musical concepts
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2021 ◽  
Author(s):  
◽  
Ryan Brake

<p>Solipsis is a six-movement composition for a seventeen-piece jazz orchestra. Each movement was composed to possess its own unique qualities and be able to stand alone. Yet one of the main objectives of this project was to create unity and coherence through the entire suite through the use of non-musical ideas like programmatic themes and conceptual ideas as well as applying various musical techniques such as melodic motifs, harmonic progressions and concepts, chord voicings and rhythm to develop musical ideas.  As a way of creating a sense of unity between each of the pieces, each movement is inspired by themes and motifs inherent in the film Synecdoche, New York, and musical concepts such as nonfunctional harmony (modal harmony and atonal harmony) form the basis for much of the melodic and harmonic material contained in Solipsis.  As preparation for the composition of Soilipsis I studied two three-movement suites from two of the more prominent jazz orchestra writers working today; One Question, Three Answers written by Jim McNeely, and Scenes from Childhood by Maria Schnieder. What follows is a detailed analysis of their works followed by a comprehensive breakdown of my own Solipsis.</p>


2021 ◽  
Author(s):  
◽  
Ryan Brake

<p>Solipsis is a six-movement composition for a seventeen-piece jazz orchestra. Each movement was composed to possess its own unique qualities and be able to stand alone. Yet one of the main objectives of this project was to create unity and coherence through the entire suite through the use of non-musical ideas like programmatic themes and conceptual ideas as well as applying various musical techniques such as melodic motifs, harmonic progressions and concepts, chord voicings and rhythm to develop musical ideas.  As a way of creating a sense of unity between each of the pieces, each movement is inspired by themes and motifs inherent in the film Synecdoche, New York, and musical concepts such as nonfunctional harmony (modal harmony and atonal harmony) form the basis for much of the melodic and harmonic material contained in Solipsis.  As preparation for the composition of Soilipsis I studied two three-movement suites from two of the more prominent jazz orchestra writers working today; One Question, Three Answers written by Jim McNeely, and Scenes from Childhood by Maria Schnieder. What follows is a detailed analysis of their works followed by a comprehensive breakdown of my own Solipsis.</p>


2021 ◽  
Author(s):  
◽  
Michael Victor Crawford

<p>Troy Roberts is a jazz saxophonist, originally from Perth, West Australia. At present, no academic research has been done on Roberts’ compositions or playing, making this research project a positive way of contributing new information to the academic body of knowledge.   His album, ‘The Xen-Den Suite’ was chosen as the material best suited to provide insight into Roberts’ musicianship (particularly focussing on his compositional and arranging techniques), as it is both intellectually complex and also musically innovative. The aim of the study was to identify and describe the use of various techniques and devices (including their relevance, purpose and function) present in Roberts’ music. Through this study, this researcher attempted to gain a basic overview of Roberts’ musical characteristics, with the objective to be able to utilise this information to further this researcher’s musical development (including compositions, arrangements and saxophone playing).  The findings were useful for direct application (i.e. the techniques could be used in the same manner as they appeared in the XenDen Suite, and could therefore be immediately applied to other areas such as composition, arrangement and improvisation), but the many different ways in which the techniques were used compositionally by Roberts provided a more insightful look into broader musical concepts, and their application.</p>


2021 ◽  
Author(s):  
◽  
Michael Victor Crawford

<p>Troy Roberts is a jazz saxophonist, originally from Perth, West Australia. At present, no academic research has been done on Roberts’ compositions or playing, making this research project a positive way of contributing new information to the academic body of knowledge.   His album, ‘The Xen-Den Suite’ was chosen as the material best suited to provide insight into Roberts’ musicianship (particularly focussing on his compositional and arranging techniques), as it is both intellectually complex and also musically innovative. The aim of the study was to identify and describe the use of various techniques and devices (including their relevance, purpose and function) present in Roberts’ music. Through this study, this researcher attempted to gain a basic overview of Roberts’ musical characteristics, with the objective to be able to utilise this information to further this researcher’s musical development (including compositions, arrangements and saxophone playing).  The findings were useful for direct application (i.e. the techniques could be used in the same manner as they appeared in the XenDen Suite, and could therefore be immediately applied to other areas such as composition, arrangement and improvisation), but the many different ways in which the techniques were used compositionally by Roberts provided a more insightful look into broader musical concepts, and their application.</p>


2021 ◽  
Vol 9 (1) ◽  
pp. 31-62
Author(s):  
Lisa Giombini

Abstract Although an ontological approach to musical works has dominated analytic aesthetics for almost fifty years, criticisms have recently started to spread in the philosophical literature. Contestants blame mainstream musical ontology for lacking historical awareness, questioning the cogency of metaphysical proposals that are substantially essentialist with regard to our musical concepts. My aim in this paper is to address this accusation by engaging the historicist critics in a sustained debate. I argue that even if the arguments based on history and sociology turn out to be accurate, this may not be enough of a reason to abandon the ontological project altogether. Ontology and history do not necessarily clash. Moreover, historical-sociological examinations do not fulfil our philosophical interest in music. I conclude by making a plea to “historical ontology,” a perspective that does not reject ontology but closely connects it to the dialectic between historical research and aesthetic interest.


2021 ◽  
Vol 7 (s4) ◽  
Author(s):  
Beatrice Szczepek Reed

Abstract The body is the singer’s musical instrument, and therefore it is impossible to teach singing without the instructor involving their own and the learner’s body in the process of instruction. The teacher’s challenge is to communicate physical skills but also artistic, musical and vocal concepts. The body is centrally involved in the performance of both; however, an analysis of vocal instruction shows that teachers differentiate between learning goals, or ‘learnables’, which they treat as primarily embodied (body-focused instruction) and learnables they treat as primarily conceptualised (concept-focused instruction). When teaching learnables as embodied skills, instructors foreground the body. They do so by referring to the body explicitly and using their own body for demonstrations. They also depict internal physical processes, manipulate the student’s body through touch, share the student’s embodied stance, make use of physical objects as tools for practicing skills and orient to the student’s body as visually assessable. In concept-focused instruction, teachers foreground mental engagement with concepts rather than the embodied aspects of their execution, even though embodied skills are required to perform the learnables in question. They do so by referencing concepts explicitly, demonstrating how the piece should be sung and physically depicting emotional states and musical concepts.


2020 ◽  
Vol 9 (7) ◽  
pp. 75
Author(s):  
Xiong Wen

During the Spring and Autumn Period and Warring States Period, the ideology environment was severe. Hundreds of scholars competed and argued, and they all used their own musical concepts and aesthetic consciousness to influence social life. Confucius was one of them. As we all know, Confucius was the great pre-Qin period thinker, politician, and educator of etiquette and music. His achievements in music aesthetics are different from other schools of “contend of a hundred schools of thought”. Confucius’s aesthetic thoughts are actually the aesthetic thoughts he formed in the practice of ritual and music education. This article discusses his musical spirit, the aesthetic propositions of “benevolence”, “perfect perfection”, “neutrality”, and music education.


2020 ◽  
Vol 12 (2) ◽  
pp. 158-169
Author(s):  
Muhammad Nur Salim

ABSTRACT One of the developments in film in Indonesia is the musical genre film. This genre film experienced a post-reform high point when Sherina's Adventure Film came. This point then became the beginning of the development of musical genre films that were born in the 2000s period. One of the interesting musical films is the Javanese Opera Film by Garin Nugroho. Opera Jawa is interesting because first, Opera Jawa has received various awards and nominations at both national and international levels. Second, because this film bases its musical work on Javanese gamelan or gamelan media. This second reason is the focus of this research. The research "Rahayu Suanggah's Creativity in Garin Nugroho's Javanese Opera Film" is an attempt to reveal one of the film music creation methodologies based on her creative process with Javanese karawitan media (gamelan music). The musical concepts of the musical that were carried by Rahayu Supanggah as the music director was revealed through Rahayu Supanggah's conceptual approach in Bothekan Karawitan Garap's book (2007). The results of this study; Rahayu Supanggah uses Javanese musical nuances in composing Javanese Opera music by involving songs that are composed in various variations such as; 1) single tembang, 2) pathetan, 3) nothing, 4) palaran, and 5) arrangement of traditional pieces while the illustration music consists of 1) New Composition, 2) Illustration of Traditional Music, 3) Exploration Music. Keywords: Creativity, Music, Javanese Opera, Rahayu Supanggah  ABSTRAK Perkembangan film di Indonesia salah satunya pernah diwarnai oleh film genre musikal. Film genre ini mengalami titik puncak pasca reformasi ketika Film Petualangan Sherina hadir. Titik tersebut kemudian menjadi awal perkembangan film genre musikal yang lahir pada periode tahun 2000-an. Salah satu film musikal yang menarik adalah Film Opera Jawa karya Garin Nugroho. Opera Jawa menarik karena pertama, Opera Jawa mendapatkan berbagai penghargaan dan nominasi tingkat nasional maupun internasional. Kedua, karena film ini mendasarkan garapan musikalnya dengan media gamelan Jawa atau karawitan. Alasan kedua inilah yang menjadi fokus pada penelitian ini.Penelitian “Kreativitas Rahayu Suanggah dalam Film Opera Jawa Karya Garin Nugroho” merupakan upaya mengungkap salah satu metodologi penciptaan musik film yang mendasarkan proses kreatifnya dengan media karawitan Jawa (musik gamelan). Konsep-konsep musikal karawitan yang diusung Rahayu Supanggah sebagai music director diungkap melalui pendekatan konsep garap-nya Rahayu Supanggah dalam buku Bothekan Karawitan Garap (2007). Hasil penelitian ini; Rahayu Supanggah menggunakan nuansa karawitan Jawa dalam menggarap musik Opera Jawa dengan melibatkan tembang yang digarap dalam berbagai variasi seperti; 1) tembang tunggal, 2) pathetan, 3) ada-ada, 4) palaran dan 5) aransemen gendhing tradisi sedangkan musik ilustrasi terdiri dari 1) Komposisi Baru, 2) Ilustrasi Gending Tradisi, 3) Musik Eksplorasi.Kata Kunci: Kreativitas, Musik, Opera Jawa, Rahayu Supanggah


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