Electronic musical instrument with automatic control of melody tone in accordance with musical style as well as tone color

1993 ◽  
Vol 93 (2) ◽  
pp. 1219-1219
Author(s):  
Fumio Iwase ◽  
Kotaro Mizuno
Keyword(s):  
Automatic Control ◽  
Musical Instrument ◽  
Musical Style ◽  
Tone Color

Foundation for Iranian Studies, Dissertation of the Year Awards

1994 ◽  
Vol 28 (1) ◽  
pp. 37-37
Keyword(s):  
Musical Instrument ◽  
Unique Contribution ◽  
Iranian Revolution ◽  
Musical Style ◽  
University Of Illinois ◽  
Structure And Agency ◽  
Iranian Studies ◽  
Original Contribution ◽  
Selection Of

The Committee on the Selection of the Best Dissertation of the Year on a Topic of Iranian Studies of the Foundation for Iranian Studies has cited two dissertations with Honorable Mention. Azin Movahed’s, The Persian Ney: A Study of the Instrument and its Musical Style, University of Illinois at Urbana-Champaign, was cited for its unique contribution to a better understanding of an ancient and honorable Persian musical instrument and its interaction with modes and ranges of music and its possibilities and constraints for creativity and improvisations. Charles T. Kurzman’s, Structure and Agency in the Iranian Revolution of 1979, University of California at Berkeley, was cited for its highly original contribution to a better understanding of “the role of agency in revolutions in general and the various religious and nonreligious agents in the Iranian revolution in particular.” The Committee did not award a prize for 1993.

scholarly journals Terminologi Gambus dalam Spektrum Musik di Indonesia

2020 ◽  
Vol 3 (1) ◽  
pp. 25-41
Author(s):  
Ricky Irawan
Keyword(s):  
Middle East ◽  
Southeast Asia ◽  
Music Performance ◽  
Musical Instrument ◽  
Musical Style ◽  
Musical Performances ◽  
Trading Activities ◽  
Musical Styles

This Article aims to review the expansion of the meaning of gambus in three categories. It is, firstly, the gambus as a musical instrument; secondly, gambus as a music performance format; and thirdly, stringed as a musical style. This categorization helps to understand the context in which the term gambus is used. Thus, the discussion about gambus can be understood more clearly. It was found that, initially, the term gambus is used to refer to a stringed musical instrument from the Middle East that came together with trading activities and the spread of Islam in Southeast Asia. But in its development, gambus is also used to refer to a format of musical performances such as orkes gambus, gambus Melayu, gambus tunggal and others. Later, gambus was used also to refer to musical styles associated with Islamic musical arts such as gambus dzikir, gambus sholawat, gambus qasidah. Seeing the various uses, it is difficult to interpret it only as the name of a musical instrument, but must also accommodate the expansion of its meaning at this time.  

The tip of the iceberg: laptop music and the information-technological transformation of music

2008 ◽  
Vol 13 (1) ◽  
pp. 5-11 ◽  
Author(s):  
Rolf Grossmann
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
Music Composition ◽  
Musical Instrument ◽  
Electronic Media ◽  
Musical Style ◽  
Technological Transformation ◽  
Digital Integration ◽  
New Perspective ◽  
The Aesthetic

AbstractUnderstanding laptop music requires more than a new perspective on the configuration of a ‘weareable computer and an audio interface’ as a musical instrument for performance. It combines the strategies and traditions of electronic media-related music composition of the twentieth century, like reproductive music, electronic music, computer music and Net music in a single, digital, multi-purpose device originally designed for business and multimedia applications. Consequently, what we hear is mostly not a genuine laptop music, but one facet of the information-technological transformation of music that has been the result of the digital integration of these established traditions. This article gives an overview of the aesthetic implications of these traditions and with respect to laptop performance and musical style.

scholarly journals The Ideas and Concepts of Overture Music Composition: One of the Opera Music Compositions of Kehidupan Dua Zaman Hikayat Siboru Deakparujar on the Creation of New Mode and Rhythm of Ogung Instrument

2017 ◽  
Vol 5 (2) ◽  
pp. 273
Author(s):  
Junita Batubara
Keyword(s):  
Social Life ◽  
Life Story ◽  
Traditional Music ◽  
Musical Instrument ◽  
Western Music ◽  
Rhythmic Pattern ◽  
Music Score ◽  
The People ◽  
Tone Color ◽  
Rhythm Pattern

The main problem in the composition idea of Overture is the studying of Opera itself but very few works of opera compositions that combine Western music with the traditional music of the Batak Toba Indonesia. Second, in the traditional opera of Batak Toba, it is often performed musical themes taken from the social life story of Batak Toba society and it is extremely rare, especially among the people of Batak Toba. Third, in the Batak opera, the music is used only as an entertainment and separated from the content of the story and often does not have the music score. The Overture created uses Atonality scale inspired by the pentatonic music of Batak Toba by using music score. Fourth, collecting information related to the influence of Western music, in this case, Atonality and pentatonic music of Batak Toba. Fifth, The use of the musical elements such as melody, rhythm pattern, tone color, harmony, form, texture and orchestra. With the above description, the writer created an opera based on the employment elements of Western music and Batak Toba music. The author made the employment of methods with the use of a rhythmic pattern on traditional musical instruments ogung and sulim combined with Western musical instrument without changing each ton of each musical instrument of the traditional Batak Toba. Sixth, the mode of pentatonic (five pitch) in which five pitch is the texture of taganing mode in the ensemble of gondang hasapi (an ensemble of the traditional music of the Batak Toba, North Sumatra in Indonesia) that are customized according to the tuning system of twelve of Western music pitch in order to generate new modes used in the above employment of opera.

An Ethnomusicological Perspective on Musical Style, with Reference to Music for Chinese Two-Stringed Fiddles

1993 ◽  
Vol 118 (2) ◽  
pp. 276-299 ◽  
Author(s):  
Jonathan P. J. Stock
Keyword(s):  
Social Interaction ◽  
Partial Solution ◽  
Musical Instrument ◽  
The Body ◽  
Musical Style ◽  
Musical Thought ◽  
Music Making ◽  
The Matrix ◽  
And Performance ◽  
Made In

In a major publication of 1983 Bruno Netti identified the explanation of musical style as a central problem in ethnomusicological research. This essay is intended to offer a partial solution of that problem, seeking to define musical style as an abstraction of the matrix of cognitive and physical aspects which constitute human music-making. In the cognitive part of this equation I include the critically important role played by social context, concurring with John Blacking's statement that ‘the creation of a musical style is the result of conscious decisions about the organization of musical symbols in the context of real or imagined social interaction’. However, in this category, I accord equal recognition to the body of musical and music-related knowledge held by a musician or any other member of society, whether this knowledge is implicitly assumed or explicitly acknowledged, historically conditioned or geographically referent, abstractly theoretical or firmly practical. The ‘conscious decisions’ Blacking points to are indeed made in the actual or perceptual domain of social interaction, but they are also considered from the cognitive perspective of acquired musical thought. Physical ingredients which help form the concept of musical style include the limits and possibilities of the human body and its movement patterns and material factors such as the parameters of any musical instrument (size, shape, posture, potential playing techniques, etc.) and performance location.

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