TEXTURALISM by Andrei C. COZMA

“…The suggested theory of texturalism thus systemizes an important part of the 20th century music in which compositional techniques of other style defining musical practices are grouped together with singular technical features. …”
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Evolution of sample-based music authorship network by Dongju Park, Juyong Park

“…The selection, manipulation, and adoption of samples heavily impact the genre, mood, texture, and finally the distinctive identity of a new musical composition. …”
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Signs of Innovation in European Cinema. Electronic Music in Antonioni and Tarkovsky by Gabriele

“…In both cases, the presence of noise is effectively combined with music to create a very complex sound texture. …”
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Food, sound, and social interaction: Investigating the cultural significance of music in culinary practices in javanese society by Sularso Sularso, Isti Syafitri Andini, Saifuddin M.F., Ratna Ma’rifah Destri, Ratnawati Hermanto Sarwendah, Pratiwi Purbosari Purwanti

“…This study explores the cultural significance of music in culinary traditions, examining how sound fosters social interaction, strengthens community ties, and enhances the sensory experience of food. …”
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I am hated, therefore I am: The Enemy in Yorùbá Imaginary by Abimbola Adelakun

“…This essay will interrogate how this personification of antagonism is achieved by studying Ifá texts, Yorùbá popular music of a period, and contemporary Pentecostal prayers. …”
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WORKING WITH VISUALLY-IMPAIRED PERFORMERS IN PIANO CLASS by Julia P. Antonova, Vitaliy V. Kalitskiy

“…The article focuses on the question of repertoire choice, the features of using braille music code, the role of listening to the recordings together with a teacher, the various imaginative associations for the purpose of forming a holistic image the textural and timbre components of musical fabric, the sufficiency of stage rehearsals. …”
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The Roaring Streets: Dickensian London in the Pages of Virginia Woolf by Francesca Orestano

“…Virginia Woolf was a keen preserver of some Victorian values, and among these the art of Charles Dickens, with his representation of London, its voices, sounds, music and noises. Dickens’s Little Dorrit and its closing sentence opens up my critical track by suggesting that Woolf’s reconstruction of the past must give to Victorian sounds a role that is neither ancillary nor merely impressionistic. …”
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Schon wieder das Lied!. Robert Schumanns »In der Fremde« und die Kriterien musikalischer Analyse by Felix Diergarten

“…Connected with this are some general reflections on the methodology of musical analysis.…”
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The disturbing order and Hafez's ghazals by Naser Rahimi, Zoheir Nadalizadeh

“…Then, I proposed new insights for its understanding which aimed to justify the incoherence of the lines and the diversity of the topics of his ghazals from a musical perspective. To that intent, I formulated my hypothesis based upon the poetic texture and the intertextual relations of Hafez's poems as a whole.…”
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Eine »Grille« in »Händels Manier«?. Kompositionstechnik, soziale Symbolik und Dramaturgie in der zweiten Donna-Elvira-Arie aus Mozarts Don Giovanni by Tihomir Popovic

“…The pseudo-archaic style of the aria »Ah fuggi il traditor« from Mozart’s opera Don Giovanni has been repeatedly dealt with in musical criticism and musical historiography since the 18th-century. …”
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Chord Types and Figuration: A Bayesian Learning Model of Extended Chord Profiles by Christoph Finkensiep, Petter Ericson, Sebasian Klassmann, Martin Rohrmeier

“…Having acquired familiarity with different types of chords, a listener can distinguish tones in a musical texture that outline these chords (i.e., chord tones) from ornamental tones such as neighbor or passing notes that elaborate the chord tones. …”
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Playing in Tongues: The Hammond Organ and Black Pentecostal Instrumentality by Braxton D. Shelley

“…This article attends to the social life of the Hammond organ in the Black Pentecostal imaginary, a theological, cultural, and musical phenomenon that calls attention to the social fact of instrumental timbre. …”
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Retracted: Wuju Opera Cultural Creative Products and Research on Visual Image Under VR Technology by Yahong Wang, Xiaobing Hu

“…The research results show that the visual simulation effect developed based on VR technology has the necessary texture, color, shadow and other changes. It feels the same as the drama on the plane. …”
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Im Niemandsland zwischen strengem Satz und Historismus. Zur Krise der Kontrapunktlehre im mittleren 19. Jahrhundert by Florian Edler

“…Cherubini adhered to Fux’s modal plainsong while Dehn favoured musical examples from the sixteenth century. In contrast to such historicist approaches, however, the two theorists regarded two-voice settings as a reduction of chordal texture. …”
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A TESTIMONY TO THE IMMORTALITY OF THE STRING QUARTET GENRE: GLOSSE BY LUCIANO BERIO by Tudor FERARU

“…The music is primarily gestured and somewhat pointillist, typical of Berio’s late output. …”
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D’autres mondes pour d’autres musiques : les dimensions sonores parallèles de The OA (Partie 01) by Jérémy Michot

“…On one hand, by analyzing minimalistc musical textures, they refer to other series as well as science-fiction cinema. …”
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Arlington Park: Variations on Virginia Woolf’s Mrs Dalloway by Monica LATHAM

“…Besides, Cusk’s epiphany bears resemblance to the Woolfian “moment of being,” the various refrains and repetitions give her prose a musical quality, and her characters constantly attempt to give a definition of the texture of life and reality. …”
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The aesthetics of parallelism Rhythm in the Al-Ashbah Sermon by Ali Ghahramani, Solmsz Porshoor

“…One of these appeals appearing in this speech is the parallelism Rhythm that came from the frequency of structural equivalents on the surface of the syntactic textures of the sermon text; which ultimately helps to formulate the general music of that text. …”
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Klangfarbe und musikalischer Zusammenhang. Beobachtungen zum Orchestersatz Richard Wagners by Johannes Kohlmann

“…With reference to the idea of sound dramaturgy conceived by Tobias Janz, three short examples from Tristan und Isolde are analysed in order to show how Wagner’s concept of musical coherence comprises the technique of instrumentation. …”
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