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This document provides a list of new periodicals in the field of music and sound studies, including descriptions of each journal's objectives, formats, and contents. It highlights three specific journals: Music & Musical Performance: An International Journal, Resonance: The Journal of Sound and Culture, and Sound Studies Review. The document also mentions resources that were consulted to compile the list. Additionally, it provides information about changes and cessations of certain publications and highlights special journal issues from various music journals, covering a range of topics. It also provides a brief overview of special issues published in three different academic journals: Sound Studies, Tempo, and Twentieth Century Music. [Extracted from the article]

The article titled "Transformations of Musical Modernism" explores various aspects of modernism in music, including the interplay between human experience and music history, transformations of Faustian pacts in opera, and the connection between musical gesture and instrument design. It also discusses Louise Otto's proposal for an operatic project based on the German epic Die Nibelungen. The article reflects on different aspects of musical modernism and its relationship with history, challenging the idea of linear progress and emphasizing the role of historical contingencies. It presents different perspectives on modernism, with some authors highlighting its diversity and others emphasizing its continued relevance in contemporary music. The article also mentions Susan McClary's critique of modernism as an aesthetic of violence and negation. [Extracted from the article]

"Samuel Barber: His Life and Legacy" by Howard Pollack is a comprehensive biography that delves into the life and career of composer Samuel Barber. The book explores Barber's musical influences, compositions, and the reception of his work. While the reviewer praises the book for its thoroughness and insightful analysis, they note that it lacks critical perspective. The reviewer also questions the author's portrayal of Barber as a high modernist and successful twelve-tone composer, arguing that Barber's music was largely tonal. Additionally, the reviewer suggests that a more balanced and critical engagement with queer musicology would have been appropriate, as the author emphasizes Barber's sexuality. Despite these criticisms, the book is recommended as a valuable resource for those interested in studying Barber's music. [Extracted from the article]

This paper explores do-it-yourself (DIY) and maker practices within sound and electronics through a close reading of Electronics and music maker magazine, first published in the UK in 1981 by electronic component supplier Maplin electronics. Comparisons are made between these sonic cultures of making of the early 1980s and more contemporary activity and commentary within the field. Themes used to make these comparisons are community, activism, learning and teaching, and experimentalism. Differences and similarities between sonic DIY practices defined as orthodox and experimental are considered; questions relating to what constitutes sonic DIY practice in a changing sociotechnical landscape are raised; shifting community identities and tensions within sound technology interest groups are discussed; and motivations and methods for the support of learning sound electronics are compared. The paper makes a novel contribution to contextual histories and theories of DIY sound and technology practices, which typically cite radio hams of the early twentieth century and experimental music of the 1960s/70s as precursors to current activities. It brings a breadth of scholarship from the wider field of maker culture to bear on sound-specific DIY practice. [ABSTRACT FROM AUTHOR]

In the first half of the twentieth century a vast transformation in Hungarian school music education occurred. The ideological foundations of music pedagogical reforms and the means of their implementation were laid down by Zoltán Kodály. The music pedagogical model of Kodály’s concept strongly linked the Central European life reform movement and pedagogical reform trends of the early twentieth century. Kodály’s pedagogy emphasised the concept of developing the individual throughout his or her entire lifespan, nature appreciation, folk music, community engagement, and the transformative power of the arts. Kodály believed in the profound impact of choral singing on individuals and communities. László Lukin (1926–2004), an outstanding music educator of the twentieth century, significantly impacted Hungarian choral life. He remained a consistent presence in professional publications until his death. This study focuses on showcasing his writings on choral pedagogy in the music trade press and how Lukin incorporated and modified Kodály’s guidance on choral singing. The results reveal that Kodály’s key principles in choral pedagogy are also evident in Lukin’s articles. Lukin aimed to fulfil the musical reform ideals of the early century by realising the “education of the whole person” through singing communities and musical experiences. [ABSTRACT FROM AUTHOR]

The aim of the study is to cover the topic of landscape in the composer's practice of the 20th century from the perspective of performing interpretation, as a complex artistic phenomenon consisting of a number of elements. The following research methods were chosen: monitoring the processes of performance of works; systematization of video sources; audio analysis; comparison and synthesis. The conclusions of the study were theses that emphasize the importance of: a deep sense of style, which includes works dedicated to the landscape; perfect performance technique; a creative approach to the pace and nature of the interpretation; the ability of musicians to create a special atmosphere of natural pictures in the sound fabric. The academic novelty of the article is researching the landscape in academic music of the 20th century from the perspective of performance interpretation as a single complex multi-component system. Its practical significance is emphasized by the understanding of the key components of the process of performing such works. [ABSTRACT FROM AUTHOR]

This article, titled "Introduction to the Soundscapes of Religion," explores the relationship between sound, music, and spirituality in various religious traditions and cultural contexts. It discusses the role of sound in evoking unique feelings and leading individuals to spiritual realizations. The article includes ten papers that cover topics such as the sounds of mountains, Romani communities, academic institutions, Christian churches, private chapels, and landscapes. The papers also discuss the interplay between senses, emotions, spirituality, and religious experiences. Overall, the article provides a comprehensive examination of how sound influences religious life and the perception of the sacred. [Extracted from the article]

The article explores the role of harmonium in opera during the transformative 19th and early 20th centuries, amidst significant reforms in orchestration. The author thoroughly explores how harmonium is used in opera, even providing a table of operas that feature this instrument. It delves into specific opera passages by composers representing diverse nationalities and spanning various epochs, covering the period from 1845 to 1936. Through examples from works such as Verdi's "Giovanna d'Arco" and "Don Carlos," Dvořák's "Rusalka," and Enescu's "OEdipe," the essay illustrates the diverse roles played by the harmonium in operas. The author highlights the historical and musical significance of the harmonium in opera, suggesting a reevaluation of its role in today's performances. [ABSTRACT FROM AUTHOR]

The article discusses the book "Music in Twentieth-Century Oxford: New Directions" by Robin Darwall-Smith and Susan Wollenberg. The book explores the history of music in Oxford during the 20th century, focusing on the role of enthusiastic amateur music-making and the social significance of music in the collegiate spirit of Oxford's women's colleges. It also highlights the professionalization of university music in Oxford, the transformation of college choirs into world-class ensembles, and the academic development of music in the University. However, the article criticizes the book for its exclusion of non-classical music activities and its lack of interpretation and analysis. [Extracted from the article]

The acoustics of nature gave people many musical ideas, and people enriched musical features and performance skills with the ability of a person to imitate the surrounding sound effects. Imitating and studing the audio nature, man learned to create instruments, and over time, based on instrumental modifications and many different, artificially created rules, he developed a variety of sounds (including electronic music) and principles of the different type of the composition techniques. With this approach, music moved away from its real environment and, as a result of the formation of aesthetic norms by a human, was separated from the general sound of the universe. The true echo of this problem is a question and suggestion of the famous 20th century Italian composer Ferruccio Busoni: "How can music return to its primitive, natural essence? .. .Let us free it from architectonic, acoustic, and aesthetic dogmas;"[3] Since 2023 a group of research-composers from the Vano Sarajishvili Tbilisi State Conservatoire - Maka Virsaladze, Alexander Chokhonelidze, Joni Asitashvili under the leadership of Eka Chabashvili - inspired by the above-mentioned question, are trying to answer F.Busoni through the artistic research "Specifics of composing and performing eco-music works created for 'Sound Oasis''. This project is carried out within the framework of the fundamental research "Implementation of Ecomusicology Research Methodology for the Study of the Georgian Music Ecosystem" [FR-22-8174] conducted by them, which is funded by Shota Rustaveli National Science Foundation of Georgia (SRNSFG). Consultant of the project is American musicologist Aaron S. Allen, who is the author of various books about ecomusicology. In the music of the 20th and 21st centuries, there is a growing interest in environmental sounds. Many composers of this period incorporate recorded environmental sounds into their music or imitate sounds of neture using the different effects of the instruments. The main goal of the Georgian researchers is to create a modern compositional method to compose an eco-music piece, where an artificial source of music (recording, instrument) interacts with live ambient sound, which is incorporated into the texture of the piece. They are studing the eco-system of the urban and suburban soundscape in Georgia and are looking for the ways to restore the principles of the approach of the peoples of ancient culture to music, when sound of the environment was introduced into the music. Mentioned composers studied the soundscape of one of the Sound Oasis and found compositional methods to include its acoustical features and anvironmental sounds in the texture of the piece composed specifically for the selected Sound Oasis. We present to you compositional methods of eco-musical work - an interactive experimental performance "Let's Listen to the Cave", created as a result of the research; it took place in an alternative concert space -the Cave of Prometheus, which the researchers called "Oases of Sound". [ABSTRACT FROM AUTHOR]

The article discusses the issue of racism in American academic music theory, particularly in relation to the term "tonality." The author agrees with the argument that American music theory is structurally racist due to its emphasis on a white, European, and notated canon, as well as its overemphasis on functional-harmonic conventions. However, the author disagrees with the rejection of the term tonality altogether and argues that it can still be used in an ethical and intellectually responsible manner. The author also addresses the arguments against the term tonality, including its alleged uselessness, manifest racism, confusion of meanings, and association with a racist inventor. The author suggests that instead of focusing on linguistic solutions, music theorists should engage in rational discussion, testing hypotheses, and striving for agreement through empirical evidence. [Extracted from the article]

Les Six and their mentors stirred a debatement of French nationalist music in the early 20th century. However, this movement faced serious criticism and mockery from various quarters and eventually fell apart amid challenges. This critical review explores the ethnosymbolic dynamics within the nationalism music movement of Les Six, and drawing upon ethnomusicological perspectives, the study examines how their compositions reflected and resonated with French national identity and cultural heritage. By analyzing primary sources, scholarly literature, and musical compositions, this article meticulously uncovers the chain reactions generated in the process of constructing national identity and cultural identity within this movement by examining the French societal backdrop, musical traditions, as well as the relationships and attitudes among relevant figures in this movement. The conclusions highlight the multifaceted nature of ethnosymbolism in their work, shedding light on the complexities of national identity construction through music. [ABSTRACT FROM AUTHOR]

The article explores the role of harmonium in opera during the transformative 19th and early 20th centuries, amidst significant reforms in orchestration. The author thoroughly explores how harmonium is used in opera, even providing a table of operas that feature this instrument. It delves into specific opera passages by composers representing diverse nationalities and spanning various epochs, covering the period from 1845 to 1936. Through examples from works such as Verdi’s “Giovanna d’Arco” and “Don Carlos,” Dvořák’s “Rusalka,” and Enescu’s “Œdipe,” the essay illustrates the diverse roles played by the harmonium in operas. The author highlights the historical and musical significance of the harmonium in opera, suggesting a reevaluation of its role in today’s performances.

The article discusses a volume titled "Revisiting the Historiography of Postwar Avant-Garde Music" and its goal of providing a richer contextualization of post-war avant-garde music. The volume contains critiques and defenses of post-war avant-gardes, as well as alternative historiographies of twentieth-century musical avant-garde. The article highlights specific chapters that explore the influence of commercial recordings on mobile and indeterminate scores, revisionist discourse analysis of the writings of the original 'Darmstadt School', and the relationship between supposedly hermetic compositional practices and global empire. The article also mentions the national tensions in reception history and the impact of colonialism on European art music. The perspectives of the authors vary, but they contribute to a deeper understanding of mid-twentieth-century music. [Extracted from the article]

The article discusses the constructive potential of noise in contemporary music, challenging the traditional view that noise is chaotic and ugly. The author explores various subgenres of music, including psychedelic post-rock, industrial, hardcore punk, trash, rave, avant-garde classical music, sound poetry, and free jazz, to demonstrate the use of noise as a form of resistance and expression. The article also examines the different definitions of noise, both acoustically and intentionally, and includes contributions from music analysts. The book is divided into two parts, with the first focusing on historical, theoretical, aesthetic, and cultural perspectives, and the second consisting of music-analytical case studies. Overall, the article provides a comprehensive and insightful exploration of the relationship between music and noise. [Extracted from the article]

The article discusses the connection between the Brazilian Northeast region and its cultural identity, focusing on the themes of drought, migration, poverty, and rebellion. It explores how the region's identity was constructed and contested by different social actors, both locally and internationally. The author also examines the role of the region in imagining and moving beyond the nation, highlighting its engagement with the international community. Additionally, the article touches on the use of race and gender categories in defining regional identity, acknowledging the complexities and contradictions involved. [Extracted from the article]

The First World War exerted a great influence on the course of twentieth-century history and transformed people's perception of the world. The collapse of empires and the shipwreck of illusions found their reflection in various spheres of culture and art, including music. Scholars are familiar with how the trauma of war was reflected in the history of the works, lives, and collaboration of two outstanding composers of the twentieth century, Igor Stravinsky and Maurice Ravel. In this article, we explore how, from different perspectives, these composers expressed in music their perception of the war trauma as part of the wider common cultural and social tragedy known as "the collapse of empires". At the center of our discussion is musical text as a reflection of social phenomena, and how these two composers presented the upheavals that took place in society and their spiritual reaction to them with the help of their musical expressivity. The article focuses on war themes and their reflection in the music of the first half of the twentieth century. [ABSTRACT FROM AUTHOR]

This study analyzes Arnold Schoenberg’s particular perspective on tradition and innovation. Verklärte Nacht (1899), which he composed in his tonal period and which thus has a more traditional character, and Pierrot Lunaire (1912), from his ‘free’ atonal period, are discussed to illustrate the composer’s different approaches. This article aims to show that these approaches do not represent two separate periods but rather create a single style and can be understood as mutually related within the composer’s output. Schoenberg’s Verklärte Nacht, Op. 4 and Pierrot Lunaire, Op. 21, No. 8 will be interpreted in the context of tradition-innovation relations by means of descriptive analysis and literature review, and in the context of wider tradition and innovation relations in his other works. It is observed that the composer still adhered to 19th-century traditions at some points; however, as he himself argued, it is unrealistic to force Schoenberg into a specific mould. When examining the different compositional periods of the composer, it is possible to discern diverse features. It should be noted that the traditionalist and innovative tendencies in the composer’s works are not distinguished as easily as may be thought, and that the composer should not be evaluated in terms of degrees of complexity. Results show that Schoenberg was not a composer who adhered to any one theory or technique, but rather a versatile composer. Describing him as a traditionalist on one hand or a radical innovator on the other does him a disservice. [ABSTRACT FROM AUTHOR]

For much of history, philosophers and theorists have considered the abstract, rational contemplation of music to be the true form of spiritual activity. This has often come at the cost of making the practical aspect of music (which consists of listening, performance, subjective experience, among others) subservient to theory. This paper examines the implications of separating abstract music theory from its practical side and explores where spirituality can be situated. It was not until the nineteenth century, under the influence of Schopenhauer, that a proper unification of music theory and practice truly took on metaphysical and spiritual dimensions. Schopenhauerian metaphysics allowed music to legitimately become a spiritual refuge in the age of positivism, paving the way for projects such as Scriabin's Mysterium. The described tension between theory and practice in Western music will be contrasted with Sufism as a point of comparison. The comparison will illustrate how a spiritual movement like Sufism poses a challenge for musicological research. Additionally, reflecting on the state of current music research, the paper explores how music and musicology of the twentieth century onward fall short of the spiritual aspirations of preceding generations. [ABSTRACT FROM AUTHOR]

This article discusses the work of French composer Éliane Radigue, who has been creating unique and innovative music for over 60 years. Radigue's music spans various genres, including sound art, concert music, and recorded media. The article explores Radigue's compositional processes, her collaborations with musicians, and the challenges her music poses to traditional analysis and categorization. It also delves into the ontological questions raised by Radigue's work, such as the nature of authorship and the capture of ephemeral listening experiences. The article includes scholarly essays, interviews, and reflections by artists and thinkers, providing readers with a comprehensive understanding of Radigue's expansive creative oeuvre. [Extracted from the article]

This article provides a comprehensive overview of the life and contributions of Luis Sedillo Martínez, a prominent figure in Los Martinez, New Mexico. It explores his involvement in the community and his various roles as a translator, interpreter, bailiff, poet, and songwriter. The article also delves into the historical and cultural context of Los Martinez, discussing the impact of colonization, urbanization, and the intersection of different cultures. It touches on the religious and political dynamics in the community, highlighting the role of Catholic and Protestant churches and the influence of political activism. Overall, this article offers valuable insights into the life of Luis Sedillo Martínez and the historical context of Los Martinez. [Extracted from the article]

John Miller's book, "The Modern Brass Ensemble in Twentieth-Century Britain," explores the history and development of brass ensembles in Britain. The book highlights the significant role played by the Distin Family Brass Quintet in promoting Adophe Sax's newly designed valve instruments in the 19th century. It also discusses the emergence of amateur brass bands in Britain, which were initially called "saxhorn" bands. The book traces the evolution of brass ensemble music throughout the 20th century, with a focus on the British context. Miller argues that British professional brass playing, combined with the amateur brass band movement, created a unique and influential brass ensemble culture in Britain. The book also examines the impact of key figures such as Philip Jones and the Philip Jones Brass Ensemble on the development of brass ensemble music. Overall, Miller's book provides a comprehensive and detailed account of the history and significance of brass ensembles in Britain. [Extracted from the article]

This article represents a revised chapter of my book György Ligeti's Creation in the Stylistic Context of the 20st Century, published in 1999. It shows the divergent and contrasting aspects of the composer's pieces, their synaesthesis and their preference for allusions and illusions. Ligeti's whole work is a large spectrum built with associable musical structures that are also found with other composers or even in extramusical artistic productions. But despite this, it remains original and innovative, not belonging to any stylistic orientation of 20th century music. [ABSTRACT FROM AUTHOR]

Copyright of RAST Musicology Journal / Rast Muzikoloji Dergisi is the property of RAST Musicology 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.)

Like Rosen, Griffiths, too, sees modernist music in crisis. In the text, Taruskin looks back over his career as a "public intellectual or public nuisance" (p. 117) writing for I The New Republic i and I The New York Times i . Problems of structure and organization are also evident: for instance, Rosen announces: '[t]o understand what happened to modernism, one has to actually look not just at music but at all the arts' (p. 15). [Extracted from the article]

Irish-born composer Charles Villiers Stanford (1852-1924) has received both acclaim and criticism for his integration of Irish folk melodies in his compositions and for his role in publishing collections of Irish folk melodies. Throughout his career, the music of Ireland provided the inspiration for a number of compositions including orchestral works, songs, opera and chamber music. This article critically examines his Irish Dances op. 89, later published and referred to as Four Irish Dances, the source material for the work and versions created for piano by both Stanford and the Australian composer Percy Grainger (1882-1961). The article also addresses gaps in scholarship related to the performance and reception of the work(s). It also highlights inaccuracies in contemporary commentary, and returns the authorship of the works to Stanford. This examination parallels other studies and enhances an understanding not only of Stanford's compositional practice but the social, cultural and economic contexts of music at the turn of the twentieth century and their reception amongst audiences and critics. [ABSTRACT FROM AUTHOR]

The first decades of the 20th century, particularly the post-war era, brought about numerous philosophical and cultural changes. Exoticism and orientalism were concepts that still governed arts and music, however the philosophical concepts that lay beyond the use of exotic or oriental themes was gradually altered. Exoticism represented more than the possibility for artists to create an idealized elsewhere, inspired by the contact with foreign cultures and their artistic products. It also offered artists the opportunity to express the complex meaning of various symbols associated with exoticism. In this context, Western society gradually turned toward a new aesthetic that could provide artists with an apparent connection to the roots of mankind. Primitivism, associated with folk art and mythology, represented a utopic state, prior to civilization or colonialism, but at the same time, it offered the possibility to explore certain archetypal symbols and express their possible meaning through art. Art nègre, represented by African and African American art and music, was most often associated with this aesthetic of primitivism, and influenced the works of Western artists. French composer Darius Milhaud returns to the theme of origins and creation in the work La création du monde, which combines elements associated with the concept of primitivism, with jazz music and Western compositional techniques. [ABSTRACT FROM AUTHOR]

Romanian film music of the 20th century was a very well-developed field, especially in terms of symphonic music. However, research and musicology studies on this cinematic period are at the beginning, as there is little information on this area. Dumitru Capoianu is among the composers with an already established career in concert music who have also taken the step towards film music. Its adaptability to the script was realized in soundscapes of extended durations or in melodic themes that became a sound exponent of the characters and the action, transposing in them moral valences, particularities of age, tensions and also musical illustrations of the video landscape. All these qualities and the compositional patterns that he and other Romanian composers followed can also be observed in the feature film Adventures in the Danube Delta (1973), part of the particularities of the musical language elements used closely related to the script being presented and analyzed in this article. [ABSTRACT FROM AUTHOR]

The composers George Enescu and Constantin Silvestri played an important role in the evolution of the piano suite genre in the Romanian music of the 20th century. The Piano Suite in D major op. 10 (1901-1903) by G. Enescu combines elements of baroque origins with elements of French music (present especially in the music of Ravel and Debussy) and elements of folklore influence from genres of Romanian traditional folk music (doinas and dances ). The Suite III op.6 no. 1 (1933) by Constantin Silvestri includes pieces that feature an Expressionist theme. The melody is defined by a fusion between improvisation and rigorous organization. The presence within the same piece of some songs of diatonic structure with intensely chromatic songs stands out. The two suites for piano reflect the concern of the composers G. Enescu and C. Silvestri to widen the sphere of expression of a traditional framework, achieving this through the originality of their compositional language. [ABSTRACT FROM AUTHOR]

Copyright of Muzika is the property of Musicological Society of Federation of Bosnia & Herzegovina, Academy of Music in Sarajevo 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.)

"Quartet: How Four Women Changed the Musical World" by Leah Broad is a group biography that explores the lives and music of British composers Ethel Smyth, Rebecca Clarke, Dorothy Howell, and Doreen Carwithen. The book argues that their music, which aligns with the preferences of classical concert audiences, deserves greater recognition. The author delves into the personal lives of these composers, including their experiences during the two world wars. While some critics question the claim that these women "changed the musical world," the book highlights the challenges they faced as women in the male-dominated field of classical music. The author also examines the intersection of gender, sexuality, and creativity in their lives. Overall, "Quartet" offers a compelling exploration of these composers and their contributions to the musical world. [Extracted from the article]

Mahon notes that Baker has not been the recipient of the kind of critical attention that her position as one of the first rock and roll stars warrants, such as "sustained attention in college textbooks surveying rock and roll from its beginnings in the post-World War II era to the twenty-first century" (53). While both Brooks and Neal present us with meticulous theoretical and critical work whose implications are wide ranging, Mahon's work has a more granular focus. Mahon examines how Tina Turner "wended her way into the mainstream of rock through a skillful navigation of the race, gender, and genre boundaries that governed American popular music at the end of the twentieth century" (240). In their recent books, Daphne Brooks, Maureen Mahon, and Mark Anthony Neal reckon with such questions raised by Black musicians and musical archives at a time when Black music and its influence on popular culture is both ubiquitous and contentious. [Extracted from the article]

Music education in Hungary has proven German roots. German textbooks and terminology were used in Hungary until the first decade of the 20th century, and German was the official language of music education. In this dissertation, we shall attempt to present the work and philosophy of Leo Kestenberg (1882-1962), and hereby an analogy with Kodály principles can appear. The two prominent music pedagogical reformers of the 20th century formulated essentially similar goals on several points. This proves that not only the common roots, but also the reform measures of the 20th century form a strong bond between the music education of the two countries. [ABSTRACT FROM AUTHOR]

The practical renewal of Zoltán Kodály's world-famous pedagogical tradition is once again a question enjoying significant dominance and a widely researched field in Hungary. Various institutes, workshops and studies deal with the theoretical background of this question and the possibilities of practical implementation. Studying the current renewal trends affecting the Kodály concept and method, as well as the different music pedagogic methods of the last century, it can be said that there are many parallels and similarities between them. We could also say that these methods of the 20th century served as a model and may even serve as a model in the future for the methodological further development of school singing and music education based on the Kodály concept. That is why it is worth getting to know the different trends so that we can draw ideas from them and integrate them into our own activities. [ABSTRACT FROM AUTHOR]

The aim of this research paper is to build the historical journey of the development of music education since its origins until the middle of the 20th century. Based on archival documents and facts, historical and journalistic publications, texts and didactic musical pedagogical methods, as well as in other supplementary materials I present with facts, analysis and generalizing treatments in the historical plane, the path of the formation and development of the music education tradition as part of general education system and also outside it. The research model was historical research which underpins all other research into music education as even the most contemporary facts have already occurred. The technique for analysing archival documents in the context of music education were document identification, document evaluation, content analysis, interpretation of the findings from the archival documents and synthesize the information to form a coherent narrative or analysis of music education practices descriptive analysis of the technical character of music methods that is made to each document stored in the Central State Archive (CSA), the comparative method for the recognition and contributions given by every religious educational institution in Scutari or secular in the four cities. To accomplish this objective, the study is focused on the documents researched mainly in Central State Archive as well as other sources publication interviews). On this basis and according to the historic importance, the study is shed light on the path of development of Albanian music pedagogy and the stages which defined this development, both in the drawing up of programs as well as through the publication of musical books by Albanian or foreign authors. The article gives a unique contribution of the first phase of the establishment of the music education tradition in Albania, as an outcome of which there were some achievements of the artistic activities, which linked the general music education of the first half of 20th century. This study may be the beginning of a wider research for professional music pedagogy in Albania, may serve for the international researchers to know the development of music pedagogy in the early years of education in Albania and to compare it with the developments in the Balkans. [ABSTRACT FROM AUTHOR]

This article examines the reception of Shostakovich's symphonies in the Parisian press, from the late interwar period to the years immediately following the Second World War. In doing so, it continues the conversation around international responses to Shostakovich's music in the twentieth century, adding a consideration of the composer's symphonies in France from 1936 to 1946 to the existing literature on Shostakovich reception in the United States, Britain, and Germany. By interrogating the commentary of Parisian critics and music writers during this period, the article reveals how the reception of Shostakovich's symphonies in Paris reflects the rising and falling influence of the French Communist Party, and offers a novel way to view the shifts in Franco-Soviet relations either side of the Second World War. [ABSTRACT FROM AUTHOR]