Thai Classical Singing: Its History, Musical Characteristics and Transmission (review)

Notes ◽  
2005 ◽  
Vol 62 (1) ◽  
pp. 152-153
Author(s):  
Pamela Myers-Moro
Keyword(s):  
Classical Singing ◽  
Musical Characteristics

If it’s Mozart, it must be good? The influence of textual information and age on musical appreciation

2018 ◽  
Vol 48 (4) ◽  
pp. 579-597 ◽  
Author(s):  
Timo Fischinger ◽  
Michaela Kaufmann ◽  
Wolff Schlotz
Keyword(s):  
Older Adults ◽  
Expressive Writing ◽  
The Other ◽  
Musical Piece ◽  
Younger Adults ◽  
Textual Information ◽  
Musical Characteristics ◽  
Text Information ◽  
Participant Group

In a framing experiment, 170 participants aged 19–80 years were asked to read a description in the fashion of a program note prior to listening (individually via headphones) to a sinfonia by Josef Mysliveček (1737–1781). Divergent versions of this description were created for treatment manipulation, while the participants were not informed about it. Within a 2 × 2 design the descriptions (a) attributed the musical piece to different composers of highly different prominence and prestige. Half of the participant group was informed that they would be listening to the overture to the pastoral opera Ascanio in Alba by Wolfgang Amadé Mozart (1756–1791), whereas the other half was informed correctly. The composers’ names were (b) combined with descriptions that applied either an analytic or expressive writing mode. Subsequently collected ratings for liking and a number of perceived musical characteristics were significantly higher when participants had read the expressive compared with the analytic writing mode. Interestingly, younger adults showed higher liking ratings when the music was attributed to Mozart, whereas no significant differences were found in older adults. In sum, this study supports the notion that being exposed to text information prior to listening to music affects perception and appreciation of musical characteristics.

S. PROKOFIEV'S "FLEETING MOMENTS": CHOREOGRAPHIC INTERPRETATION OF THE PIANO MASTERPIECE

2020 ◽  
Vol 1 (3) ◽  
pp. 115-125
Author(s):  
E. O. Tsvetkova ◽  
Keyword(s):  
Musical Development ◽  
Musical Characteristics ◽  
Ballet Music ◽  
Piano Cycle

The article analyzes two versions of choreographic interpretation of S. Prokofiev's piano cycle "Fleeting Moments". The first one belongs to the outstanding Russian ballet master K. Ya. Goleizovsky, the second — to the German choreographer of American origin J. Neumeier. Both compositions are considered in the context of such a trend as "plastic interpretation of non-ballet music". There is a special demand for S. Prokofiev's works (not only ballet scores, but also "non-ballet" opuses) among choreographers, who are attracted by the theatrical nature of the composer's talent: brightness and sharpness of musical characteristics, reliance on "sound gesture", ability to reproduce rhythmic intonation of mood. The "Fleeting Moments" cycle as a whole and in terms of individual pieces is analyzed from the standpoint of openness to choreographic embodiment and compliance with canonical ballet forms and situations. It is underlined that in Goleizovsky's ballet a deeply felt emotion is brought to the fore. Due to the precise adherence to the logic of musical development, conceived as chamber-like this composition embodies the prototype of choreographic symphonism. In Neumeier's ballet, on the contrary, the dramatic plot is emphasized. The choreographer achieves an extraordinary impact by combining classical and modern elements in choreographic vocabulary, supplementing them with movements of free plasticity.

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