Theme

Drabkin, William

doi:10.1093/gmo/9781561592630.article.27789

Cited by 8 publications

(9 citation statements)

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“…For instance, in South Indian Carnatic tradition, a musical composition is often segmented in 3 sections (Pallavi, Anupallavi, and Caranam) based on the treatment of the musical theme (Agrawal, 2018). The should nevertheless be extended to all types of music (Val'kova, 1992)-like the Greek thema (proposition), which emerged in rhetoric theory and therefore suits any application related to semiotic representation where the perceiver needs to remember a particular expression essential for a musical work (Drabkin, 2001). Matters are complicated by the theme's salience.…”

Section: Example-14mentioning

confidence: 99%

The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music

Nikolsky¹,

Alekseyev²,

Alekseev

et al. 2020

Front. Psychol.

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This is an attempt to describe and explain so-called timbre-based music as a special system of musicking, communication, and psychological and social usage, which along with its corresponding beliefs constitutes a viable alternative to "frequency-based" music. Unfortunately, the current scientific research into music has been skewed almost entirely in favor of the frequency-based music prevalent in the West. Subsequently, whenever samples of timbre-based music attract the attention of Western researchers, these are usually interpreted as "defective" implementations of frequency-based music. The presence of discrete pitch is often regarded as the structural criterion that distinguishes music from non-music. We would like to present evidence to the contrary-in support of the existence of indigenous music systems based on the discretization and patterning of aspects of timbre, rather than pitch. This evidence comes mainly from extensive ethnographic research systematically conducted in eastern European and Asian parts of Russia from the 1890s. It involved the efforts of thousands of specialists and was coordinated by dozens of research institutions, and it has included not just ethnomusicology but linguistics, philology, organology, archaeology, anthropology, geography, and religious, and social studies. Much of the data has not been translated into Western languages. Although some Soviet-era publications were tainted by Marxist ideology, many researchers strove to provide accurate information (despite at times having been prosecuted for their work), and post-1990 research undertook a substantial revision of ideologically compromised concepts. Timbre-based tonal organization (TO) differs from that based on frequency in its personal orientation: musicking here occurs primarily for oneself and/or for close relatives/friends. Collective music-making is rare and exceptional. The foundation of timbre-based music seems to have vocal roots and rests on "personal song"-a system of personal identification through individualized patterns of rhythm, timbre, and pitch contour, utilized like a "human voice"-whose sound enables

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Section: Example-14mentioning

confidence: 99%

The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music

Nikolsky¹,

Alekseyev²,

Alekseev

et al. 2020

Front. Psychol.

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“…As Drabkin (2001) describes, a theme is "the musical material on which part or all of a work is based." Going even beyond that, Reti (1951) describes the thematic process in a composition as its main form-building element, creating unity even across multiple movements of a work.…”

Section: Musical Themes In Western Classical Musicmentioning

confidence: 99%

“…An essential aspect of Western classical music is the repetition and variation of thematic material throughout a musical work. In musicology, it is not well defined whether a theme is only the monophonic melodic line, independent from the polyphonic context in which it occurs, or the entire polyphonic section (Drabkin, 2001). However, in this article, we always consider a theme as being monophonic.…”

Section: Musical Themes In Western Classical Musicmentioning

confidence: 99%

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MTD: A Multimodal Dataset of Musical Themes for MIR Research

Zalkow

Balke

Arifi-Müller

et al. 2020

Transactions of the International Society for Music Information Retrieval

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Musical themes are essential elements in Western classical music. In this paper, we present the Musical Theme Dataset (MTD), a multimodal dataset inspired by "A Dictionary of Musical Themes" by Barlow and Morgenstern from 1948. For a subset of 2067 themes of the printed book, we created several digital representations of the musical themes. Beyond graphical sheet music, we provide symbolic music encodings, audio snippets of music recordings, alignments between the symbolic and audio representations, as well as detailed metadata on the composer, work, recording, and musical characteristics of the themes. In addition to the data, we also make several parsers and web-based interfaces available to access and explore the different modalities and their relations through visualizations and sonifications. These interfaces also include computational tools, bridging the gap between the original dictionary and music information retrieval (MIR) research. The dataset is of relevance for various subfields and tasks in MIR, such as cross-modal music retrieval, music alignment, optical music recognition, music transcription, and computational musicology.

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“…Хотя понятие музыкальной темы возникло в западной музыке , его было бы разумно распространить на все типы музыки [Валькова, 1992]. Греческое слово «тема» (заявление, постановка) сформировалось в теории риторики и потому применимо к любой форме семиотической репрезентации, где воспринимающий человек должен запомнить некое утверждение [Drabkin, 2001]. Музыкальные структуры, которые соответствуют такому утверждению, воплощают тему и позволяют различать подходящий (относящийся к делу) и неподходящий (неуместный или необязательный) музыкальный материал.…”

Section: личная песня как модель омузыкаливания звуков в евразийской unclassified

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2019

ykns

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Алексеев Иван Егорович (Хомус Уйбаан)доктор филологических наук, профессор Института языков и культуры народов Северо-Востока Российской Федерации и заведующий лабораторией экспериментальной филологии Северо-Восточного федерального университета им. М. К. Аммосова, президент Международного центра хомусной (варганной) музыки и Музея хомуса народов мира (Якутск). Контактная информация: ул. Кулаковского, д. 42, каб. 207, г. Якутск, 677013, Республика Саха (Якутия), Российская Федерация.

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Theme

Cited by 8 publications

References 0 publications

The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music

The Overlooked Tradition of “Personal Music” and Its Place in the Evolution of Music

MTD: A Multimodal Dataset of Musical Themes for MIR Research

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