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This paper focuses on the Pelagian Debate of the late 4th Century CE between Augustine of Hippo and the British cleric Pelagius, and its little known or understood relevance to music education practice and scholarship. A transdisciplinary review of theological, historical, pedagogical, and musicological texts suggests that Augustinian notions of sin, goodness, and human nature reflect assumptions embedded in traditional classical music education paradigms. As a contrast, Pelagius' notions of the importance of the "laity," and criticism of church hierarchy, later suppressed and deemed heretical, can be related to tensions between amateur and professional musicians in music and education contexts. This paper will explore this debate, and Augustine's victory, as a means of questioning assumptions embedded in music education discourse concerning talent, discipline, and human capacity for music. In this way, the debate is made relevant not only as a means of enhancing understanding of historical conceptions but also as a lens through which contemporary music education might be interrogated. [ABSTRACT FROM AUTHOR]

The author index from the journal "Technology & Culture" for Volume 65 (2024) offers a comprehensive list of authors, titles, and reviewers of books and articles on diverse topics such as media, cultural history, and scientific agriculture. The reviews provide insights into global perspectives on technology and culture, covering subjects like gendered labor, global health, energy transition, and regional histories of technology. Each review offers a critical analysis of the content, contributing to a deeper understanding of the complex relationships between technology, society, and culture. [Extracted from the article]

Copyright of AugenBlick is the property of Schueren Verlag GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of AugenBlick is the property of Schueren Verlag GmbH and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

What was the Indians’ early encounter with European music like? How did they access the music of the coloniser and get socialised in it? Following Dwarkanath Tagore’s engagements with European music in early-19th century Calcutta, this essay maps the sites and spaces of western music in the city through which the contemporary Bengali elite first got exposed to the music that their colonial masters had brought into the subcontinent. In conceptually framing this process, it borrows the concept of ‘bi-musicality’ from ethnomusicology and repurposes it as a historical analytic to understand the new and emergent form of musicality that was organic to the colonial encounter in India and constitutively modern. [ABSTRACT FROM AUTHOR]

The article is a series of communications between two scholars, Dr. Carol A. Hess and Dr. Jennifer L. Campbell, regarding a book review. Dr. Campbell accuses Dr. Hess of failing to acknowledge her work in her book on Aaron Copland in Latin America. Dr. Hess disputes this claim, stating that she cited Dr. Campbell's work multiple times in her book and included her insights. Dr. Campbell argues that her contributions were not fully recognized and raises concerns about the ethical responsibility of senior scholars towards their junior counterparts. The article also includes a correction to a previous review in the journal. [Extracted from the article]

This article discusses two books that would be of interest to scholars and students researching specific topics. The first book, "Printing Music in Renaissance Rome" by Jane A. Bernstein, explores the trade and production of music books in Rome during the sixteenth century. It examines the role of printers, publishers, and craftsmen in creating and distributing music books, highlighting the unique market in Rome and its connection to the city's economic and social climate. The second book, "William Byrd: Consort Music" by Anne Martin, focuses on the consort music of composer William Byrd. It provides a detailed analysis of Byrd's music and its historical context. The book includes music examples, illustrations, a bibliography, and an index, making it a valuable resource for scholars and performers interested in Byrd's music. The author's decision to publish the book in 2023, the 400th anniversary of Byrd's death, adds to its significance and relevance. [Extracted from the article]

A-R Editions has published a collection of descriptive piano fantasias, edited by Halina Goldberg and Jonathan D. Bellman. The collection features fourteen works from 1788 to 1910 that directly describe specific occurrences. These pieces offer a glimpse into the keyboard skills expected of domestic music buyers during that time and showcase the compositional characteristics and sophistication of the era. The edition includes detailed introductions and notes on each composition, providing historical context and performance suggestions. [Extracted from the article]

The article titled "Transformations of Musical Modernism" explores various aspects of modernism in music, including the interplay between human experience and music history, transformations of Faustian pacts in opera, and the connection between musical gesture and instrument design. It also discusses Louise Otto's proposal for an operatic project based on the German epic Die Nibelungen. The article reflects on different aspects of musical modernism and its relationship with history, challenging the idea of linear progress and emphasizing the role of historical contingencies. It presents different perspectives on modernism, with some authors highlighting its diversity and others emphasizing its continued relevance in contemporary music. The article also mentions Susan McClary's critique of modernism as an aesthetic of violence and negation. [Extracted from the article]

"The Propaganda of Freedom: JFK, Shostakovich, Stravinsky, and the Cultural Cold War" by Joseph Horowitz is a book that explores the relationship between music and politics during the Cold War. The author examines President John F. Kennedy's efforts to promote the idea that creative achievement is only possible in a "free" society, contrasting the United States with the Soviet Union. Horowitz focuses on the roles of composers Nicolas Nabokov, Igor Stravinsky, and Dmitri Shostakovich in this propaganda war, as well as the influence of the Congress for Cultural Freedom (CCF) and the CIA. The book challenges the assumption that creative innovation can only occur in a democratic environment and encourages readers to reconsider the simplistic narratives of the Cold War. Joanna Bullivant's book, "Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc," provides a comprehensive study of composer Alan Bush and his contributions to modern music. The book includes primary-source documents from Nabokov and Kennedy, which are important for understanding the cultural Cold War. This is the first major English-language study on Bush, offering new insights into his work. [Extracted from the article]

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Gênero e Interdisciplinaridade is the property of Instituto de Ensino e Pesquisa Periodicojs and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Noise music scene in Indonesia has grown its popularity in recent years, thanks to the movie Bising: Noise and Experimental Music in Indonesia (2014) about people who do Noise in Indonesia, Senyawa who plays everywhere, and the Jogja Noise Bombing Festival, which draws attention from Noise musicians and fans around the world who come to attend the annual festival. It is already acknowledged not only abroad, where it first gained its popularity, but also by several national media and music festivals who feature some Noise musicians in their programmes. From an unknown yet obscure genre, Noise music has been part of the independent music ecosystem in Indonesia. Nowadays, the Noise scenes in Indonesia are not limited to Java island, but include other islands such as Kalimantan, Sulawesi, Bali, Sumatra, Batam, and spaces in between. Studying the connections between the Noise activists in these islands through their network of touring, releasing an album together, or simply via Whatsapp group chat is interesting. This article aims at exploring the connections between Noise scenes in Indonesia. After studying the network directly through direct involvement and conducting interviews with some key figures in the scenes, we found some interesting facts such as the historical origin of its performers as well as infrastructures of the scenes (including but not limited to records labels, venues, communities, instrument builders, and festivals). The motivation of these Noise artists for networking and their desire to connect on a broader scale has helped the Noise scenes to achieve recognition. [ABSTRACT FROM AUTHOR]

In 2023, Beyoncé became the artist with the most Grammys in music history. Her dance track, “Break My Soul,” from her Renaissance album,* is a radical statement about community and self‐affirmation grounded in Black and queer cultural specificity. This article explores “Break My Soul” as an anthem of uplift, advice, and unity that offers hope and reprieve to a world emerging from a global pandemic and a “racial reckoning” galvanized by Minneapolis police officer Derek Chauvin's murder of George Floyd. [ABSTRACT FROM AUTHOR]

Nicolò Palazzetti's book, "Béla Bartók in Italy: The Politics of Myth-Making," explores the composer's relationship with Italy and the formation of his myth in the context of Italian politics. The book challenges the perception of Bartók as an anti-fascist, arguing that his reputation as such is a myth of our age. Palazzetti examines Bartók's visits to Italy, his reception by Italian composers, and the influence of his music in the country. The book provides a comprehensive analysis of Bartók's impact on Italian music and culture, shedding light on the complex relationship between art and politics. [Extracted from the article]

This article explores the process of becoming a feminist educator as the author employed feminist theory in her pedagogy for the first time. This self-study answered the research question: 'What would a feminist pedagogy look like in a music history classroom?' Throughout a ten-week undergraduate music history course, the author employed a research design based on autoethnography and autobiography in which data was collected from research journals, class sessions, dialogues with a critical friend, and student feedback. This self-study both illuminated and improved the author's pedagogical practice as a newly conscious feminist educator. The author re-imagined knowing and being through a feminist lens as she experienced epistemological and ontological shifts in her pedagogy. The author's feminist pedagogy unfolded through knowing herself as an educator, knowing the curriculum differently, and knowing through experience. Feminist pedagogy was also enacted through being in relationship with herself, being in relationship with others, and being in community. This self-study provides an example to educators in self-study of practice and in-service teachers of feminist pedagogy moving from theory to practice. It provides a discipline-specific example of resisting oppressive ways of knowing and being that exclude gendered experiences from educational spaces. [ABSTRACT FROM AUTHOR]

The article presents an interview with John Michael Cooper talking about musicologist's journey from percussionist to scholar, highlighting their shift from performing to exploring music history and theory. Topics include focus on Felix Mendelssohn and later Florence Price and Margaret Bonds; and transition from performance to musicology, the fascination with Mendelssohn's work and identity, and the discovery of lesser-known composers like Florence Price and Margaret Bonds.

The article presents the discussion on lack of attention given to Ireland's choral music history and its impact on global repertoire. Topics include highlighting significant gaps in scholarly representation and recognition within broader music histories; and contributions of Irish choral music beyond traditional confines, emphasizing the need to elevate the visibility and appreciation of Irish composers, choirs, and educators internationally.

This study aims to analyze, through religious hymns in the German-speaking area from the early 18th century, the influence that the Pietist theological movement, starting from Philipp Jacob Spener's Pia Desideria, had on the centralization of the self in the Protestant religious world, through the introduction of personal feelings of love towards God. On the one hand, the origins of Pietism can already be traced back to the late 16th century in areas affected by the radical reforms of the Anabaptists. On the other hand, it is from the late 17th century and throughout the 18th century that this theological and spiritual movement destabilized orthodox Lutheranism in some symbolic cities of Protestant Germany, such as Frankfurt am Main, Halle, and the Duchy of Westphalia, up to Moravia. The extensive publication of hymnals and musical compendia for the use of individuals, lay groups (collegia pietatis), faith communities, and churches denotes a fervor and a desire to preach their way of "practicing" spirituality, which greatly contrasts with both orthodox Lutheranism and the prevailing rationalism in the religious and philosophical sphere in Germany of the mid-18th century. For the first time since the Reformation, Lutheranism saw the use, in the theology of the preached and sung Word, of personal feelings and emotions that connect the individual with God, who is made an object of individual as well as collective worship. This was one of the most significant accusations that came from the University of Wittenberg against Pietism, namely the shift of theological and spiritual focus from the centrality of God to the centrality of the self, which manifests its faith through the most intimate emotions and feelings. Through the analysis of some examples taken from hymnographic and theological production, centered on the individual feelings of the believer, this article focuses on how this influenced the religious revival movements that would pervade England and the United States of America for more than two centuries (from the First Great Awakening in the late 18th century to the Pentecostal movements of the 20th century), with a spotlight on Italian hymnody during the Risorgimento. [ABSTRACT FROM AUTHOR]

This article presents fresh perspectives on challenges monumental editions face in the twenty-first century along with current efforts to address them. It provides a range of viewpoints, approaches, and case studies about the current state of the most emblematic European Monumenta collections and how their editorial boards are imagining and creating a sustainable future for these editorial enterprises that had, and still have, a fundamental role in shaping how we see and understand today the history of the European music. [ABSTRACT FROM AUTHOR]

What is the intercultural significance of jazz for the development of Chinese pop music? The main content of this dissertation is to study and discuss the period when jazz music entered China and how it affects the development of past and present Chinese pop music. In today's society, intercultural research is ubiquitous. Since the birth of civilization, people from different disciplines and artistic fields have been trying to build cultural bridges.1 China has a long history of culture and music development. With the changes of the times, China's music civilization has been continuously developed and changed with the replacement of various dynasties in the past. In addition, Confucius's Confucianism has influenced the development of Chinese music and music education. The history of jazz music is not very long, but it has become an indispensable element of today's social music culture. Perhaps it is because jazz has rich musical style features, such as improvisation and unique jazz scales. In addition, the musical content of its expression is democratic and free. The musical form of Jazz music originated in the United States in the late 19th and early 20th centuries, it is a combination of African black culture and European white culture. It is a kind of "hybrid" music form that affects the development of Chinese music with deep-rooted civilization, especially some Chinese pop music. The dissertation will study how jazz integrates Chinese music to produce Chinese pop music, as well as the intercultural influence of jazz, and how Jazz affects the pop singers of Chinese pop music. [ABSTRACT FROM AUTHOR]

Copyright of Ethos (0860-8024) is the property of John Paul II Institute, Faculty of Philosophy, John Paul II Catholic University of Lublin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The plurality of aesthetic-musical currents such as French impressionism, Austro-German expressionism, national schools of composition focused on modal sound languages (initially ethnophonic and later totally "personalized"), to which will be added the acutely contemporary returns to already recognized compositional manners such as neo-baroque, neoclassical sound projects, etc., emerging from the great trunk of European post-romanticism, outline a practically unlimited stylistic horizon, offered to the creative imagination of artists through new sound vibrations, dedicated to the contrabass instrument. [ABSTRACT FROM AUTHOR]

The United Kingdom has for centuries suffered the reputation of an 'unmusical nation' that could not produce a great composer or compete with the rich musical cultures of Germany, Italy or Russia. In the 1930s, members of the British Union of Fascists (BUF) who worked in the musical professions began to challenge and reject this long-standing stereotype. These self-described Blackshirts hoped to achieve a 'rebirth' of British classical music under the leadership of Oswald Mosley and expel racially impure 'alien' performers from Britain's houses of culture. As British fascists conceived and debated these plans, the example of Nazi Germany loomed large in their imaginations. BUF Blackshirts professed admiration for Joseph Goebbels's campaigns against 'degenerate' music and imitated the Nazi Party's völkisch criticisms of jazz, modern art and consumerism. Especially intriguing to Mosley's followers was the Nazi cult of Richard Wagner, which offered a compelling illustration of how a hypothetical fascist Britain might revere a historical composer as an emblem of racial nationalism. The Third Reich's glorification of Wagner prompted debate within the BUF about which figure, or figures, could fulfil such a role in Britain, with two schools of thought predominating: either the late Victorian generation of composers or the sixteenth- and seventeenth-century Tudor masters. If Nazi cultural policy was a source of inspiration for British fascists, it was equally one of intimidation and self-doubt, reviving insecurities that the British people were a 'musically inferior race' unable to produce a composer rivalling Wagner's genius. [ABSTRACT FROM AUTHOR]

The article discusses Emily Kilpatrick's book, "French Art Song: History of a New Music, 1870-1914," which challenges the perception that French art song is a marginal form of music. Kilpatrick explores the period from the Franco-Prussian War to World War I, examining the relationships between composers and interpreters, the role of salons and conservatories in song dissemination, and the question of transposition. The book also highlights the contributions of specific poets, singers, and the public to the development of French art song during this time. The given text discusses Barbara Kelly Kilpatrick's book, "French Art Song: The Mélodie in the Belle Époque," which explores the development and significance of French art songs during the Belle Époque period. It examines the works of composers such as Gabriel Fauré, Claude Debussy, and poets like Paul Verlaine. The book also discusses the role of the Paris Conservatory in promoting French song and the contributions of women singers. While not covering all important figures in the genre, the book is a valuable resource for scholars, performers, and admirers of French art song. [Extracted from the article]

"Live Music in America: A History from Jenny Lind to Beyoncé" by Steve Waksman is a comprehensive study that explores the evolution of live music performance in the United States. The book examines various factors such as performance practices, concert venues, business practices, technological advancements, and audience expectations that have shaped the live music industry over the past two centuries. Waksman highlights the impact of live music on society, including its role in breaking down social barriers and contributing to cultural experiences. The book covers a wide range of genres and artists, emphasizing the transformative power of live music in American culture. [Extracted from the article]

In October 2020, the B2B (business-to-business) background music company Soundtrack Your Brand—formerly Spotify Business—launched the world’s first full-catalog on-demand streaming service for background music. Although background music providers have licensed, curated, and distributed music to businesses for nearly a century, they have only recently started embracing the new possibilities of streaming. Now, streaming is rapidly influencing the background music industry’s features, music selection practices, and economics. While scholars in music and media studies have extensively studied B2C (business-to-consumer) streaming services such as Spotify and Apple Music, they have largely neglected streaming’s impact on background music. This article investigates how streaming is impacting the B2B background music industry, drawing upon platform analysis, marketing materials, and interviews with background music CEOs and researchers. After reviewing background music’s history and effects, the article examines how streaming is influencing business-oriented background music features, such as scheduling, zoning, messaging, and monitoring. It then considers streaming’s impact on background music selection practices, demonstrating how businesses are increasingly using features popularized by mainstream consumer services, such as playlists, algorithmic recommendations, and massive catalogs of music. The final section explores how streaming is shaping the economics of the background music industry, particularly for rightsholders who have historically been underpaid billions of dollars in public performance royalties. I argue that streaming may improve background music’s efficiency for businesses, but it also potentially reifies broader concerns about social control, surveillance, and inequitable artist remuneration that have become increasingly prevalent in the streaming age. [ABSTRACT FROM AUTHOR]

The last decade on the 19th century saw a major crisis of identity in what is known today as Finland. Having emerged from under centuries of Swedish rule and being incorporated into the Russian Empire, the population turned to its true ethnic roots. The compilation and the publishing of the Kalevala set in motion a series of cultural and artistic events which resonated deeply with the political aspirations of the moment. Amidst this effervescence came the young Jean Sibelius to present one of his earliest monumental works, Kullervo Op 7. Often mislabeled as a symphonic poem, this programmatic symphony draws upon the story of the Kalevala's 6th cycle. The unfolding plot is a typical tragic hero story set in a very Finnish framework. The composer had therefore to solve the task of presenting a particular version of a universal archetype and to create a symphony that can be both a testament to the struggles of his own time and a monument within the history of universal music. [ABSTRACT FROM AUTHOR]

The harmonium's journey begins with ancient Chinese instruments like the sheng, which inspired European innovations such as the regal and later the Orgue expressif. These early instruments laid the groundwork for Alexandre-François Debain's invention of the harmonium in 1842. Debain's harmonium patent introduced a revolutionary instrument characterized by its blow-feed air system and distinct sound registers. This invention marked a significant advancement in musical instrument design, providing musicians with greater tonal control and expression. Harmonium's history reflects centuries of experimentation and ingenuity, driven by the evolving needs of musicians and technological innovations. From its humble origins to becoming a staple of musical expression, the harmonium embodies the spirit of creativity and innovation in music history. [ABSTRACT FROM AUTHOR]

The Romanian music has many histories. From composer George Enescu to Dictator Nicolae Ceauțescu, the Romanian music reflected multiple faces of becoming and corresponding, streaming from a varied cultural diversity and gravitating towards the central European canons. The process of creating the Romanian music shaped a dynamic and fluid image of the place and people it represents, balancing its pendulum between the western aspiration and the eastern inspiration. Moreover, it has not just one history, but many ones because the Romanian music is not a monolithic tradition, but a fusion of various customs and influences that fluctuated their presence more or less obvious along this time of becoming. Seen in a long run framed between the second half of the 19th century and the first half of the 20th century, folk music reveals as the constant component of each ideological narrative that emerged from both nationalism and socialism. This span of time is vital to understand the complex and mercurial nature of the popular or the folk that has a relation to music and song not because it describes a historical reality, but because it has been used historically. [ABSTRACT FROM AUTHOR]

Copyright of ISTEM is the property of ISTEM and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Creative workers strive to achieve success and influence by producing original output. In this paper we define and measure originality and influence, based on a new model of style. We apply the methodology to Western classical music composed since the 15th century, and test it using extensive data on the content of musical compositions, popular success, and biographical information. We find that more original composers tend to be more influential upon the work of their later peers and more successful with present-day audiences. A positive association between originality and influence also holds across works by a given composer. [ABSTRACT FROM AUTHOR]

Tchaikovsky enjoyed composing Yevgeni Onegin. He expressed his fulfillment in a famous letter to Sergey Taneyev. What could his enthusiasm convey about the content of the project? Music criticism has taken Tchaikovsky's words as proof for the thesis that the opera is connected to autobiographical circumstances. In this mode of thinking, the quality of Tchaikovsky's music is the result of the composer's identification with the subject matter. Despite the objection of several Tchaikovsky scholars, the autobiographical paradigm remains very much alive in the reception of Tchaikovsky's music. As an alternative, Tchaikovsky scholarship has explored a hermeneutical approach that would link his music to its context in Russian society and culture. In this paper, I present another possible reaction to Tchaikovsky's statement: an exploration of the composer's approach to musical characterization. Analysis of some key scenes reveals that the definition of characters and situations by musical means is more precise than standard interpretations of the opera would concede. This discovery may lead to a new assessment of characterization as a critical tool to refine the definition of Tchaikovsky's position in European music history. The method may be applied to examples outside his operatic output, such as Serenade for Strings and the Fifth Symphony. [ABSTRACT FROM AUTHOR]

"The Music of James Tenney" by Robert Wannamaker is a two-volume study of the life and work of composer James Tenney. The first volume provides a chronological overview of Tenney's stylistic periods and focuses on three key concerns in his career: a rejection of musical self-expression, the use of "top-down" compositional designs, and an interest in the interplay of rational structures and bodily sensations. The second volume analyzes all of Tenney's music, providing a listening guide for readers. Wannamaker's analyses encourage readers to explore different listening experiences and offer insights into Tenney's unique body of work. [Extracted from the article]