Modern Stylization of Ukrainian Song Folklore

The purpose of the research is to study contemporary musical culture and reveal the specifics of Ukrainian song folklore stylization in academic and non-academic practice. The research methodology is aimed at using a comparative method, with the help of which the difference between the processing of a folk song and the stylization of folklore is highlighted. The method of analysis is implemented to highlight the essential features of stylized folklore. Using the synthesis method, the results of research from academic and non-academic musical creativity have been extrapolated, in which the introduction of the stylization of folklore has been discovered. The scientific novelty of the research is examining the symbiosis of composer and folk art, as a result of which stylized song folklore appears in the modern musical culture of Ukraine. Conclusions. In the modern musical culture of Ukraine, the principle of stylization of song folklore is widely used. The introductions of adaptations of folk sources, along with stylization, are two options for the interaction of composer and folk art. The stylization is characterized by a deep interpenetration of elements of the author’s and folklore principles, which is accompanied by the formation of an original musical text that has a genetic relationship with folk Melos. The author’s text, which traces the presence of folk songs stylization, often includes typical intonational complexes with small ambitus, repetition of rhythmic formulas, and the prevalence of the variant-variative principle of the musical fabric development. The literary text of works related to the stylization of folklore is characterized by the use of folk texts or dialectics, lexemes that liken a vocal work with folklore. The effectiveness of folk stylization in musical culture is enhanced by the use of an authentic folk singing manner. The stylization of folklore is inherent both in the works of the leading classics of the Ukrainian composing school and in groups working in different directions of non-academic music of our time.

Performance Composition of Johann Sebastian Bach’s Motets: Hypotheses and Discussions

Relevance and scientific novelty of the selected topic of the research. The issues of the performance of J. S. Bach's motets has not been considered in Ukrainian musicology before, and in creative practice it has been decided unequivocally: choirs sang motets a cappella. However, in the world practice of motets today there are three variants of performance: in addition to singing unaccompanied, motets are performed with basso continuo (organ), as well as with basso continuo accompanied by instruments that duplicate choral parts (colla parte). The revision of performance approaches in world concert practice took place in parallel and, apparently, due to scientific achievements in the history of music, source studies and related fields. Cognitive was the discussion of the performance of Bach's motets, which for a long time (since 1904) unfolded in the Germanspeaking musicological environment. A thorough analysis of the historical context, the text of the motets, the connection with the performing practice, and on the other hand — the limited opportunity to get acquainted with German-language materials determine the relevance of this article, which systematizes the arguments and counterarguments of this controversy. The aim of the article is to consider the arguments of German scientists (Konrad Ameln, Klaus Hofmann, Alfred Heuss and others) on the tradition of performances of motets by J. S. Bach, to draw the attention of the performing and scientific community to the possibility of the existence of different versions of the performing composition in these works; emphasize the need for a performing search in the field of baroque music, in particular, in those aspects, which in the classicalromantic tradition are considered unambiguously fixed in the musical text. The following methods were used in the study: historical (analysed the dynamics of changes in the performing tradition of Bach's motets), the method of generalization (based on the study of musicological literature generalized arguments in favour of three types of performing motets). Main results and conclusions. Based on the analysis of information from German-language musicological research, it is stated that in the time of Bach there were three types of performance for his motets: 1) a cappella, 2) with basso continuo, 3) with basso continuo and instruments colla parte. Arguments for each type are systematized depending on whether they come from the study of historical context (external) or based on the study of the original musical text of motets (internal). It is noted that the plurality of variants of the performance composition allowed in today's practice should be realized by the conductor, who should not unconditionally accept the performance version proposed in the motets edition as the only correct one. The choice of performance is made by the conductor depending on the specifics of the performance situation.

INNOVATIVE AND PRIZE-WINNING EDUCATIONAL MUSIC ACTIVITIES IN SPECIAL EDUCATION THOUGHT THE ETWINNING PROJECT

The Thessaloniki Music School has been repeatedly awarded for its innovative activities in eTwinning programs in special music education. Students with visual impairments and with developmental disorders were encouraged to participate in these programs. Digital music was exchanged from many European countries and original musical compositions were produced and presented. The European and traditional music scores were presented for the first time in electronic Braille form. For students with learning difficulties and pervasive developmental disorders there were special educational presentations with a combination of special educational methods, Relationship Development Intervention, the Irlen method using light sensitivity, and Treatment and Education of Autistic and Communication Handicapped Children (TEACCH method). The greatest achievement of the project was the composition of the e Twinning hymn whose lyrics are about friendship in various musical arrangements and languages. Our hymn was presented at concerts, conferences, the Grundtvig European workshop and was uploaded on websites. <p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0887/a.php" alt="Hit counter" /></p>

Predictive Uncertainty Underlies Auditory Boundary Perception

Anticipating the future is essential for efficient perception and action planning. Yet the role of anticipation in event segmentation is understudied because empirical research has focused on retrospective cues such as surprise. We address this concern in the context of perception of musical-phrase boundaries. A computational model of cognitive sequence processing was used to control the information-dynamic properties of tone sequences. In an implicit, self-paced listening task ( N = 38), undergraduates dwelled longer on tones generating high entropy (i.e., high uncertainty) than on those generating low entropy (i.e., low uncertainty). Similarly, sequences that ended on tones generating high entropy were rated as sounding more complete ( N = 31 undergraduates). These entropy effects were independent of both the surprise (i.e., information content) and phrase position of target tones in the original musical stimuli. Our results indicate that events generating high entropy prospectively contribute to segmentation processes in auditory sequence perception, independently of the properties of the subsequent event.

CHARLES WESLEY, METHODISM AND NEW ART MUSIC IN THE LONG EIGHTEENTH CENTURY

ABSTRACTThis article considers eighteenth- and early nineteenth-century Methodism's relationship with art music through the original settings of poetry by Charles Wesley by five notable musicians: John Frederick Lampe, George Frideric Handel, Jonathan Battishill, Charles Wesley junior and Samuel Wesley. It argues that the strong emphasis on congregational singing in popular and scholarly perceptions of Methodism, including within the movement itself, masks a more varied engagement with musical culture. The personal musical preferences of John and Charles Wesley brought them into contact with several leading musical figures in eighteenth-century London and initiated a small corpus of original musical settings of some of the latter's hymns. The article examines the textual and musical characteristics of these the better to understand their relationship with both eighteenth-century Methodism and fashionable musical culture of the period. It argues that Methodism was not, contrary to popular perception, uniformly opposed to or detached from the aesthetic considerations of artistic culture, that eighteenth-century Methodism and John and Charles Wesley cannot be regarded as synonymous and that, in this period, sacred music encompasses rather more than church music and cannot be narrowly defined in opposition to secular music.

Teaching Songwriting with MIDI Projects

The projects in this chapter introduce MIDI recording, sequencing, and editing techniques for composition and songwriting. The projects include strategies for enabling students to quickly generate a large amount of original musical material quickly. Beginner songwriters and composers find empty DAW sessions to be daunting, so it is essential to build their confidence. Therefore, the chapter gives techniques for quickly generating melodic and drum sequences, duplicating them, and creating variations on them. This approach also has the benefit of mirroring “real-world” professional production practice. The projects cover drum programming and arranging, as well as writing chord sequences, basslines, and short melodies. A pragmatic instrument taxonomy of “drums” and “not-drums” is used, and the typical instrumental layers in contemporary electronic music genres are explained. Also presented is a practical approach to relevant music theory concepts. Finally, three popular genres—future bass, house music, and trap—are used to introduce musical form.

Communicating through music: creating accessible songs for Individuals with memory loss

This Major Research Paper (MRP) is a research-­creation project that explores the role, impact and influence of music n human communication. More specifically, this MRP investigates the way that music can assist in cognitive comprehension and information retention in individuals with varied forms of memory loss and considers the ways that music can be used to assist in aiding verbal memory and communicating emotion. It also offers insight on methods that could be utilized to further study this area of research. As a research-­creation project, this MRP includes three original musical compositions (Composition A1, Composition B2, and Composition C3) that were developed in response to the scholarly literature on this topic. The three musical compositions that have been produced for this project aim to communicate emotion, create aesthetic satisfaction, and aid in reinforcing the production of memories based on the information presented in the compositions. The composition creation process was informed by information gathered throughout the research process that addresses topics such as: the influence of music on individual listeners, emotion in music, and musical techniques that can be used to successfully communicate ideas. Beyond the scope of this MRP/research-­creation project, these compositions aim to serve as a basis for testing cognitive function in individuals with varied forms of memory loss. Detailed discussion of the design of the musical compositions, including information related to the composition influences, and a breakdown of each composition are included alongside the MRP’s focus on scholarly literature and research. Furthermore, the potential implications of these compositions, including the ways they could assist in future research, is discussed.

Communicating through music: creating accessible songs for Individuals with memory loss

This Major Research Paper (MRP) is a research-­creation project that explores the role, impact and influence of music n human communication. More specifically, this MRP investigates the way that music can assist in cognitive comprehension and information retention in individuals with varied forms of memory loss and considers the ways that music can be used to assist in aiding verbal memory and communicating emotion. It also offers insight on methods that could be utilized to further study this area of research. As a research-­creation project, this MRP includes three original musical compositions (Composition A1, Composition B2, and Composition C3) that were developed in response to the scholarly literature on this topic. The three musical compositions that have been produced for this project aim to communicate emotion, create aesthetic satisfaction, and aid in reinforcing the production of memories based on the information presented in the compositions. The composition creation process was informed by information gathered throughout the research process that addresses topics such as: the influence of music on individual listeners, emotion in music, and musical techniques that can be used to successfully communicate ideas. Beyond the scope of this MRP/research-­creation project, these compositions aim to serve as a basis for testing cognitive function in individuals with varied forms of memory loss. Detailed discussion of the design of the musical compositions, including information related to the composition influences, and a breakdown of each composition are included alongside the MRP’s focus on scholarly literature and research. Furthermore, the potential implications of these compositions, including the ways they could assist in future research, is discussed.

The Musical Ludo Mix of Taiko no Tatsujin

This paper analyzes the Taiko no Tatsujin (Bandai Namco 2001/ 2018) franchise and the musical literacy it conveys. While previous accounts of game musical literacy have focused on the competence necessary to interpret references across media (van Elferen 2016), this paper expands on the concept, and includes the discussion of live performances and oral traditions.The musical compositions included in Taiko no Tatsujin pertain to the Japanese phenomenon of media convergence known as media mix (Steinberg 2012), as they have been previously popularized by anime and geemu ongaku (or game music) (Yamakami and Barbosa 2015). However, the musical participation initiated extends its references to the practice of Japanese taiko drumming, a largely oral, non-notated musical form, which cannot be reduced to a musical repertoire. The resulting, emerging ludo mix, a form of media mix centered around digital games (Blom 2019; Bjarnason 2019; Picard and Pelletier-Gagnon 2015; Steinberg 2015), presents original musical characteristics, representing and synthesizing a dynamic musical culture.The conclusions show that game musical literacy is based, not only on competence with previous media forms, but also with various different forms of participation in musical performances, or musicking (Small 1998), which concur in constructing game musical literacy. The musical side of the ludo mix can therefore be expressed through a large variety of musical practices.