Ryuji Kunimatsu Guitar Arrangement on the Oblivion by Astor Piazzolla: A Critical Analysis

This study examined the characteristics of Kunimatsu’s guitar arrangements in Astor Piazzolla’s Oblivion by comparing aspects of musical form, melody, and harmony. As with other arrangements’ performances, the primary motif of Astor Piazzola’sOblivion melodic theme in Kunimatsu guitar arrangement has always been played differently from the original version. This performance phenomenon could responsibly risk blurring the identification of structural boundaries within its musical form. The purpose of this study is to prove the basic construction of Oblivion melody, including its form structure and rhythmic characteristics, by comparing Kunimatsu’s arrangements against the composer’s original score. This study uses musicological research methods. The approaches applied in studying this work are analytical, theoretical, and comparative. This study compares the two data to reveal the musical forms and the differences in the primary motive rhythmic characteristics. The results of this study are findings of the Oblivion musical forms in both publications and the differences in primary motives rhythmic patterns in both sources. The difference in musical form is impressive, possibly caused by the insertion of auxiliary members. As a result, Kunamitsu arrangement includes using the two-part song form, originally a three-part song form. With the revelation of the original melodic structure that is clear from the results of this study, the musicians who will present the Oblivion will at least have the essential reference in their interpretation. This research contributes to expanding studies in classical guitar performance and musical forms and new approaches in textual musicological analysis that are still infrequent.

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.

The Requiem Mass and Sacred Jazz: A Study of catholic Liturgical Forms in the Genre of Sacred Jazz

<p>This exegesis examines the role of religious and spiritual influence on works by jazz composers as related to my composition, Requiem: a Suite of Jazz Orchestra, a jazz suite based on the Requiem Mass. The exegesis details the Catholic origins of the Requiem and the Mass as musical forms and traces their lineages into the twentieth and twenty-first centuries as concert works and memorials not bound by liturgical function. These forms and their lineages frame the development of both religious and religion-inspired musical works in the cultural climate of 1960s America. In particular, I focus on two composers, Mary Lou Williams and Duke Ellington, both of whom composed large-scale sacred works related to the jazz idiom. This project situates religion, primarily Catholicism, and spirituality in the context of jazz composition, and discusses music composed in this vein, including my own work influenced by the Catholic liturgical tradition.</p>

Time in Music and Philosophy

The kind of sense music makes, is bound up with how forms of meaning, including in verbal language, are connected to time. Traditional cyclical, epic, and goal-oriented senses of time all play a role in modern musical forms, even though the mythical, religious, and metaphysical content of these forms is hollowed out by scientific advances. The chapter considers aspects of the work of Descartes, Rousseau, Kant, Schelling, Friedrich Schlegel, Dewey, Hegel, Merleau-Ponty, Bergson, Nietzsche, and Heidegger, focusing particularly on the relations between self-consciousness, time, and rhythm, and on how these contribute to the constitution of meaning. The chapter argues that it may make more sense for philosophy to attend to what music reveals about time which can only be grasped by active participation in music, than to seek a comprehensive explanatory account of music and time.

The Requiem Mass and Sacred Jazz: A Study of catholic Liturgical Forms in the Genre of Sacred Jazz

<p>This exegesis examines the role of religious and spiritual influence on works by jazz composers as related to my composition, Requiem: a Suite of Jazz Orchestra, a jazz suite based on the Requiem Mass. The exegesis details the Catholic origins of the Requiem and the Mass as musical forms and traces their lineages into the twentieth and twenty-first centuries as concert works and memorials not bound by liturgical function. These forms and their lineages frame the development of both religious and religion-inspired musical works in the cultural climate of 1960s America. In particular, I focus on two composers, Mary Lou Williams and Duke Ellington, both of whom composed large-scale sacred works related to the jazz idiom. This project situates religion, primarily Catholicism, and spirituality in the context of jazz composition, and discusses music composed in this vein, including my own work influenced by the Catholic liturgical tradition.</p>

Graph Coverings for Investigating Non Local Structures in Proteins, Music and Poems

We explore the structural similarities in three different languages, first in the protein language whose primary letters are the amino acids, second in the musical language whose primary letters are the notes, and third in the poetry language whose primary letters are the alphabet. For proteins, the non local (secondary) letters are the types of foldings in space (α-helices, β-sheets, etc.); for music, one is dealing with clear-cut repetition units called musical forms and for poems the structure consists of grammatical forms (names, verbs, etc.). We show in this paper that the mathematics of such secondary structures relies on finitely presented groups fp on r letters, where r counts the number of types of such secondary non local segments. The number of conjugacy classes of a given index (also the number of graph coverings over a base graph) of a group fp is found to be close to the number of conjugacy classes of the same index in the free group Fr−1 on r−1 generators. In a concrete way, we explore the group structure of a variant of the SARS-Cov-2 spike protein and the group structure of apolipoprotein-H, passing from the primary code with amino acids to the secondary structure organizing the foldings. Then, we look at the musical forms employed in the classical and contemporary periods. Finally, we investigate in much detail the group structure of a small poem in prose by Charles Baudelaire and that of the Bateau Ivre by Arthur Rimbaud.

The Actor in Search of Musical Forms. Case Studies

"This article looks at the major differences in the reception of the sounds of a musical fragment, depending on the personal experience of each individual and his profession. The musicians relate to the sound universe guided by the constituent elements of the scores, and the actors look for connections between sounds, gestures, words, characters, and stage situations. They can approach music in other ways than musicians and remember the melodic lines or create accompaniments by making connections with the context in which they find themselves. In some examples that the article offers, the studied actors demonstrate that sound can become music even in the absence of the vocal or rhythmic qualities of the performers. Other examples refer to the way in which the personality and creativity of artists have a significant role in creating songs or the sound support they need. Keywords: music-theatre, performing arts, music, musical training "

ADÈS AND SONATA FORMS

Despite an ever-expanding body of literature on Adès's engagement with the music of the past, his use of traditional formal models has attracted little critical comment. That which does exist privileges the relatively straightforward surface articulation of his musical forms over more nuanced accounts. In the case of Adès's sonata forms, this has had at least two consequences for our understanding of his music: first, that too strong an emphasis on syntactical groupings occludes what is happening discursively in the music; and second, that ‘textbook’ models are not the only formal tradition with which Adès's sonata forms engage. Rather, his sonatas bear traces of a rotational model that recalls the examples of Janáček and Sibelius. This article considers how Adès's sonata forms can be constituted not as neo-classical prefabrications but, a posteriori, as a practice that emerges across his career – from the Chamber Symphony and …but all shall be well to the Piano Quintet and Concerto for Piano and Orchestra – from an interaction between traditional syntactical groupings, thematic procedures and tonal plots.

Entwicklung des Air mit Da capo von Lully bis Rameau und seinen französischen Zeitgenossen

The starting-point is the rudimentary Italian aria with da capo, respectively with a frame, which surrounds a much longer central part. This type widely spread in the 17th century gets the main form of Quinault’s and Lully’s monologue (the other one is through-composed). It remains present in the Italian opera in a small quantity when the classical aria da capo has already been the main type of aria, whereas in France its number decreases much slower and gets rare in the 1750th. The French cantata imported from Italy blazes the trail for the classical da capo aria firstly in the opera-ballet, then in the divertissements of the tragédie lyrique in Italian, soon also in French and slowly also in arias with dramatic content and expression in all types of French music theatre. The aria with da capo and the classical da capo aria are examined in detail in operas of Rameau and his contemporaries, especially their individual solutions of text, musical forms and expression. Finally J.-J. Rousseau’s typology of the da capo aria is examined, verified and criticized. (Autor)

The Language of Gángan, A Yorùbá Talking Drum

It is widely known that Yorùbá drummers communicate through their native drums. This paper investigates the grammar of gángan, which belongs to a family of Yoruba drums called dùndún. The results of this study show that Yorùbá drummers represent the phonetic realisation of lexical and grammatical tones of their language with the drum. Statistically, the speech tones and the acoustic correlate of the corresponding drum representations have a significant positive relationship. In both spoken and drum communication, vowel (V) and consonant-vowel (CV) prosodic units have different statuses. To conclude, Yorùbá drummers communicate via the gángan drum by transposing certain and maybe phonological conditions of their language to musical forms.