Music & movement

is one of the most respected living Chinese composers, whose innovative compositions hold a place of prominence in contemporary Chinese music. Zhao, a pianist himself, naturally has written a number of works for solo piano which can be divided into three major compositional periods. During the 1970's, he concentrated mostly on arranging the works of other composers. In the 1980's, Zhao began to explore the combination of contemporary Western idioms with more traditional Chinese music. Since the 1990's, he has focused his activities on creating a new kind of Chinese musical expression-a sort of Chinese-style serialism called the Tai Chi (or Taiji) System of Composition. Over the course of Zhao Xiao-sheng's compositional lifetime, his life experiences and his education have led him to this more personalized compositional style. The Tai Chi System of Composition represents the full maturity of the composer's creative thinking and the solo piano works are excellent examples of his compositional output under this system. This document will examine Zhao's innovative fusion of Chinese and Western musical influences in his solo piano works from the Tai Chi system and its place within the future of world music.

Estudo experimental sobre a aplicação da teoria do movimento de Rudolf Laban na aprendizagem da regência e seus efeitos na performance e na expressividade musical. agradecimentos Ao Doutor Jorge Castro Correia, pelo seu encorajamento e orientação durante a realização deste estudo. Ao Doutor Charles Gambetta, pela excelente colaboração que deu na acção de formação em Movimento Laban, efectuado no âmbito da presente investigação. Ao Doutor German Cáceres -Orquestra Sinfónica de El Salvadore ao Doutor Robert Gutter -Universidade de Greensboro pelos aconselhamentos que, sobre a problemática da regência, deram ao longo desta investigação. À Filarmonia das Beiras, pela prestimosa colaboração no acto de defesa da tese. Regência, Movimento Expressivo, Estética, Performance, Laban resumo A presente investigação teve como objectivo aplicar, em contexto experimental, alguns conceitos e técnicas da Teoria do Movimento de Rudolf Laban numa acção de formação em regência e avaliar os respectivos efeitos nas competências gestuais dos regentes nela participantes. O estudo teve como base teórica o principio de que a gestualidade do regente é uma "manifestação exterior de impulsos interiores…" (Laban, 1978:32) e que a música, na sua essência, é uma "forma simbólica do sentimento humano", "um movimento sonoro", "… um análogo da vida emotiva". (Susanne Langer, 1980:28) Com a adopção destes pressupostos procurou dar-se coerência às diferentes componentes envolvidas na problemática desta investigação. A parte experimental do estudo teve quatro momentos distintos. No primeiro, foi realizada uma gravação-vídeo para documentar os desempenhos dos estagiários antes da realização das formações (gravação pre-test). No segundo momento, os estagiários tiveram ocasião de frequentar um curso de Movimento Laban ministrado por um especialista nesta matéria, convidado para o efeito. Esta acção de formação terminou com uma gravação-vídeo, efectuada nas mesmas condições técnicas e programáticas da anterior (gravação post-test). Em terceiro lugar, realizou-se, sob orientação do autor do presente estudo, uma segunda acção de formação com o objectivo de plasmar os conceitos e técnicas de Laban na gestualidade específica da regência. Como corolário desta formação, foi realizado o último registo-vídeo (gravação repost-test). Estas gravações foram posteriormente editadas sem alterações técnicas e de conteúdo. Os dados, nelas constantes, foram analisados e avaliados por dois especialistas em regência, a partir de questionários previamente concebidos e fornecidos para o efeito. Após leitura dos pareceres dos especialistas expressos nesses questionários, o autor do presente estudo concluiu que a aplicação dos princípios e técnicas de Laban ao ensino da regência podem contribuir para promover, extensivamente, as competências gestuais dos regentes, tanto no plano da sua funcionalidade, como na sua dimensão expressiva. Quadro -Elementos constitutivos do Movimento Sonoro 50 Quadro -Conceito de ritmo como factor estruturante 51 Quadro -Elementos de Esforço 99 Quadro -Esforço: Fases de participação interna 100 Quadro -Os Seis Estados ou Atitudes Interiores 101 Quadro -Acções Básicas de Esforço 103 Quadro -Movimentos Derivados 104 Quadro -Sensações subjectivas do movimento 104 Quadro -Experiências Psicossomáticas 105 Quadro -Impulsos de Acção 106 Quadro -Afinidades entre Esforço e Forma 107 Quadro -Esquema do Estudo Experimental 121 Quadro -Afinidades/Esforço Elementos da Expressão Musical 127 Quadro -As Oito Acções Básicas de Esforço de Laban e a sua correspondência com a regência 133 vi

Fuyang folk songs, rooted in the cultural traditions of Anhui Province, China, represent a vital component of intangible cultural heritage, encapsulating the region’s linguistic, musical, and cultural identity. This study explores the musical literacy in Chinese Fuyang folk songs through the ‘Dui Duo Luo’ music piece. The research investigates the song’s textual, melodic, and performative elements using qualitative methods, including fieldwork, interviews with five key informants, and musical analysis. The findings reveal that the lyrics of ‘Dui Duo Luo’ serve as a repository of local dialects and idiomatic expressions, reflecting the cultural values and everyday lives of Fuyang communities. The melodic structure, characterized by pentatonic scales and rhythmic patterns, facilitates oral transmission and fosters cultural continuity. The performative aspects highlight its communal and participatory nature, such as its duet format and call-and-response interaction. These dimensions collectively underscore the significance of literacy in folk music as a multifaceted competence encompassing cultural awareness, interpretive ability, and artistic appreciation. The study concludes that integrating Fuyang folk songs into educational frameworks can enhance cultural literacy and preserve these traditions amid modernization. Recommendations include incorporating folk music literacy into curricula, leveraging digital tools for preservation, and conducting comparative studies with other regional folk traditions.

This study explores the musical composition literacy and arrangement techniques in Chinese pop music. The research investigates how traditional Chinese musical elements and modern global influences are synthesized in contemporary Chinese pop music. The objective is to investigate and analyze the musical composition literacy and arrangement techniques in Chinese pop music, specifically focusing on the song “Qi Mei Di” by Guo Ding. The study was conducted through a qualitative research design involving an instrumental case study, which focused on a detailed examination of a single song and involved semi-structured interviews with three key informants: a composer, a music producer, and an arranger directly involved in the Chinese pop music industry. The data analysis includes thematic coding of interview transcripts and content analysis of the song “Qi Mei Di,” examining its musical structure and arrangement techniques. The results reveal that Guo Ding’s work exemplifies the integration of traditional Chinese music with modern pop sensibilities, highlighting emerging trends in Chinese pop music towards greater complexity and sophistication. This research contributes to understanding how musical literacy is developed and applied in Chinese pop music. It suggests that future studies should explore the impact of digital technology and music education on these practices. The findings have implications for educators and practitioners in music composition and arrangement, particularly in non-Western music traditions.

Incorporating Yunnan Yi music elements into piano compositions is a growing trend in Chinese piano music, and Yi piano adaptations serve as an important representation of Yunnan piano music’s ethnic style and development. However, a lack of systematic investigation and observation means that little research has been done on the composition of Yi piano adaptations. This presents a challenge for aspiring piano students looking to interpret the Yi characteristics of these works. This study aims to provide a systematic discourse on prior research and investigate the relevance and contribution of Yi piano adaptations in reducing the existing gap. Literary research and musical analysis will be employed to analyze the Sani Fantasia adaptation. A literature analysis will classify relevant piano adaptation works and appreciate Yi piano music’s overall growth pattern, while a systematic examination of Sani Fantasia will reveal how Yi’s music elements are expressed and translated in the piano pieces while maintaining the original folk song’s ethnic style. The researchers hope the study will deepen academics’ understanding of the cultural significance and worth of Yi piano adaptations and piano compositions in the Yunnan ethnic styles.

Following the demanding performance of Athinodorou’s Re:Mains for Multi-Pianist, Tsioutis interviews the composer in an attempt to identify the challenges of the journey from concept to realization, as re-examined from two different perspectives: retracing the composer’s creative process, and the pianist’s learning process. The ensuing discussionfocuses on technical and artistic concerns – identified as spatio-kinetic – which arise from thespecific instrumental setup i.e., three different pianos for one performer. The interview sheds light on how new piano vocabulary is integrated into the already known. It is also argued that the idiomatic writing of the piece can help reveal the pianist’s qualities as a performer, and enhance their cognitive environment, leading to a further exploration of relevant repertoire and concert programming, as well as building new bridges of communication with the audience.

Music composition, particularly within the Chinese Yan Huang style, holds significance for its artistic merit and potential to enhance literacy development and foster cultural appreciation. This study delves into the literacy composition techniques employed by composer Bao Yuankai within the Chinese Yan Huang style, focusing on the piece “Going to Jiangzhou.” The primary objective is to analyze the literacy composition techniques in the Chinese Yan Huang style of composer Bao Yuankai. Through a multidimensional approach integrating insights from music education, cultural studies, and literacy development, the study examines instrumentation, melody, harmony, and cultural symbolism in Yuankai’s compositions. Three key informants, including music scholars, professional musicians, and music educators, provide diverse perspectives on Yuankai’s works. Qualitative data analysis methods are employed to analyze insights gathered from interviews and observations. Findings reveal Yuankai’s adept use of traditional Chinese elements alongside modern composition techniques, resulting in compositions that resonate with audiences worldwide. Suggestions include incorporating culturally relevant content into music education curricula to enhance student’s literacy skills and cultural awareness.

While the Chinese orchestra is a relatively modern formation, its Chinese folk music predecessors and their relationship with their host environment has a long, traceable history. Traditionally, Chinese music has nurtured a close identification with natural phenomena, from the use of natural resources in the construction of instruments, classified as the bayin, to the portrayal of imageries of the soundscapes of nature with extended performance techniques. Along with globalisation trends, Chinese folk music traditions have since undergone a series of hybridisation and transformation processes that transposed its focus from the natural/individual into the social/communal, mimicking the Western symphony orchestral model, a process that fostered the constant modification, repurposing, and commodification of its instruments and practices. Applying Titon's concept of ecomusicology as the theoretical framework, the present study explores the resilience and adaptive management of the Chinese orchestra since the inception of its model 100 years ago, particularly in the context of the Chinese diaspora in Malaysia. How does Chinese music in a diasporic location retain and adapt its historical aesthetics, after undergoing politically induced transformations, pressures of modernisation and desires of assimilation into the local community? This study proposes a participant observation to reassess the current state of the Chinese orchestra in Malaysia, while providing an update on the limited existing literature on the topic through the perspective of cultural ecosystems. With tensions of modernising according to social trends and additional challenges posed by social configurations, repositioning the study of Malaysian Chinese Orchestras as ecosystem would help to devise new strategies to sustain the model in the future, while keeping its identity as a 'tradition' that is experiencing constant evolution.

Incorporating Yunnan Yi music elements into piano compositions is a growing trend in Chinese piano music, and Yi piano adaptations serve as an important representation of Yunnan piano music’s ethnic style and development. However, a lack of systematic investigation and observation means that little research has been done on the composition of Yi piano adaptations. This presents a challenge for aspiring piano students looking to interpret the Yi characteristics of these works. This study aims to provide a systematic discourse on prior research and investigate the relevance and contribution of Yi piano adaptations in reducing the existing gap. Literary research and musical analysis will be employed to analyze the Sani Fantasia adaptation. A literature analysis will classify relevant piano adaptation works and appreciate Yi piano music’s overall growth pattern, while a systematic examination of Sani Fantasia will reveal how Yi’s music elements are expressed and translated in the piano ...

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This study explores traditional Chinese oral performance in a contemporary urban environment and is based on fieldwork on gezai xi in Singapore between 2004 and 2018. Gezai xi is a genre of highly improvisational plays performed in Hokkien (Minnan 閩南) language. While the genre was quite popular in Singapore from the 1930s to 1970s, the later language policy of privileging Mandarin and English over local languages and dialects has challenged the relevance of gezai xi performance in Singapore. How do performers of recent years learn gezai xi? What is the role of oral transmission, improvisation, and dependence on "fixed texts" 1 in the education of young performers and in their daily preparations for the stage? Reading and writing seem to play only a minor role in the process of putting on a play. However, how individual performers learn their art and prepare for performance depends on the performer's degree of literacy. In the period after the 1970s, the dependency on aural and visual "fixed texts," such as cassette-tapes, CDs, and videos, has had a great impact on education and rehearsal practices, while written or printed textsapart from the taishu [stage outline]seem marginal for this art.

O trabalho é desenvolvido no âmbito teórico-metodológico da denominada ciência cognitiva incorporada e, em especial, relacionado às pesquisas em torno dos conceitos de categorização, incorporação da mente, metáfora conceitual, mapeamento entre domínios e esquemas de imagem. Considerando a perspectiva de transposição desse arcabouço conceitual para o campo da semântica musical e da teoria da forma em música, as questões que motivam a presente investigação apontam para a formação das expressões linguísticas do sentido musical como pistas essenciais das estratégias mentais que adotamos ao conceituar música. Os resultados parciais da pesquisa aqui apresentados estão sintetizados na formulação de três hipóteses cujas validações envolvem o aprofundamento do conhecimento em semântica cognitiva musical. A primeira diz respeito ao caráter primordial da experiência de movimento como princípio gerador de todo sentido musical; a segunda enfoca a mudança de estado do meio sonoro como atributo primordial do movimento em música, que condiciona os mapeamentos entre domínios no processo de conceituação musical; e a terceira sugere a prevalência assumida pelas linearidades nas configurações do fluxo de eventos musicais em nosso sistema de inferências formais.

Este artigo faz uma aproximação entre os conceitos de esquemas imagéticos e de metáforas conceituais, como presente nos textos de Nogueira (2003), Brower (2002), Lakoff e Johnson (1980), com as formulações teóricas do compositor Denis Smalley, formulações estas representadas pelos conceitos de espectromorfologia e campos indicativos. Assim, identificamos que os autores em questão consideram o movimento metáfora essencial para o entendimento da nossa experiência, tanto no mundo quanto na música. Com isso, buscamos propor que o relacionamento entre as ideias destes autores podem fundamentar uma abordagem incorporada da experiência musical de forma plural, tanto na composição, quanto na performance e também no entendimento dos eventos sonoros pelos ouvintes em contextos musicais. Sugerimos que esta abordagem é sobretudo importante para práticas que utilizam meios eletroacústicos e performance em tempo real como elemento composicional, como no live electronics que utilizam interfaces físicas de controle para produção musical.

Nesse artigo enfocarei duas abordagens sobre a articulação entre música e movimento, uma pelo viés da memória e outra na perspectiva da chamada neurociência da música, com vistas a oferecer um entendimento sobre duas possíveis abordagens teóricas.

A partir do advento das pesquisas experimentais em cognição incorporada, foi possível verificar empiricamente que os processos sensório-motores, quais sejam a orientação e a prontidão do corpo para agir no espaço, condicionam e regulam os modos de conexão dos conteúdos cognitivos, permitindo assim que a mente transcenda o espaço. É desse modo que o pensamento abstrato é inelutavelmente conectado às funções sensório-motoras e, assim, à estrutura espacial das interações do corpo no mundo. Cumpre advertir para a anterioridade das experiências de “ocupação” do espaço — sensório-motoras — em relação às experiências de “conceituação” do espaço — simbólicas. O presente trabalho está ancorado à hipótese de que a hegemonia espacial em nosso sistema perceptivo e cognitivo está fundamentada no fato de que o indivíduo retém e prioriza os sentidos espaciais — descartando a formação de outros possíveis tipos de sentido —, porque a objetividade espacial oferece à memória um desempenho mais rápido e preciso. Parece que nossas estratégias cognitivas ao usarmos esquemas espaciais de memória para entender o mundo são processos sistemáticos de redução da complexidade descritiva do ambiente. Assim sendo, entendo que para atribuirmos “materialidade” aos objetos musicais e assim construirmos os sentidos incorporados da música, é preciso, antes, reduzirmos a densidade do meio sonoro, possibilitando a apreensão do fluxo musical em modalidades coexistentes e interagentes de coerência configurativa. Reconheço tais processos como: 1) a categorização de eventos sonoros distintivos na forma de “movimentos”; 2) a atribuição de relações “formais” estilísticas, a partir do reconhecimento de invariâncias, recorrências e contrastes de padrões; e 3) a percepção de dinâmicas de “tensão”, relacionadas a aspectos inconscientes ou conscientes de diversas funções mentais.

Universidade Federal da Bahia (UFBA) Problema/questão Experimentamos o movimento em música na experiência musical em diversos níveis (Bertissolo 2013). Ouvimos o movimento na música e imaginamos a música no movimento (Nogueira 2009; Spitzer 2004). Esse artigo aborda a relação entre música e movimento e sua consequente tematização de forças musicais no domínio do entendimento (Larson, 2012; Brower, 2000). A principal questão desse artigo é: como as noções de inércia, gravidade e magnetismo em música, propostas por Larson (2012), aqui consideradas na perspectiva dos esquemas musicais de Brower (2000), podem ser articuladas com uma semântica cultural através de exemplos de compositores da Bahia? A abordagem aqui parte da noção de mente incorporada e pelas noções de metáfora conceitual e esquema de imagem (Lakoff & Johnson, 1999, 2003; Johnson, 1990). Essas ideias estão fundadas principalmente na corrente enacionista/atuacionista das ciências cognitivas contemporâneas, e compõem um leque de alternativas a antigas dicotomias tais como mente-corpo.

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Doutoramento em MúsicaEsta tese explora os resultados artísticos desejados que os estudantes do ensino superior em música buscam concretizar no âmbito das indústrias da música. Os resultados artísticos desejados tem sido reconhecidos como uma conceptualização artística que desempenha um papel importante para o reconhecimento social e artístico do performer. Apesar desta perspetiva ser amplamente mencionada na literatura, vários estudos sugerem que os alunos do ensino superior em música não tem sido encorajados a explorar os seus próprios resultados artísticos desejados. Esta falta de encorajamento é apontada como uma das principais razões que explicam as dificuldades enfrentadas pelos alunos na transição entre o ensino superior e as indústrias da música. Neste sentido, diversos autores tem sugerido o desenvolvimento e a implementação de programas de tutoria vocacionados para colmatar esta lacuna e consequentemente auxiliar os estudantes do ensino superior em música a promoverem os s...

The amalgamation of the choral idiom and folk music began in Europe in the nineteenth-century alongside the propagation of romantic nationalism, public enlightenment and folk revival. From early twentieth-century onwards, the phenomenon of folk choral music and its ideologies emerged in many non-European countries including Malaysia later on. Many scholars relate the development and revival of folk music in Europe, largely by arranging folk music into part-songs or choral arrangements, to Romantic nationalism in the 19th century. However, there is a lack of attention paid to folk choral music and its contexts in non-European countries especially in Asian countries, and in this research, concerns were given to the context of Malaysia. This research examines the Malay folk choral music, looking into its stylistic features, compositional style and performance practice based on a case study of selected Malay folk choral arrangements by Geneviene Wong and Juliette Lai. Methods include pr...

We investigated gesture description of sound stimuli performed during a listening task. Our hypothesis is that the strategies in gestural responses depend on the level of identification of the sound source and specifically on the identification of the action causing the sound. To validate our hypothesis, we conducted two experiments. In the first experiment, we built two corpora of sounds. The first corpus contains sounds with identifiable causal actions. The second contains sounds for which no causal actions could be identified. These corpora properties were validated through a listening test. In the second experiment, participants performed arm and hand gestures synchronously while listening to sounds taken from these corpora. Afterward, we conducted interviews asking participants to verbalize their experience while watching their own video recordings. They were questioned on their perception of the listened sounds and on their gestural strategies. We showed that for the sounds wh...

Piano impromptu accompaniment is a core course in music education major programs at Chinese universities. This study discusses three representative impromptu accompaniment courses in normal universities in China, aiming to improve the lack of Chinese harmony and folk song accompaniment content in the current classroom. Qualitative research methods are used in this paper. Data are obtained from interviews and surveys of three teachers and their students. All data are validated by methodological triangulation and combined with research objectives through typological analysis. This paper holds that the lack of Chinese harmony and folk songs in impromptu accompaniment lessons is a serious problem. It proposes applying Chu Wanghua's folk song adaptation to piano impromptu accompaniment teaching in order to solve this blind area of students' abilities. Its purpose is to enhance students' abilities of impromptu accompaniment for folk songs and better protect intangible cultural heritage.

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This article presents the main aspects of Neo-Riemannian Theory, according to Richard Cohn (1996, 1998, 2000), David Lewin (1982, 2011) and Joseph Straus (2005). It presents the concepts of triadic transformations, contextual inversion and parsimony in voice leading, as well as the graphical representations Tonnetz, Hexatonic Chart and Cube Dance. These harmonic processes were identified in the Symphony in D minor by Cesar Franck. In the final considerations, the data collected are interrelated. / Resumo: Este artigo apresenta os principais aspectos da Teoria Neo-riemanniana, de acordo com Richard Cohn (1996, 1998, 2000), David Lewin (1982, 2011) e Joseph Straus (2005). São apresentados os conceitos relativos a transformações triádicas, inversão contextual e parcimônia na condução de vozes, assim como as representações gráficas Tonnetz, Gráfico hexatônico e Ciranda de cubos (Cube Dance). Tais processos harmônicos foram identificados na Sinfonia em Ré menor, de Cesar Franck. Nas considerações finais, os dados levantados são inter-relacionados.

This paper demonstrates the value of an acoustical approach to recordings of vocal renditions from two schools of Chinese narrative singing that were differentiated by gender during the first half of the twentieth century: The "male" or Liu school after Liu Baoquan 刘宝全 (1869-1942), and the "female" or Luo style after Luo Yusheng 骆玉笙 (1914-2002). The musicological analysis is based on transcriptions of recordings representing singers from the two schools (one singer for each school), comparing melody, rhythm, ornamentation, and tonality. The acoustic analysis compares pitch and duration at the phrase and syllable level for four different recordings (two recordings for each school of singing) using Praat acoustic analysis software. In addition to the automated voice extraction provided by the Praat analysis software, a visual analysis of the sound wavform is used to calculate the duration of each phrase, syllable, and sound segment to the nearest millisecond. While...

Com duração de aproximadamente 6'30" a peça foi escrita em 2017 para piano e eletrônica, tendo a proporção áurea – e suas ramificações como a sequência Fibonacci – como inspiração para a organização da harmonia e da forma. O piano assume um caráter solista e a eletrônica – operada por dois intérpretes em dois computadores – mistura sons fixados (eletrônica diferida – escritos em língua portuguesa na partitura) e síntese gerada pelo software SuperCollider (live electronics – escritos em inglês) em ambos os computadores.   Os   sons   fixados (pássaros, avião, chuva etc.) são misturados em tempo real pelos dois intérpretes com o auxílio de um mixer enquanto os live electronics (síntese) são controlados pelo mouse e enviados também ao mixer. Os elementos do piano são tratados como “objetos sonoros” que se adensam pouco a pouco até atingir dois clímaces pré-estabelecidos pela sequência Fibonacci.

“MUSIC IS WAITING FOR YOU:” THE LIVED EXPERIENCE OF CHILDREN’S MUSICAL IDENTITY by L. Michelle Mercier-De Shon This phenomenological study of lived experience (Van Manen, 1990) explored the perspectives of four 4th grade children as they live in and live through music to formulate their musical identities. Framed within perspectives of symbolic interaction theory (Blumer, 1969), communities of practice (Wenger, 1998), and figured worlds (Holland, et al., 1998), data were collected using methods consistent with qualitative inquiry. These included: observations of quasi-formal music learning settings, in musical playgroups and during professional musicians’ presentations; close observations of children’s daily school lives; and planned discussion group interviews (O’Reilly, 2005). Findings emerged from the data via a bricolage of existentialist (Morrisette, 1999; Holyroyd, 2001) and interpretative phenomenological analyses (Smith, 2003). Children in my study explored and expressed the...

This study looked into a way experiential learning was incorporated into a music course by having students participate in a workshop led by a subject matter expert. In the workshop, Passepartout Duo’s role as subject matter experts in the music field ensures an ideal experiential learning environment for composition music students to immerse themselves in order to develop new skills and knowledge. Passepartout Duo is a piano and percussion duo based in Germany, who performs and composes contemporary music. Passepartout Duo members are Nicoletta Favari (piano & keyboard) and Christopher Salvito (drums and percussion). The music composition workshop which ran for two consecutive days was presented in an informal group context introducing contemporary music. Participants and observers of the workshop included Malaysian music students of higher education institutions and professional composers. Participating composers composed original music pieces and worked together and were directly ...

The MYO armband from Thalmic Labs is a complete and wireless motion and muscle sensing platform. This paper evaluates the armband's sensors and its potential for NIME applications. This is followed by a presentation of the prototype instrument MuMYO. We conclude that, despite some shortcomings, the armband has potential of becoming a new "standard" controller in the NIME community.

This paper presents an experiment on sound tracing, meaning an experiment on how people relate motion to sound. 38 participants were presented with 18 short sounds, and instructed to move their hands in the air while acting as though the sound was created by their hand motion. The hand motion of the participants was recorded, and has been analyzed using statistical tests, comparing results between different sounds, between different subjects, and between different sound classes. We have identified several relationships between sound and motion which are present in the majority of the subjects. A clear distinction was found in onset acceleration for motion to sounds with an impulsive dynamic envelope compared to non-impulsive sounds. Furthermore, vertical movement has been shown to be related to sound frequency, both in terms of spectral centroid and pitch. Moreover, a significantly higher amount of overall acceleration was observed for non-pitched sounds as compared to pitched sounds.

Non-rigid interfaces allow for exploring new interactive paradigms that rely on deformable input and shape change, and whose possible applications span several branches of human-computer interaction (HCI). While extensively explored as deformable game controllers, bendable smartphones, and shape-changing displays, nonrigid interfaces are rarely framed in a musical context, and their use for composition and performance is rather sparse and unsystematic. With this work, we start a systematic exploration of this relatively uncharted research area, by means of (1) briefly reviewing existing musical interfaces that capitalize on deformable input, and (2) surveying 11 among experts and pioneers in the field about their experience with and vision on non-rigid musical interfaces. Based on experts’ input, we suggest possible next steps of musical appropriation with deformable and shape-changing technologies. We conclude by discussing how cross-overs between NIME and HCI research will benefit...

Basic Vocals is a compulsory subject listed in the curriculum of the Central Education Study Program. In the course of the lecture, a theory of how to sing with proper vocal techniques is given and musical accompaniment is needed. The large number of students who take these courses does not allow the practice of singing directly to the accompaniment of music, nor is it practiced once or twice. The practice must be repeated so that students really understand the proper and correct vocal techniques. In addition, the teacher must also be concerned about and check the truth of the students in applying the vocal technique practice. As a result, teachers run out of time in teaching and tire quickly. To overcome this, an alternative solution is needed by utilizing computer technology media with "Sibelius" software to help the practical learning process the singing. Sibelius is a software program that is specifically used to write musical notation in the form of block notation. Thus, piano accompaniment in a song written in the Sibelius program can be played to accompany the song. This research was conducted using quasi-experimental research, namely experimental research carried out in one group only called the experimental group without any groups Comparator or control group.

RESUMO : O objetivo deste artigo e abordar o conceito de mente corporificada, tendo em vista a relevância dele na area de Linguistica Cognitiva. Primeiramente, tracamos um historico do conceito, contextualizando-o no âmbito das Ciencias Cognitivas e da Filosofia. Posterioromente, apresentamos interfaces entre tal conceito e teorias da Linguistica Cognitiva, tais como a abordagem experiencialista, os esquemas imageticos e a teoria da metafora conceptual. Do ponto de vista metodologico, apresentamos alguns dos diferentes âmbitos de aplicacao da cognicao corporificada, como tambem seus niveis metodologicos de sistematizacao. Por fim, aplicamos a metodologia apresentada na analise das metaforas presentes numa charge eleitoral. PALAVRAS-CHAVE : Mente Corporificada; Esquemas Imageticos; MetaforaConceptual; Charge politica-eleitoral.

This article discusses modes of expression in selected contemporary Malaysian popular songs and music videos in English. The article argues that such audiovisual engagements can be best described as productions of syncretic cultural multivocality. First, the fusion of the multiple musical styles that inundated Malaysia's novel popular music industry in the 1950s is traced. Next, the development of a creative pop multivocality in contemporary Malaysian "hip hops" is described. The article proceeds primarily by reading the Malaysian popular music scene as a cultural text and demonstrates that although the history of Malaysian popular music reflects pop cosmopolitanism, the cultural multivocality that characterises the Malaysian identity resonates as powerfully (if not more powerfully) at the core of the nation's popular imagination. The article concludes that the skilful integration of various influences from global popular culture creates a musical palimpsest that i...

A escrita da dança labaniana foi uma das mais bem sucedidas propostas de notação do movimento do século XX tornando possível uma relação peculiar entre o executante e o movimento de maneira geral e tornando possível a execução de uma partitura coreográfica sem vícios e cacoetes. Ao acreditar que o movimento humano seguiria padrões específicos e universais, Rudolf Laban passou a crer ser possível criar uma forma de notação que desse conta de descrever com precisão os movimentos do corpo. Também foi capaz de, a partir da descrição por motivos (Motif) do movimento ampliar as possibilidades do dançar para a área da educação por meio de uma ideia geral do movimento de um tema ou cena específica de dança. Essa escrita parte da pesquisa qualitativa descritiva como abordagem metodológica sob o viés da revisão de literatura e tem por objetivo apresentar conceitos básicos sobre a Labanotation e a Motif Writing como uma aproximação primeira dessas escritas de dança. Palavras-chavesDança. Laban...

This paper focuses on ongoing research in music composition based on the study of cognitive research in musical meaning. As a method and result at the same time, we propose the creation of experiments related to key issues in composition and music cognition, such as music and movement, memory, expectation and metaphor in creative process. The theoretical reference approached is linked to the embodied cognition, with unfolding related to the cognitive semantics and the enactivist current of cognitive sciences, among other domains of contemporary sciences of mind and neuroscience. The experiments involve the relationship between music and movement, based on prior research using as a reference context in which it is not possible to establish a clear distinction between them: the Capoeira. Finally, we proposes a discussion about the application of the theoretical approach in two compositions: Boreal IV, for Steel Drums and real time electronics, and Converse, collaborative multimedia pi...

As duas ultimas d ecadas presenciaram o surgimento de uma nova maneira de encarar alguns fen^ omenos naturais cujo comportamento era considerado imprevis vel: a teoria do CAOS 1. Uma das principais ferramentas desta teoria são os FRACTAIS, objetos matem aticos de nidos e estudados em profundidade pelo matem atico, pesquisador da IBM, Benoit Mandelbrot 2.

A escrita da dança labaniana foi uma das mais bem sucedidas propostas de notação do movimento do século XX tornando possível uma relação peculiar entre o executante e o movimento de maneira geral e tornando possível a execução de uma partitura coreográfica sem vícios e cacoetes. Ao acreditar que o movimento humano seguiria padrões específicos e universais, Rudolf Laban passou a crer ser possível criar uma forma de notação que desse conta de descrever com precisão os movimentos do corpo. Também foi capaz de, a partir da descrição por motivos (Motif) do movimento ampliar as possibilidades do dançar para a área da educação por meio de uma ideia geral do movimento de um tema ou cena específica de dança. Essa escrita parte da pesquisa qualitativa descritiva como abordagem metodológica sob o viés da revisão de literatura e tem por objetivo apresentar conceitos básicos sobre a Labanotation e a Motif Writing como uma aproximação primeira dessas escritas de dança. Palavras-chavesDança. Laban...

The dulcimer comes from the Atlantic Ocean and the spread of Chinese tea art culture to the West.The dulcimer from the Atlantic Ocean, following the traditional Chinese performance form and language collection, retains the historical contexts of different eras into the atmosphere of tea culture, and spreads from the performance form of piano books to various places.Lycimer music not only prospers the economic market of tea culture, but also under the careful combination of literary and art workers, it promotes the benefits and development of the commercialization, marketization and secularization of music, forming a genre representing the local area.With this as the starting point, the two cultures of "tea and art" are effectively integrated. Through the performance of the dulcimer Art Festival, the new perspective and new field of dulcimer research are enriched and conducive to the spread of tea culture to the western world.

Since previous instances the requirements of environmental safety, suitability and responsibility of buildings have increased. The criteria of sustainability are included in building environmental assessment systems and tools used in different countries for evaluating their sustainable and environmental performance. The purpose of this paper is to introduce the one of most significant filed in building environmental assessment system (BEAS), which was developed at the Technical University of Košice. The Slovak system was developed on the basis of existing systems used in many countries. BEAS as a multi-criteria system which is incorporated in proposed main fields: site selection&project planning; building construction; indoor environment; energy performance; water management and waste management. Selection of building materials and structures is very important in term of embodied energy and emissions of pollutants. The field of building construction will be introduced in the paper. ...

Since previous instances the requirements of environmental safety, suitability and responsibility of buildings have increased. The criteria of sustainability are included in building environmental assessment systems and tools used in different countries for evaluating their sustainable and environmental performance. The purpose of this paper is to introduce the one of most significant filed in building environmental assessment system (BEAS), which was developed at the Technical University of Košice. The Slovak system was developed on the basis of existing systems used in many countries. BEAS as a multi-criteria system which is incorporated in proposed main fields: site selection&project planning; building construction; indoor environment; energy performance; water management and waste management. Selection of building materials and structures is very important in term of embodied energy and emissions of pollutants. The field of building construction will be introduced in the paper. ...

Este artigo enfoca os processos de criação interartística colaborativa na obra Converse, para uma performer, piano e eletrônica/vídeo em tempo real, com duas projeções de vídeo. Considerando a escassez de trabalhos que abordam os processos artísticos de criação colaborativos para além dos relatos pessoais e/ou autoetnográficos, buscamos aqui desvelar um caminho metodológico que considera a imbricação entre teorias e práticas – conforme formulação de Lima –, numa abordagem colaborativa para a pesquisa performativa – conforme Haseman, Fernandes, Bacon e Midgelow –, mediada por um conceito oriundo de um contexto cultural: a Capoeira Regional.

Propõe-se neste ensaio a adoção de uma abordagem pedagógica musical nos estudos do movimento para atores e bailarinos. A musicalidade não é entendida aqui como um processo de aquisição de habilidades, mas de sensibilização, em nível proprioceptivo, da capacidade de escuta do movimento.

Resumo: O ciclo de canções Volare, para voz feminina grave e orquestra de cordas, foi criado a partir de leituras feitas a poemas de Sônia Cintra (1949-2018). Ao todo, o ciclo é constituído por 11 canções e 2 interlúdios que podem ser tocados em uma versão completa ou reduzida. A instrumentação do ciclo é variável. Há canções que utilizam a orquestra de cordas em sua integralidade e há canções que se utilizam parcialmente o instrumental disponível. Volare foi composta em 2018 e estreada no ano de 2019 durante a 23ª Bienal de Música Brasileira Contemporânea.
Palavras-chave: Canção; Composição musical; Sônia Cintra; Voz; Orquestra de cordas.
VOLARE: POEMS BY SÔNIA CINTRA
Abstract: The song cycle Volare, for low-pitched female voice and string orchestra, was created from Sônia Cintra (1949-2018) poems readings. Altogether, the cycle consists of 11 songs and 2 interludes that can be played in a full or reduced version. The instrumentation of the cycle is variable. There are songs that use the string orchestra in its entirety and there are songs that partially use the available instruments. Volare was composed in 2018 and premiered in 2019 during the 23rd Biennial of Contemporary Brazilian Music.
Keywords: Song genre; Musical composition; Sônia Cintra; Voice; String orchestra.