AKULTURASI BUDAYA SOSIAL DAN MAKNA SIMBOLIK TARI DERO

The process of acculturation runs very quickly or slowly depending on the perception of the local community towards the incoming foreign culture. The purpose of the study is to find out the cultural acculturation and symbolic meaning of dero dance. Research methods use a qualitative approach, with a single case study design. Data collection techniques through observation, interviews, and documentation studies. The results of the study that dero dance has a common meaning as a form of gratitude and a sense of community unity regardless of social strata but the meaning and value shifted due to the acculturation of foreign cultures using modern music collaborated with other cultures. The special meaning of the dero dance movement is a simple and simultaneous presentation of motion in doing and has its attraction that can give suggestions and feel the desire of everyone to participate in doing dero dance moves. This type of dance is a popular traditional dance that can be followed and pulled with the whole community in the event of a traditional party and dero dance is a social dance from various circles considering that this dero dance aims to unite the movement. Dero dance is performed at the traditional ceremony of the wedding and thanksgiving party. The meaning of the floor pattern of the circle shape that is not broken and well maintained as a form of mutual help.

Influence of jazz and musical forms on pop and song culture

The purpose of the article is to identify the main trends in the influence of jazz and music forms on pop culture. The research methodology involves recourse to an interdisciplinary approach, as well as the use of comparative, historical, and logical methods of analysis and culturological approach in the study of these issues. The scientific novelty of the work is to generalize the problems of interaction and influence of jazz features of vocals on the development of pop vocals, expanding knowledge about the development of pop and song culture in general. Conclusions. The formation of pop singing is inextricably linked with the widespread of music halls, variety shows, cabaret, pop theaters, and more. By the end of the twentieth century, the media, the Internet, and screen culture led to the spread of pop vocals on a new level and pop singing became an integral part of everyday life. All these aspects and features of the jazz genre-style system had an indirect impact on the work of composers who turned to songwriting in the pop sphere, considered jazz as a mediator between "serious" and light musical forms while giving jazz techniques creative and methodological potential. Understanding the music culture of specific pop-jazz types (genres) of modern music influences the understanding of pop, pop vocals, and pop-jazz music as a phenomenon of art. Keywords: jazz musical forms, pop vocals, pop-song culture.

Analysis on the Application of Multimedia-Assisted Music Teaching Based on AI Technology

In order to improve the effect of modern music teaching, this paper combines AI technology to construct a multimedia-assisted music teaching system, combines music teaching data processing requirements to improve the algorithm, proposes appropriate music data filtering algorithms, and performs appropriate data compression processing. Moreover, the functional structure analysis of the intelligent music teaching system is carried out with the support of the improved algorithm, and the three-tier framework technology that is currently more widely used is used in the music multimedia teaching system. Finally, in order to realize the complex functions of the system, the system adopts a layered approach. From the experimental research results, it can be seen that the multimedia-assisted music teaching system based on AI technology proposed in this paper can effectively improve the effect of modern music teaching.

Production and Consumption Model of a Modern Music Product

Introduction. The relevance of the study is in the formation of conceptual and terminological apparatus for the functioning of the music industry in Ukraine, the identification of music product producers, determining the specifics of music product and its essence, to develop an effective mechanism for copyright protection of authors and performers (artists) in a crisis of royalty payments formed in Ukraine in 2021. Purpose and methods. The study aims to determine the model of production and consumption of a modern music product given the rapid digitization of such a product in the last decade. The methodological basis of the study is comprehensive, systematic, and historical approaches. Results. A music product is defined in two definitions: first, like a musical composition with lyrics (song) or without lyrics (melody); secondly, “artist” as a music product that is directly involved in creating a track (song), public performance (concert), products with the symbols of their brand (merch) and content for social networks, television, radio, including advertising. Modern manufacturers of the music industry commercialize the artist's brand, his unique story. This strategy ensures rapid monetization of the music project and reduces investment risks. Conclusions. The scientific novelty of the research results is to determine the specifics of the functioning of traditional and modern models of modern music product production and consumption. The practical significance of the obtained results is in the use of the concept of “music product” for the development and improvement of legislation in the field of culture, the functioning of the music industry, and the protection of intellectual property rights, including copyright.

Franghiz Alizadeh’s Composition ‘Wahe’ (‘Oasis’) for String Quartet and Tape Recorder

The article examines the chamber-instrumental work of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, People’s Artist, awarded the honorary title of ‘Artist of Peace’ by UNESCO. The article also highlights the characteristics of the musical and harmonic language, original timbre combinations, unusual dynamics, methods of using modern musical techniques of chamber-instrumental works of Franghiz Alizadeh, which is an area of her creative work that combines East-West music synthesis. The article analyzes Franghiz Alizadeh’s composition ‘Oasis for tape recorder and string quartet and gives specific features of the work. The article emphasizes that Franghiz Alizadeh’s presentation of Oriental thought in a synthesis of modern methods in the composition ‘Oasis’ is a unique feature of the work. The purpose of the research is to analyze the composition of Franghiz Alizadeh’s ‘Oasis’ and to determine the individual stylistic features of the composer. The interpretation of important innovations in Franghiz Alizadeh’s chamber-instrumental work and the discovery of its connection with modern music culture is especially emphasized. The basis of the research is the involvement of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, in the research work of the composition ‘Oasis’, which has not been subjected to scientific and theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that Franghiz Alizadeh’s chamber-instrumental work was formed in the context of the development of modern music, and modern technical methods were manifested uniquely. At the same time, the methodological basis of the article is based on the scientific-theoretical principles and research of Azerbaijani and foreign musicologists. The scientific novelty of the research is that for the first time, the general features of Franghiz Alizadeh’s chamber-instrumental creative work were studied within the framework of Azerbaijani music science, and the composer’s composition ‘Oasis’ was analyzed in detail. At the same time, based on the analysis, the article presents a detailed scientific study of the composition ‘Oasis’, which is of great importance in the work of the composer. Conclusions. The comprehensive analysis of Franghiz Alizadeh’s chamber-instrumental work and especially the composition ‘Oasis’ in the presented article allows drawing important conclusions about the features of the composer’s creative style. Franghiz Alizadeh is a modern Azerbaijani composer distinguished by her original creative style, and it was noted that the deep content of her works, distinguished by her unusual style of performance, is important in our national music art. It was noted that the East-West synthesis is dynamically manifested in the composer’s work, and this feature is directly felt like her works. From this point of view, F. Alizadeh’s camera-instrumental work is distinguished by the difference of modern writing techniques with rich images, and she has achieved great success not only in her native Azerbaijan but also far beyond its borders. It should be noted that Franghiz Alizadeh’s works, which combine East-West synthesis, have been performed in many countries and met with success. From this point of view, the composition of ‘Oasis’ differs by its rhythmic structure, artistic content, and texture form. It is especially emphasized that the unusual performance of the composition ‘Oasis’ was used to reveal a certain image. It is noted that the composition has a different musical language, along with deep content and non-traditional features. The combination of serial technique and mugam elements gives the composition ‘Oasis’ originality. It is noteworthy that the tape was used as an integral part of the camera-instrumental work. It was noted that the composition "Oasis", as a work of synthesis of theatre and music, has a theatrical effect. Franghis Alizadeh is currently living the period of wisdom in her work and enriches the professional music of Azerbaijan with her unusual works of modern type, which combine East- West synthesis.

Alat Musik Tradisional Di Masa Modern (Sape’ Dayak Kayaan Dalam Kajian Nilai Budaya)

The unity of harmony which forms the strains leads people to consider music as a means to lead, enliven entertainment as well as certain ritual ceremonies. Music that is increasingly developing turns into a tool that regulates relations between human relationships, life and its environment. In Indonesia, music is categorized into two types, namely traditional music (archipelago music) and modern music. These to types of music have different types of genre. However, nowadays, they have been packed a lot in combined ways. Traditional music consists of rhythm adaptation and tools that develop in a particular culture, so that, in this case, the presence of traditional music is lifted from everyday life which forms a certain characteristic for a culture. One of them is traditional musical instrument. An ethnic group named Dayak Kayaan who is located in Datah Dian village, Kapuas Hulu Regency, West Kalimantan, also has a traditional musical instrument. The instrument is known as Sape'. The method used in this study was qualitative research method with ethnographic approach. This approach was used to see how the people of Dayak Kayaan in Datah Dian village played and produced Sape’. In line with the development of modern music, Sape' music also flows with developments, its various functions divide the types of Sape'. These include the Kayaan Traditional Sape' music which functions as ritual and traditional ceremonies and Modern Sape' music which is played only for personal use.

Structural-Syntactic Organization of Thematic and Techniques of Composition: Aspects of Interaction

Relevance of the study. The study of thematic in modern musical composition as the most important element of form creation seems relevant and in demand for modern musicology. In the existing scientific works, only certain issues of its research are mentioned (V. and Yu. Kholopov, V. Valkova, N. Ryzhkova, T. Kyuregyan, V. Zaderatsky, G. Grigorieva, E. Ershova, S. Goncharenko etc.), however, there is no special work devoted to this problem. Among the important and topical issues, many remain debatable today. Some of them concern terminology, the use of the concept of “thematiс” in relation to a completely new musical language, others — the multidimensional nature of the study of musical thematiс in terms of semantics, syntax of form in terms of various composition techniques. The study of the thematic organization on the example of the works of modern Belarusian composers makes it possible to include the cultural and stylistic processes taking place in Belarusian music today in the context of the most important trends of Modern music. The scientific novelty of the study consists in: 1) a systematic approach to the concept of thematic as a category of writing in relation to modern musical composition; 2) consideration of the principles of interaction of macro- and micro-thematic; 3) analytical study of the works of the Belarusian composer E. Gutina in the chosen perspective of analysis. The purpose of the research is to consider certain aspects of the interaction of musical thematic and composition techniques in two main types of structural and syntactic organization: macrothematic and microthematic. The research methodology is based on the interaction of general scientific methods (system method, deduction method, etc.) with methods developed in theoretical musicology. We are talking, first of all, about the method of functional analysis in relation to musical thematic and musical syntax. Also significant for this study are the musical-theoretical works devoted to the problems of the author's style, form and techniques of composition in modern music, as well as the theoretical works of the composers themselves on the problems of compositional technique. The practical significance of the research can be reflected in the use of this research in university courses of musical and theoretical orientation related to the study of modern music. Conclusions and prospects for further research. The interaction of micro- and macrothematic manifests itself in different ways in various types of composition, an example of which is the compositions of the Belarusian composer E. Gutina “Wind Music” (sonorous composition) and “Majolica” (minimalist composition). At the same time, the interaction of two seemingly opposite large-scale structural and syntactic principles of the organization of thematic reveals their close relationship in the conditions of various composition techniques, both in the aspect of shaping and in the aspect of the specifics of musical perception. Further developments of the stated topic seem promising in the following areas: the study of the “composer's word”, the compilation of a glossary of terms and concepts, regarding the techniques of composition and thematic, a scientific and research look at the given problem in the mirror of the manifestation of various stylistic trends in modern music.

Exploring Ethiopian Instrumental Music and Musicians

In many Ethiopian traditional cultures, vocal music dominates the musical repertoire. It is only in a handful of traditional contexts, where solely instrumental music becomes part of the repertoire. Contrary to this, however, the modern music domain in Ethiopia offers a wide range of instrumental music. The root of instrumental music in Ethiopia is, most probably, connected with the emergence of independent/private bands in the early 1960s. These modern bands with highly trained Ethiopian musicians, among others, offered ‘light-music’ in hotels and restaurants. In the initial periods, their repertoire mainly entailed re-arranged international melodies. The advancement of the modern music paved a way to increasing musical creativity over the decades to follow. My presentation will attempt to look at instrumentals performed with western music instruments, of which the large part derives from already existing traditional and modern songs. Representative musical pieces will be given special focus in terms of their instrumentation, rearrangement, melodic and metro-rhythmic structures, form and style along with their function, meaning and understanding.

Te Deum for mixed choir a cappella by Dmytro Stetsiuk in the context of Ukrainian religious music

The purpose of the article is the insert to the scientific research the complete analysis of masterpiece by known Ukrainian composer Dmytro Stetsiuk Te Deum for mixed choir a capella and draw the attention of the choir conductors, who would like to insert to their music collectives a masterpiece, written in the tendencies of modern music and that can be performed either in the liturgy or in concerts. The methodology of the exploration is based on the combination of the general scientific (historical and comparative) and special musicological( of the genre, general and the dramaturgical-intonational analysis), that gives the opportunity to regard the historical basics of the Catholic liturgic tradition, and from another side-see the ways of its development and renovation. Scientific Novelty. The research is the first analysis of Te Deum for the mixed choir in the context of the modern tendencies of Ukrainian composers. Conclusions. The analysis of Te Deum for the mixed choir a capeella by Dmytro Stetsiuk in the context of religious music and in the sphere of the creative search of the modern Ukrainian composers proves the fact, that this masterpiece is written in the liturgic tradition and develops it in the intonational side. Componist completely uses the canonic text, but gives his own regard for it, also understanding of the main idea. The traditional melody of Te Deum from one side gives the unity of the composition, from another gives the basics for the modern stylization, because of intonation, voice tembre (the unity of the different groups of the choir), harmonical, factual (harmony and polyphony). This way are revealed individual traits of the composer and also the modern regard on the medieval liturgic text. The exploration of the masterpiece`s score gives the reason to be sure, that it is not only in the liturgical tradition, but also can be performed in the concert hall.