Historical Aspects of Rhythm Notation and Rhythm Sequences

For percussionists, rhythm notation represents more than a mere temporal sequence of music; it also assists the selection and execution of the appropriate technique. This musical execution is often dependent on the percussion instrument, although it is safe to argue that the movement sequence when sounding an instrument is independent of its size and proportions. Starting from the first beats, it is as crucial to learn and master movement routines as it is to understand and feel the time between notes, since these together enable one to play out rhythm notation precisely and internalise the correct motor processes. Applying the adequate movement sequences during the learning process consciously could result in substantial self-control abilities, which can also be utilised during practice. In the past centuries, the style of percussionists’ performance has transformed substantially due to the evolution of instruments and mallets, as well as performers’ efforts towards faster tempos. In this study, a brief overview on the history of percussion instruments is followed by the presentation of the technical evolution and milestones of how snare drums and other drums are played. When practicing percussion instruments, we must bear in mind the vast contribution of percussionists from bygone centuries, who laid the foundations of modern-day techniques either in wars or for others’ entertainment. Keywords: tabor, snare drum, traditional grip, rudimental

Introduction to Keyboard Music Practice in the Early Music Era – Principles and Their Practical Implementation

This study focuses on the rich production from the late Renaissance to the Baroque period of early music for keyboard. During the performance of these works, because of the less than reliable sources, a number of problems arise, such as manuscript distribution, and the initial teething problems of printing. Sheet music and its interpretation add another trap for present-day performers for without knowledge of the interpretation practice of that era (articulation, phrasing, agogic, accentuation, ornamentation, fingering, pedalling) coupled with inadequate tools an incorrect style presentation is born. This study provides specific musical examples for the practical implementation of these principles. Keywords: early music, fingering, pedalling, articulation, ornamentation

Vocal Genres in Italy at the Turn of 16th and 17th Centuries: The Birth of the Monodic Style

This essay examines vocal genres at the end of the 16th century and the beginning of the 17th, such as the villanella, aria, motet, madrigal and opera. The changing features of the genres, which include the monodic style and the recitative are at the centre of these changes. The features of the late Renaissance, for example, notation ornaments, and the Early Baroque period are beginning to be formed in those changes. By demonstrating these changes, the essay offers audiences and performers an opportunity to know and understand better the vocal music of this time and to perform it authenticly. Keywords: monody, madrigal, motet, ornaments, Italy

Methodology of Teaching the Double Bass

This study offers assistance to those who are going to teach or already do teach how to play the double bass. It provides a summary from how to positione the instrument, through the most important musical terminology and all the technical difficulties thought to be obligatory for doublebass players. The first part of the study focuses on the main types of personalities of both teachers and sudents describing the major possibilities of harmonizing co-working and how to motivate and handle different characters. The second part describes the most frequent technical problems, for example instrument and bow positioning, practice routine and the preservation of the player’s working ability. Keywords: doublebass, methodology, pedagogy

Performance and Transcription of Baroque Solo Pieces for Bassoon

This essay examines the sources of the autograph and other copies of two selected solo pieces, J. S. Bach's Cello Suites and Georg Philipp Telemann's Fantasies for Solo Flute used to make a bassoon transcription. Using the special literature on the subject of the Baroque style of playing in general, the articulation, ornamentation, dynamics and tempi of the two pieces were determined. along with the role and playing possibilities of the period bassoon. Aspects of the transcription include: a brief description of the habitual Baroque transcription and its tradition, presentation and evaluation of other bassoon transcriptions of the selected pieces, detailed aspects of the author’s transcription of the articulation, ornaments, dynamics, tempi and breathing. Also discussed are the purpose of the completed transcription, its role in education, and its place in the bassoon repertoire. Keywords: bassoon, solo bassoon, baroque, transcription, Bach, Telemann

The Complexity of the Teaching Profession in Music Education

The complexity of the teaching profession can be seen in the relationship between various people as they work together with students, colleagues, management and office staff. In addition, the different personalities and attitudes of the children fundamentally determine the structure and effectiveness of lessons as well as applied pedagogical methods. The complexity can also be approached through the diversity of teaching activities. Besides lessons and administration, the duties of the teacher include organizing various school and city events, competitions, programs, trips and camps. The music teacher’s individual lessons involve yet another type of interaction between teacher and student, and this special situation adds complexity to a teaching career. This essay explores the specific situations and challenges that characterize a music teacher's career. Keywords: teaching, complexity, pedagogical methods, music education, primary schools of arts

Encountering Parallels: A Functional Overview of Piano History

The study describes the three-hundred years’ long development of the piano from the unusual point of view of the parallels between the piano itself and the performing arts, piano pedagogy and scores editing. Each of these components has its own power to induce changes and influence development, which also gives rise to the possibility of individual development in the examined period. The topic becomes complicated when we begin to take into account the effects of these elements. We can see a complete system, where the parallels really do meet, and finally produce a high level of the art of piano music in Europe. Keywords: piano, edition of scores, piano pedagogy, piano art

The Role of Orff Approach to Music Education

The German-born music educator and composer, Carl Orff began to develop his own music education system in the 1920s and 1930s. This paper gives a concise review of the Orff concept from historical, educational theoretical, and methodological aspects based on available literature. Topics include the Orff instrumentation as the defining methodological element of the Orff concept, the internationalization of the Orff concept in America, as well as the training of current Orff educators. Keywords: Orff Schulwerk, music education, alternative music pedagogy

Various Tonal Systems and Phenomena in the 19th and 20th Centuries

This study – without claiming completeness – takes into account systems and phenomena in which the organising of pitches is different from that of functional tonality. A central topic is how the principle of symmetry prevails, along with possible interpretations of the notion of tonality. The starting point of the most important manifestations of symmetry is the equal division of the octave, from which the issues of the distance scales are inseparable. The study presents the interactions of diatonic scale and pitch-organization based on the principles of symmetry, which casts a new light on the phenomenon of polytonality. The study relies on important research published abroad during the last few decades – mainly in relation to Stravinsky’s music – but which may be lesser known in Hungary. Keywords: “Ungar” scale, symmetry, polytonality

The Social Dimensions of Listening to Music

Cultural heritage is a socially created and interpreted narrative, which becomes interpretable through cultural transfer (Sagrillo, 2018). The role of culturally creative communities in shaping and maintaining cultural constructs has always been decisive. Lasting values are determined by cultural choice. Through crossing cultural and historical boundaries, music a deeply coded discourse establishes communication at all times. The experience and emotional effects produced by music are based on previous experiences, emotional reactions, and memories. The art of listening to music has always been governed by the social norms and etiquette of the period, which also dictate the nature and quality of reception. The history of listening to music has, however, enjoyed little academic attention. Since it is an unobservable and amorphous phenomenon, it was defined as a natural receptive process for a long time. Only in recent decades has the question come into focus as various disciplines have explored short-term and long-term transformative processes to reveal the effect of social, political, and economic characteristics of several eras. Keywords: listening to music, musical experience, receiving competence, concert