“Taghanni” in Qur’ân Recitation

In this study, the use of musical elements in the recitations of the Qur'an is examined within the framework of the concept “taghanni” in the light of historical data, lexical information, and technical findings. The concept of “taghanni” (reciting in a melodious voice) is expressed as an indispensable element of the Qur'anic recitation in the hadiths "He who does not recite the Qur'an with taghanni is not from us", “Allah never listens to anything as he listens to a prophet with a beautiful voice chanting the Qur’an aloud”, “Allah the mighty and sublime, never listens to anything as he listens to a prophet chanting the Qur’ân” which are the most important hadiths of the Prophet about the recitation of the Qur'an. Within the framework of these hadiths the use of music in the recitation of the Qur'an (taghanni) will be a very correct step for the Qur'an and humanity to meet, get closer and finally merge. The concept of "taghanni" in the Qur'anic recitations, identical and contradictory meanings and interpretations of the concept, and its jurisprudence are analysed. The existence of taghanni in the recitation of the Qur'an is revealed through the recitation of the verses of Âl-i İmran Surah 190-194 with the help of the piraat sound analysis program. In the same verse sample, the core information about the inner music of the Qur'an is presented. Our study has an importance in terms of handling the Qur'anic recitations musically.

What Dreams May Come - Ambient Suite for Jazz Orchestra

<p>What Dreams May Come is a five-movement suite for jazz orchestra, intended to create a calm and relaxing listening experience. The project is inspired by the mystery of dreaming, and it attempts to communicate musical ideas which reflect the relaxed state one is in when sleeping. The aims of What Dreams May Come are to highlight the timbral combinations available in a jazz orchestra and to draw on characteristics of ambient music to give the listener a relaxing atmosphere. This exegesis explores timbre both in music that served as inspiration for this composition and in the composition itself, and it describes how emphasising timbre in my compositional process affected other musical elements of the piece. Chapter 1 explores Brian Eno’s ambient album Ambient 1: Music for Airports, specifically looking at the role of timbre and texture in the album, and at the overall structuring techniques used by Eno on the album to create coherency. Chapter 2 analyses two compositions for jazz orchestra by Maria Schneider, “Nocturne” and “Sea of Tranquility”, examining the role of timbre in the compositions, as well as the ways Schneider uses soft dynamics and harmonic techniques to structure the pieces. These two chapters look into how Eno and Schneider, in different ways, both highlight timbre in their compositional approaches and processes. Each chapter dives deep into timbral and textural analysis, with additional analysis of form and harmony. Chapter 3 reflects on the ways these two composers informed What Dreams May Come, focussing on how I used techniques from Eno and Schneider to challenge myself in composing for jazz orchestra. In the course of the project, I strove to tap into music’s therapeutic qualities, putting this idea at the forefront of my intentions as a composer. Using dreaming as aesthetic and conceptual influence, Brian Eno’s ambient music as inspiration, and Maria Schneider’s compositions as a musical guide, I have been able to produce a work which not only challenges traditional jazz orchestra techniques but also relaxes listeners by complementing their environments.</p>

What Dreams May Come - Ambient Suite for Jazz Orchestra

<p>What Dreams May Come is a five-movement suite for jazz orchestra, intended to create a calm and relaxing listening experience. The project is inspired by the mystery of dreaming, and it attempts to communicate musical ideas which reflect the relaxed state one is in when sleeping. The aims of What Dreams May Come are to highlight the timbral combinations available in a jazz orchestra and to draw on characteristics of ambient music to give the listener a relaxing atmosphere. This exegesis explores timbre both in music that served as inspiration for this composition and in the composition itself, and it describes how emphasising timbre in my compositional process affected other musical elements of the piece. Chapter 1 explores Brian Eno’s ambient album Ambient 1: Music for Airports, specifically looking at the role of timbre and texture in the album, and at the overall structuring techniques used by Eno on the album to create coherency. Chapter 2 analyses two compositions for jazz orchestra by Maria Schneider, “Nocturne” and “Sea of Tranquility”, examining the role of timbre in the compositions, as well as the ways Schneider uses soft dynamics and harmonic techniques to structure the pieces. These two chapters look into how Eno and Schneider, in different ways, both highlight timbre in their compositional approaches and processes. Each chapter dives deep into timbral and textural analysis, with additional analysis of form and harmony. Chapter 3 reflects on the ways these two composers informed What Dreams May Come, focussing on how I used techniques from Eno and Schneider to challenge myself in composing for jazz orchestra. In the course of the project, I strove to tap into music’s therapeutic qualities, putting this idea at the forefront of my intentions as a composer. Using dreaming as aesthetic and conceptual influence, Brian Eno’s ambient music as inspiration, and Maria Schneider’s compositions as a musical guide, I have been able to produce a work which not only challenges traditional jazz orchestra techniques but also relaxes listeners by complementing their environments.</p>

ANALISIS STRUKTUR MUSIKOLOGIS ARANSEMEN LAGU O INA NI KEKE UNTUK ORKESTRA

AbstrakIndonesia memiliki kekayaan lagu rakyat yang beragam sesuai keberadaan suku-suku yang tersebar dari Sabang sampai Merauke. Warisan budaya yang tak ternilai ini tidak hanya perlu dilestarikan, tapi juga diberi langkah strategis agar dapat berkembang dan dikenal lebih jauh. Dalam konteks ini, O Ina Ni Keke, sebuah lagu rakyat dari Sulawesi Utara, telah menjadi repertoar standar orkestra yang mendunia. Penelitian ini bertujuan mengetahui bagaimana komposisi struktur musikal yang diciptakan oleh Joko suprayitno untuk lagu sederhana khas lagu rakyat seperti O Ina Ni Keke mengubah lagu tersebut menjadi kelindan melodi, harmoni, tekstur, dan struktur elemen musikal lainnya dan pada akhirnya menjadi sebuah karya yang pernah dimainkan oleh Shanghai Philharmonic Orchestra. Penelitian ini menggunakan metode penelitian kualitatif dengan paparan deskriptif. Proses analisis menggunakan analisis teoretis musikologis atas bentukan struktur elemen musikal dalam aransemen lagu O Ina Ni Keke. Pendalaman proses analisis akan ditunjang oleh sumber-sumber tertulis seperti buku-buku komposisi musik dan juga notasi atau score hasil aransemen sebagai data pokok dalam proses analisis. Penelitian ini menemukan penggunaan variasi melodi kontrapungtal, penempatan melodi pokok di hampir semua instrumen musik yang memunculkan karakter bunyi yang berbeda-beda, dan penggunaan teknik pedal point.AbstractIndonesia has a wealth of folk songs that vary according to the existence of tribes that spread from Sabang to Merauke. This valueless cultural heritage should not only be preserved but also need strategic steps to strive for it to develop and be known further. From a folk song from North Sulawesi to a global standard orchestra repertoire. This study aims to find out how to composed the musical structure of simple songs typical of folk songs such as the song O Ina Ni Keke by Joko Suprayitno into a combination of melodies, harmonies, textures and other musical elements into a masterpiece that was once played by the Shanghai Philharmonic Orchestra during a concert at the Shanghai Philharmonic Orchestra. Simfonia Hall Jakarta in the framework of the Fundraising Concert for Palu & Donggala Tsunami Victims. This research uses qualitative research with descriptive exposure. The analysis process uses musicological theoretical analysis of the formation of musical elements in the arrangement of the song O Ina Ni Keke. The deepening of the analysis process will be supported by written sources such as music composition books and of course the notation or score of the arrangement as the main data in the analysis process. The results of the study found that the use of contrapuntal melody variations, the placement of the main melody in almost all instruments gave rise to different characters, and the use of the pedal point technique

ARCHIPELAGO MUSICAL ELEMENTS IN ANANDA SUKARLAN'S WORK AS PART OF BUILDING INDONESIAN IDENTITY

This study aims to examine the contribution of Ananda Sukarlan as a composer who is serious about building an Indonesian identity through the use of various Indonesian musical elements as material in composing piano and vocal works. How composers arrange various musical aspects that can work in a composition is the focus of this research. The study of musicology is used as an approach to dissect various aspects of the musical used, such as; melody, harmony, texture, tonality, scale, rhythm, timbre. Archipelago musical elements are a fundamental aspect in composing works that have 'new values' and 'different tastes' because they have uniqueness or characteristics. The complexity of the compositional techniques used in the preparation of the work shows a high level of creativity in producing vistuosic works. His works have become a repertoire for recitals, competitions, and music concerts for Indonesian and foreign pianists and soloist singers. Studying the works of Ananda Sukarlan indirectly also understands the musical diversity, the beauty of the region and the rich history of Indonesian culture.

Mythological Signification in Smetana’s Tábor and Blaník and its Implications on Personal Compositional Output

<p>The presented thesis is an examination of the mythology and literary narrative that is present within the two orchestral tone poems of Bedřich Smetana, Tábor and Blaník, and how ideas pertaining to the examination of Smetana’s compositions may be applied to my own compositional output. In my research, I propose potential source materials, and have a brief discussion about how literary narrative may be applied to musical narrative, particularly with compositions of the 19th century. In the analysis of Tábor and Blaník, I examine Smetana’s use of the chorale Kdož jsú Boží bojovníci and how he utilizes this chorale as the compositional foundation of both pieces, as well as looking at the musical elements and structure that combine to suggest narrative function being present within both compositions. The latter portion of my thesis contains an analysis of the compositions that I wrote throughout the course of my study that were inspired by, or were direct reflections of, issues and ideas that came up during the course of my research. All of my own compositions presented are based on ideas of mythology and the presence of a literary narrative. Accompanying this analysis, are copies of the scores of my compositions.</p>

Mythological Signification in Smetana’s Tábor and Blaník and its Implications on Personal Compositional Output

<p>The presented thesis is an examination of the mythology and literary narrative that is present within the two orchestral tone poems of Bedřich Smetana, Tábor and Blaník, and how ideas pertaining to the examination of Smetana’s compositions may be applied to my own compositional output. In my research, I propose potential source materials, and have a brief discussion about how literary narrative may be applied to musical narrative, particularly with compositions of the 19th century. In the analysis of Tábor and Blaník, I examine Smetana’s use of the chorale Kdož jsú Boží bojovníci and how he utilizes this chorale as the compositional foundation of both pieces, as well as looking at the musical elements and structure that combine to suggest narrative function being present within both compositions. The latter portion of my thesis contains an analysis of the compositions that I wrote throughout the course of my study that were inspired by, or were direct reflections of, issues and ideas that came up during the course of my research. All of my own compositions presented are based on ideas of mythology and the presence of a literary narrative. Accompanying this analysis, are copies of the scores of my compositions.</p>

Virtuosity and composer-performer collaboration in the viola works of Darius Milhaud and Paul Hindemith

<p>This thesis considers the position of Darius Milhaud’s Viola Concerto No. 1, op. 108 (1929–30), and Viola Concerto No. 2, op. 340 (1955), in the modern viola repertoire. Milhaud’s understanding of the viola as a solo virtuoso instrument is displayed particularly clearly in his two Concertos, which were specifically inspired by his relationships with two influential virtuoso violists of the twentieth century – Paul Hindemith and William Primrose. A further, related issue that is explored, is the direct and indirect impact of Paganini’s compositions on these two works. Milhaud’s virtuosic writing for the viola was strongly influenced by his friendships with these two musicians – Hindemith and Primrose – each of whom played a critical role in the emergence of a new breed of viola virtuosos during the course of the twentieth century. Milhaud’s friendship with the first of these men, Paul Hindemith, produced not one, but two important pieces of the virtuoso viola repertoire: Milhaud’s first Viola Concerto and Hindemith’s Konzertmusik. Aspects of the cross-­‐influence between composers and virtuoso performers are addressed here through a comparison of the technical and musical elements, as well as the structure of these two works. Another prominent violist of the twentieth century, William Primrose, who was nicknamed the ‘Paganini of the Viola’, commissioned Milhaud’s second Viola Concerto. Primrose’s desire for new concert repertoire for his instrument, together with his unequalled technical prowess, both impressed and inspired Milhaud, who wrote the Viola Concerto No. 2 with Primrose's technical virtuosity in mind. Strikingly, however, unlike the first Concerto, this work has been largely neglected for almost fifty years. Significantly, both Milhaud’s viola concertos display very strong technical similarities with Paganini’s music written for the violin. Yet the position of Paganini’s music in the viola repertoire, and the value and importance of his compositions for this instrument, traditionally ignites arguments amongst performers, critics and listeners alike. This is a complex issue, which raises various questions such as the physical suitability of Paganini’s compositions for the original qualities of the viola, with its larger fingerboard, slower responding strings and heavier and shorter bow. In the present thesis this problem is addressed through a comparison of the technical elements used by Paganini in his writing for the viola (as exemplified in his Sonata per la Grand Viola) with techniques from his 24 Caprices, Milhaud’s viola concertos, a selection of Primrose’s transcriptions of Paganini’s works and Hindemith’s own compositions for viola. By examining Milhaud’s Viola Concerto No. 2 in relation to the evolution of the composer’s writing for viola, from his encounters with Paganini’s compositions to his collaboration with Hindemith, and, finally, to his engagement with Primrose, this thesis attempts to demonstrate that this work should be reintroduced to the contemporary virtuoso viola repertoire.</p>

Music in the Protagonist’s World, the Protagonist in the World of Music: Liudmila Ulitskaya: The Big Green Tent

The article examines the musical component in L. Ulitskaya’s novel The Big Green Tent. The first part provides an overview of those musical elements – realities, prototypes of individual characters and pretexts with musical themes, with the help of which an autonomous world and the image of one of the main characters of the work are created. The second part analyzes a fragment of the novel, which mixes musical and literary principles of text organization and creates a multidimensional connection with S. Rakhmaninoff's Symphonic Dances. The analysis shows that the musical component in Ulitskaya's novel performs a double function – constructing one of the plot lines and musicalizing certain fragments of the text.

Virtuosity and composer-performer collaboration in the viola works of Darius Milhaud and Paul Hindemith

<p>This thesis considers the position of Darius Milhaud’s Viola Concerto No. 1, op. 108 (1929–30), and Viola Concerto No. 2, op. 340 (1955), in the modern viola repertoire. Milhaud’s understanding of the viola as a solo virtuoso instrument is displayed particularly clearly in his two Concertos, which were specifically inspired by his relationships with two influential virtuoso violists of the twentieth century – Paul Hindemith and William Primrose. A further, related issue that is explored, is the direct and indirect impact of Paganini’s compositions on these two works. Milhaud’s virtuosic writing for the viola was strongly influenced by his friendships with these two musicians – Hindemith and Primrose – each of whom played a critical role in the emergence of a new breed of viola virtuosos during the course of the twentieth century. Milhaud’s friendship with the first of these men, Paul Hindemith, produced not one, but two important pieces of the virtuoso viola repertoire: Milhaud’s first Viola Concerto and Hindemith’s Konzertmusik. Aspects of the cross-­‐influence between composers and virtuoso performers are addressed here through a comparison of the technical and musical elements, as well as the structure of these two works. Another prominent violist of the twentieth century, William Primrose, who was nicknamed the ‘Paganini of the Viola’, commissioned Milhaud’s second Viola Concerto. Primrose’s desire for new concert repertoire for his instrument, together with his unequalled technical prowess, both impressed and inspired Milhaud, who wrote the Viola Concerto No. 2 with Primrose's technical virtuosity in mind. Strikingly, however, unlike the first Concerto, this work has been largely neglected for almost fifty years. Significantly, both Milhaud’s viola concertos display very strong technical similarities with Paganini’s music written for the violin. Yet the position of Paganini’s music in the viola repertoire, and the value and importance of his compositions for this instrument, traditionally ignites arguments amongst performers, critics and listeners alike. This is a complex issue, which raises various questions such as the physical suitability of Paganini’s compositions for the original qualities of the viola, with its larger fingerboard, slower responding strings and heavier and shorter bow. In the present thesis this problem is addressed through a comparison of the technical elements used by Paganini in his writing for the viola (as exemplified in his Sonata per la Grand Viola) with techniques from his 24 Caprices, Milhaud’s viola concertos, a selection of Primrose’s transcriptions of Paganini’s works and Hindemith’s own compositions for viola. By examining Milhaud’s Viola Concerto No. 2 in relation to the evolution of the composer’s writing for viola, from his encounters with Paganini’s compositions to his collaboration with Hindemith, and, finally, to his engagement with Primrose, this thesis attempts to demonstrate that this work should be reintroduced to the contemporary virtuoso viola repertoire.</p>