Homer and Gregory: The Transmission of Epic Poetry and Plainchant

Treitler, Leo

doi:10.1093/acprof:oso/9780199214761.003.0006

Cited by 7 publications

(10 citation statements)

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“…In this stage, explicit learning strategies are more evident, and performers acquire specific learned phrases that are used in deliberate practice (Berliner, 1994, p. 101;Lord, 1960, p. 32;Treitler, 1974). In music, these learned phrases are short melodic figures characteristic of the jazz style that help the young improviser play over specific chord progressions.…”

Section: Empirical Ethnographic Evidencementioning

confidence: 99%

Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians

Norgaard

2011

Journal of Research in Music Education

107

147

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Thought processes of seven artist-level jazz musicians, each of whom recorded an improvised solo, were investigated. Immediately after completing their improvisations, participants listened to recordings of their playing and looked at the notation of their solos as they described in a directed interview the thinking processes that led to the realization of their improvisations. In all of the interviews, artists described making sketch plans, which outlined one or more musical features of upcoming passages. The artists also described monitoring and evaluating their own output as they performed, making judgments that often were incorporated into future planning. Four strategies used by the artists for generating the note content of the improvisations emerged from the analysis: recalling well-learned ideas from memory and inserting them into the ongoing improvisation, choosing notes based on a harmonic priority, choosing notes based on a melodic priority, and repeating material played in earlier sections of the improvisation.

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Section: Empirical Ethnographic Evidencementioning

confidence: 99%

Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians

Norgaard

2011

Journal of Research in Music Education

107

147

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“…Similar cognitive structures have frequently been posited in music analysis, especially of orallygenerated melody (e.g. Treitler 1974, Widdess 1995b: 320 ff. ), and in studies of oral poetry (Rubin 1995: 21-37).…”

Section: Conscious Expectationsmentioning

confidence: 64%

“…This chapter presents an analysis of a performance of ālāp, with reference to the compositional principles that it demonstrates. Following a long succession of ethnomusicological and musicological studies, including Nettl (1974), Lortat-Jacob (1987), Nettl and Russell (1998), Treitler (1974Treitler ( , 2003, Nooshin (2003) and many other contributions, it is clear that compositional principles are no less important in music that is unwritten and "improvised" than in music that is written and "composed"; and that indeed, one can no longer speak of "improvisation" and "composition" in any oppositional sense. It also seems clear that the importance of compositional principles in unwritten music, such as ālāp, is related both to the performer's need to recall memorised material and invent new material that is grammatical, and at the same time to the listener's need to engage with, comprehend, and be stimulated by an auditory experience that, for him, happens in real time, whether a written score exists or not, and whether he is listening to a live performance or a recording.…”

Section: Introductionmentioning

confidence: 99%

Dynamics of Melodic Discourse in Indian Music

Widdess¹

2011

Analytical and Cross-Cultural Studies in World Music

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3 Van der Meer is writing specifically about ālāp in the dhrupad vocal style, but the comments quoted apply equally to instrumental performances of the kind to be analysed here. 5 Dates from Parikh 2007. According to information given on his website, Budhaditya Mukherjee learned sitar from his father, Bimalendu Mukherjee (1925-?), who studied with Imdad Khan's son Inayat Hussein Khan (1894-1938), father of the worldfamous sitarists Vilayat and Imrat Khan, and with three of Inayat's senior disciples. Bimalendu also studied with a number of instrumental and vocal teachers from other traditions. See http://www.budhaditya.com/. 6 I am perhaps rather artificially imagining a listener who has not read the CD liner notes, written by myself, which briefly prefigure some of the content of this study.

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“…In 754 when King Pepin, the father of Charlemagne, accepted the proposal of Pope Stephen II to unite with the Roman Church against the Lombards, he decided to repress the old Gallican liturgy in favour of the Roman one. Charlemagne continued his father's liturgical reforms to unify his expanding multiethnic and multicultural empire under a single rite (Treitler : 338). According to some musicologists (Busse Berger ; Levy ), during Charlemagne's reign an authoritative antiphonary might have circulated in the Empire from 800–900, until the new musical notation superseded the Gallican chants.…”

Section: Music and National Consciousnessmentioning

confidence: 99%

National stereotypes and music

Lajosi

2014

Nations and Nationalism

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ABSTRACT. Music became a marker of national identity in nineteenth-century Europe. Western art music consists of tonal systems that are universally intelligible, but certain rhythms and musical idioms have been associated with national styles. How, when, and why does a musical phrase or piece become national? What political and cultural circumstances contributed to the development of national styles and facilitated the emergence of resonant topographies? What was the relationship between music as cultural practice and nineteenth-century national thought as discursive space? These questions are addressed with a particular focus on verbunkos, which came to be characteristic of Hungarian national style, and on the Rákóczy March which became famous thanks to Berlioz's Faust. This essay traces the complex process of cultural transfer through which these martial tunes of mixed ethnic origins have become emblematic of Hungarian music.

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Homer and Gregory: The Transmission of Epic Poetry and Plainchant

Cited by 7 publications

References 0 publications

Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians

Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians

Dynamics of Melodic Discourse in Indian Music

National stereotypes and music

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