Historical Hermeneutics of Musical Styles

The relevance of the study of the historical hermeneutics of musical styles is determined by the need to find a philosophical basis for changing the cultural paradigm and the desire to return classical canons to musical art in particular. The aim of the work is to analyse the characteristic features of the interpretation of musical styles in accordance with the principles of historical hermeneutics on the example of jazz music. The research was conducted in two stages on the basis of interdisciplinary, systematic and hermeneutical approaches using general scientific methods of cognition: analysis, synthesis, systematization, comparison and ascent from the abstract to the concrete. In the process of scientific research, the views of researchers on the interpretation and understanding of hermeneutics in the context of musical art were considered; a general characteristic of the hermeneutics of musical styles in accordance with historical and philosophical prerequisites was given; the main elements of the theoretical model of musical philosophy of interpretation, which include critical interpretation, the purpose of interpretation, compatibility with description and limitation by requirements were described; the author’s concept of interpretation of musical styles, formed at three levels, were proposed; the characteristics of the hermeneutics of jazz style, in particular the presence of musical improvisational discourse, historical duality, transcendentality of content and form, advertising integration are determined; the article summarizes the specifics of jazz in accordance with two components: the European harmonic system and the fret principles of blues intonation, which made it possible to identify and generalize the theory of interpretation of jazz in the historical and philosophical paradigm. The practical value of scientific work consists in providing a comprehensive hermeneutical base of jazz style in order to further improve the practical application of musical style by teachers, students, musicians and specialists in the field of musical art.

Cultural Specificities in Carnatic and Hindustani Music: Commentary on the Saraga Open Dataset

This commentary explores features of the "Saraga" article and open dataset, discussing some of the issues arising. I argue that the CompMusic project and this resulting dataset are impressive for their sensitivity to cultural specificities of the Hindustani and Carnatic musical styles; for example, the dataset includes manual annotations based on music theoretical concepts from within the styles, rather than imposing conceptual categories from outside. However, I propose there are aspects of the dataset's manual annotations that require clarification in order for them to be used as ground truths by other researchers. In addition, I raise questions regarding the representativeness of the dataset – an issue that has ethical implications.

Musical hybridity through Greek diaspora: in the case of Calliope Tsoupaki and Yannis Kyriakides

<p>This research explores the influence of Greek history and diaspora and its impact on Greece and the progression of Greek popular musical styles – traditional, folk, and rebetika music. This research examines the question: How have Greek music and musical styles impacted Greek composers now residing outside Greece? Through the lens of two case studies, this exegesis examines the effect of Greek history, diaspora, and the ever-transforming national and popular musical styles on two living Greek composers – Calliope Tsoupaki and Yannis Kyriakides, who both now teach at the Royal Conservatory of The Hague in Den Haag, Netherlands. Though these cases are similar, this is not a comparative study nor a conclusive study to be applied to a collective Greek experience; but rather an examination of the results of Greek diaspora in the twentieth century on not only Greece‘s musical styles but also the contemporary art music that is being created today by two Greek people residing outside Greece. This exegesis examines concepts of imagined communities (Anderson 2006), nationalism (as discussed by Taruskin, Curtis 2008), nationalism and music (Bohlmann 2011, Curtis 2008), diaspora (Clifford 1994, Safran 1991, Clogg 1999), traditional vs modern (Cassia 2000), social vs national memory (Pennanen 2004), and hybridity and popular music in regards to rebetika (Holst-Warhaft 2003). Through applying these concepts towards the case studies in chapter three, this exegesis examines the results of the birth of the Modern Greek nation, Greek diaspora, progressive musical style, and the impact of musical styles on two living Greek composers who now reside outside Greece; furthermore, it explores what this means for their sense of Greek identity and hybrid identity. By applying the Greek history from 1832 and the progression of its popular musical style discussed in chapters one and two to Kyriakides‘ and Tsoupaki‘s experiences, the third chapter of this research shows two real-world experiences concerning diaspora and migration and examines the discovery of their hybrid identities through culture and their compositions, as well examining my own position as a performer who identifies as a hybrid of nationalities through the final section of this exegesis - ―In the case of a performer.‖ The importance of these case studies is to explore the impact the nineteenth and twentieth century Greek diaspora had on the musical styles of Greece which has further influenced Kyriakides and Tsoupaki on their personal and musical journey as Greek people residing outside Greece.</p>

Musical hybridity through Greek diaspora: in the case of Calliope Tsoupaki and Yannis Kyriakides

<p>This research explores the influence of Greek history and diaspora and its impact on Greece and the progression of Greek popular musical styles – traditional, folk, and rebetika music. This research examines the question: How have Greek music and musical styles impacted Greek composers now residing outside Greece? Through the lens of two case studies, this exegesis examines the effect of Greek history, diaspora, and the ever-transforming national and popular musical styles on two living Greek composers – Calliope Tsoupaki and Yannis Kyriakides, who both now teach at the Royal Conservatory of The Hague in Den Haag, Netherlands. Though these cases are similar, this is not a comparative study nor a conclusive study to be applied to a collective Greek experience; but rather an examination of the results of Greek diaspora in the twentieth century on not only Greece‘s musical styles but also the contemporary art music that is being created today by two Greek people residing outside Greece. This exegesis examines concepts of imagined communities (Anderson 2006), nationalism (as discussed by Taruskin, Curtis 2008), nationalism and music (Bohlmann 2011, Curtis 2008), diaspora (Clifford 1994, Safran 1991, Clogg 1999), traditional vs modern (Cassia 2000), social vs national memory (Pennanen 2004), and hybridity and popular music in regards to rebetika (Holst-Warhaft 2003). Through applying these concepts towards the case studies in chapter three, this exegesis examines the results of the birth of the Modern Greek nation, Greek diaspora, progressive musical style, and the impact of musical styles on two living Greek composers who now reside outside Greece; furthermore, it explores what this means for their sense of Greek identity and hybrid identity. By applying the Greek history from 1832 and the progression of its popular musical style discussed in chapters one and two to Kyriakides‘ and Tsoupaki‘s experiences, the third chapter of this research shows two real-world experiences concerning diaspora and migration and examines the discovery of their hybrid identities through culture and their compositions, as well examining my own position as a performer who identifies as a hybrid of nationalities through the final section of this exegesis - ―In the case of a performer.‖ The importance of these case studies is to explore the impact the nineteenth and twentieth century Greek diaspora had on the musical styles of Greece which has further influenced Kyriakides and Tsoupaki on their personal and musical journey as Greek people residing outside Greece.</p>

The Clarinet as Extension of the Voice and Expressive Conduit of Musical Styles in Diverse Ensembles

<p>Original research into the links between vocal and clarinet tone reveals how clarinettists act as expressive conduits of musical styles in diverse ensembles. This research is relevant to musicologists and anthropologists as well as clarinettists and composers, who wish to gain an understanding of the vocal links in clarinet playing, and how clarinettists function in socio-musical contexts. Research is mainly based on Musicology and Music Education (vocal-clarinet links), and also refers to sources in Anthropology (musical identity), and Ethnomusicology (music in ensembles) in order to find some insightful connections. Ethnographic fieldwork is based on four professional freelance clarinettists in four different ensembles in Wellington, New Zealand. Their function in western art and contemporary art music, jazz and klezmer music is explored, to discover how these clarinettists extend, mirror, partner, or replace the voice in these musical contexts. Additional work undertaken on bodymind integration is designed to complement the musical identity work in the thesis and to enhance the musicianship and physical wellbeing of clarinettists. The section on clarinet design illustrates how different combinations of instruments and mouthpieces can vary the tone quality of the clarinet and enhance individual playing styles. The research shows that due to the versatility and flexibility of the instrument, clarinettists are able to transcend gender, ethnic, and ensemble boundaries, to take on leadership roles and to act as expressive conduits of musical styles in and between diverse ensembles. The outcome of the research highlights the intersection between the physiological relationship between the voice and the clarinet and scholarship on musical identity.</p>

The Clarinet as Extension of the Voice and Expressive Conduit of Musical Styles in Diverse Ensembles

<p>Original research into the links between vocal and clarinet tone reveals how clarinettists act as expressive conduits of musical styles in diverse ensembles. This research is relevant to musicologists and anthropologists as well as clarinettists and composers, who wish to gain an understanding of the vocal links in clarinet playing, and how clarinettists function in socio-musical contexts. Research is mainly based on Musicology and Music Education (vocal-clarinet links), and also refers to sources in Anthropology (musical identity), and Ethnomusicology (music in ensembles) in order to find some insightful connections. Ethnographic fieldwork is based on four professional freelance clarinettists in four different ensembles in Wellington, New Zealand. Their function in western art and contemporary art music, jazz and klezmer music is explored, to discover how these clarinettists extend, mirror, partner, or replace the voice in these musical contexts. Additional work undertaken on bodymind integration is designed to complement the musical identity work in the thesis and to enhance the musicianship and physical wellbeing of clarinettists. The section on clarinet design illustrates how different combinations of instruments and mouthpieces can vary the tone quality of the clarinet and enhance individual playing styles. The research shows that due to the versatility and flexibility of the instrument, clarinettists are able to transcend gender, ethnic, and ensemble boundaries, to take on leadership roles and to act as expressive conduits of musical styles in and between diverse ensembles. The outcome of the research highlights the intersection between the physiological relationship between the voice and the clarinet and scholarship on musical identity.</p>

The material culture of music performance on Manihiki

The article analyses the material culture of music performance on Manihiki, northern Cook Islands, and provides a framework within which the material culture may be interpreted in its cultural context. The focus of the paper is the built environment associated with music and dance performance, and the rich and varied types of musical styles heard on Manihiki. According to the argument in the paper, the type of music performance is directly related to the type of place at which the performance is held.

The classical mean negative asynchrony in sensorimotor synchronization is not universal in humans. A cross-cultural study.

The present study examines to what extent cultural background determines sensorimotor synchronization in humans. The direct comparison of Indian and French students, without particular experience in music or dance, or sport, was motivated by the hypothesis that musical exposure to different musical styles causes a variation in basic synchronization to sound function. At first rate limits of this capacity was sought, using a parametric design increasing the sound periodic frequency up to synchronization breakdown. No robust effect was found in that respect. However, another unpredicted change of the so-called negative mean asynchrony was found. Negative mean asynchrony is defined as the anticipation of movement with respect to sound, of about 40ms. The negative mean asynchrony simply disappears in Indians' participants. This result is very intriguing as negative mean asynchrony was considered ubiquitous for decades, and an invariant hallmark of human timing function. Revision of theoretical modelling of sensorimotor synchronization may be required to account to the found variation.

The origin of samba in Brazil

It was in the Vargas Era that samba changed from a musical genre pursued to one of the most popular musical styles in our country. The popularization of samba in the cultural scene in Rio de Janeiro made the genre gain space in the Brazilian music industry. Thus, samba gained space and publicity on the radio.

From Meditation to Bliss: Achieving the Heights of Progressive Spiritual Energy through Kirtan Singing in American Gaudiya Vaishnava Hinduism

Kirtan is a musical worship practice from India that involves the congregational performance of sacred chants and mantras in call-and-response format. The style of kirtan performed within Gaudiya Vaishnava Hinduism is an expression of Bhakti Yoga, “the yoga of love and devotion”, and focuses on creating a personal, playful, and emotionally intense connection between the worshipper and their god—specifically, through words and sounds whose vibration is believed to carry the literal presence of Krishna. Kirtan is one of many Indian genres that uses musical techniques to move participants through a progression of spiritual states from meditation to ecstasy. Kirtan-singing has become internationally popular in recent decades, largely thanks to the efforts of the Hare Krishna movement, which has led to extensive hybridization of musical styles and cultural approaches to kirtan adapted to the needs of a diasporic, globalized community of worshippers. This essay explores the practice of kirtan in the United States through interviews, fieldwork, and analysis of recordings made at several Krishna temples and festivals that demonstrate the musical techniques that can be spontaneously deployed in acts of collective worship in order to create intense feelings of deep, focused meditation and uninhibited, expressive bliss.