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The article discusses Joseph Williams' book on England's folk revival and the problem of identity in traditional music. The book focuses on the "first revival" of the late Victorian and Edwardian period, led by figures like Ralph Vaughan Williams, Lucy Broadwood, and Cecil Sharp. Williams argues that Sharp's concept of "folk music" and his evolutionary theory of Continuity, Selection, and Variation (CSV) have had a lasting impact on organizations like UNESCO, but also caused problems. The article critiques some of Williams' arguments and suggests that definitions of folk music should be open to change and adaptation. [Extracted from the article]

"The Music of Frederick Delius: Style, Form and Ethos" by Jeremy Dibble is a comprehensive and insightful book that delves into the life and works of composer Frederick Delius. Divided into three parts and nine chapters, the book provides detailed analytical descriptions of Delius's major works, exploring various musical forms such as concerto, opera, orchestral song, and symphonic poem. Dibble's writing style is characterized by a deep love and appreciation for Delius's music, and he seeks to demonstrate the coherence and cohesion of each individual work. The book also examines the historical contexts and influences on Delius's music, including his changing views of England and his relationships with other composers. Overall, "The Music of Frederick Delius" is a valuable resource for anyone interested in studying Delius's musical language and its impact. [Extracted from the article]

The article explores the evolving landscape of music education, emphasizing the need for adaptation to new technologies, genres, and student interests. It discusses the challenges and opportunities presented by calls for reform, urging educators to embrace change while considering the diverse needs and experiences of students.

An editorial is presented which discusses the role of school music teachers to make children love classical music, especially when such preferences are subjective. It suggests that valuing music education should not involve discouraging students who love different genres and emphasize the importance of recognizing and respecting diverse musical tastes among young learners.

This article focuses on the effects of extensive melodic repetition in twelve Old French monophonic songs preserved in chansonniers (song books) from the thirteenth century. All these songs share a specific formal pattern: at least three initial poetic verses (or pairs of verses) set to the same melody. While the methodological point of departure for this study revolves around musical form and melodic construction, five songs within this group of twelve involve women speakers within their poetic texts--a relative rarity in medieval song. In addition to reviewing the cultural, cognitive, emotional, and performative implications of repetition, the article considers how repetitive melodic patterns intersect with and complement the feminine emphases of the text, arguing that this combination is not coincidental. As demonstrated by a close reading of these five songs, repetition has the potential to depict deliberately distinct female figures, ranging from a woman who longs for the touch of her absent crusading lover to the Virgin Mary herself. Repetition thereby serves in these songs to destabilize both the widespread trope of courtly love and the gendered implications of the chanson as a poetic and musical genre. [ABSTRACT FROM AUTHOR]

Whistling was one of the early auditory and ideographic means of humans. As a unique cultural phenomenon, whistling had been spreading in China for a long time, and was once called 'xiao'. It had even become an early religious magic and a way of keeping fit for alchemists and Taoists. This study will further elaborate that as a primitive form of musical expression, whistling has unique significance in its development process. Whistling is a casual and joyful art of music, and this pleasure comes from the pursuit of the spiritual realm triggered by whistling. On the one hand, whistling has the function of expressing personal emotions and lifting the mood; on the other hand, it can create a realm that is the unity of heaven and humanity. From an aesthetic perspective, whistling is not a simple skill, but a return to nature by humans. [ABSTRACT FROM AUTHOR]

It can be said that the automatic classification of musical genres plays a very important role in the current digital technology world in which the creation, distribution, and enjoyment of musical works have undergone huge changes. As the number ofmusic products increases daily and themusic genres are extremely rich, storing, classifying, and searching these works manually becomes difficult, if not impossible.Automatic classification ofmusical genres will contribute to making this possible. The research presented in this paper proposes an appropriate deep learning model along with an effective data augmentation method to achieve high classification accuracy for music genre classification using Small Free Music Archive (FMA) data set. For Small FMA, it is more efficient to augment the data by generating an echo rather than pitch shifting. The research results show that the DenseNet121 model and data augmentation methods, such as noise addition and echo generation, have a classification accuracy of 98.97% for the Small FMA data set, while this data set lowered the sampling frequency to 16000 Hz. The classification accuracy of this study outperforms that of the majority of the previous results on the same Small FMA data set. [ABSTRACT FROM AUTHOR]

Copyright of Aposta is the property of Aposta 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.)

Artificial Intelligence (AI) has led to advancements in multiple fields of research, and music has always been a field of high interest. Music is an important part of life and various studies have shown the link between better living and listening to music. From completing melodies to composing music from scratch, there are many applications of AI in this domain. This paper aims to analyse one such application of using AI for music generation, specifically for instrumental accompaniment. Instrumental accompaniment is essentially the instrumental music that is composed to support or complement a melody. Creating instrumental accompaniment for music generally requires extensive musical knowledge or forming a band together with skilled instrumentalists. Build Your Own Band (BYOB) attempts to simplify this process with the help of AI. In this research work, three transformer models are employed for training various accompanying instruments. Here, the proposed transformer model accepts a melody line as input and produces an accompanying track with instruments like bass instruments, the guitar and string instruments. One of the main challenges was to make sure that these instruments produce a cohesive sound. [ABSTRACT FROM AUTHOR]

We provide evidence that the roughness of chords—a psychoacoustic property resulting from unresolved frequency components—is associated with perceived musical stability (operationalized as finishedness) in participants with differing levels and types of exposure to Western or Western-like music. Three groups of participants were tested in a remote cloud forest region of Papua New Guinea (PNG), and two groups in Sydney, Australia (musicians and non-musicians). Unlike prominent prior studies of consonance/dissonance across cultures, we framed the concept of consonance as stability rather than as pleasantness. We find a negative relationship between roughness and musical stability in every group including the PNG community with minimal experience of musical harmony. The effect of roughness is stronger for the Sydney participants, particularly musicians. We find an effect of harmonicity—a psychoacoustic property resulting from chords having a spectral structure resembling a single pitched tone (such as produced by human vowel sounds)—only in the Sydney musician group, which indicates this feature's effect is mediated via a culture-dependent mechanism. In sum, these results underline the importance of both universal and cultural mechanisms in music cognition, and they suggest powerful implications for understanding the origin of pitch structures in Western tonal music as well as on possibilities for new musical forms that align with humans' perceptual and cognitive biases. They also highlight the importance of how consonance/dissonance is operationalized and explained to participants—particularly those with minimal prior exposure to musical harmony. [ABSTRACT FROM AUTHOR]

As a trained musician and ethnomusicologist, Talusan is able to provide interpretation of the music the PC Band played, as well as the critical response to it, with a depth and finesse not often seen in historical scholarship. In December of 1900, Theophilus Gould Steward, the chaplain of the 25th Infantry, a Black regiment stationed in the Philippines, was inspecting schools in Zambales Province. Overall, however, Talusan has provided a valuable work on the history of the PC Band, that will be of use to scholars of the Philippines, U.S. Empire, and the history of music. [Extracted from the article]

In this pursuit, Zuhur touches on class dynamics by analyzing contemporary events and trends in the culture's dance, music, and lyricism. Not only is Zuhur engaging in a field deeply marred by colonialist traveler accounts and orientalist fantasies, but her approach toward Egyptian music and dance defiantly rejects pre-paved research on the subject. Egypt is not Egypt without its music and dance, and I Popular Dance and Music in Modern Egypt i is a testament to just that. [Extracted from the article]

What might the study of soundscapes bring to postcolonial understandings of past musical practices? In this article, I explore this question with reference to archives documenting that nineteenth-century mission activities are full of auditory information. Accounts of hymn singing, printed artefacts, and methods of musical pedagogy are a few examples of the evidence we find in the mission archive that indicates the part that music and sound played in the life of mission stations around the world. This evidence raises critical questions about the ways in which the soundscape featured in the encounter between missionaries and Indigenous peoples. For instance, how did Indigenous people interpret and refashion musical forms introduced by missionaries? And how did Indigenous musicality and understandings of sounds impact the musical culture of missions? I address these and other questions by examining three key elements of the soundscape—instruments, bells, and processions—found on the Anglican-Xhosa missions, established in the Eastern Cape, South Africa in 1855, in an attempt to articulate how music and sound mediated religious experience, and how this experience was contested by missionaries and Indigenous peoples. [ABSTRACT FROM AUTHOR]

In this article, I explore queer ecological and artistic responses to environmental crisis through the lens of Dominican musician, novelist, and performance artist Rita Indiana. A vital figure in contemporary Caribbean literature and experimental musical fusion (fusión), Indiana harnesses sound and music across transgenre works to offer powerful forms of ecological critique rooted in African-inspired and queer Caribbean modalities of perceiving and making. Ultimately, Indiana's artistry foregrounds music and sound as vital to queer ecological critique in the Caribbean and to the burgeoning, interdisciplinary field of queer ecology more broadly. [ABSTRACT FROM AUTHOR]

This article presents an inventory of songs of Afroargentine carnival ensembles sung in Buenos Aires between 1870 and 1902, at the peak of their presence and visibility in the celebration. The list adds up to a total of 104 songs, for the vast majority of which complete lyrics can be recovered. On the basis of this inventory, musical forms and the lyrics' contents—including speech styles, racial markers, and recurrent themes and figures—are analyzed. In conclusion, some ideas and a discussion of existing literature with regard to identity strategies of the Afroargentine community in this period are presented. [ABSTRACT FROM AUTHOR]

As we work to connect equity to our curriculum and pedagogy, a rhizomatic approach may provide a valuable lens for reconsidering traditional conventions. Such an approach underlines interconnected multiplicity with a noncentered, nonhierarchical emphasis. Applying a rhizomatic method, I offer music teachers some practical applications to challenge conventional curricular tendencies in subtle but important ways. Instead of using an additive approach to the Western classical canon, this approach helps to engage in music comparatively or relationally, which can enable teachers and students to think broadly across categories by recognizing the interconnections between musics. More important, lessons adopting a rhizomatic approach may help teachers and students consider all musics as bearers of equal status and honor many diverse forms of music. [ABSTRACT FROM AUTHOR]

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.)

The article is an editorial from the journal Music Perception. It discusses the challenges and importance of interdisciplinary research in the field of music perception and cognition. The author expresses gratitude to the outgoing editor and acknowledges the contributions of various individuals and boards involved in the journal. The author, who has a background in music theory and research, highlights the diverse range of disciplines that contribute to the study of music perception and cognition. The article also mentions the journal's plans for future publications and encourages open-science research practices. [Extracted from the article]

The article is devoted to a variant method of composing music, which became widespread in the composing practice of the twentieth century and has genetic links with the work of Franz Liszt. The variant method is presented as the basis of the composer’s artistic system, as a property of musical logic and form formation. During the functional and structural analysis of the songs of F. Liszt, their typological similarity is revealed, and a classification based on the variant principle of thematic development is proposed. The characteristic of variant-strophic (“An Edlitam” (S. 333; LW. 74)) and variant-phase (“Gebet” (S. 331; LW. №72)) forms is given. The relationship between monothematism and the variant method of composition is revealed. As a result, the genetic connection between the vocal miniature of F. Liszt and the musical art of the 20th century is substantiated. The variant method is presented as a system-forming method at all levels of musical and poetic composition (motif-composition-image-drama-way of thinking). [ABSTRACT FROM AUTHOR]

The relevance of the study is determined by the need to cover the significance, uniqueness and means of performance of one of the masterpieces of the Viennese Classical School — Fantasia in c minor, op. 80 for mixed choir, piano and orchestra by Beethoven. The aim of this publication was to study the problems of performance interpretation of the legacy of the Viennese Classical School using the example of L. Beethoven’s Fantasia for piano, soloists, mixed chorus, and orchestra. Research methods were: creation of an information background; comparative analysis and structuring of information; identification of the categories that make the basis of the problem; generalization of obtained data. The materials based on audio and video recordings of the work by prominent representatives of the performing arts were used. The literature on the stylistic and compositional atmosphere of the era of Viennese classicism, as well as on features of the genres of the work was also used. The results of the study revealed the interrelationship of all components of the problem being studied. They evidenced the inseparability of such elements as genre, musical form, instrumentation, manner of performance, a certain historical period, as well as the stylistic orientation prevailing within it. Its main categories were identified while studying the chosen topic, as well as their dependency on the temporal, stylistic, individual, and psychological (performers’ personalities) context was established. These facts became a theoretical and methodological contribution to art science, history of performance, as well as music pedagogy. As a conclusion of the study on performing interpretation of the Viennese classics using the example of Fantasia by Beethoven, its genre stylistic and compositional technical universality was determined; the process during which the piano becomes a solo concert instrument; the role of improvisation in the large-scale synthetic genre; development of a single performance concept by the conductor, pianist and choirmaster, diversity of artistic and psychological types of performance while preserving the main author’s idea. The research of this topic has wide prospects in the future, thanks to its volume, multi-vector nature, connection with a wide range of musical subjects, and sensitivity to individual styles of interpretation in the context of different epochs. This is emphasized by the value of classical heritage, the need to preserve and popularize it. [ABSTRACT FROM AUTHOR]

This paper reviews evidence concerning the nature of grouping in music and language and their interactions with other linguistic and musical systems. I present brief typological surveys of the relationship between constituency and acoustic parameters in language and music, drawing from a wide variety of languages and musical genres. The two domains both involve correspondence between auditory discontinuities and group boundaries, reflecting the Gestalt principles of proximity and similarity, as well as a nested, hierarchical organization of constituents. Typically, computational-level theories of musical grouping take the form of a function from acoustic properties through grouping representations to syntactic or interpretive constituents. Linguistic theories tend to be cast as functions in the opposite direction. This study argues that the difference in orientation is not grounded in principled differences in information flow between the two domains, and that reconceptualizing one or both theories allows for gains in analytical understanding. There are also obvious differences between musical and linguistic grouping. Grappling with those differences requires one to think in detail about modularity, information flow, levels of description, and the functional nature of cognitive domains. [ABSTRACT FROM AUTHOR]

Nineteenth-century salon culture has received important attention in recent years with regard to examining the nature and function of the salon as an institution, together with notions of the salonesque. They also encompass the idea of salon music as a genre that could exist independently of a specific salon location (as with Schumann's chamber music miniature and his song, discussed by Lauri Suurpää). [Extracted from the article]

In 1960s-70s Lagos, a nascent musical movement formed fusing West African highlife and American popular music, fortified by James Brown's 1970 tour of West Africa. Political corruption was confronted by music, catapulting Felá Kuti to international fame and silencing Ṣégún Bucknor. Kuti's positive impact is diminished because Afrobeat became more of a brand than a genre among international audiences. Evidence from an audio survey (n=168) conducted in Nigeria, musical analysis, ethnographic fieldwork, the blogosphere and a reexamination of the scholarly literature and music journalism supports an alternate history of Lagosian music, contesting the accounts of musicologist Chris Waterman and sociologist Jennifer Lena, among others. Based on converging evidence, we offer a resolution to the competing claims of creating Afrobeat from Orlando Julius and Felá Kuti: the genre developed as part of a new social scene that emerged in Lagos during the Nigerian Civil War. [ABSTRACT FROM AUTHOR]

Scholars' increasing interest in studying the musical genre reggaetón reflects el género' s rising global popularity. These studies have revolved around issues such as its origin and its connection to blackness, as well as migration, political repression, and the representation of women. The political upheaval in Puerto Rico during the summer of 2019 encapsulates reggaetón's undeniable role in Puerto Rican society. However, it has typically been thought of only as a space for denouncing oppression. In this analysis I propose that reggaetón serves as a decolonial tool not only to denounce systemic violence, but also as an alternative instrument to create knowledge, and as an archive to record and portray socio-political realities of marginalized communities in Puerto Rico. Using qualitative methods and a decolonial feminist framework, I analyze the music and performance of two urban Puerto Rican artists, Villano Antillano and Cita. After providing background on how music has served as a tool of resistance in Puerto Rico, as well as a brief history of reggaetón in Puerto Rico, I analyze how social realities are presented in the lyrics of both singers. This study invites us to see emergent urban artists as subjects with agency who push back against the conventions of the genre, and their music as alternative archives upon which marginalized communities interpret, build, understand, and negotiate their social and political realities. El creciente interés de los académicos por estudiar el reggaetón refleja la creciente popularidad mundial del género urbano. Dichos estudios han girado en torno a aspectos como su origen y conexión con la negritud así como la migración, la represión política y la representación de las mujeres. Las protestas políticas en Puerto Rico durante el verano de 2019 resaltan el innegable rol del reggaetón en la sociedad puertorriqueña. Sin embargo, comúnmente el género se ha pensado solo como un espacio de denuncia ante la opresión. En este análisis propongo que el reggaetón sirve como una herramienta decolonial no solo para denunciar la violencia sistémica, sino también como instrumento alterno para crear conocimiento y como archivo para registrar y retratar realidades sociopolíticas de las comunidades marginalizadas en Puerto Rico. Utilizando métodos cualitativos y un marco feminista descolonial , analizo la música y el performance de dos artistas urbanas puertorriqueñas, Villano Antillano y Cita. Después de proporcionar antecedentes sobre cómo la música ha servido como herramienta de resistencia en Puerto Rico y una breve historia del reggaetón, analizo cómo se presentan las realidades sociales en las letras de ambas exponentes. Finalmente, punutalizo que este estudio nos invita a ver a las artistas urbanas emergentes como sujetes con agencia que se oponen a las convenciones del género, y su música como archivos alternativos sobre los que las comunidades marginadas interpretan, construyen, entienden y negocian sus realidades sociales y políticas. L'intérêt croissant des chercheurs pour l'étude du reggaeton reflète la popularité mondiale grandissante de ce genre de musique urbain. Ces études se sont concentrées sur des aspects tels que ses origines et son lien avec la négritude, ainsi que sur la migration, la répression politique et la représentation des femmes. Les manifestations politiques qui ont eu lieu à Porto Rico au cours de l'été 2019 soulignent le rôle indéniable du reggaeton dans la société portoricaine. Cependant, le genre a été considéré uniquement comme un espace de dénonciation face à l'oppression. Dans cette analyse, je suggère de considérer que le reggaeton serve d'outil décolonial non seulement pour dénoncer la violence systémique, mais aussi comme instrument alternatif pour créer des connaissances et comme archive pour enregistrer et dépeindre les réalités sociopolitiques des communautés marginalisées à Porto Rico. En utilisant des méthodes qualitatives et un cadre féministe décolonial, j'analyse la musique et la performance de deux artistes urbains portoricains, Villano Antillano et Cita. Après avoir expliqué comment la musique a servi d'outil de résistance à Porto Rico et présenté un bref historique du reggaeton, j'analyse la manière dont les réalités sociales sont présentées dans les paroles des deux artistes. Enfin, je souligne que cette étude nous invite à considérer les artistes urbains émergents comme des sujets dotés d'un pouvoir d'action qui s'opposent aux conventions du genre, et leur musique comme des archives alternatives sur lesquelles les communautés marginalisées interprètent, construisent, comprennent et négocient leurs réalités sociales et politiques. [ABSTRACT FROM AUTHOR]

This study offers a selective overview of the most important methodological approaches and theoretical concepts relevant to the study of musical meaning which have emerged in the Anglo-American musicological tradition since the 1990s. It takes as its starting point the work of Lawrence Kramer, which represents the conceptual underpinnings of New Musicology, and continues with Michael Klein's study of musical intertextuality, which helps to further illustrate the implications of post-modern philosophy for the hermeneutical interpretation of music. A significant portion of the text is dedicated to Robert Hatten's work on markedness, correlation, gestures, topics, and tropes. The discussion of the topic theory also covers the contributions made by Raymond Monelle, Danuta Mirka, and others. The overview continues with Esti Sheinberg's theory of musical incongruities and her typology of modes of semantic ambiguity, including irony, satire, parody, and the grotesque. To complement the traditional text-based approach to musical meaning, this overview also considers meanings communicated through the movements of the human body, referencing Nicholas Cook's thoughts on embodied cognition and Robert Hatten's approach to interpreting musical gestures encoded in a musical text. Attention is also paid to the line of thinking leading from Edward T. Cone's ideas on the presence of different voices and personae in seemingly singular musical works, through Fred Maus's conception of music in terms of dramatic interaction of musical agents, to Hatten's theory of virtual agency. This is followed by the summary of Byron Almén's theory of musical narrative, i.e. the capacity of music to articulate a trajectory leading from one state to another, propelled by the dynamic forces of conflict and resolution. Subsequent chapters discuss the relevance of recent approaches to the study of musical form (William Caplin, James Hepokoski, Warren Darcy) and the possibilities/limits of musical narrative in music since 1900, in which the conventional principles of syntax (tonality, form, motivic/thematic structure) are often questioned. In the closing section, the author returns to Kramer's ideas, takes a stance with regard to the opposition of semiotic and hermeneutic approaches, and discusses ethical issues associated with the act of interpretation (and misinterpretation). [ABSTRACT FROM AUTHOR]

The repertoire of Rodion Shchedrin, one of the important composers of our time, is extremely diverse. From the beginning of his creative path, Shchedrin actively developed modern composer techniques by working in different genres and aimed to radically renew traditional forms. This study aims to examine and analyze the musical characteristics of Shchedrin's Piano Sonatas No. 1 and No. 2. In this context, the musical language, original form understanding, and polyphonic approach of the sonatas are examined. A qualitative research method was used in this study by analyzing and evaluating printed and electronic materials through document analysis. As a result of the research, it can be heard that Shchedrin's sonatas contain chromatic 12-tone system belonging to 20th century composers, skipping melodic lines, asymmetrical structure of rhythm and musical form, polystylistic tendencies, and the use of dodecaphonic series, hemitonic series, expression parameters, spatiality as an independent parameter, reversible music forms with sonority, aleatoric and "superior" polyphony techniques, which combine heterogeneous styles in a single work and exhibit new approaches in composition, bringing his works to an original, even extraordinary level. [ABSTRACT FROM AUTHOR]

Part I of the article looks at the challenge of writing Holocaust poetry and music in the light of Adorno's revision of his famous pronouncement about poetry after Auschwitz into an acknowledgment that suffering 'demands the continued existence of art while it prohibits it,' and goes on to consider how the poets Paul Celan, Karen Gershon, Geoffrey Hill, Primo Levi, Sylvia Plath, Peter Porter, Nelly Sachs and Hilda Schiff, and the composers Harrison Birtwistle, David Lumsdaine, Steve Reich and Arnold Schoenberg make use of their personal distance from their subject matter as they attempt to create art out of atrocity. Part II discusses how the historical source material of the author's libretto in memory of the child victims of the Holocaust was crafted into the musical forms of recitative, lieder, lullaby and biblical lament. [ABSTRACT FROM AUTHOR]

Copyright of Procesos Historicos is the property of Universidad de Los Andes (Venezuela) 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.)

In this text I interpret the novel by the author of Wojna polsko-ruska pod flagą biało-czerwoną with special attention to the musicality present in it. Using the concept of Andrzej Hejmej, I analyze the stylistic tropes present in the novel (instrumentation, alliteration), musical references and transpositions of musical forms (aria, sonata, counterpoint), considering what functions they perform in the novel. I pay special attention to indirect and direct references to hip-hop culture appearing in Maslowska's book (e.g. rhythmic and rhyming narrative flow, onomatopoeias, vocal instrumentation). I show how the elements of musicality present in the novel influence its shape. [ABSTRACT FROM AUTHOR]

The article is devoted to the problem of postmodernism in the works of Ukrainian composers of the late XX century. It shows out the specifics of musical postmodernism in Ukrainian composers' creativity. In the process of the research there was highlighted a state of art history on this problem; the specifics of postmodernism emergence and its aesthetics formation in the national art were studied; the main creative methods in composers' works were generalized; the typical features of new musical vocabulary were systematized. In the article the following methods were used: source studies, historical, analytical, methods of analysis, synthesis, comparison, abstraction, theoretical generalization. The article is one of the first attempts in the world context which highlights the postmodern paradigms of Ukrainian music. This scientific paper determines the characteristic features of Ukrainian musical vocabulary. In it there was proved that musical art of the late XX century has undergone significant changes under the influence of deep processes in social, moral, spiritual spheres. Domestic music has entered a qualitatively new round, synthesizing all the experience of previous epochs, national and European musical traditions, combining them with a specifically Ukrainian mentality. All these affected the formation of national musical postmodernism, which was characterized primarily by polystylistics, stylistic allusions in both classical and folklore discourses, fragmentation and spontaneity in the creation of musical forms, conceptual authorial ideas. [ABSTRACT FROM AUTHOR]

In Friedrich Schelling's philosophy of nature, the attempt to think the unconditioned absolute of nature performs unconditioning, thereby transforming the present into a field of experimentation. Schelling's nature-philosophy produces a series of interventions into cultural fields of consistency, drawing on material operations to reconceptualize forms of collective organization. In Schelling's First Outline, beings have a specific signature: to be is to resist. In the Deities of Samothrace, philosophy performs a "magic singing" that gathers initiates together by continually exorcising—and preserving—the unruly obstinacy of pre-socialized drives. This conception of philosophy coheres with a gesture from his earlier lectures on the philosophy of art in which music forms the basis of inorganic communities, implicitly cultivating collective forms called upon to navigate the dangers of overly cohesive (harmonic) and overly transgressive (rhythmic) forms of life, while directing an unconditioning power to the conditions of the present. [ABSTRACT FROM AUTHOR]

Background: Within the body of literature on do-it-yourself (DIY) music scenes, researchers have routinely placed an emphasis on the role of material space in shaping the sociocultural and musical practices of punk music and other related genres. Scholars have also examined the teaching and learning processes of these musical subcultures under the banner of "punk pedagogy" scholarship. However, investigations into the intersection between these two strands of research need to occur because theories of punk pedagogy have largely overlooked the role of physical space within the educative practices of DIY music. Research into the thematically related space of the maker movement amplifies this need, because maker education scholars have repeatedly shown the multiple ways that materials and space shape how individuals learn through DIY production. Research Questions: I use this paper to attend to the following questions: How do DIY music venues shape the pedagogical practices of DIY music scenes? And in what ways do those pedagogies align with the ideological and ethical aims of these communities? By focusing on learning within DIY venues, I consider multiple forms of musical production outside of the context of a specific genre (i.e., punk). This study therefore provides insight into the mechanisms through which individuals learn and how those mechanisms relate to the physical affordances of these spaces. Research Design: To address these questions, I conducted a year-long comparative case study into two intertwined music series centered on noise music (an experimental subgenre within DIY music's broad umbrella) and located in two separate DIY venues. Although each of the 13 events in this series included both a workshop and a concert, I focus my analysis on the concert portion of the series to explore a common site of interaction within DIY scenes. Through open and iterative qualitative analyses of field notes generated from observations of concerts in the series and interviews with featured artists and audience members, I provide a nuanced understanding of learning within DIY music venues and the role that both material space and technologies play in shaping that process. Conclusions: Drawing on this analysis, I contend that the stageless design of DIY venues provides a physical affordance that allows "gear toucher conversations" to occur. These conversations involve audience members engaging performers in discussions about the music technologies they use mere seconds after they finish performing, thus linking this pedagogical moment to the material attributes of the venue. However, these conversations reinscribe masculine notions of technology and undermine DIY music's egalitarian politics, a finding that mirrors critical research into maker education. This work therefore calls on both researchers and practitioners to contend with the pedagogies of place and the educative processes that emerge out of situated technologies to further the liberatory praxes that DIY production can produce. [ABSTRACT FROM AUTHOR]

Theatre music has been a key driver of theatrical invention, innovation, and style since 2010 in German theatre and arguably for some years before that. This is evidenced in creative partnerships between individual directors and composers (and sometimes bands), in a strong presence of music in the rehearsal rooms, in musical forms of postdramatic writing, and in forms of acting styles and performance aesthetics where music plays a formative role. [ABSTRACT FROM AUTHOR]

This article examines the foundation of musical form from the perspective of motion and force in Franco Donatoni's Cadeau, using a semiotic approach. We start by exploring the essence of musical signs, with a focus on the intricate examination of motion and force, commonly referred to as kinetics, as a distinct sign category nestled within the profound framework of Peirce's sign triad. Also, we review the concept of visuality in music, as well as the fundamental roots of this concept using Peirce's semiotic system. Visual signs are metaphorical representations of musical entities that vary in the mind of each interpreter. However, these metaphors share a common foundation, which is the type of motion and force within them. Due to the temporal nature of music and the existence of the dual tension and release, which is synonymous with the concept of energy, music can be associated not only with imagery but also with deeper layers of motion and force. With focusing on Donatoni's Cadeau, this article demonstrates that musical signs are of an indexical nature and require interpretation to be meaningful, requiring a specific type of listening behavior. This type of listening is referred to as Figurativization. Delalande findings are in coordination with Peirce's semiotic law of the triadic relationship and thus elements in music that embody motion and force can be interpreted as meaningful. Subsequently, the 19 temporal units called TSU (Temporal Semiotic Units), developed by Delalande et al., are employed as the basis for analyzing the form of Cadeau, which is referred to as kinetic analysis. This article demonstrates that Donatoni utilizes the techniques of vertical simultaneity (superimposition) and horizontal adjacency (juxtaposition), represented by the TSUs of "heaviness", "wanting to start", and "obsessive" as the primary themes in the structural composition of the piece. The composer utilizes the superimposition technique with two intentions. In the first phase, he aims to create a background where both previous ideas and new ideas can coexist simultaneously, allowing the listener to have the past before them. In the subsequent phase, he employs the simultaneity of TSUs to create a segment that is independent of the initial parts. On the other hand, by employing the technique of juxtaposition along the horizontal axis, without thematic expansion in a classical manner, he transforms the previous sections into new states that are not intended to evoke new TSU formations. In addition, the necessity of using kinetic signs as a tool for the formal analysis of musical works is elucidated. The article shows that in Cadeau, Donatoni employs time-stretching techniques on motifs, using TSUs that are resilient to repetitive patterns. These segments introduce an idea of infinite time, as if they are eternal and non-time-bond, with no conceivable end. Additionally, Donatoni is influenced by Bartók's compositional approach and embraces rhizomatic thinking, which signifies the absence of linear thematic expansion. In Cadeau, the composer strives to create a non-linear form by employing rhizomatic thinking and utilizing non-time-bond segments, challenging the perceptual experience of temporal progression from a phenomenological perspective. [ABSTRACT FROM AUTHOR]

Mawwal iis one of the literary arts of poetry that was created for singing. Its initial form was eloquent poetry, which gradually changed to slang with a variety of accents, especially Bedouin. It was classified as a subsection of popular music and became an improvisational musical format known as nūbāt repertoire in the Arabic oriental world (Mashriq). This research examined the history and emergence of the Mawwal and the difference about its origin, then crossed to the etymology of the term Mawwal - Mawwalia and showing all of its possibilities. Also the historical transformations of this poetical form is discussed. The musical form initially originated in Iraq in its quadrilateral form. It then transformed into an alternative form, known as the pentagonal, when it reached Egypt. Afterward, it returned to Iraq and evolved into its heptagonal form. Eventually, the musical form made its way to Syria. Since al-Mawwal al-Sharqawi (heptagonal) is the dominant Mawwal in the nūbāt performance, his literary style has been analyzed and described through dialect, terms and letters used, rhyme, enumeration of poetic verses, paronomasia or pun (similar words) and poetic content (general theme). After that the analysis of the heptagonal Mawwal as a musical form in the Syrian nūbāt was started through models of the Aleppo singer Sabah Fakhri and a comparison with the period before and after him and the differences between each period. Through this analysis, this research attempts to derive a specific musical form for the heptagonal Mawwal form in al- nūbāt, while it is an improvised form and does not have specific musical rules agreed among musicians. This research begins by deconstructing the predominant order of conducting the Mawwal parts in the nūbāt and the repeated parts in it. And then a maqam analysis of each part of the Mawwal and where the vocal and maqami peak lies and where the maqam transitions of the same maqam family or for different maqam families and reference to the stage of musical suspension and conclusion. Finally, an extract a musical form of the heptagonal Mawwal template in this way (A B A) and in more detail by indicating the numbers of the poetic parts A (1 + 2 + 3) - B (4 + 5 + 6) - A (7) is shown. This supports the fact that Sabah Fakhri relied on a certain methodology and style in the performance of his mawāwīl, where he used certain melodic and rhythmic phrases that were repeated in most of them. That is, it was based on rules taken from the heritage form, similar to the mawāwīl that preceded it within the nūbāt and greatly influenced the mawāwīl that followed it. The method of this research is deductive and historical with regard to the process of description and analysis. We have gathered fundamental data from various sources, including the analysis of musical performances, analysis of lyrical texts, observations, and interviews. These sources serve as the main foundation for this research. [ABSTRACT FROM AUTHOR]

In this article I explore the formalist facet of Kant's theory of music and how this facet can be reconciled with sensory gratification and emotional expression. I argue that 1) Kant does not give us an adequate notion of musical form, 2) the status that Kant gives to sensations in music is not plausible, and 3) the presence of an emotionally expressive component introduces inconsistencies within Kant's text. Remarks about the status that Kant assigns to sensations in music are illustrated by analyzing a work by Mussorgsky later orchestrated by Ravel. Kant's formalist facet is problematized through a comparison with Eduard Hanslick's musical formalism. I conclude by examining Samantha Matherne's (2014) proposal to reconcile the aforementioned dimensions. I argue that Matherne's "expressive formalism" does not resolve all the inconsistencies and implausibilities it tries to resolve. [ABSTRACT FROM AUTHOR]

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