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В статье рассматривается остинато в музыке как жанровое явление. Автор обращается к группе произведений с названием остинато и пытается выявить их характерные жанровые признаки. В ходе анализа обозначается генетическая структура остинато, а также рассматривается его эволюция на современном этапе развития музыкального искусства. Миграция остинато в жанр рассматривается как тенденция современного искусства. В статье выделяются две группы произведений реализующих остинато в таком качестве. Первая основана на преломлении жанров академической традиции, а вторая связана с композицией статического типа, развивавшейся в минимализме. На примере анализа произведений М. Брауна и С. Тен-Холта автор показывает возможности конкретного художественного преломления указанного явления в разных стилевых условиях. Сделанные аналитические наблюдения позволяют констатировать развитие остинато в современном музыкальном искусстве как определенной жанровой модели, обобщающей смысловые горизонты целостной музыкальной композиции.

Art of the 20th century is characterized by the rise of the mythical thought and transformation of the myth into an artistic creativity. In music we can encounter manifestations of conscious and unconscious neo-mythologism in various forms. The methodological foundations of our text are concepts by Claude Lévi-Strauss, Carl Gustav Jung, Gilles Deleuze or Victoria Adamenko. The text focuses on the basic identification of the repetition as a mythological sign and its manifestation in the music of the 20th century (Arnold Schoenberg, George Crumb, minimal music etc.). Constitutive principle of repetition in music is connected with categories such as musical space and time, contrast, difference, musical thought. [ABSTRACT FROM AUTHOR]

WE REPLICATED PREVIOUS FINDINGS AND DEMONSTRATED that familiarity with musical stimuli increased 'liking' or 'preference' for the stimuli. We also demonstrated that familiarity increased the intensity of emotional responses to music, but only when the stimuli were made highly familiar through en masse repetitions (Experiment 3) rather than through interspersed repetitions (Experiment 1). In addition, intensity ratings were higher when participants were asked to judge the emotion conveyed by the music than when they were asked to judge the emotion elicited by the same music (Experiments 2 and 3). Finally, positive emotions (i.e., happy and calm) were rated higher compared with negative emotions (i.e., sad and angry) for both types of ratings (i.e., conveyed or elicited). The findings suggest that familiarity plays a role in modulating a listener's emotional response to music. [ABSTRACT FROM AUTHOR]

In an article on Orientalism and musical style, Derek B. Scott posits a near-exhaustive list of musical characteristics that act as Orientalist signifiers. Measures 85-88 in the development section of the first movement of Haydn's "Fifths" Quartet contain eight of them: augmented seconds, sliding or sinuous chromaticism, Phrygian mode, repetitive rhythms, a repetitive small-compass melody, arabesque, parallel movement in fifths, and ostinato. It is difficult to imagine that this passage could have contained any more Orientalist signifiers and still have made sense as Western art music at the twilight of the eighteenth century. If Haydn's string quartets are like four civilized persons holding a conversation, then at this point the interlocutors are speaking a foreign tongue, and that foreign tongue could be Ottoman Turkish. For centuries, the Turks had dwelled in the imaginary world of European exoticism as denizens of a mysterious East as close in geography as it was remote in custom. They were typically represented as either sensual, inviting, and voluptuous (their feminine manifestation), or inexplicably menacing or dangerous (the masculine manifestation). This article draws from musicology, cultural and literary theory, and psychoanalysis as well as my own analysis in order to help explain the impact of music that is overtly Orientalist, intended as a foil to the rest of the movement. I present this music as a hermeneutic window opening up to broader issues of meaning, and I discuss the implications of such signification in the construction of Westem identity. [ABSTRACT FROM AUTHOR]

Human listeners are able to recognize structure in music through the perception of repetition and other relationships within a piece of music. This work aims to automate the task of music analysis. Music is "explained" in terms of embedded relationships, especially repetition of segments or phrases. The steps in this process are the transcription of audio into a representation with a similarity or distance metric, the search for similar segments, forming clusters of similar segments, and explaining music in terms of these clusters. Several pre-existing signal analysis methods have been used: monophonic pitch estimation, chroma (spectral) representation, and polyphonic transcription followed by harmonic analysis. Also, several algorithms that search for similar segments are described. Experience with these various approaches suggests that there are many ways to recover structure from music audio. Examples are offered using classical, jazz, and rock music. [ABSTRACT FROM AUTHOR]

Investigates the extent to which students and adults can identify repetitions of target melodies when played at different serial positions within sets of similar melodies. Interference effects of the passage of time and number of interpolated melodies between the original presentation of the target melody and its appearance in the set of test melodies; Cognitive strategies for accomplishing the task; Factors that affect the detrimental effect of prior and temporally later learning.

The article discusses the concepts and procedures behind the two "Hill-Songs" composed by Percy Grainger. In "Hill Song No.1," the composer says that its main goal was to sound wild and fierce rather than grand or forceful. For the second composition which premiered in March 1913, Grainger used fast, energetic elements. Both songs are said to be based on the thinking that no thematic or melodious material is repeated, except the immediate repetition within a phrase.