247 results on '"Ostinato"'
Search Results
2. Processual Form in Sufi Dhikr Ritual.
- Author
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GÜNER, BURÇİN BAHADIR
- Subjects
RITES & ceremonies ,RITUAL ,CHANTS ,MUSICAL interpretation ,ENVIRONMENTAL music ,MUSIC improvisation ,PART songs - Abstract
For four hundred years, the zikir ritual has been performed weekly in Kadirîhâne in Istanbul. Sufi rituals are believed to have been compiled by the founder (pîr) of the order. The ritual conductor (şeyh, postnişin) symbolizes the founder. The ritual form consists of chanting (dhikr) several divine names (esmâ). While participants perform the divine names with drone-like melodic repetitions or guttural rhythmic ostinatos, musicians perform songs, recitations, and improvisations. Through rhythmic enunciation, body sway, and breath control, these chants are embodied as ostinatos while music varies the mood. The ostinato polyphony between the derviş and zakir, as well as the succession of the divine names symbolizes unity (tevhid) in different ways. The manners and the formality of the ritual (ethics) and their musical expressions (aesthetics) implies harmony that leads to communal and/or individual unity. This article examines the form and content of the ritual, and shows their relation to Sufi concepts. [ABSTRACT FROM AUTHOR]
- Published
- 2022
- Full Text
- View/download PDF
3. President's Letter.
- Author
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Hetrick, Pam
- Subjects
OSTINATO - Published
- 2022
4. Features of Songs Rhythmic Organization by E. Sabitoglu
- Author
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Саадат Іманова
- Subjects
Emin Sabitoglu ,Azerbaijani music ,song ,rhythm ,ostinato ,variance ,Music ,M1-5000 - Abstract
The presented research is devoted to the study of the rhythmic organization’s peculiarities in the songs of E. Sabitoglu. Emin Sabitoglu is an outstanding Azerbaijani composer, whose work leaves many generations of domestic listeners not indifferent. The work of Emin Sabitoglu, being famous and popular, often attracts the attention of Azerbaijani musicologists. At the same time, the stylistic features of the composer’s songs have never before become the object of special scientific research. The purpose of the research is to study one of the important elements of the musical language in the songs of the Azerbaijani composer E. Sabitoglu, namely rhythm, to determine the features of their rhythmic organization. The research methodology is determined by the purpose of the research, for the achievement of which, the author uses a comprehensive analysis. At the same time, theoretical analytical analysis has acquired a leading role in the research process. The scientific novelty of the research is that for the first time in musicology determining the features of rhythmic organization in the songs of the Azerbaijani composer Emin Sabitoglu is being solved. Conclusions. A detailed analysis of the rhythmic basis of E. Sabitoglu’s songs demonstrated the presence of certain stylistic features in this area. Firstly, it is a rhythmic ostinato, used in a variety of practically all-vocal miniatures of the composer. Secondly, the rhythmic variation, widespread in the songs of the composer, has many ways of implementation in the development of each specific song. Note that the presence of the principle of rhythmic variation in the songs of the composer is associated with the traditions of national vocal folklore since the variation is one of the leading principles of development in Azerbaijani folk songs. Thirdly, the method of sound visualization takes an essential place in E. Sabitoglu’s songs, the realization of which is directly conditioned by the use of expressive possibilities of rhythm. The use of expressive possibilities of rhythm in this area contributes to the creation of a vivid and almost visibly felt artistic image.
- Published
- 2021
- Full Text
- View/download PDF
5. Flexible Ostinati, Groove, and Formal Process in Craig Taborn's Avenging Angel.
- Author
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Boyle, Antares
- Subjects
- TABORN, Craig, AVENGING Angel (Music)
- Abstract
Repetition in the music of pianist/composer Craig Taborn engenders diverse temporal experiences at both local and global scales. At the local level, distinctive repetitions that I term flexible ostinati share significant features with the cyclic materials often observed in groove-based musics: they comprise a repetitive, omnipresent stream within the overall texture, provide a rapid isochronous pulse, and imply higher-level metric levels. However, they differ from strict ostinati or the repetitions that Anne Danielsen (2006) terms "basic groove units" in their flexibility at the rhythmic/metric level of temporal experience. This flexibility manifests in two ways: in the material domain, flexible ostinati are often varied significantly across repetitions, while in the interpretive domain, they simultaneously suggest multiple possibilities for pulse, meter, or cyclic beginning/ending. Following Danielsen, who describes groove as emerging from interactions between sounding rhythm and a reference structure, I examine the potential reference structures (meter and cycle) suggested by Taborn's flexible ostinati. These structures are never fixed, but instead must be constantly negotiated, resulting in engaging grooves that draw the listener into the music's temporal matrix. I analyze three pieces from Taborn's 2011 solo album, Avenging Angel, to demonstrate how, across longer stretches of time, diverse forms grow out of these ostinati: "The Broad Day King" layers a surface-level flexible ostinato against slower background cycles that gradually reveal themselves; "Avenging Angel" is structured by the juxtaposition of two contrasting ostinati; and a brief passage in "Neverland" features an elusive groove that dissolves almost as soon as it materializes. [ABSTRACT FROM AUTHOR]
- Published
- 2021
- Full Text
- View/download PDF
6. Do tempo medido ao tempo sentido: a rítmica de Gramani em uma perspectiva africanista
- Author
-
Bianca Ribeiro and Luiz Henrique Fiaminghi
- Subjects
Gramani ,rítmica aditiva e divisiva ,ostinato ,samba ,timeline ,Music and books on Music ,Music ,M1-5000 - Abstract
Este trabalho apresenta parte da pesquisa de análise em torno dos estudos rítmicos de José Eduardo Gramani apresentados em Rítmica (1988) e Rítmica Viva (1996). Nossa hipótese é a de que o uso de ostinatos em seus Sambas se assemelha ao uso das timelines na música africana, explorando princípios da rítmica aditiva que geram motivos assimétricos e dialogam com os padrões polirrítmicos da Costa Oeste da África. Tal abordagem desses estudos dentro das perspectivas abertas pela musicologia africana nos permite traçar desdobramentos ligados à performance e à criação musical, estimulando a dissociação de movimentos, percepção e experimentação do fenômeno rítmico.
- Published
- 2019
7. Performance review.
- Author
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van Dijk, Pieter
- Subjects
- *
PASSACAGLIA (Musical form) , *MUSICAL meter & rhythm , *INSTRUMENTAL music , *OSTINATO , *CHACONNE (Musical form) - Published
- 2021
8. JUVENIS CONCERT ДЛЯ ФОРТЕПИАНО С ОРКЕСТРОМ ВЛАДИМИРА ЧОЛАКА: ЧЕРТЫ ЖАНРА И ФОРМЫ
- Author
-
COCEAROVA GALINA
- Subjects
concertul pentru pian şi orchestră ,Vladimir Ciolac ,monociclul ,cadenţa ,ostinato ,factura muzicală ,concerto for piano and orchestra ,Vladimir Cholak ,monocycle ,cadence ,musical texture ,Arts in general ,NX1-820 - Abstract
Th e article concerns the problem of implementation of genre features and forms of the piano concerto in the work Juvenis concert by Vladimir Cholak. Devoted to the son of the composer, it sounded in its second edition at the Festival Days of New Music (June 10, 2015, soloist - Natalia Botnariuc, Symphony Orchestra of Teleradio Moldova conducted by Denis Chausov, recording posted on the Internet July 31, 2015)
- Published
- 2016
9. Do tempo medido ao tempo sentido: a rítmica de Gramani em uma perspectiva africanista.
- Author
-
Ribeiro, Bianca and Fiaminghi, Luiz Henrique
- Abstract
This work presents a part of the analysis research about the rhythmic studies of José Eduardo Gramani contained in Rítmica (1988) and Rítmica Viva (1996). Our hypothesis is that the use of ostinatos in Gramani's Sambas is similar to the use of timelines in African music, exploring the principles of additive rhythm that generate asymmetric motives and dialogue with the polyrhythm patterns of the West Coast Africa. An approach of Gramani's studies within the perspectives opened by the African musicology allows unfolding linked to the performance and the musical creation, stimulating the dissociation of movements, perception and experimentation of the rhythmic phenomenon. [ABSTRACT FROM AUTHOR]
- Published
- 2019
- Full Text
- View/download PDF
10. Ostinato.
- Author
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Bernett, Paula
- Subjects
OSTINATO ,CELLISTS - Published
- 2023
11. Counterpoint of Imitation and Ostinato in Polyphonic Form (at the example of Georgian Music).
- Author
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Tabliashvili, Maia
- Subjects
- *
PART songs , *MUSICAL composition , *CONTEMPORARY classical music , *MUSICOLOGY , *COMPOSERS - Abstract
Musical compositions are based on the definite intellective principles. They can be composed by activating one or several principles both in a homogenous and a diverse compositional environment. Among musical and intellective categories, which have established through centuries, there are principles of imitation and ostinato. Both have gone through historical development, intersecting with each other. Those principles have been used in various epochs and styles, on local and large scales. Two important forms and genres of professional European music - fugal and ostinato variation forms - are based on the abovementioned principles that serve as form building factors. Through integration of those principles on the level of polyphonic form a hybrid composition - a fugue-ostinato was formed. In the process of interaction of the basic parameters of those principles various variants are created by combination of texture and composition. Furthermore, there are so called mutual concessions: for example, imitation of interval in a fugue (fourths-fifths and prima-octaves) and the voice stability (migration) in ostinato variations. In the paper we consider the following interactions offugal forms and ostinato variations - fugue-ostinato, fugatoostinato, fugetta-ostinato, canon-fugetta-ostinato. The paper is concentrated on the examples of a compositional hybrid formed in the European art music - fugue-ostinato, and its analogues in works by Georgian composers. The contrapuntal appearance of imitation and ostinato principles in form of a polyphonic form is a less widespread phenomenon. At the same time, it is a result of the interaction between fugal and variation forms on the way of their evolution. [ABSTRACT FROM AUTHOR]
- Published
- 2017
12. Остинато как жанр
- Author
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Молчанов, Андрей Сергеевич
- Subjects
остинато ,жанр ,музыкальная форма ,повтор в музыке ,тип музыкальной композиции ,ostinato ,a genre ,a musical form ,repetition in music ,type of musical composition ,Music ,M1-5000 - Abstract
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.
- Published
- 2014
- Full Text
- View/download PDF
13. Typological Model of the Basso Ostinato in Carl Nielsen’s Fifth Symphony
- Author
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Vera I. Nilova and Petrozavodsk State A. K. Glazunov Conservatory
- Subjects
media_common.quotation_subject ,Symphony ,Art ,Ostinato ,Humanities ,Music ,Education ,media_common - Published
- 2021
14. Stylistic Features of the Processing Genre in the Piano Work of Zhang Zhao
- Author
-
Chen Qianqiu
- Subjects
Style (visual arts) ,Register (sociolinguistics) ,media_common.quotation_subject ,Piano ,Zhàng ,General Engineering ,Music ,Musical ,Art ,Ostinato ,Linguistics ,Theme (narrative) ,media_common - Abstract
The presented research is devoted to highlighting the stylistic features of the processing genre in the piano work of Zhang Zhao. Zhang Zhao’s work is aimed at preserving the traditional musical art of China and popularizing it in the world music arena. From this point of view, the genre of processing in the work of Zhang Zhao occupies a special place. The composer chose folk songs of various ethnic groups inhabiting the territory of the PRC as material for processing. However, the methods of processing these songs, regardless of their national identity, are very close. The analysis of piano pieces in the genre of processing demonstrated the composer’s penchant for certain kinds of means.The purpose of the research is to determine the palette of means used by the composer Zhang Zhao in his piano pieces, written in the genre of processing.The research methodology is a comprehensive approach, in line with which the methods of culturological, historical, comparative and music-theoretical analysis such as holistic, stylistic and genre are used. In addition, the method of active illustration (E. Vyazkova’s term) aimed at confirming the considered provisions through the involvement of significant visual material in the form of musical examples, poetic texts and illustrations is used. The works of a general nature which cover the issues of style theory including national one were the theoretical and methodological basis of the concept.The scientific novelty of the research lies in the fact that for the first time the characteristic of stylistic features of piano pieces in the processing genre by the composer Zhang Zhao were revealed.Conclusions. Zhang Zhao’s analysis of piano pieces showed that most of these pieces have a structure based on a two-time theme and a small concluding section. The author most often chooses texture and register changes as the main means of development, that is, those means that contribute to the preservation of the original thematic material unchanged. The ostinato of the accompaniment part plays an important role in many of Zhang Zhao’s piano arrangements. At the same time, the predominance of certain developmental methods in the plays analyzed does not exclude the presence of other transformation means. The choice is determined by the desire, firstly, to preserve in the processing as close as possible to the original sound of the thematic material, and secondly, to reveal the full range of expressive potential of the theme in each piece.
- Published
- 2020
15. Traditional and innovative in the orchestration of Ivan Karabyts‘ third concerto for orchestra «Lamantation»
- Author
-
Vadym Rakochi
- Subjects
Melody ,History ,Expression (architecture) ,Orchestration ,Concerto ,Concerto grosso ,Music ,Ostinato ,Timbre ,Linguistics - Abstract
The orchestration of Karabyts’ Third Concerto for Orchestra “Holosinnia” (“Lamentations”) has been studied. The relevance of the study. Despite a number of research works on Karabits’ Third Concerto its orchestration remains little studied yet. Therefore, the main objective of the paper is to examine orchestration of the Third Concerto for orchestra and to research the interaction between ‘traditional’ and ‘innovative’ traits in Concerto’s orchestration. The methods of the research. The score analysis lies in the core of the paper but historical, comparative, and semiotic methods of analysis have been applied as well. Attention is focused on the combination of traditional and innovative origins which paved the way for the composer to rethink the methods of presentation in the orchestra. Thus, these transformations reflect the original (author’s) approach to the genre. It was emphasized that Karabyts interprets the synthetical character inherent to the concerto for orchestra genre particularly wide. It is emphasized that this approach allows the composer to identify a palette of genres of instrumental music: for one performer, different combinations of chamber ensembles, concerto grosso and solo instrumental concerto. In particular, the opposition between two groups was strengthened not only due to unequal quantity of performers in each of them (concerto grosso), but also by relying on the different nature of the material or the use of bells or tube, quite rare in this role, to solo (solo concerto). The combination of traditional and innovative is reflected in the composition of the orchestra (paired with a large percussion group) and the approach to percussion instruments (endowing them with melodic, semantic, formative and other functions). It is emphasized that Karabyts repeatedly applies “percussion-like" interpretation in relation to other instruments. Such an approach results in a qualitative transformation of the instruments: the inherent warmth of a string timbre decreases; the singularity of each wind color neutral-lizes. Complications of semantics at each rhythmic, intonation, and timbre ostinato formulas are revealed. The introduction of a particular (author’s) approach to the baroque tradition of combining the functions of a soloist and a capellmeister, the manifestation of which is the solo of bells perso-nally made by Karabyts, has been noticed. The conclusions state that the Concerto’s orchestration plays important role in dialectically combination of “objective” and traditional (the passage of time, the history of the people, destiny) with “subjective” and individual (the author’s attitude to events and their rethinking). Such an approach is typical for the twentieth-century musical art. The significance of the research is that it reveals the importance of orchestration as a means of expression and thus brings better understanding of the functional potential of orchestration within the frame of the twentieth-century art tendencies.
- Published
- 2020
16. 'Follow My Voice'
- Author
-
Árni Heimir Ingólfsson
- Subjects
Improvisation ,Melody ,Aesthetics ,Ostinato ,Psychology - Abstract
'Mouth’s Cradle', from Björk’s 2004 album Medúlla, combines a vocal line of considerable flexibility with a carefully outlined yet rather unusual structure. This article discusses the inspiration behind the song and analyze its structure. A particular focus is the interaction of structure and improvisation, the tension that exists between the inherent flexibility of Björkʼs melodic impulse and a formal scheme that is worked out in full only during the later stages of the creative process. In addition to the analysis of the song as it appears on Medúlla, the article also compares two later live performances that differ considerably in the treatment of a key moment in the song. By way of contrast, the article also discusses the ostinato-based 'Oceania', from the same album, which demonstrates a very different approach to the limits of structure and improvisation.
- Published
- 2020
17. The East in the Works of Charles Griffes
- Author
-
Anna E. Krom
- Subjects
History ,Painting ,Visual Arts and Performing Arts ,Folklore ,Folkloristics ,media_common.quotation_subject ,Piano ,Art history ,Conservation ,Art ,Style (visual arts) ,Symphony ,Orientalism ,Ostinato ,Music ,media_common - Abstract
The article is devoted to the oriental compositions of the American composer Charles Griffes (1884–1920), created in the 1910s. These include the symphonic poem “The Pleasure-Dome of Kubla Khan” (1912–1917), the vocal cycle “Five Poems of Ancient China and Japan” for voice and piano (1916–1917), and the Japanese pantomime “Sho-Jo” (1917). Significant creative contacts (Eva Gauthier, A. Coomaraswamy, E. Bloch, A. Bolm, M. Ito), extensive reading, fascination with folklore, poetry, painting, and philosophy of Asian countries led to the formation of his own method of working with oriental materials. The composer saw prospects for the interaction of Western and Eastern music in his address to the archaic, to the stylization of ancient folklore. An example is the music for the pantomime “Sho-Jo” and the cycle “Five Poems of Ancient China and Japan.” Natural modes (pentatonic modes), organ points, ascetic quarto-quinto-second verticals, spatial sound, and rhythmic ostinato allow us to draw parallels with new folkloristics, in particular, with the works of I. F. Stravinsky. In the symphonic poem “The Pleasure-Dome of Kubla Khan,” the European influences at the forefront are associated with the study of the “Russian” East (first of all the writings of N. Rimsky-Korsakov) and the French oriental pieces by C. Debussy and M. Ravel. Colorful in mood and harmony, a multi-layered texture, and spicy timbers testify to the features of impressionism. The technique of orchestral writing enables us to find similarities with Ravel’s “Sheherazade” Overture. Also, the works of Griffes brightly revealed features of the Art Nouveau style: the image of dance, the increased interest in the element of water, ornamental melodies-arabesques, and the independence of timber layers.
- Published
- 2020
18. Glazba u horor filmovima
- Author
-
Favorova, Valentina and Petković, Rajko
- Subjects
melodic ,Williams, Jaws, Ostinato, Herrmann, Psycho, shower scene, screaming, violins, Kilar, Dracula, melodic ,screaming ,Herrmann ,melodično ,Jaws ,HUMANISTIC SCIENCES. Philology. Anglistics ,violine ,Williams ,scena u tušu ,Ralje ,HUMANISTIČKE ZNANOSTI. Filologija. Anglistika ,vrisak ,shower scene ,Psycho ,Kilar ,Dracula ,Ostinato ,violins - Abstract
In the introductory part, we get a perception of the importance of musical scores in horror films. In the main part, we can see the genesis of the collaborations, but also the circumstances in which the music was created. Williams' score for Jaws abounds in powerful melody that is achieved with a two-tone ostinato. Herrmann created a simple yet piercing violin sound for Psycho that takes everyone's breath away. The third film shows European composer’s ability to adapt to challenging situations, who created a series of exceptional themes for Coppola's adaptation of Bram Stoker's Dracula. U uvodnom dijelu dobivamo percepciju o važnosti glazbenih partitura u horor filmovima. U glavnom dijelu možemo vidjeti genezu nastajanja suradnja, ali i okolnosti u kojima je glazba nastajala. Williamsova partitura za Ralje obiluje moćnom melodijom koja je postignuta dvotonskim ostinatom. Herrmann je za Psycho stvorio jednostavan, ali prodoran zvuk violina koji svima zaustavlja dah. U trećem filmu se uočava kameleonska sposobnost europskog skladatelja koji je stvorio niz izuzetnih tema za Coppolinu adaptaciju Stokerove Dracule.
- Published
- 2022
19. Kompositorische Effizienz und dramaturgische Vielfalt. Der Fabelzusammenhang in der Filmmusik Ennio Morricones und die Beziehungen zu narrativ wirksamen Topik-Reihen
- Author
-
Robert Rabenalt
- Subjects
Refrain ,Ennio Morricone ,Filmmusik ,soundtrack ,Arrangement ,Topik-Reihe ,Fado-Gesang ,Ostinato ,Widerstand ,resistance movement ,Leitmotiv ,leitmotif ,Music and books on Music - Abstract
Am Beispiel der eher unbekannten Filmmusik zu Sostiene Pereira (I/F/P 1995, Regie: Roberto Faenza) wird ein zentraler Aspekt des Filmmusikschaffens Ennio Morricones beleuchtet, der sich durch enge Korrespondenz zwischen der Musik und den narrativen Strukturen des Films auszeichnet. Rhythmische und melodische Elemente sowie einzelne Aspekte der Instrumentierung eines in der filmischen Narration verankerten Lied-Arrangements werden variiert, neu kombiniert und gezielt zwischen der ›internen‹ auditiven Darstellungsebene der Szene und der ›externen‹ auditiven Ebene transferiert. Dabei werden heterogene musiksprachliche Elemente integriert: portugiesischer Fado, klassisch geprägte Orchestermusik mit schlichter Polyphonie und vereinzelte Elemente der Neuen Konzertmusik. Dieses Verfahren ist nicht nur kompositorisch effizient, Morricone hat damit auch eine individuelle Lösung für das Erreichen eines Fabelzusammenhangs und das generelle Formproblem in der Filmmusik gefunden.
- Published
- 2009
- Full Text
- View/download PDF
20. Processual Form in Sufi Dhikr Ritual
- Author
-
Burçin Bahadır GÜNER
- Subjects
Dance ,Sufism ,Qadiriyya ,Ritual ,Ayin ,Dhikr ,Chant ,Ostinato ,Antropoloji ,Anthropology ,Sanat ,Dans ,Müzik ,Music ,Art - Abstract
For four hundred years, the zikir ritual has been performed weekly in Kadirîhâne in Istanbul. Sufi rituals are believed to have been compiled by the founder (pîr) of the order. The ritual conductor (şeyh, postnişin) symbolizes the founder. The ritual form consists of chanting (dhikr) several divine names (esmâ). While participants perform the divine names with drone-like melodic repetitions or guttural rhythmic ostinatos, musicians perform songs, recitations, and improvisations. Through rhythmic enunciation, body sway, and breath control, these chants are embodied as ostinatos while music varies the mood. The ostinato polyphony between the derviş and zakir, as well as the succession of the divine names symbolizes unity (tevhid) in different ways. The manners and the formality of the ritual (ethics) and their musical expressions (aesthetics) implies harmony that leads to communal and/or individual unity. This article examines the form and content of the ritual, and shows their relation to Sufi concepts.
- Published
- 2021
21. Ostinato rigore: establishing methodological rigour in quantitative research.
- Author
-
Laher, Sumaya
- Subjects
- *
OSTINATO , *VALIDITY of statistics , *QUANTITATIVE research , *RELIABILITY (Personality trait) , *PSYCHOLOGY - Abstract
The last 20 years in South Africa and abroad have evidenced huge changes in the ways in which research is accessed and produced. These changes were facilitated by the rapid developments in technology. Collaborating with researchers across the globe and accessing articles and research can be done at the push of a button and response times are as instantaneous. Conducting and communicating one’s own research are also much easier. This led to a veritable explosion of publishers and journals, some of which are legitimate and others predatory. In this climate, the adage of ‘publish or perish’ has become a lived reality placing increasing pressure on scholars to publish. An unintended consequence of this is the increasing lack of methodological rigour in studies. This article advocates for increasing attention to methodological rigour in quantitative research. In so doing, guidelines and suggestions are provided in terms of elements to be considered within each of the broad aspects of a study, namely, sampling, instrumentation, methods, design, and data analysis. These are drawn from the literature as well as the author’s own experiences in teaching quantitative research methods, supervising postgraduate student research, reviewing articles for local and international journals, as well as experiences of reviewing articles located within the quantitative paradigm as Associate Editor for the South African Journal of Psychology. Ultimately, this article seeks to create awareness among researchers around the necessity for methodologically rigorous research to enhance the quality of outputs. This will have the effect of producing impactful research that can confidently inform policy, practice, and training within the discipline. [ABSTRACT FROM AUTHOR]
- Published
- 2016
- Full Text
- View/download PDF
22. ЗВУКОВОЕ ВОПЛОЩЕНИЕ ФОРТЕПИАННЫХ ЦИКЛОВ РЕНЕ ЭЕСПЕРЕ: ОПЫТ ИСПОЛНИТЕЛЬСКОГО АНАЛИЗА
- Subjects
фортепианный цикл ,композиторское творчество Рене Эеспере ,інтерпретація ,piano cycle ,прелюдия ,эстонская музыка ,прелюдія ,Estonian music ,естонська музика ,prelude ,остинато ,интерпретация ,Rene Eespere’s composing style ,композиторська творчість Рене Ееспере ,фортепіанний цикл ,ostinato ,interpretation - Abstract
The novelty of the article lies in expanding knowledge about the contemporary outstanding musicians using the example of the performance analysis of the piano cycles of the Estonian composer Rene Eespere in the context of their sound embodiment. The purpose of the article is to identify the specificity of the sound embodiment of R. Eespere’s piano cycles: “4 ostinato” and “24 preludes” (first book). The research methodology is based on an integrated approach that combines the principle of musical-theoretical and performance analysis, which are necessary for solving the tasks set in the article. Results and conclusions. The article examines the creativity of the Estonian composer Rene Eespere on the example of his piano cycles “4 ostinato” and “24 preludes” (first book). The paper detects the key tasks that arise before the performer and contribute to the sound embodiment of the proposed compositions. The basis for this research was the personal performance experience of the article’s author; work in the class of Professor S. Yushkevich; audio and video recordings of piano cycles, as well as direct communication with R. Eespere in the format of electronic correspondence. The article reveals the main features of his composer style, which synthesizes the traditions of Western European and national culture. In addition, the work shows R. Eespere’s gravitation towards minimalism in music. Ostinato is a characteristic manifestation of the composer’s creative thinking in these piano cycles. This compositional technique determines the different emotional orientation of each piece. The article also examines the variants of texture formulas in the proposed piano opuses, which require mobility from the performer in changing pianistic techniques. Analytical study of these works made it possible to identify the following performance tasks: the stability of intricate rhythmic complexes, subtle dynamic nuances, timbre variety, moderate pedalling, as well as the use of expressive key touch. In general, the sound embodiment of the piano cycles of the Estonian composer R. Eespere brings out new facets in understanding of musical context and contributes to the formation of a performance experience so valuable for the development of modern piano art., Актуальность статьи заключается в расширении знаний о выдающихся музыкантах современности на примере исполнительского анализа фортепианных циклов эстонского композитора Рене Эеспере в контексте их звукового воплощения. Цель статьи — рассмотреть специфику звукового воплощения фортепианных циклов Р. Эеспере: «4 остинато» и «24 прелюдий» (первая тетрадь). Методология базируется на совокупности научных подходов, необходимых для раскрытия проблематики данной статьи. За основу взят комплексный подход, сочетающий принцип музыкально-теоретического и исполнительского анализа. Основные результаты и выводы. Рассмотрено творчество эстонского композитора Рене Эеспере, его фортепианные циклы «4 остинато» и «24 прелюдии» (первая тетрадь). Выявлены ключевые задачи исполнителя относительно звукового воплощения указанных сочинений. Материал для исследования: личный исполнительский опыт автора статьи, работа по специальности в классе профессора С. Ю. Юшкевича, аудио- и видеозаписи фортепианных циклов, а также непосредственное общение с Р. Эеспере в формате электронной переписки. Раскрыты основные черты его композиторского стиля, синтезирующего традиции западноевропейской и национальной культур. Выявлено тяготение Р. Эеспере к минимализму в музыке. Характерным проявлением творческого мышления композитора в избранных фортепианных циклах является остинатность, посредством которой определяется эмоциональная направленность каждой пьесы. В фортепианных опусах Р. Эеспере рассмотрены варианты фактурных формул, требующих от исполнителя мобильности в применении пианистических приёмов. Аналитическое исследование избранных произведений позволило определить следующие исполнительские задачи: стабильность сложных ритмокомплексов, тонкая динамическая нюансировка, тембровое разнообразие, умеренная педализация, использование выразительного туше. В целом, звуковое воплощение фортепианных циклов Р. Эеспере раскрывает новые грани в понимании музыкального контекста и способствует формированию исполнительского опыта, столь важного для развития современного фортепианного искусства., Визначені найважливіші виконавські завдання, що виникають у процесі інтерпретації фортепіанних циклів естонського композитора Рене Ееспере. Використано особистий досвід автора дослідження, набутий у роботі над творами естонського митця в класі зі спеціальності заслуженого артиста України, професора С. Ю. Юшкевича, під час концертно-виконавської практики, особистого листування з композитором, а також аудіо- та відеозаписи виконань Тармо Ееспере. За матеріал обрано цикли «4 остинато» і «24 прелюдії», загальну ідею яких можна визначити як рефлексію автора на закони Всесвіту за допомогою символіки чисел: 4 — форми буття, 24 — уся сукупність його елементів. Окреслено піаністичні проблеми творів, їх зв’язок із національними та загальноєвропейськими традиціями фортепіанного мистецтва. Розглянуто аспекти, що сприяють розумінню і втіленню змісту фортепіанних опусів: історія створення, принципи композиторського мислення, специфіка музичної мови. Доведено, що за допомогою остинатності (цикл «4 остинато») — нескінченне повторення однієї й тієї ж ритмічної фігури — автор виражає певний емоційний стан: споглядальність (№ 1), збудження (№ 2), рухливість (№ 3), статичність (№ 4). Загальну ідею циклу можна порівняти з філософською формою пізнання світу. За основу кожної мініатюри автор обрав унікальну фактурну формулу. Остинатність досить легко ідентифікується слухом завдяки багаторазовому відтворенню, але кожне повторення відкриває новий змістовний контекст, що втілюється завдяки тембру, динаміці, артикуляції, звуковисотній організації. Цикл «24 прелюдії» став своєрідним творчим «портфоліо», у якому ретельно дібрані й упорядковані певні зразки композиторського письма Р. Ееспере. Цей опус є вичерпною творчою лабораторією, у якій поєднані ознаки токатного трактування інструмента з кантиленним, трапляються різноманітні фактурні формули, що вимагають від виконавця мобільності у зміні піаністичних прийомів.
- Published
- 2021
- Full Text
- View/download PDF
23. Features of Songs Rhythmic Organization by E. Sabitoglu
- Author
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Imanova Saadat
- Subjects
sound quality ,Azerbaijani music ,national traditions ,song ,variance ,Emin Sabitoglu ,rhythm ,ostinato - Abstract
The presented research is devoted to the study of the rhythmic organization’s peculiarities in the songs of E. Sabitoglu. Emin Sabitoglu is an outstanding Azerbaijani composer, whose work leaves many generations of domestic listeners not indifferent. The work of Emin Sabitoglu, being famous and popular, often attracts the attention of Azerbaijani musicologists. At the same time, the stylistic features of the composer’s songs have never before become the object of special scientific research. The purpose of the researchis to study one of the important elements of the musical language in the songs of the Azerbaijani composer E. Sabitoglu, namely rhythm, to determine the features of their rhythmic organization. The research methodologyis determined by the purpose of the research, for the achievement of which, the author uses a comprehensive analysis. At the same time, theoretical analytical analysis has acquired a leading role in the research process. The scientific novelty of the researchis that for the first time in musicology determining the features of rhythmic organization in the songs of theAzerbaijani composer Emin Sabitoglu is being solved. Conclusions. A detailed analysis of the rhythmic basis of E. Sabitoglu’s songs demonstrated the presence of certain stylistic features in this area. Firstly, it is arhythmic ostinato, used in a variety of practically all-vocal miniatures of the composer. Secondly, the rhythmic variation, widespread in the songs of thecomposer, has many ways of implementation in the development of each specific song. Note that the presence of the principle of rhythmic variation in the songs of the composer is associated with the traditions of national vocal folklore since the variation is one of the leading principles of development in Azerbaijani folk songs. Thirdly, the method of sound visualization takes an essential place in E. Sabitoglu’s songs, the realization of which is directly conditioned by the use of expressive possibilities of rhythm. The use of expressive possibilities of rhythm in this area contributes to the creation of a vivid and almost visibly felt artistic image.
- Published
- 2021
24. Особенности ритмической организации песен Э. Сабитоглу
- Subjects
варіантність ,sound quality ,песня ,ритм ,азербайджанська музика ,variance ,Емін Сабітоглу ,Emin Sabitoglu ,rhythm ,национальные традиции ,Эмин Сабитоглу ,національні традиції ,остинато ,Azerbaijani music ,national traditions ,звукоизобразительность ,азербайджанская музыка ,song ,звукозображальність ,ostinato ,пісня ,вариантность - Abstract
The presented research is devoted to the study of the rhythmic organization’s peculiarities in the songs of E. Sabitoglu. Emin Sabitoglu is an outstanding Azerbaijani composer, whose work leaves many generations of domestic listeners not indifferent. The work of Emin Sabitoglu, being famous and popular, often attracts the attention of Azerbaijani musicologists. At the same time, the stylistic features of the composer’s songs have never before become the object of special scientific research. The purpose of the research is to study one of the important elements of the musical language in the songs of the Azerbaijani composer E. Sabitoglu, namely rhythm, to determine the features of their rhythmic organization. The research methodology is determined by the purpose of the research, for the achievement of which, the author uses a comprehensive analysis. At the same time, theoretical analytical analysis has acquired a leading role in the research process. The scientific novelty of the research is that for the first time in musicology determining the features of rhythmic organization in the songs of the Azerbaijani composer Emin Sabitoglu is being solved. Conclusions. A detailed analysis of the rhythmic basis of E. Sabitoglu’s songs demonstrated the presence of certain stylistic features in this area. Firstly, it is a rhythmic ostinato, used in a variety of practically all-vocal miniatures of the composer. Secondly, the rhythmic variation, widespread in the songs of the composer, has many ways of implementation in the development of each specific song. Note that the presence of the principle of rhythmic variation in the songs of the composer is associated with the traditions of national vocal folklore since the variation is one of the leading principles of development in Azerbaijani folk songs. Thirdly, the method of sound visualization takes an essential place in E. Sabitoglu’s songs, the realization of which is directly conditioned by the use of expressive possibilities of rhythm. The use of expressive possibilities of rhythm in this area contributes to the creation of a vivid and almost visibly felt artistic image., Представленное исследование посвящено изучению особенностей ритмической организации в песнях Эмина Сабитоглу – выдающегося азербайджанского композитора, творчество которого оставляет неравнодушными многие поколения отечественных слушателей и будучи известным, популярным, часто привлекает внимание азербайджанских музыковедов. Вместе с тем никогда прежде стилистические черты песен композитора не становились объектом специального научного исследования. Цель исследования – изучение одного из важных элементов музыкального языка в песнях азербайджанского композитора Э. Сабитоглу, а именно ритма; определение особенностей ритмической организации. Методология исследования определяется целью исследования, для достижения которой использован комплексный анализ. При этом ведущее значение в процессе исследования приобрели теоретический и аналитический методы. Научная новизна исследования заключается в том, что впервые в музыковедении решается проблема определения особенностей ритмической организации в песнях азербайджанского композитора Эмина Сабитоглу. Выводы. Подробный анализ ритмической основы песен композитора Э. Сабитоглу продемонстрировал наличие определенных стилистических особенностей. Во-первых, это ритмическое остинато, в разнообразии примененное практически во всех вокальных миниатюрах композитора. Во-вторых, ритмическая вариантность, широко распространенная в песнях композитора и имеющая множество способов реализации в развитии каждой конкретной песни. Отметим, что наличие принципа ритмической вариантности в песнях композитора связано с традициями национального вокального фольклора, так как вариантность – это один из ведущих принципов развития в азербайджанских народных песнях. В-третьих, существенное место в песнях Э. Сабитоглу занимает прием звукоизобразительности, реализация которого напрямую обусловлена использованием выразительных возможностей ритма, что, в свою очередь, способствует созданию яркого и почти зримо ощущаемого художественного образа., Представлене дослідження присвячене вивченню особливостей ритмічної організації в піснях Еміна Сабітоглу – видатного азербайджанського композитора, творчість якого залишає небайдужими багато поколінь вітчизняних слухачів і бувши відомою, популярною, часто привертає увагу азербайджанських музикознавців. Водночас ніколи раніше стилістичні риси пісень композитора не були об’єктом спеціального наукового дослідження. Мета дослідження – вивчення одного з важливих елементів музичної мови в піснях азербайджанського композитора Е. Сабітоглу, а саме ритму; визначення особливостей ритмічної організації. Методологія дослідження визначається метою дослідження, для досягнення якої використано комплексний аналіз. Водночас провідне значення в процесі дослідження набули теоретичний та аналітичний методи. Наукова новизна дослідження полягає в тому, що вперше в музикознавстві вирішується проблема визначення особливостей ритмічної організації в піснях азербайджанського композитора Еміна Сабітоглу. Висновки. Докладний аналіз ритмічної основи пісень композитора Е. Сабітоглу продемонстрував наявність певних стилістичних особливостей. По-перше, це ритмічне остинато, в розмаїтті застосоване практично в усіх вокальних мініатюрах композитора. По-друге, ритмічна варіантність, що широко поширена в піснях композитора і має безліч способів реалізації в розвитку кожної конкретної пісні. Відзначимо, що наявність принципу ритмічної варіантності в піснях композитора пов’язана з традиціями національного вокального фольклору, оскільки варіантність – це один з провідних принципів розвитку в азербайджанських народних піснях. По-третє, істотне місце в піснях Е. Сабітоглу займає засіб звукозображальності, реалізація якого безпосередньо обумовлена використанням виразних можливостей ритму, що своєю чергою сприяє створенню яскравого і майже відчутного художнього образу.
- Published
- 2021
- Full Text
- View/download PDF
25. Features of Songs Rhythmic Organization by E. Sabitoglu
- Author
-
Saadat Imanova
- Subjects
History ,Folklore ,General Engineering ,Realization (linguistics) ,Variety (linguistics) ,variance ,Object (philosophy) ,Emin Sabitoglu ,rhythm ,Linguistics ,Musicology ,Variation (linguistics) ,Azerbaijani music ,Musical language ,song ,M1-5000 ,Ostinato ,ostinato ,Music - Abstract
The presented research is devoted to the study of the rhythmic organization’s peculiarities in the songs of E. Sabitoglu. Emin Sabitoglu is an outstanding Azerbaijani composer, whose work leaves many generations of domestic listeners not indifferent. The work of Emin Sabitoglu, being famous and popular, often attracts the attention of Azerbaijani musicologists. At the same time, the stylistic features of the composer’s songs have never before become the object of special scientific research. The purpose of the research is to study one of the important elements of the musical language in the songs of the Azerbaijani composer E. Sabitoglu, namely rhythm, to determine the features of their rhythmic organization. The research methodology is determined by the purpose of the research, for the achievement of which, the author uses a comprehensive analysis. At the same time, theoretical analytical analysis has acquired a leading role in the research process. The scientific novelty of the research is that for the first time in musicology determining the features of rhythmic organization in the songs of the Azerbaijani composer Emin Sabitoglu is being solved. Conclusions. A detailed analysis of the rhythmic basis of E. Sabitoglu’s songs demonstrated the presence of certain stylistic features in this area. Firstly, it is a rhythmic ostinato, used in a variety of practically all-vocal miniatures of the composer. Secondly, the rhythmic variation, widespread in the songs of the composer, has many ways of implementation in the development of each specific song. Note that the presence of the principle of rhythmic variation in the songs of the composer is associated with the traditions of national vocal folklore since the variation is one of the leading principles of development in Azerbaijani folk songs. Thirdly, the method of sound visualization takes an essential place in E. Sabitoglu’s songs, the realization of which is directly conditioned by the use of expressive possibilities of rhythm. The use of expressive possibilities of rhythm in this area contributes to the creation of a vivid and almost visibly felt artistic image.
- Published
- 2021
26. The National Origins of the Creative Work of Eugene Ysaye and the Influence of Belgian Artists in the Formation of a Distinct Performing and Composing Style
- Author
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Kateryna Nazarenko
- Subjects
Microbiology (medical) ,media_common.quotation_subject ,Immunology ,Violin technique ,Art history ,Art ,Lyrics ,Violin ,Immunology and Allergy ,Choir ,Polyphony ,Ostinato ,Mensural notation ,Folk music ,media_common - Abstract
The article examines the work of a prominent Belgian violinist and composer, E. Ysaÿe, as a representative of Belgian national culture in several different aspects: the incorporation of folklore in his music, his expertise of the Belgian violin school, his life as a follower of C. Franсk, and his role in the wide field of Belgium's artistic and cultural traditions. Folklore is manifested through modal combinations, biphonic and polyphonic layers, the use of parallelisms, in which the author unites anhemitonic and chromatic scales, tone-splitting, etc. E. Ysaye, demonstrates ethnic intensity in ―Village Dance‖, ―Aurora‖ from Sonata No. 5, the Finale from Sonata No. 1 , Mazurkas, Sonatas for 2 solo violins, the symphonic work "Nostalgia", and the opera "Pierre Rudocop". Сomposer is inspired by folk techniques, methods of sound production, types of bowings, rubato, and the use of primitive forms of polyphony- bourdon and ostinato, which are presented in a striking variety by Ysaÿe. Тhe enthusiasm for playing violin folk music, obviously contributed to the creation of a new modern school of violin technique in the twentieth century. In the traditions of Belgian professional music, nationalism manifested itself in the revival of choral music, re-examining the polyphonic techniques of ancient masters (under the influence of C. Franck), in particular, the Franco-Flemish school and Belgian organ school use canonic-imitation, allusions of linear thinking, and medieval mensural notation (2nd movement of Sonata No. 2). The artist also contributed to the growth of Belgian music in the Wallonie culture, of which the famous representative, C. Franck, was born, and his devoted student, E. Ysaÿe, became the author of the only opera in the Wallonie language, "Pierre-Rudokop". Interesting and fruitful are E. Ysaÿe’s connections with the Belgian symbolists M. Metterlink and E. Verharn, evident through the lyrics of the poetic cycle in the ―London‖ trio. In the realm of violin performance - as the direct follower and disciple of the prominent violinist H.Vieuxtemps. Recently discovered violin concertos of the composer, the first of which is dedicated to H.Vieuxtemps, as well as other original works, and grandiose performances, attest to Eugene Ysaÿe’s striking representation of the Belgian national culture.
- Published
- 2019
27. Francisco Guerrero héritier de la tradition franco-flamande: onze pièces basées sur un ostinato
- Author
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Olivier Trachier
- Subjects
lcsh:M1-5000 ,lcsh:Music ,Visual Arts and Performing Arts ,Music and books on Music ,media_common.quotation_subject ,Art ,Musical ,Genius ,language.human_language ,German ,Musicology ,Meaning (semiotics) ,lcsh:Music and books on Music ,language ,M1-5000 ,Ostinato ,Composition (language) ,Humanities ,lcsh:M ,Period (music) ,Music ,media_common - Abstract
In his religious works, Francisco Guerrero several times uses a type of contrapuntal composition rather unusual in his period: writing on cantus firmus ostinato. For German musicologists, it represents one of the last forms of the medieval isorythmic motet. The architectural study, especially elaborate, is regulated by a real musical arithmetic scheme issued from ars música mathematica. Therefore, Guerrero dignifies his predecessors tradition illustrated by the Josquin des Prés's Miserere for 5 voices. He also succeeds his master Cristobal de Morales, appearing to make use of some of the former's models. Nevertheless he knows how to compose in an up-to-date manner and give oratorial meaning and efficiency to the ostinato, as the greatest rhetoricians. This peculiarity of this musical personality harmoniously combines with its innovating side -that of villancicos and polychorals motets- in order to give evidence of his universal genius. Dans son œuvre religieuse, Francisco Guerrero exploite à plusieurs reprises un type de composition contrapuntique relativement peu répandu à son époque: l'écriture sur cantus firmus ostinato. Pour les musicologues germaniques, ceci représente une des formes ultimes du motet isorythmique médiéval. Le travail architectural, particulièrement soigné, y est ordonné par une véritable arithmétique musicale, issue de l'ars música mathematica. Guerrero honore ainsi la tradition de ses prédécesseurs, illustrée par le Miserere à 5 voix de Josquin des Prés. Il suit également son maître Cristobal de Morales en lui empruntant, semble-t-il, quelques modèles. Mais son écriture sait se mettre au goût du jour, et confère à l'ostinato un sens et une efficacité oratoires dignes d'un grand rhétoricien. Cet aspect de sa personnalité musicale s'unit harmonieusement à son côté novateur -celui des villancicos et des motets polychorauxpour témoigner de son génie universel.
- Published
- 2019
- Full Text
- View/download PDF
28. Choral with Variations by Vincent Dandy - The Problem of Building a ХХ Century Viola's Repertoire
- Author
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Yaryna Horbachevska
- Subjects
Microbiology (medical) ,Literature ,Ancient music ,business.industry ,media_common.quotation_subject ,Immunology ,Sign (semiotics) ,Art ,Exposition (music) ,Immunology and Allergy ,Choir ,Polyphony ,Viola ,Ostinato ,business ,Chaconne ,media_common - Abstract
The article explores the Choral with Variations by Vincent d`Endy, a little-known work for the viola by the founder of the French School of Ancient Music neoclassical tendencies, that consisted in a revival and adaptation of wide palette of old polyphony genres that brightly showed up in work of this composer, the viola "Choral with Variations" op. 55. On verge of ХІХ-ХХ a century is observed the personal interest of composers by the genres of chaconne, passacalia, choral,by the baroque types of variations of soprano and basso - ostinato, fugues and others like that. As a follower of Cesar Frank and the founder of Schola Cantorum, Vincent d'Endy actively revives ancient genres, especially in instrumental music, completing his viola repertoire. Summarizing the observations regarding the form, the intonation-semantic content of the music, the timbre properties of the viola, aimed to embodiment of the tragical idea of this work, it should be noted that the composer builds a synthetic dramaturgical-compositional model that detects an alloy of different sources. With the prevalence of the choir basis (choir semantics appeals to choral singing in the spirit of majestic psalms, glorious hymns) there are signs of minor lullabies, monologues, elegies, nocturnes, etc., united under the denominator of baroque-type variations of passacalia. The individualized form of the work combines within the framework of a detailed one-piece composition the principles of strict and free variation, the sign of double variations, solved by late-romantic "characteristic" signs, and even the sonata structure with delineated zones exposition, development, and recapitulation. Difficult, semantically saturated canvas gravitates to the choral organ's timbral of C. Frank and the ancient masters; the psychologically-strained Tristan beginning, incarnate facilities of difficult harmonic vertical line finds out influence R. Wagner, symbolic-landscape soundtracks bring V.d`Endy closer to K. Debussy, which not sounds eclectic . The integrity and dramatic perfection of the composition, the depth of philosophical ideas embodied through the prism of the Chorale genre with variations, make it possible to define this work as one of the vivid examples of alt's polyphonic repertoire.
- Published
- 2019
29. Egzotizmin Romantik Dönem Operaları ve Senfonik Süitleri Üzerindeki Etkisi
- Author
-
Zeynep Simge Acunaz Eytemiz
- Subjects
Exoticism ,Art history ,Musical ,Romance ,Egzotizm,Oryantalizm,Romantik Dönem ,Local color ,Exoticism,Orientalism,Romantic Era ,General Earth and Planetary Sciences ,Orientalism ,Ostinato ,Müzik ,Romanticism ,Period (music) ,Music ,General Environmental Science - Abstract
15. ve 16. yüzyıllarda uzun mesafeli deniz yolculukları sayesinde bilinmeyen diyarlar keşfedildikçe, Avrupa’da egzotik doğuya duyulan merak artmış, insanlar hayal gücünün de etkisiyle, daha renkli ve çekici dünyalara ilgi duymaya başlamışlardır. 19. yüzyılda da sanayileşme sürecinde oluşan zorlu koşullardan yorulan halkın psikolojik bir kaçış ihtiyacıyla bilinmeyen dünyalara duyduğu bu ilginin, egzotizm kavramının Romantik dönemdeki önemli itici güçlerinden biri olduğu düşünülebilir. Önceki dönem eserlerinde sadece yerel bir renk olarak görülen egzotizm, Romantik dönemde kavramlaşmıştır. Bu makalede, Wagner (1813-1883), Verdi (1813-1901), Bizet (1838-1875) ve Rimsky-Korsakov (1844-1908)’un operaları ve senfonik şiir örnekleri üzerinden egzotizmin Romantik dönemdeki etkisinin açıklanması amaçlanmıştır. Bizet’nin Carmen operasında nota örnekleri üzerinde, egzotik olarak nitelendirilen inatçı bas ve kromatik geçişlerdeki yoğunluk gibi öğeler incelenmiş; yine Bizet’nin Les Pêcheurs de Perles (1863), Wagner’in Parsifal (1812), Verdi’nin Aida (1871) ve Rimsky-Korsakov’un Scheherazade (1888) adlı eserlerinde ise egzotizmin seçilen konular, karakterler, mekânlar aracılığıyla nasıl yansıtıldığı araştırma yöntemi ile yorumlanmıştır. Wagner’de, seçilen egzotizm öğesinin olumsuz olarak yansıtıldığı, Verdi’de karakter, operanın geçtiği coğrafya ve mekânlar üzerinden belirgin bir egzotizm algısı yaratıldığı, Bizet’nin müziğindeki öğeler, mekân, karakter ve kostüm seçimleriyle, Rimsky-Korsakov’un karakter, coğrafya, mekân ve hikâye seçimiyle egzotizmi eserine yansıttığı tespit edilmiştir., As unknown lands were discovered in the 15th and 16th centuries because long-distance sea voyages became possible, Europe became increasingly interested in the exotic East. People in the West were attracted through the power of their imaginations to more colorful and attractive Eastern worlds. Perhaps, such curiosity about unknown worlds stemmed from a need for psychological escape in people tired of living in the difficult conditions caused by the industrialization processes of the 19th century. This impetus became a significant driving force for the envisioning of exoticism during the Romantic period. Exoticism was viewed merely as local color in musical works of the previous period, but it was conceptualized in the Romantic period. This paper attempts to elucidate the effects of exoticism in the Romantic period through the operas and symphonic poems of Wagner (1813–1883), Verdi (1813–1901), Bizet (1838–1875), and Rimsky-Korsakov (1844–1908). It examines elements described as exotic in the note samples in Bizet’s Carmen, including the ostinato bass and the intensity of the chromatic transitions. It was further discovered that Bizet’s Les Pêcheurs de Perles (1863), Wagner’s Parsifal(1812), Verdi’s Aida (1871), and Rimsky-Korsakov’s Scheherazade (1888) reflect exoticism through selected subjects, characters, and places. It was determined that the exotic element is negatively reflected in Wagner; Verdi creates a distinctive perception of exoticism through characters, geography, and settings; Bizet’s music conveys the exotic through the choice of places, characters, and costumes; and Rimsky-Korsakov reflects exoticism to his work through character, geography, setting, and story.
- Published
- 2021
30. Melodic structures in children's playlore
- Author
-
Hall, Hazel
- Published
- 1987
31. Singing Polyphony: An Asian Experience.
- Author
-
Wang, Jui-Ching
- Subjects
- *
PART songs , *SINGING auditions , *ETHNOMUSICOLOGY , *INTERDISCIPLINARY education , *OSTINATO ,ASIAN music - Abstract
Polyphony, often used to describe a type of composition in early European music, is also practiced in other parts of the world, not only for aesthetic enjoyment but also to strengthen a society’s cohesiveness. Examples of such musical traditions are found in sub-Saharan Africa and many mountainous regions of Europe, where group singing or music-making is part of the communal lifestyle. However, polyphony in Asian music, especially in East Asia, is rarely discussed. This article introduces two polyphonic singing traditions in East Asia: in the Wa people of southwest China and the Thao people of Taiwan. Members of these groups frequently use polyphonic techniques such as canonic imitation, antiphonal singing, melodic ostinato, or drone to accompany many sociocultural events. This article provides guidelines and teaching strategies for music educators to implement the interdisciplinary lessons in their classroom. [ABSTRACT FROM PUBLISHER]
- Published
- 2015
- Full Text
- View/download PDF
32. TIME'S ARROW, TIME'S CYCLE: Globalization in Southeast Asia over la Longue Durée.
- Author
-
Coclanis, Peter A.
- Subjects
GLOBALIZATION ,ECONOMIC conditions in Southeast Asia ,TIME ,ECONOMIC history ,OSTINATO - Abstract
A chapter of the book "Time's Arrow, Time's Cycle: Globalization in Southeast Asia Over la Longue Durée" is presented. It analyzes economic globalization in Southeast Asia using the concept of la long durée. The origins of the linear conception of time, or time's arrow, are associated with Judaism, Christianity and Islam. Temporality in Southeast Asian economic history is also examined using an image in jazz known as an ostinato.
- Published
- 2006
33. Ostinato Rigore: the essence of scientific work
- Author
-
Manuela Pérez-Garcia, Rosario Pérez-Garcia, and Germán López-Cortacans
- Subjects
Work (electrical) ,business.industry ,Oils, Volatile ,Medicine ,General Medicine ,Ostinato ,business ,Linguistics - Published
- 2021
34. Canonic techniques in the caccia: compositional strategies and historical development.
- Author
-
LOPATIN, MIKHAIL
- Subjects
CANON (Musical form) ,OSTINATO ,REPETITION in music ,PERFORMING arts repertoire ,FRENCH music ,HISTORY - Abstract
Canonic techniques in the Trecento caccia reveal a wide spectrum of ostinato procedures ranging from brief cadence patterns to large-scale harmonic and/or melodic repetition schemes. The ostinato phenomenon is thus an important structural component of canonic technique in the caccia. This article examines these ostinato patterns in terms of a putative historical and structural transformation of the genre at the intersection of unwritten and written practices. Special emphasis is placed on the definition of the caccia from the anonymous Trecento treatise, Capitulum de vocibus applicatis verbis, and its correlation with the early layer of the caccia repertoire. [ABSTRACT FROM AUTHOR]
- Published
- 2014
- Full Text
- View/download PDF
35. MELODY, RHYTHM, COLOR. A GENUINE VISION UPON ORFF METHOD.
- Author
-
Duţică, Luminiţa
- Subjects
MUSIC education ,MUSIC appreciation ,MUSICAL instruments ,COMPOSERS ,MUSICAL style - Abstract
The Orff-Schulwerk pedagogical model has imposed as one of the most attractive and efficient method of musical education where the rhythm and percussion instruments play a fundamental role. Synchronic perspective, especially the diachronic perspective upon this phenomenon indicates a permanent update and enrichment both of the concept itself and modalities of practical concretization. The present study refers to personal results obtained by the vocal-instrumental children assembly Alpha Lirae that I conduct since 2007, a band that has promoted in Romania and outside the borders a modern musical repertoire based on the exploitation of rhythmic and melodic virtues of Romanian songs with oral tradition. I will highlight the playful dimension of interpreted works by revealing the polyphonic play, techniques of modern composition and coloring that derive from diversification of vocal-instrumental combinations. [ABSTRACT FROM AUTHOR]
- Published
- 2014
36. Motivic cohesion and parsimony in three songs from Gentle Giant's Acquiring the Taste (1971).
- Author
-
Lundberg, Mattias
- Subjects
- *
POPULAR music , *PARSIMONIOUS models , *MOTIF (Music composition) , *OSTINATO , *PROGRESSIVE rock music , *TWENTIETH century - Abstract
In addition to a hierarchy of harmony and fundamental pitch, large-scale modal or tonal music generally needs to generate considerable portions of its substance from a limited number of melodic ideas in order to be readily comprehended as musical form. In Western musical tradition this has typically been achieved by means of motivic development. A distinctive trait in the mainstream of popular music in the 1960s and 1970s, on the other hand, is the predominance of clearly demarcated phrase-bound structures, where either no smaller unit than the phrase could be perceived, or where the smaller units (as in the case of riffs and ostinato figures) have functions that are subservient or complementary to the phrase-structure. Some genuine exceptions from this otherwise highly dominant tendency can be identified in the music from the so-called progressive rock movement in the early 1970s. This article investigates the case of the British group Gentle Giant (active 1970–1980). A motivic analysis of three songs from the album Acquiring the Taste (1971) elucidates how a small set of motives could be used in concatenations to unify larger and more dynamic song structures than what is possible in non-reducible phrase-bound forms. [ABSTRACT FROM PUBLISHER]
- Published
- 2014
- Full Text
- View/download PDF
37. ‘A Romanian Solzhenitsyn’. Censorship and Paul Goma’s Ostinato (1971)
- Author
-
Liviu Malita
- Subjects
Literature ,business.industry ,media_common.quotation_subject ,Romanian ,Censorship ,language ,Art ,Ostinato ,business ,language.human_language ,media_common - Published
- 2020
38. 7. 'Jazz means the blues'
- Author
-
Todd Decker
- Subjects
media_common.quotation_subject ,Jazz dance ,Art history ,Blues ,Art ,Ostinato ,Swing ,Jazz ,media_common - Published
- 2019
39. «Обертоны» романтической баллады в творчестве современных композиторов Кубани (на примере произведений Константина Пашкова)
- Author
-
O.V. Begicheva
- Subjects
Literature ,business.industry ,Prologue ,media_common.quotation_subject ,Subtext ,Art ,Elegy ,Ballad ,Cognitive poetics ,Plot (narrative) ,Ostinato ,business ,Archetype ,computer ,computer.programming_language ,media_common - Abstract
В статье рассматривается трансформация жанра романтической баллады в творчестве современного краснодарского композитора К. Пашкова. Во главу угла ставится когнитивный подход к жанру, который позволяет приблизиться к его архетипу, а затем проследить возможные пути деканонизации сложившейся жанровой формы. Опираясь на методы историко-культурологического, музыковедческого, а также сравнительного анализа делается вывод о трансляции жанровой модели романтической баллады за пределами XIX столетия. Введение в научный обиход цикла Пять пьес для струнного оркестра направлено на популяризацию творчества молодого талантливого композитора Кубани.The sociocultural existence of the genre outside its era is a problem that will never lose its relevance. In fact, the secondary use of the genre in various cultural texts is nothing more than an indicator of the viability of the morphological system of art. In the article, considering the transformation of the romantic ballad in modern culture, the author reveals the genre canon of the ballad, hidden in the depths of the authors layer of the work and turned into an image of the genre. To reconstruct the genre archetype of the ballad, its reference points are distinguished, which perform representative functions in the artistic culture. These include: the general intonation of the genrefear and sufferingarising from the invasion of the world of the dead into the world of the living plot motifs of love-in-death and fate the presence of two worldshere and beyond, which suggests a tragic outcome the character frame, consisting of a foreign alien, his beloved and a narrator compositional and dramatic balance of power corresponding to six plot functions (violation of the ritual taboo invasion of a foreign alien meeting of two worlds interaction of the worlds return of the alien wedding-funeral). The author chose the cycle Five Pieces for a String Orchestra, the work of the modern Krasnodar composer Konstantin Pashkov, as a vivid example illustrating the prolonging tendencies of the romantic ballad. Each piece of the cycle has a programmatic or genre title: No. 1 Volands Ball, No. 2 Ostinato, No. 3 Elegy, No. 4 Trioline, No. 5 Flying past Ireland. The self-explanatory names of plays 1 and 5 of the cycle send the listener to steady images, symbols of a romantic culture, in which the ball at the Satans was associated with the mythology of the Sabbath. As for the other three plays (Ostinato, Elegy and Trioline), their arrangement corresponds to three functions: invasion of a foreign alien (Ostinato), meeting of two worlds (Elegy) and return of the alien (Trioline). In the context of the whole cycle, the final piece, Flying past Ireland, is perceived as the final chord of evil spirits flying away. Thus, there is every reason to assert that the contours of the ballad genre in the Five Pieces for a String Orchestra by Pashkov are recognised at the level of a number of reference genre points. Firstly, in the depths of the subtext layer, the plot of the taboo ballad is hidden. Secondly, typical ballad motifs show through it. Thirdly, at the intonational-musical level, the main ballad characters are read. Finally, the compositional and dramatic organisation of the cycle has signs of a narrative ballad form: a prologue, a series of events enclosed in a triptych, and an epilogue. All of the above indicates that the genre of the romantic ballad is played out again in the works of modern composers. It was possible to identify the configuration of the genre signs of the ballad in the context of modern culture in the paradigm of cognitive poetics by restoring the archetypal ballad plot.
- Published
- 2019
40. ORPHEUS AND THE VANISHING NOTE
- Author
-
Charlie Blake
- Subjects
Cultural Studies ,Katabasis ,Literature ,Philosophy ,Literature and Literary Theory ,business.industry ,Allusion ,media_common.quotation_subject ,Quality (philosophy) ,Art ,Ostinato ,business ,media_common - Abstract
It is by now something of a commonplace for readers of Blanchot to claim that the limpid quality of his prose and the wealth of allusion woven through even his more opaque writings often have the p...
- Published
- 2018
41. Marimba Levels, Part 2.
- Author
-
Gaines, Julia
- Subjects
PERCUSSION music ,PERCUSSIONISTS ,MARIMBA ,MARIMBA music ,OSTINATO - Published
- 2018
42. Composing for a latency-rich environment
- Author
-
Erik Geelhoed and Michael Rofe
- Subjects
business.industry ,media_common.quotation_subject ,Latency (audio) ,edu ,performance_music ,Polyrhythm ,Art ,Notation ,Computer Science Applications ,Education ,Visual arts ,Digital media ,digital_media ,Ostinato ,business ,Amateur ,Music ,media_common - Abstract
Three new works were commissioned for the pilot performance of Online Orchestra: In Sea-Cold Lyonesse by John Pickard, Spiritus Telecommunitas by Federico Reuben and Re-Tracing by Jim Aitchison. This article brings together post-project interviews with composers and detailed analyses of the final compositions in order to document how composers approached the challenge of writing music for a latency-rich environment. Solutions include the use of distributed textures, polyrhythm and ostinati, blurred transitions, slow rates of harmonic change, layered textures and semi-improvised rhythmic notation. This leads to consideration of the medium of Online Orchestra – a telematic performance environment for distributed young and amateur musicians to make music together – and the conclusion that latency-rich environments hold significant potential for composers.
- Published
- 2017
43. ANALYTICAL JOURNEYS IN THREE PIECES FOR CLARINET SOLO BY CORNEL ŢĂRANU.
- Author
-
BENCE-MUK, CRISTIAN
- Subjects
- *
CLARINET music , *OSTINATO , *GLISSANDO - Abstract
Three pieces for clarinet solo by Cornel Țăranu carry the compositional impression of the '80s highlighting a perfect - micro and macrostructural ' balance between construction and freedom. The first piece, Toccata ostinato, builds arrhythmic ostinato on a repeated sound, in alternation with a melodic "pattern" of modal-chromatic essence. The second piece, Improvisazione, was written long time before the other two and represents a median contrast, where the sonorous discourse is delivered in a quasi-improvisational development. The third piece, Cadenza, is based on a nucleous made up of (major and minor) second and augmented fourth, transposed and built on various sounds, serving to an expressivity close to that of the lament, suggestively presented by the descending glissando. [ABSTRACT FROM AUTHOR]
- Published
- 2013
44. Less is More: The Role of Expectation in Emotional Responses to Simeon Ten Holt's Canto Ostinato.
- Author
-
Van Heesjwick, Linde
- Subjects
- *
OSTINATO , *PASSACAGLIA (Musical form) , *MUSICOLOGY - Abstract
Leonard Meyer was the first musicologist that recognised the importance of expectation in the strong relationship between music and emotion. In his influential book Emotion and Meaning in Music (1956), he proposed that 'emotion or affect is aroused when a tendency to respond is arrested or inhibited'. The Imagination, Tension, Prediction, Reaction, Appraisal (ITPRA) theory, developed by David Huron, is a recent expansion and improvement of this theory. In this paper, I will examine the ITPRA theory and use it as a basis for an analysis of Simeon Ten Holt's Canto Ostinato (1976-1979). This composition combines classical with minimalist composition techniques and incorporates a performance practice in which the performers are free to make their own decisions as to which notes to play and how many times to repeat certain sections. Through my musical analysis of Canto Ostinato, I will connect melodic, rhythmic, harmonic and dynamic characteristics of the music to some issues in relation to the emotional listening experience, including memory, attention and surprise. The analysis involves a close examination of the musical score as well as an evaluation of the performance practice, based on a recording of the performance on two pianos. [ABSTRACT FROM AUTHOR]
- Published
- 2013
45. Takt och Otakt
- Author
-
Gahrton, Daniel and Gahrton, Daniel
- Abstract
The theme of the song Lonely Woman by Ornette Coleman and the song It’s Halloween by The Shaggs has something in common when it comes to how the different instruments relate rhythmically to each other. I would call it a musical quality that could be described as a feeling of ungraspability. I had this quality in focus during a process of listening to music, writing music and playing music. To describe the cause of this quality I felt the need to define two concepts I named 1) rubato structures; rhythmic structures that aren’t based on, nor establish a steady pulse, and 2) tempo structures; rhythmic structures that are based on and establishes a steady pulse. Throughout the project I identified the cause of the quality, to be combinations of rubato structures and tempo structures, however my understanding developed during the project to a more specific definition which was layers of rubato structures and tempo structures. In the 6 compositions that this project resulted in, I created a number of musical situations with my group, which all had these elements. When listed, these situations rather systematically go through ways of combining structures in regards to different parameters. When listened to, at least for me, several of them give rise to the feeling of ungraspability I had in focus. My attempts to describe and analyze the many inspiring examples stretching from Charles Ives to Swedish contemporary vocal folk music, helped me to develope tools for making music of my own, rather than resulting in some objective truth, or a system for describing and analyzing music that would work objectively. One thing I would consider objectively true, however, is that there are a lot of different ways of creating rhythmic complexity, where some ways are very tedious and difficult for the musicians. With rhythmic layers of rather simple structures, containing rubato structures, I can create rhythmic complexity beyond the quantifiable, just by putting the human impulses in con, Bilaga: CD
- Published
- 2019
46. SONATA FOR CLARINET SOLO BY TIBERIU OLAH.
- Author
-
Metea, Răzvan
- Subjects
- *
CLARINET sonatas , *MUSICAL composition , *OSTINATO , *MUSICAL interpretation - Abstract
"A man of short stature, but with tremendous force of communicating by means of sounds; modest, but aware of his own value; secluded and slightly detached from the practical aspects of existence, but proving, in everything connected with the art of sounds, an inexhaustible energy and passion, an amazing capacity of observation and synthesis, unparalleled culture and memory as well as extraordinary precision and exigency. Apparently, Olah led an ordinary life, among us; in fact, music permeated his life as an uninterrupted ostinato, to the point of identification with it, in symbiotic communion. His personality takes prominent shape even from his first works: a strong lyrical nucleus, intense dramatism and contaminating kinetic energy " (Olguţa Lupu - March 2010). [ABSTRACT FROM AUTHOR]
- Published
- 2012
47. Composing with Types and Flexible Modules: John Williams' Two-Note Ostinato for Jaws and its Use in Film-Music History.
- Author
-
MOORMANN, PETER
- Abstract
The article provides information related to the history and production of film music. It features film composer John Williams as well as highlights the two-note ostinato in Steven Spielberg's horror film entitled "Jaws" 1975, which is noted as one of the most prominent small-scale compositional structures in film-music history. The semantic function of two-note ostinato is discussed.
- Published
- 2012
- Full Text
- View/download PDF
48. GRAPHISM AND ORGANISATION IN LES OISEAUX. CHACONNE POUR ORGUE. HOMMAGE À MESSIAEN BY EDUARD TERÉNYI.
- Author
-
Hotoran, Anamaria Mădălina
- Subjects
- *
CHACONNE (Musical form) , *OSTINATO , *HARMONY in music - Abstract
The first bar of the L'Ascension by Oliver Messiaen was taken by Terényi as "an ostinato bass", a modal and a harmonical support that has the variations of the Chaconne to develop onto them. The play has the mirror symmetries and palindrome structures as a background: from the palindrome modal scale to the palindrome of the meters and to the retrograde inversion of the design between the last three parts and the first three parts. Each variation describes a dramaturgical action that is graphically revealed and gives a space for many improvisatory variants. The score, together with other plays of E. Terényi were included in exhibitions and were received with a special interest by the public. [ABSTRACT FROM AUTHOR]
- Published
- 2011
49. TODUŢĂ'S "ANTIQUES".
- Author
-
Banciu, Ecaterina
- Subjects
- *
COUNTERPOINT , *STRING orchestra music , *HUNGARIAN poetry , *MUSIC orchestration , *UNIVERSAL language , *ELEGIAC poetry - Abstract
Delightful musical pages, the Concerto no. 3 for string orchestra "in stile antico", Old engravings for string orchestra and the Sinfonietta "in antico stile" by Sigismund Toduţă are among the "classical" works due to the ingenuity of the modal, poly-metric themes, with a local, jovial or elegy-like air, imprinted on the most elaborate patterns of variational forms, imitative polyphonic or with refrain and rendered by extremely refined orchestration. The purpose of the present paper was to reveal the relation between these works and the universality of their language. [ABSTRACT FROM AUTHOR]
- Published
- 2011
50. WHAT IS HIDDEN BETWEEN THE ACTS?
- Author
-
Nikolić, Marija
- Subjects
- *
SYMPHONY orchestras , *MUSICAL composition , *OSTINATO , *FARCE , *THEATER - Abstract
The text discusses the latest work by Zoran Erić, Entr'acte (Između činova), farce-episode for symphony orchestra. Starting from perception of the work's morphological aspects - from the structure of the materials and their relationships, to the dramaturgical tissue, to the author's note to the work - we wanted to discover what is really hidden between the acts, and whether the composition which, in the author's words, should be 'performed between some more important things surrounding it', can and may outshine 'the main event'. [ABSTRACT FROM AUTHOR]
- Published
- 2009
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