Chamber Music Research Papers - Academia.edu (original) (raw)

2025, Yegah Musicology Journal

This study aims to pedagogically analyze the first ten piécétudes from Roland Dyens's Les 100 de Roland Dyens album. Based on a constructivist learning approach, document analysis was employed to explore how Dyens's innovative piécétude concept-combining technical exercises with musical pieces-contributes to guitar education and supports students' musical development. The term piécétude eliminates the distinction between technical studies and musical works, allowing students to enhance their technical skills within a musical context. Each piece was examined under the categories of general characteristics, suggestions for teachers and students, and difficulty level. The findings demonstrate that Dyens's piécétudes transform technical practice

2025

In late 1765, Joseph Haydn received an official reprimand from his employer, Prince Nikolaus Esterházy, for negligence in carrying out his musical duties, including his neglect in composing for the prince’s favorite instrument, the... more

2025, Las palabras y las notas. Una arqueología de lo indígena en la música académica orquestal y de cámara en México entre 1953 y 1968

Esta tesis es una invitación a hablar, hablar de música, en particular de la música académica mexicana de los años 1950-1960, al preguntarse cómo se representa lo indígena dentro de ella. Hablar, y a través de nuestras palabras, pensar cómo hablamos de esta música con sus notas. Esta tesis es una invitación a doblar nuestros discursos sobre ellos, ya que descansa sobre la siguiente afirmación: desde el interior de sus palabras, la musicología hace brillar lo indígena en la música, en particular apoyándose sobre el artificio del análisis musical para crear este espacio ficticio.
A partir de este objeto de estudio, la exploración de archivos nuevos y mi lectura de la arqueología de Foucault, la tesis trata la musicología de los últimos cincuenta años —al menos la que pude encontrar, un poco por fortuna hay que admitirlo, en unos lugares de América Latina, de Estados Unidos o de Francia— como el presente de su propia reflexión. ¿Cómo hasta ahora esta musicología se ha ubicado y ha relacionado los acervos que manejaba? ¿Cómo ha hecho archivo?
Con lo que llamo el análisis musical de la superficie, propongo desplazar el lugar del análisis musical dentro de los discursos musicológicos, ya que ellos se han vuelto exteriores al objeto musical abordado y han renunciado a su verdad: un análisis por el análisis. En la relación infinita que entretienen las palabras y las notas, este análisis observa con una lupa esa música para no confundirla con otra, para no confundirla con sus apelaciones y tampoco para hacerla entrar, un poco al azar, en el gran relato de la Historia de la música y sus categorías predefinidas.

2025

Haydn’s 126 baryton trios, composed between ca 1766 and 1775, were copied in parts by Johann Elssler and collected in five volumes, with all but the last volume including 24 trios. Volume 4 (Hob. XI: 73-96) ends with an impressive work in... more

2025

Among the 126 baryton trios Haydn composed between ca. 1766 and 1775, only two were in the minor mode. Dating from 1771, Hob. XI: 87, Haydn's only multi-movement work in the relatively common key of a minor, was the first of them. This paper is a brief analytical vignette, with annotated scores, examining the formal design of this tonally unique three-movement work.

2025

Sobre todo, me gustaría agradecer la atención cercana y ayuda del director de presente trabajo fin de master, Emilio Moreno Aguado, que ha sido un guía y supervisor excelente durante el proceso de la elaboración del trabajo, de principio a fin. También me gustaría dar las gracias a mi professor de violín, Manfredo Kraemer, que con su aportación de ideas musicales me ayudó a desarrollar mi creatividad necesaria para la elaboración de mis propias versiones ornamentadas y compartió su opinion sobre ellos.

2025, Women's Song Forum

A couple of years ago, in two blog posts, I raised the possibility that a woman composer’s decision to set poems by a woman poet had several implications, including their choice of musical style and the stage of their career. In this post I review some of my findings and then expand the circle to include German-speaking women composers for the same decades. When I started down this new path, I anticipated finding that male poets would play a larger role – this is, after all, the culture of Goethe, Heine, Rückert, Tieck, and many other revered poets. Yet German-speaking feminists also asserted themselves in the decades before and after 1900, and women poets inspired at least a few women composers. While my opening assumptions were not completely wrong, there were some surprises, especially the realization that the women who set a significant percentage of poems by German-speaking women were actually not from Germany, but rather Luxembourg, Croatia, and most of all, Austria.

2025, (Jurnal Ilmiah Mahasiswa Kesehatan Masyarakat)

AbstrakBeta-Coronavirus novel yang dianggap sebagai virus corona dengan tipe yang baru, muncul diakhir tahun 2019 dan dikenal dengan Covid-19 yang menjadi masalah kesehatan dunia termasuk indonesia. Virus ini menyebar melalui (droplets) tetesan cairan yang dikeluarkan oleh orang yang terkena Covid-19 dan masuk melalui mulut, hidung serta mata. Upaya pencegahan dan penanggulangan dampak dari virus ini bukan hanya merupakan tanggung jawab dari pemerintah semata, tetapi juga memerlukan dukungan dan peran dari pemerintah setempat. Masyarakat merupakan pihak yang berperang penting dalam memutus mata rantai penularan Covid-19. Dilihat dari banyak kasus Covid-19 di bulan November tahun 2020, menunjukan bahwa Kecamatan Baruga merupakan daerah yang tinggi kasus konfirmasi positif Covid-19 yaitu sebanyak 203 kasus. Tujuan penelitian ini untuk mengetahui pengaruh antara sikap, kepercayaan dan dukungan tokoh masyarakat dengan tindakan pencegahan penyakit Covid-19. Jenis penelitian ini adalah su...

2025, Academic Perspective Procedia

Bu Makale kapsamında tek katlı, tek açıklıklı bir çelik çerçeveye ince çelik levha ilave edilmek suretiyle elde edilen yatay yük taşıma sisteminin yatay yükler altındaki davranışını incelemek için gerçekleştirilmiş olan bir dizi analitik çalışmalardan bir kısmı sunulacaktır. Çalışmalar sonucu elde edilen gerilme-şekil değiştirme diyagramları karşılaştırmalı olarak sunulmuştur. Çelik levha dolgulu perde numunesi olarak kullanılacak olan çerçevede kirişler kolonlara yarı-rijit bağlanmış olup kolonlar ise ideal bir mafsal aracılığıyla temele bağlanmıştır. Çelik levhalar ise ek levhası ve bulonlar ile çelik çerçeveye bağlanmıştır. Elde edilen kuvvet - deplasman eğrileri sebep ve sonuçları ile değerlendirilmiştir. Çelik levha ilavesinin yalın çerçeveye katkıları anlatılmıştır. Ayrıca çelik levha dolgulu perde modellerinde kolon-kiriş...

2025, Nikolay Myaskovsky’s Piano Sonata No. 2. A Compositional Analysis

The research aims to determine the structural principles underlying Myaskovsky's Piano Sonata No. 2 across its various compositional levels. The work was selected for its complexity and novelty in terms of melodic forms, overall structure, and tonal plan-features that are characteristic of Myaskovsky's output and Russian-Soviet compositional experiments during the first two decades of the 20 th century. The study uses a descriptive-analytical approach, integrating formal processual descriptions and systematic compositional analysis. The research identifies an inventive combinatory complex of intricate thematic, tonal and gestural cycles of recurrences on various levels of the musical structure and form, which include a higher-level binary structure of "exposition/development" and "recapitulation/coda", and an overall sonata form with a coda. It also identifies lower-level theme and variations cycles that include the main and secondary subjects, the Dies Irae theme, and cycles of recurring tonal relations. These structural levels lead to a reinterpretation of the underlying sonata form.

2025, Physical Review C

We studied the exclusive reaction ep→eЈpЈ using the →K ϩ K Ϫ decay mode. The data were collected using a 4.2 GeV incident electron beam and the CEBAF Large Acceptance Spectrometer ͑CLAS͒ at the Thomas Jefferson National Accelerator Facility. Our experiment covers the range in Q 2 from 0.7 to 2.2 GeV 2 , and W from 2.0 to 2.6 GeV. Taken together with all previous data, we find a consistent picture of production on the proton. Our measurement shows the expected decrease of the t slope with the vector-meson formation time c⌬ below 2 fm. At ͗c⌬͘ϭ0.6 fm, we measure b ϭ2.27Ϯ0.42 GeV Ϫ2 . The cross section dependence on W as W 0.2Ϯ0.1 at Q 2 ϭ1.3 GeV 2 was determined by comparison with production at HERA after correcting for threshold effects. This is the same dependence as observed in photoproduction.

2025

Landskapsinstrument skapar en genklang av människors hemtrakter. De dokumenterar och återspeglar ett folks klingande musikaliska traditioner. Det finns inte många landskap som har kvar sina egna landskapsinstrument, men Härjedalspipan är ett typiskt sådant, ett instrument som i gamla tider spelades av vallpojkar och vallflickor runt om i Härjedalen. Olof Jönsson, 1867-1953, ofta kallad Ol'Jönsa i Överberg, var kanske den viktigaste traditionsbäraren av instrumentet. Som en vallflöjt i trakterna runt Sveg sedan 1700-talet blev det senast både tillverkat och spelat av Oskar Olofsson (1919Olofsson ( -2007) ) i Lillhärdal. Han höll traditionen levande och förde den vidare till Gunnar Stenmark, som fortfarande håller traditionen vid liv.

2025, Pravo značenje duše

A naš je svet na koncu... Poezija: razaranje kristalne rešetke, između uspomene i nade, mrvljenje.

2025

Organiste, musicologue, journaliste et professeur de piano australien, qui a enregistré cinq CD de musique d'orgue-dont de nombreuses premières mondiales-et dont la biographie de César Franck a été publiée en 2012 par Scarecrow Press,... more

2025

In Walter Benjamin's seminal work, ‘The Work of Art in the Age of Mechanical
Reproduction’, he speaks of the act of copying as a 'vocation to holiness’, in which the
power of a text is not equivalent when you are reading it compared to when you are
copying it; 'to copy means to become what is being copied,' to resonate with it, vibrate,
and make direct contact with its hidden depths, invisible through the opaque veneer of
mere reading.
Listening, which for the composer could be defined as the 'first-level reading,' followed by the second-level reading of the score, the actual text (the order of which is relatively
important to me, in truth), and potentially subsequent readings/listenings that integrate the two levels, is, for me, always a visceral experience; it is what sets my musical body - understood as a logical-emotional soma - into sympathetic vibration, what reveals spaces never frequented or perceived before, manifesting as the 'unbeschreiblichen Umriß’, the indescribable contour of the Sphinx's cheek that the owl grazes in its nocturnal flight in the tenth of Rilke's Duino Elegies.

2025, Early Music Performer

‘As argued by Alberto Sanna in this EMP, common conceptions of how to approach the performance of a core seventeenth-century repertoire, namely the instrumental music of Arcangelo Corelli (1653–1713), deserves closer scrutiny. He points out a continued tendency to apply conventions associated with eighteenth-century performance practice, which acts as a kind of one-size-fits-all “Baroque” performance style. The nomenclature on the title page of Corelli’s Op. 5 Sonate a violino e violone o cimbalo has been noted and discussed before (for instance by David Watkin in “Corelli’s op. 5 sonatas: ‘violino e violone o cimbalo’?”, Early Music, 24/3 (1996), 645–63). Sanna takes the matter a step further by drawing attention to the way Corelli’s collection belongs to the repertoire of seventeenth-century Italian duos, in which parts for instruments whose function was to provide harmonic support (harpsichord, theorbo), were usually provided separate from the string bass. However, there remains a reluctance to take on board the conclusion that Corelli intended this music for violin and violoncello duo, or for violin and harpsichord as a second option (the term violone was used to indicate an 8-foot string bass instrument tuned to C-G-d-a). Provocatively, we could attribute this to the way the discipline is structured, since professional lives continue to thrive on specialism in “Baroque” music, and all that entails from the point of view of marketing, and how music is taught in universities.’ (Andrew Woolley, 2014.)

2025

By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. August 2012 Declaration (2) Sections in the dissertation have been blacked out at the request of Stellenbosch University in order to prevent any possible implication of individuals. The process that led to this step is outlined in the attachment to this dissertation.

2025

PURPOSE OF THE STUDYThe purpose of this study is to provide both singer and accompanist a guide to performance practice of selected cabaret songs from the twentieth and twenty-first centuries, written by selected composers who worked from 1900 to the present. The chosen composers and cabaret songs are Erik Satie (Dive de l'empire, Je te veux), Francis Poulenc (Torèador, A sa guitar), Arnold Schoenberg (Galathea, Gigerlette, Der Genüngsame Liebhaber, Mahnung), Kurt Weill (Je ne t'aime pas, Youkali), Benjamin Britten (Calypso, Funeral Blues), and Benjamin Moore (See How a Flower Blossoms, Let the Walls Fall Down). Each composer's involvement with the cabaret genre has been well documented in other scholarly sources.For stylistic information I have consulted three coaches; each was asked to coach me in specific song selections, covering historical information, stylistic choices and traditions. Mr. Martin Katz coached the Satie and Poulenc selections, Mr. Steven Blier coache...

2025, Taynnara Queiroz

Breve análise do poema "O Outro Eu" de Gilka Machado, para obtenção de créditos em matéria do curso de Letras da EFLECH

2025

Redefining Places for Art was a collaboration with Arts Queensland and the Australia Council for the Arts. It investigated the changing relationship between place and performance as audiences, organisers and producers of new work explore alternative venues to theatres and concert halls. While formats and venues for performance inherited from nineteenth century European models still shape the Australian cultural and funding landscape, new forces are challenging assumptions about the formats, venues and audiences for the performing art.

2025, Costal, A. (coord.), Garrigosa, F., Canadell, R., Farré, A., Cabré, B. (2025). Josep Anselm Clavé (1824-1874). La guajira. Americana per a cor i orquestra [partitura]. Generalitat de Catalunya. 10.57645/10.8080.13.6

L’edició d’aquesta partitura ha estat elaborada per Anna Costal (coord.), Francesc Garrigosa, Roger Canadell, Arnau Farré i Bernat Cabré amb motiu de la commemoració de l’Any Clavé de la Generalitat de Catalunya (2024).

2025

Bu arastirmada, muzik tarihinin son yuzyillik donemini kapsayan Cagdas donem ve muzigi, oda muziginin tarihsel gelisimi ve Cagdas donem muzigindeki yeri ve onemi, Fransiz Cagdas donem bestecisi olan Eugene Bozza’nin hayati, muzik stili, oda muzigi eserleri ve bu eserlerinde obuanin yeri ve onemi anlatilmaktadir. Arastirmada, verilerin toplanmasi ve cozumu ile Cagdas donemde muzikte milliyetcilik (ulusculuk) egiliminin ortaya cikisindan bahsedilerek, farkli uluslarin bestecileri bagimsizliklarini savunmaya ve muziklerini Wagner’in etkisinden kurtarmaya basladiklari tanisina varilmistir. Cagdas donem, yeni muzigin arayisiyla paralel olup, pek cok yone dagilmaya baslamistir. Oda muzigi alaninda oldukca onemli bir role sahip olan obua, Schumann’dan bircok cagdas besteciye gelinceye kadar donemin ozelliklerine uygun olarak oda muziginde kullanilmistir. Diger cagdaslarina nazaran oda muzigi eserleriyle un yapmis Fransiz besteci Eugene Bozza’nin; uflemeli sazlar icin yazdigi oda muzigi ese...

2025

Change to Piccolo. Piccolo 9 O Glockenspiel Change lo Xylophone [soft] 3 b imp (LV)

2025

Change to Piccolo. Piccolo 9 O Glockenspiel Change lo Xylophone [soft] 3 b imp (LV)

2025, L'Auditori

ENRIC GRANADOS (Lleida, Espanya 1867 – Canal de la Mànega 1916) Tres danses espanyoles (1900) – Orquestració de J. Lamote de Grignon – 13’ Oriental Andaluza Rondalla FELIU GASULL (Barcelona, Espanya 1959) Domini màgic (2024). Estrena... more

2025, Palau de la Música Catalana

De Catalunya, al món —‘Concert per a violí’ de Juli Garreta Fitxa artística Jaime Naya, violí Montserrat Seró, soprano Cor Madrigal El Cor Canta Orquestra Camerata XXI Xavier Puig, director Programa J. Garreta: Concert per a violí i... more

2025, Alma Colombiana en Música de Cámara. Partituras originales para Orquesta de Cuerdas

La propuesta creativa del proyecto "ALMA COLOMBIANA EN MÚSICA DE CÁMARA" se fundamenta en resaltar y promover la riqueza cultural y musical de Colombia mediante la música de cámara. Esta iniciativa busca fusionar los elementos propios de la tradición colombiana con la sofisticación y la precisión interpretativa característica de la música de cámara.

2025, 2025 NYOI Winter Programme

2025, Duetto de Gatos

Musica Buffa. Duetto de Gatos

2025

The History of Opera Art and Opera From Tanzimat to Today ÖZET Yunan mitolojisini tekrar canlandırmak üzere bir araya gelen Camerata topluluğundan Jacopo Peri"nin bestelediği ve İtalyan şair Ottavio Rinucci"nin librettosunu yazdığı "Daphne" isimli opera tarihteki ilk opera olarak kabul edilmektedir. 1594 yılında İtalya"nın Floransa kentinde ortaya çıkan opera sanatı, günümüze kadar çeşitli dönemlerden geçmiştir. Daphne"nin ardından opera sanatını geliştiren ilk besteci Claudio Monteverdi olmuştur. 1607"de sahneye koyulan "La Favola d"orfeo" operası, opera tarihinin gelişiminde önemli bir dönüm noktası olarak kabul edilmiştir. Klasik batı müziğinde Rönesans olarak adlandırılan dönemde ortaya çıkan ve hem dramatik hem de müzikal ögeleri ustaca kullanan opera sanatı günümüze kadar pek çok kez değişime uğramıştır. Klasik batı müziğinde dönemler "Rönesans", "Barok", "Klasik", "Romantik" ve içinde bulunduğumuz "Modern" dönem olarak adlandırılmıştır. Barok dönemde büyük gelişme yaşayan opera Henry Purcell, George Friderich Handel gibi isimlerle dönem özelliklerini yansıtmıştır. Klasik dönemde Wolfgang Amadeus Mozart ve Christoph Willibald Gluck gibi bestecilerle, daha dengeli hale gelmiştir. Romantik dönemde duygusal ifade ve büyük orkestrasyonlar açısından zenginleşen opera, Giuseppe Verdi, Richard Wagner ve Giacomo Puccini gibi bestecilerle tarih sayfalarına yazılan eserlere sahne olmuştur. Son olarak içinde bulunduğumuz Modern dönem ise opera sanatında deneysellik ve çeşitliliğin dönemi olmuştur. Modern dönem opera alanında farklı müzikal ve tematik yaklaşımların denendiği dönem olmuştur. İtalya"da ortaya çıkarak Avrupa"da gelişim gösteren opera sanatı ülkemizde ilk kez III. Selim zamanında sahneye konmuştur. Cumhuriyet döneminden sonraki ilk opera ise konusu Mustafa Kemal Atatürk tarafından özel olarak seçilmiş ve Türk beşlerinden Ahmet Adnan Saygun tarafından bestelenmiş "Özsoy" operası olmuştur. Bu çalışmada opera sanatının başlangıcından günümüze kadar geçirdiği evreler ve ülkemizdeki yeri incelenecektir.

2025, Anais Do Congresso Da Associacao Brasileira De Performance Musical

2025

Obra para cuarteto de cuerdas clásico
2004

2025

It has been known since 1929 that the canzonetta “Ridente la calma”, traditionally attributed to Mozart and included in the complete edition of his works, is actually an adaptation of an aria by Josef Mysliveček, “Il caro mio bene”, which was recognised in 2009 as a number from the opera “Armida” (Milan, 1780). The article reveals that the poetic text of the pseudo-Mozartean piece comes from the festa teatrale “Il trionfo della pace” (Turin, 1782) by Francesco Bianchi, where it is sung by the character of Ciro. Even more interestingly, Bianchi’s B section is quite similar to that of the canzonetta. Both Mysliveček’s and Bianchi’s arias were written for Luigi Marchesi. In the course of his career, the famous castrato had a special predilection for short “minuets” of this type, as evidenced by many examples. One of them, “Spiegate le vele” from the opera “Angelica e Medoro” (Venice, 1791) by Gaetano Andreozzi, shows resemblances with “Il caro mio bene” / “Ridente la calma”. In conclusion, the hypothesis is put forward that Mozart may have come into contact with Marchesi’s favourite piece when the singer stayed in Vienna in 1785.

2025

La presentazione Il Festival Der Wanderer è un contenitore ideale per la presentazione in Italia del volume bilingue Kalevala, epica, magia, arte e musica, edito dalla Gaggia, in collaborazione con il Kalevalaseura e la casa... more

2025, Atmospheric Environment

Photo-oxidation experiments on propene-NO x -air and 1-butene-NO x -air mixtures were performed in the CSIRO indoor environmental chamber. These data were used to test the alkene sub-mechanisms from the Master Chemical Mechanism version 3.1 (MCM v3.1). A comparison of measured and modelled propene-NO x data showed that the mechanisms required the inclusion of O( 3 P)+parent alkene reactions in order to adequately model the results over a wide range of VOC/NO x ratios. Sensitivity studies were performed on propene-NO x and 1-butene-NO x simulations to determine the effect of uncertainties in the chamber parameters and key photolysis rates on the O 3 , and NO x profiles. The low VOC/NO x propene simulations were sensitive to the formaldehyde (HCHO) photolysis channel that produces HO 2 radicals and to the presence of O( 3 P) reactions. For the higher VOC/NO x propene simulations, the O 3 , and NO x results were more sensitive to small changes in the initial HONO and NO 2 concentrations.

2025

This recital is given in partial fulfillment of the performance requirements for the degree Master of Music in bassoon performance. Hugo A. Doege is a student of Albie Micklich. Out of respect for the performers and those audience members... more

2025, Monserratt Vela Garcés

El pasillo ecuatoriano es reconocido como el principal género de música tradicional en el Ecuador; su importante papel histórico en la construcción de la identidad ecuatoriana y el desarrollo de la industria fonográfica local está bien documentado. Sin embargo, es notable su ausencia (y la de otros géneros tradicionales) en los estudios académicos de música, bien sea en conservatorios o universidades. El propósito de este trabajo es resaltar las características que hacen del Pasillo ecuatoriano una herramienta pedagógica eficiente y señalar una vía posible para su integración en el ámbito académico, específicamente en la formación de músicos de cuerda frotada. Para ello se recurre a una investigación bibliográfica, etnográfica, estadística, y al trabajo de campo, así como a la adaptación de algunos elementos del método Suzuki. Se sugiere realizar investigaciones parecidas con otros géneros de nuestro amplio acervo musical.

2025, PLOS ONE

Roux-en-Y gastric bypass (RYGB) surgery is a very effective bariatric procedure to achieve significant and sustained weight loss, yet little is known about the procedure's impact on the brain. This study examined the effects of RYGB on the brain's response to the anticipation of highly palatable versus regular food. High fat diet-induced obese rats underwent RYGB or sham operation and were then tested for conditioned place preference (CPP) for the bacon-paired chamber, relative to the chowpaired chamber. After CPP, animals were placed in either chamber without the food stimulus, and brain-glucose metabolism (BGluM) was measured using positron emission tomography (μPET). Bacon CPP was only observed in RYGB rats that had stable weight loss following surgery. BGluM assessment revealed that RYGB selectively activated regions of the right and midline cerebellum (Lob 8) involved in subjective processes related to reward or expectation. Also, bacon anticipation led to significant activation in the medial parabrachial nuclei (important in gustatory processing) and dorsomedial tegmental area (key to reward, motivation,

2025, NDSU Graduate Student Symposium

2025

Documentations of Brazilian colonial music that we acknowledge today are, unfortunately, incomplete. Any registers and knowledge of music before the last quarter of the eighteenth century are rare, complicating any stylistic classification. Only since the late eighteenth century and the beginning of the nineteenth century do we have an archive of composers and their music -like Jose Mauricio Nunes Garcia, Emerico Lobo de Mesquita, among others. More studies of music played in colonial Brazil and reproductions of this music can be found since then. Many of these repertoires have been recorded and labelled as Baroque, as we can see in records like Negro Spiritual au Brésil Baroque directed by Jean-Christophe Frisch, Brésil Baroque CD3 directed by Luiz Alves da Silva & Mathias Wiebel or Música Barroca Brasileira by the Camerata de Caracas directed by Isabel Palacios. The term Baroque used to classify the style of eighteenth-and nineteenth-century Brazilian music can be found back in the decade of 1940, after the discoveries of the German-Uruguayan musicologist Francisco Curt Lange. Curt Lange was a pioneer on the research of Brazilian colonial music, contributing to its promulgation and making possible further studies of that repertoire. Curt Lange named the music found on his research as "Mestres do Barroco Mineiro" (Baroque Master of Minas Gerais), making an analogy to the architecture and visual arts of the Baroque churches of Minas Gerais and, also, the aesthetics of the music that was probably played there. However, the term Baroque denominated by Curt Lange as an aesthetic characteristic is problematic, since the aspects of the music found in Brazil in the late eighteenth century and the beginning of the nineteenth century do not correlate with Baroque characteristics. Also, some of the architecture and visual arts of the period was already distancing themselves from Baroque too, as we can see in Aleijadinho's Rococo style. For Jose Maria Neves, the correlation to the architecture and visual arts suggested by Curt Lange were unclear whether the period they belong, and an association with them may have caused the confusion. 1 Considering this stylistic problem, the present paper demonstrates how the late eighteenth and early nineteenth-century Brazilian colonial music is distancing itself from Baroque characteristics. The aspects of the music found in Brazil correlates with the European practices of the eighteenth century rather than Baroque music. A historical and social contextualization of Brazil in the eighteenth and nineteenth century may illustrate the contact of European music with Brazilian composers. Also, a brief analysis of music by Jose Mauricio Nunes Garcia and Emerico Lobo de Mesquita will demonstrate this influence reflected in their compositions. The paper finishes questioning the performances of these repertoires in recordings like, Negro Spirituals au Brésil Baroque and Musica Barroca Brasileira, and the stylistic issue over the Brazilian colonial music. In opposition to the rapid expansion of the New Spain colony in Latin America, Brazil's later development is reflected in the production and consumption of music. While in New Spain documentations of music could already be found in the sixteenth century, in Brazil the registers of music in the early colony can only be seen as references on letters and chronicles of "Companhia de Jesus" (the first Jesuits that arrived in Brazil in 1549 in order to catechize natives). 2 In these letters and chronicles, the Jesuits make references to the native's desire and taste to learn and play music. The interest of natives in European music facilitated their catechization, and music was used to propagate the Catholic faith. Luiz Heitor mentions the utilization of native kids' singers to approach other tribes, making the procession reachable to different native communities. 3 Through the sixteenth and seventeenth century, the feasts and processions of the Jesuits continued and a few descriptions mention songs and dances. As Luiz Heitor cites Fernão Cardim describing the feast "Auto Pastoril" in 1583, with "Portuguese dances" played by "viola, pandeiro, tamboril

2025, 13. Uluslararası Hisarlı Ahmet Sempozyumu

Müziksel ses üretimi, insan hareketleriyle çok yönlü bir ilişki içerisindedir. Bu karmaşık etkileşim, müzik performansının teknik, estetik ve ifadesel boyutlarını içeren geniş kuramsal art alanını oluşturur. Bedensel hareketlerin derinliğinde yatan fizyolojik özellikler ve psiko-motor beceriler, insan veya enstrüman kaynaklı sesin tınısına ve ton üretimine yansır. Bunun yanında, ses üretiminde doğrudan sorumlu olmayan ancak performans sırasında müzisyenlerde yaygın olarak görülen yardımcı bedensel hareketler de bulunmaktadır. Müzisyenlerin hareketleri, çalgısal eylemler ve yardımcı ya da ifade edici eylemler olarak iki kısımda değerlendirilebilir. İlki ses üretiminden sorumludur. İkincisi ise müziğin kendisiyle içsel bir ilişkiye sahiptir ve icracının müziği ifade etme niyetini temsil eder. İkinci türdeki hareketler ses üretimi için zorunlu olmasa da müzisyenlerde performans sırasında sıklıkla görülebilir. Bu hareketler, bazı müzisyenlerde benzer kalıplar şeklinde görülebileceği gibi enstrümana veya kişiye göre kendine özgü modellerle karşımıza çıkabilir.
Performans sanatlarının tümünde, izleyici algısı büyük ölçüde görsel bileşenlerle şekillenmektedir. Müzik performansında ise icracılığın somatik doğası gereği, bilişsel bir yapı içerisinde oluşan hareketler ve diğer görsel bileşenler, müziğin temsilinde aynı zamanda bir aracı rolü üstlenmektedir. Örneğin, aktörlerin sözlü konuşmada yaptıkları gibi müzisyenler de jestlerle müziksel ifadeyi pekiştirebilir ve müzik hakkında izleyiciye bilgi iletebilir.
Bu çalışmada, literatürden edinilen bilgilerle derlenen veriler üzerinden müzik performansındaki bedensel hareketlerin, jestlerin ve hatta mimiklerin müziğin ifadesine katkısı, bunların izleyiciler üzerindeki etkileri ve müziksel bilgileri izleyiciye aktarma kapasiteleri değerlendirilmiştir. Ayrıca, dikkat çekilen bu hususların mesleki müzik eğitiminde önemli bir bileşen olması gerektiğinden yola çıkılarak nasıl değerlendirilebileceği konusunda bazı öneriler sunulmuştur.

2025

Master's Project (M.Mu.) University of Alaska Fairbanks, 2016The purpose of this paper is to present background information on the author's graduate piano recital program, namely extended program notes on the music performed. It should be mentioned that, although not intended, the whole recital is, in a way or another, program music. It is divided in two parts: the first is about Storms and Water (with "The Tempest" by Beethoven and Une barque sur l' ocean by Ravel), and the second about Spirits (with Faust Waltz by Liszt and the Three Ghost Rags by William Bolcom). Alborada del gracioso by Ravel falls somehow in between these two parts - a gracioso (jester) is a character, thus a spirit; an entertaining one. In this paper, I will attempt to explain what inspired composers to add titles to their music - this extramusical aspect has always been very intriguing to me. In the case of Beethoven, the title was most probably given by someone else, therefore the &quot...

2025

The late eighteenth and early nineteenth centuries witnessed the rise and often-rapid decline of certain musical instruments, referred to here as ‘esoteric’ instruments. This study explores the strong connections between these instruments and the Biedermeier style. In fact, some characteristics of the Biedermeier style can be traced to the features of these instruments. The study proposes that these ‘esoteric’ instruments can be seen as embodiments of Biedermeier cultural values and as its epitomes.
Biedermeier is often defined in contrast to the canon of Western classical music, with works excluded from this canon being labeled as Biedermeier, regardless of their artistic quality, complexity, or genre. This comparison, based on the perceived inferiority of the non-canon, led to Biedermeier being seen as a second-rate style. Additionally, Biedermeier is associated with a period of political conservatism, the restoration period (1815-1848) in Europe, which led to a preference for the privacy and safety of home life over the risks of public spaces, where surveillance by the secret police was common. Biedermeier is also identified by its social convivial institutions (such as amateur choral societies).
This study aims to add musical characteristics to the existing definitions of Biedermeier, which has typically been described through political, historical, and sociological lenses. It finds that even canonical composers incorporated aspects of Biedermeier style into their works. The key differences between canonical and Biedermeier music lie in the use of polyphony and counterpoint, motivic development, and the overall better command of the sonata form.
Many of Biedermeier’s musical traits stem from the principles of superiority and primacy of the melody. Simple melodic patterns were often elaborated with excessive ornamentation, sometimes distorting the symmetry of classical phrasing. They were also embellished by melodic and harmonic tonicizations, which led to the growing use of the lowered second (Neapolitan) and sixth (Italian, French, German) degrees, both melodically and harmonically. This extensive usage of these lowered degrees led to the prominent usage of mode-mixture as both an expressive and a modulatory device. The usage of the lowered sixth degree and mode mixture led to the growing popularity of the key of Ab major (lowered sixth degree of C major) that was hardly used before the Biedermeier period, yet became quite popular in Biedermeier-period music.
The study then discusses other fundamental musical characteristics of Biedermeier. Such traits include performing music of the past (by deceased composers); the emergence of standardized ensembles alongside the non-standardized ones with which they coexisted; the military style (and its related Hungarian and Gypsy styles); and the tendency to compose fast-tempo movements in moderate tempi, particularly in concerti; unique nomenclature for musical works; and the growing popularity of dances from Europe’s periphery and works in binary form and modified sonata forms. Some of these traits, such as moderate tempi in movements, binary forms, and non-standardized ensembles, largely disappeared after 1850, while others, such as the performance of music from the past and standardized ensembles, became pillars of the musical canon.
The research also explores the ‘esoteric’ instruments of the Biedermeier period and their connection to the Zeitgeist of the time. These instruments share features like smaller sizes (compared to other members of their families), portability, and the ability to produce soft, intimate sounds suitable for indoor chamber music. Most compositions for these instruments consist of popular Biedermeier genres, such as variations, fantasies, and potpourris based on operatic tunes or folk music from Europe’s remote peripheries. The study demonstrates the connections, often anecdotal, between these ‘esoteric’ instruments, their players, manufacturers, and composers, illustrating the affinity that existed among them. I categorize the ‘esoteric’ instruments into three groups based on their fates: some, like the csakan, disappeared entirely; some, like the guitar, vanished temporarily only to reemerge in a different form; and others, like the accordion, transitioned from the classical to the folk music domain early in their development.