JIA DAQUN CONCERTO ″FUSION II″: INTERPRETATION OF CHINESE PERCUSSION INSTRUMENTS

2021 ◽  
Vol 1 (2) ◽  
pp. 136-143
Author(s):  
Chen Zekang ◽  
Keyword(s):  
Electronic Music ◽  
Sound Production ◽  
Symphony Orchestra ◽  
Cultural Integration ◽  
Rhythmic Pattern ◽  
Stringed Instruments ◽  
Percussion Instruments ◽  
Production Techniques ◽  
First Time ◽  
Echo Effect

The article introduces Jia Daqun's Concerto for Percussion and Symphony Orchestra "Fusion II" into Russian musicology for the first time. The work is considered as one of the illustrative examples of the inclusion of traditional Chinese percussion instruments in symphony orchestra. Following modern trends in unconventional ways of playing the tanggu solo drum, the composer achieves a timbre transformation which, along with rhythmic and dynamic qualities, allows to imitate the sound of Indian drums and African tambourines. The new sound created in this way becomes one of the indicators of the cross-cultural integration, which is accomplished not by mechanical borrowing of authentic musical material, but by developing a distinctive rhythmic pattern and sound production techniques. The combination of the timbres of Chinese gong and the vibrato of stringed instruments in Fusion II creates slowdowns and an "echo" effect typical for electronic music. In the Concerto all the features of the genre are observed, but the classical constant received a refraction in the light of modern processes, which required the composer to use new and sometimes harsh methods, almost completely eliminating the lyrical expression.

Gamelan Melayu Sound Preservation and Archiving through Recording Methods and Production Techniques

2020 ◽  
Vol 6 ◽  
pp. 17-40
Author(s):  
Muralitheran Munusamy
Keyword(s):  
Sound Production ◽  
Dynamic Range ◽  
Technical Specification ◽  
Traditional Music ◽  
Information Storage ◽  
Social Scientists ◽  
Audio Engineering ◽  
Production Techniques ◽  
Audio Data ◽  
Music Recordings

Sound or audio engineering is a branch of the field of engineering, which involves the process of recording sound and reproducing it by various means, as well as storing in order to be reproduced later. Known as sound or audio engineers, these trained professionals work in a variety of sound production fields and expert in recording methods. They can be instrumental to implement the affordable technologies and technical process to distribute the audio data hence, making it accessible for future generations. The current role of these engineers not only to perform or limited to recording session but they create metadata for archiving and preservation for future needs. Currently, product sleeves of ethnographic recordings represent no technical elements of how traditional music recordings are produced. The product details focus only to some extent on historical elements and musical notation. To an audio archivist, declaring what devices are in a recording is not linked with preservation data. Apart from the format, the sleeved design, technical specification is essential to other social scientists such as audio engineer and field recordist of the future. The aim of the present research is to capture optimum dynamic range of the sound and applying a signal processing that would not alter the tonality, timbre and harmonic of the sound. Further applying a suitable information storage for the metadata to be preserve or archived for future accessing and reproduction.

scholarly journals Vocal Creativity in Elephant Sound Production

Biology ◽  
2021 ◽  
Vol 10 (8) ◽  
pp. 750
Author(s):  
Angela S. Stoeger ◽  
Anton Baotic ◽  
Gunnar Heilmann
Keyword(s):  
Cognitive Abilities ◽  
Positive Reinforcement ◽  
Sound Production ◽  
Vocal Learning ◽  
Learning Processes ◽  
Fine Tuning ◽  
Social Feedback ◽  
Nasal Tissue ◽  
Production Techniques ◽  
Production Mechanisms

How do elephants achieve their enormous vocal flexibility when communicating, imitating or creating idiosyncratic sounds? The mechanisms that underpin this trait combine motoric abilities with vocal learning processes. We demonstrate the unusual production techniques used by five African savanna elephants to create idiosyncratic sounds, which they learn to produce on cue by positive reinforcement training. The elephants generate these sounds by applying nasal tissue vibration via an ingressive airflow at the trunk tip, or by contracting defined superficial muscles at the trunk base. While the production mechanisms of the individuals performing the same sound categories are similar, they do vary in fine-tuning, revealing that each individual has its own specific sound-producing strategy. This plasticity reflects the creative and cognitive abilities associated with ‘vocal’ learning processes. The fact that these sounds were reinforced and cue-stimulated suggests that social feedback and positive reinforcement can facilitate vocal creativity and vocal learning behavior in elephants. Revealing the mechanism and the capacity for vocal learning and sound creativity is fundamental to understanding the eloquence within the elephants’ communication system. This also helps to understand the evolution of human language and of open-ended vocal systems, which build upon similar cognitive processes.

scholarly journals Hearing from the ocean and into the river: the evolution of the inner ear of Platanistoidea (Cetacea: Odontoceti)

Paleobiology ◽  
2021 ◽  
pp. 1-21
Author(s):  
Mariana Viglino ◽  
Maximiliano Gaetán ◽  
Mónica R. Buono ◽  
R. Ewan Fordyce ◽  
Travis Park
Keyword(s):  
Inner Ear ◽  
High Frequency ◽  
Sound Production ◽  
Marine Species ◽  
Late Oligocene ◽  
Evolutionary Patterns ◽  
Ear Morphology ◽  
Cochlear Morphology ◽  
First Time ◽  
Hearing Abilities

Abstract The inner ear of the two higher clades of modern cetaceans (Neoceti) is highly adapted for hearing infrasonic (mysticetes) or ultrasonic (odontocetes) frequencies. Within odontocetes, Platanistoidea comprises a single extant riverine representative, Platanista gangetica, and a diversity of mainly extinct marine species from the late Oligocene onward. Recent studies drawing on features including the disparate tympanoperiotic have not yet provided a consensus phylogenetic hypothesis for platanistoids. Further, cochlear morphology and evolutionary patterns have never been reported. Here, we describe for the first time the inner ear morphology of late Oligocene–early Miocene extinct marine platanistoids and their evolutionary patterns. We initially hypothesized that extinct marine platanistoids lacked a specialized inner ear like P. gangetica and thus, their morphology and inferred hearing abilities were more similar to those of pelagic odontocetes. Our results reveal there is no “typical” platanistoid cochlear type, as the group displays a disparate range of cochlear anatomies, but all are consistent with high-frequency hearing. Stem odontocete Prosqualodon australis and platanistoid Otekaikea huata present a tympanal recess in their cochlea, of yet uncertain function in the hearing mechanism in cetaceans. The more basal morphology of Aondelphis talen indicates it had lower high-frequency hearing than other platanistoids. Finally, Platanista has the most derived cochlear morphology, adding to evidence that it is an outlier within the group and consistent with a >9-Myr-long separation from its sister genus Zarhachis. The evolution of a singular sound production morphology within Platanistidae may have facilitated the survival of Platanista to the present day.

scholarly journals The formation of the original repertory for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts as a historical mission of Kharkiv composers (1950–1960)

2021 ◽  
Vol 60 (60) ◽  
pp. 216-238
Author(s):  
Strilets Andriy
Keyword(s):  
Symphony Orchestra ◽  
Phenomenological Approach ◽  
Academic Status ◽  
European Tradition ◽  
Original Works ◽  
National University ◽  
The Individual ◽  
Interdisciplinary Interaction ◽  
Historical Moment ◽  
First Time

Statement of the problem. The Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts has been performing for more than 90 years. However, the original works composed for this orchestra have never been the subject of serious scientific interest. The relevance of the problem is determined by the necessity to generalize the previous generations of composers’, performers’ and teachers’ experience in the field of folk instrumental art, in particular, the training in the orchestra of folk instruments as a concert unit. Analysis of recent publications shows, that the study on folk instruments orchestral performance has not been reflected in national scientific journals for a long while, but currently this is considered as an up-to-date issue. The articles by N. Bashmakova and V. Kikas and Yu. Fedotov (2018), Z. Stelmashchuk (2014), K. Maidenberg-Todorova (2019), I. Fedun (2020) are confirming this statement. The main purpose of the article is to find basic principles of the original repertoire formation for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts related to the creative activities of Kharkiv composers in the 1950–1960s. For the first time, the historical mission played by Kharkiv composers in the original repertoire formation of the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts is determined. The concept of the article is based on the interdisciplinary interaction of historiographical, holistic, genre-stylistic and performing methods of researching, as well as a phenomenological approach to the analysis of the individual style of a composer based on the example of the particular works. Results and conclusions. The selected works by O. Steblyanko, D. Klebanov, V. Borisov, B. Alekseev, I. Kovach, P. Haydamaka and V. Podgorny included in the concert program of the creative project of 2021 have been analyzed due to their compositional, intonation and dramaturgical structure. The compositions that have been arranged for the folk instruments orchestra from the scores of symphony orchestra or ones instrumented from the compositions for accordion, domra ensemble, domra accompanied by piano were identified. According to the results of analysis, the creative approach of the composers of Slobozhanshchina in the 1950s–1960s was based on the thematic development of folklore material (song and dance prototypes) or the creation of the original themes, which are as close as possible to the folk samples. Having created large forms for domra and balalaika, Kharkiv composers fulfilled a historical mission in the formation of the original repertoire and, correspondingly, genre and stylistic priorities of the Folk Instruments Orchestra of KhNUA named after I. P. Kotlyarevsky. Due to the arrangements of these works for the folk instruments orchestra, a high academic status of playing folk instruments was demonstrated. It is necessary to emphasize the genre and stylistic orientation of these works on the Western European tradition. Along with the traditional forms of processing and arrangement, the folk instrumental art received the entire genre palette of European music, from miniatures to suites and concerts (in terms of timbre and texture capabilities of the folk instruments). On this way we see the keys to the academic status of the folk instruments orchestra. The prospects for further development of the theme. On the basis of the formed original repertoire at a certain historical moment it is possible to substantiate other leading principles of the orchestra as a concert and educational unit: the combination of an orchestra performer’s training, the formation of his professional skills with the ensemble’s concert activity; the introduction of academic approaches in the training of the folk instruments performers, conductors etc.

TAN DUN'S VIOLIN CONCERTO "THE LOVE" AS A REFLECTION OF STYLISTIC DIVERSITY OF MODERN COMPOSITION

2020 ◽  
Vol 1 (3) ◽  
pp. 61-74
Author(s):  
Xin Xing ◽  
Keyword(s):  
Human Life ◽  
Symphony Orchestra ◽  
Violin Concerto ◽  
Avant Garde ◽  
Chinese Music ◽  
Peking Opera ◽  
Tan Dun ◽  
Percussion Instruments ◽  
Solo Violin ◽  
Stylistic Diversity

The article analyzes "The Love" Violin Concerto (2009) by the famous Chinese and American composer Tan Dun in contextual, composing and linguistic aspects. Based on the statements of his contemporaries, the author considers the composer's musical and aesthetic views that determine the originality of his style, organically combining avant-garde techniques with elements of traditional Chinese music. Tan Dun's Violin Concerto exists in three versions with different titles ("Out of Peking Opera" 1987, "The Love" 2009, "Rhapsody and Fantasy" 2018), representing different artistic concepts with a new viewpoint on the same intonational material. Three movements of the Concerto "The Love" reflect the evolution of feelings at different stages of human life. The composer manages to combine the idea of "national" (a tendency going back to the version of the Concerto "Out of Peking Opera" 1987) with a philosophical understanding of the category of love. The paper discusses the originality of the dramaturgy of "The Love" Violin Concerto, which assumes the third part as the main center (based on the development of thematic material of the first and second movements), the consolidation of parts of the attacca cycle and the rondality of the musical form. The most important peculiarity of the composition is the mixture of elements belonging to different cultural and temporal layers of music. The stylistic diversity of Tan Dun's Concerto is reflected in the following details: the composer's introduction of a stylized tune from the Beijing Opera erhuang, speech intonations resembling recitatives of Chinese dramas, borrowings from his own film music (the second movement), the use of methods typical for traditional Chinese music, yaoban and sanban, the timbre of oriental percussion instruments in a classical symphony orchestra, as well as dodecaphone techniques, aleatorics and Hip-hop rhythms. Special attention in the article is paid to interpretation of expressive possibilities of solo violin: methods of classical-romantic technique are synthesized with traditions of performance on Chinese stringed instruments.

Is There a Need for a Fundamentally New Classification of Musical Instruments?

10.34690/156 ◽  
2021 ◽  
pp. 168-185
Author(s):  
Михаил Имханицкий
Keyword(s):  
Sound Source ◽  
Extraction Method ◽  
Symphony Orchestra ◽  
Large Family ◽  
Musical Instruments ◽  
New Classification ◽  
Pneumatic Valve ◽  
Snare Drum ◽  
Percussion Instruments

В статье предлагается новый принцип классификации музыкальных инструментов, основанный не на первичности источника звука при неизменной вторичности способа извлечения, а на полном равноправии этих компонентов. Для композитора и исполнителя всегда важнее способ извлечения звука, поскольку его источник - не более чем предпосылка тонообразования. Нелогичность общепринятой классификации становится очевидной уже при обращении к ударным инструментам: например, удар по мембране малого барабана делает его мембранофоном, а по обручу - идиофоном. Однако для музыкальной практики в первую очередь имеет значение способ извлечения звука на малом барабане и его принадлежность к ударным инструментам. В качестве примера также доказывается, что большое семейство гармоник надо определять не как «идиофоны с дутьем» и не как аэрофоны, согласно систематике выдающихся классиков инструментоведения Э. Хорнбостеля и К. Закса, а как пневматико-клапанные ламеллафоны. Автор статьи приходит к выводу, что музыкальные инструменты целесообразно классифицировать так, как это принято в академическом инструментарии: не на идиофоны, мембранофоны, хордофоны и аэрофоны, а, к примеру, на струнные смычковые, духовые и ударные - в симфоническом оркестре; целесообразно изменить принципы классификации и в других инструментальных составах. The article proposes a new principle of classification of musical instruments, based not on the primacy of the sound source with the constant secondary of the extraction method, but on the full equality of these components. For the composer and performer, the method of sound extraction is always more important, since its source is no more than a prerequisite for tone formation. The illogic of the generally accepted classification becomes obvious when referring to percussion instruments: for example, a blow on the membrane of a snare drum makes it a membranophone, and on a hoop-an idiophone. However, for musical practice, the method of extracting sound on a snare drum and its belonging to percussion instruments is primarily important. As an example, it is also proved that a large family of harmonics should be defined not as “idiophones with blowing” and not as aerophones, according to the systematics of the outstanding classics of instrumentation E. Hornbostel and C. Sachs, but as pneumatic-valve lamellaphones. The author of the article comes to the conclusion that it is advisable to classify musical instruments as it is customary in academic instruments: not into idiophones, membrano-phones, chordophones and aerophones, but, for example, into strings, brass and percussion-in a symphony orchestra; it is advisable to change the principles of classification in other instrumental sets also.

Foundations (1962–1967)

Wendy Carlos ◽  
2020 ◽  
pp. 19-42
Author(s):  
Amanda Sewell
Keyword(s):  
New York ◽  
Graduate Student ◽  
Magnetic Tape ◽  
Electronic Music ◽  
Professional Career ◽  
Audio Engineering ◽  
Engineering Society ◽  
Milton Babbitt ◽  
First Time ◽  
Society Convention

This chapter follows Carlos from her time as a graduate student in the Columbia-Princeton Electronic Music Center to her early professional career as a recording engineer with Gotham Studios. At Columbia, she studied with electronic music pioneers Vladimir Ussachevsky and Milton Babbitt, learning to compose music with magnetic tape and the RCA Mark II Synthesizer. Carlos met Robert Moog for the first time in 1964 at the Audio Engineering Society convention. They worked together as Moog developed modules for 900-series analog synthesizer. Carlos also began seeing Dr. Harry Benjamin, author of The Transsexual Phenomenon, in his office in New York.

scholarly journals Across Fields: Sound, art and technology from an electromechanical perspective

2017 ◽  
Vol 22 (2) ◽  
pp. 276-285 ◽  
Author(s):  
Jon Pigott
Keyword(s):  
Electronic Music ◽  
Science And Technology Studies ◽  
Industrial Development ◽  
Sound Production ◽  
Experimental Music ◽  
Sound Art ◽  
Disciplinary Boundaries ◽  
Art And Technology ◽  
Kinetic Art ◽  
Historical Accounts

This article follows electromechanical technologies through different contexts of electronic and experimental music, sound art and kinetic art as well as through parts of their industrial development and application. The aim is to explore connections between these different fields which are often obscured by disciplinary and genre divides, and which are typically unrepresented by critical and historical accounts. The approach is influenced by the field of science and technology studies (STS, also science technology and society) where technical and cultural entanglements are seen as crafting particular truths, and where the method of following a technology across disciplinary boundaries is found. By taking this approach to identify connections between the areas of electronic music, sound art and kinetic art, new and rediscovered critical appraisals of the use of electromechanical technologies as tools in creative sound production are identified. These positions are then applied to a selection of contemporary practitioners who continue to work with and forefront electromechanical technologies within the fields of electronic music and sound art.

Noi metode și tehnici de antrenare pentru persoanele cu dizabilități vizuale în activitățile de profil desfășurate în cadrul Muzeului Etnografic al Transilvaniei

2017 ◽  
Vol 31 ◽  
pp. 245-258
Author(s):  
Tekla Tötszegi ◽  
Keyword(s):  
Visual Impairment ◽  
Visual Impairments ◽  
Cultural Integration ◽  
Educational Activities ◽  
First Time

In 2009, a project funded by AFCN proposed for the first time the development of a methodology for the cultural integration of persons with visual impairments and its application to museum techniques, the outputs of which was a tactile exhibition having a permanent character. In the project "BaGMIVI PROJECT: Bridging the Gap between Museums and Individuals with Visual Impairment", the Transylvanian Museum of Ethnography has proposed the development and deepening of certain areas, presented briefly in the tactile exhibition through museum educational activities.

Tectonics Glasgow, 1–3 May 2015

Tempo ◽  
2015 ◽  
Vol 69 (274) ◽  
pp. 62-64
Author(s):  
Matthew Hammond
Keyword(s):  
New York ◽  
Electronic Music ◽  
Contemporary Music ◽  
Symphony Orchestra ◽  
Avant Garde ◽  
Free Improvisation ◽  
Music Making ◽  
Orchestral Works ◽  
The Common ◽  
Music Programming

Ilan Volkov's Tectonics series continues to break new ground in contemporary music programming and curating. Tectonics has now seen its third edition in Glasgow, where Volkov conducts the BBC Scottish Symphony Orchestra, and has also sprung up in other locations to which he has connections – beginning in his home city of Tel Aviv, the series has spread also to Reykjavik, Adelaide and New York. The common theme is a blend of new commissions (usually orchestral works), important recent works, and performances from figures from other areas of avant-garde music making – free improvisation, electronic music and the outer fringes of noise and metal.

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