Reclaiming and Preserving Traditional Music: Aesthetics, ethics and technology

Abstract

Music history is full of examples of composers drawing upon traditional repertoires for their works. Starting from the late nineteenth century in particular, many of them have looked at this specific sound material for several reasons: overcoming the limitations of tonal system, discovering different compositional strategies, finding new inspiration and aesthetics, evoking exoticism. Electronic music is no exception. Since the emergence of sound recording, sonic artists and electronic music composers have experimented with new technologies trying to integrate traditional elements in their works with different results and various purposes. In the present time, the preservation of these traditional elements could represent one of the most crucial goals. In a world characterised by a widespread globalisation, traditional music might be at risk of being neglected or even forgotten, as for local identities and cultures in general. As electronic music composers and sonic artists we should ask ourselves if it is possible to create a link between tradition and innovation, connecting these two apparently opposite realities. Can we safeguard at-risk traditions and at the same time re-present them through contemporary artistic practices and technologies? Is there a way to develop a form of expression that could reach a wide and diverse range of listeners, taking into account recent trends and studies in electronic music while preserving the main distinctive features of the traditional repertoires? The article attempts to answer the above-mentioned questions with the support of a case study: the personal research conducted into the use of traditional music from the southern Italian region of Campania in the scope of electronic music composition.

Research on the Application of Northwest Traditional Patterns in Modern Design under the Background of Big Data

“…It can be seen that the smaller the coefficient of determination 2 R is, the less good the fit is. The closer the coefficient of determination 2 R is to 1, the better the fit.…”

“…Northwest traditional pattern is an externalized expression of history, culture, nature, society, and emotion, which is closely related to the grasp of "Tao" [1][2]. As Li Zehou mentioned in his book "The Course of Beauty," "the reason why the human aesthetic feeling is different from animal sensory pleasure is that it contains conceptual and imaginative components" [3][4].…”

“…Duhua Guo. Applied Mathematics and Nonlinear Sciences, 9(1) (2024)[1][2][3][4][5][6][7][8][9][10][11][12][13][14][15][16][17] …”

An EEG Neurofeedback Interactive Model for Emotional Classification of Electronic Music Compositions Considering Multi-Brain Synergistic Brain-Computer Interfaces

“…EEG signals obtained by experimental paradigm evocation are subject to various noise disturbances during acquisition, as well as electrical activity caused by neural responses unrelated to the inclusion of other cognitive psychological activities, while the potential changes that are truly relevant to brain cognition are only a few microvolts, which are usually much smaller than the potential changes caused by spontaneous activity of nerve cells, so the measured EEG signals need to be preprocessed before the study of EEG signal data ( D’Agostino, 2020 ). The common preprocessing process of the EEG technique contains steps such as EEG preview, filtering, eye-electricity removal, EEG signal segmentation, baseline correction, and conversion reference.…”

A Study of Clara Schumann's Piano Music Performance, Composition and Teaching under the Feminist Movement

“…There are eight types of Clara's piano works classified according to genres, including dances (Polish dances and waltzes, etc. ), romances, individual miniatures, concertos, variations, improvisations, harmonies, preludes and fugues [12][13]. The titles of some of Clara's numbered works are shown in Table 1.…”