He Whiringa Māramatanga: Kaupapa Māori music in Māori community healing

It is obvious that so-called topic theory has, in recent years, achieved a central role in studies of musical style and aesthetics. In most conservatories, young music students do not like music theory and try to get through those classes with minimum effort. The reason is that traditional music theory teaching has not paid attention to how theory has an impact on musical praxis, performance. Musical form is understood as a collection of quite abstract ideas. In this respect, one has to admit that the introduction of topics to music analysis means that the whole rich realm of musical meaning or signification is allowed to enter the field of absolute music. In a situation where such theories as set theory, Schenkerian analysis, cognitive doctrines and so forth dominate, this has meant a rather radical step and paradigmatic shift.

In South Africa the arts and culture educational curriculum has undergone immense change and continues to impact and influence the role of musical arts practices in children’s lives throughout the country. In specific districts of the Limpopo province in particular, musical practices of the Venda culture are being integrated into the school classroom as a means to revitalize and regenerate musical forms that have been historically denigrated by missionaries and the apartheid government. The dance and performance genre known as tshigombela is one such example and, at present, it is a predominant musical practice that illustrates how a musical form can be preserved by shifting it from community settings and into government-sanctioned classrooms. This paper will explore this conscious shift of musical arts practices and the historical and current roles of tshigombela in communities and classrooms in Limpopo that are ensuring its legacy in the greater Venda musical culture.

Reviewed by: Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno ed. by Steven Vande Moortele, Julie Pedneault-Deslauriers, Nathan John Martin Steven D. Mathews Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno. Edited by Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin. (Eastman Studies in Music, vol. 127.) Rochester, NY: Rochester University Press, 2015. [vi, 456 p. ISBN 9781580465182. $120.] Music examples, illustrations, index. Almost two decades have passed since the publication of William E. Caplin’s seminal treatise, Classical Form, in which he proposes a theory of formal functions. Caplin defines a formal function as “the specific role played by a particular musical passage in the formal organization of a work” (Caplin, Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven [New York: Oxford University Press, 1998], 254). However, as disclosed by Janet Schmalfeldt in the special afterword of Formal Functions in Perspective: Essays on Musical Form from Haydn to Adorno (hereafter, FFP), Caplin had been involved in spirited discussions about formal functions with Schmalfeldt, his colleague at McGill University, since the late 1970s, when he translated a treatise on musical form by Arnold Schoenberg’s student, Erwin Ratz (p. 435). The positive impact of Caplin’s subsequent work—including the articles that led to the publication of Classical Form, the treatise itself, and its pedagogically-oriented update (Caplin, Analyzing Classical Form: An Approach for the Classroom [New York: Oxford University Press, 2013])—persists in music theory classrooms and conferences across North America and Europe by his numerous students, colleagues, and peers, which gives great cause for Steven Vande Moortele, Julie Pedneault-Deslauriers, and Nathan John Martin to edit a festschrift of thirteen essays in Caplin’s honor. In their introduction to FFP, the editors begin with a simple fact: “Few writers have contributed as much to the revival of Formenlehre in current English-language music theory as William E. Caplin” (p. 1). Yet, they also recognize the intentional constraints of Caplin’s “idiom-specific” theory of formal functions (i.e., the instrumental music of Haydn, Mozart, and Beethoven ca. 1780–1810): “The theory’s very richness—its fine-grained delimitation of the classical style—entails a corresponding loss of generality” (p. 4). Consequently, scholars have started to examine the works of other composers outside of the late-eighteenth-century Viennese masters and test the theory’s versatility. One goal of FFP is to offer essays that “open up new analytical and theoretical vistas while continuing to engage with the basic themes and commitments of Caplin’s work” (ibid.). Grouped into six parts (i.e., five groups of two and one group of three), the thirteen essays in FFP do not follow each other in a tight chronology of works or theorists (as may be implied by the subtitle, which captures the subjects of the first and final chapters, respectively). Instead, I find it equally useful to group these essays by their general analytical considerations and musical objects to comprehend the potential of [End Page 536] expanding Caplin’s ideas into other repertoires. Seven essays analyze a set of works by one composer to discover something new about the composer’s style: four essays focus on instrumental music and three essays analyze opera and song forms. Two other essays stand out for their primary focus on shared genres between multiple composers (e.g., one considers a cornucopia of nineteenth-century piano concertos by Field, Dussek, Hummel, Moscheles, Chopin, Cramer, Mendelssohn, Schumann, and Liszt). Three more essays relate via their intense analysis of only a single piece or movement. However, Vande Moortele’s essay in chapter 13, “The Philosopher as Theorist: Adorno’s materiale Formenlehre,” stands apart from the other twelve as it transmits a history of Theodor Adorno’s part/whole approach to the analysis of musical form in Mahler, Schoenberg, and Beethoven and offers similarities between Adorno’s theory and the works of both Caplin and Schmalfeldt. Despite this alternative grouping, the individual essays remain unique in their methodologies and specific goals, which I will focus on in the following sequential review before proceeding to a few general comments. The composers...

KO has a significant and intriguing relationship with domain knowledge. This paper proposes that a structure which is central to the domain of music could be considered to be a type of KOS: musical form. Musical form is the term used to describe the organization and structure of a musical work, and this paper will focus on musical form within Western art music. First, the study will consider how KOSs are defined, and will use definitions of KOSs from sources by Mazzocchi (2018), Zeng (2008) and Hodge (2000), to draw out eight possible criteria by which something can be considered to be a KOS. Then, the paper will determine how musical form relates to these criteria, utilizing the example of sonata form for illustration. The discussion opens up intriguing debates about the nature of music information, including the interrelationships between music practice, music retrieval and musical form. Valuable questions arise about the nature of KOSs more generally, such as whether KOSs can be non-textual. Importantly, the analysis of musical form highlights the vital temporal element of musical-form-as-a-KOS, and asks whether we can perceive a KOS which describes the organization of material within a temporal, as opposed to a primarily spatial, plane. The paper culminates in a model of musical-form-as-a-KOS and commentary on its potential position in KOSs of KOSs. This paper offers a useful addition to music KO discourse and introduces a novel approach to the study of KOSs. Musical form is a relatively undiscussed area of musical classification, especially in comparison to genre. Furthermore, the findings could potentially be applied to form in other domains too, such as literature. Ultimately, this paper serves to expand our understanding of exactly what is a KOS.

Hip-hop culture’s explosive arrival on the art scene of New York in the boroughs of Queens and the Bronx in the 1970s began to influence all aspects of musical theatre from singing to scenic design. Hip-Hop in Musical Theatre takes an intersectional standpoint to explore hip-hop’s influence on musical theatre practice and aesthetics by giving the reader a comprehensive map of musical theatre productions that have been impacted by hip-hop music and culture. Offering insightful briefs on musical theater productions that contain aesthetic, musical and embodied references to the global phenomenon of Hip-hop culture, this volume takes the reader through a virtual tour of hip-hop’ s influence on American musical theatre. From early traces of hip-hop’s rap scene in the late 1970s that appeared in musicals such as Micki Grant’s Tony Award nominated Don’t Bother Me I Can’t Cope (1973) and Broadway smash hits such as The Wiz (1978) to international juggernauts such as Lin-Manuel Miranda’s Hamilton (2015), this introductory book decodes the sights and sounds of Hip-hop culture within the socio-cultural context in which the musicals are produced. Published in the Topics in Musical Theatre series this volume presents fact-filled and insightful summaries of musicals that give the reader a snapshot of the musical and narrative content while highlighting which aspect of the music and culture of Hip-hop informs acting, dancing, singing, design and music in the selected musical while offering insightful analysis on the ways that hip-hop styles and politics have changed the shape of musical theatre practice.

Early childhood music educators use music learning theory to facilitate musical development in their students. For music therapists, an understanding of music learning theory is an entry-level competency. However, there are several different music learning theories (Buttram, 1996), and the lack of current research makes it difficult to determine which theory is being taught and in how much detail. In addition, although each of these models may offer a vocabulary for describing musical events, experiences, or processes, it is difficult to conclude, in the absence of research, that any one vocabulary is being used, or that all music therapists are using a similar vocabulary. This paper provides an overview of music learning theory as developed by Gordon (1971, 1989, 1997a, 1997b) and more specifically, audiation, and the types and stages preparatory audiation. The paper considers the model's distinctively musical vocabulary and implications for music therapy clinical practice.

This paper critically examines the importation of concepts and tools from the field of music theory into interdisciplinary research that investigates music and meaning. Within the field of music theory, one type of music theory – Western classical music theory – holds institutional dominance to the extent that the term “music theory” has become synonymous with this specific type of theory, even though it has been demonstrated to be highly incompatible with non-Western musical practices as well as many genres of popular music. This paper examines the biases and blind spots of Western classical music theory that carry over into research in music semiotics and related interdisciplinary fields such as music psychology, critically reflecting on the limitations these biases and blind spots impose on investigations into music and meaning. An eclectic range of alternative discourses on musical knowledge (e.g. from theoretical texts on non-Western and non-classical musical practices) are also explored and insights from these alternative music theories are collated in order to synthesise practical considerations that allow for broader (and less ethnocentric) perspectives to be applied in future research on music and meaning, with a particular emphasis on considerations for multimodal semiotic studies of music in contemporary global media practices.

Combined forces of colonialism, tribalism and apartheid were influential, powerful and controlling legislators behind the continued cycle of violence in South Africa. The capacity for healing in the face of ongoing adversity has received growing attention in contexts of historical trauma and the developing world where an understanding of the cultural and historical past is crucial to healing. Notwithstanding, the parallel significance of multilevel and multidimensional connection as central to the process of healing trauma individually and collectively within the context of ongoing violence requires further exploration. This qualitative narrative study consisted of 18 in-depth individual interviews and two follow-up focus groups with women lay counsellors. Women’s narratives were subjected to narrative analysis. Themes reflect counsellors’ healing journeys in the context of historical and continuous trauma and demonstrate elements of connection which facilitate or hinder the process of healing in this community. Findings suggest that participants viewed the worth of multilevel connection to their internal worlds and the world around them as critical to their healing—without the element of connection, healing does not occur and the cycle of disconnection and violence continues.

Music theory has acquired a unique position in between many fields, most notably composition, historical and systematic musicology and music pedagogy. Motivated by the topic “music theory and interdisciplinarity”, this essay explores the fields spanned by today’s music theory in seven short chapters. The first chapter describes changes of the discipline in German-speaking countries since the 1960s and its development from a simple synonym of practical harmony and a propedeutic means for music analysis to a postmodern, rich and scholarly ambitous field that can hardly be reduced to a common denominator. In the second chapter the author, drawing on Fritjof Capra’s The Tao of Physics, argues that music theory should not limit itself to purely “technical” issues, but must also address emotional or expectational realms of musical meaning. The third chapter further explores this point by discussing the opposition between musical theory and practice, suggesting that music theory indeed has the potential to let these two poles stimulate one another. The same is true for the often debated divide between “artistic” and “scholarly” aspects of music theory, explored in the fourth chapter: They are not mutually exclusive, but rather always have influenced each other, as evidenced by eighteenth-century treatises. Exchange with related disciplines such as music psychology has increased since the 1960s, as chapter five summarizes, although the relationship between music theory and musicology sometimes remains problematic. In the sixth chapter, a short analytical approach to four examples from the standard repertoire (Schubert, Bach, Brahms, Mozart) attempt to demonstrate the potential of specifically music-theoretical viewpoints. The final section advocates the strengthening of a specific profile for music theory: The liberation from dogmatic thought and systematic rigour should not lead us to overstretch music-theoretical questions.

Biological samples—such as tissues, blood and cells—are an increasingly important tool for research into human diseases and their genetic and physiological causes. To ease their storage and access, many of these samples are now stored in biobanks. The number of human biological samples in such collections amounted to several hundred million in 1999 in the USA alone—about one sample per US citizen (Eiseman, 2000; Azarow et al , 2003)—and is increasing rapidly. Three‐quarters of the clinical trials that drug companies submit to the US Food and Drug Administration (Rockville, MD, USA) for approval now include a provision for sampling and storing human tissue for future genetic analysis (Abbott, 2003). At the same time, there is a boom of population biobanks, as more and more countries establish new sample collections (Kaiser, 2002). Among the best known are: the Icelandic Health Sector Database; the Estonian Genome Project; the UK Biobank; the CARTaGENE Project in Quebec, Canada; the Banco Nacional de ADN in Spain; the International HapMap Project; and several US biobanks, such as the National Children's Study, the Marshfield Clinic's Personalized Medicine Research Project and the National Health and Nutrition Examinations Surveys. ![][1] This boom of biobanks has spawned a ‘boomlet’ of regulations and guidelines, which has created controversies, particularly about the importance and definition of informed consent. The consent of participants is usually required before biobank samples can be used in research, but the nature of this consent, and how it is obtained, vary widely. Many European guidelines take the view that general consent is acceptable to use samples for future, as yet unspecified, research projects; US and Canadian policy follows a more rigorous standard of consent. Until 2004, both Europe and the USA considered coded and linked anonymized samples—in which a code links the sample to its donor—as identifiable and therefore … [1]: /embed/graphic-1.gif

The art of Terbangan music in Lahat district is a cultural product derived from the customs of Semende people who migrated to the district of Lahat South Sumatra. With regard to this, the purpose of this study is to examine the issue of the form of the music of Terbangan and the axiological values ​​in it. This research uses an interdisciplinary approach involving the disciplines of musicology and philosophy. Science of Musicology is used to analyze the elements and forms of music on the art of flying. The discipline of philosophy is used to analyze the values ​​contained in the Art of Music Terbangan. Sources of data in this study using a qualitative source consisting of primary and secondary sources with techniques perngumpulan observation data, interviews and document studies. Data validation technique used by source triangulation while data analysis technique is done by reducing data, presenting data, and verifying data. In this verification process, conclusions are drawn with interpretations that use emic point references (field opinion sources) and ethical perspectives based on the theoretical concepts used. Based on the results of research shows things as follows the first form of musical structure among other elements, motives, clauses, sentences or periods that exist in the art of music Terbangan. The two human values ​​in the art of Terbangan which are part of man are holiness, goodness, truth and beauty.

Several prominent philosophers of art have worried about whether Kant has a coherent theory of music on account of two perceived tensions in his view. First, there appears to be a conflict between his formalist and expressive commitments. Second (and even worse), Kant defends seemingly contradictory claims about music being beautiful and merely agreeable, that is, not beautiful. Against these critics, I show that Kant has a consistent view of music that reconciles these tensions. I argue that, for Kant, music can be experienced as either agreeable or beautiful depending on the attitude we take toward it. Although it is tempting to think he argues that we experience music as agreeable when we attend to its expressive qualities and as beautiful when we attend to its formal properties, I demonstrate that he actually claims that we are able to judge music as beautiful only if we are sensitive to the expression of emotion through musical form. With this revised understanding of Kant's theory of music in place, I conclude by sketching a Kantian solution to a central problem in the philosophy of music: given that music is not sentient, how can it express emotion?

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.

The history of musical comedy begins in confusion. edith borroff Most histories of American musical theatre give short shrift – at best – to the ‘origin of the species’, to use Edith Borroff's apt phrase. Despite lofty ambitions (titles that claim coverage ‘from the beginning to the present’), most authors are content to offer a brief essay about the antecedents of musical comedy, usually including definitive identification of ‘the first American musical’ ( The Black Crook, Little Johnny Jones, Evangeline, Show Boat, The Beggar's Opera, The Wizard of the Nile or any number of other works), before turning, with an almost discernible sigh of relief, to musical theatre of the twentieth century. The reasons for the brevity and for the disagreement on the ‘first’ musical become readily apparent as soon as one attempts to sort out the myriad different types of musical theatrical forms that materialised, metamorphosed, became popular, disappeared, re-emerged and cross-fertilised prior to the twentieth century. To put it simply, for the scholar in search of a clear lineage to the forms of the twentieth century, musical theatre in the eighteenth – and even more so in the nineteenth – century was a tangled, chaotic mess. This was not the impression at the time, of course. To the contrary, a nineteenth-century American, especially the resident of a large city like New York, found musical theatrical life during the time to be gloriously rich, varied and ever-changing; it was a world that was entertaining, interesting, exciting and innovative to an extent that should elicit a twinge of envy from the modern reader. But the job of the historian is to clarify and attempt to put into some kind of order the messiness of a bygone era. And the richness of that period makes the job both difficult and important.

The five essays in this chapter survey well-known and lesser-known cities around the world where musical theatre is produced: Rio de Janeiro, Brazil; New York City, USA; London, UK; Lagos, Nigeria; and Manila, the Philippines. Each one reflects on different historical moments, from the nineteenth century through to the twenty first century, and on particular practitioners who contributed a range of innovations to musical theatre. Alex Bádue considers the localization and assimilation processes that have combined European, US American, and Brazilian cultures in Rio de Janeiro’s musical theatre practice. Jennifer C. H. J. Wilson uses impresario Tony Pastor’s career to explore how musical theatre in nineteenth-century New York City circulated and responded to the city’s working-class immigrant population. Laura Milburn similarly takes an impresario, producer Charles B. Cochran, and unpacks his collaborative work in twentieth-century London with both British and American songwriters. Leesi Patrick privileges a third producer, Bolanle Austen-Peters, and highlights BAP’s pioneering work in developing musical theatre as a viable entertainment industry in Lagos. Sir Anril P. Tiatco examines musical theatre entanglements in Manila to better understand the processes of returning, rewriting, and repeating that define its industry.