Հոգևոր մոնոդիան հայ կոմպոզիտորական արվեստում․Հարո Ստեփանյանի առաջին սիմֆոնիան

Հայ հոգևոր երգաստեղծության նմուշները կոմպոզիտորական ստեղծագործության նյութ են դարձել դեռևս XIX դարավերջին։ Հոգևոր մոնոդիայի մուտքը հետկոմիտասյան շրջանի հայ կոմպոզիտորական արվեստ տեղի ունեցավ 1944 թ.․ նորարարական գաղափարի հեղինակը Հարո Ստեփանյանն էր, որն իր Առաջին սիմֆոնիայում ներառեց «Այսօր ժողովեալ» շարականի թեման։ Սույն հոդվածում քննվում են՝ ա․ Հ․ Ստեփանյանի Առաջին սիմֆոնիայում մոնոդիայի գործածման կերպը և զարգացման սկզբունքները, բ․․ շարականի և օրիգինալ թեմատիզմի հարաբերակցությունը ստեղծագործության երաժշտական հորինվածքում, գ․ մոնոդիայի դերն ու նշանակությունը երկի երաժշտական դրամատուրգիայում։ The samples of the Armenian Sacred music tradition became the subject of musical composition at the end of the 19th century. The sacred monody entered into the Armenian composing art of the post-Komitas era in 1944. The author of the innovative idea was Haro Stepanyan, who included the melodic theme of the “Aysōr žōłōveal” šarakan in his First Symphony. This article examines: a) the manner of usage of the monody and the principles of its development in H. Stepanyan’s First Symphony; b) the correlation between the šarakan and the original theme in the musical composition; c) the role and the importance of the monody in the musical dramaturgy of the artwork.

Beyond synchronization

In the Western art music tradition, among many others, top ensembles are distinguished on the basis of their creative interpretation and expressivity, rather than purely on the precision of their synchronization. This chapter proposes that visual cues serve as social motivators during ensemble performance, promoting performers’ creative engagement with the music and each other. This chapter discusses findings from a study in which skilled duo musicians’ use of visual cues (eye gaze and body motion) was examined across the course of a rehearsal session. Results show that performers are driven to interact visually: (1) by temporal irregularity in the music and (2) by increased familiarity with the music and their co-performer. Synchronization success was unimpaired during a “blind” performance where performers could not see each other. Ensemble musicians thus choose to supplement their auditory interactions with visual cues despite their visual interactions offering no apparent benefit to synchronization.

Female Dancers in Ancient Tamil Tradition Rise and Fall – From 200 BC to 300 AD

The history of origin and development of dance and music tradition of Tamils in the ancient period can be traced merely from Cangam literature-Ettuthokai and Patthuppattu . The period of this literature is considered from 200 BC to later period of 300 AD or early part of the 4th century AD. There is no other evidences excavated about the ancient dancers from archeological sources. K.A Neelakanda Sastry, historian of Tamil Nadu used Ettuthokai and Pattuppattu as a significant source to write the ancient history of Tamil Nadu, as evidences for the history because of non availability of archeological evidences at that time. Ancient Dance tradition of Tamils was originated from the indigenous dance tradition of Tamils, lived in Kurinji (hill Countryand nearby lands) Mullai (pastoral region) Marutham (rivarbanks) Neithal (Coastal Area) and Palai (desert).Cangam literature shows that the tribal people of these lands performed ritual dances . These performances are the roots to the origin of Tamil dances , after that, with the establishment of stateformation of Tamil Nadu skill dancers and minstrels developed new forms of dances and music, in later period these dances were being called as Vettiyal. Dancers and minstrels were lived under the patronage of the kings of Tamil Nadu and loved by the kings. These performers praised the kings’ victory, their patronization and nvolved in their patrons’ family life also. Ritual dances were performed in Cult spots and war front.The literature shows that some of these performances have been developed as classical dances. Nowadays there is an opinion about Baratha natiyam that it was originated from sanskrit sources. But the ancient history of this dance tradition clearly shows that Baratha natiam was originated from the ancient dance tradition of Tamil Nadu. This study focuses the origin and development of dance tradition of ancient Tamils and the performances of female dancers of thisera, and flourished life of the the mas well asin the decline of the kings of three monarchy and other patrons how the dancers lost their wealthy life in the period.

Nunggak semi Al Suwardi: organology and perspective of harmonic planet music creation

This article examines the artistry of a composer named Aloysius Suwardi. This composer, who grew up in the Javanese gamelan music tradition, has produced musical compositions and created musical instruments as a means/medium to express it on the journey of his creativity. His works have been staged in various forums or world music festivals. The musical instruments he has created fill the laboratory spaces to create his musical compositions. Two musical ensembles that have been created are Gamelan Genta and Gamelan Planet Harmonic. These two musical instruments complement the many personal musical instruments he has created, such as the vibrander, tering, gerendang, and other musical instruments. Regarding the two ensembles, this article examines the aspects of the creation process. For example, how did Al Suwardi choose the materials used, how to make them, to how he determined the barrel system for these tools. In terms of compositing, this article examines how Al Suwardi started his work, his models of creation, and how he composes his works until they are declared final. The gragas and dridis creeds and Nunggak Semi's concept are the main topics in this composition creation model. Both creeds and concepts have ushered in the landscape of making Al Suwardi's musical compositions expand, from the gamelan tradition to more contemporary models of music creation

Peran Musik Tradisi Kelintang Tungkal Sebagai Prosesi Malam Beinai Masyarakat Kampung Nelayan Kabupaten Tanjung Jabung Timur

This study aims to know the role of the Kelintang Tungkal music tradition as a musical tradition that lives and develops in the Kampung Nelayan Sub-District as a form of social integration and a developing musical structure. The structure is seen from the perspective of anthropologogical music, that Kelintang Tungkal was originally used by the community as accompaniment music in medical ceremonies but at this time the ceremony was no longer played because the myth of the local community that rolled the Kelintang Tungkal community had a strong magical element, so that these types of blows may not be made or played anywhere. Then the local community changed the function of the Kelintang Tungkal as an entertainment activity for the local community at wedding parties, welcoming traditional guests and as dance accompaniment music. Most of the data collected in this study were obtained from research on places and performances, interviews, and references related to writing about tungkal latitude, and were analyzed with qualitative approach. This study concludes that there has been a change in the Kelintang Tungkal performance that was originally used for medical ceremonies, because the functional factor of the Kelintang Tungkal performance turned into entertainment.

‘Fate Leads the Willing, and Drags the Unwilling’

In this article, I explore the role that Austrian-born musicologist/composer Eric Werner (1901–1988) cultivated as a representative of musical Wissenschaft des Judenthums in postwar America. I focus here on the diary that Werner kept between 1955 and 1957 – a heretofore untapped resource – which chronicles his efforts to build intellectual refugee networks while simultaneously helping to restart an international network of Jewish music discourse spanning America, Europe and Israel. Music, in Werner’s view, required a scientific basis for study from which authentic practices could be rebuilt. Thus, while Werner relied on revitalising cantors as vessels of Jewish music, he viewed musicology as the core discipline from which Jewish music ‘tradition’ could arise.

City Music—A Reprise

This essay explores the Gaana and Carnatic music tradition of the southern Indian city of Chennai.

An Examination of Orchestras and Repertoire Performed at the Midwest Clinic From 1990 Through 2019

The purpose of this study was to examine invited orchestras and their selected repertoire at the Midwest Clinic from 1990 through 2019. A majority of invited orchestras ( N = 261) were from the United States and primarily consisted of high school musicians. The most performed piece for full orchestra was Symphony No. 8, op. 88 by Dvořák and for string orchestra was Serenade, op. 48 by Tchaikovsky. The most performed full orchestra composer was Dvořák and string orchestra composer was Balmages. The most performed arranger for full orchestra was Meyer and for string orchestra was Dackow. Female composers and arrangers were vastly underrepresented compared with males and a majority of performed pieces conformed to the Western European music tradition. Orchestra directors may use findings from this study as a reference list of the most performed full and string orchestra pieces as well as popular composers and arrangers.

Art School Manifestos, Classical Music, and Industrial Abjection: Tracing the Artistic, Political, and Musical Antecedents of Punk

This chapter charts and explores the complex cultural origins of punk in Britain through three different case studies, beginning with an exploration of the influence of the Situationist International (SI) on the punk ethos and aesthetic around the Sex Pistols. Second, it looks at the musical and artistic trajectory of the anarcho-punk band Crass and, in particular, the contemporary classical music tradition that informed the work of Penny Rimbaud et al., from the late 1960s to the formation of Crass in the 1970s. Third, the chapter turns to the artistic influences of Neil Megson, later to be known as Genesis P-Orridge. Here, emphasis is placed on a timeline of artistic and political activities by P-Orridge, from his time in school, through his forming of COUM Transmissions in the early 1970s, to the early days of the innovative musical ensemble Throbbing Gristle (TG), formed in 1975. The case studies contribute to a wider understanding of the richer cultural references, practices, and traditions that early punk drew on.