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Introduction: In this study, we examined the cognitive processes and physiological responses involved in learning a flute piece by the composer Charles Koechlin among musicians of different expertise levels. Participants performed the piece four times consecutively, with a 2-min practice interval between the first and the second trial. Methods: Using data obtained from an eye tracker, respiratory sensors, and an audio recorder we assessed short-term improvement and the effect of musical structure and practice on key variables identified through a multivariate approach: eye-hand span (EHS), time index of EHS, thoracic and abdominal amplitude (breathing patterns) and pupil dilation. Results: The analysis revealed two main dimensions: one associated with EHS; and the other with embodied responses to music, closely linked to breathing patterns and pupil dilation. We found an effect of musical structure on all the variables studied, while the EHS improved with practice. Expert musicians demonstrated enhanced EHS and adapted their breathing patterns more effectively to the music's structure. Discussion: These insights support the hypothesis of a coupling between anticipation and breathing, emphasizing the role of perceptual and embodied components in music reading and learning. [ABSTRACT FROM AUTHOR]

An important part of American musical history involves the Indigenous and their music and traditions. Although we do have some historical perspectives, they can be difficult to document because of the traditions being passed on by word of mouth, by song, and also because of secrecy involving particular rituals. Writings of some Europeans who had interactions with the Indigenous cannot always be trusted either, as they can be very biased, especially in the area of music. It is also likely that these traditional Native American Indigenous people contributed greatly to the history of music in the United States with the greatest influence coming from the Cherokee and Navajo tribes. In this article, we will eamine through various tribes traditions of the Indigenous in music. Through their narratives and song, some of the interactions between regions can be traced. In this paper we discuss the musical manifestations of these tribes. [ABSTRACT FROM AUTHOR]

Acquiring new languages is crucial in today's globalized world. It enhances personal relationships, and promotes professional growth while broadening perspectives. It also fosters empathy and cultural sensitivity as we are currently in an era of inter-cultural communication. The objective of this study is to explore the role of translation in acquiring new languages as a contemporary necessity in this era when mankind is faced with the need to reach out to one another. Emphasis specifically, is on how it aids the acquisition of a second or multiple languages. Emphasis on situational/contextual teaching/learning of a second language (communicative approach), makes contextual translation suitable for this purpose. The core of the article is to establish the nexus between the trio: translation, communication, and language acquisition. A detailed review of the available literature on the above concepts is presented. This role is examined through the use of one of Achebe's literary works for children, The Flute. The analytical frame work is grounded in the interpretative theory of translation and it elucidates the effectiveness of translation in the acquisition of a second language, especially in young children. The conclusion attests to how children can easily acquire a second language and also communicate appropriately through the use of pedagogical translation. [ABSTRACT FROM AUTHOR]

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

In the summer of 2021, the remains of nine Lakota children who died at the Carlisle Indian Industrial School were returned to the Rosebud Reservation in South Dakota. The return of the children was a sacred and important event for the Lakota community, honoring their lives and providing closure for their families. The process involved careful excavation, traditional ceremonies, and prayers conducted by senior members of the Rosebud Sioux Tribe Historical Preservation Office and traditional leaders. The burial ceremony of one of the children, White Thunder, was described in detail, highlighting the cultural and religious significance of the event. The return of the children's remains has brought hope and empowerment to the Rosebud community, while also acknowledging the historical mistreatment of Native American children by the Church. [Extracted from the article]

During the Sui and Tang dynasties, trade in Central Asia was frequent, and cultures merged. As an alien ethnic group, Sogdian integrated into the Central Plains during the Sui and Tang Dynasties and impacted the dance and vocal culture of the Central Plains. The research on Sogdiana is mainly reflected in the connotation and history, and there is little research on the characteristics of its musical instrument combination and performance methods. This paper analyzes the Sogdian culture in the Sui and Tang dynasties and studies its achievements in dance and its influence on contemporary teaching. The results show that the Sogdian instrument arrangement focuses on percussion, especially drums, flutes and other instruments. However, the frequency of use of different instruments is the same. At the same time, it was found that Sogdian instruments contained rare elements such as lead, tin, and manganese, which also explained the reason why drum and flute percussion were dominant. In terms of performance methods, Sogdian mainly performs Huxuan dance, Huteng dance and Zhezhi dance, focusing on body language and space performances, such as vacating to show the softness and tenacity of the dance, as well as the style of soaring and rotating. Sogdian musical instruments and dances have an enlightening effect on contemporary music education, mainly integrating various dance styles, developing national dances, and rationalizing musical instrument arrangements. [ABSTRACT FROM AUTHOR]

Glacier-bed characteristics that are poorly known and modeled are important in projected sea-level rise from ice-sheet changes under strong warming, especially in the Thwaites Glacier drainage of West Antarctica. Ocean warming may induce ice-shelf thinning or loss, or thinning of ice in estuarine zones, reducing backstress on grounded ice. Models indicate that, in response, more-nearly-plastic beds favor faster ice loss by causing larger flow acceleration, but more-nearly-viscous beds favor localized near-coastal thinning that could speed grounding-zone retreat into interior basins where marine-ice-sheet instability or cliff instability could develop and cause very rapid ice loss. Interpretation of available data indicates that the bed is spatially mosaicked, with both viscous and plastic regions. Flow against bedrock topography removes plastic lubricating tills, exposing bedrock that is eroded on up-glacier sides of obstacles to form moats with exposed bedrock tails extending downglacier adjacent to lee-side soft-till bedforms. Flow against topography also generates high-ice-pressure zones that prevent inflow of lubricating water over distances that scale with the obstacle size. Extending existing observations to sufficiently large regions, and developing models assimilating such data at the appropriate scale, present large, important research challenges that must be met to reliably project future forced sea-level rise. [ABSTRACT FROM AUTHOR]

"Carriage Trade" is a 61-minute silent film by Warren Sonbert that was shown at the Whitney Museum of American Art in 1973. The film is a compilation of travels, home movies, and documents, using different stocks of film to create varied effects. It focuses on the language of film, exploring elements such as time, composition, cutting, light, and distance. The film does not have a strict plot or moral message, but instead aims to evoke reactions and engage viewers through its visual and rhythmic qualities. Critics have praised the film for its beauty and artistic qualities, while others have questioned its ability to engage the mind. Sonbert considered "Carriage Trade" to be his magnum opus. [Extracted from the article]

The paper presents the results of research in the field of assessment in music schools in the Republic of Croatia. It is part of a more extensive research on teachers' competencies in individual lessons of an instrument. Most of the teachers included in the sample of this research (N=31) believe that the knowledge and competencies for monitoring and evaluating students in lessons are important. Most respondents occasionally or regularly use formative assessment procedures, taking these results into account when planning lessons and adapting teaching content and methods to students' individual needs. They also often give feedback to the student about their progress. Although most teachers encourage students to evaluate their own work, respondents use peer evaluation only occasionally. As the most important elements in forming the final grade, the respondents point out regular practice, the correctness of the played music and effort in the lessons. [ABSTRACT FROM AUTHOR]

This article is dedicated to the analysis of the piece "Co(ho)quet(us) for two flutes" written by Diana Rotaru, a young-generation Romanian composer, in 2011. It examines the new methods of sound production on the flute, linking them with musical language, the architectonics of the piece, as well as the composer's explanations and remarks about the flute's role in her oeuvre, the significance of these new sound production methods, and her relationships with famous contemporary flute performers. Emphasis is given to modern flute playing techniques such as Aeolian sounds, slap-tongue, and tongueram. [ABSTRACT FROM AUTHOR]

This article hypothesizes that a lost score by Villa-Lobos, the Trio for flute, cello and piano in C minor, Op. 25 (1913) would be an adaptation of Trio #1 for violin, cello and piano (1911), also in C minor, Op. 25. The coincidences observed in tonality, opus numbering and movement titles are indications that this adaptation was made in order to accommodate the instrumental formation of the chamber music concerts performed by Villa-Lobos in Friburgo in 1915, with the participation of his wife Lucília Guimarães on the piano and flutist Agenor Bens. The possible collaboration of Agenor Bens in the adaptation of the original violin part for flute gave rise to the research of the biographical profile of this musician, who transited between the universe of choro and concert music. In addition, an adaptation for flute is offered, proposing that the performance of the work can provide more support for the hypothesis formulated here. [ABSTRACT FROM AUTHOR]

This article, titled "Anima et Animus: Alexander Agafonov's painting and sculpting of Ukraine's soul," explores the artistic work of Alexander Agafonov and its connection to the soul of Ukraine. Agafonov's artwork encompasses both painting and sculpting, with a focus on evoking both sublime and ridiculous spirits. The article highlights Agafonov's ability to balance different mediums and capture the essence of Ukraine's spirit, including its history, struggles, and resilience. The artwork also touches on themes of femininity, love, and the importance of not taking life for granted. Overall, Agafonov's work is seen as a reflection of Ukraine's creativity and compassion. [Extracted from the article]

Hendrik Hofmeyr's Marimba for solo flute demonstrates various kinds of growth that generate a musical force that drives the work towards its conclusion. This article focuses on a kind of musical force that originates in the initial contrast between stasis and forward movement followed by the systematic merging of the two agents in the course of the work to eventually arrive at its final climax. Although the two sections that represent stasis and forward movement are based on the same pitch material, the contrast manifests as the result of the diverse ways in which pitch is ordered in time and the resulting melodic patterns articulated when performed according to the composer's directions. In the work as a whole the musical force is created by the way in which pitch, shape of melodic motifs, register, horizontal density, tempo, metre, dynamics, articulation, performance directives provided, ornamentation, and length of sections are dealt with in an artistic manner. In the course of the four alternating stasis and Danzante sections, two- and three-note melodic patterns from motivic material are used in an artistic manner as the music unfolds in time. Through the implementation of various compositional strategies, the original contrasting patterns of the stasis and the Danzante sections eventually merge in the final climax of the last eight bars. [ABSTRACT FROM AUTHOR]

Music, movement, and imaginative play are essential for young children to explore and understand the world around them. It is important for educators of early primary students to consider how they can facilitate meaningful learning experiences that are practical, engaging, and allow children to investigate unfamiliar musical ideas in supportive, fun environments. This article introduces Cryptozoologica, a new work for flute, viola, and cello with Storyteller by Australian composer Jim Coyle, and describes how educators of young children can use music from a range of cultures and genres, including Western art music, to teach students to physically, cognitively, and imaginatively engage with sounds and stories. It includes the full score of Cryptozoologica and five lessons that encourage listening, movement, and play as a means of embodying musical understanding and knowledge. [ABSTRACT FROM AUTHOR]

The article titled "Sounds of Love and Sorrow" discusses the groundbreaking nature of the film by Hu Taili, which explores the making and playing of bamboo flutes among Taiwan's Indigenous Paiwan community. The film challenges the traditional representations of Indigenous music in ethnographic documentaries and the rise of new Indigenous talent in the Taiwanese music industry. It focuses on the emotional lives of the Paiwan elders and the cultural associations between flute music and their ancestral spirit. The film also opens up the possibility for cross-cultural comparisons and highlights the commonality between the Paiwan people and others who find pleasure in expressing sorrow and desire through music. [Extracted from the article]

Gamakas, the essential embellishments, are integral parts of Karnatic music. Synthesising any form of Karnatic music necessitates proper modelling and synthesis of different gamakas associated with each note. We propose a spectral model to efficiently synthesize gamakas for Karnatic bamboo flute music from the notes, duration and gamaka information. We model three different components of the flute sound, namely, pitch contour, harmonic weights and time domain amplitude envelope. Cubic splines are used to parametrically represent these components. Subjective analysis of the results shows that the proposed method is better than the existing spectral methods in terms of tonal and aesthetic qualities of gamaka rendition. Hypothesis test results show that the observed improvements over other methods are statistically significant at 95% confidence interval. [ABSTRACT FROM AUTHOR]