Historical and cultural conditionality of the development of musical memory of pianists

The purpose of the article is related to the search for new means and methods of developing the musical memory of the pianist-performer. So far, this problem has not been thoroughly covered and developed. The methodology is to apply the method of information analysis. This methodological approach allows you to better understand the importance of professional musical memory in the life of a musician in order to find ways to overcome the fear of forgetting the lyrics before going on stage. The scientific novelty of the work is to expand the understanding of the work of musical memory, especially the work of the brain with new information. Analysis and understanding of this problem allow the performer to feel freer on stage and choose the most effective ways to work on musical works in preparation for the concert. Conclusions. Understanding the principles of professional musical memory provides new opportunities for the realization of a musician in professional activities, increases self-esteem, self-confidence. Key words: musical memory, general musical memory, professional musical memory, figurative musical memory, emotional musical memory, concert activity, pianist-performer.

Juan del Encina’s Nativity Eclogues: A New English Translation

Juan del Encina has long been recognized as a crucial figure in Iberian drama, yet few of his works have been translated into English. Encina wrote plays, poetry, and music in the late fifteenth and early sixteenth centuries, and scholars have traditionally regarded Encina’s writing as a turning point in early Spanish drama, both because of the secular material included in his plays and because Encina supervised the publication of his own works. He is also credited with contributing to the professionalization of Spanish theater by depicting the court of his patrons, the Duke and Duchess of Alba, as a site of theatrical performance. Encina’s innovative dramas interweave courtly, religious, and pastoral drama with metafictional elements. Atiya presents translations of two plays included in Encina’s 1496 Cancionero, a printed compilation of poetic, dramatic, and musical works.

„compassio“, Leidenschaft, Ekstase

Expressions and gestures of mourning for the loved one have been a theme of religious art from early on. In the Middle Ages, after the discovery of the suffering Christ (“Christus patiens”), they are shown in numerous depictions of the crucifixion, especially in those of the taking down of the cross. Since the 13th century, the attitude of “compassion”, which commemorates Christ’s act of redemption and, according to theological interpretation, thereby brings about one’s own salvation, has promoted empathy with the other. After the theme had been increasingly treated aesthetically in painting, non-religious models of mourning also appeared in poetry from the 16th century onwards, whose actions were oriented towards the respective epoch-specific image of man (passion, ecstasy). The article analyses relevant poetic and musical works.

The Evaluation of Music Department Students of Institut Seni Indonesia Yogyakarta in Modes Identification

Modes in Modality concept is a musical thinking that was used before 1600s. After 1600s (Baroque Era), the concept of modes changed into a contrast concept called Tonality (major-minor) and still exist today, in our era. Musical knowledge will evolve along with technological advances, but in fact there are so many composers today using the concept of modes to give another nuance and interpretation in their musical works. As academic musicians, surely the students of Music Department of ISI Yogyakarta got the concept of modes in several subject such as music theory, music structure and style, music analysis, and etc. However, the tonality concept that always used by common academic musicians today makes the concept of Modality become so hard to identify if they are heard a musical work that contains modes. This research will show us how many students of Music Department of ISI Yogyakarta who can’t identify a musical work that contains modes.

Methods for Forming Polyphonic Hearing in Future Music Teachers

The article actualizes the need for high-quality piano training future Music teachers. Studied the peculiarities in piano training students from Ukraine and China in the way of differences their experience to perceive and perform polyphony pieces of music of different types and styles. Pointed out that in scientific music-pedagogical literature, methodical recommendations for forming polyphonic hearing in students aren't sufficiently presented in defining the problems. The author described own method for forming polyphonic hearing in students described based on the pedagogical principles: reliance on European music and historical experience; emotional passion; creative reflection; performing self-realization in the process of piano training. Presented pedagogical conditions: outright pedagogical management of development of polyphonic thinking; stimulating students to mastering the skills for performing of musical works; praxeological orientation of studying polyphonic works in the piano learning process. The author presents four groups of methods: research method, motivational and emotional method, method of reflection with art-therapeutic techniques, adapted for performing and articulatory-reproductive methods. The peculiarity of this technique is the integration of individual and group forms of work considering the specifics of students’ basics piano training.

An Analysis of the Repertoire Chosen for the Cello Volumes of the Suzuki Method

<p>This dissertation is directed towards cello pedagogues inside and outside the Suzuki community. It provides a deeper understanding of the origins and philosophy of the Suzuki method, an in-depth analysis of the musical works chosen for each of the Suzuki Cello Method books, and a discussion on the decision to include Suzuki editions of two standard cello concertos as part of the Method. In addition, the thesis covers some common criticisms towards the Suzuki Method.</p>

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>

An Analysis of the Repertoire Chosen for the Cello Volumes of the Suzuki Method

<p>This dissertation is directed towards cello pedagogues inside and outside the Suzuki community. It provides a deeper understanding of the origins and philosophy of the Suzuki method, an in-depth analysis of the musical works chosen for each of the Suzuki Cello Method books, and a discussion on the decision to include Suzuki editions of two standard cello concertos as part of the Method. In addition, the thesis covers some common criticisms towards the Suzuki Method.</p>

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>