Sonic Peace: An Antithesis to Sonic Warfare explores certain frequencies that have been associated with various healing qualities, and seeks to bridge the sounds of antiquity and modernity. The piece draws on numerology and symbolism and adopts a cross-cultural approach in an effort to advance a cohesive universal healing message. The text featured in the composition is original, except for the use of an ancient Japanese Shinto chant.

This essay summarizes my artistry and approach as it has evolved during my five years at the Royal Institute of Art in Stockholm. My artistry is multidisciplinary where I find inspiration in art, technology, science, and society. My artistic process often relates to a full concept, where I explore and tell multi-layered stories. I study and engage with scientific theories and engage with them in a playful and experimental non-scientific way. These stories are expressed in my work that are physical and digital created from my intent and from physical phenomena that the eye cannot always see.  I firstly describe how I have created paintings by using technology generated frequencies and how I have put them on canvas. “Painting with technology frequencies and vibrations” uses a technology-oriented approach in making paintings inspired from the Chladni plate method. The conclusion is that it was possible to capture frequencies on canvas.  Secondly, I describe how I have made paintings, and associated pieces, that relate to frequencies and disturbances in human characteristics. For the concept “Painting with emotional frequencies and vibrations” I brought in phenomena from quantum physics and specifically the observer effect to make the paintings. I focused on morals and ethics and how art possibly can positively affect us human beings. In my mind I also drew parallels to the future mass-surveillance society and how we may be affected by being observed all the time.

An educational system of individualistic teaching becomes more and more relevant when implementing the objectives of a modern Lithuanian school in the rapidly changing information environment. Such system is based on the methodology that may establish favourable conditions for not only efficient interception of information, but also encouragement of a person’s self-expression and self-realization, promotion of intellectual abilities and creativity, development of motivation and individual capabilities. Master’s theses "Individualization of solfeggio teaching of senior pupils of music school with the help of information technologies" analyzes peculiarities of solfeggio teaching / learning by employing computer programs and the Internet. The objective of the degree work is to research the potentiality of the introduction of information technologies to the process of individualization of solfeggio teaching of senior pupils of music school. The tasks of the research consist of survey of philosophical and psychological grounds for the individualistic educational system, execution of the analysis of personal features of character and differences of the pupils as well as the evaluation of potentiality and significance of introduction of information technologies to the individualistic musical education. The first chapter of the theses presents a review of a concept of individualistic teaching, its philosophical and psychological grounds, origin and development. The principal... [to full text]

Bis auf den heutigen Tag ist das Fach Gehörbildung im Allgemeinen und der Gebrauch von Tonsilben in der basalen Musikausbildung im Besonderen durch unterschiedliche länderspezifische Ausprägungen und Lehrtraditionen geprägt. Dieser Beitrag stellt überblicksartig unterschiedliche Entwicklungen im 18. und frühen 19. Jahrhundert dar, die zwischen Beibehaltung, Reform und Abschaffung der guidonischen Solmisationspraxis wechseln. Anhand von vier Fallbeispielen aus Frankreich, Italien, Spanien und Deutschland wird die Vielfalt der Lösungsansätze aufgezeigt. In Frankreich hat sich zwar bereits im 18. Jahrhundert das absolute Solmisieren durchgesetzt, daneben existierten jedoch mehrere Versuche, die Praxis der relativen Solmisation zu erhalten oder zu reaktivieren, etwa in der ›Méthode GalinParis-Chevé‹ von 1844. In Spanien zeigt sich neben einer lebendigen gregorianischen Praxis mit Mutationen (con mutanzas) eine Vielfalt unterschiedlicher Solmisationssysteme, eine Eigenheit scheint die enge Verbindung mit dem sicheren Erlernen des Schlüssellesens durch die Praxis der Schlüsselsimulation (fingimiento de clave) zu sein. Am Beispiel von Niccolò Zingarelli lässt sich für Neapel die Gleichzeitigkeit alter und neuer Lehrtraditionen nachweisen, dabei wurde das alte System der Hexachord-Solmisation zunehmend von der oktavbasierten Variante der scala composta ersetzt. Im deutschsprachigen Raum spielte im 18. Jahrhundert das Singen und Denken in Hexachorden nur noch eine marginale Rolle, statt der guidonischen Silben wurden die lateinischen Buchstaben, neue Silbenbezeichnungen oder Ziffern verwendet. Die aufgezeigten Methoden konsolidierten und vereinheitlichten sich zwar im Verlauf des 19. Jahrhunderts insbesondere durch die zunehmende Institutionalisierung der professionellen Musikausbildung. Im Zuge der Ausbildung moderner Nationalstaaten wurden die Unterschiede dafür umso deutlicher entlang der Landes- bzw. Sprachgrenzen sichtbar. / To this day, the discipline of ear training in general and the use of syllables in basic music education in particular have been informed by different country-specific characteristics and teaching traditions. This article provides an overview of different developments in the 18th and early 19th centuries, which alternate between the maintenance, reform and rejection of Guidonian solmisation practice. The variety of possible methods is demonstrated by four case studies from France, Italy, Spain, and Germany. In France, fixed-do solmisation was already established during the 18th century, although there were several attempts to maintain or reactivate the practice of relative solmisation, for example in the ‘Méthode Galin-Paris-Chevé’ of 1844. In Spain we find, in addition to a lively Gregorian practice with mutations (con mutanzas), a variety of different solmisation systems, an apparent peculiarity being the close connection with an education of clef-reading through the practice of clef simulation (fingimiento de clave). Solfeggi by Niccolò Zingarelli exemplify the coexistence of old and new teaching traditions in Naples, the old system of hexachord solmisation progressively being replaced by the octave-based variant of the scala composta. In German-speaking countries, the practice of singing and thinking in hexachords was already of marginal importance in the 18th century; instead of the Guidonian syllables, the Latin letters, new syllable names or numbers were used. The methods shown here became consolidated and unified during the 19th century, in particular due to the increasing institutionalisation of professional music education. During the emergence of modern nation states, the differences became all the more visible along national or language borders.

Jean-Philippe Rameau affirme que l'harmonie a pour principe la basse fondamentale. Il soutient également que cette basse fondamentale est quelque chose qui peut se sentir dans la pratique musicale. Néanmoins, il ne considère pas ce sentiment comme une justification suffisante pour son principe. En conséquence, il n'explique pas précisément en quoi ce sentiment peut consister, et préfère donner des arguments physico-mathématiques.La présente thèse traite du problème suivant: qu'est-ce donc que sentir la basse fondamentale, et ce sentiment est-il réellement inapte à justifier ce concept? Pour y répondre, il faut prêter attention aux opérations par lesquelles le lecteur de Rameau est invité à cultiver sa sensibilité à l'harmonie. Il s'agit de commenter ces opérations à l'aide de la phénoménologie de Husserl. Pour produire une phénoménologie de la basse fondamentale, il importe de décrire les sons avec plus de précision que Rameau ne le fait dans ses traités. Cela peut être réalisé grâce au solfège généralisé de Pierre Schaeffer.Mais pour cela, un travail préparatoire est nécessaire. L'introduction vise à montrer qu'il n'y a rien d'étrange, pour traiter de l'harmonie du dix-huitième siècle, à se servir des travaux de Schaeffer. Les quatre premiers chapitres ont pour but de clarifier le concept de basse fondamentale. Les quatre derniers visent à produire une phénoménologie de certains aspects du son, de l'harmonie et de la basse fondamentale. Il apparaît alors que le sentiment peut effectivement justifier la décision de considérer la nasse fondamentale comme le principe de l'harmonie; mais une telle justification n'a pas toute la force que recherchait Rameau. / Jean-Philippe Rameau has claimed that the fundamental bass is the principle of harmony. He also presents this fundamental bass as something which can be felt in musical practice. Nevertheless, he doesn't consider that feeling as a sufficient justification for his principle. As a consequence, he doesn't explain precisely what that feeling consists in, and he prefers to develop some physical and mathematical arguments to prove his theory.This thesis deals with the following issue: what is it like to feel the fundamental bass, and does this feeling really offer no sufficient justification for that concept? To answer those questions, attention has to be paid to the operations by which Rameau's reader is supposed to cultivate his own sensibility to harmony; and they shall be commented with the help of husserl's phenomenology. To provide a phenomenology of the fundamental bass, it is necessary to describe sounds more precisely than Rameau does in his treatises. Such a description shall be achieved thanks to Pierre Schaeffer's generalized solfeggio.But to make it possible, some preliminary work is required. An introduction shall argue that there is nothing strange in using Schaeffer's work to deal with harmony of the eighteenth century. The first four chapters are intended to clarify the concept of fundamental bass. The last four chapters are intended to produce a phenomenology of some aspects of sound, harmony and fundamental bass. At the end of this thesis, it appears that feeling can justify the fundamental bass to be considered as the principle of rules; but this justification does not have the strength Rameau was looking for.