Musikteori og musikvidenskab

Alphorn playing and yodeling are an integral part of traditional cultural events in Switzerland. Questions about musical contexts inevitably arise. Is alphorn-­playing to be understood as "blown yodeling"? Did the natural tone series of the alphorn influence yodeling? Are both rooted in the centuries-old Kuhreihen, the songs herdsmen used to lure the cows for milking?The team of authors explores possible links between yodeling and alphorn music and analyzes evidence pointing to a common origin of the two musical practices. The study area originates from Switzerland and extends over the south of Germany and Austria. Music-aesthetic connections are discussed, historical and current arguments weighed. In the Austrian Wurzhorner yodels, the name already indicates a connection to the instrument, and in the Muota­tal "Bücheljuuz", the yodel imitates the sound of the instrument so skillfully that the difference between voice and instrument is hardly noticed.However, not all types of yodeling have a musical relationship to the alphorn, and alphorn music is not always connected with yodeling. The study shows that there has been a tangible, albeit unsteady, musical interrelationship between alphorn and yodel for around 200 years.

This dissertation attempts to answer the question: Can experimental results be used as arguments in the philosophical debates? In particular, can the results of experimental psychology and cognitive neuroscience be applied in normative philosophy such as aesthetics? The greatest motivation in starting this project was to determine the relationship between highly abstract, general and/or normative problems of philosophy on one hand, and the descriptive and highly specific and detailed results of the experimental research on the other hand. I chose aesthetics of music as a case study because it seemed particularly convenient for this kind of enterprise. It is built upon an assortment of abstract and sometimes vague questions such as: What is the meaning of a musical work? What kind of meaning can music possess? How does music communicate its meaning? What makes a musical work valuable? Is aesthetic value inherent to the musical work? Are all aesthetic judgments equally justified? How does music express emotions? How can music evoke emotions in the listeners? The philosophical debates around these issues have lasted for centuries, and it seems, unfortunately, that with time they have not been growing more precise, convincing nor sophisticated.

"World-renowned soprano and arts/health advocate Renee Fleming curates a collection of essays from leading scientists, creative arts therapists, educators, healthcare providers and artists about the powerful impacts of music and the arts on health and the human experience A compelling and growing body of research has shown music and arts therapies to be effective tools for addressing a widening array of conditions, from providing pain relief, to enhancing speech recovery after stroke or traumatic brain injury through singing, to improving mobility of individuals with Parkinson's disease using rhythm. In Music and Mind Renee Fleming draws upon her own experience as an advocate to showcase the breadth of this booming field, inviting leading experts to share their discoveries. In addition to describing therapeutic benefits, the book explores evolution, brain function, childhood development, and technology as applied to arts and health. Much of this area of study is relatively new, made possible by recent advances in brain imaging, and supported by the National Institutes of Health, major hospitals, and universities. This work is sparking an explosion of public interest in the arts and health sector. Fleming has presented on this material in over fifty cities across North America, Europe, and Asia, collaborating with leading researchers, policy-makers, and practitioners. With essays from known musicians, writers, and artists, as well as leading neuroscientists, Music and Mind is a groundbreaking book and the perfect introduction and overview of this exciting new field"--

Teaching is complex, dynamic, and constantly changing. So-called checklists for lesson observation are therefore not always helpful for instrumental and vocal teachers. Volume 5 of the Grazer studies for instrumental and vocal pedagogy now conveys four areas of competencies in a playful and artistically designed card Set, which is intended to stimulate a scientifically based exchange about the quality of instrumental teaching and learning. In the context of music (high) schools, the cards offer concrete entry points and imaginative ways to reflect on the complex, overlapping competencies associated with teaching and learning music and observing and developing instrumental and vocal teaching. In addition, the cards provide a playful basis for self-directed and self-regulatory feedback in collegial exchanges. Both students of instrumental and vocal pedagogy and experienced teachers can continually cultivate their individual teaching profile. Practical worksheets in the accompanying booklet support reflection on new perspectives. Reflect! also proves valuable in observing videotaped teaching sequences.

This quick easy to read guide will have you singing better without spending years, thousands of dollars, and experiencing hours of frustration.You don't have to be embarrassed to sing along at a birthday party or make up excuses to avoid karaoke night. With the exercises and information in this book you can quickly improve your singing voice. Singing is like any other skill. The more you practice the better you get. But, you have to know how to practice the right way. Here is a preview of what you'll learn...How to identify your vocal rangeExercises to improve your tone, pitch, and timbreHow to hold notes by improving breath controlHow to use diction to sing with more impactWhat vibrato is and how you can sing better using itMuch, much more!This is a short and concise book that will teach you new ways and techniques on how to sing better faster. It is short because you can take your new found knowledge away quicker and help improve your singing skills faster. After reading this book you will see a vast improvement in your singing abilities.

This book outlines how the protagonists in The Nibelung's Ring, The Lord of the Rings, and Game of Thrones attempt to construct identities and expand their consciousness manifestations. As the characters in the three works face the ends of their respective worlds, they must find answers to their mortality, and to the threat it implies: the loss of identity and consciousness. Moreover, it details how this process is depicted performatively. In a hands-on and interdisciplinary approach, this book seeks to unveil the underlying philosophical concepts of identity and consciousness in the three works as they are represented audio-visually on stage and screen. Through the use of many practical examples, this book offers both academic scholars and any interested readers a completely new perspective on three enduringly popular and interrelated works.

The period from the 1850s to the 1890s in Paris marked a key turning point for poets and composers, as they grappled with the new ways in which poetry and music could intersect. Under the particular conditions of the time and place, both art forms underwent significant developments which challenged the status of each form. In both creative and critical work from this era, poets and composers offered tantalising but problematic insights into «musical» poetry and «poetic» music.The central issue examined in this book is that of what happens to poetry when it encounters music, especially as song. The author places Baudelaire¿s famous sonnet «La Mort des amants» at the heart of the analysis, tracing its transposition into song by a succession of both amateur and professional composers, examining works by Villiers de l¿Isle-Adam, Serpette, Rollinat, Debussy and Charpentier, as well as an extraordinary parodic song version by Valade and Verlaine.A companion website offers recordings of each of the songs analysed in this book.

sinusoidal run rhythm entsteht durch die Addition phasengleicher Cosinusfunktionen in ganzzahligen Verhältnissen. Sie sind in ihren Maxima gegenüber entsprechenden notierten Rhythmen zeitlich und dynamisch verschoben und weisen eine Körperlichkeit auf, die in diskret gesteuerten Rhythmen nicht vorhanden ist. sinusoidal run rhythm definiert Rhythmus also als Welle und hebt sich so deutlich von der herkömmlichen Rhythmustheorie einer europäischen Musiktradition ab. Es eröffnet sich eine unerschöpfliche Vielfalt an betörend körperlicher Musik.Der Band bildet diese ästhetische Diversität in zahlreichen Illustrationen der sinusoidal run rhythm ab. Er bietet zum einen die Möglichkeit, in die Ausformungen eines erweiterten Rhythmusbegriffs einzutauchen und sich in die Schönheit einzelner Exemplare zu verlieren - dem Vorbild von Büchern zur Bestimmung von Käfern oder Schmetterlingen folgend. Andererseits regt die Theorie dazu an, die Grenzen zwischen Vorstellung und Aufführung, Partitur und Interpretation, Mensch und Maschine zu aufzuweichen und nach Anwendungen im Musikmachen, in der Musikanalyse, der Psychoakustik oder der Philosophie zu suchen.

The Emscherkunstweg (Emscher Art Trail) currently comprises 24 works of public art on the banks of the Emscher River in the heart of the Ruhr region in western Germany. Once the most polluted river in Europe, the Emscher has been dramatically transformed from a drainage system into a natural river landscape. Between 2010 and 2016, three Emscher art exhibitions accompanied this ecological tour de force. Since 2019, the permanent works of art resulting from these exhibitions have formed the starting point for the expansion into the Emscher Art Trail.This volume is the first to offer an overview of all the works, in particular the new works by Julius von Bismarck/Marta Dyachenko, David Jablonowski, Markus Jeschaunig, Sofía Táboas and Nicole Wermers. It also addresses questions surrounding the preservation and potential of art in public space and its relationship to the region's industrial culture. The book is an ideal travel companion and reference work for discovering art on over 100 kilometers of cycle paths.

This book, The Kyoto Post-COVID Manifesto for Global Economics (KM-PC), is a sequel to our 2018 book, The Kyoto Manifesto for Global Economics (KM-I, 2018). It further exposes the failures of a global economic regime that, based on self-interest, has led to the enormously unequal and fragmented society of today and our decreased ability to respond and recover from the critical worldwide consequences of such a regime over time - notably, climate change. At stake is our very survival beyond the twenty-first century. The fundamental tenet of this book is that our power to heal our currently fractured society lies in the depth of our humanity - in our shared human spirit and spirituality. What is sacred or of imperishable supreme value is what we can be as a human race: empowered, fulfilled individuals, living in harmony, deeply sharing and caring for one another and the environment that sustains us across our distinct cultures and worlds in which we live. Thus, the norms in our economic relations do not have to be those of self-interest that separates us, the ever-watchful distrust represented by "the deal" and immediate economic advantage for me. Instead, we can build an economic frame for our society based on mindfulness, care, mutual human benefit, and trust - on our shared humanity. Our argument was complete and we were ready to publish. But then, suddenly, from the dawning of 2020, everything changed. COVID-19 invaded and the world as we knew it simply stopped. No one saw it coming. As authors, we waited to watch and seek to understand. The result is that the book captures the COVID trauma and, against the fractures based on self-interest already visible in today's society, assesses the impact of COVID-19 now and for the future. Focusing on a humanity-based economics is even more important now, and this book shows why.Chapter 15 is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

Unknown to many, Niko Pirosmani is revered as a legend in his native Georgia. Conveying a sense of poignant empathy, his portraits, animal paintings, landscapes and scenes from everyday life painted around 1900 in a flourishing Tbilisi draw on medieval iconography and testify to a deeply felt sense of belonging. At the same time, the avant-garde recognised a novel and radically new form of painting in his work. Like Henri Rousseau or Marc Chagall, Pirosmani is one of the exceptional yet difficult to categorize proponents of early modern art. This catalogue demonstrates Pirosmani's qualities in numerous illustrations, showing how his rapid brushstrokes on black oilcloth give the sparsely applied colors a glow as if coming from a dark depth. Pirosmani was a master of concentration¿and a storyteller. As expertly explained in the catalogue by a selection of Georgian art historians, he was a unique artist, a contradictory figure and an important part of the art scene in Tbilisi, then considered the "Paris of the East." Born into a peasant family, NIKO PIROSMANI (1862 - 1918) arrived in Tbilisi in 1870. Painting portraits and tavern signs for room and board, he came to the attention of the Georgian and Russian avant-garde in 1912, who presented him a year later as the "Rousseau of the East" in the Moscow exhibition Mischén alongside works of Natalia Goncharova, Mikhail Larionov, Kazimir Malevich and Marc Chagall. An exhibition in Paris was planned, yet never to happen due to the First World War. Pirosmani died impoverished in 1918. Today he is Georgia's most celebrated artist.

Ash Keating ist bekannt für seine spektakulären Bemalungen ganzer Gebäude und riesiger Wände. Wie kein anderer hat er den Einsatz von Feuerlöschern als Werkzeug für seine abstrakten Arbeiten im öffentlichen Raum perfektioniert und lässt dabei Raum für Zufall und Improvisation. Inspiriert von Licht und Farben seiner Heimat Australien zeigt die energetische Farbigkeit seiner Malerei mit ihren flüssigen, vertikalen Verläufen eine beinahe transzendente Sehnsucht. In einer öffentlichen performativen Aktion verwandelt er im August 2023 das ehemalige Verwalterhaus in der Parkanlage des Museums Langmatt in ein gewaltiges, dreidimensionales Kunstwerk. Er ergänzt seine Präsentation durch neue Bilder im Park und setzt sie in den historischen Innenräumen des Museums in Dialog mit den französischen Impressionisten der Sammlung. Die Publikation gibt einen exemplarischen Einblick in das vielseitige Schaffen des Künstlers und dokumentiert seine Ausstellung im Museum Langmatt.

2019 begann Stefan Marx mit seiner Serie von Monotypien. In Zusammenarbeit mit dem Berliner Siebdrucker Björn Wiede entwickelte er seine eigene Arbeitsweise: In drei Arbeitsgängen entstehen drei Einzelbilder - ein positives, ein negatives und ein »Geisterbild«, der ghost. An diesem neuen Ansatz faszinierten ihn zunächst der fette Farbauftrag und die Intensität der Pigmente. Beim Farbauftrag wird die Bildoberfläche selbst nicht berührt - die Bildfindungen ergeben sich über die Bearbeitung des Drucksiebs. Ein großer Teil dieser Monotypien sind Schriftbilder, doch es gibt ebenso figürliche Bildmotive, darunter Tierzeichnungen und andere Zeichen aus dem Motivinventar von Stefan Marx.Dieses Buch schließt an den Band Schriftbilder an: Auch Monotypien hat Stefan Marx als Künstlerbuch entwickelt und arbeitet mit einer faszinierenden Verschränkung zwischen den Abbildungen der Werke und den Entwurfskizzen aus seinen Notizbüchern.STEFAN MARX (*1979 Schwalmstadt, Hessen) ist Zeichner, Skateboarder und Kulturphilosoph. Seine unverwechselbare Handschrift findet sich auf Papier, Leinwand, Porzellan und Textilien. Er entwirft für verschiedene Labels, veröffentlicht im Eigenverlag Zines, zeigt seine Arbeiten bei zahlreichen internationalen Ausstellungen, Art Book Fairs und in Galerien. Marx lebt und arbeitet in Berlin.

intended for the use of teachers and students of Music Conservatories and Musical InstitutesPreliminary remarks and indications for using the methodThe electric bass first appeared on the international music scene in the early 1950s, and for almost twenty years, it maintained a marginal role in the jazz world, when compared to the double bass. With the arrival on the scene of bassists such as Steve Swallow, Jaco Pastorius, Stanley Clarke, Bob Cranshaw, Anthony Jackson, and several others, the electric bass started becoming more and more relevant in the groups and recordings of Miles Davis, Sonny Rollins, Gary Burton, Herbie Hancock, and a lot of other prominent figures in the jazz community. This method, through several examples and exercises, and a series of technical and expressive elements strictly connected to the electric bass, aims to aid beginning, intermediate or advanced bass players to improve or perfect their knowledge of the jazz language.

The classic text on Baroque Counterpoint, enlarged and revised, drawing from the master composers of the era.

Michael Haas sensitively records the experiences of the composers who fled the Nazis, escaping Hitler's Germany to make new lives across the globe. Haas traces the distinctive contribution these composers made to the twentieth-century soundscape?and offers a moving record of the incalculable effects of war on culture.

In Before Sound, composer Tiziano Manca investigates the premises for and consequences of a major change in his compositional practice: this change emphasizes the temporality of sound and, more recently, the relationship between sounding body and musician. It calls into question the traditional conception of composition and its relation to sound material. Accordingly, Manca examines the theoretical and aesthetic reasons for this shift by interweaving aesthetic reflection on his work with historical research on the notion of musical material and the theory of sound production.

How do you divide a line into three? Or five? Or seven? Is there a simple way to marry harmony and geometry? What is the secret diagram alluded to by writers of antiquity? In this groundbreaking book, philosopher Adam Tetlow reveals the long lost Helicon, the master diagram of the ancient arts and crafts.Watch in astonishment as this magical geometric figure produces simple fractions, musical harmonies, Pythagorean triangles, perspective and more. WOODEN BOOKS US EDITIONS. Small books, BIG ideas. Tiny but packed with information. "Stunning" NEW YORK TIMES. "Fascinating" FINANCIAL TIMES. "Beautiful" LONDON REVIEW OF BOOKS. "Rich and Artful" THE LANCET. "Genuinely mind-expanding" FORTEAN TIMES. "Excellent" NEW SCIENTIST.

Choosing twelve illustrative songs, John Potter offers a personal tour of the vibrant tradition of song, from John Dowland's "Flow My Tears? to George Gershwin's "Summertime.? Throughout, he reveals who wrote and sang these masterpieces?revealing aspects of our common musical humanity as the story evolves from the Middle Ages to the present.