaluation ◽  
Art Music ◽  
Compositional Techniques ◽  
Musical Life ◽  
Theoretical Perspectives ◽  
The One

AbstractBetween 1971 and 1989, fifteen editions of the Cursos Latinoamericanos de Música Contemporánea (Latin American Contemporary Music Courses) took place alternatively in five countries of the continent. These were intensive meetings concentrated in two weeks, consisting of classes, workshops, seminars, conferences, and concerts. One of the central concerns was contemporary art music composition, although an important space was also given to performance, technologies, innovative pedagogies, popular music, and musicology. Around 150 lecturers from different countries took part in the courses, among them, about forty-five were European. On the one hand, the courses aimed at providing updated information on contemporary international musical life. On the other hand, they encouraged its critical evaluation in relation to the history, culture, and concrete practices of Latin American musicians. This article analyses exchanges between Latin American and European musicians regarding compositional techniques, theoretical perspectives, repertoires, aesthetics, and ideological positions during the 1974 and 1977 editions of the Cursos.

scholarly journals Linking musical metaphors and emotions evoked by the sound of classical music

2021 ◽  
pp. 030573562199123
Author(s):  
Simon Schaerlaeken ◽  
Donald Glowinski ◽  
Didier Grandjean
Keyword(s):  
Music Education ◽  
Classical Music ◽  
Empirical Method ◽  
Mixed Effects Models ◽  
Musical Meaning ◽  
Linear Mixed Effects ◽  
Generalized Linear Mixed Effects ◽  
Perceptual Characteristics ◽  
Valence And Arousal ◽  
Western Classical Music

Musical meaning is often described in terms of emotions and metaphors. While many theories encapsulate one or the other, very little empirical data is available to test a possible link between the two. In this article, we examined the metaphorical and emotional contents of Western classical music using the answers of 162 participants. We calculated generalized linear mixed-effects models, correlations, and multidimensional scaling to connect emotions and metaphors. It resulted in each metaphor being associated with different specific emotions, subjective levels of entrainment, and acoustic and perceptual characteristics. How these constructs relate to one another could be based on the embodied knowledge and the perception of movement in space. For instance, metaphors that rely on movement are related to emotions associated with movement. In addition, measures in this study could also be represented by underlying dimensions such as valence and arousal. Musical writing and music education could benefit greatly from these results. Finally, we suggest that music researchers consider musical metaphors in their work as we provide an empirical method for it.

scholarly journals Composing music, developing dialogues: An enactive perspective on children's collaborative creativity

2017 ◽  
Vol 34 (3) ◽  
pp. 259-276
Author(s):  
Ana Luísa Veloso
Keyword(s):  
Music Education ◽  
Cognitive Processes ◽  
Music Composition ◽  
Participant Observation ◽  
Theory And Practice ◽  
Collaborative Creativity ◽  
Collaborative Processes ◽  
Education Theory ◽  
Teacher Researcher ◽  
New Ideas

This study aims to provide new insights on the nature of the embodied and collaborative processes related to the emergence of new musical ideas that occur when children are composing in groups.Data was obtained by participant observation of the teacher/researcher and by ten videotaped one-hour musical sessions dedicated to the development of a music composition by two groups of children, all of whom were eight years old.It was found that when composing in groups a) children use embodied processes to transform what they experience on diverse realms of their existence into musical ideas, and that b) while creating music, children engage in several improvisatory moments where new ideas emerge through the diverse ways they enact the surroundings where the activity is occurring. Findings suggest a conception of music composing as a multidimensional phenomenon that entails cognitive processes that are distributed across and beyond the physical body. Findings also suggest that composing music in collaboration with others nurtures a set of creative possibilities that would otherwise, not occur. Considerations for music education theory and practice are addressed in the last section of the article.

Music Composition and Kyosei

2019 ◽  
pp. 194-213
Author(s):  
Michele Ellen Kaschub
Keyword(s):  
Music Education ◽  
Learning Community ◽  
Music Composition ◽  
Teaching And Learning ◽  
Program Planning ◽  
Teacher Educator ◽  
Project Based Learning ◽  
Professional Relationships ◽  
School Students ◽  
Teaching Learning

The spirit of cooperation central to kyosei is a critical component in the creative corners of American music education. This chapter will describe a project that involved the creation of a hybrid space where a music teacher-educator and practitioner worked with pre-service teachers and middle school students to explore teaching and learning music composition. By recasting who is considered an expert, rethinking institutional boundaries, and immersing in project-based learning on multiple levels, teacher education programs and schools can better identify their challenges and explore possible solutions. Though not part of initial program planning, the principles of kyosei were evidenced in the evolution of complex understandings developed prior to and throughout the project, in the inclusive nature of project-based learning by pre-service teachers and music students, and in the professional relationships—and, ultimately, the friendships—that emerged as the teaching-learning community matured.

From Film Score to Art Music and Back

2020 ◽  
pp. 173-192
Author(s):  
Julia Khait
Keyword(s):  
Musical Theater ◽  
Film Music ◽  
Art Music ◽  
Compositional Techniques ◽  
Sergei Prokofiev ◽  
Film Scores ◽  
Film Score ◽  
Stylistic Evolution ◽  
History Of ◽  
Ivan The Terrible

Sergei Prokofiev was one of a few composers who worked equally successfully in the fields of film music and art music. His scores for Alexander Nevsky and Ivan the Terrible are as significant for the history of film music as are his operas and ballets for musical theater. He approached film projects with the same creative rigor as his stage and symphonic works. And so we must think of his film scores not as a separate enterprise but, rather, as one of the various theatrical and dramatic genres at which he tried his hand. While the operatic features of his music for Alexander Nevsky and Ivan the Terrible have become widely recognized, Prokofiev’s other film scores can also be placed in a broader context of the composer’s output. The cross-connections between genres can be traced at different levels, from common themes and literary ideas and similar stylistic evolution, to shared compositional techniques and borrowings of musical material from one work to another.

Grupo de Renovacion Musical (1942–1948)

2018 ◽  
Author(s):  
Marysol Quevedo
Keyword(s):  
Latin American ◽  
Contemporary Music ◽  
Art Music ◽  
Igor Stravinsky ◽  
Future Generations ◽  
Sonata Form ◽  
Compositional Techniques ◽  
American Composers ◽  
Premature Deaths ◽  
The U.S

The Grupo de Renovacion Musical was a school of Cuban composers that emerged out of the Conservatorio Municipal de La Habana during the 1940s. The young composers were pupils of Spanish-born composer José Ardévol, who served as the leader and mentor of the group. After the premature deaths of Amadeo Roldán and Alejandro García Caturla (1939 and 1940 respectively), Ardévol took over some of their duties as music professor at the Conservatorio Municipal. Ardévol and his pupils saw a need for Cuban composers to focus on compositional techniques and strongly believed that all composers should master traditional compositional methods, such as traditional counterpoint, sonata form, and fugues (most commonly used by composers of the Baroque and Classical periods) in order to fully develop their music-writing abilities. They also rejected the obvious nationalism that Roldán and Caturla had popularised and that was also found in the works of many other Latin American composers from the previous generation. Instead, they preferred the neoclassical trends of Europe—mostly of France and Spain—with composers Igor Stravinsky and Manuel de Falla serving as their models. However, they never denied the importance of the legacy established by Roldán and Caturla for future generations of Cuban composers. The group acknowledged that Roldán and Caturla were visionaries in their own time, influential through their compositions, which brought Cuban music up to date with contemporary music developments in the U.S., Latin America, and Europe, and for introducing the use of traditional Cuban music elements to contemporary art music—particularly the use of rhythm and percussive instrumentation.

Turnage, Mark-Anthony (1960--)

2018 ◽  
Author(s):  
Edward Venn
Keyword(s):  
Popular Music ◽  
Royal College ◽  
Art Music ◽  
Compositional Techniques ◽  
Early Twenty ◽  
Miles Davis ◽  
Stylistic Elements ◽  
Gunther Schuller ◽  
Late Twentieth ◽  
Considerable Range

Mark-Anthony Turnage is one of the leading British composers of the late twentieth and early twenty-first centuries. His prolific output fuses stylistic elements, compositional techniques, and instrumentation from art music, jazz, and popular music, as well as, on occasion, more quotidian material such as football chants. The experience of working with jazz musicians such as Peter Erskine (a regular collaborator) has resulted in a long-standing commitment to improvisation in his music. Born in Essex, 1960, Turnage encountered a considerable range of art music through his family and, particularly, BBC Radio 3. Turnage had compositional lessons as a teenager with Oliver Knussen; like Knussen, Turnage later studied with John Lambert at the Royal College of Music and Gunther Schuller at Tanglewood. It was during his time at the Royal College that he familiarized himself with jazz and soul; Miles Davis became a particular influence.

The Early Childhood Song Books of Eleanor Smith: Their Affinity with the Philosophy of Friedrich Froebel

1980 ◽  
Vol 28 (2) ◽  
pp. 111-118
Author(s):  
Clifford D. Alper
Keyword(s):  
Early Childhood ◽  
Music Education ◽  
Music Composition ◽  
Unique Contribution ◽  
Children's Songs ◽  
Friedrich Froebel

Eleanor Smith (1858–1942), known as an outstanding composer of children's songs, was perhaps the most significant musician to embrace the philosophy of Friedrich Froebel. In the prefaces to her books Smith acknowledged her indebtedness to Froebelian theory, and her work was consistently tied to his education concepts. Smith integrated Froebel's theories into her compositions, particularly her Songs for Little Children, Part I (1887) and Part II (1894), and Songs of a Little Child's Day (1910). This combination of philosophy and music composition results in quality song materials that still find their way into recently published song books. Smith's success in music education was due largely to the actualizing influence of Froebel, who would have applauded her unique contribution.

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