Throughout Western music history, pre-existing material has long been the aesthetic core of a new composition. Yet there has never been such an epoch as our time in which using pre-existing material, melodic quotation...Throughout Western music history, pre-existing material has long been the aesthetic core of a new composition. Yet there has never been such an epoch as our time in which using pre-existing material, melodic quotation in particular, features so extensively in works of many of the composers. The aim of this paper is to investigate how the use of quoted tunes in a musical piece operates in an interwoven complex where time and space are of the essence. A quote is able to oscillate perpetually between one’s mental worlds of the memorable past and the imaginative present when it is highlighted enough to be recognizable from its surrounding context. Upon interpreting the use of quotation in various contexts, the aesthetic object, I argue, is the shift from original to quoted music, and vice versa. And listeners can respond aesthetically to the quotation itself even without knowledge of its provenance and textual or referential content.展开更多
In accordance to Langerian aesthetic theory, Mark Campbell （1992） concludes that Cage＇s 4 33＂ （1952） is by no means aesthetic music. I argue the antithesis： Cage＇s 433＂ satisfies Langerian aesthetic theory, a...In accordance to Langerian aesthetic theory, Mark Campbell （1992） concludes that Cage＇s 4 33＂ （1952） is by no means aesthetic music. I argue the antithesis： Cage＇s 433＂ satisfies Langerian aesthetic theory, and is indeed ＂aesthetic＂ music. Cage does something more： he satisfies Langerian aesthetic theory, yet he is not limited by it. He does not simply create music, nor does he offer listeners a musical space. He creates what Gilles Deleuze and Fe1ix Guattari （1987） call a line of becoming that passes between music making and a musical space. In 4 minutes and 33 seconds of silence, Cage presents a sense of emptiness and numbness felt simultaneously with fullness and explosion. In what appears to be stillness, the listener experiences the flux of movement; what appears to be devoid of depth, is filled with complexities. 433＂ embraces chance, uncertainty, and the unknown; it is an experimental process; it is becoming-music in 4 minutes and 33 seconds.展开更多
Music teachers in colleges and universities play a great role in training the students with the quality of aesthetic education, and their teaching ability can influence the implementation of aesthetic education. The t...Music teachers in colleges and universities play a great role in training the students with the quality of aesthetic education, and their teaching ability can influence the implementation of aesthetic education. The teaching ability of a music teacher comprises of the professional ethics, professional knowledge and teaching competence, etc. In this paper, the teaching ability of music teachers in colleges and universities is studied ~om its value, composition, and standards, etc.展开更多
In this paper, we conduct research on the novel pattern of soft music creation based on high-pitched melody element and aesthetic point of view. Music is the music creation, music is a kind of creation and it is not a...In this paper, we conduct research on the novel pattern of soft music creation based on high-pitched melody element and aesthetic point of view. Music is the music creation, music is a kind of creation and it is not a simple thing, because music is an expression of human thoughts and feelings which reflect the social life of an art. Music creation and other artistic creation need perceptual and rational psychological elements such as the creation principle of participation. This involves the music creation that the relationship between the perceptual thinking and rational thinking. Our research proposed the novel paradigm of art creation which will obtain significant meaning.展开更多
Samuel Beckett＇ s dramaticles are permeated with musical aesthetic thought, which is one of his unique writing styles. Exploration of such style is beneficial and conducive to deepen our understanding of the abstract...Samuel Beckett＇ s dramaticles are permeated with musical aesthetic thought, which is one of his unique writing styles. Exploration of such style is beneficial and conducive to deepen our understanding of the abstract and fragmented dramatic discourse. This thesis makes attempt to investigate musical aesthetic thought from the angle of the Event Structure Metaphor.展开更多
Language, literature, customs and traditions, music and art are cultural items that were transmitted from generation to generation throughout history. In this context, literature is an important source of music cultur...Language, literature, customs and traditions, music and art are cultural items that were transmitted from generation to generation throughout history. In this context, literature is an important source of music culture that takes inspiration from the customs and traditions of a society. Prosodic meter is echoed in form, usul and general structure in works composed from the divan literature and almost lives in the work. In the same way, when examples of folk literature composed by composers and performed by poets and a^lks are examined, it is observed that there are parallels between literary features and form, structure and rhythmic features. The aim of this paper is to reveal the integral link between Melody-Usul and Meter in Ottoman Turkish Music展开更多
In 1944, Messiaen offered a systematic description of his musical language in a text entitled Technique de Mon Langage Musical, an exposition of his compositional techniques that represents one of the most important a...In 1944, Messiaen offered a systematic description of his musical language in a text entitled Technique de Mon Langage Musical, an exposition of his compositional techniques that represents one of the most important accounts of his musical thoughts. This text is important not only in understanding his methods of composition, but also in comprehending the multiplicity and variety of his aesthetic ideas. In spite of the large variety of sources that inspire it, in Technique, Messiaen presents a compositional thought that, at least in part, proves to be substantially cohesive The purpose of this paper is to describe the content of the Technique, with particular attention to aspects concerning rhythm and harmony, which are the elements that received Messiaen＇s deepest attention and which also had the greatest influence on later 20th-century composers展开更多
Generally, criticism on popular music is of both political and artistic nature. This paper is intended to investigate modem Chinese popular music in the artistic dimension. On one hand, through analysis and differenti...Generally, criticism on popular music is of both political and artistic nature. This paper is intended to investigate modem Chinese popular music in the artistic dimension. On one hand, through analysis and differentiation in light of the two persistent （and biased） conceptions, it is necessary to acknowledge the inevitability of popular music as an art. On the other hand, this paper aims to analyze specifically the ＂voice＂ in popular music in hope of presenting its unique aesthetic characteristics. Above all, a more comprehensive view and more diverse approaches are needed in the study of popular music展开更多
Within the syncretic world view of prehistoric people, there was an inseparable link between word, song, and dance Hence it is not easy for the modern researcher to outline the border between these spheres. Using inte...Within the syncretic world view of prehistoric people, there was an inseparable link between word, song, and dance Hence it is not easy for the modern researcher to outline the border between these spheres. Using interdisciplinary methods, present paper touches the case of Armenian monodic music. Through analysis of song types （concerning labour, funeral, wedding, belief, worship, magic, mythology, epic, and dance）, music representatives, music performance places, and musical instruments, an attempt is made to consider the phenomenon within certain temporal borders. It turns out that the folk and folk-professional realistic music is simple and static in its essence and includes the invariant component of local culture, going back to the period of formation of early farming communities. Meanwhile with emerging social complexity since the Bronze Age, new and various forms of musical performance come to existence.展开更多
Aesthetic education is the important component of the character building education, but music education is an important means to implement character building education, train more university students with quality of a...Aesthetic education is the important component of the character building education, but music education is an important means to implement character building education, train more university students with quality of aesthetic education today when could be recommending character building education in a more cost-effective manner, the music teacher＇ s quality is the key point. The main visual angle of this text is in term of training university student＇ s character building education, canvass the teaching quality which the music teacher of the university should possess under the character building education background.展开更多
This paper examines the musical tradition, widespread in the giant habitat of the northern hemisphere--from theUrals in the east to the Pacific and even capturing the regions of North America. The author considers mus...This paper examines the musical tradition, widespread in the giant habitat of the northern hemisphere--from theUrals in the east to the Pacific and even capturing the regions of North America. The author considers music as areflection of worldview and religion. For this purpose the author uses a method of comparison of a mythological picture of the world and properties of musical language. An important element linking the two areas is vertical. In mythology, this is turning the world on several floors in which the world of people occupies the middle one. At the level of music--it is the vertical of overtone sound row. The initial timbre ideal of this tradition are th esounds of throat singing which are associated with the vertical of the universe and consciousness used as an important formative structure of the World Model. In the article the author considers a materialization of musical consciousness in musical instruments. For this purpose, eight instruments under different names are selected andpresented in musical cultures of people. This allows the author to create the card of geographical distribution of tengri consciousness.展开更多
Within the field of music education, there is a need of approaching the holistic view of musical experience from different angles. Therefore, the aim of this article is to investigate the phenomenon of multi-dimension...Within the field of music education, there is a need of approaching the holistic view of musical experience from different angles. Therefore, the aim of this article is to investigate the phenomenon of multi-dimensional musical experience from a life-world-phenomenological perspective and indicate its benefits to music education. The analysis is informed by Dufrenne＇s philosophical writings regarding the phenomenology of aesthetic experience and also draws on Merleau-Ponty, Heidegger, interpreted by Benson and Ford, together with Schutz. These philosophers provide tools for understanding musical experience from a bodily, existential, and sociological perspective, and their complementary ideas about being and learning can be applied to musical experience in the first case and secondly its influences for music educational praxis. Firstly, the concept of lived music is defined through a discussion of dimensions of musical experience; the phenomenology of aesthetic experience; the use of several senses; the heard and the hear-able; apperception; and musical dwelling. Then, the sharing of experience in musical dwelling and its relevance to the concept of imagination is highlighted. I will also emphasize the importance of the view of human beings as holistic bodily subjects. Finally, the article includes a discussion regarding the implications of a life-world-phenomenological view of musical experience to music education.展开更多
文摘Throughout Western music history, pre-existing material has long been the aesthetic core of a new composition. Yet there has never been such an epoch as our time in which using pre-existing material, melodic quotation in particular, features so extensively in works of many of the composers. The aim of this paper is to investigate how the use of quoted tunes in a musical piece operates in an interwoven complex where time and space are of the essence. A quote is able to oscillate perpetually between one’s mental worlds of the memorable past and the imaginative present when it is highlighted enough to be recognizable from its surrounding context. Upon interpreting the use of quotation in various contexts, the aesthetic object, I argue, is the shift from original to quoted music, and vice versa. And listeners can respond aesthetically to the quotation itself even without knowledge of its provenance and textual or referential content.
文摘In accordance to Langerian aesthetic theory, Mark Campbell （1992） concludes that Cage＇s 4 33＂ （1952） is by no means aesthetic music. I argue the antithesis： Cage＇s 433＂ satisfies Langerian aesthetic theory, and is indeed ＂aesthetic＂ music. Cage does something more： he satisfies Langerian aesthetic theory, yet he is not limited by it. He does not simply create music, nor does he offer listeners a musical space. He creates what Gilles Deleuze and Fe1ix Guattari （1987） call a line of becoming that passes between music making and a musical space. In 4 minutes and 33 seconds of silence, Cage presents a sense of emptiness and numbness felt simultaneously with fullness and explosion. In what appears to be stillness, the listener experiences the flux of movement; what appears to be devoid of depth, is filled with complexities. 433＂ embraces chance, uncertainty, and the unknown; it is an experimental process; it is becoming-music in 4 minutes and 33 seconds.
文摘Music teachers in colleges and universities play a great role in training the students with the quality of aesthetic education, and their teaching ability can influence the implementation of aesthetic education. The teaching ability of a music teacher comprises of the professional ethics, professional knowledge and teaching competence, etc. In this paper, the teaching ability of music teachers in colleges and universities is studied ~om its value, composition, and standards, etc.
文摘In this paper, we conduct research on the novel pattern of soft music creation based on high-pitched melody element and aesthetic point of view. Music is the music creation, music is a kind of creation and it is not a simple thing, because music is an expression of human thoughts and feelings which reflect the social life of an art. Music creation and other artistic creation need perceptual and rational psychological elements such as the creation principle of participation. This involves the music creation that the relationship between the perceptual thinking and rational thinking. Our research proposed the novel paradigm of art creation which will obtain significant meaning.
文摘Samuel Beckett＇ s dramaticles are permeated with musical aesthetic thought, which is one of his unique writing styles. Exploration of such style is beneficial and conducive to deepen our understanding of the abstract and fragmented dramatic discourse. This thesis makes attempt to investigate musical aesthetic thought from the angle of the Event Structure Metaphor.
文摘Language, literature, customs and traditions, music and art are cultural items that were transmitted from generation to generation throughout history. In this context, literature is an important source of music culture that takes inspiration from the customs and traditions of a society. Prosodic meter is echoed in form, usul and general structure in works composed from the divan literature and almost lives in the work. In the same way, when examples of folk literature composed by composers and performed by poets and a^lks are examined, it is observed that there are parallels between literary features and form, structure and rhythmic features. The aim of this paper is to reveal the integral link between Melody-Usul and Meter in Ottoman Turkish Music
文摘In 1944, Messiaen offered a systematic description of his musical language in a text entitled Technique de Mon Langage Musical, an exposition of his compositional techniques that represents one of the most important accounts of his musical thoughts. This text is important not only in understanding his methods of composition, but also in comprehending the multiplicity and variety of his aesthetic ideas. In spite of the large variety of sources that inspire it, in Technique, Messiaen presents a compositional thought that, at least in part, proves to be substantially cohesive The purpose of this paper is to describe the content of the Technique, with particular attention to aspects concerning rhythm and harmony, which are the elements that received Messiaen＇s deepest attention and which also had the greatest influence on later 20th-century composers
文摘Generally, criticism on popular music is of both political and artistic nature. This paper is intended to investigate modem Chinese popular music in the artistic dimension. On one hand, through analysis and differentiation in light of the two persistent （and biased） conceptions, it is necessary to acknowledge the inevitability of popular music as an art. On the other hand, this paper aims to analyze specifically the ＂voice＂ in popular music in hope of presenting its unique aesthetic characteristics. Above all, a more comprehensive view and more diverse approaches are needed in the study of popular music
文摘Within the syncretic world view of prehistoric people, there was an inseparable link between word, song, and dance Hence it is not easy for the modern researcher to outline the border between these spheres. Using interdisciplinary methods, present paper touches the case of Armenian monodic music. Through analysis of song types （concerning labour, funeral, wedding, belief, worship, magic, mythology, epic, and dance）, music representatives, music performance places, and musical instruments, an attempt is made to consider the phenomenon within certain temporal borders. It turns out that the folk and folk-professional realistic music is simple and static in its essence and includes the invariant component of local culture, going back to the period of formation of early farming communities. Meanwhile with emerging social complexity since the Bronze Age, new and various forms of musical performance come to existence.
文摘Aesthetic education is the important component of the character building education, but music education is an important means to implement character building education, train more university students with quality of aesthetic education today when could be recommending character building education in a more cost-effective manner, the music teacher＇ s quality is the key point. The main visual angle of this text is in term of training university student＇ s character building education, canvass the teaching quality which the music teacher of the university should possess under the character building education background.
文摘This paper examines the musical tradition, widespread in the giant habitat of the northern hemisphere--from theUrals in the east to the Pacific and even capturing the regions of North America. The author considers music as areflection of worldview and religion. For this purpose the author uses a method of comparison of a mythological picture of the world and properties of musical language. An important element linking the two areas is vertical. In mythology, this is turning the world on several floors in which the world of people occupies the middle one. At the level of music--it is the vertical of overtone sound row. The initial timbre ideal of this tradition are th esounds of throat singing which are associated with the vertical of the universe and consciousness used as an important formative structure of the World Model. In the article the author considers a materialization of musical consciousness in musical instruments. For this purpose, eight instruments under different names are selected andpresented in musical cultures of people. This allows the author to create the card of geographical distribution of tengri consciousness.
文摘Within the field of music education, there is a need of approaching the holistic view of musical experience from different angles. Therefore, the aim of this article is to investigate the phenomenon of multi-dimensional musical experience from a life-world-phenomenological perspective and indicate its benefits to music education. The analysis is informed by Dufrenne＇s philosophical writings regarding the phenomenology of aesthetic experience and also draws on Merleau-Ponty, Heidegger, interpreted by Benson and Ford, together with Schutz. These philosophers provide tools for understanding musical experience from a bodily, existential, and sociological perspective, and their complementary ideas about being and learning can be applied to musical experience in the first case and secondly its influences for music educational praxis. Firstly, the concept of lived music is defined through a discussion of dimensions of musical experience; the phenomenology of aesthetic experience; the use of several senses; the heard and the hear-able; apperception; and musical dwelling. Then, the sharing of experience in musical dwelling and its relevance to the concept of imagination is highlighted. I will also emphasize the importance of the view of human beings as holistic bodily subjects. Finally, the article includes a discussion regarding the implications of a life-world-phenomenological view of musical experience to music education.
