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"Style, Musical"
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Domenico Scarlatti’s Musical Style: His Keyboard Sonata K. 288
This study focuses on the musical style in Scarlatti’s sonata K. 288, as K. 288 has not yet been explored in detail in the Scarlatti scholarship. Not only the form, but also other musical elements, such as melody, harmony, and rhythm are being explored. Furthermore, irregular groupings are discussed. By examining some characteristics shown in K. 288, this paper shows Scarlatti’s ‘originality’ and contributes to discovering Scarlatti as “the interesting historical figure” (Sutcliffe 2003, 1). In addition to the analysis, the scope of this paper was expanded by including a comparison with a contemporary pastiche composition by the author of this paper. This pastiche composition was written to emulate Scarlatti’s style, and this paper discusses the similarities and differences between the two pieces. In this way, theory and practice are combined, which would broaden the horizon of musicology and music theory. Therefore, this research would be of interest to not only musicologists but also musicians and composers. Pričujoča raziskava se osredotoča na Scarlattijev glasbeni slog v Sonati K. 288, saj ta v literaturi o Scarlattijevem delu še ni bila podrobneje opazovana. Opazuje ne samo obliko, ampak tudi druge glasbene prvine, kot so melodija, harmonija in ritem. Ob tem se posveča tudi nenavadnemu povezovanju taktov. Z opazovanjem nekaterih značilnosti Sonate K. 288 poskuša prispevatu k odkrivanju Scarlattija kot »zanimive zgodovinske osebe« (Sutcliffe 2003, 1). Poleg analize je članek dopolnjen še s primerjavo avtoričine sonate, ki poskuša posnemati Scarlattijev slog. Na zaključku članka avtorica razpravlja o podobnostih in razlikah med obemi deli. Na ta način povezuje teorijo in prakso ter razširja obzorji glasbene teorije in muzikologije. Zato raziskava ni zanimiva le za muzikologe, ampak tudi za glasbenike in skladatelje.
Journal Article
Brief Exposure to Notated Scores: Pianists' Quick Impressions of Musical Style
This study concerns classical musicians' ability to recognize style periods from very brief visual exposure to musical notation. 25 professional pianists were shown nine 500-ms displays of musical excerpts from piano works by J. S. Bach, L. v. Beethoven, and F. Chopin. The pianists were told to describe what they saw and to assess the style period of the music. Recognition was relatively good: 49% of the verbal protocols included a correct style period label or the right composer name. Verbal protocols also supported the notion that style recognition chiefly relies on intuitive, holistic integration of information, rather than on reflective, analytic processing. First, correct responses regarding style period occurred significantly earlier than incorrect ones, which suggests that they may have taken place more intuitively. Second, correct recognitions were not preceded by richer spoken contents than was found in the case of non-recognition. Indeed, the opposite was the case for composer recognition, which again associates recognition with intuitive processing. It is argued that the rapid recognition of musical style characteristics is a prerequisite for stylistically sensitive sight reading.
Journal Article
The pursuit of musick : musical life in original writings & art : c1200-1770
This is an encyclopedic and generously-illustrated anthology of original written sources, exploring some 600 years of musical activity in Europe, from the first troubadours to the emergence of the pianoforte. Through this book, the author presents an extraordinary treasure trove of material documenting the myriad ways in which our recent ancestors engaged with music. And, exceptionally, it is almost entirely through their words - their images, too - that such experiences are here vividly evoked. The resultant book aims to lend itself equally to leisurely browsing, quick reference, and close study, and to be simultaneously authoritative and approachable, allowing general readers and specialists alike to tap into invaluable seams of original source material. Arranged in three main parts (Society, Ideas, Performance), its principal chapters are supplemented by shorter ones exploring related and intriguing byways. Occasional thematic introductions (by Hugh Griffith) and four distinctive appendices contribute further to the book's unique and characterful nature.
Book
From the erotic to the demonic : on critical musicology
This book is an attempt to decode, explain, and account for the way that social meaning in music is perceived. It is concerned throughout with the socially constituted values of musical styles, and contains a collection of wide-ranging chapters exploring aspects of sound and meaning, production and status, dissemination and reception, and criticism and aesthetics. Each chapter considers the workings of a particular relationship between ideology and musical style, offering different perspectives on how ideas are communicated through music. The book illustrates how musical styles construct ideas of class, sexuality, and ethnic identity. In doing so, it is concerned to demonstrate how such constructions relate to particular stylistic codes in particular cultural and historical contexts. The book is divided into four parts, covering the areas of gender and sexuality, ideology in relation to popular music, the sacred and profane, and ideology and cultural identity. The subjects debated include erotic representation from Monteverdi to Mae West, the sexual politics of 19th-century musical aesthetics, the Native American in popular music, the sacred and the demonic, Orientalism, and the initial impact of African-American music-making on the European classical tradition. The book's arguments are supported by ninety musical examples taken from such diverse sources as baroque and romantic opera, symphonic music, jazz, and 19th- and 20th-century popular songs.
eBook
Advancements in End-to-End Audio Style Transformation: A Differentiable Approach for Voice Conversion and Musical Style Transfer
Introduction: This study introduces a fully differentiable, end-to-end audio transformation network designed to overcome these limitations by operating directly on acoustic features. Methods: The proposed method employs an encoder–decoder architecture with a global conditioning mechanism. It eliminates the need for parallel utterances, intermediate phonetic representations, and speaker-independent ASR systems. The system is evaluated on tasks of voice conversion and musical style transfer using subjective and objective metrics. Results: Experimental results demonstrate the model’s efficacy, achieving competitive performance in both seen and unseen target scenarios. The proposed framework outperforms seven existing systems for audio transformation and aligns closely with state-of-the-art methods. Conclusion: This approach simplifies feature engineering, ensures vocabulary independence, and broadens the applicability of audio transformations across diverse domains, such as personalized voice assistants and musical experimentation.
Journal Article
Individual Differences in Musical Taste
Several studies have investigated the relationship between (usually a narrow set of) personality dimensions and liking for a small number of individual musical styles. To date there has been no attempt to investigate, within a single methodology, the extent to which personality factors correlate with liking for a very wide range of musical styles. To address this, 36,518 participants rated their liking for 104 musical styles, completed a short form of the Big 5 personality inventory, and provided other data about their favorite musical styles. Personality factors were related to both liking for the musical styles and participants’ reasons for listening to this music. However, on the whole these latter variables were related more closely to participants’ age, sex, and income than to Big 5 scores. Thus, personality is related to musical taste, but other individual differences are arguably related more closely.
Journal Article
Deconstructing Cultural Omnivorousness 1982–2002: Heterology in Americans' Musical Preferences
This research examines heterogeneity in Americans' musical tastes by separating breadth and level of taste, taking into account the structural constraints such as cohort, period, social class, gender and racial composition, which have shaped Americans' musical preferences over the past 20 years. We identify four types of respondents who share similar taste patterns that correspond to different degrees of omnivorousness: omnivores, limited, temperates and moderates. We argue that taste patterns deviate from the usual elitist basis in that omnivores are depicted as both highbrow individuals with lowbrow taste and non-highbrow individuals with lowbrow taste. We also find that structural constraints have little impact on breadth of tastes among omnivores and a relatively high impact on breadth of tastes among limited, temperates and moderates. Heterology is emphasized (rather than the Bourdieuvian homology) in an examination of the equivalence between the social structure and the cultural sphere. Heterology recognizes that breadth and level of taste are two independent dimensions of cultural consumption.
Journal Article
Evolutionary Categories and Musical Style from Adler to America
As we consider music's role in defining races, cultures, and species, musicologists may benefit from examining more closely the history of conceptions of musical style. That history offers an opportunity to reassess the question of how and how much one of the core tools of music scholarship—the recognition and categorization of musical style—reflects a historical tradition of categorizing culture as a form of essential, biologized difference. This exercise seems particularly relevant in the present moment, when scholarly style categories converge with a renewed interest in evolutionary science. Tracing notions of style from the days of Guido Adler to the present, I argue that classifications of musical style have offered a way for music scholars to explore changing concepts of human difference. By asking what it means to identify a musical style, it is possible to engage more sensitively with music's power to classify human cultures, define human beings, and demarcate the perimeter of the humanities.
Journal Article