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This papers aims to explore the impact of music, musical cultures and humanist education over different historical times showing how emotional expression (music) contributes on social cohesion. For this study is used the historical and theoretical investigation into the formation of music by way to drawing upon insight from both philosophers, theologians and demystifying aspects by looking at ethic-musicological insights It explores how music, as a universal language, transcends cultural and ethnic boundaries, facilitating intercultural communication and understanding. Utilizing historical and theoretical approaches, the document highlights music's evolution from antiquity to contemporary times, emphasizing its impact on personal identity and societal cohesion. Key findings suggest that music not only serves as a tool for emotional expression and spiritual reflection but also plays a critical role in educational settings by enhancing cultural literacy and promoting humanistic values. The document recommends incorporating music education into curricula to foster interpretation skills, thus supporting the integration of diverse cultural perspectives. By referencing influential theories and examples throughout history, the document underscores the enduring significance of music as a catalyst for unity and personal growth. Suggestions would see music education more highly valued and prioritized in school programs to encourage cultural appreciation, empathy building. More data and historical references on the subject of music demonstrate its universal, timeless effects. This empirical evidence also helps to endorse proposals that require music and cultural engagement, as these elements are crucial by nature . The study incorporates examples from history and the work of key figures such as Aristotle, Schopenhauer, John Blacking to offer a detailed panorama on how music has contributed in social life. [ABSTRACT FROM AUTHOR]

What was the Indians’ early encounter with European music like? How did they access the music of the coloniser and get socialised in it? Following Dwarkanath Tagore’s engagements with European music in early-19th century Calcutta, this essay maps the sites and spaces of western music in the city through which the contemporary Bengali elite first got exposed to the music that their colonial masters had brought into the subcontinent. In conceptually framing this process, it borrows the concept of ‘bi-musicality’ from ethnomusicology and repurposes it as a historical analytic to understand the new and emergent form of musicality that was organic to the colonial encounter in India and constitutively modern. [ABSTRACT FROM AUTHOR]

Local hymnals are cultural artifacts that express a community's values, history, and identity and serve as vehicles for communal agency. This study investigates the role of local hymnals in shaping cultural identity and theological expression within four Indonesian Christian communities. Through interviews with church leaders, songwriters, and musicians, and an analysis of four hymnals from different communities in Indonesia, this study explores how these communities exercise agency in creating, perceiving, experiencing, and utilizing locally created songbooks. The research reveals that local hymnals are not only tools for shaping communal identity and transmitting theological understanding but also instruments through which communities assert their agency, fostering cultural dynamism. The study also considers the impact of colonialism and globalization on the development of local hymnody, highlighting how these communities have actively adapted and reinterpreted external influences to create unique and meaningful expressions of faith. The research concludes that local hymnals are not merely collections of songs but living artifacts embodying the agency of communities: the ongoing dialogue between tradition and innovation, faith and culture, and the individual and the community. By fostering autogenic cultural reflection and asserting communal agency, local hymnals fuel momentum and sustainability within a culture. [ABSTRACT FROM AUTHOR]

Māori conceptualisations of ancestral environs and its connections to memory often reside in the realm of whakapapa (genealogy) having originated from Papatūānuku and Ranginui (primordial ancestors and gods), their loving embrace, and their eventual separation that carved the space for nourishing lands and waters. These stories of whakapapa were passed down intergenerationally through many Māori creative expressions, including waiata (songs), haka (posture dance), pūrākau (stories), whakataukī (proverbial sayings), ruruku (sequence of incantations), and karakia (prayers). This has resulted in a genealogically and environmentally derived Māori music theory. The disruption of settler-colonialism aimed to sever whakapapa from the memory as being reflected in our ancestral environs and within the hearts of Māori. 'He Whiringa Wainuku' refers to the weaving of water elements on earth and sets the imagery for decolonising the interconnections of whakapapa, land, water, and memory through Kaupapa Māori methodologies and Māori creative expressions. [ABSTRACT FROM AUTHOR]

The article is a book review of "Schoenberg: Why He Matters" by Harvey Sachs, which explores the life and work of composer Arnold Schoenberg. The book delves into Schoenberg's Jewish background, his conversion to Christianity, and his journey as a composer. It also discusses the challenges he faced and his reception as a composer. The reviewer concludes that the book provides a comprehensive understanding of Schoenberg's significance in Western art music. [Extracted from the article]

Copyright of Dinbilimleri Journal is the property of Dinbilimleri 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.)

Copyright of Journal of Turkish Music (TM) / Türk Müziği is the property of Young Wise Publishing 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 reviews three books and uses these as motivation to consider the changing conditions for the discourse communities which define musicology and its companion disciplines. More specifically, the books inspire a re-evaluation of the contemporary conditions of musical experience, activity, and research in a digitally oriented sound–word publishing world. The article notes a growing body of disciplinary literature that interacts with, or presumes, the presence of a particular readership that not only reads, but actively listens, while reading. It encourages a more aurally directed way of writing and suggests that musicology and its companion disciplines should continue to explore more coherent ways to link words to music. [ABSTRACT FROM AUTHOR]

Bringing together literature from music education, posthumanism, sound studies and ethnomusicology, this article considers what sound 'does' in music education spaces. Within posthumanism, the role of sound, as a manifestation of material-human entanglements, is under-theorised. This article, diffractively plays with the literature and evidence from a PhD project and a listening walk with pre-service music teachers, allowing the reverberations (as the continued effects and affects of bringing these materials into contact with each other), to spark generative thinking about how sound in music education is conceived. In doing so, the article presents three reverberations that challenge humanist conceptions of sound/music in education. The first considers all sound (human and non-human) as voice, which is transindividual (Chadwick in Flint [2022]. "More-than-Human Methodologies in Qualitative Research: Listening to the Leafblower." Qualitative Research 22 (4): 521–541. ) , the second considers the role of sound as an invitation to 'world-with' (Barad [2007]. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham, NC: Duke University Press) and the third reverberation explores sound as affect (Gallagher [2016]. "Sound as Affect: Difference, Power and Spatiality." Emotion, Space and Society 20:42–48. ). In thinking with these generative reverberations, this article is a provocation to explore how a posthuman reconceptualisation of sound in music education can help us re-state the importance of music as a curriculum subject. [ABSTRACT FROM AUTHOR]

Bamboo Musical Instruments have been part of Filipino culture for centuries. While there are literature reports on the history and production of Philippine BMIs, only few recognised the bamboo species used in making them. Knowledge about these species will contribute to their conservation as well as in the proper care and protection of bamboo musical instruments in the market and those that are kept on display in museums such as the UP Center for Ethnomusicology. In this study, 31 instruments produced by four indigenous communities: Kalinga (Lubuagan subtribe), Majukayong, Bagobo-Tagabawa, and T'boli are documented and the bamboo species used in making them were identified. The instruments were classified into idiophones (21), aerophones (8), membranophones (1) and chordophones (1). They were made from nine bamboo species, namely: kauayan-tinik (Bambusa spinosa Roxb.), kauayan-kiling (B. vulgaris Schrad. ex Wendl.), giant bamboo (Dendrocalamus asper (Schultes f.) Backer ex Heyne), bayog (D. merillianus (Elmer) Elmer), kayali (Gigantochloa atter (Hassk.) Kurz), botong (G. levis (Blanco) Merr.), bentung (Schizotachyum brachycladum (Kurz) Kurz), anos (S. lima (Blanco) Merr.), and buho (S. lumampao (Blanco) Merr.). Commonly practiced among the tribes in the selection of the bamboo species to use is to consider the length of the bamboo internode, thickness of the culm, diametre of the pole, and availability of the species. The bamboo species that were found in the tribal areas include introduced species that have naturalised in the country. [ABSTRACT FROM AUTHOR]

Music is an integral part of culture and human societies, which anthropologists study. What makes music so potent is its ability to contain values, reflect perspectives, and fill niches of societal needs. In this paper, I will discuss how ethnomusicology aids scholars in a deeper understanding of contexts, perspectives, and values in music and the experiences of the people who created it. I will analyze the relationships between music and technique, ritual, and religion in seven case studies. Drawing from examples from "right" singing in Estonia, the choral works of Stravinsky, Ambonwari rituals, ritual wailing in Amerindian Brazil, the maqam, syncretism in Southeast Asia, and Tamil Christian religious music, I will show how ethnomusicology uncovers understanding of the cosmology, values, and socio-cultural interactions of a people and their culture. [ABSTRACT FROM AUTHOR]

Copyright of Motif Academy Journal of Folklore is the property of Motif Yayincilik 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 Routledge Companion to Ethics and Research in Ethnomusicology" is a collection of essays edited by Jonathan P. J. Stock and Beverly Diamond that explores the ethical challenges of research, fieldwork, and scholarly communication in ethnomusicology. The book covers a range of topics, including Indigenous ways of knowing, feminist decolonialization, intersectionality, and empathy. It is divided into four parts that focus on different domains of research and ethical thought. The authors provide diverse perspectives and methodologies, making it a valuable resource for those interested in ethnomusicological ethics and the practical implications of studying oppressed cultures. [Extracted from the article]

Using a group of Japanese‐born experimental musicians who make their lives in Tokyo and New York as a case study, this article examines how new musical genres are created, shared, and mediated through layers of circulations, identities, and locations. The author argues that these musicians' lives and music have a kind of "noisy" quality, complicating genre boundaries and identity binaries in their wake. Through ethnographic "thick descriptions" and the words of the musicians themselves, the author shows the web of musical genres, languages, geopolitical identities, and gender relations that combine to make up the texture of musical performances. This article is also thinking through and with a sea change in the study of Japanese music. In recent years, building on the work of scholars of Japanese cultural studies, ethnomusicologists have critiqued how monocultural and mono‐ethnic mythologies have influenced the study and production of Japanese music. Ethnomusicology and area studies are Cold War enterprises, designed to create research that would help maintain that world order, educate Americans as global leaders, and change hearts and minds in foreign lands, leading to a cultural conservatism that often led scholars to focus on "traditional" Japanese music. Recently, however, research on Japanese music has increasingly focused on popular and experimental musics and examines how Japanese contemporary identity is created and maintained through music. Thus this article gives readers a view of how US‐based Japanese music scholarship is moving away from such Cold War paradigms and contributes to this shift in studies of Japanese music and culture. [ABSTRACT FROM AUTHOR]

With the recent advent of research focusing on the body's significance in music, the integration of physiological sensors in the context of empirical methodologies for music has also gained momentum. Given the recognition of covert muscular activity as a strong indicator of musical intentionality and the previously ascertained link between physical effort and various musical aspects, electromyography (EMG)—signals representing muscle activity—has also experienced a noticeable surge. While EMG technologies appear to hold good promise for sensing, capturing, and interpreting the dynamic properties of movement in music, which are considered innately linked to artistic expressive power, they also come with certain challenges, misconceptions, and predispositions. The paper engages in a critical examination regarding the utilisation of muscle force values from EMG sensors as indicators of physical effort and musical activity, particularly focusing on (the intuitively expected link to) sound levels. For this, it resides upon empirical work, namely practical insights drawn from a case study of music performance (Persian instrumental music) in the context of a music class. The findings indicate that muscle force can be explained by a small set of (six) statistically significant acoustic and movement features, the latter captured by a state-of-the-art (full-body inertial) motion capture system. However, no straightforward link to sound levels is evident. [ABSTRACT FROM AUTHOR]

This study explores a community-based cultural protection project among the Bulang ethnic group in several villages located in Xishuangbanna, Yunnan province, southwest China. In 2008, 'Bulang's traditional singing and instrument playing' (Bulangzu tanchang) was listed for protection under China's intangible cultural heritage regulatory measures. This study documents Bulang musical heritage, explores the link between mythology and music, and analyses whether modern social changes endanger musical traditions or give rise to new aesthetics. It adopts an ethnomusicological perspective, focusing on sustainability amid the commodification of ethnicity for showbiz through staged performances for tourists. The fieldwork ranges from virtual digital spaces to the established ethnographic technique of participant observation. Fieldwork in Menghai village examines how the Bulang people represent themselves in media, stage performances, and popular music, negotiating and reshaping their musical identity. This study emphasises the relationship between the stage performances of 'original ecology folksongs' in media and the sustainability of Bulang music, with insights for the politics of intangible cultural heritage. [ABSTRACT FROM AUTHOR]

The research was held back by the unique background of the Dol instrument as ritual music at the ceremony of the Tabut and the identity of the Bengkulu traditional music. The purpose of the study is to describe the organology of the Dol instrument and its method of production and describe the design of the implementation of musical instruments on mathematics learning materials in elementary schools in both physical and sociocultural detail. The theory used is ethnomusicology and mathematics learning media. The method used is case analysis, which requires a qualitative and quantitative descriptive approach to the organology of the Dol musical instrument and learning media. The data sources used are their sources and a validator with observation techniques interview techniques, and documentation techniques. The validity of data uses their types of triangulation (technique, source, and time). The result of this research was either a text box or a materials module. The result of the Dol instrument's organological analysis as a media learning mathematics based on local cultural wisdom at the elementary school is expected to assist every teacher in educating students in understanding the preservation of local culture and implanting the local area's cultural arts character. Besides, the results of this study will contribute to the literacy and media sources of common education and general education. [ABSTRACT FROM AUTHOR]

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]

Lithuanian traditional polyphonic songs, known as sutartinės, are characterized by a distinctive musical language and have almost no analogues in world music. The aim of this article is to explore the peculiarities of their musical language and the socio-cultural context of their performance tradition in order to reveal their archaic origins. The archaic nature of sutartinės songs is shown not by individual features of their musical language, but by the totality of these features, the peculiarities of their poetics, and performance traditions. An examination of the musical elements and poetry of these songs, and their juxtaposition against examples of archaic vocal polyphony from other cultures, leads to the convergence of arguments in favour of the very ancient origins of these songs, possibly dating back to Old Europe (c. 3 millennium BC). A deeper insight into sutartinės songs significantly enriches our understanding of the origin and development of traditional vocal polyphony [ABSTRACT FROM AUTHOR]

This review discusses two publications on Southeast Asian music, focusing on Vietnamese and Indonesian music. The first publication, Cannon's monograph, explores the creative practices of southern Vietnamese music and challenges Western notions of creativity and mastery. The second publication, "Sounding Out the State," examines Indonesian music from a predominantly North American perspective, highlighting the impact of Indonesian music on North American culture. The review emphasizes the need for a nuanced understanding of Southeast Asian music that considers both local and transnational contexts and challenges essentialist conceptions of creativity. [Extracted from the article]

This article explores the potential use of ethnomusicology in the development of entrepreneurialism amongst Western classical music students studying at UK music colleges. It is argued that both 'doing' and 'reading' ethnomusicology can encourage students to explore the diverse uses and meanings attached to Western classical music in varied social and geographic contexts. The knowledge garnered through ethnomusicology can then be applied in creative, informed and situational ways by students in the development of entrepreneurial strategies. As a by-product, it is suggested that ethnomusicology can be used to reframe entrepreneurialism as a musical, relational and interactive process. [ABSTRACT FROM AUTHOR]

This article examines the role of sound and acoustics in academic conferences, with a specific focus on the Society for Ethnomusicology's annual meeting in 2023. The author discusses how the treatment of sound at the conference contributes to the production of knowledge in the field of ethnomusicology and raises important ethical and political considerations. The article highlights instances where sound disruptions affect the integrity of presentations and raises questions about the strategies for sharing research in conference spaces. The use of movable partition walls in conference venues is also explored, with a discussion on how they can create separate spaces for different sounds and presentations. However, the author critiques the partitioning logic, arguing that it reinforces a self-interest mindset and limits interdisciplinary and inclusive discussions. The article suggests the need for a more open and inclusive approach in the field of ethnomusicology. [Extracted from the article]

This article examined the choral arrangement Zamina Mina Yeako Aba from an ethnodoxological perspective, drawing on an original music video, Zamina Mina Waka Waka, by the Zangalewa Band from Cameroon. Positioned as a composer, The researcher contextualized the choral arrangement against the historical and migration-related background of the Makossa ensemble. The study offered valuable insights into the choral arrangement of Zamina Mina Yeako Aba by exploring its linguistic and cultural origins. This article employed ethnomusicological and ethnodoxological approaches to scrutinize the choral arrangement, specifically focusing on the latter and exploring its cultural and spiritual aspects. This study examined the choral arrangement within its cultural setting, considering elements such as performance practices, compositional devices, cultural perspectives, and conversations with native Cameroonians and Ghanaians. Ethnodoxology, an interdisciplinary field, examines how various cultures articulate their worship through artistic mediums, particularly music in this instance. The article argued for fuller inclusion of Zamina Mina Yeako Aba and similar choral arrangements in global Christian worship and highlighted their inherent biblical themes. The significance of these arrangements extends beyond their musical qualities and highlights their role in preserving cultural heritage, promoting unity, and contributing to the broader landscape of global Christian music. This study showed how the seamless fusion of Western and African musical elements creates a synergistic effect. Through ethnodoxological insights into the choral arrangement, it reveals the deep connection between spirituality, tradition, and music in cross-cultural music-making. [ABSTRACT FROM AUTHOR]

This article provides a review of two volumes that delve into the early history of musicology. The first volume focuses on the development of musicology in Germany and Austria, while the second volume explores its development in other countries. The articles in these volumes examine the historical and institutional factors that shaped the field of musicology, as well as the influence of German and Austrian musicology on other regions. The volumes offer valuable insights into the establishment of musicology within universities and the transfer of scholarly knowledge. [Extracted from the article]

Municipal housing in Vienna, called Wiener Gemeindebau, is gaining new significance in research and cultural work in the discourse on affordable housing in the city and the increasing heterogeneity of urban life. However, it has also been a field imbued with the ideological projections, desires, and anxieties of various political parties. In the revival of the historical myth as a sociopolitical utopia of the so-called Red Vienna period and the simultaneous culturalization of conflicts and precarious living, municipal housing is a sensitive field within which questions of cultural coexistence are constantly negotiated. This article draws on insights gained through fieldwork in the context of the research project “Klingender Gemeindebau” (Sounding out municipal housing), which was conducted in the Anton-Figl-Hof, a medium-sized complex from the late 1950s in Vienna’s fourteenth district. Approaching municipal housing primary through the lens of music consumption, this study examines the potential of music for understanding neighborhood relationships and creating spaces for encounter: How does the diversity of origin, languages, age groups, and interests resonate in the musical preferences expressed by the residents? What role do sound and music play in everyday life and in the ways in which municipal housing is imagined and narrated by its residents? And how does public music consumption affect interpersonal relationships between so-called longtime and new tenants in providing space for both conflicts of non-belonging and inclusive forms of musical sociability?

During his prolific career, the German Jewish scientist Franz Boas (Minden, 1858 - New York, 1942) recognized as the founding father of American Cultural Anthropology – maintained assiduous contacts with the European scientific community, in a privileged way with that of the German area. The contribution addresses the Boasian correspondence with the two directors of the Berliner Phonogramm-Archiv, the philosopher and psychologist Carl Stumpf, and the ethnomusicolo-gist Erich Moritz von Hornbostel. All three were united by a common scientific experimental training and a solid musical education, typical of their Bildungsbuürgertum. With them, Boas consistently shared his fieldwork findings regarding music, sound, and language among the Indians of British Columbia: indeed, their epistolary exchanges intertwine epistemological reflections centered on the study of «exotische Musik» in context with technical problems, derived from the use of phonographic recordings and the relative shipments of wax cylinders by Boas to the Phonographic Archive. So far, the critical literature has not paid particular attention to their correspondence, that offer instead a privileged look in observing the birth of Ethnomusicology, at the time still defined as comparative Musicology (vergleichende Musikwissenschaft). Starting from a biographical contextualization and following the micro-history of the scientific and personal relationship of these scientists, the contribution aims to explore the hypothesis that the emerging Ethnomusicology significantly contributed to the definition of Cultural Anthropology as a discipline. In his painstaking research devoted to the Native Indian sounds and languages, Boas observed indeed what happens if a mind is exposed to a new sound, musical or linguistic context; he had therefore to rigorously deal with the phenomena of mishearing, sound-blindness and biasing filter related to the perception of «new sounds». Thanks to his fieldwork, Boas would endorse a relativistic and “in context” approach to perception and mental representations of sounds, fostering his eventual lifelong, hectic concern about a broaden antiracist theory of human mental functions.

Anklaje is a popular music group founded in the city of Castro in Chiloé Island, in southern Chile, whose creative work is characterized by the use of musical elements linked to the Mapuche Willliche people. In this article, we discuss how Anklaje represents Mapuche spirituality in its music, analyzing the interactions among territory, identity, and spirituality that articulate a particular creative process. We examine the band members’ discourses which characterize two ways of conceiving music practices, one linked to music as a rational expression and another as a spiritual experience. The results show how a construct of territory shapes a vision of spirituality, driving a representational practice based on the mediation between secular and sacred elements.