scholarly journals Դոդեկաֆոնիայի դրսևորումները Առնո Բաբաջանյանի ստեղծագործության մեջ

2021 ◽  
pp. 104-112
Author(s):  
Տաթևիկ Շախկուլյան
Keyword(s):  
20Th Century ◽  
Western Music ◽  
Twelve Tone ◽  
Western Model ◽  
Armenian Music

Dodecaphony, or twelve-tone system, which was one of the composers’ technical directions in the 20th century western music, was employed in Armenian music, too, particularly, in Arno Babajanyan’s work. The study of theoretical principles of dodecaphony in the composer’s works in accordance with the categorization, accepted in European and American researches, showed that when weapply the western model of analysis, the uniqueness of Babajanyan’s style becomes even more apparent.

scholarly journals The Orderliness of Music from the Perspective of Complex Information Systems

Proceedings ◽  
2020 ◽  
Vol 47 (1) ◽  
pp. 55
Author(s):  
Shan Zhang
Keyword(s):  
Information Systems ◽  
20Th Century ◽  
Natural Science ◽  
The Other ◽  
Western Music ◽  
Classical Period ◽  
20Th Century Music ◽  
Complex Information ◽  
History Of ◽  
The One

By applying the concept of natural science to the study of music, on the one hand, we can understand the structure of music macroscopically, on the other, we can reflect on the history of music to a certain extent. Throughout the history of western music, from the classical period to the 20th century, music seems to have gone from order to disorder, but it is still orderly if analyzed carefully. Using the concept of complex information systems can give a good answer in the essence.

The Sound of India In Maurice Delage’s Quatre Poèmes Hindous

2020 ◽  
Vol 65 (2) ◽  
pp. 277-296
Author(s):  
Noémi Karácsony
Keyword(s):  
20Th Century ◽  
Point Of View ◽  
The Other ◽  
Western Music ◽  
Personal Contact ◽  
Early 20Th Century ◽  
French Music ◽  
Sound Effects ◽  
Instrumental Technique ◽  
The Relationship

"French composer and pianist Maurice Delage wrote several significant works inspired by his personal contact with the Orient. His travels to India inspired Delage to use innovative sound effects in his compositions, as well as to require his performers to adapt their vocal or instrumental technique to obtain the sound desired by the composer. His representation of the Orient is not a mere evocation of the Other, as is the case with most orientalist works, rather it reflects the composer’s desire to endow Western music with the purity, strength, and vivid colors which he discovered and admired in Indian music. The present paper presents the historical and artistic background which inspired and influenced Delage, the relationship between France and India in the early 20th century and reveals the composer’s idealistic point of view regarding India, its culture, and its music. The analysis focuses on the mélodie cycle Quatre poèmes hindous, composed between 1912 and 1913, striving to reveal the Indian influences in the work of Delage and the way orientalism is represented in French music from the first decades of the 20th century. Keywords: orientalism, France, India, 20th century, Maurice Delage"

Music and change in Nain, Nunatsiavut: More White does not always mean less Inuit

2015 ◽  
Vol 38 (1-2) ◽  
pp. 33-52 ◽  
Author(s):  
Tom Artiss
Keyword(s):  
20Th Century ◽  
Western Music ◽  
Ethnographic Research ◽  
The World ◽  
Cultural Forms ◽  
Ways Of Being ◽  
Musical Forms

This paper focuses on Inuitized Western music in Nain, Labrador, as part of a broader look at Inuit responses to change. Drawing on interviews and sustained ethnographic research, I show how a relaxing of strict socio-musical categories coincided with a decline in Moravian missionary influence in the second half of the 20th century. A notable indifference to musical difference is, I suggest, consistent with an Inuit equanimity toward environmental forces of change that cannot be helped (ajunamat). I then give reasons why discursive imbalances are a continued concern and show how the effects of sustained colonial and missionary activity (hybridities, mixtures, overlaps, co-presences) do not always produce the emotional and psychic dissonances sometimes associated with postcolonial ambivalence. Ultimately, I propose thinking of Inuitized Western musical forms as visible protrusions of a much deeper substrate of affective continuities and that such inherited ways of being in the world can remain constant even while specific cultural forms may change.

scholarly journals Stochastic Jeux

Muzikologija ◽  
2006 ◽  
pp. 207-218 ◽  
Author(s):  
Ekaterini Romanu
Keyword(s):  
20Th Century ◽  
Claude Debussy ◽  
Western Music ◽  
Personal Contact ◽  
Philosophy Of Music ◽  
Iannis Xenakis ◽  
Musical Texture

This article shows the similarities between Claude Debussy?s and Iannis Xenakis? philosophy of music and work, in particular the formers Jeux and the latter?s Metastasis and the stochastic works succeeding it, which seem to proceed parallel (with no personal contact) to what is perceived as the evolution of 20th century Western music. Those two composers observed the dominant (German) tradition as outsiders, and negated some of its elements considered as constant or natural by "traditional" innovators (i.e. serialists): the linearity of musical texture, its form and rhythm.

scholarly journals Diverging from an established Greek musical nationalism: Aspects of modernism in the works of Dimitri Mitropoulos, Nikos Skalkottas, Dimitrios Levidis and Harilaos Perpessas, during the 1920s and 30s

Muzikologija ◽  
2012 ◽  
pp. 183-206
Author(s):  
Giorgos Sakallieros
Keyword(s):  
20Th Century ◽  
Western Music ◽  
Musical Life ◽  
Second Viennese School ◽  
Musical Modernism ◽  
Ardent Supporter ◽  
New Instruments

The presence of many young talented composers outside Greece, studying in prominent European music centres during the 1920s and 30s, set them free from the ideological compulsions of Greek musical nationalism prevailing in Athenian musical life during the first decades of the 20th century. The creative approach and adoption of aspects of musical modernism, having been established around the same period in western music, are subsequently commented upon in the works, style and ideology of four different Greek composers: the pioneer of atonality and twelve-note technique in Greece, Dimitri Mitropoulos (1896-1960); the innovator and descendant of the Second Viennese School, Nikos Skalkottas (1904-1949); the ardent supporter of timbral innovation into new instruments and ensembles, Dimitrios Levidis (1886-1951); and, finally, the ascetical and secluded Harilaos Perpessas (1907-1995), another pupil of Schoenberg in Berlin.

scholarly journals COMPLEXITY, TIME AND MUSIC

2010 ◽  
Vol 13 (02) ◽  
pp. 155-164 ◽  
Author(s):  
JEAN PIERRE BOON
Keyword(s):  
Time Series ◽  
Dynamical Systems ◽  
Systems Theory ◽  
20Th Century ◽  
Temporal Dynamics ◽  
Intrinsic Value ◽  
Western Music ◽  
Local Dynamics ◽  
Dynamical Complexity ◽  
Music Piece

The concept of complexity as considered in terms of its algorithmic definition proposed by G. J. Chaitin and A. N. Kolmogorov is revisited for the dynamical complexity of music. When music pieces are cast in the form of time series of pitch variations, concepts of dynamical systems theory can be used to define new quantities such as the dimensionality as a measure of the global temporal dynamics of a music piece, and the Shanon entropy as an evaluation of its local dynamics. When these quantities are computed explicitly for sequences sampled in the music literature from the 18th to the 20th century, no indication is found of a systematic increase in complexity paralleling historically the evolution of classical western music, but the analysis suggests that the fractional nature of art might have an intrinsic value of more general significance.

scholarly journals Tradition and Characteristics in the Approach to Psaltic Music Theory in Romania – the 20th Century

2021 ◽  
Vol 24 (1) ◽  
pp. 269-299
Author(s):  
Elena Chircev
Keyword(s):  
20Th Century ◽  
Music Theory ◽  
Western Music ◽  
Modern Era ◽  
Content Vocabulary

Abstract Throughout the 20th century, Byzantine music theory was a constant preoccupation of chanters, teachers and musicians, who contributed to the development of this field and to the publication of a significant number of books in the Romanian language. The paper addresses these theoretical contributions based on several key elements: conception, structure, content, vocabulary, musical exercises and examples, extension, graphic aspect, relevance in the era –, but also in the context of the development of a specialized literature in Romanian. The analysis of these books reveals that everything that was published in Romania in the 20th century in the field of psaltic theory remains within the confines of the Byzantine tradition, faithfully passed down to the modern era. At the same time, the changes that the Romanian society went through in the second half of the century influenced the manner of approach to the theoretical notions, which were treated in the light of staff notation and Western music theory. However, over the course of the 20th century, successive authors managed to develop a specialized terminology in Romanian and to transmit the notional content specific to the Byzantine tradition.

scholarly journals Between constructivist and pluralistic modernism - a contribution to the understanding of the Slavko Osterc's circle

2019 ◽  
Vol 55 (1) ◽  
pp. 53-72
Author(s):  
Karmen Salmič Kovačič
Keyword(s):  
20Th Century ◽  
The Other ◽  
Central Question ◽  
Twelve Tone ◽  
Cultural Management ◽  
Other Hand ◽  
The One ◽  
Extreme Solutions

The theme of this article was inspired by a series of questions that arise to researchers when discussing compositions by musical modernist Slavko Osterc and his pupils from the first half of the 20th century, whose music was neither "tonal" nor extreme "atonal". On the one hand, there is a strong doubt of the Slovenian analysts in the progress (modernity) of the compositional means of the mentioned music, since the works are usually compared with the most extreme solutions of the Second Vienesse School – with atonality, athematicism or twelve-tone technique, and on the other hand the rejection of this music from the Slovenian cultural management in concert performing. The central question that arises is the question of the meaningfulness of such comparison, given that these composers were educated also in Prague and did not want to follow the Schönberg's twelve-tone method.

The Orderliness of Music from the Perspective of Complex Information Systems

Proceedings ◽  
2020 ◽  
Vol 47 (1) ◽  
pp. 55
Author(s):  
Shan Zhang
Keyword(s):  
Information Systems ◽  
20Th Century ◽  
Natural Science ◽  
The Other ◽  
Western Music ◽  
Classical Period ◽  
20Th Century Music ◽  
Complex Information ◽  
History Of ◽  
The One

By applying the concept of natural science to the study of music, on the one hand, we can understand the structure of music macroscopically, on the other, we can reflect on the history of music to a certain extent. Throughout the history of western music, from the classical period to the 20th century, music seems to have gone from order to disorder, but it is still orderly if analyzed carefully. Using the concept of complex information systems can give a good answer in the essence.

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