Music Literature for Band and Wind Ensembles

1977 ◽  
Vol 64 (4) ◽  
pp. 26-29 ◽  
Author(s):  
Derald De Young
Keyword(s):  
Wind Ensembles ◽  
Music Literature

Intermedialität

2006 ◽  
Vol 51 (2) ◽  
pp. 52-78 ◽  
Author(s):  
Corina Caduff ◽  
Sabina Gebhardt Fink ◽  
Florian Keller ◽  
Steffen Schmidt
Keyword(s):  
Visual Arts ◽  
The Other ◽  
Systematic Description ◽  
Artistic Representations ◽  
Music Literature ◽  
Music Film ◽  
Made In

Intermedialität wird hier systematisch an Musik, Literatur, visuelle Kunst und Film dargestellt. Den Anfang machen allgemeine Überlegungen zu Materialität und Medium in diesen verschiedenen Künsten. Im Weiteren werden unter dem Aspekt ›Bimedialität‹ verschiedene Beispiele vorgestellt, die jeweils aus zwei Medien bestehen (z.B. Musikfilm, das Lied oder Schriftbilder). Dabei folgen wir der Frage, ob und wie jeweils eines der beiden Medien eine Vorrangstellung bekommt. Der abschließende Teil behandelt „intermediale Bezüge in Monomedialität“. Hier geht es um monomediale Darstellungen, denen aber eine Beschäftigung mit einem anderen Medium vorangegangen ist. Das ist etwa dann der Fall, wenn ein Schriftsteller über ein Bild schreibt, ohne daß dieses (im Text) zu sehen ist. In this article, we offer a systematic description of intermedia relations across music, literature, the visual arts, and film. Beginning with some general reflections on materiality and medium in these diverse fields of art, we then offer various examples consisting of two media (e.g. music film, song, images in writing). We pursue the question if, and how, one of the two media may take priority over the other. In our conclusion, we deal with „intermedia relations in monomediality“. This section focuses on artistic representations made in one medium, but based on reflections on another medium. For instance, this is the case when a novelist writes about a picture without having this picture reprinted in the text.

scholarly journals Perceiving Music Through the Lens of Synaesthesia and Absolute Pitch

Perception ◽  
2021 ◽  
pp. 030100662110344
Author(s):  
Solange Glasser
Keyword(s):  
Music Perception ◽  
Research Effort ◽  
Absolute Pitch ◽  
Potential Relationship ◽  
Current Thinking ◽  
Music Literature ◽  
Behavioural Evidence

Synaesthesia and absolute pitch (AP) are two rare conditions that occur more frequently within populations of artistic professionals. Current thinking surrounding synaesthesia and AP and their relationship to music perception form the focus of this article. Given that synaesthesia has rarely been discussed in the music literature, the article surveys and consolidates general neurobiological, psychological, and behavioural evidence to summarise what is currently known on this topic, in order to link this back to the conditions that most relate to music. In contrast, research on AP is now well established in the music literature, but the important gap of linking AP to other conditions such as synaesthesia has yet to be fully explored. This article investigates the potential relationship between synaesthesia and AP for musicians who possess both conditions by systematically comparing the definitions, classifications, prevalence, diagnoses, and impacts on music perception of synaesthesia and AP and provides insights into the varying states of the literature and knowledge of both conditions. In so doing, this article aims to facilitate a greater understanding of music and auditory forms of synaesthesia and their interaction with AP and encourage increased research effort on this important topic.

scholarly journals Characterizing prototypical musical instrument timbres with Timbre Trait Profiles

2021 ◽  
pp. 102986492110015
Author(s):  
Lindsey Reymore
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
Latent Structure ◽  
Dimensional Model ◽  
Wind Ensembles ◽  
Rating Data ◽  
Corpus Studies ◽  
Cognitive Research ◽  
Euclidean Distances ◽  
Semantic Distances

This paper offers a series of characterizations of prototypical musical timbres, called Timbre Trait Profiles, for 34 musical instruments common in Western orchestras and wind ensembles. These profiles represent the results of a study in which 243 musician participants imagined the sounds of various instruments and used the 20-dimensional model of musical instrument timbre qualia proposed by Reymore and Huron (2020) to rate their auditory image of each instrument. The rating means are visualized through radar plots, which provide timbral-linguistic thumbprints, and are summarized through snapshot profiles, which catalog the six highest- and three lowest-rated descriptors. The Euclidean distances among instruments offer a quantitative operationalization of semantic distances; these distances are illustrated through hierarchical clustering and multidimensional scaling. Exploratory Factor Analysis is used to analyze the latent structure of the rating data. Finally, results are used to assess Reymore and Huron’s 20-dimensional timbre qualia model, suggesting that the model is highly reliable. It is anticipated that the Timbre Trait Profiles can be applied in future perceptual/cognitive research on timbre and orchestration, in music theoretical analysis for both close readings and corpus studies, and in orchestration pedagogy.

Blaski i cienie pracy mózgu. O miłości, sztuce i pogoni za szczęściem

2012 ◽  
Author(s):  
Semir Zeki
Keyword(s):  
Fine Arts ◽  
Aesthetic Perception ◽  
Brain Science ◽  
Literature And Philosophy ◽  
Music Literature

A look at the works of Dante, Balzac, Zola, Mann and the great poets of the Orient, as well as Michelangelo’s sculptures, Cezanne’s paintings, and Wagner’s music from a brain science perspective. The fascinating publication in the field of neuroesthetics. Describing the neurobiological foundations of aesthetic perception, the author extends the considerations from fine arts to music, literature and philosophy.

scholarly journals On the Role of Literary Works in the Course of Music Literature (Musicology)

2020 ◽  
Vol 30 (2) ◽  
pp. 219-224
Author(s):  
Izolda Tsakher
Keyword(s):  
Work Experience ◽  
General Music ◽  
Literary Works ◽  
Music Literature ◽  
Continuous Interaction ◽  
Philosophical Novel

In the article, the author summarizes her work experience as a teacher of music literature at the theoretical department of F. Chopin College of Music. A historically continuous interaction between literature and music is doubtless. It can be seen, namely, in T. Mann’s deliberate referring to music regularities when creating a philosophical novel and in A. Deblin’s seeing music as a sort of model for literature. Understanding contacts between literature and music of the same period contributes to enlarging students' field of interests in literature. Referring to the works by the genius authors (A. Pushkin, J.W. Goethe) and to mythology determines new perception of music. In general, music is included in a broad semantic and aesthetic context. Meanwhile, perception of literary works is also enriched thanks to their correlation with the artistic personalities of J.S. Bach and W.A. Mozart. For example, one can notice how the unique personality of Mozart reveals itself in the light of the exclusively semantically concentrated Pushkin’s text. As a result, this direction contributes to achieving the goals of the musicology course at college.

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