Search

In the Gambia, female fertility societies known as kanyeleng are made up of women who have experienced infertility or the death of a young child. They employ musical performance and fertility ritual practices to support members and promote the health of women and babies. This paper examines the changing forms of creativity and connection practiced by kanyeleng performers through engagement with social media in the context of the COVID-19 pandemic. Drawing on interviews, focus group discussions and participant observation conducted in person and online (2021–2022), we show that while WhatsApp provided an opportunity for kanyeleng to build new social connections and experiment with new forms of musical creativity, it also presented challenges, including inequities in access, and increased misinformation and mistrust of health workers. Going beyond formulations of domestication of technology within private home spaces, we theorise kanyeleng domestication as a process of incorporating social media into their existing ritual practice of claiming public space and power. Finally, we argue that understanding changing forms of communication and connectedness in the Global South demands new methodological approaches to engage participants whose voices are often marginalised in research on social media. [ABSTRACT FROM AUTHOR]

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article "Pulling Meaning from the Earth: Blues Singing in Song of Solomon" explores the influence of blues music in Toni Morrison's novel. Blues singing is depicted as a way for African Americans to express their struggles and find healing through art. The article delves into how blues singing in the novel represents love, promise, and a connection to the American land. It also discusses the significance of blues singing in addressing contemporary issues and offering a sense of empowerment and community. [Extracted from the article]

Editing musical texts requires a great deal of artistic, intellectual and commercial investment but, once published, an edition tends to become inert, a form of musical still life. ‘Texting Scarlatti’ explores ways of unlocking the value of a standard edition using a variety of digital tools. For as long as the editorial process in music begins and ends with analogue graphical notation, a digital music edition will inevitably be hybrid to some extent. But our project examines each stage in that process from input to output, showing how scholarly insight, performance-based musicology, data science, HCI-inspired crowdsourcing techniques and information systems can together form the basis of an open, rich digital edition for future development. Key outputs will be an extremely large machine-readable dataset consisting of more than 310,000 bars of music, together with structured, searchable apparatus for each of the 555 sonatas in the Scarlatti canon. Musicology has been a notable absentee from recent developments in artificial intelligence and machine learning (AIML) and there is a great deal of catching-up to do. In our conclusion, we urge more scholars and publishers to make similarly large, and largely hidden, datasets more openly available for machine learning and suggest some practical steps to facilitate this. [ABSTRACT FROM AUTHOR]

Emotional hardcore and other music genres featuring screamed vocals are puzzling for the appreciator. The typical fan attaches appreciative value to musical screams of emotional pain, all the while acknowledging it would be inappropriate to hold similar attitudes towards their sonically similar everyday counterpart: actual human screaming. Call this the screamed vocals problem. To solve the problem, I argue we must attend to the anti-sublimating aims that get expressed in the emotional hardcore vocalist's choice to scream the lyrics. Screamed vocals help us see the value in rejecting (a) restrictive social norms of emotional expressiveness and (b) restrictive artistic norms about how one ought to express or represent pain in art—namely that if one is going to do so, one must ensure the pain has been 'beautified'. In developing this second point, I argue that emotional hardcore is well-suited (although not individually so) for putting pressure on longstanding views in the history of aesthetics about the formal relationship between art and human pain. [ABSTRACT FROM AUTHOR]

"Lines and Lyrics: An Introduction to Poetry and Song" by Matt BaileyShea delves into the relationship between poetry and music, exploring concepts like rhythm, meter, and form. The book aims to make music theoretical ideas accessible through the lens of lyrics and poetry, providing interactive exercises for a wide readership. It emphasizes the significance of diction in analyzing poetry and lyrics, while also dissecting elements like meter, rhyme, lines, and syntax. The text highlights the intricate relationship between music and language, encouraging further research in the intersection of poetry and music. [Extracted from the article]

This document provides an introduction to Evald Ilyenkov's "Notes on Wagner," which explores the philosopher's passion for music, particularly Richard Wagner. It delves into the influence of Wagner on Russian composers, artists, and poets during the Silver Age and the avant-garde movement. The document also discusses the complex relationship between Wagner and Soviet culture, from his integration into the revolutionary fervor of the avant-garde to his appropriation by Stalinism. It highlights the efforts of figures like Anatoly Lunacharsky and György Lukács to establish Wagner as a model for socialist art. The document concludes by mentioning Ilyenkov's own attempt to reanimate the spirit of creative Marxism through his notes on Wagner. [Extracted from the article]

The article, "Translation of Evald Ilyenkov, 'Notes on Wagner'," explores the misconceptions surrounding composer Richard Wagner and his music. It argues that Wagner's work goes beyond his orchestration skills and should be understood as a reflection of historical events and transformations of the 19th century. The article delves into the philosophical influences on Wagner's compositions, particularly Tristan and The Ring of the Nibelung. It also discusses the significance of characters like Siegfried and the themes of gold and power in The Ring. The text concludes by analyzing the philosophical themes present in the opera and its symbolism. [Extracted from the article]

"The Art of Post-Tonal Analysis: Thirty-Three Graphic Music Analyses" by Joseph N. Straus is a pedagogical book that provides analyses of musical excerpts and short works by various composers from 1909 to 2016. The book includes videos that animate the graphic analyses, enhancing understanding. The analyses focus on pitch relationships and transformations in post-tonal music. The book also includes a "Post-Tonal Primer" covering key concepts. Volume 2 analyzes all of Tenney's music, excluding his juvenilia and compositions discussed in volume 1, and is recommended as a selective listening guide. Volume 1 explores Tenney's formative influences and his involvement with tape music, including his influential master's thesis on musical form. [Extracted from the article]

This article discusses two books that would be of interest to scholars and students researching specific topics. The first book, "Printing Music in Renaissance Rome" by Jane A. Bernstein, explores the trade and production of music books in Rome during the sixteenth century. It examines the role of printers, publishers, and craftsmen in creating and distributing music books, highlighting the unique market in Rome and its connection to the city's economic and social climate. The second book, "William Byrd: Consort Music" by Anne Martin, focuses on the consort music of composer William Byrd. It provides a detailed analysis of Byrd's music and its historical context. The book includes music examples, illustrations, a bibliography, and an index, making it a valuable resource for scholars and performers interested in Byrd's music. The author's decision to publish the book in 2023, the 400th anniversary of Byrd's death, adds to its significance and relevance. [Extracted from the article]

The article discusses a book titled "Here for the Hearing" that analyzes the musical structure of songs in musical theater and how it contributes to storytelling and character development. The book covers a range of topics, including specific shows like "Guys and Dolls," "The Rocky Horror Show," "The Last Five Years," "Fun Home," "Hamilton," and the Broadway parodies of the Kinsey Sicks. It is recommended for composers, theorists, and those interested in musical theater. The article also mentions another book called "Music in Star Trek: Sound, Utopia, and the Future," which explores the role of music in the Star Trek franchise and its portrayal of utopia. The essays in this book analyze the musical cues and title cues in the series and discuss the challenges of creating a utopian future. [Extracted from the article]

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Music is an important signal class for hearing aids, and musical genre is often used as a descriptor for stimulus selection. However, little research has systematically investigated the acoustical properties of musical genres with respect to hearing aid amplification. Here, extracts from a combination of two comprehensive music databases were acoustically analyzed. Considerable overlap in acoustic descriptor space between genres emerged. By simulating hearing aid processing, it was shown that effects of amplification regarding dynamic range compression and spectral weighting differed across musical genres, underlining the critical role of systematic stimulus selection for research on music and hearing aids. [ABSTRACT FROM AUTHOR]

Pansori, a traditional Korean form of musical storytelling, is characterized by performances involving a vocalist and a drummer. It is well-known for the singer's expressive narrative (aniri) and delicate gesture with fan in hand. The classical Pansori repertoires mostly tell love, satire, and humor, as well as some social lessons. These performances, which can extend from three to five hours, necessitate that the vocalist adheres to precise rhythmic structures. The distinctive rhythms of Pansori are crucial for conveying both the narrative and musical expression effectively. This paper explores the challenge of open-set recognition, aiming to efficiently identify unknown Pansori rhythm patterns while applying the methodology to diverse acoustic datasets, such as sound events and genres. We propose a lightweight deep learning-based encoder–decoder segmentation model, which employs a 2-D log-Mel spectrogram as input for the encoder and produces a frame-based 1-D decision along the temporal axis. This segmentation approach, processing 2-D inputs to classify frame-wise rhythm patterns, proves effective in detecting unknown patterns within time-varying sound streams encountered in daily life. Throughout the training phase, both center and supervised contrastive losses, along with cross-entropy loss, are minimized. This strategy aimed to create a compact cluster structure within the feature space for known classes, thereby facilitating the recognition of unknown rhythm patterns by allocating ample space for their placement within the embedded feature space. Comprehensive experiments utilizing various datasets—including Pansori rhythm patterns (91.8%), synthetic datasets of instrument sounds (95.1%), music genres (76.9%), and sound datasets from DCASE challenges (73.0%)—demonstrate the efficacy of our proposed method to detect unknown events, as evidenced by the AUROC metrics. [ABSTRACT FROM AUTHOR]

Acoustic depth is an elusive indicator that touches the world of emergencies, or perceptual focus, in a peculiar way. The realm in which these forms of recognition operate indeed links media theory to perception theory and aesthetic reflection. Expressions such as acoustic scene, sound depth or sharpness, or acoustic image when discussing the receptive forms of various microphone models, are just a few cases where imaginative synthesis translates the sense of phenomena arising from the resistance of sensory properties to the structures of linguistic formalization. The language of media is full of these references, which seem to refer to a common sense that emerges in the differentiation of perceptual channels, but is rarely made explicit in a clear manner. To understand acoustic depht's nature, we can use the concept of emergence: every time we hear a sound, that acoustic process is always surrounded by a myriad of small sounds that interact with it. The notion of emergence can be applied to anything present in the surrounding environment. It can be applied to any configuration that breaks the homogeneity of a perceptual field. So, we can analyze the complexity of this synthetic formation by tracing it back to increasingly simpler synthetic planes. When talking about composition, synthesis, and association, it has already the results of compositional operations and which provided the ultimate or primary material – either term suffices, depending on the direction we choose to take. These are essential factors in spatial orientation processes, but they are structurally opaque: we'll work on three examples taken from classical music, ethnomusicology, and hearing aids. [ABSTRACT FROM AUTHOR]

While a majority of the Second World War-based musicals tend to glorify America's heroism and downplay or ignore its injustices, Jay Kuo's (2015) musical Allegiance centres on the unlawful incarceration of over one hundred and twenty thousand Japanese American civilians held in American concentration camps during the war, which is a history that many Americans continue not to be aware of. Through foregrounding Jessica Nakamura's framework of response-ability, this article considers the ways Allegiance activates it, through the use of spectral embodiment as a means to engage ghosts of Japanese diasporic war memory, especially as it relates to the portrayal of the historical figure Mike Masaoka and a staging of the Hiroshima bombing. Allegiance's staging of ghosts is similarly interrogated within a musical where unsettled personal trauma conjures ghosts of the past that must be settled by characters like the protagonist, Sammy Kimura, who enters a dialogic relationship with them. Through analysing press materials, onstage performances, interviews and documentary content, this article highlights how transnational connections and transgenerational response-ability are staged to help cope with and remember Japanese and Japanese American experiences. It similarly discusses how the musical form aided and inhibited the show's meaning to and resonance with audiences throughout Allegiance's production history. Through settling and unsettling the dead, this article considers how Allegiance enshrines personal, communal and national memories about wartime incarceration into a piece of art that serves educational and reparative purposes for the production companies and audiences who experienced the show on and off-Broadway. [ABSTRACT FROM AUTHOR]

This article explores the criteria used to ascertain whether or not, and how, ancient Chinese bronze bells might form sets of musical instruments, thus clarifying their original intended use by ancient musicians. The focus is on ten bells unearthed from Changsha city in Hunan province in China, which date to the twelfth century BCE. A range of diverse relationships between these bells provide valuable insights that can be explored. Debate is ongoing among music historians regarding the nature of the bells. Some argue that the ten bells do not constitute a set of musical instruments because their designs and acoustic properties lack sufficient similarity and correlation. Conversely, another group of historians suggests that nine of the ten bells could indeed be seen as a set, but with the tenth bell being an outlier due to its distinct design. The third group of historians contends that the ten bells should be considered a musical set because of their organized sequence of consecutive semi-tones, while the design differences of the bells are less significant and can be overlooked if we focus on their musical functions. In this study, we scrutinize the assumptions made by these music historians, including their definitions of design similarity and the sequence of progressive pitches. Further previously overlooked criteria, such as the geographical proximity of these ten bells and others found in neighboring areas, and the incremental changes in the bell sizes, are also considered. Through the use of these criteria we aim to explore a wide range of relationships between ancient Chinese bells and to reassess what other new evidence the bells may offer to the study of ancient Chinese musical concepts. The concept of the chromatic scale discovered by ancient Chinese musicians was embodied on the casting of bronze bells. [ABSTRACT FROM AUTHOR]

The originality of instrumental musical interpretation is a distinctive feature of each musician, influencing and reflecting their artistic style and worldview ideas. The study aims to determine the peculiarities of the influence of an individual teaching method on the development of instrumental musicians' performance skills. General theoretical analysis, comparison and observation techniques were used to achieve this goal. The final results were also based on the skill level coefficient, quality coefficient, and Mann-Whitney test calculations. The research process provided for developing individualized training for future instrumental musicians, focusing on developing interpretive and technical skills, artistic interpretation and improvisation. The practical significance of the work lies in the possibility of using the developed individual approaches to teaching musicians-instrumentalists, taking into account their capabilities. Prospects for further research can be to compare the effectiveness of an individual approach to teaching musicians-instrumentalists of primary school age and students. [ABSTRACT FROM AUTHOR]

This essay examines Carolyn Cooper's intellectual project as a practice of noisy disturbance that anchors her conceptualization of Jamaican literary and cultural discourses within the concrete materiality and exteriority of the island's historical, cultural, socioeconomic, and linguistic realities. Using Edward Said's notion of worldliness, the essay argues that Cooper articulates this via three related tropes—noises, border clashes, and the vulgar body—that address the politics of Jamaican linguistic and cultural hierarchies. Cooper's two groundbreaking publications, Noises in the Blood: Orality, Gender, and the "Vulgar" Body of Jamaican Popular Culture (1993) and Sound Clash: Jamaican Dancehall Culture at Large (2004) are read schematically as strategic interventions that privilege a multifarious disturbing and transgressive orality. Cooper's work is deliberately and self-consciously invested in disturbing and disrupting cultural and linguistic shibboleths that accord epistemological nullity and ontological invalidity to Jamaican vernacular discourses such as Jamaican Creole/Patwa and the musical genres of reggae and dancehall. [ABSTRACT FROM AUTHOR]

What is the intercultural significance of jazz for the development of Chinese pop music? The main content of this dissertation is to study and discuss the period when jazz music entered China and how it affects the development of past and present Chinese pop music. In today's society, intercultural research is ubiquitous. Since the birth of civilization, people from different disciplines and artistic fields have been trying to build cultural bridges.1 China has a long history of culture and music development. With the changes of the times, China's music civilization has been continuously developed and changed with the replacement of various dynasties in the past. In addition, Confucius's Confucianism has influenced the development of Chinese music and music education. The history of jazz music is not very long, but it has become an indispensable element of today's social music culture. Perhaps it is because jazz has rich musical style features, such as improvisation and unique jazz scales. In addition, the musical content of its expression is democratic and free. The musical form of Jazz music originated in the United States in the late 19th and early 20th centuries, it is a combination of African black culture and European white culture. It is a kind of "hybrid" music form that affects the development of Chinese music with deep-rooted civilization, especially some Chinese pop music. The dissertation will study how jazz integrates Chinese music to produce Chinese pop music, as well as the intercultural influence of jazz, and how Jazz affects the pop singers of Chinese pop music. [ABSTRACT FROM AUTHOR]

In this paper we can understand about the different styles of music practiced by the musicians of the Gandharba community of Nepal and the adjoining regions. These styles of music have been studied and listed. Some of these styles of music belong exclusively to the Gandharba community, while some belong to neighboring communities. All of the musical forms belong to communities residing in the central Himalayan region comprising of the country of Nepal and the adjoining Indian territories. These musical forms represent the rich cultural heritage of the Gandharba community. [ABSTRACT FROM AUTHOR]

Time and again there have been constant attempts to adapt various kinds of instruments to Indian art music. Santūr - the folk instrument of the Jammu-Kashmir region of India has seen a similar transformation to suit the classicality of hindustāni music. Today, it is considered among the leading solo-performing instruments. This study attempts to analyse the live concert performances of rāga bāgēśrī on santūr, available in the public domain. Based on the musical output, quantitative analysis has been undertaken for the different musical forms performed in the rāga presentation. Subsequently, a detailed qualitative analysis of the introductory ālāp segment has been conducted for the parameters viz. range of svara-s, unique and unusual rāga phrases, anchoring on svara-s, oscillatory embellishments, and nyāsatva. By mapping the prayōga (lakṣya, practical) to the śāstra (lakṣaṇa, theory) descriptions of the rāga, the study analyses and attempts to gain a perspective on understanding the congruences and divergences of lakṣya and lakṣaṇa in the performance of rāga bāgēśrī on santūr. [ABSTRACT FROM AUTHOR]

The paper investigates the problem of the time arrow in terms of artistic creation. The statistical model of artwork signal processing is established in order to identify a duality relation between psychological and intrinsic time. The intrinsic time is linked to the time operator of wavelets, and the psychological one is metaphorically related to the spatial domain of an artwork. The increase of irreducible randomness along the timeline is formulated by the second law of thermodynamics. The dual statement concerns an increase in statistical complexity, which is the definition of self-organization. In that manner, two arrows of time which are opposed and dual to each other are recognized. The authors have indicated a link to the theory of musical forms, the originality issue, and the perspective problem. Some repercussions for art theory, neuroaesthetics, and psychophysics have also been implied. [ABSTRACT FROM AUTHOR]

Medium of performance is a common way of finding musical works, and the recently developed Library of Congress Medium of Performance Thesaurus for Music (LCMPT) improves access to medium of performance in bibliographic records compared to legacy standards. This article describes use of the "Music Form Genre" tool developed by Gary Strawn to add LCMPT terms, genre/form terms, and other updates to batches of bibliographic records for music scores for chamber music (Western art music composed for small ensembles). Additionally, URIs for name headings were added to the records in anticipation of future linked data developments. [ABSTRACT FROM AUTHOR]

Songs, regarded as a form of musical expression, consistently mirror societal culture. This research aims to unveil and analyze the song tegalan, which serves as a portrayal of Tegal's cultural identity. The research employs a qualitative descriptive methodology. Data collection for this study involved scrutinizing tegalan songs, particularly their lyrical content, with the purpose of comprehending the themes depicting the unique identity of the Tegal community. In addition to observation, the researcher conducted in-depth interviews with three notable tegalan song artists. A literature review was also undertaken to corroborate the research findings. The collected data was then distilled to extract information pertinent to the research theme, which was subsequently presented based on the interpretation of Tegal's cultural identity and then conclusively analyzed. The research findings indicate that within the lyrics of tegalan songs, four cultural identities are discernible: (1) the utilization of colloquial Javanese infused with the "ngapak" dialect; (2) the characteristic of spontaneous and sincere communication reflective of the Tegal community's culture; (3) the identity of coastal communities, which tend to exhibit straightforwardness; and (4) the diverse range of typical Tegal delicacies such as "sega ponggol", tea with palm sugar ("teh poci gula batu"), among others. Based on these findings, it can be inferred that tegalan songs, in terms of their lyrical content, epitomize the linguistic culture of the Tegal community in both structure and communicative patterns. Moreover, in terms of messaging, these songs convey insights into the identity and distinctive attributes of the Tegal community.. [ABSTRACT FROM AUTHOR]

"The Music of James Tenney" by Robert Wannamaker is a two-volume study of the life and work of composer James Tenney. The first volume provides a chronological overview of Tenney's stylistic periods and focuses on three key concerns in his career: a rejection of musical self-expression, the use of "top-down" compositional designs, and an interest in the interplay of rational structures and bodily sensations. The second volume analyzes all of Tenney's music, providing a listening guide for readers. Wannamaker's analyses encourage readers to explore different listening experiences and offer insights into Tenney's unique body of work. [Extracted from the article]

A song is composed of a series of tones that form a melody and support musical elements. It uses the tones of a human voice to beautifully and meaningfully express thoughts or feelings The combination of a song with a lively poem (text) can stir up a lot of emotions in the audience and have a major effect on their soul. This study aims to explore the emotions evoked by Kemas Anwar Beck's lyrics for his song Nasib Kulo and how his experiences show up in using language and wordplay to give his lyrics a unique and appealing quality. The study focuses on analyzing the content of the song lyrics and interpreting their meaning in a qualitative descriptive manner. A semiotic theory is used to decipher the meaning of the lyrics that were penned in polite Palembang Alus language. Moreover, a musicology approach is also used to analyze the musical form. The results show that the song Nasib Kulo uses two types of symbols, namely, verbal meaning in the form of poetry or lyrics and non-verbal meaning in the form of song elements, that is, chord progression, melody, tempo, and dynamics. As a result of the creativity of the artist, the mindset of life conception and lifestyle are reflected in his artwork. In conclusion, the song Nasib Kulo that is written in Palembang Alus language is very influential for individuals and communities. [ABSTRACT FROM AUTHOR]

This article examines the concept of tonal hearing and its significance in the study of music. It delves into the historical and cultural context of tonality, particularly its association with European art music from the 18th and 19th centuries. The author raises questions about the assumptions and limitations of tonal hearing, especially when applied to early music and other musical traditions. The article advocates for a more inclusive and diverse approach to music analysis that incorporates non-Western perspectives. Additionally, it mentions the book "Hearing Homophony: Tonal Expectation at the Turn of the Seventeenth Century," which received the Wallace Berry Award from the Society for Music Theory in 2020. The book explores tonal expectation during the late 16th and early 17th centuries, providing insights into the understanding of homophonic music during that time period. [Extracted from the article]

How can absence make presence become? The question turns a usual notion of form inside out; it subverts normative habits in drawing distinctions. If we adapt the models of time by which we might consider such things (and not-things), the relational terms of form can shift. Two lines of inquiry are pursued in this article. The first is an investigation of form and its relation to time. The second is an exploration of paradox in describing forms of art. Both are cybernetic in their framework and approach. The 'Hastig' ('Hastily') movement of Robert Schumann's 1839 piano work Humoreske is the form that serves as site for the two inquiries to intertwine. Its construction presents a paradox through which form and time may be called into question. In considering Schumann's composition as a re-conceiving of form and time, an idea emerges; art can make us aware of the constraints and possibilities of our models and our experiences of paradox in living with them. [ABSTRACT FROM AUTHOR]

Clara Wieck Schumann: Art of Preluding and Romance – The Piano Music of Clara Schumann are two albums that contribute to the re-appreciation of Clara Schumann's work as a performer, composer, and educator. These albums provide insights into Clara Schumann's approach to piano playing and teaching, emphasizing the importance of tone and musicality. The albums showcase the technical and harmonic range of Clara Schumann's preludes and compositions, highlighting her compositional and performative qualities. Both albums offer a deeper understanding of Clara Schumann's talent and innovative genius. [Extracted from the article]

In Aristotle's account of change, lacking a form is called privation (Physics I.7 191a14). For example, someone takes on the form of being musical only from previously having the privation of being unmusical. However, he also states that "shape and nature are spoken of in two ways, for the privation too is in a way form" (Physics II.1 193b19). I will demonstrate that these seemingly contradictory statements are not actually in tension. Since all perceptible matter must be enformed, we would have trouble discussing things that have yet to undergo generation, like menstrual fluid, and things that have undergone corruption, like corpses, if we did not cite the privation as a sort of form. I will argue that, given his commitment to hylomorphism, Aristotle is committed to privation being a form in a qualified sense. It cannot be a form in an unqualified sense because privation often spoils the matter such that it can no longer be reformed. The fact of the matter is we cannot draw a bright line between privation and form because the two are contraries and can be said to hold to different degrees at different points on a spectrum. [ABSTRACT FROM AUTHOR]

This article provides a performance guide for three song cycles by Norwegian composer Agathe Backer-Grøndahl, which set the poetry of Vilhelm Krag. The article discusses the background of both the composer and the poet, as well as the specific songs included in each cycle. It also mentions the availability of scores and recordings of these works. The article aims to equip readers with the necessary tools for studying and performing these lesser-known compositions. [Extracted from the article]

Although most songwriting teams in the Great American Songbook wrote music first and lyrics second, most studies of music-text interaction in this repertoire still evince a lyrics-first mindset, in which the music is viewed as text-setting. In this article, I propose the opposite approach: considering lyrics as a form of music-setting, in which the lyricist's superimposition of a verbal form (the rhyme scheme) upon the composer's pre-existing musical form counts as an act of analysis. I examine in turn: (1) the most common phrase structures and their associated rhyme schemes in songs from 1919 to 1943; (2) Lorenz Hart's negotiation of the unusual XYYZ phrase structure that Richard Rodgers frequently employed; and (3) special cases where the lyricist contests the composer's form and the effect that this can have on performers' choices. [ABSTRACT FROM AUTHOR]

The timeworn view that Bruckner's sonata form is a motionless architecture devoid of dynamic processes has long contributed his isolation from the mainstream post‐Beethovenian tradition. Taking inspiration from August Halm's (1914) and Ernst Kurth's (1925) approaches, which were aimed at overcoming this view, this article seeks to elucidate the processual aspects of Bruckner's symphonic form in light of recent theoretical developments in musical form. Specifically, it combines William Caplin's form‐functional theory (1998), especially its beginning–middle–end paradigm, with Matthew Arndt's (2018) reconception of formal functionality to construct a new framework for the analysis of Bruckner's symphonic forms. By way of an analytical case study of the first movement of Bruckner's Sixth Symphony, the article reveals that the expression of continuous motion occurring across discrete formal entities, often further dramatised by 'wave dynamics' (Kurth 1925), is fundamental to Bruckner's reinvigoration of sonata form's inherent temporal process in a post‐Romantic context. In the exposition, the inter‐thematic beginning, middle and end paradigms are redistributed to the three thematic groups, which express their unique temporal domain while delineating a continuous tonal journey from the home key to the subordinate key. The remainder of the movement articulates a gradual journey of homecoming, with each subsequent large‐scale part addressing previously suggested tonal implications. Ultimately, the modified form‐functional approach adopted in this study sheds light on Bruckner's exceptional care for formal syntax on various levels of structure, and its close association with an overarching, though unconventional, tonal plot. [ABSTRACT FROM AUTHOR]

If computer programming languages can be used to control the movement of robots, they can therefore be used as choreographic notations. Weaving, dance, and musical forms can be taken as places of inspiration for this, bringing together patterns, computation, movement, and notation in live telematic performance involving live coding of both audience and robots. [ABSTRACT FROM AUTHOR]

The article focuses on the expanded Timeline of African American Music, which offers detailed entries on over fifty music genres, thematic stories in music history, and a comprehensive bibliography of web resources. Topics include the site's design to mimic scrolling through a historical timeline, its accessibility for both scholars and newcomers to African American music history, and its integration of multimedia elements such as sound examples and archival images.

This article analysis a Kazakh Music dataset, which consists of 800 audio tracks equally distributed across 5 different genres. The purpose of this research is to classify music genres by using machine learning algorithms Decision Tree Classifier and Logistic regression. Before the classification, the given data was pre-processed, missing or irrelevant data was removed. The given dataset was analyzed using a correlation matrix and data visualization to identify patterns. To reduce the dimension of the original dataset, the PCA method was used while maintaining variance. Several key studies aimed at analyzing and developing machine learning models applied to the classification of musical genres are reviewed. Cumulative explained variance was also plotted, which showed the maximum proportion (90%) of discrete values generated from multiple individual samples taken along the Gaussian curve. A comparison of the decision tree model to a logistic regression showed that for f1 Score Logistic regression produced the best result for classical music - 82%, Decision tree classification - 75%. For other genres, the harmonic mean between precision and recall for the logistic regression model is equal to zero, which means that this model completely fails to classify the genres Zazz, Kazakh Rock, Kazakh hip hop, Kazakh pop music. Using the Decision tree classifier algorithm, the Zazz and Kazakh pop music genres were not recognized, but Kazakh Rock with an accuracy and completeness of 33%. Overall, the proposed model achieves an accuracy of 60% for the Decision Tree Classifier and 70% for the Logistic regression model on the training and validation sets. For uniform classification, the data were balanced and assessed using the cross-validation method. The approach used in this study may be useful in classifying different music genres based on audio data without relying on human listening. [ABSTRACT FROM AUTHOR]