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The New Grove Dictionary of Music and Musicians
... DEUMM, 3: 533, s.v. «pandura»; Grove,19: 30,s.v. «pandoura»;DECast,[4][5][6][7]s.v. ...
... Tuttavia, le principali enciclopedie di musica trattano unicamente il significato di 'oggetto per pizzicare le corde' (cf. Grove,DEUMM,3: 658). Il dizionario LML riporta la maggior parte dei significati rilevabili nella trattatistica musicale medievale, ma interpreta la definizione data da Juan Gil de Zamora, erroneamente, come 'ponte del monocordo' (LML, 2: 885). ...
The De proprietatibus rerum by Bartholomaeus Anglicus is an encyclopaedic compilation written in Latin between 1230 and 1240. Seven translations were made in the 14th-15th centuries, in French, in Occitan, in English, in Dutch, in Spanish and in Italian. The last chapter is dedicated to music, with descriptions of fourteen instruments. The author’s main sources are the Etymologies of Isidore of Seville and Boethius’ De institutione musica . Translations into romance languages often abbreviate and alter the text, changing the names of instruments, adding or removing details. The article aims to illustrate the problem of translation from Latin to vernacular and to analyse the nomenclature and description of musical instruments.
... Four-handed piano is a type of piano duet that involves two players playing the same piano instrument simultaneously. In use in America, the former is often referred to as a four-handed piano (Sadie, 1980). The use of the four-handed piano format is still rarely used as a learning material for piano instruments. ...
Learning media can be said as a tool in the learning process, with everything that can be used to stimulate the thoughts, feelings, attention and abilities or skills of students so that it can encourage the learning process. The material presented must be systematically and psychologically designed in order to prepare effective instruction. This article discusses learning to read piano instrument block notes using a virtual four-handed piano learning video that can be easily accessed and studied individually. However, the success of the four-handed virtual piano learning video in learning piano block notation has various aspects that must be considered so that the music-making features available in the video can be used effectively. This article aims to discuss the level of student satisfaction in the use of four hands virtual piano learning videos, identify obstacles in learning, provide feedback and important information for learning improvement. This research uses descriptive analysis method. Involving three course students who already understand reading block notation, in the Borg and Gall method, this product testing is in stage 1, where the subjects involved are still in small scope. The results of this test show some of the advantages and disadvantages of learning videos, both in terms of audio, visual, material, material delivery techniques, to the level of students' understanding of the material.
... Liszt tidak menggunakan musik secara langsung sebagai alat untuk menggambarkan objek, tetapi lebih kepada tujuan bahwa musik dapat membawa pendengar ke dalam suatu pola pikir yang sama sebagaimana objek itu sendiri, seperti halnya ketika mereka melihat objek itu secara langsung. Maksudnya adalah dengan memunculkan sisi emosional dari objek, sehingga musik secara tidak langsung dapat mewakili objek tersebut (Sadie, 2002). ...
Indonesia has a very diverse diversity of traditions, so it becomes a potential asset to be explored and developed. One of the potentials of this nation can be used as a source of inspiration or ideas in creating musical compositions. Each region in Indonesia has its own traditions, such as one of the oral traditions of the people of Pulau Temian, Kabupateb Tebo, provinsi Jambi. In this area there is a story called "Pik-Pik-Numpang-Tiduk", which is a lesson about modesty that is found in a meeting between men and women. "Pik-Pik-Numpang-Tiduk" revolves around the procedures for male lovers visiting the woman's house and how customary values and kindness are maintained. This activity is the basic foundation for creating a rhythm of a motive of the star, which is called the motive of a picnic star overlapping. This motif was then developed in accordance with the contents of the story "Pik-Pik-Numpang-Tiduk". and worked on a composition of orchestral music. The creation of this musical composition through the stages of identification of musical elements, exploration of musical ideas, and experimentation on intervals found in the habits of local villagers, so that it becomes a new color in the form of orchestral music compositions that have the characteristic of one archipelago and represents a description of the story of Pik-Pik Numpang Tiduk from the village of Pulau Temiang.Keywords: Pik-Pik’ Numpang Tiduk, Kelintang
... Before modernity, i.e. in feudal society. 19 A Norwegian folk instrument (violin), generally having four melody strings above the fingerboard, four or five wire sympathetic strings below(Sadie, 2001). ...
... The term Programme Music is used for instrumental music (compositions without musician and lyrisists) and not used for Opera or Lieder. Programme Music is from the single movement symphonic poem (Kamien, 2000;Sadie, 2001). Programme Music of Timang XekorY is a type of musical art that combines both descriptive illustrations with narration for the music presented. ...
... Korean as well as Western audiences relate primarily to Western styles as their native musical language, yet Hwang has succeeded in appealing to both even while avoiding the surface features of Western music adopted by many other Korean composers. 10 Without really trying to, he has achieved sufficient "canonical" status to be listed in standard international reference works like the New Grove Dictionary of Music and Musicians (Sadie 2001) and Contemporary Composers (Morton and Collins 1992). Operating outside the paradigm of "incorporating indigenous elements into Western style," he has been largely unaffected by the "Catch-22 situation" and "double bind" that such a paradigm brings with it. ...
Ramiro Luis Guerra González fue un compositor regiomontano que vivió el rompimiento del nacionalismo en México y formó parte de la siguiente generación de músicos. Una obra importante en su producción es la Suite bucólica para orquesta y coro de voces blancas, la cual se estrenó en 1959 en el Palacio de Bellas Artes en la Ciudad de México, y en 2015 se reestrenó en su ciudad natal, Monterrey. En este concierto se tocaron tres movimientos: Preludio, Ronda en el bosque y Pastoral. Es posible que la suite esté conformada por más movimientos, y, de ser así, habrá que encontrar los restantes y el porqué no se ejecutaron. En este trabajo se continúa la labor de reunir esta bella obra que se inició con la tesis doctoral en la que se catalogó toda la producción disponible del compositor. Ahora, se ahonda en ella y sus fuentes a través de un estudio filológico en el que se comparó el papel, la tipografía y el estilo musical. Como consecuencia de esta investigación, se encontraron las tres piezas faltantes de la Suite bucólica, así como el orden que el compositor determinó: Preludio, Ronda en el bosque, Danza del ogro, Pastoral, El encantamiento y Postludio. Este hallazgo da pie a que esta obra se reestrene de forma íntegra.
ZET Müzik, antropologlar tarafından kültürün en önemli konservatif öğelerinden biri olarak kendi varlığını koruyan ve toplumdaki bazı öğeleri zaman içerisinde değişime uğratabilen bir unsur şeklinde tanımlanabilmektedir. Bu nedenle, bir toplumun müziği değişim yaşarken, bu olay etnomüzikologların olduğu kadar, sosyal antropologlar ve kültür tarihçilerinin de ilgisini çeken bir süreci temsil eder. Kültürel etkileşimlerin söz konusu olduğu yakın coğrafyalarda en önemli etki merkezlerinden biri müzik alanıdır. Bu anlamda, 20. yüzyılda toplumun her kademesinde sosyal değişimin bir parçası olarak büyük dönüşümler yaşayan İran'ın, yakın coğrafyalarla yaşadığı kültürel etkileşim ve bölgede değişen müzikal unsurlar göz önüne alındığında, verimli bir çalışma sahası oluşturduğu söylenebilir. İran müziğinin antik dönemden beri oldukça sofistike bir yapıya sahip olduğu, günümüzde ise İran müziğinin geçmişe dönüş yaptığına dair fikirler olmasına rağmen, bunu ispat edecek o dönemlere ait melodiler için kesin kayıtların mevcut olmadığı bilinmektedir. Bu sebeple, İran müziği otoriteleri, bölgede tek bir müzikal gelenekten ziyade birçok geleneğin varlığından bahsetmektedir. Bu çalışmada amaç, İran müzikal tarihine genel bakış ve bölgedeki kültürel etkileşim ışığında, geleneksel (klasik) İran müzik teorisi, müzikal formlar ve çalgıların tanımlamalarını yapmaktır. Veri toplama ve inceleme ile nitel araştırma yöntemlerinin kullanıldığı araştırmada, Türkçe, İngilizce ve Farsça kaynaklardan faydalanılmıştır. Araştırma bulguları olarak, kadim bir müzik geleneğine sahip İran müzik kültürü ve çevre kültürlerin etkileşimi sunulmaktadır.
الأهداف: يهدف هذا البحث إلى قياس مدى تأثير الفن الأوركسترالي الأوراتوريو على نحو عام وأوراتوريو "السماء والأرض" على نحو خاص في نشر ثقافة التعايش والتسامح ونبذ الفكر المتطرّف. المنهجية: يتبع هذا البحث المنهج الاستطلاعي؛ حيث جرى إعداد استبانة قُسّمَت إلى ثلاثة محاور: الفنون والمجتمع، التأليف الأوركسترالي وأثره في محاربة الفكر المتطرّف، ومساهمة أوراتوريو "السماء والأرض" - وهو أوراتوريو ألّفه الباحث - في التعايش ومحاربة التطرّف. وقد تضمن المحور الثالث المادة السمعية للأوراتوريو التي كانت متاحة لعينة الدراسة التي يبلغ قوامها 552 مشاركًا. النتائج: أظهرت نتائج الدراسة أن هنالك مساهمة كبيرة لأوراتوريو "السماء والأرض" في التعايش ومحاربة التطرف، وأن هنالك أيضًا تأثيرًا واضحًا للتأليف الأوركسترالي على نحو عام في محاربة التطرف. التوصيات: توصي الدراسة بضرورة الاهتمام بقالب الأوراتوريو الذي يتناول موضوعات مجتمعية من شأنها التأثير الإيجابي على سلوك الفرد والمجتمع، والاهتمام بالمؤلفات الأوركسترالية العربية التي تصور ثقافات وصبغات الشعوب العربية، ونقلها إلى جميع شعوب العالم.
تميزت موسيقى الجاميلان بالأنماط الصوتية الفريدة مما جعلها تجذب إنتباه المؤلفين الغربيين إلى الناتج الصوتي المميز من دمج الموسيقى الكلاسيكية الغربية والجاميلان الأندونيسي، هذا بالإضافة إلى الطابع الشرقي الذي يخلقه المقام الخماسي المستخدم في موسيقى الجاميلان. والنسيج الغني المكون من عدة طبقات ذات سرعات وإيقاعات مختلفة، وقد قام العديد من المؤلفين الموسيقيين بالانتباه لموسيقى الجاميلان وتضمينها في أعمالهم بأكثر من شكل، ومن هؤلاء المؤلفين المؤلف البولندي الأمريكي ليوبولد جودوسكي (Leopold Godowsky)(1870م : 1938م)، والمؤلف الفرنسي موريس رافيل (Maurice Ravel)(1875م : 1937م)
ويتضمن هذا البحث مشكلة البحث، الأهداف، أسئلة البحث، والدراسات السابقة المرتبطة بالبحث، واتبع البحث المنهج الوصفي تحليل محتوى.
واشتمل الإطار النظري للبحث على موسيقى الجاميلان، العناصر الموسيقية لموسيقى الجاميلان، تأثير موسيقى الجاميلان على الموسيقى الغربية، ونبذة عن حياة كل من ليوبولد جودوسكي وموريس رافيل؛ أما الإطار التطبيقي فقد تناول تحليل عينة البحث ثم التوصل إلى النتائج والتوصيات.
“An Applied Analytical Study for Chopin’s Piano Nocturnes”
Frederic Chopin (1810- 1849) is considered one of the Romantic composers who have created music for the piano instrument in this Period, this Period known for imagination ereatcuity and emotional expression. He is one of the prominent composers for the piano, indeed he is called the poet of the piano, this is because of the sweetness and Romanticism of his compositions, which as well contain different and not easily played ones. Chopin composed many works for the piano, among which are nineteen Nocturnes pieces, which were the most expressive of his sentiments and sensations.
The problem of this research lies in the fact that Chopin’s Nocturness compositions are untried by any researcher before, though they contain difficulties and various playing and expressive attempt to analytically to know their features and overcome their expressions and technical difficulties.
This Research Aims At:
1. Getting acquainted with Chopin’s Nocturnes compositions, to help the student understand their construction.
2. Knowing the various expression and technical difficulties and trying to find suitable solutions in order to perform them in a perfect technical form.
The Researcher has put the following suppositions:
3. Getting acquainted with the structural form of these compositions to help the student understand their formation.
4. Knowing the expression and technical difficulties in the Nocturnes compositions of Fredric Chopin.
5. Suggesting suitable exercises to facilitate these difficulties to help the student perform them in a perfect technical way.
" دراسة تحليلية عزفية لمؤلفات النوكتورن عند فريدريك شوبان "
يعد فريدريك شوبان (1810 – 1849) من بين المؤلفين الموسيقيين الرومانتيكيين الذين قاموا بابتكار وخلق موسيقى لآلة البيانو في العصر الرومانتيكي ، ذلك العصر الذي اتسم بالخيال والانطلاق والتعبير العاطفي .
ولقد احتل شوبان مكانة مرموقة بين كل المؤلفين الموسيقيين ، حتى لقب بشاعر البيانو ، نظراً لرقة ورومانسية مؤلفاته والتي لم تكن تخلو أيضاً من أساليب العزف المختلفة والصعبة الأداء ، وقد ألف شوبان العديد من المؤلفات الموسيقية لآلة البيانو ، ومنها مؤلفات النوكتورن "الليليات" وعددها تسعة عشر ليلية ، والتي كانت من بين مؤلفاته جميعاً أكرهم تعبيراً عن مشاعره وأحاسيسه وتكمن مشكلة هذا البحث في أن مؤلفات النوكتورن عند شوبان لم يتناولها أحد من قبل ، رغم أنها تحتوي على صعوبات ومهارات عزفية وتعبيرية عديدة ، ومن هنا كانت ضرورة تناول هذه المؤلفات بالتحليل العزفي للتعرف على سماتها وتذليل صعوباتها التكنيكية والتعبيرية .
- ويهدف هذا البحث إلى :
1. التعرف على مؤلفات النوكتورن عند شوبان ، لتساعد الدارس على تفهم الشكل البنائي لها .
2. تحديد الصعوبات الفنية من حيث جوانبها التكنيكية والتعبيرية المتعددة ، ومحاولة إيجاد الحلول المناسبة لها للوصول إلى أداء مؤلفات النوكتورن أداءً فنياً متكاملاً .
- وقد وضع الباحث الفروض التالية :
1) التعرف على الشكل البنائي لهذه المؤلفات لتساعد الطالب على تفهم صياغتها.
2) تحديد الصعوبات التكنيكية والتعبيرية في مؤلفات النوكتورن عند فريدريك شوبان .
3) اقتراح التمارين والحلول المناسبة لهذه الصعوبات ، يساعد الدارس على أدائها أداءً فنياً صحيحاً .
Beginning with works from the piano repertoire, this work attempts to expand the traditional limits of piano interpretation and discusses conventions re- lated to the performance and dissemination of concert music. It proposes the review of the role of the pianist as interpreter and disseminator of works. It reflects upon the concept of repertoire and its importance in the conception of musical interpretation and establishes parallels with curation in visual arts. Experiences are developed in art installations through the interface of musical interpretation and visual arts. The installations which result from the artistic experiences where initially conceived for the Morumbi Chapel (“Capela do Morumbi”), situated in São Paulo. The piano works that originate the installations are works by Ottorino Respighi, J.S. Bach, Robert Schumann, Frédéric Chopin, Alexander Scriabin and Maurice Ravel, performed at the piano by Anna Claudia Agazzi. Among the visual references are works of filmmaker Gilberto Rossi, handcrafts of the Tukano peoples and works of Eugène Delacroix.
In December 1938, Erich Kleiber refused to conduct Beethoven’s Fidelio at La Scala in Milan after the Theatre banned Jews from its staff and audience. This protest was particularly significant as it came from a world-renowned conductor, who was not himself a Jew. As such, it garnered widespread attention especially from the Anglo-American press. This chapter reconstructs Kleiber’s protest, through both documentary and media sources, and its impact on public opinion.
Devido a imprecisões teóricas e à pouca informação que se tem a respeito, aexecução de passagens em portato, ao piano, continua sendo objeto de dúvidas oumesmo descaso de muitos pianistas. Uma análise acústica do portato, bem como deseu contexto em alguns diferentes estilos musicais, pode trazer conclusões maisefetivas para a sua execução.Palavras"chave: portato, piano, técnica, interpretação, pedal
El objetivo de este artículo es dar a conocer a la pianista y catedrática María Teresa García Moreno. Estas líneas, resumen de un trabajo más amplio, presentan a grandes rasgos sus años de formación, los inicios de su carrera, su talla como pianista y el repertorio que dominaba; los premios pianísticos que ganó, cómo obtuvo su cátedra de piano en Córdoba, así como su dedicación a la enseñanza y su actividad como Académica y concertista. Todo ello es presentado de manera cronológica, quedando el contenido dividido en dos apartados, Primera etapa: Madrid 1910-1941, y Segunda etapa: Córdoba 1941-2003, ofreciéndose una visión panorámica -enmarcada un amplio contexto histórico que comprende casi la totalidad del siglo XX-, de su peripecia vital y artística.
The book of Proverbs as a practical book covers diverse
issues of life, including injunctions on health. Many studies have been
done on the relationship between faith and health, religion, medicine,
and healthcare. However, much has not been done to appraise health-related texts in the book of Proverbs. Hence, this study seeks to
investigate the credibility of the health inferences in the book of
proverbs in the light of modern health knowledge. Through an interdisciplinary approach and exegetical analysis of some texts, this study
discovers that there is harmony between the health injunctions in
Proverbs and modern health knowledge. Also, the health messages
contained in proverbs are still credible and universally applicable.
It is an established fact that indigenous knowledge precedes colonization and any creativity in musical arts is traced to indigenous system of African music making. One cannot deny the fact that some efforts have been made in the past to integrate aspects of collectivism in musical arts but the truth remains that creativity in its whole is yet to be fully explored by the present generation, especially, in the area of performance within instrumental ensemble. In those days, indigenous performance style of drumming have specific styles such that whenever it is played, people around understand the style and dancer knows exactly what to dance to it; but presently, it is observed that the lead instrumentalists of many traditional performance on drums are not actually identified with any particular style due to little or no knowledge they possess about the instrument they are handling. Therefore, this paper intends to document indigenous styles of drumming pattern of dundun drum by showcasing the musical scoring of some of these indigenous styles for proper documentation of Yoruba culture; believing that it will expose more roles and the indigenous styles of playing dundun drum in typical Yoruba way, and also to enlighten the 21 st century traditional performer of dundun drum on the coordination of traditional ensemble. The writer uses documentary, historical method, unstructured interviews, and participant observation to source for data for the paper. In conclusion the paper traced the origin of indigenous knowledge in music performance in Yoruba land, and the performance style of dundun pattern culturally and also recommends the possible ways of preserving and expanding this knowledge.
This paper examines the teaching of science at Trinity College, Dublin in the seventeenth century. It focuses on three periods: from the foundation of the University of Dublin in 1592 to the 1641 rebellion; Cromwellian innovations of the 1650s; and the impact of the new science in the later seventeenth century. By reconstructing the college’s early library collections, in conjunction with staff and student notebooks, it explores the factors affecting the teaching of the scientific curriculum up to 1641, focusing in particular on the dominance of Ramism. The impact members of the reformist circle of Samuel Hartlib (1600-82), such as Miles Symner (d. 1686), in attempting, in the 1650s, to implement a Baconian-inspired agenda devoted to experimental and applied learning, is likewise investigated. Finally, by using the Loan Books for the college library in the 1680s and 1690s, and the papers of the Dublin Philosophical Society from the 1680s onwards, the paper illustrates the availability and access to works of the new science, and outlines the dominant themes and favoured authors of books borrowed by members of Trinity College Dublin’s. The paper ends with an analysis of official attitudes to the relationship between science and religion in the last decade of the seventeenth century.
Apart from intellectual training, the purpose of pedagogy is also effective, emotional, aesthetic, and social training. Art, and particularly the art of music in this field, plays an extraordinary role. Music, and especially musical melody, imitates, reproduces, and recalls various feelings and thus stimulates emotional-affective reactions. Affectivity and music (especially melody) are, in consequence, closely linked. Of the different means music has at its disposal, melody which seems to be able to express and stimulate affective reactions more directly and more profoundly than other musical elements, such as rhythm, harmony, or sound colour. In this article, I wish to demonstrate the origins of affective and ethical formation of musical melody from Antiquity to the Baroque period, when the theory of affectivity was born.
EN: The publication presents a look into the musical history of the village of Brodno (currently a city part of Žilina). The author briefly characterizes the history of church music in the village (the person of the ludirector), amateur theatre, variety shows, publishes the only known surviving folk song from the village and discusses the musical groups in the village - especially the Brass Band Brodňanka. The publication also includes the development of brass band music in Žilina, Kysucké Nové Mesto and the surrounding villages. / SK: Publikácia predstavuje pohľad do hudobných dejín obce Brodno (v súčasnosti mestská časť Žiliny). Autor stručne charakterizuje dejiny cirkevnej hudby v obci (osoba ludirectora), ochotníckeho divadla, estrád, publikuje jedinú známu zachovanú ľudovú pieseň z obce a venuje sa hudobným zoskupeniam v obci - predovšetkým Dychovému súboru Brodňanka. V publikácii nechýba ani vývin dychovej hudby v Žiline, Kysuckom Novom Meste a v okolitých obciach.
In sy toonsetting van D.J. Opperman se “Met apologie” maak Roelof Temmingh van verskeie tegnieke gebruik om die reeks parodiërende gedigte musikaal te vertolk. Hierdie artikel ondersoek die verhouding tussen teks en musiek in Met apologie deur die siklus aan die hand van stilistiese kenmerke en musikale intertekstuele verwysings te bestudeer. Temmingh se vermoë om in uiteenlopende style te komponeer is ’n belangrike faktor in hierdie bespreking. Hy verwys byvoorbeeld na die musiek van Claude Debussy, Anton Webern, Paul Hindemith en Dmitri Sjostakowitsj, asook na kabaretstyl om die stemming en parodiërende (of selfs satiriese) kommentaar van Opperman se teks te verklank. Temmingh se toonsetting vertolk egter nie net die strekking van Opperman se teks nie, maar resoneer ook met wyer aspekte van die oeuvres van digters wat nageboots word. Die liedsiklus bied verskeie vertolkings van die sentrale karakter: die weduwee Viljee. Sy word soms as tragies, soms as komies, soms as eroties en soms as kranksinnig uitgebeeld.
Bu çalışmanın amacı, Erken Romantik Dönem bestecilerinden Carl Maria von Weber’in piyano sonatlarının karşılaştırılması ve Op. 24 Piyano Sonatı’nın ilk bölümünün incelenmesidir. Nitel doküman analizi yönteminin kullanıldığı bu araştırmada ilk olarak literatür taraması yapılarak besteci ve eserler hakkında bilgiler edinilmiştir. Bu veriler ışığında eserlerin seçilen notaları üzerinde incelemeler yapılarak karşılaştırmalar yapılmış ve elde edilen veriler betimlenerek verilmiştir. Son olarak Op. 24 Piyano Sonatının birinci bölümü form özellikleri açısından incelenerek elde edilen veriler nota üzerinde örneklerle gösterilmiştir. Sonuç olarak; Weber’in bu piyano sonatlarının Klasik Dönem’den Romantik Dönem’e geçişte önemli bir rolü olduğu, kendinden sora gelen bestecilerin piyano stillerini etkilediği, Weber’in piyanistik eserlerinin en önemli özelliklerinden birisinin orkestra seslerini piyanoda betimlemesi olduğu görülmüş, Op. 24 Piyano Sonatı’nın ilk bölümünün her ne kadar Klasik Dönem özelliklerini yansıtsa da armonik ve form yapısı açısından Romantik Dönem bireyselciliğini yansıttığı görülmüştür.
Lyrics are the words that make up a song, while chords are harmonic sets of multiple notes in music. Lyrics and chords are generally essential information in music, i.e. unaccompanied singing vocals mixed with instrumental music, representing important components in polyphonic music. In a traditional lyrics transcription task, we first extract the singing vocals from the polyphonic music and then transcribe the resulting singing vocals, where the two steps are optimized independently. In this paper, we propose novel end-to-end network architectures that are designed to disentangle lyrics from chords in polyphonic music for effective lyrics transcription in a single step, where we consider chords as musical words, analogously to lexical words as lyrics intuitively. We start by studying a single-task lyrics transcriber as the reference baseline and the initial model to develop the multi-task lyrics transcription solutions. The main idea is to take advantage of chord transcription available in the training data through multi-task training to improve lyrics transcription. The experiments show that the proposed multitask lyrics transcriber significantly outperforms other competing solutions, with a word error rate (WER) of 31.82% on a standard test dataset.
p>This thesis examines the vocal music of Thomas Morley to define the features of his musical style which distinguish his compositions from those of his more important contemporaries. It is thus primarily concerned with Morley the composer. How The remaining chapters study Morley's settings of Latin texts, his madrigalian works, his First Book of Ayres and his Anglican church music, and show that whilst some characteristics of his compositions resulted from his studies of Italia Morley's instrumental music and his treatise, A Plain and Easy Introdoction to Practical Music , are beyond the scope of this study. However, the treatise has been referred to when it throws valuable light upon the matters discussed in th Most of Morley's vocal music is available in modern editions but some of his compositions for the Anglican Church still survive only in seventeenth-century sources. Transcriptions of six such works are included with the musical examples in Volum</p
El tocar piano a cuatro manos es una de las formas más interesantes de interpretación musical, pero, también, de las más difíciles porque se requiere que el intérprete no solo muestre habilidades individuales, sino que también sepa escuchar al otro pianista y coordinar varios aspectos interpretativos: fraseo, dinámica, velocidad, posición en el piano, etc. Este estudio explora los elementos de comunicación entre los integrantes del ensamble de piano a cuatro manos necesarios para lograr una ejecución correcta, así como las dificultades con las cuales se enfrentan los pianistas. Se entrevistó a 27 pianistas de diferentes niveles —maestros, estudiantes y egresados— que contaban con la experiencia de tocar en ensambles de piano a cuatro manos. Entre las dificultades con las que se enfrentaban los músicos, se encontró la manera de sentarse ante el piano, la ubicación de los brazos y manos en pasajes cruzados, el equilibrio del sonido, la sincronización y algunos problemas musculoesqueléticos. A pesar de las dificultades técnico-interpretativas y de la incomodidad física que pudieran presentarse en el ensamble, este tipo de práctica puede enriquecer ampliamente la experiencia pianística y ayudar a mejorar la propia interpretación desde el punto de vista del solista.
ABSTRAK Penguasaan teknik bagi seorang resitalis merupakan suatu keharusan, sesuai dengan tingkat kesulitan teknis yang ingin dicapai. Penulis mengacu pada penandaan teknis oleh pemain cello Mstislav Rostropovich untuk fingering dan bowing dalam repertoar pertama Cello Concerto No. 1 karya Dmitri Shostakovich yang kemudian ditemukan ketidakcocokan dalam preferensi pertimbangan teknis dan membuat penulis ingin mencoba bereksperimen untuk memecahkan masalah kesulitan teknis dalam repertoar tersebut. Technical Problems Experimentation in The Cello Concerto No.1, First Movement "Allegretto" by Dmitri Shostakovich ABSTRACT A recitalist's mastery of technique is a must, according to the level of desired achievements of technical difficulties. The author refers to the technical markings by cellist Mstislav Rostropovich for fingerings and bowings in the first cello concerto No.1 by Dmitri Shostakovich, which later was found discrepancies in the preferences of technical considerations, thus have made the author want to try to solve technical problems in the repertoire in a more personal way.
This research aims to describe how many the increase scientific attitudes of students and teacher skills through guided inquiry assistance by circle board properties on pahlawanku theme in fourth grade of SD 1 Margorejo. Scientific attitudes are student attitudes that appear through scientific activities in learning. Guided inquiry is model of learning that involves students actively in learning process through research activities and inquiry systematically to answer a problem. Action hypotheses in this research are the application of guided inquiry learning models assistance by circle board properties can increase scientific attitude of students on pahlawanku theme in fourth grade of SD 1 Margorejo. This classroom action research conducted in fourth grade class of SD 1 Margorejo with 20 students as subject. Available two cycles in this research, each cycle consist of four stages, they are planning, implementation, observation, and reflection. The dependent variable is scientific attitudes, meanwhile the independent variables are guided inquiry learning models and circle board properties. Aggregation data technique that used is interview, observation, test, and documentation. The analyses data in this research is quantitative and qualitative analyses data. The result of this research shows that there is increase of student scientific attitudes measured by three aspects of learning. Scientific attitudes in cycle I on knowledge aspect is65%, attitude aspects is 2,81, and skill aspects is 2,96. The cycle II increased to knowledge aspect is 85%, attitude aspects is 3,33, and skill aspects is 3,38. It proves that student scientific attitudes can increased through guided inquiry assistance by circle board properties on pahlawanku theme fourth grade of SD 1 Margorejo. Based on the result of this classroom action research that have done in fourth grade of SD 1 Margorejo, the research concludes that student scientific attitudes can increase through guided inquiry assistance by circle board properties on pahlawanku theme fourth grade of SD 1 Margorejo. Therefore, the researcher gives suggestions are on applying guided inquiry learning models assistance by circle board properties, teacher must be more competent and innovative in improving student participations
لاحظ الباحث من خلال خبرته في تدريس عزف بيانو أنه من الضرورة بمكان إعادة النظر في برامج آلة البيانو التي تقدم لدارس البيانو المصري الأمر الذي يترتب علية إعادة هيكلة الأهداف التعليمية واقتراح استراتيجيات تربوية حديثة تعمل على زيادة إقبال الدارسين على ممارسة عزف البيانو بهدف الارتقاء بمستوى أداءهم وذلك من خلال الاستعانة بمدارس موسيقية جديدة قريبة من موروثهم الثقافي الموسيقي ، ويعتبر المؤلف الموسيقي كارا كاراييف Gara Garayev 1918-1982 من أهم مؤلفي المدرسة القومية الأذربيجانية التي تتميز بطابعها الموسيقي الذي يجمع بين التكنيك الغربي والموسيقى الشعبية الأذربيجانية والتي تتشابه مع طابع الموسيقى المصرية والذي تحتوي مؤلفاته لآلة البيانو على العديد من العناصر الموسيقية التكنيكية والتعبيرية ذات الصبغة الشرقية والتي تساعد الدارسين على الإقبال على ممارسة عزف البيانو مما يؤدي إلى تنمية المهارات العزفية لديهم والارتقاء بمستوى أداءهم ويهدف البحث إلى التعريف بالمدرسة القومية الأذربيجانية والمؤلف الموسيقي كارا كاراييف وأهم مؤلفاته وخاصة لآلة البيانو ، مع تحديد التقنيات والصعوبات العزفية التي اشتملت عليها البرليود عينة البحث ومحاولة تذليل تلك الصعوبات عن طريق وضع التمرينات والإرشادات العزفية المقترحة من الباحث ، وتتمثل أهمية البحث في التعرف على المدارس والثقافات الموسيقية الجديدة على الدارس المصري وربطها بموروثة الموسيقي مما يؤدي إلى إقبال الدارسين على عزف آلة البيانو وذلك من خلال أداء مؤلفات من ثقافات أخرى جديدة ذات عناصر موسيقية محببة إليهم وقريبة من موروثهم الثقافي الموسيقي الأمر الذي يؤدي إلى الارتقاء بمستوى أداءهم وهو ما تهدف إليه المناهج الدراسية ومعلمي البيانو على السواء بالإضافة إلى التعريف بمؤلفات البيانو عند كاراييف وما يناسب دارسي البيانو المصريين منها وقد جاءت تساؤلات البحث على النحو التالي ما هو المستوى التعليمي للبرليود عند كاراييف والذي يتناسب مع قدرات دارس البيانو المصري ؟ وما هي التقنيات والصعوبات العزفية التي اشتملت عليها البرليود عينة البحث ؟ وما هي التدريبات والإرشادات العزفية المقترحة من قبل الباحث لتذليل تلك الصعوبات ؟ وأخيرا ما هي الخصائص الفنية للصياغة اللحنية في مؤلفات البرليود عينة البحث عند كاراييف ؟ واتبع البحث المنهجين التاريخي والوصفي (تحليل محتوى) ، وتم اختيار عينة البحث حيث قام الباحث بتصنيف مؤلفات البريليود لمستويين الأول يناسب طلاب مرحلة الدراسات العليا وتم اختيار منها رقم 10 والثاني يناسب طلاب مرحلة البكالوريوس وتم اختيار منها رقم 2 بحيث تشمل العينة في مجملها معظم الصعوبات العزفيه لمؤلفات البرليود عند كاراييف .
Anoted researcher of his experience in teaching Piano, it is necessary to review the programs of piano provided to the Egyptian piano student with the consequent restructuring of the educational objectives and to propose strategies for modern educational works to increase demand for students to practice playing the piano in order to enhance the level of their performance and that through the use of schools for new music close to their cultural heritage,Gara Garayev 1918-1982 is one of the most important composers of the National School of Azerbaijan that characterized by nature music, which combines the technique the western and folk music of Azerbaijan, which is similar with the character of Egyptian music, his piano compositions contains on many of the musical elements technical data and expressive character of East, which helps students to demand the exercise of playing the piano, leading to the development them skills to have and raise the level of performance, the research aims to introduce the school national Azerbaijani composer Gara Garayev and most important of his writings and especially for the piano, with identification techniques and performing difficulties included in the prelude sample and try to overcome these difficulties through the development of exercises and performing instructions proposed by the researcher, is the importance of research to identify the new schools and musical cultures of Egyptian piano student and link it with them heritage music, leading to the high turnout of students to play piano through the performance of compositions from other cultures with new elements of music loved them and close to their cultural heritage music which leads to raise the level of performance is the objective of the curriculum and the teachers of piano, both in addition to the definition of authorship of the piano when Garayev and fits the Egyptians piano students which,
هدفت هذه الدراسة إلى وضع طريقة مقترحة لتدريس العزف على الآلات الموسيقية العربية مجتمعة (عود، قانون، ناي)، من خلال استنباط أساليب تدريس جديدة تعتمد على تعدد التصويت، وذلك لمواكبة الحركة الموسيقية الحديثة في العالم العربي، ولتحقيق هذه الرؤية قام الباحثون بتأليف وإعداد ثلاثة نماذج موسيقية تلخص الأركان الثلاثة الرئيسية التي تبنى عليها مناهج تدريس الآلات الموسيقية (السلالم الموسيقية، التمارين التقنية، المقطوعات الموسيقية)، وقد خلصت هذه الدراسة إلى أن هذه الطريقة تساعد على اثارة إنتباه الطلبة وزيادة التركيز بصفة مستمرة، مما يساهم في تقدم مستواهم التقني بصورة أفضل من الطرق النمطية المعتمدة في جميع معاهد وكليات الموسيقى في العالم العربي.
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