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In the summer of 2021, the remains of nine Lakota children who died at the Carlisle Indian Industrial School were returned to the Rosebud Reservation in South Dakota. The return of the children was a sacred and important event for the Lakota community, honoring their lives and providing closure for their families. The process involved careful excavation, traditional ceremonies, and prayers conducted by senior members of the Rosebud Sioux Tribe Historical Preservation Office and traditional leaders. The burial ceremony of one of the children, White Thunder, was described in detail, highlighting the cultural and religious significance of the event. The return of the children's remains has brought hope and empowerment to the Rosebud community, while also acknowledging the historical mistreatment of Native American children by the Church. [Extracted from the article]

This article, titled "Anima et Animus: Alexander Agafonov's painting and sculpting of Ukraine's soul," explores the artistic work of Alexander Agafonov and its connection to the soul of Ukraine. Agafonov's artwork encompasses both painting and sculpting, with a focus on evoking both sublime and ridiculous spirits. The article highlights Agafonov's ability to balance different mediums and capture the essence of Ukraine's spirit, including its history, struggles, and resilience. The artwork also touches on themes of femininity, love, and the importance of not taking life for granted. Overall, Agafonov's work is seen as a reflection of Ukraine's creativity and compassion. [Extracted from the article]

Gamakas, the essential embellishments, are integral parts of Karnatic music. Synthesising any form of Karnatic music necessitates proper modelling and synthesis of different gamakas associated with each note. We propose a spectral model to efficiently synthesize gamakas for Karnatic bamboo flute music from the notes, duration and gamaka information. We model three different components of the flute sound, namely, pitch contour, harmonic weights and time domain amplitude envelope. Cubic splines are used to parametrically represent these components. Subjective analysis of the results shows that the proposed method is better than the existing spectral methods in terms of tonal and aesthetic qualities of gamaka rendition. Hypothesis test results show that the observed improvements over other methods are statistically significant at 95% confidence interval. [ABSTRACT FROM AUTHOR]

Titanium additive manufacturing (Ti-AM) is currently used for customized parts in medicine, aviation, and aerospace. The combination of superior mechanical and physical properties of titanium alloys, together with lightweight properties, seemed to be attractive also for other, large-scale consumer fields. However, the list of successful Ti-AM applications is still limited. Furthermore, in some areas where the potential of Ti-AM can be considered as especially valuable, no attempts had been found to use it. One such promising area is wind musical instruments. The current case study focused on the design and 3D-printing of titanium flute. [ABSTRACT FROM AUTHOR]

The human voice played a significant part in the compositions of Luciano Berio throughout his career, a preoccupation to which he returned again and again in order to examine, interrogate and celebrate its complex interactions with language, text, music, time and memory. This article examines the human voice in situ, in the context of a live performance of one of Berio's late chamber pieces, Altra Voce (1999), comprising alto flute, mezzo soprano and live electronic processes. I argue that the human voice in musical performance inhabits a number of simultaneous, often paradoxical positions, giving rise to an inherent mutivalency of form: in Altra Voce, we find these multiple facets presented in a crystalline, multi-voiced musical construction. This analysis of the work is drawn from both a reflection on the printed score and from the author's own experience of its realisation as a listening performer, the better to 'hear' the multi-layered, polyphonic texture to its fullest extent. To examine and articulate the complexities of the voice's interaction with time, memory and human interiority, this article draws on a number of tools, including musical and hermeneutic analysis, as well as a theoretical framework suggested by Jacques Derrida's discussion of presence and time, found in his 1967 work Speech and Phenomena. I argue that what Berio's Altra Voce demonstrates, and what resonates with Derrida's argumentation, is the paradoxical relationship between the seemingly fixed moment of 'live' vociferation and the passage of time. In conclusion, this article suggests that Altra Voce presents a dialectical co-existence of these seemingly irreconcilable aspects, demonstrating the inherent and paradoxical multivalency of the human voice in every musical performance. [ABSTRACT FROM AUTHOR]

I met Rolf Meyersohn for the first time in Prague, in 1969, at a conference, organized by the European Centre for the Study of Leisure and Education in an attempt to retain some of the intellectual accomplishments of the Prague Spring. The field of leisure studies lost another groundbreaking and pioneering figure - Rolf Meyersohn, who passed away in New York on the 1 SP st sp of January 2022. [Extracted from the article]

This document provides brief biographical information about several authors who have contributed to the Journal of Musicological Research. Ayden Adler is an Assistant Professor of Arts Administration at the University of Houston-Downtown and has held various positions in the music industry. Joy H. Calico is a Distinguished Professor of Musicology and German Studies at Vanderbilt University. Jessica Grimmer is a Registration Specialist in the U.S. Copyright Office and a Project Archivist at the University of Maryland. Sara González Gutiérrez is a Predoctoral Researcher at the University of Salamanca, specializing in flute performance and traditional Spanish music. Keri Hui is an Assistant Professor of Music at Hong Kong Baptist University, with a focus on Joseph Haydn and eighteenth-century aesthetics. Anna E. Kijas is the Head of Lilly Music Library at Tufts University and is involved in digital humanities research. Anna Plaksin is a Postdoctoral Researcher at Johannes Gutenberg University Mainz, specializing in computational analysis of mensural music traditions. Javier F. Merchán Sánchez-Jara is an Assistant Professor at the University of Salamanca, focusing on digital didactics of musical expression. Jake Schaub is a Music Cataloging Librarian at Vanderbilt University. [Extracted from the article]

This article begins by exploring the concept of diversity in music and arts education. A survey undertaken maps lesser and greater musico-cultural diversity amongst selected tertiary institutions that offer Music as a degree subject in South Africa and in Uganda. The results indicate that the term diversity is perhaps inadequate for Music and Arts education in Africa. An investigation of terminology that educators have used in recent publications presents an alternative category to diversity, namely creolisation. The author’s playing of a selected solo by Justinian Tamusuza,An African Festivity for Flute, engages with creolisation as a heard and experienced phenomenon. Listeners’ responses are documented as experiences of hearing creolisation instead of hearing diversity. From this exercise, some of the conclusions drawn are found to be applicable to Music and Arts education, so that the notion of ‘creol-ing’ as an analytical tool and as experience might well further an education that helps cultivate a ‘shared humanity.’ The article documents an inquiry into knowledge generation through sound, motivated by artistic research through music. Finally, this project indicates that a search for one or the other ‘category’ is perhaps less satisfactory than the quest for an experientially-sensed, embodied knowledge emanating from sound and music performance. [ABSTRACT FROM AUTHOR]

The Wauja of the Upper Xingu say that their musical ritual is simultaneously of and for the spirits. I will address some factors of their cosmology and shamanism, and then investigate men's kawoká rituals and women's songs performed in iamurikumã rituals. I consider these two rituals to be integral parts of a single set, the kawoká–iamurikumã symbolic–ritual complex, in which there is a deep correlation between men, women and spirits: the latter transmit their musical creations to humans through dreams. Only the male master of the kawoká flutes and the female mistress of the iamurikumã songs are capable of memorising and reproducing this musical material. During ritual performance, the women transform the music of the flutes into iamurikumã songs and vice versa. Through ritual performance, the musical creation of the spirits is returned to them in a humanised and transformed form. [ABSTRACT FROM AUTHOR]

Indigenous peoples across Amazonia make and play a rich variety of flutes and other wind instruments in their collective rituals and ceremonies. These instruments are cultural tools for enacting semiotic transformations that are central to indigenous understandings of human and non-human powers to control social reproduction and natural fertility. This essay will explore collective performances of flutes and other aerophones as ways of harnessing powers of predation and reproduction in two Amazonian communities, the Wauja of the Upper Xingu and the Wakuénai/Curripaco of the Upper Rio Negro. My theoretical approach to musicalising the other is offered as a critique of perspectivism. I will demonstrate how musicalising the other, embodying intrinsic linkages between life-giving and life-taking forces, is a more nuanced process of making history through engaging others, sharing the space–time of others (rather than violently consuming them) and always returning to one's own identity. [ABSTRACT FROM PUBLISHER]

This article seeks to explore the act of reading as an essential element of notated musical practices and of the construction of knowledge about them. By examining how musical notations affect their reader-performers (and vice versa) in two different musical contexts in Japan—the Kyoto Gion festival and amateur lessons on the nohkan flute—the article draws attention to the ways in which the act of reading notation is central to the construction of knowledge about such musical practices. With reference to Etienne Wenger's notion of learning as a process of alignment, and to debates in the anthropology of reading, it then argues that, for learners of these musics, reading notations is a practice of reverse tracing towards the bodily practices of the accomplished. In discussing the musicians' concern for the efficacy of reading as a means of achieving a relevant state of understanding, the article also addresses questions on the role of reading as a method of becoming knowledgeable in the practice of anthropological inquiry. [ABSTRACT FROM AUTHOR]

The article presents the text of composer Stefan Wolpe's Frances Parker Lecture. According to Wolpe, the "Passacaglia" was written at a time when he was concerned with the possibilities of writing music based upon a minimum of material. In the piece "Form for Piano," Wolpe says that the main concern is the art of molding opposites into adjacent situations. In the "Piece in Two Parts for Flute and Piano," a canvas of autonomous sound is created by the two instruments, says Wolpe. In "Two Parts for Six Players," Wolpe says the pitches are arranged in a structural order in which certain tones or combinations of tone have a characteristic mode of behavior.

The Virtual Flute is a web service that provides many thousands of machine-predicted alternative fingerings. Alternative fingerings can offer variations in intonation and timbre, and can be easier to play in different musical contexts. Many play multiphonics. An advanced fingering guide is invaluable when exotic effects and demanding passages are required of the player. The Virtual Flute uses an expert system that predicts musical properties from acoustic impedance spectra. Impedance spectra for the 39,744 acoustic configurations of the flute are generated by a physical model of the instrument, some parameters of which are machine-learned. We report the construction and use of The Virtual Flute ( http://www.phys.unsw.edu.au/music/flute/virtual/). [ABSTRACT FROM AUTHOR]

The article offers the author's insights on the music "From the Valley of Desolation," a four-movement work for flute, cello and prepared piano inspired from the Valley of Desolation. Topics include how the author captures her childhood experience of seeing the valley through the music, indigenous Thembu Xhosa music of South Africa as her inspiration for some elements of the piece, and the musical extract from a musical cycle performed by Nofinishi Dywili.

This text describes the realisation of the score and the principles of a recording the author made of the work in Studio 3 of Sender Freies Berlin in 1994. [ABSTRACT FROM AUTHOR]

The author offers her thoughts on musical improvisation. When playing composed music on the flute, she tries to support the ideas, the fantasies and the structures of the composer. Playing composed music is a three-way trust between composer, performer(s) and the field of ears. As a performer, she feels responsible for not only understanding composed music but for making use of performance practice. The full use of performance practice resembles improvisation.

Like the preceding article on Lachenmann's NUN , mine is a recounting of my involvement in this long-term project, as well as my history with the composer. It gives some insights into the technical demands and scope of this very large work. [ABSTRACT FROM AUTHOR]

That which follows, briefly outlines and asserts the historic importance of Varèse's work for solo flute Density 21.5 [ABSTRACT FROM AUTHOR]