Search

This article applies the concept of isotopy to music to trace the dynamic appearances and interactions of topics in three works by György Ligeti and Thomas Adès. In contrast to previous applications of isotopy to music, the model I propose here is explicitly topic-centered, leading me to a complementary reconfiguring of Johanna Frymoyer's hierarchy of topical characteristics. My theoretical adaptions are motivated by the observations that: (1) a topic's identity is often unclear (Frymoyer 2017, Sánchez-Kisielewska 2023), an ambiguity which can be exploited compositionally; (2) the same topic can recur at different degrees of clarity in a single work, leading the listener to draw out a larger structural role for the topic (isotopy) in lieu of clear formal processes in other parameters in this repertoire (harmony, rhythm, etc.); and (3) if multiple topics are engaged, they can relate to one another in formally significant ways. Using the Chorale topic as a case study, I first demonstrate a simple closed isotopy in the second movement of Ligeti's Violin Concerto, followed by open isotopies of the Chorale and Sound Mass topics in Ligeti's Hamburg Concerto. Finally, in applying this approach to Thomas Adès's Piano Quintet I demonstrate how an isotopic analysis can work in dialogue with the familiar trajectory of sonata form. This approach aims to draw out semantic aspects of Ligeti's and Adès's highly referential style, which is representative of late-twentieth century, semantically dense, post-collage compositions, filled with familiar topics shifting in and out of focus kaleidoscopically. [ABSTRACT FROM AUTHOR]

Music emotion recognition has garnered significant interest in recent years, as the emotions expressed through music can profoundly enhance our understanding of its deeper meanings. The violin, with its distinctive emotional expressiveness, has become a focal point in this field of research. To address the scarcity of specialized data, we developed a dataset specifically for violin music emotion recognition named VioMusic. This dataset offers a precise and comprehensive platform for the analysis of emotional expressions in violin music, featuring specialized samples and evaluations. Moreover, we implemented the CNN–BiGRU–Attention (CBA) model to establish a baseline system for music emotion recognition. Our experimental findings show that the CBA model effectively captures the emotional nuances in violin music, achieving mean absolute errors (MAE) of 0.124 and 0.129. The VioMusic dataset proves to be highly practical for advancing the study of emotion recognition in violin music, providing valuable insights and a robust framework for future research. [ABSTRACT FROM AUTHOR]

Copyright of Vínculos de Historia is the property of Vinculos de Historia 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.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies 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.)

Instruments reflect the characteristics of the societies they live in and their cultural heritage values. In this context, the horse and arrow-bow duo draws attention as the cultural heritage of Turkish culture. When the string instruments were researched in order to go down to the origins of the violin instrument, the ancient key of the Turkish hand; arrow and bow duo is reached. It is seen that the string instruments came to Anatolia from the Central Asian lands through the Nomadic Turks and then reached the European lands with the cultural sharing that took place during the silk Road trade. When the ıklığ instruments, which are the past of the violin instrument, are examined, according to the geographical regions in which they are shaped; It was determined that they showed differences in terms of form, structure and naming. Despite all these differences, it is seen that the first ancestor of string instruments in general and violin in particular was born in Central Asia. In this study, it is aimed to reach information about the process that reaches the formation phase of the violin instrument within the string instruments. While the primary purpose of the article was to prove that the origin of the violin instrument reached Turkish hands, its secondary purpose was to determine the playing techniques of the violin instrument in music education.In this context, when the origin of the violin is reached, it is noteworthy that the instrument's ancestors came to life through the Turkish hand of the Music World. As a result of the article, it was determined that String Instruments first started to form in Turkish communities in Central Asia. It is seen that the origin of string instruments was string instruments at the beginning, and the instrument that added long sounds to these string instruments was the arrow-bow instruments, which are the cornerstone of Turkish tradition. In the study, the existing techniques in the violin instrument in music education were also examined in order to contribute to the literature. [ABSTRACT FROM AUTHOR]

Copyright of Pensamiento, Palabra y Obra is the property of Universidad Pedaggica Nacional 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 rapid development of Internet technology has promoted the vigorous development of the multimedia. As one of the most classic instruments, the violin has been fully developed in its creation, education, and performance. In the face of more and more violin performances, the effective organization and retrieval of these musical works is an urgent problem to be solved, while it is common to classify and organize music based on the emotional properties of the performance. Deep learning is a model based on feature hierarchy and unsupervised feature learning, which has strong learning ability and adaptability. Based on the recurrent neural network (RNN) method, long short-term memory (LSTM) is one of the classic models of deep learning that can effectively learn the characteristics of time series data and achieve effective predictions. Therefore, based on the classical Hevner emotion classification model, this paper proposes an emotion recognition method for dynamic violin performances based on LSTM, which selects acoustic features and classifies the audio acoustic signals contained in the violin performances. In order to verify the effectiveness of this method, this paper carries out data labeled, feature selection, and model test on the actual violin music data by turn. The results show that the proposed method can greatly reduce the training time and improve the prediction accuracy, which reached 83%, higher than the existing methods. Meanwhile, the accuracy and iteration times of violin playing music of different emotional categories are also counted. Moreover, the method is robust to the genre, timbre, and noise changes, and the emotion recognition effect is superior. [ABSTRACT FROM AUTHOR]

A favorable reverberation time in concert halls is a fundamental issue for room acoustic design, and various recommendations have been suggested so far. Nevertheless, one must track back more than half a century when it comes to systematic subjective experiments on this topic. In this study, binaural room impulse responses (RIRs) measured with a dodecahedral loudspeaker in concert halls, where orchestra concerts are regularly held, are used. First, signal processing is applied to RIR to equalize the dodecahedral loudspeaker response as flat and broad as possible within the audible frequency range. Then, anechoic recordings of music by piano and violin, excerpts from cadenzas, are convoluted with the equalized RIR. Next, subjective experiments are conducted to seek favorable reverberation times. Reverberance and clarity were judged by 16 music experts. From this research, the favorable reverberation times RTM (octave band average for 500 and 1000 Hz) for piano and violin solos are from 1.2 to 2.0 s and 1.8 to 2.4 s, respectively. However, the clarity index C80,3 (octave band average for 500, 1000, and 2000 Hz) needs to range from 0 to 2.4 dB and −1.6 to 0.7 dB, respectively, to meet the optimum reverberance for piano and violin. [ABSTRACT FROM AUTHOR]

Reich's Violin Phase has been mired in questions of time since its inception. In this article I present a theory of time in process music based on the notion of kinesthetic knowledge, and the synthesis of musical temporality through the generative (chronopoietic) and transformational (chronopraxial) acts of the body. I illustrate this theory with an analysis of Anne Teresa De Keersmaeker's choreography to Violin Phase, arguing that the dance serves as a proto-theory of the piece by creating and transforming its temporal trajectory. I draw attention to the role of structural convergences and divergences between dance and music, as well as of the emerging "resulting patterns," in establishing and maintaining an emotional connection between the dancer and her audience. By closely examining the relationship between the music and De Keersmaeker's movements, how together they create the space of the dance, and how the energy accumulated through incessant repetition gives shape to the aesthetic event, I argue that the choreography draws attention to novel temporal aspects of Reich's piece. [ABSTRACT FROM AUTHOR]

The paper presents unknown compositions by a forgotten Polish composer, educator and organizer of musical life, active in the first half of the 20th century, in various centres in Poland and abroad. The main content is preceded by a biographical sketch, based on biographical notes in encyclopedias and lexicons. The works, most of which have not been published and which have been preserved in manuscripts, are discussed on the basis of the author’s own source research and two publisher’s commentaries. When dealing with the main subject, a descriptive method of analysis of a musical work has been applied, which focuses on the musical form, including the compositional technique and taking into account the specificity of violin playing and the expressive aspect. The presentation concerns 22 compositions by M. Popławski: Berceuse for violin and piano, 1906; Prel- ude. Etudes pour violon avec accomp. Piano, 1907; Prelude and dance “W górach” (en. “In the mountains”) for violin and piano, 1908; La fleur fanée for violin and piano, 1908, Passage for violin and piano, 1908; Sonata in F-sharp minor for violin and piano, 1908; Drei Skizzen for violin and piano, 1908: All Ongarese, Chansonete, Eroticon, Sonata in E minor for solo violin, 1911; Suite “W słońcu” (en. “In the sun”) for violin and piano, 1912; Variations „Za toboj Lizet” for violin and piano, 1913; Reverie for violin and piano, 1913; Valse for violin and harp, 1916; Menuetto for violin and harp, 1916; Mazurka for violin and harp, 1916; Rigaudon for violin and piano, 1918; Polka for violin and piano, 1918; Etude for solo violin, 1918; Menuetto (ancient style) for violin and piano, 1920; Caprice for violin and piano, 1922; Air for violin and piano, without date. The analyses conducted allowed the following assertions regarding M. Popławski’s compositions: — the composer’s output comprises works of various genres (dance, lyrical, virtuoso, sonatas) and is classified as Neoromantic style; — the compositional technique is characterised by the principle of “permanent evolution” in the shaping of musical narration and makes use of intensive chromaticism; — later pieces tend to modernize the sound language; — the preserved Popławski’s works constitute the last stage of the late-Romantic virtuoso style in Polish violin literature.

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies 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.)