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We discuss the concept of love presented in a set of songs composed by Brazilian samba singer Dona Ivone Lara about romantic and sexual relationships. Popular music is a pervasive kind of media, reflecting ideas, values, power relations, practices, prejudices and privileges. Black music in the diaspora has been a counter-hegemonic space of knowledge production which provides insight into cultural, social, economic and political matters. To analyze the songs, we created a methodology which intersects themes and categories, reflecting upon the complexity of Black women's experiences depicted in Lara's intellectual production. Adopting an intersectional approach, we concluded that the combined oppressions of gender, race, age and class in Brazil have an important influence in the melancholic aspect of banzo in her songs. The results also show that love, for Lara, is not a fixed or permanent feeling, but a cycle, renewed and reinvented in practice and in constant motion. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Faculty of Letters / Trakya Üniversitesi Edebiyat Fakültesi Dergisi is the property of Trakya University, Faculty of Letters 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.)

La contribución femenina al desarrollo del ecosistema musical en Iberoamérica ha sido abundante, sin embargo, no ha sido vista en su totalidad por hallarnos inmersos en una sociedad patriarcal que ha privilegiado el aporte masculino asociándolo al racionalismo ilustrado que favorece la razón, en detrimento de los saberes adquiridos a través de los los sentidos y las emociones, formas denigradas, asociadas a sociedades premodernas y vinculadas con lo femenino. En este contexto, al estudiar el aporte de las mujeres a la música, la historiografía se ha centrado casi exclusivamente en el estudio de las compositoras — trabajo considerado intelectual— y su impacto en los espacios públicos —espacios de predominio masculino—, ignorando a las mecenas, maestras, intérpretes y audiencias, agentes decisivos para la transmisión y preservación de la música y de los valores asociados a ella, en espacios privados y públicos. Para entender el impacto de los diferentes agentes productores de significado en el género de canción artística, observaremos la trayectoria de una compositora, una poeta y una intérprete.

"On Minimalism: Documenting a Musical Movement" by Kerry O'Brien and William Robin challenges previous accounts of musical minimalism by presenting a revisionist history through the compilation and contextualization of important documents. The book primarily focuses on the four key figures of musical minimalism: La Monte Young, Terry Riley, Steve Reich, and Philip Glass. However, it also includes coverage of other creative figures, particularly female minimalists, and explores the international minimalist scene. While the book offers fresh perspectives and valuable insights, some critics argue that it falls short in representing composers from outside the USA and in fully embracing a more radical approach to the genre. [Extracted from the article]

Stephen Rodgers has written a book titled "The Songs of Clara Schumann" that explores the nature of song analysis and its role in music theory. Rodgers focuses on three hallmarks of Clara Schumann's songs: the flow of her melodies, cadential evasion, and inventive use of the piano. He also discusses the importance of analyzing Schumann's songs on their own terms and the potential for new methods of analysis for music by women. Rodgers's book offers a holistic account of Schumann's songs and invites readers to engage with the music and develop their own interpretations. [Extracted from the article]

The Curriculum for Music Education in primary and high schools includes Serbian music in the 20th century, both modern and postmodern, as a teaching topic. The opus of the composers such as Ludmila Frajt, Ljubica Marić, and Isidora Žebeljan has left an indelible mark on Serbian music and has become part of the world’s musical heritage. However, their creative work is not adequately represented in the teaching practice of primary and secondary schools, nor in the Curriculum that prescribes and suggests the selection of compositions for singing and listening. A special emphasis is placed on their individual and unique music style, the preservation and interpretation of Serbian folklore heritage and spirituality in their creative work, as well as on the educational and pedagogical potential of their work within the framework of general music education. The representation of the work of these artists in teaching practice, teacher training for practical implementation of these teaching topics, teachers’ attitudes and motivation – all these elements are the subject of the qualitative research presented in this paper. The research was conducted by means of an online survey of seventeen music education teachers, i.e., members of the Association of Music Education Teachers of Serbia, using the digital tool Google Forms. The paper will provide a summative and descriptive presentation of the results of the survey consisting of a total of twenty-one questions. Considering the artistic, educational, and pedagogical significance of the composers’ work, the authors of the paper have articulated paradigmatic methodological guidelines for teaching this topic, within the framework of educational standards and the Curriculum for Music Education, with a focus on the development of competencies and targeted outcomes.

This article explores the experiences and beliefs of collegiate piano majors in learning and teaching piano literature by diverse composers. The study reveals that the traditional focus on works by white, male composers in classical piano education excludes diverse composers. The survey data collected from 180 respondents shows that while piano majors have some exposure to repertoire by diverse composers, there is a lack of consistency in curricula regarding their inclusion. The study emphasizes the need for adjustments in curricula to integrate works by diverse composers more regularly and provides suggestions for promoting inclusion in piano education. [Extracted from the article]

Copyright of Epistemus. Journal of Music, Cognition & Culture Research is the property of Facultad de Psicologia Universidad Autonoma de Madrid 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 Heroic in Music" is a book that explores the pervasive influence of the heroic figure in Western music and its impact on composers. The editors, Beate Kutschke and Katherine Butler, identify four common heroic topics in musicology: the heroic style, operatic heroes, the heroic in instrumental music, and performance. The book examines how music has been used to express and shape ethical and political concerns throughout history, from medieval chants to contemporary vocal music. The contributors analyze various genres and themes, challenging traditional perceptions of heroism and highlighting the complexities of hero figures in different times and places. [Extracted from the article]

"Quartet: How Four Women Changed the Musical World" by Leah Broad is a non-academic book that explores the lives and music of four British female composers: Ethel Smyth, Rebecca Clarke, Dorothy Howell, and Doreen Carwithen. The book highlights their individual approaches to music and their contributions to the classical music world. While the author argues for the significance of these women in a field often overlooked by musicological scholarship, there are concerns about the lack of acknowledgement of previous scholars and the omission of other notable women composers. Overall, the book provides an engaging introduction to these composers and may inspire readers to explore their music further. [Extracted from the article]

The relationship between performance and analysis has been a consistent point of discussion in music discourse for at least the past four decades. This article uses Johannesburg Etude No. 1 (2012) by South African composer Clare Loveday as a case study to explore ways in which searches for musical meaning may proceed from insights generated in and through a performer's body – how bodily knowledge may become an entry point into music analysis. I draw on musicologists Nicholas Cook and Suzanne Cusick to establish frameworks through which performance may be approached not as an 'end point' of structural music analysis, but rather as the primary point of entry into analytical endeavours. I offer a 'bodily analysis' of Johannesburg Etude No. 1, which I first performed in 2014 as part of the Cape Town public arts festival Infecting the City. This analysis is connected to notions of an 'urban imaginary', an affect which I suggest is characteristic of an African metropolis such as Johannesburg.. [ABSTRACT FROM AUTHOR]

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

Copyright of Muzikologija is the property of Serbian Academy of Sciences & Arts, Institute of Musicology 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.)

This article discusses the unveiling of the life-size-plus statue of Dame Ethel Smyth (1858-1944) in Dukes Plaza, Dukes Court, Woking on 8 March 2022. Smyth achieved fame primarily as a composer of music, including six operas, but she was also briefly active as a suffragette, as well as becoming a prolific author of memoirs and other prose writings towards the end of her career. She was resident in Surrey for much of her long life, Woking being her home town for over three decades. The article considers the current dearth of statues of women and women composers, provides an overview of Smyth's life and works as well as her connections to Woking (including local individuals who have recently championed her), and reports back on the unveiling ceremony itself. In later sections, it outlines the process of creating the statue and announces the project to install a duplicate maquette at the University of Surrey, Guildford. [ABSTRACT FROM AUTHOR]

The purpose of the article is to identify the specifics of the role of women composers in the musical culture of China in the twentieth century. The research methodology consists in applying the methods of analysis and synthesis, systematisation of facts, comparison and generalisation of the research results. The systemic-historical method allowed the author to consider the formation of female archetypes in the Chinese musical culture of the twentieth century. With the help of the comparative method, the stages of the creative development of women composers in the Chinese national culture of the twentieth century were structured. The scientific novelty of the study lies in an attempt to reveal the originality of the Chinese musical avant-garde, to identify the role of women composers in the musical culture of China in the twentieth century and the level of influence of Chinese traditional and Western compositional techniques of various stylistic techniques on their work. Conclusions. The synthesis of Chinese philosophy, archaic folk music and Western compositional techniques reveals the originality of the Chinese musical avant-garde of the twentieth century. For centuries, women's rights were severely restricted. However, at the beginning of the twentieth century, important reform processes were launched that led to a change in the social status of women in China, including the musical sphere. Starting in the mid-twenieth century, women composers, on the one hand, cultivated the musical traditions of their country, and, on the other hand, were influenced by Western compositional technologies. In this context, a special place is occupied by the Chinese composer Du Yun and her monumental opera "Angel's Bone" -- a delicate psychological canvas that successfully combines the styles of different eras. [ABSTRACT FROM AUTHOR]

The critic Cecil Gray, well known for bringing Sibelius's music to the attention of British audiences, is the focus here and it is noted that he moved away from nationalistic considerations to outline the formal and structural qualities of this music. "Sibelius and the Ecological Breakthrough" by Tomi Mäkelä, the last chapter in this section, takes the composer's lifelong enthusiasm for nature and elevates it to that of an "early environmentalist" (81): Jean the Eco Warrior. However, the degree of abstraction that music offers - especially in relation to visual arts which are as representational as this - might undermine the strength of that connection: music is rather distinctive in this regard. [Extracted from the article]

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

Copyright of Revista Vortex is the property of Escola de Musica e Belas Artes do Parana 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 Whittaker Library at the Royal Conservatoire of Scotland has been making a concerted effort to improve the equality and diversity of our stock for some time. In this paper, I begin by outlining my own efforts to increase the Whittaker Library's stock of music by women composers, and scholarly literature not only by but also about women composers. As a small library in a small specialist institution, the Royal Conservatoire of Scotland, resources are not limitless, but it has been possible to make this project one of our priority areas. I describe the measures taken to build up stock in this area, alongside building a dedicated page on the library's portal. Running alongside this, I have made a similar drive to improve representation of music by composers of colour. Over and above all this, we have increased our social media activity; meanwhile, another colleague; has been working with some of our academic colleagues in terms of equality, diversity and inclusion (EDI) in course reading lists, as I shall also describe; and a third has been working on EDI in the drama collection. Recognising the limitations not only of budgets, but also the comparative availability of materials by and about women only a few short decades ago - not to mention historically - I aim to provide food for thought, underlining the importance of close collaboration between the library and academic colleagues. [ABSTRACT FROM AUTHOR]

Copyright of Revista Fotocinema is the property of Revista Fotocinema 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.)

Maria Theresia Paradis (1759–1824) was a teenage piano prodigy and one of the very few female composers of any acclaim before the nineteenth century. She was a Wunderkind not only because she was female, but also because she was blind, or at least severely visually impaired. This brief essay argues that the more important Wunder exemplified by Paradis was not her early performance career, but rather the fact that her career stretched well into adulthood. Paradis has traditionally been seen as a pitiable victim of her impairment. I instead contend that she escaped the constraints of middle-class gender roles. Her accomplishments as an organizer of dilettante academies and the director of a private music school deserve far more recognition. [ABSTRACT FROM AUTHOR]

Music educators often look for ways to deepen students' understanding and artistic interpretations of repertoire. One way to engage students in discovery and dialogue about the music they perform is through connecting to the historical, cultural, and societal implications of primary sources. This article delves into resources from the Library of Congress that enable us to tell richer stories about the people and circumstances behind familiar orchestral repertoire, including works by Chaminade, Copland, and Miranda. The recommended materials include primary and secondary sources from the Library of Congress digital archives, best practices for using these resources, inquiry-based strategies to engage students in critical thinking, and connections to the 2014 Music Standards. [ABSTRACT FROM AUTHOR]

Alongside these works are world premiere recordings of works by Brillon herself. This review covers a sextet of recordings from 2013 to 2021, traversing repertory from the early 16th to the early 19th centuries. Some of the music will be familiar to many but the batch also includes several world premiere recordings. [Extracted from the article]

This batch of recordings consists of albums almost entirely devoted to frequently performed and well-known works by the most beloved composers of the Western canon. Hough closes the album with a second recording of the Nocturne op.9 no.2 performed with embellishments written by Chopin for his pupils. Given Hough's pedigree as one of the foremost pianists of our time and as a composer of considerable capabilities, one might have expected him to have taken a less conservative approach to recording Chopin's complete nocturnes. Both Rosenthal and Raoul Koczalski (1884-1948) left numerous recordings of Chopin's works and were pupils of Karol Mikuli (1821-97) who was Chopin's teaching assistant. [Extracted from the article]

Copyright of Imagofagia is the property of Imagofagia - AsAECA 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.)

Composer-performer Jennifer Walshe challenges established concepts of music production. In her alter ego collective, authorship and gender identities are at issue, testing new modes of musical expression. Through improvisation and experimental set-ups, she breaks new grounds, integrating physical and visual aspects into her compositions. Social media serve as a contemporary topic and a composing texture at the same time. In a community project, history emerges as a collaborative creative act. Walshe involves her listeners' active imagination throughout her work. [ABSTRACT FROM AUTHOR]