Albanian Music and Middle Eastern’s Shared Musical Characteristics

2021 ◽  
Author(s):  
Mimoza Kurshumlia
Keyword(s):  
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.

scholarly journals The Balkans of the Balkans: The Meaning of Autobalkanism in Regional Popular Music

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 70 ◽  
Author(s):  
Marija Dumnić Vilotijević
Keyword(s):  
Popular Music ◽  
Folk Music ◽  
World Music ◽  
First Century ◽  
Special Focus ◽  
Western Balkans ◽  
Applied Music ◽  
The Balkans ◽  
The People ◽  
Musical Characteristics

In this article, I discuss the use of the term “Balkan” in the regional popular music. In this context, Balkan popular music is contemporary popular folk music produced in the countries of the Balkans and intended for the Balkan markets (specifically, the people in the Western Balkans and diaspora communities). After the global success of “Balkan music” in the world music scene, this term influenced the cultures in the Balkans itself; however, interestingly, in the Balkans themselves “Balkan music” does not only refer to the musical characteristics of this genre—namely, it can also be applied music that derives from the genre of the “newly-composed folk music”, which is well known in the Western Balkans. The most important legacy of “Balkan” world music is the discourse on Balkan stereotypes, hence this article will reveal new aspects of autobalkanism in music. This research starts from several questions: where is “the Balkans” which is mentioned in these songs actually situated; what is the meaning of the term “Balkan” used for the audience from the Balkans; and, what are musical characteristics of the genre called trepfolk? Special focus will be on the post-Yugoslav market in the twenty-first century, with particular examples in Serbian language (as well as Bosnian and Croatian).

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