短音乐唱作:青年的乐缘互动、内容生产与情感调适

数字音乐是年轻人娱乐休闲、文化消费和媒介实践中不可或缺的重要部分,“短音乐唱作+社交”的传播模式已成为当代青年参与数字音乐文化传播的新样态。本文采用虚拟民族志与深度访谈相结合的方法开展了网络田野研究,认为视听传播促进了青年音乐消费方式的升级,“泛创作”的参与式体验满足了当代青年的消费诉求和审美趣味,技术赋能的音乐传播范式是青年短音乐创作的内容生产逻辑。短音乐唱作文化反映了艺术生产方式的变革,作为一种审美调动机制进入青年的日常生活空间,青年应在与时代的互动中提高审美自觉,使短音乐唱作成为主流视听文化传播的优质来源。

浅析左江流域稻作音乐的艺术特征

稻作音乐,顾名思义,离不开农田的农耕细作,农田是其音乐文化产生的重要依托。左江流域主要以种植水稻为主要的生计方式,也正是因为这种重要的生活依托,让人们在农田的耕作中形成了独具特色的音乐文化形式,成为我国民族文化中的重要组成部分。在壮族古代文化遗产广西左江崖壁画是壮族先民举行巫术祭祀时极为壮观的舞蹈场面等等,由这些风俗而衍生的有关人民在生活中口头创作、口耳相传、世代传承的民族民间音乐。

用音乐制品作广告宣传是侵权吗?

音乐录音制品的权利保护问题,常常会出现理解上的失误。在什么样的情况下可以不经许可直接使用,且不需支付报酬,在什么样的情况下既需要获得许可,又需要支付报酬,在什么情况下不需要获得许可,只需要支付报酬,这些都是在使用时要搞清楚的问题。案件的基本情况刘某某是我国著名的曲、词作者和演唱者,可以说他的形象以及他的歌声在中国几乎老幼皆知家喻户晓。2000年初,香港某公司曾向刘某某的经纪人发出请求,希望刘某某能够担任该公司化妆品的形象代言人,但未获得答复。2000年末,香港公司与国内某公司合资在我国南方沿海城市,成立 XX

当代实验性音乐的探索与实践——浅析阿尔文·卢西埃早期作品《为独奏者而作的音乐——为脑波分析器与打击乐而作》

二十世纪中叶以后,随着科技蓬勃发展,电子技术不断革新,以电子音乐为代表的实验性音乐逐渐走入人们视野,并迅速发展出多种形式,渗透进多个领域,成为了当代艺术最重要的组成部分之一。本文通过分析美国当代实验性音乐代表作曲家阿尔文·卢西埃(Alvin Lucier)1965年创作的音乐作品,即《为独奏者而作的音乐——为脑波分析器和打击乐而作》(1965)(Music for a Solo Performer for enormously amplified brain waves and percussion)而探讨卢西埃创作早期在声音装置艺术、现场交互式音乐和磁带音乐等领域所进行的创新、实践与探索。

繁简相映 继往开来——赖克《为十八位演奏家而作的音乐》分析研究

史蒂夫.赖克是20世纪简约主义音乐最重要的代表人物之一,同时也是为数不多的最具影响力的简约主义作曲家。《为十八位演奏家而作的音乐》是赖克创作中具有跨时期意义的重要作品。本文试图从作品创作技法的多个角度,展现作曲家对简约主义风格的继承与突破,从而再现其新颖而独特的创作魅力。

感性灵魂的呼应

很早就听说了叶小纲的大名，但从来听过他的音乐会。这次去听音乐会，我这个哲学专业出身的理性人和音乐门外汉却受到了震撼和感动。而且很长时间没有这种感动了。

Effect of music on procedure time and sedation during colonoscopy:A meta-analysis

AIM:To integrate results from different studies in examining the effectiveness of music in reducing the procedure time and the amount of sedation used during colonoscopic procedure. METHODS: An electronic search in various databases was performed to identify related articles. Study quality was evaluated by the Jadad’s scale. The random effect model was used to pool the effect from individual trials and the Cohen Q-statistic was used to determine heterogeneity. Egger’s regression was used to detect publication bias. RESULTS: Eight studies with 722 subjects were included in this meta-analysis. The combined mean difference for the time taken for the colonoscopy procedure between the music and control groups was -2.84 with 95% CI (-5.61 to -0.08), implying a short time for the music group. The combined mean difference for the use of sedation was -0.46 with 95%CI (-0.91 to -0.01), showing a significant reduction in the use of sedation in the music group. Heterogeneity was observed in both analyses but no publication bias was detected. CONCLUSION: Listening to music is effective in reducing procedure time and amount of sedation during colonoscopy and should be promoted.

“The Great Classicist Symphonic Movements of Beethoven... Can Be Ideally So Heard as Lasting Just a Moment：” Adorno on Musical Time

In the context of his thoughts on the relationship between music and time in his Musical Writings, Adorno refers often to the above quoted thesis. This paradoxicality, attributed to particular symphonies of Beethoven, tends to become a fixed idea in the context of his thoughts on musical time. Adorno adopts Hegel＇s understanding of time as process of permanent overcoming of instants. He finds an analogy between instant and musical motive, based on the common, in Hegel＇s and Beethoven＇s systems, notion of the working-out of an idea and of a musical structure respectively. He then tries to include in the process of becoming extended and reappearing formal parts, such as themes and expositions. How could he find a convergence between permanent formal growth and persistence of formal parts, which distinguishes a musical work from an improvisation？ In order to transcend this immanent antinomy, he applies Hegelian logical principles.

Memory of Familiar Melodies： Comparison Between Original and Transposed Keys

The long-term memory for musical keys of familiar melodies was investigated. An experiment was conducted focusing on memory strength, music familiarity, and key transposition using musical pieces. Participants were eighty-one Japanese undergraduate and graduate students. Eight were absolute pitch （AP） possessors and seventy-three were non-AP possessors. Two pieces of well-known classical music were selected as stimuli. These pieces were played in seven different keys： One was an original key and the other six were transposed keys in which the linear distance and harmonic distance were varied. Participants rated their strength of long-term memory for a particular segment of well-known music by comparing it with their memory of this piece. Importantly they were not required to identify the musical key of the melody. Results indicated that the strength of memory for these musical segments depended mainly on the pitch range associated with the transposed piece and partially on its key. We discussed participants＇ memory of melodies in the light of linear distance between original and transposed keys, harmonic distance between these factors, and the possibility of absolute tonality.

Some Remarks Regarding Originality and Historical Transformations of Chopin＇s Mazurkas, as Based on the Mathematical Systematic Method of the Tonal Structure Analysis

Musical analysis enables us to study the various elements of a musical work, for example texture, m dynamics, or harmony （including tonality）. Thanks to musical analysis we are able to trace the compos technique, or assess the artistic value of given work. In addition to traditional, descriptive methods of e it ody, onal music analysis, we can observe in 20th century the development of methods based on science （mathematics, otherwise statistics）. Such methodologies allow us to obtain a strict understanding of the structure of musical pieces Applying mathematical methods for musical analysis seems very reasonable in relation to the output of Frederic Chopin, due to large originality of the elements of musical pieces of this composer. Present paper was written as a result of research related to the applying of numerical method of analysis for exploring the tonal structure of Chopin＇s works. The author＇s research method enables a strict analysis of the chord＇s domination that can be classified under given key （range）--taking into consideration the harmonic functions. By the method of analysis we can get charts that depict whole diatonic vertical music material of the given piece. The main objective of the present study is to describe observations on the high uniqueness in the tonal construction of selected Chopin＇s mazurkas, especially, when compared to the miniatures of other composers of the first half of the 19th century and previously analyzed Chopin＇s pieces： etudes, preludes, and songs.

Becoming-Music in 4 Minutes and 33 Seconds

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.

On the Integrated Model of Music in the Creation and Dissemination of New Media Era

Into the era of new media art, music develops toward a more comprehensive, more novel direction. Music is no longer pure spirit product, and becomes a resource of information society. This paper analyzes the new media era music creation mode change, as a result of this mode of music dissemination of new characteristics were summarized, illustrate the influence of new media tools generated for music culture, find some means of basis for the development of music art in the new environment. With the development of computer and the popularization of the Internet, everyone can become the creator and disseminator of music. At the same time of the concept and the mode of creation have changed, music dissemination way is to find a broader approach. In numerous new media era music works, those who conform to the times and the nature of music works will also become a classic in the information after the bubble.

Choreographic Motifs in Nigerian Music Videos： The Examples of Olori Oko by Infinity and Roll It by P. Square

One of the most intellectually challenging and perhaps rewarding engagements in any creative endeavour, be it written literature or performance, is decrypting the metaphorical construct imbued in such a work, within the confines of the intentions of the writer or performer. Beyond coded speech, dance and choreography are works of art which make use of symbols to communicate man＇s thought, experience, and emotions. These symbols are conveyed basically through movement and they are forms of artistic expression to which all men, across climes, can respond, be it in a live performance or recorded video film. More than ever before, the music video film has taken a great place of prominence in the entertainment circles the world over, and musical choreography has become a major tool, used by singers, musicians, and music producers in these video films to enhance their creative output and make their productions more appealing both for economic and aesthetic purposes. This paper examines the motifs of dance and choreography in two Nigerian music videos, namely, Olori Oko （2006） by a Gospel group called Infinity and Roll It （2007） by a hip-hop group named P. Sqanre. The paper investigates the themes of the music, the concepts of the dances, and the styles of choreography in both works. The paper concludes that though both works belong to different genres, they are each successful in their own rights and have both contributed in elevating the standards in the practice of dance and choreography in Nigerian music video film.

The Recompositions of Buus＇（1547）RicercariFrom His Libro primo.., in Manuscript P-Cug MM 242 and the Didactic Processes of the Friars of the Santa Cruz Monastery in Coimbra.

The purpose of this articleis to address the presence of seven recomposed ricercari by Jacques Buus in the Music Manuscript 242 from the Library of the University of Coimbra in Portugal （P-Cug MM 242）. These recompositions, probably copied in the third quarter of the 16th century, were made after the previously copied Buus＇s ricercari in Music Manuscript 48 （P-Cug MM 48） of the same library, which were based on the Libro primo de ricercari a quattrovoci, published in Venice in 1547 by Antonio Gardane. In this paper, the author intend to focus in two main aspects of the research done on this subject. The first topic concerns the score-format of both manuscripts 48 ＆ 242, which testify the instrumental activity in mid-sixteenth century Portugal. The author will demonstrate that this format served once, in the Santa Cruz Monastery in Coimbra, as a didactic tool in the teaching of counterpoint through the music of a northern European master such as Jacques Buus. The copies in the manuscripts were never intended to be used as a performing support--they contain many errors of vertical coordination between the voices that make the performance impossible. The second topic focuses on Buus＇ recomposed ricercari, which were the object of many cuts, brief recomposed bridges, newly inserted sections, and written glosa figurations. Through these recompositions, the author will describe the theoretic assimilation of formal processes, of style, mode, counterpoint and performing practice. The achievement of this paper is to offer historic musicology researchers a new perspective about the enormous influence that Buus＇ ricercari from his Libro primo.., had in the learning processes of music composition and in the development of didactic and performing practices in the Santa Cruz Monastery in Coimbra, during the mid-sixteenth century.

Mario Paint： An Accessible Environment of Musical Creativity and Sound Exploration

Mario Paint, the 1992 Nintendo game for the Super NES, remains an accessible environment for musical creativity and sound exploration within its music mode. Although developed for a gaming system, the game＇s music mode is a streamlined tool built upon basic music theory and music composition. Through familiar video game sounds and icon and Westem music notation, players are able to compose chipttme works and explore the nature of sound through an inviting interface. Similar music composition software upgrades the process of composition established in Mario Paint, allowing for digital distribution and dissemination. Mario Paint continues to inspire new projects in the areas of video games and scholastic studies. Mario Paint and its successors are very reasonable entry-level programs for chiptune composers and fledgling music students

Research on the Novel Pattern of Soft Music Creation based on High-Pitched Melody Element and Aesthetic Point of View

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.

Analysis of Debussy Piano Music ＂fireworks＂ Performance

Debussy is one of the famous composers in music history, and he not only created a lot of innovative music, but also created a musical impressionist era, it is a landmark composers having. ＂Fireworks＂ is one of the important works of Debussy, which was the last song he composed 24 piano preludes, and this work fully reflects all his creative ideas, creative approach and creative style, as well as their patriotism inner world monologue. This paper focuses on the piano Debussy＇ s 24 Preludes a brief introduction, analyze the reasons for the formation of its style and structure of the work through, music image, sound system and playing tips and other aspects of ＂fireworks＂ .

Multi-dimensional evaluation method in music creation and performance of comedy

Multidimensional Scale Evaluation Rules as a performer in the field of learning assessment is feasible, but for each dimension settings, level settings and value setting need to be developed according to the actual raters, object evaluation, the focus of the evaluation. Scores of overall dimensions use variance analysis, and the results show a significant difference. In sub-dimension score comparison, the high group and low group both got higher scores in the degree of difficulty performing works and read music accuracy. The high group and low group are different on dimensions of the lowest score. Total scores in the scale of multi-dimensional evaluation of rules are positively correlated on the scores on the improvising horizontal dimension, but the correlation is not very high level, that is not all students who is better in playing levels, and they can get higher scores on the improvising horizontal dimension. Using multi-dimensional scale scores and teacher direct evaluation rules score are significantly different for student achievement.

The Traditions of the Women＇s Art ＂Yalla＂ of Central Asia

Lively oldest forms of women art in Central Asia came up to the present day through the traditions of ＂ustoz-shogird＂ （teacher-pupil）. In particular, wall painting, sculptures, and evidence of women＇s work in Amir Temur, Ulugbek, and Zakhiriddin Muhammad government describe a variety of women＇s roles in art. The women＇s art of Yallachi was also developed in Bukhara, Khorezm, and Kokand khanates time as a unique way. As a result, the Uzbek Yalla genre was established in the art of music. The tradition of Yallachi art continues today. In this context this art is more effective in the light of forms of music

JOKA AND HIS FLYING SYMPHONY CRUISING OVER THE QINGHAI-TIBET PLATEAU

Forty-five years ago,Joka was just a herder grazing animals on Damxung Grassland in the Tibet Autonomous Region.At that time,the concept of music class did not exist in the curriculum of local elementary schools,so the boy＇s musical talent originated from the traditional pastoral songs and dances characteristic of his hometown.Nowadays,53-year-old Joka has become the first post-doctoral candidate for professional music composition in China as well as the first Tibetan musicology master and doctor.