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The article centers on the influence of tablets on musicians performances, particularly their impact on the tradition of playing by memory. It discusses the complexities and perceptions related to this practice, addresses musicians anxieties regarding memory slips, and challenges the cultural norms surrounding performing with or without a score. Additionally, it suggests reconsidering these norms in light of technological advancements and the human aspect of musical expression.

The article focuses on celebrating the accomplishments and influence of Professor Charles Lloyd, Jr., highlighting his diverse roles as a musician, composer, mentor, and educator. It covers his contributions in preserving spirituals, his collaborative performances with renowned singers, and his dedication to mentoring and teaching music students, culminating in his lasting impact on classical music and education.

The article explores the concept of "pan-excellence" in music education, which involves recognizing and valuing excellence across diverse musical genres and styles, rather than solely focusing on Western classical music. It highlights the need to break down biases and expand the definition of excellence to include a broader range of musics, and suggests reenvisioning music education to embrace pan-excellence through inclusive curricula, assessment methods, and student-centered approaches.

This article examines the relationship between the musical education of respondents and their successes in exact sciences with the use of various tests. An alternative hypothesis is tested about the difference in success in exact scien - ces depending on the musical education. Seven tests were chosen that indirectly indicated the subjects' predispositions to exact sciences. Respondents with higher musical education, to a lesser extent people with secondary musical education, are more prone to exact sciences than people without higher musical education. However, an almost linear decline in depression rates and an increase in the subjective assessment of success were established. [ABSTRACT FROM AUTHOR]

Our current knowledge about social inequalities in the classical music sector is limited, in that we know little about how these inequalities come about. More specifically, we have a poor understanding of why highly educated individuals are far more inclined to consume classical music than others. We can expect that agent-based modelling can help us discover the social mechanisms behind these inequalities. However, before modelling, we should prepare. The first step in this preparatory work is to make sure our concepts are as unambiguous as possible. In the case of classical music, we need to clarify four fundamental issues. First, we should explain what is meant by 'classical' music. Second, we should be precise in our understanding of 'consumption'. Third, it is necessary to conceptualise the role that genes and social environments play in shaping music preferences. Finally, we need to examine the role played by the subconscious in social behaviour related to classical music. [ABSTRACT FROM AUTHOR]

The mid-1960s has figured as a central period in the historiography of popular music, but the role of improvisation has been little discussed. This article argues that issues of improvisation and value are crucial to understanding the emergence of a high-low split within popular music, a division that figures prominently in criticism and fan discourse up to the present day. This new stratification within popular music made it possible for rock to acquire critical prestige relative to other popular music genres. The formation of rock also relied on its association with a primarily white, male, middle-class demographic. This article demonstrates that rock's prestige rests simultaneously on maintaining this narrow demographic profile while locating aesthetic and spiritual value in musical practices coming from elsewhere (in terms of geography, race, or cultural hierarchy): blues, Indian classical music, jazz. The socio-musical transformation in which improvisation played such an important role is explored through a survey of recordings and an analysis of the development of rock criticism in 1966, the year in which a new constellation of aesthetics, politics, and musical style crystallized. [ABSTRACT FROM AUTHOR]

Ben Johnston's just-intonation music is of startling aural variety and presents novel solutions to age-old tuning problems. In this paper, I describe the way that Johnston reoriented his compositional practice in the 1980s as evidenced in his musical procedures. Johnston became aware of the disconnect between Western art music composers and their audiences. He therefore set about composing more accessible music that listeners could easily comprehend. His String Quartet No. 9 gives an instructive example of the negotiation between just intonation and comprehensibility. By integrating unusual triadic sonorities with background tonal relationships, Johnston reveals an evolution of just-intonation pitch structures across the work. This paper provides an example of an analytical method for exploring Johnston's works in a way that moves beyond simply describing the structure of his system and into more musically tangible questions of form and process. [ABSTRACT FROM AUTHOR]

The paper presents a real-time tool for the segmentation and analysis of body gestures, part of a larger setup for exploring music and dance in the contexts of electroacoustic composition, live-electronics and other interactive performances. The idea of gesture is the foundation of the proposed interactive strategies, and is discussed from different points of view. The current implementation uses the Max/Msp programming language and Kinect sensors. The segmentation of dance gestures is based on the inspection of the zero-crossings of the acceleration curve of each body joint. Concepts from Laban Movement Analysis are used to qualify the extracted gestures. Dance improvisations on Petrushka excerpts are the basis of a case study, where the relations between the music (tempo, pulses, instrumentation, character) and Laban Basic Actions are stressed. [ABSTRACT FROM AUTHOR]

In at least one respect, classical music is superior to popular music. Classical music (understood as common practice composition) has greater potential for expressiveness and, consequently, has more potential for psychological insight and profundity. The greater potential for expressiveness in classical music is due, in large part, to it greater harmonic resources. The harmonies in classical music are more likely to be functional, more contrary motion is employed, and modulation is more common. Although popular music employs rhythms not found in classical music, on the whole there is less rhythmic variety in popular music than there is in classical. [ABSTRACT FROM PUBLISHER]

In the late nineteenth century American publishers began to answer a burgeoning demand for histories of classical music. Although some of the authors they contracted are well-known to scholars of music in the United States--most notably Edward MacDowell and John Knowles Paine--the books themselves have been neglected. The reason is that these histories are almost exclusively concerned with the European musical past; the United States is a marginal presence in their narratives. But much can be learned about American musical culture by looking more closely at the historiographical practices employed in these histories and the changes that took place in the books that succeeded them in the first half of the twentieth century. In particular, they shed light on the shifting transatlantic connections that shaped American attitudes toward classical music. Marked at first by an Anglo-American consensus bolstered by the social evolutionary theory of prominent Victorians, American classical music histories came to be variegated, a result of the influence of Central European émigrés who fled Hitler's Germany and settled in North America. The most dramatic part of this transformation pertains to American attitudes toward the link between music and modernity. A case study, the American reception of Gustav Mahler, reveals why Americans began to see signs of cultural decline in classical music only in the 1930s, despite the precedent set by many pessimistic fin-de-siècle European writers. [ABSTRACT FROM AUTHOR]

Since the 1980s, the establishment of a socialist market economy has quickened the pace of China's economic development; at the same time, increased modernization and globalization have influenced, to varying degrees, the development of music and music education. With reference to 12 secondary schools in Beijing, this empirical study examines Chinese students' preferences for popular music in their daily lives, and in what ways and to what extent they prefer to learn popular music in school. Data were drawn from survey questionnaires completed by 2,423 secondary students in the 12 schools, together with follow-up interviews with 55 of these students, between March and May 2012. This study provides empirical data that both supplements and challenges existing literature on popular music and music education in a Chinese context. It also highlights a discussion on the complex relationships between students and teachers and between Chinese authorities and teachers regarding the introduction of popular music into school music education. [ABSTRACT FROM PUBLISHER]

This article is based on the premise that Indian classical music has been commercialized in every age sine the time of its inception. And, it therefore traces its evolution and corresponding devolution in every age. The article also analyzes the impact of Islamic and Western influence on the growth and development of Hindustani music (the system of classical music prevalent in Northern India ), and the simultaneous impact of religious and political movements such as the Independence movement on Carnatic music (the system of classical music prevalent in Southern India). The article proceeds to explain how music was reduced to merely a tool for propagation of political agenda, or the creation of a political image at international fora. The effects of the implementation of notation system on the traditional guru - shishya parampara have also been discussed in detail. The role of technology whether it be the All India Radio or fusion music, or more recent developments of online music has been highlighted, with arguments from the modernist and the purist approach. The conclusion focuses on understanding whether such corporatization can be regarded as harmful, keeping in mind the purpose it seeks to achieve. [ABSTRACT FROM AUTHOR]