Ryuji Kunimatsu Guitar Arrangement on the Oblivion by Astor Piazzolla: A Critical Analysis

This study examined the characteristics of Kunimatsu’s guitar arrangements in Astor Piazzolla’s Oblivion by comparing aspects of musical form, melody, and harmony. As with other arrangements’ performances, the primary motif of Astor Piazzola’sOblivion melodic theme in Kunimatsu guitar arrangement has always been played differently from the original version. This performance phenomenon could responsibly risk blurring the identification of structural boundaries within its musical form. The purpose of this study is to prove the basic construction of Oblivion melody, including its form structure and rhythmic characteristics, by comparing Kunimatsu’s arrangements against the composer’s original score. This study uses musicological research methods. The approaches applied in studying this work are analytical, theoretical, and comparative. This study compares the two data to reveal the musical forms and the differences in the primary motive rhythmic characteristics. The results of this study are findings of the Oblivion musical forms in both publications and the differences in primary motives rhythmic patterns in both sources. The difference in musical form is impressive, possibly caused by the insertion of auxiliary members. As a result, Kunamitsu arrangement includes using the two-part song form, originally a three-part song form. With the revelation of the original melodic structure that is clear from the results of this study, the musicians who will present the Oblivion will at least have the essential reference in their interpretation. This research contributes to expanding studies in classical guitar performance and musical forms and new approaches in textual musicological analysis that are still infrequent.

A RECOMMENDATION FOR AN APPROACH TO TEACHING THE PHENOMENONS WHICH FORM ANALYSIS OF FORM AND PERCEIVED TIME WITH GESTALT THEORY IN WORKS 6 AND 7 OF BELA BARTOK'S DUOS FOR TWO VIOLINS

Even though composing and musical form are one of the most controversial issues of the era, the composer or the instrumentalist has to grasp and examine the structural elements of the musical form correctly in order to grasp the spirit of the music to give what is desired during the performance. The stylistic parts of the music and their relations with each other have been researched on the basis of the motifs, which are the smallest building blocks of the musical form. When the musical form is expressed as "time made sound" (Langer, 1953: 135), it becomes necessary to write the formal unity in a way that appeals to the eye by taking the help of letters and numbers to explain the distribution of temporal elements in the form. Explaining the formal elements in the article with literary language and making them visible will help us to understand the perceptual form of music by helping to explain the temporal setup of Bartok's compositional logic with Gestalt theory. Thus, examining the structures that make up the whole with the principles of Gestalt theory, such as proximity and sameness, and making them visible with shapes will enable the music to be depicted and understood from a holistic perspective, regardless of the structure of the form. The act of schematizing what is heard, based on loudness and lengths, will enable us to see music as an element of perception, not theoretically. The aim of the study is to show the perceived time with the help of Gestalt theory, to make a holistic inference about how the individual perceives music, and to provide a perceptual analysis method to music independent of music theory. Keywords: Composer, Bartok, Music, Form, Form, violin, duet, string, Gestalt

BENTUK LAGU MARS FKIP UNIVERSITAS PGRI PALEMBANG IRINGAN MUSIK FORMAT ORKESTRA

<p>The motto of PGRI Palembang University is that the campus advances with quality. Then a need for faculties to make a stragi in providing encouragement and motivation to the academic community to carry out the tri dharma of higher education. (FKIP) Palembang PGRI University through its highest leadership in the faculty gave a letter of assignment to work on the Mars song FKIP PGRI Palembang University to one of the music art lecturers in the performing arts education study program named Silo Siswanto, M.Sn. Then the Mars song was finished on July 23, 2018 and was launched on July 31, 2018 in the FKIP University of Palembang PGIP judicial event held at the Science Center building at the PGRI University in Palembang. Regarding the form in the Mars song, of course, this song has pieces of melody that are often known by the term phrases or musical sentences that make up the song. while the accompaniment music is arranged in an orchestra format. The formulation of the problem. (1) What is the form of Mars FKIP University PGRI Palembang song. (2) How is the accompaniment of Mars FKIP Palembang PGRI University music with orchestra format. The results of the discussion FKIP march song has a poly metric musical form where the antecedent phrase and consequent phrase do not have the same number of bars for example period C has 9 bars consisting of the phrase d 4 bars and the phrase e 5 bars.</p><p><br />Keywords: Song Form, Mars Song, Orchestra</p>

Intermezzo by Johannes Brahms Op. 119 No.3: nonclassical trends in music of late Romanticism

This article analyzes the intermezzo by J. Brahms&nbsp;Op. 119 No.3 for determining the nonclassical trends within the structure of musical fabric and form-making principles in this composition.&nbsp;The research employs the method of holistic analysis, which implies examination of the peculiarities of harmony, texture uniqueness, thematic processes, and formative patterns in the intermezzo by J. Brahms&nbsp;Op. 119 No.3; the elements of comparative analysis (juxtaposition of the form-making principles in this composition and classical works, as well as of interpretation of the reprise of the three-part form in the intermezzo by Brahms&nbsp;Op. 119 No.3 and Nocturne by Chopin&nbsp;Op. 48 №1).&nbsp;The scientific novelty lies in revealing the nonclassical trends in the music of J. Brahms, namely homogeneity of the sound fabric, low degree of differentiation of relief and background in the texture, absence of the common forms of sound and passive fragments in musical form.&nbsp;The author determines the conceptual proximity of Brahms' principles of working with musical material with the method of interfusion of the object and space that gained popularity in painting of the early&nbsp;XX&nbsp;century.&nbsp;The acquired results allow concluding that in the intermezzo Op. 119 No.3, J. Brahms implements a number of nonclassical principles of working with musical material, which anticipate the discoveries of the composers of the Second Viennese School (in particular, Webern).&nbsp;The presented materials can be valuable for further study of the compositions of J. Brahms, various theoretical aspects of music of the turn of the&nbsp;XIX &ndash;XX&nbsp;centuries, as well as performance and pedagogical practice.

Kajian Antropolinguistik Bentuk Lingual Umbu dalam Nyanyian Tidur “Ille Le” pada Masyarakat Melolo, Kabupaten Sumba Timur, Nusa Tenggara Timur (Antropholinguistic Study Word "Umbu‟ in Sleeping Song “Ille Le” at the Melolo Community, East Sumba, East Nusa Tenggara)

Antropolinguistik menempatkan bahasa sebagai kajian utama dan keberadaannya dalam berbagai aspek kebahasaan. Jika dalil tersebut digunakan, lirik sebagai aspek kebahasaan bergayut dengan musikalitas nyanyian “Ille Le” ‗nyanyian tidur‘ masyarakat Melolo. Secara lebih spesifik ditetapkan masalah dalam penelitian ini yaitu bagaimana kajian antropolinguistik bentuk lingual umbu nyanyian tidur “Ille Le” pada masyarakat Melolo, Nusa Tenggara Timur. Berdasarkan kajian pustaka diperoleh research gap yaitu penelitian spesifik antropolinguitik kajian nyanyian budaya. Teori yang digunakan dalam penelitian ini ialah semiotik kognitif berdasarkan prinsip semiotik de Saussure. Metode penelitian menggunakan ancangan kualitatif dengan pendekatan fenomenologi.. Hasil penelitian 1) lirik patriarkat terlihat dalam struktur syair “Ille Le” pada kata umbu ‗anak laki-laki‘; 2) lirik ini dinyanyikan berulang dalam ambitus nada pentatonik. Nyanyian “Ille Le” menceritakan kehidupan masyarakat Melolo pada seorang bayi laki-laki „umbu‟.. Kebaruan dalam penelitian ini yaitu kajian antropolinguistik yang berkaitan dengan lirik nyanyian budaya. Bentuk lingual yang khas tidak dapat dipisahkan dari bentuk musikalnya. Anthropolinguistics places language as the main study and its existence in various aspects of language. Anthropolinguistics in this study relates to the lyrics and musicality of the song “Ille Le” „sleep song‟ of the people of Melolo, East Nusa Tenggara. The problem in this research is how the anthropolinguistic study of patriarchal lyrics in „“Ille Le”‟ sleep songs in the Melolo community, East Sumba Regency, East Nusa Tenggara. Based on the literature review, it was obtained research gap are specific anthropolinguistic research on cultural singing studies. The song „“Ille Le”‟ can be grouped into oral literature, the linguistic aspect is influenced by a unique ethnic music style. The theory used in this research is cognitive semiotics based on de Saussure semiotics. The research method used a qualitative design with a fenomenology approach. The results of the study 1) patriarchal lyrics can be seen in the poetry structure “Ille Le” in the word umbu 'boys'; 2) these lyrics are sung over and over in ambitus pentatonic tones. The song “Ille Le” seeks the life of the Melolo community in a baby boy 'umbu'. The distinctive lingual form cannot be separated from the musical form.

Unfinished Work as Aesthetic and Musical Phenomenon: about Interrelation of Genre, form and Technique of Composition

The relevance of the study is dictated by the interest of contemporary creators and researchers in various fields of science to the problem of unfinished works. The appearance of the latter is associated with the historical situation and philosophical and aesthetic ideas of the time, with the psychological characteristics of the Creator's personality and the peculiarities of his thinking, as well as with the originality of the individual design of the work. In musical art, a productive direction in substantiating the specifics of unfinished works is their consideration both through the “prism” of the philosophical and aesthetic ideas of the time, cultural and historical context surrounding the composer, and based on fundamental theoretical teachings. The aim of the research is to establish and substantiate the “zones” of action and mutual influence of categories that are important and system-forming for theoretical musicology — musical genre, musical form and composition technique within the boundaries of unfinished works. The scientific novelty of the research is reported by: 1) the definition of the artistic and aesthetic phenomenon of “incompleteness”, which is universal for works of art, formulated and proposed for the first time; 2) the classification of unfinished works presented in relation to musical art; 3) analytical observations of the process of interaction of genre, form and technique of composition in conditions of various degrees of manifestation of incompleteness of musical works. The research methodology is based on the works of various fields of scientific knowledge — philosophical and aesthetic research (U. Eco, J. Gartner, etc.), works on the history and theory of art (S. Stupin, E. Abramovskikh, etc.), research in the field of theoretical and historical musicology (Y. Kholopov, E. Ruchevskaya, M. Pereverzeva). The main research methods are the general scientific observation method and the comparative method, as well as various methods of analyzing a piece of music. The results of the study reflect the following conclusion. A progressive tendency is clearly visible from work to work, which in music belongs to the category of “unfinished”: from a ghostly “hint” expressed through the genre, through a meaningful idea “underlying” the form, to the assertion of the principles of an “open work” through total interdependence genre, form and technique of composition. The study is undoubtedly of practical value. It significantly supplements and expands knowledge about some new genres that are little studied in music (fragment, sketch, etc.) and their compositional originality.

The Composition Model in Music: To the Issue of Evolution of Concept

Понятие композиционной модели как структурносемантического прототипа музыкальной формы развивалось и эволюционировало вместе с понятием композиции как эстетической категории и одной из основополагающих категорий художественного творчества. В роли композиционной модели выступает художественный канон или авторский текст; она задается извне или выстраивается по индивидуально разработанному алгоритму; способом ее представления может быть вербализованная система правил, графическая схема или объективированный в звуковой форме образец. С возрастанием значимости в творческом процессе абстрактно-логического мышления область моделируемого внемузыкального неуклонно расширяется: от следования стратегическим законам ораторской речи - к расчетам на основе математических формул, от «биоморфизма» - к «техноморфизму». В статье рассмотрена эволюция понятия композиционной модели на материале сочинений, принадлежащих разным эпохам и стилям: Токкаты из органного триптиха И. С. Баха BWV 564, органной Сонаты № 6 d-moLL из цикла ор. 65 Ф. Мендельсона, Симфонии in C И. Стравинского, Concerto grosso памяти Веберна Ф. Караева и «VOI(REX)» Ф. Леру. The concept of a composite modeL as a structuraLLy semantic prototype of a musicaL form deveLoped and evoLved aLong with the concept of composition as an aesthetic category and one of the fundamentaL categories of artistic creation. The compositionaL modeL is an artistic canon or author's text, it is given from outside or is buiLt according to an individuaLLy deveLoped algorithm, the way in which it is presented can be a verbatim system of ruLes, a graphicaL diagram or an audibLe specimen. With increasing importance in the creative process of abstract and LogicaL thinking, the area of modeLLed extramusicaL is steadiLy expanding: from foLLowing the strategic Laws of oratory speech to caLcuLating on the basis of mathematicaL formuLae, from “bio-morphism” to “techno-morphism.” The articLe considers the evoLution of the concept of the composition modeL on the materiaL of works beLonging to different epochs and styLes: Toccata from the organ triptych I. S. Bach BWV 564, Sonata 6 d-moLL from op. 65 F. MendeLssohn, Symphony in C I. Stravinsky, Concerto grosso in the memory of Webern F. Karaev and “VOI(REX)” F. Leroux.

Borrowed and Original Techniques in the Trio by Leonid Hrabovsky

Relevance of the study. During several years that preceded the creation of the Trio (1964), Leonid Hrabovsky wrote many other works in various genres and forms, ranging from suites and a sonata for solo instruments, a song cycle, and a cappella choruses, to large-scale compositions for orchestra and for mixed choir with orchestra, and even two one-act operas (piano scores). The composer’s stylistic priorities had been rapidly and strikingly evolving from “social realism with a human face” as evident in the Four Ukrainian Songs, towards a much more radical “sharp” expressionism and constructivism. This evolution caused the necessary changes in the techniques utilized by the composer. Hrabovsky was deeply impressed by the article Genealogia nowej muzyki (Genealogy of the new music) of the Polish musicologist Tadeusz Zieliński that was published in the magazine Ruch muzyczny, n. 20–21, 1963. Zieliński stated that, after historical periods of monody, polyphony and functional harmony, a new sonoric and timbral era had come. These ideas inspired Hrabovsky to move towards the radical avant-garde. The object of this research is the Trio by Leonid Hrabovsky. The purpose of the study is to reveal the inherent features that differentiate the piece from other avant-garde works of the early 1960s. Methods of research include technical analysis of the musical form and its dependence upon the pitch organization of the work, as well as comparative analysis. The results and conclusions. Being composed during several days in the spring of 1964, Trio became the first piece of Hrabovsky’s written in a definitely avant-garde style. It was premiered in 1966 and since then has become one of the composer’s most frequently performed works. The reason for such a success lies in the original concept of the piece that essentially differs from the other avant-garde works of that time. When discussing Trio, Hrabovsky always stresses the influence of the Polish avant-garde music attracting him during that period. Indeed, he borrowed a lot of devices from Miniatures for violin and piano by Krzysztof Penderecki, a score Hrabovsky knew and studied at that time. However, a comparative analysis of the two works reveals serious differences between them. While Penderecki operated with purely timbral (sonoric) objects and did not pay special attention to the pitch organization, Hrabovsky composed almost a classical three movement suite with the first movement in a ternary form and the last movement in the binary form. The classical principles of the pitch organization and the distribution of the pitch structures in Trio are similar to those in tonal music. These principles have been unusually applied to the sound material that has nothing in common with tonality. A combination of the traditional and new approaches to the form provided Hrabovsky’s Trio with unique qualities which made it not only an interesting artifact of the avant-garde period but one of the most valuable and artistically perfect works in the Ukrainian chamber music.

Constructing Contrast: Juxtaposition as a tool for formal construction in my own creative practice, explored through the music of Stravinsky and Donatoni

<p>Juxtaposition and Superimposition are two techniques that I have adopted as a core feature of my creative practice. This exegesis examines the origins of these techniques through the analysis of two 20th century works, Igor Stravinsky’s Symphonies of Wind Instruments (1920/1947) and Franco Donatoni’s Tema (1981), examining how the role all musical parameters, including timbre, pitch, rhythm and gesture, combine to create unique and perceptible shapes which can be purposefully juxtaposed, recombined and shuffled to create musical form. The influence and effect of these compositions is then discussed in relation to an analysis of the major work of my accompanying portfolio: Hot Coals for orchestra (2016/2017), demonstrating how ideas taken from the preceding analyses are developed further, and influence not just the resulting aesthetic, but also the construction and process of composition itself.</p>

Constructing Contrast: Juxtaposition as a tool for formal construction in my own creative practice, explored through the music of Stravinsky and Donatoni

<p>Juxtaposition and Superimposition are two techniques that I have adopted as a core feature of my creative practice. This exegesis examines the origins of these techniques through the analysis of two 20th century works, Igor Stravinsky’s Symphonies of Wind Instruments (1920/1947) and Franco Donatoni’s Tema (1981), examining how the role all musical parameters, including timbre, pitch, rhythm and gesture, combine to create unique and perceptible shapes which can be purposefully juxtaposed, recombined and shuffled to create musical form. The influence and effect of these compositions is then discussed in relation to an analysis of the major work of my accompanying portfolio: Hot Coals for orchestra (2016/2017), demonstrating how ideas taken from the preceding analyses are developed further, and influence not just the resulting aesthetic, but also the construction and process of composition itself.</p>