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The success of Philip Venables’ opera adaptation of Sarah Kane's 4.48 Psychosis is underpinned by its powerful presentation of the play's text. This is predominantly facilitated by the other musical forces present, rather than through clever text-setting alone. Venables uses an array of timbral techniques, theatrical performance directions, referential sound effects, interactions with literary devices in the text and allusions to other musical genres in the opera to support and supplement his vocal writing. This article argues that the instrumental composition in 4.48 is critical in ensuring comprehension of the libretto and that, because of his working methods, Venables’ adaptation is faithful to Kane's sensitive play.

Low and uneven turnout is a serious problem for local democracy. Fortunately, one simple reform—shifting the timing of local elections so they are held on the same day as national contests—can substantially increase participation. Considerable research shows that on-cycle November elections generally double local voter turnout compared with stand-alone local contests. But does higher turnout mean a more representative electorate? On that critical question, the evidence is slim and mixed. We combine information on election timing with detailed microtargeting data that includes voter demographic information to examine how election timing influences voter composition in city elections. We find that moving to on-cycle elections in California leads to an electorate that is considerably more representative in terms of race, age, and partisanship—especially when these local elections coincide with a presidential election. Our results suggest that on-cycle elections can improve local democracy.

Hannibal's cheering and shouting along with his request for audience participation during the 2015 premiere of his composition One Land, One River, One People caused a stir and created discomfort among the Philadelphia Orchestra audience. I interpret his work as an example of a successful musical direct action within contemporary orchestral music. By exposing and subverting the traditions of the classical concert experience, One Land, One River, One People highlights social boundaries within the genre of classical music itself. I apply Robin James's (2015) concept of Multiracial White Supremacy, or MRWaSP, to contemporary orchestral classical music of the United States. Under late capitalism, MRWaSP helps to explain the potential appeal to an orchestra of commissioning Hannibal, who is known as a “genre-crossing” composer rooted in classical and jazz. Yet I argue that the way in which Hannibal performs his identity along with the piece's inclusion of audience participation allow the music to resist functioning as expected under MRWaSP. Rather than promoting a sense that—as one might expect from the title—we are all “one people,” I see the piece as revealing racial difference and as speaking truth to power.

This article considers the ways in which soundwalking and field recording entangle the listener in a sociopolitical relationship with place. The place is a physical site in which the listener encounters complex sonic sociopolitical factors, shaped not just by the interactions of people but also by involving living and material objects that voice themselves through sound and vibrations. Sets of expectations and personal identities inform listening experiences, in addition to the material-orientated tendencies in the field, deriving from soundscape composition and acousmatic music. Specific sociopolitical examples that inform sonic experiences in diverse listening situations across different geographic regions are used to uncover bias, and some of the preconceptions of listeners. The article argues for a greater reflexivity in regard to the motives that inform our listening, relationship with places and awareness of the widest spectrum of cultural, historic and sociopolitical contexts.

This qualitative inquiry into contemporary experiences of human migration, focusing on Angloolim(English-speaking Jewish diaspora immigrants to Israel) uses interdisciplinary soundscape composition as its primary method. This project is opportune, given the lack of scholarship utilising sound to explore diaspora and Jewish identity. The compositional process was led by the experiences of the interviewees, blending sounds from places familiar to them, melodies and sonic symbolism that mark the seasons of the Jewish year and their own voices telling the story of their journeys. The composition is multilayered, allowing for a rich insight into the in between that diaspora communities inhabit, both in the place they live and in the place they left behind. This article discusses methodological decisions throughout the different stages of the project, with the aim to encourage readers to develop their own work utilising sound to investigate diaspora communities. This investigation sits at the crossroads between the aesthetic concerns connected to the ‘art’ of soundscape composition and the ethical considerations of the ‘science’ of social inquiry. The article concludes that sound studies, and soundscapes in particular, is an especially apt and rich avenue for study of diaspora identities and the oral traditions that underpin them.

Music composition is traditionally regarded as an act of individual creation and expression, but can be approached, through the aid of digital platforms, as an activity that encourages learning through social participation. This article describes the development of a tablet-based app, Paynter, intended as a digital graphic interface for group collaborative composition and its experimental use in a primary school in Salford, UK, alongside musicians from the BBC Philharmonic orchestra. The app created a framework for a negotiated language of symbols used by two groups of students at Key Stage 1 and Key Stage 2 to tell stories through sound and music. Its functionality enabled compositional thinking to emerge collectively from groups with relatively little exposure to the idea of composing and little knowledge of traditional notational or digital sequencing technologies. The research is grounded in a theoretical context of constructivist approaches to education.

For tribes whose preservation values and mitigation strategies for managing cultural heritage are built on an ethic of avoidance and minimal disturbance, geophysical technologies can be key components of the research design. These technologies, most notably ground-penetrating radar, have been used with great success in identifying and evaluating the depth, extent, and composition of some of those resources for heritage research and management purposes, easing tensions when working with sensitive ancestral places. Additionally, research in archaeological geophysics has shifted from feature finding in order to excavate targets of interest to the recognition that geophysical survey can provide data and interpretations for whole sites and landscapes complementary to or beyond that of excavation, especially regarding the intactness and sensitivity of cultural heritage sites. This use of geophysics as a primary method for research rather than a precursor to archaeological research has empowered tribes with another tool to advocate for low-impact investigation of ancestral sites and landscapes that position tribes as pro-science. Geophysical technologies provide scientifically rigorous yet minimally impactful strategies for investigating heritage while satisfying the requirements of academic and compliance archaeology in ways that can also be culturally appropriate for a much broader spectrum of tribal cultural heritage under consideration.

This article details the rationale and creative process behind a collaborative – or more accurately in this case, dialogic – sound composition undertaken as part of research into the acoustic ecologies of people in the early stages of a dementia. Changes in abilities around hearing and listening are among the first symptoms of many types of dementia, making such auditory phenotypes an increasingly common part of lived experiences of sound. Following acoustic ecology practice in doing and presenting research in sound, and more specifically Steven Feld in doing so in dialogic or polyvocal ways, co-composition can be a way of exploring the particularities of others’ hearing, listening and sound practices, which is less reliant on the discursive frames of interlocutors and researchers. The process of making sound art together draws attention to particular sounds and experiences, creating dialogic situations of companion listening, discussion and mutual learning. It also provides a framework for engaging interlocutors in soundscape and ethnographic fieldwork methods. The composition discussed here, Trevurr, documents my time working with Trevor, a keen amateur musician in Cornwall who has mild cognitive impairment, and gradually comes to simulate his experience of hyperacusis in a piece of dialogic, auraldiversity-oriented composition.

Elizabeth LeCompte co-founded The Wooster Group with like-minded pioneers in New York in 1975, leading and directing its collaborators as deaths, departures, and new arrivals have changed its composition and emphases over the decades, segueing into a world-wide uncertain present. Kate Valk joined in 1978, the last representative of The Wooster Group’s foundational period, apart from LeCompte herself, who is still a key member of the company. References in this conversation are primarily to works after 2016. LeCompte briefly remarks on the importance of Since I Can Remember – one of the Group’s ongoing works in progress in 2021 – as an archival project that draws on Valk’s memory of how Nayatt School was made during her formative years. Having become, since then, a quintessential Wooster Group performer, Valk extended her artistic skills to stage direction, undertaking, most recently, The B-Side (2017). Both the initiative and idea for the piece came from performer Eric Berryman, who had brought Valk the collection of blues, songs, spirituals, and preachings on the 1965 LP made from the research of scholar folklorist Bruce Chapman. Berryman had been inspired to approach Valk because of her exclusive use of unadulterated historical recordings in Early Shaker Spirituals (2014), her directorial debut. The main work in rehearsal during 2020 and which was still locked down by the Covid-19 pandemic at the time of this conversation is The Mother, a Wooster Group variant of Brecht’s dramatized version of Gorky’s novel, directed by LeCompte. LeCompte discusses the current situation, emphasizing the increased vulnerability of independent artists and small-scale theatre, while giving a glimpse of the disadvantages for such groupings built into the North American system of project funding. The Wooster Group is a salient example of small-scale theatre that, despite continually precarious conditions, which the pandemic has highlighted and exacerbated, has achieved its creative goals and has defined its place in the exploratory avant-garde flourishing vigorously in the 1960s and 1970s. This particular avant-garde, LeCompte believes, has seen various important developments over the years but might well now be counting its last days. The conversation here presented was recorded on 31 October 2020, transcribed by Kunsang Kelden, and edited by Maria Shevtsova, Editor of New Theatre Quarterly.

This article takes up Rebecca Saunders’ comments on the significance of timbre in her work to develop a timbre-centred analytical technique for two of her compositions, Ire (2012), for cello and ensemble, and Still (2011), for violin and orchestra. Two overarching principles are identified: the organisation of the pieces’ sounds into clearly differentiated categories, which can also overlap in different ways, and the use of a phrase-based logic in the pieces’ formal construction. Alongside the timbral construction, stable pitches acquire formal significance by virtue of their rarity and conspicuousness. I also elaborate on the ways in which perceptual ambiguity is fruitfully exploited in these works.

Within the holdings of the Thomas Fisher Rare Book Library at the University of Toronto there is a curious, rarely examined handwritten book entitled Opera Evangelica, containing translations of several apocryphal works in English. It opens with a lengthy Preface that provides an antiquarian account of Christian apocrypha along with a justification for translating the texts. Unfortunately, the book's title page gives little indication of its authorship or date of composition, apart from an oblique reference to the translator as ‘I. B.’ But citations in the Preface to contemporary scholarship place the volume around the turn of the eighteenth century, predating the first published English-language compendium of Christian apocrypha in print by Jeremiah Jones (1726). A second copy of the book has been found in the Cambridge University Library, though its selection of texts and material form diverges from the Toronto volume in some notable respects. This article presents Opera Evangelica to a modern audience for the first time. It examines various aspects of the work: the material features and history of the two manuscripts; the editions of apocryphal texts that lie behind its translations; the views expressed on Christian apocrypha by its mysterious author; and its place within manuscript publication and English scholarship around the turn of the eighteenth century. Scholars of Christian apocrypha delight in finding ‘lost gospels’ but in Opera Evangelica we have something truly unique: a long-lost collection of Christian apocrypha.

This article considers the function of twenty-two hand-colored prints of mathematical instruments in Tycho Brahe's Astronomiae instauratae mechanica (Instruments of the renewed astronomy; 1598), a hand-painted presentation treatise dedicated to Emperor Rudolf II and conferred on a network of individuals connected to the imperial court in Prague. Although the accompanying text communicates the instruments’ use and composition, the images demand close inspection because they articulate Brahe's observationally driven astronomy. They do so through structured, repeated, and consecutive representations; through expanded viewer access, achieved by adhering to multiple perspectives; through the juxtaposition of colors, which focuses attention on the heads of the instruments (the part that does the measuring); and through the use of gold paint, which emphasizes the head and brings to mind the very metallic nature of the instruments. Much like an astronomer taking multiple measurements of cosmological phenomena, these images allow viewers and readers, as they leaf through the pages of the treatise, to become virtual participants in Brahe's instauration of astronomy.

Naomi André’sBlack Opera: History, Power, Engagementis a call for recognition and inclusion. Over the course of nearly 300 pages, André covers a range of subjects, from long-forgotten concert performances, to opera, Broadway and opera film, to contemporary operatic composition and practice. As she does, she moves between the United States and South Africa – a striking way of approaching her material and a feature of the book that ought to prove highly influential. Some of the arguments she makes are new, some combine pre-existing thought and research in new ways. The most important moments, though, are when she pauses to describe her experiences or those of another black opera lover or group of black opera lovers.

The relationship between first and second language in early vocabulary acquisition in bilingual children is still debated in the literature. This study compared the expressive vocabulary of 39 equivalently low-SES two-year-old bilingual children from immigrant families with different heritage languages (Romanian vs. Nigerian English) and the same majority language (Italian). Vocabulary size, vocabulary composition and translation equivalents (TEs) were assessed using the Italian/L1 versions of the CDI. Higher vocabulary in Italian than in the heritage language emerged in both groups. Moreover, Romanian-Italian-speaking children produced higher proportions of TEs than Nigerian English-Italian-speaking children, suggesting that L1-L2 phonological similarity facilitates the acquisition of cross-linguistic synonyms.

Ethnic voting is an important phenomenon in the political lives of numerous countries. In the present paper, we propose a theory explaining why ethnic voting is more prevalent in certain localities than in others and provide evidence for it. We argue that local ethnic geography affects ethnic voting by making voters of ethnicity that finds itself in the minority fear intimidation by their ethnic majority neighbors. We provide empirical evidence for our claim using the data from round 4 of the Afrobarometer survey in Ghana to measure the voters’ beliefs that they are likely to face intimidation during electoral campaigns. Using geocoded data from rounds three and four of the Afrobarometer, as well as data from the Ghana Demographic and Health Survey, we find no evidence for local public goods provision as an alternative mechanism.

Nominations to the US Supreme Court have become increasingly important and contentious in America politics in recent decades. Reasons include the growing significance of constitutional law to the prospects of political power, accompanied by historical developments in the relative power of the competing party coalitions that have placed even more focus on the composition of the Court. Meanwhile, partisan conflict and stalemate have grown in the party systems and among We the People. In The Long Reach of the Sixties, Laura Kalman explores how the nomination struggles of Presidents Lyndon Johnson and Richard Nixon set the stage for the contemporary conflict besetting nominations and American politics more generally. Building on Kalman’s book, this review essay discusses the political and jurisprudential causes and implications of this conflict, with an eye toward what might lie ahead.

Contemporary thought is moving away from the notion that the human is a clear-cut concept. In particular, non-anthropocentric views are proliferating within the interdisciplinary area of critical posthumanism, with emphasis on non-dualistic views on relations between human and technology. In this article, the author shows how such a view can inform electroacoustic and computer music practice, and sees improvisation linked with composition as a fruitful avenue in this. Following a philosophical preparation and a discussion of relevant music discourse, two computer music works created by the author are discussed to demonstrate a model of music-making which merges composition and improvisation, based on the concepts of cognitive assemblages and intra-action, following the writings of N. Katherine Hayles and Karen Barad respectively. The works employ techniques related to artificial intelligence and cybernetics, such as machine learning algorithms, agent-based organisation and feedback systems. It is argued that the acousmatic sound domain is an important aspect of sound in this practice. The research is thus situated not only in the frames of improvisation practice and music technology, but also within spatial acousmatic composition and performance.

This article interprets John Zorn's composition Interzone (2010) by comparing it to the eponymous place that is found throughout William S. Burroughs’ early novels. This is done through linking some of the ‘sound blocks’ that make up Zorn's composition to selected passages from Burroughs’ books as well as to specific events from the lives of Interzone's two dedicatees: Burroughs, and his associate, the writer and painter Brion Gysin. Zorn's disjointed, chaotic arrangement of sound blocks, and by extension their extra-musical associations, is then shown to emulate the dream-like structure of the phantasmatic place that is Interzone, which Burroughs created for his novels with the aid of Gysin's ‘cut-up’ method. Through these extra-musical connotations, it is demonstrated that Zorn's composition imitates Interzone's distortion of place; of internal and external space; and, most importantly, of time.

The organising of tools, whether real or virtual, is an essential part of composition that is often overlooked. This article aims to generate a discussion about how a composer's working environment can permeate the compositional process and contribute to or inform their ideations. Central to this understanding, in terms of agency, has been to consider workflow as a subset of Actor–Network Theory. Here, a musical composition is viewed as a multiplicity of relationships between workflow and ideations, and suggests an expanded practice of musical creation that explores the various agencies that shape a composition. Nevertheless, this article is not intended as a comprehensive account, but only, as Bruno Latour would put it, ‘to add in a messy way to a messy account of a messy world’.

This article examines early Christian theories about the identity and role of Mark as transmitter of Petrine tradition. Building upon recent work in classics, it argues that the identification of Mark as Peter's interpreter, the description of his composition as lacking order and his reported excellent memory would have led ancient readers of Papias to conclude that Mark was performing literate servile work. The positioning of Mark in this way strengthened claims about the accuracy of Mark's text.

Bennett Graff, senior acquisitions editor at Gale, reviews the origins and current composition of The Making of Modern Law, a series of individual collections of digitized primary sources devoted to legal history. This overview explores the rationale behind the development of these collections and the research needs that they meet.

ʾAbū Saʿīd al-Siǧzī was a prominent fourth/tenth century astronomer and mathematician who was one of the first contributors to the new genre of ʿilm al-hayʾa (science of the configuration). However, little is known about the initial steps taken in the formation of the discipline, or its independence from other astronomical writings and practices. In this paper, I will discuss new findings about Siǧzī’s life to determine details of his biography and a more precise time period for his scientific activities. I then describe, for the first time, a composition in theoretical astronomy from the fourth/tenth century, the “Structure of the orbs” (Tarkīb al-aflāk) by Siǧzī to show its place in the formation of the discipline of ʿilm al-hayʾa, comparing Siǧzī’s book to the earlier work of al-Farġānī on the size of the earth and the number of celestial spheres. I conclude that Siǧzī’s Tarkīb al-aflāk is the earliest known example of a book that contains only topics found in later hayʾa and may be the first appearance of the ninth celestial orb that became standard in the later genre.

Comparing Buddhist and contemporary analytic views about mereological composition reveals significant dissimilarities about the purposes that constrain successful answers to mereological questions, the kinds of considerations taken to be probative in justifying those answers, and the value of mereological inquiry. I develop these dissimilarities by examining three questions relevant to those who deny the existence of composite wholes. The first is a question of justification: What justifies denying the existence of composite wholes as more reasonable than affirming their existence? The second is a question of ontology: Under what conditions are many partless individuals arranged composite-wise? The third is a question of reasonableness: Why, if there are no composites available to experience, do “the folk” find it reasonable to believe there are? I motivate each question, sketch some analytic answers for each, develop in more detail answers from the Theravādin Buddhist scholar Buddhaghosa, and extract comparative lessons.

Sonic botany is an ongoing project that I have been developing over the past few years. It incorporates natural artefacts: dry leaves, pods, flowers, branches, rocks, bones and other organic findings. These are used as musical instruments that are played on with a scientific/musical tool: tuning forks in various frequencies. The vibration from the tuning forks resonates through the natural artefacts which amplify the vibration and – via sound – reveal the texture, size, material and condition of the organic matter. This process generates new sonic material, new context and new forms of musical composition. The practice developed into several compositions and projects, a performance practice, a notation system and a way of listening. Here I share some of the insights I gained through this process, the tools and the compositional framework.

This article is an introduction to the graphical impetus in the music of Kenneth Hesketh (b. 1968), from around 2012 to the present day, including his recent work, Viae (2020). Through examination of Hesketh's graphical control of a number of musical parameters, the article will demonstrate that the idea of a ‘musical ekphrasis’ can be extended through the incorporation of spatial aspects in determinate music to result in what the author deems a graphical ekphrasis. Whilst in no way exhaustive in its exploration of Hesketh's multi-parametric approach to composition, the article provides an analysis of selected compositional methodologies relating to both composition design and audience communication, situating them alongside other contemporary musical examples and trends.

This article examines cross-relationships and mutual influences in the D-minor symphonies and concertos written in the 1850s by a close-knit circle of composers: Johannes Brahms, Robert Schumann, and their friends Joseph Joachim, Julius Otto Grimm and Albert Dietrich. Outlining the overlapping compositional timelines of Brahms's First Piano Concerto (at one point a candidate to become his first symphonic work), the violin concertos of Joachim and Schumann, and the symphonies of Grimm and Dietrich, it demonstrates that the pieces were shared among the composers during their periods of composition and explores musical correspondences indicating mutual influences both among the composers and from other specific works. The musical choices involved in this group of pieces seem to point to an underlying backdrop of Beethovenian influence involving specific works from Beethoven's body of orchestral music, an oeuvre concluding with an unforgettable symphonic work in D minor—to which the younger generation's collection of works may relate symbolically. This study not only emphasizes the central role that Beethoven played in the minds of these composers in the mid-1850s, but also underscores the musical intimacy that extended from the social intimacy of the composers in the Brahms–Schumann circle.

Literature in Human Geography has given much attention to “encounters” and their impact on negotiating difference in everyday life. These studies, however, have focused solely on cities, while “other” spaces like refugee camps have received little attention to date. In this paper, I highlight the significance of “encounters” in camps by exposing three main types: the “refugee-refugee,” the “refugee-humanitarian,” and the “refugee-more-than-human” encounters. Using empirical examples from Zaatari camp in Jordan, I show that the “refugee-refugee” encounters cannot be fully understood without taking refugees’ culture, background, and urban identities into consideration. I also explain how the “refugee-humanitarian” encounters result in new types of behaviors and might harden the boundaries between both groups. And lastly, I demonstrate how the “refugee-more-than-human” encounters can inform us about refugees’ unique experiences with shelters, space, and materiality. Building on the examples given for each type, this article suggests that “encounters” have the ability to generate knowledge and learnings, which contributes to shaping the space of the camp by either enforcing boundaries between different groups and/or by allowing new and hybrid spatialities to emerge. This not only confirms that “encounters” are an important entry point in understanding the socio-spatial and material composition of refugee camps, but also that further studies in this regard are direly needed. It also suggests that architects and planners need to allow for the “new” to emerge as a result of these encounters and, therefore, to enable flexibility and adaptability within camps’ design and planning.

TheCulexis now widely recognized as a piece of post-Ovidian, possibly Tiberian, pseudo-juvenilia written by an author impersonating the young Virgil, although it was attached to Virgil's name already in the first centuryc.e., being identified as Virgilian by Statius, Suetonius and Martial. Dedicated to the young Octavian (Octauiin line 1), the poem seems to fill a biographical gap in Virgil's career before his composition of theEclogues. It is introduced as aludus, which Irene Peirano suggests may openly refer to ‘the act of impersonating Virgil’, and, like many of the poems in theAppendix Vergiliana, it seems to have a parodic intent. TheCulexhas been interpreted as a parody of neoteric style and the epyllion, as mock-epic, as Virgil parody (John Henderson called it a ‘spoofAeneidin bucolic drag’), as pointed Augustan satire, as mock Ovidian ‘Weltgedicht’ and as just very bad poetry (Housman's ‘stutterer’). Glenn Most has observed that the poem's three ‘acts’ structurally recapitulate Virgil's three major works in chronological succession. Little attention, however, has been paid to theCulex's final lines, which contain a catalogue of flowers thepastorplaces on the gnat's tomb. Recent scholarship has reintroduced an older interpretation of the gnat's tomb as a political allegory of Augustus’ Mausoleum; in this paper I suggest instead that the tomb and its flowers serve a closural and metapoetic function at the end of the poem.

Soundscape composition and environmental sound art already imply critiques and negotiations of nature/culture divide and human/non-human difference. This article, along with the composition it frames, thinks through a vision of environmental sound art that completes a link between sonic practice and its object. As a project, it navigates human/animal difference through a sonic knowing which is founded on life’s shared constitution in signs. Sounds beyond spoken words, like the signs that dominate non-human life, are foundationally non-symbolic, and the ability of environmental sound art to resemble and evoke networks of icons and indices is in some respects a privileged position of electroacoustic music. The article presents a non-dualistic sonic thinking within the decentred perspective of the environment, which emerges as a plural product of its engagements and participants. A vision for soundscape composition is presented, along with a frame for its interpretation as sonic thought, or phonosophy.

This article assembles and summarises the main ideas presented in the doctoral thesis entitled ‘Voice and Poetry as Inspiration and Material in Acousmatic Music’ by the author and describes his idiosyncratic method for acousmatic composition based on Chilean poet Vicente Huidobro’s aesthetic theory, which is a system that aims at creating artistic works by taking materials from reality and combining them in unexpected ways. The objective of this combination is an equilibrium between rationality and intuition in order to obtain a poem independent of the real world, in the sense of a poetic outcome which avoids traditional mimesis. This creative system, known as Creacionismo, has a central role between various other theoretical, artistic and mainly poetic sources informing the author’s creative process. Huidobro’s creative system has been applied by the author to acousmatic composition procedures generating the notion of acousmatic-creationist as a nomenclature for the process. This particular creative strategy balances rationality and intuition within acousmatic composition and places poetry as a driving force in the use of voice, merging artistic practice and theory in a recursive action.

Many say that ontological disputes are defective because they are unimportant or without substance. In this paper, we defend ontological disputes from the charge, with a special focus on disputes over the existence of composite objects. Disputes over the existence of composite objects, we argue, have a number of substantive implications across a variety of topics in metaphysics, science, philosophical theology, philosophy of mind, and ethics. Since the disputes over the existence of composite objects have these substantive implications, they are themselves substantive.

This article transcribes an interview with the great Polish composer Krzysztof Penderecki and is one of the last interviews that Penderecki gave before his death on 29 March 2020. It traces the composer's career, from his early musical education to the Ninth Symphony on which he was working at the time of his death, and focuses on the composition of his Threnody for the Victims of Hiroshima, the St Luke Passion and the Polish Requiem.

Alexander Schubert's WIKI-PIANO.NET is an internet-based score, commissioned by the author and performed by him on an international tour from 2018 to 2020. The website score contains modules of notation, text, images, video and sound that can be edited by any member of the public, similar to a Wikipedia page. This article explores the huge volume and variety of content added to the score over the first 20 months after the premiere, and the extreme compositional approaches and unusual patterns of internet behaviour displayed. Examining these contributions offers insights into the online culture of new music, including its approaches to humour, its creative competitiveness, its mastery of memes, and its sophisticated subversions of the relationship between composer, performer and audience.

Archival evidence indicates that Anthony Gnazzo was a major figure within the Bay Area avant-garde music scene of the 1960s and 1970s who retired from composition by 1983 and has since been largely forgotten. Historical documents reveal, however, that a study of Gnazzo enables us to better understand the complex network of influences and artists working on experimental music in the Bay Area during the 1960s, 70s, and 80s. This article outlines Gnazzo's career and work, from his earliest academic compositions to his late electronic pieces, and concludes with a consideration of the ethical and moral issues inherent in musicological research on living subjects, particularly in the case of a composer who consciously avoids discussion of his personal aesthetic or compositional output. Should one study music that appears to have been ‘abandoned’ by the artist?

This article identifies a moment of conceptual innovation—the 1830s to the 1850s—in which everyday artists and writers in Siam were tasked with creating comparative representations of the peoples of the world. Although their compositions took a variety of formats, they departed from earlier representations of alterity by devoting equal attention to each ‘type’, including the Thai themselves. This approach is best exemplified in three mid-nineteenth-century works: (1) a set of archetypal portraits of about 20 peoples painted on the shutters of a major Buddhist monastery, (2) sculptures of 32 peoples at the same monastery with a short poem describing each one, and (3) entries defining terms for peoples in an early Thai–Thai dictionary. The systematic formatting of these works drew on similar compositions circulating across the nineteenth-century globe. Yet, despite the presence in Bangkok of foreign interlocutors and imported books and prints, the mid-nineteenth-century compositions preserve ethnic tropes and practices of expression specific to Siam. In addition, the agents of intellectual innovation were not restricted to the usual princely or missionary protagonists. It was a motley cast of anonymous artists, local scholars, and middling officials who tapped traditional genres of composition and local markers of differentiation to render the peoples of the world as comparable, generic, and fixed.

In this article, I explore the relationship between the temporality of the composer and that of the music composed. This investigation starts with a fundamental presumption: composers, generally speaking, thinkin the future– their compositions will be performed and perceived at a different and later time than that of the compositional act, and will be listened by other persons. The hypothesis I develop in this article is that the musical work determines a deferred relationship between the listener and the composer, and that the compositional act is basically a dialogical act. Paul Ricœur’s theory ofmimesisis helpful in analysing this dialogical mechanism through the notion of ‘temporal configuration’. By drawing on this theoretical framework, I interviewed five composers in order to make explicit the imbrication of the composer’s and listener’s temporalities in the musical work. This exploratory inquiry allowed for a concrete analysis, articulated in the words of the composers, of how they conceive the relationship between their compositional temporality and that expressed by their work.

This article aims to elaborate Horacio Vaggione’s theoretical approach towards electronic music composition and his understanding of the musical structure, and to discuss how some of his key concepts come into presence during the compositional experience of temporality. Following the introduction of object-oriented composition and musical networks, I will discuss the concept of morphology alongside an investigation of how these ideas relate to temporality. In addition to this inquiry, I will briefly explore the possibilities of an ontological discussion on Vaggione’s compositional mindset and how his temporal perspective differs from some of his colleagues.

The study of planning in second language (L2) writing research is heavily influenced by two research domains: (a) early research on cognition in first language (L1) composing processes and (b) second language acquisition (SLA) research. The first research domain has been instrumental in determining the specific systems and processes involved in composing and has led to widely accepted models of L1 writing (Bereiter & Scardamalia, 1987*; Flower & Hayes, 1980*; Hayes, 1996, 2012) as well as a widely accepted model of the interaction between working memory and L1 writing systems (Kellogg, 1996*; Kellogg, Whiteford, Turner, Cahill, & Mertens, 2013). The influence of these early studies is still felt in process approaches to composition instruction commonly implemented in L1 and L2 writing classes. The second research domain—SLA and more specifically task-based language teaching/learning—has come to view planning as a feature of task complexity that can be manipulated to facilitate the production of language that is complex (syntactically and/or lexically), accurate, and/or fluent (Robinson, 2011*; Skehan, 1998*; Skehan & Foster, 2001). This research timeline traces the study of planning in L2 writing in each of these domains by reviewing key L1 and L2 writing research over the last 30-plus years and by highlighting each study's findings. Prior to presenting the timeline, the following sections provide backgrounds in each of the domains noted above and situate planning within those domains.

Cornelius Cardew named his monumental graphic score Treatise after Ludwig Wittgenstein’s early philosophical masterpiece Tractatus logico-philosophicus, and this well-known fact has engendered speculation about whether there might be other connections between Cardew’s composition and Wittgenstein’s book. Previous commentaries have focused on possible allusions to the Tractatus in the visual imagery employed by Cardew, and this article includes further suggestions of this type. However, it concentrates on more general affinities between Treatise, as Cardew conceived of it prior to his involvement with the free improvisation group AMM, and the philosophy adumbrated in the Tractatus. Foremost among these is a striking concordance between Cardew’s initial enthusiasm for an isomorphic mode of interpreting Treatise and Wittgenstein’s picture theory of the proposition. The article also excavates traces of the picture theory in the numerological basis of Volo solo, a more conventionally notated by-product of the Treatise project.

Demystifying a largely misunderstood chapter in John Cage's biographical narrative, this article explores the pivotal role architect and philanthropist Paul Williams played in Cage's life, and for whom Cage named his famous magnetic tape composition Williams Mix (1952–53). Retracing the activities of both men, beginning with their earliest encounter at the experimental Black Mountain College in North Carolina in 1948, this investigation documents for the first time the extent of their mutually devoted relationship. Newly uncovered source material and photographs also reveal the valuable contributions Williams made as primary benefactor and mastermind of the intentional community called the Gatehill Cooperative (a.k.a. “Stony Point”), a place Cage called home for seventeen years (1954–71). There Cage developed a “hunger for nature,” wrote his widely read and influential book Silence (1961), and undertook some of his most significant musical projects.

Word setting in Machaut's refrain songs poses a problem, for whilst it is clearly indicated in the manuscripts, it often does not comply with recognised principles or values. To understand the situation, a dualistic relationship of words and music is proposed. It is founded in the coordinated but independent operation of principles of musical mimesis and musico-poetic dislocation. The music is constructed at a primary level as an imitation of the poetic form; but it is fundamentally independent of this model and may thus be detached from it and displaced against it. Devices such as ‘cross-cadencing’, ‘quasi-declamation’, ‘complementary-cadence inversion’ and ‘dissonance’ between implied and actual word setting are manifestations of this technique. The proposal accounts on the same basis for both the close relationship of words and music observable in the virelais and for the more abstract connection apparent in the rondeaux. There is a technical unity at work across the genres in Machaut's song composition.

PIXERCISE (2017–) is an open-ended collaborative work written by Kathryn Williams and Annie Hui-Hsin Hsieh. The piece involves an ongoing process of physical training, and in performance combines specially tailored physical exercises with piccolo performance. This article describes the unusual composition, preparation, and performance of this work and is concerned with exploring the shifting collaborative relationship. It also explores some of the aesthetic and social ideas that motivated the piece and have emerged through critical reflection and have been further incorporated, including the process of self-improvement and overcoming expressed as a performance artwork; entanglements between physical transformation through exercise; attitudes to female-body image and exercise; and how this piece connects with a growing tradition of experimental musical performance practice and performance art.

Why are the rankings of universities not changing? Why is the demographic composition of top universities the same? In this review, these questions are addressed based on physics. Although size matters, higher ranks do not correlate with bigger sizes. The higher ranks belong to universities that have more authors who receive more citations. Citations are a record of how ideas spread from the source to the whole globe, in accordance with the physics of the logistics S-curve phenomenon. The spreading occurs in three periods – slow, fast, slow – and the population served by each idea during its lifetime depends on the size of the first big channel that carries the idea. An idea from a famous university has a larger spreading territory around it than an idea from a lesser-known university. Creativity is key: rankings come from visibility through citations, and, in turn, visibility for an author is aided by the higher visibility of the university. The demographic composition of the top universities is the same: for instance, the percentage of female authors and authors of East Asian origin among the 200 most cited authors does not vary significantly over the 20 highest ranked universities.

Digital games are a fertile ground for exploring novel computer music applications. While the lineage of game-based compositional praxis long precedes the advent of digital computers, it flourishes now in a rich landscape of music-making apps, sound toys and playful installations that provide access to music creation through game-like interaction. Characterising these systems is the pervasive avoidance of a competitive game framework, reflecting an underlying assumption that notions of conflict and challenge are somewhat antithetical to musical creativity. As a result, the interplay between competitive gameplay and musical creativity is seldom explored. This article reports on a comparative user evaluation of two original games that frame interactive music composition as a human–computer competition. The games employ contrasting designs so that their juxtaposition can address the following research question: how are player perceptions of musical creativity shaped in competitive game environments? Significant differences were found in system usability, and also creativity and ownership of musical outcomes. The user study indicates that a high degree of musical control is widely preferred despite an apparent cost to general usability. It further reveals that players have diverse criteria for ‘games’ which can dramatically influence their perceptions of musical creativity, control and ownership. These findings offer new insights for the design of future game-based composition systems, and reflect more broadly on the complex relationship between musical creativity, games and competition.

This article explores the relationship and disparities between human and computational creativity by addressing the following questions: How well are computational creativity systems currently performing at creative tasks? Could computers outperform human composers? And, if not, is computational creativity a utopia? Automatic composition systems are examined with respect to Boden’s three criteria of creativity (novelty, surprise and value), as well as their assumptions about the nature of creativity. As an alternative to a competitive relationship between human and computational creativity, the article proposes the concept of a distributed human–computer co-creativity, in which computational creativity extends – rather than replaces – human creativity, by expanding the space of creative possibilities.

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.

This action research project investigates the effects of the use of ‘free composition’ in the teaching of Latin to a group of Year 10 pupils. By ‘free composition’ I mean pupils were not given English sentences to translate into Latin, as is the case in many Latin course books (see, for example, Cullen and Taylor's Latin to GCSE (2016)), but were told to use simple Latin sentences to tell a story of their own devising. The focus of the study will be on analysing pupils’ perceptions of the value of free prose composition and how free prose composition can be used to analyse pupils’ understanding of grammatical features by investigating the types of errors which they made.

While panel effects—instances in which panel composition affects the votes cast by judges—have been widely documented, scholars are unsure why these patterns persist. We outline three possible mechanisms, acquiescence, deliberation, and strategy, through which panel effects might occur; develop indicators for each; and test them using a data set of search and seizure cases decided by the US courts of appeals between 1953 and 2010. Our analysis provides some evidence that counterjudge success stems from a combination of all three theories, although strategic considerations have the substantively strongest and most consistent effects.