Musical Culture Research Articles

Ukrainian Musical Modernism: Prerequisites for Conceptualization

The article outlines the current cultural situation surrounding the issue of Ukrainian musical modernism, presenting examples of actualization of this issue in the national musical practice of recent years. The author considers the initiatives of Oleksiy Shmurak and Leah Batstone, the researchers who explore this issue. The article engages with Myroslava Novakovych’s substantive provisions on the scholarly interpretation of the concept of Ukrainian musical modernism, the defining features of its aesthetics and the circle of its representatives. The author identifies a number of prerequisites for the conceptualization of Ukrainian musical modernism in concerts, performances, public lectures, educational activities, and research projects. Building on her own concept of musical modernism, the author offers an original view of the phenomenon of Ukrainian musical modernism as an epoch, defines its chronological boundaries and specific factors. The article characterizes the correlation between modernism and social realism in the Ukrainian musical culture of the twentieth century.

Sofya Khentova and Her Role in the Musical Culture of the Epoch (To the 100th Anniversary of Her Birth)

Sofya Khentova and Her Role in the Musical Culture of the Epoch (To the 100th Anniversary of Her Birth)

Military music and society during the French wars, 1793–1815

Abstract The French Revolutionary and Napoleonic Wars were experienced by the ears as much as the eyes, yet the auditory dimensions of these conflicts have received limited attention from historians. This article interrogates the reach and reception of military music in wartime Britain and Ireland by drawing on a wealth of evidence from memoirs, diaries, press reports and regimental archives. It demonstrates that military bands provided sought-after entertainment at myriad public events and staged open-air concerts for socially diverse audiences. The article interprets martial music-making as an important civil-military interface and a potent form of cultural propaganda: a means of inculcating patriotism and asserting the sonic supremacy of the established order in a revolutionary age. But it also reveals that military music provoked irritation, controversy and distress, not least by generating noise complaints and exacerbating sectarianism in Ireland. The article concludes by considering the role of British regimental music-making in overseas colonies and foreign theatres of operations, arguing that it functioned as a form of soft power that underpinned imperial authority, aided diplomacy and eased relations with local inhabitants. An intrusive symptom of large-scale military mobilization, martial music shaped civilian attitudes and soundscapes while profoundly influencing broader musical culture.

Research on the Integration Path of College Vocal Music Teaching and Traditional Music Culture Based on Deep Learning

Abstract In this paper, we first start from extracting music features and analyze the extraction methods for time-domain, frequency-domain, and cepstrum-domain features of music. Next, the logistic regression model is used to recognize music and deal with two-class and multi-class classification problems. To extract music and text features, a CNN-SVM-based classification model is proposed using a deep learning teaching practice structure. Finally, feature selection experiments are carried out on the extracted raw feature set using various feature selection algorithms to optimize the feature set and reduce classifier computation. The results show that the average number of feature items selected using the improved correlation coefficient method is 64, and the number of feature items is mostly distributed between 58 and 72. The data verifies that the improved correlation coefficient method proposed can effectively extract the features of traditional music, improve the accuracy of traditional music classification, and thus promote the development of the fusion of traditional music culture and vocal music teaching in colleges and universities.

Problems and Suggestions of Teaching Folk Songs in Middle School Music: The Teaching Materials of Renyin Edition

Folk songs are an important part of Chinese traditional music culture, which contains the deep humanistic connotation and values of the Chinese nation. School music education as an important position for the inheritance of Chinese traditional excellent music culture, teachers should take up the responsibility and obligation to promote and innovate Chinese traditional excellent music culture. The author takes the Renyin edition junior high school music textbook as the research object, and carries out in-depth research and analysis on the music textbook as well as the problems existing in the implementation of the textbook, and finds that there are many problems: in terms of the content, the students have a sense of distance to the folk songs; in terms of the singing, the dialect is obscure, difficult to understand and difficult to learn; and in terms of the implementation, there is a lack of a framework for the teaching of the folk songs and it is not systematic enough. By specifically analyzing the teaching materials, we try to solve the bottlenecks encountered in junior high school folk song classrooms and put forward several suggestions to solve the problems.

Practices and history of “co-programmazione” and “co-progettazione” in Italy: the case of cultural production and music education in Trentino

PurposeThis study aims to address the question of what coordination mechanism can be used for cultural production and, in particular, for the governance of music culture production. The authors locate their reflection within the specific institutional innovations introduced in Italy in 2017, focusing on the idea of shared administration and the public–private collaboration instituted in Trentino (a province located in northern Italy) in support of its cultural policy.Design/methodology/approachThis study focusses on the Trentino’s music school system. This includes 13 organisations (musicians’ cooperatives as well as associations of musicians and students, plus one municipal school which do not overlap with the public school system). To analyse shared administration features, the authors rely on selected information from 50 interviews with Trentino Music Schools (TMS) teachers and administrators, and on the proceedings of the 1994 music school conference organised by the schools at the time when this novel educational system was created.FindingsTo offer an innovative educational service, the public actor (Provincia Autonoma di Trento [PAT]) and the schools (TMS) have developed a strong interdependence at the different levels of decision-making: PAT needs organisations that are sufficiently structured and organised to respect requirements of transparency and accountability, as well as educational standards, whereas TMS need public funding to maintain their service accessible for users, good labour conditions and be financially sustainable. Likewise, the success of TMS in educating thousands of students every year, including additional teaching programmes funded by PAT within general public schools, has contributed to decrease the exclusion from music education, raise interest in young people for music and fed enrolment in TMS as well as in the public schools related to the conservatoire filière. Conclusions emphasise the existence of a polycentric system of music culture production which needs to acknowledge the risk of being trapped in a static disequilibrium, while recognising change and the need to support and promote a culture of cooperation among schools and across layered institutional levels over time.Research limitations/implicationsFurther research can observe this system of cultural production over time, to appreciate changes and organisational tranformations, while introducing comparative analysis with other systems in different regions.Practical implicationsThe relationship between the public and private sectors to design, organise and manage activities of collective interest (in the social, cultural, sporting and other fields) can increasingly become an effective and efficient alternative to the traditional bureaucratic as well as to the competitive method. For this to happen, however, all actors involved must be aware not only of areas of efficiency but also of inefficiency. To remedy the latter, corrective measures will have to be introduced. For example, fostering and improving “co-programmazione” and “co-progettazione” means giving all stakeholders involved the opportunity to actively participate. Should the number of participants increase, more discussion fora could be set up because one alone may not be sufficient to foster maximum involvement, to enhance different points of view, to allow for intersectoral and multidisciplinary interpretations and responses.Social implicationsThe system governance based on co-programming and co-design has allowed – despite limitations – to pursue educational purposes and thus well-being for the users, as well as for the teachers and the community as a whole. The continuity of this educational and cultural action has been guaranteed by the economic and financial sustainability of the schools, which is highly dependent on the public actor funding personnel costs, and in turn tied to the number of students (demand) attending each school. Actors embedded in the system need to build awareness of industry and cultural changes and knowledge of how to introduce more adaptive capacity. This points towards the need for strengthening networking capacity and collaboration among schools and other relevant stakeholders.Originality/valueThe case presented is a unique system of music culture production in Italy, and its governance has never been addressed by previous studies. It provides an application of shared administration to which public administrations and communities can learn to improve access to music culture and education. For public and private organisations to take advantage of the method of “co-programmazione” and “co-progettazione”, to make the production of a meritorious good more efficient and to favour its maximum accessibility, this study considers the strengths and weaknesses of this approach, or the areas of efficiency and inefficiency, for which new measures will have to be introduced.

Aesthetic conflict in Chinese traditional music in the aspect of the contemporary globalization processes

Statement of the problem. In the conditions of globalization, art becomes the result of the interaction of many factors, artistic cooperation and competition within the framework of the formation and functioning of artistic communities. The world of traditional Chinese music provides an excellent opportunity to study how members of the artistic community respond to the differences brought about by the processes of globalization. Therefore, consideration of the aesthetic conflict in traditional Chinese music, which arises in the context of globalizing world processes, appears as a topical issue and determines the content of this article. The theoretical basis of this article refers to works devoted to the study of the concept of globalization in art and culture. The analysis of publications on the topic show that the issue of globalization as a dynamic factor of the Chinese musical culture has not been extensively studied, while it is acknowledged that the influence of European music on Chinese one has always contributed to the formation of a certain aesthetic conflict. Objectives, methods, and novelty of the research. The purpose of the study is to highlight the specifics of the development of Chinese traditional musical culture in the context of the conflict of acceptance/rejection of the globalization influences of Western culture. For the first time, the concept of aesthetic conflict as a means of dynamic progressing Chinese musical art in the context of the globalization of the cultural space is considered. As research instruments, historical and comparative, hermeneutic, interpretive, and dialectical methods are used. Research results. The article highlights three forms of changes that cultural globalization can introduce to the world of art: – creation of conditions for the transnational circulation of works and forms of art for the construction of completely new artistic concepts; – the accumulation of modern trends, namely new techniques and approaches to artistic production, in the concrete artistic world; – cases of global aesthetic influences, where ideologies and values can guide the creation of an artistic object and form criterions for defining what can be considered authentic and appropriate for a certain culture. Regular influences from the West contributed to the fact that Chinese traditional music culture began to develop from the positions of either adapting to these influences or resisting new trends in the interpretation of musical culture. From this follows the conclusion that cultural globalization is not only a process brought from outside, but also a reality that is actively created by the subjects who are involved in it. Among the transformations of Chinese musical art in the process of globalization, the ways of formation of “Chinese traditional music” are considered as a response to the integration of Western influences. Conclusion. In the course of the research, it was found that the aesthetic conflict in Chinese musical culture was formed by the way of integrating cultural resources, which is due to globalization processes and leads to the state of coexistence of different types of cultures. Such coexistence indicates the acceptance of multiculturalism by musicians in the era of globalization, when the latter creates a context for the emergence of aesthetic conflict as a means of overcoming the perception of only one culture. It is emphasized that the focus on the preservation of identity of the Chinese musical culture actualizes the option of glocalization as a means of preserving one’s own in multicultural conditions.

CROSS-CULTURAL MUSICAL TRANSFORMATION: SHAPING CHINESE TRADITIONS

This article endeavors to thoroughly examine the processes of Western influence on Chinese musical culture, focusing on the perspectives of prominent figures within the Chinese composer-performer tradition. Specifically, it highlights the role of Westernization as a means of shaping musical concepts in the works of Fei Shi, Ou Man, Qing Zhu, and Zeng Zhizhi. Furthermore, it acknowledges that a substantial number of music scholars pursue education abroad with the intention of delving into Western musical experiences and engaging with the resources of Western musical culture and the arts. Upon their return, whether they adopt a “Westernized” or “reformed” approach, they are actively contributing to the practical development of their own musical culture and innovative musical ideas. It is revealed that the processes of Westernization primarily occurred through the efforts of individual representatives within the Chinese community. The article highlights their practical actions involving the adaptation and creation of contemporary styles and forms within Chinese musical culture.

THE FORMATION OF CHINESE PRIMARY SCHOOL STUDENTS' MUSICAL CULTURE

Music culture is an indispensable part of children's life, and it is a cultural form that can be expressed through sound, rhythm and melody. Music art is an important part of cultural inheritance and plays the role of transmitting and preserving culture. Through music art, children can feel the unique charm of different cultures, understand history and experience different emotions and emotions. Music art is not only an entertainment activity, but also a way of inheriting cultural heritage. Music culture records the survival and development of the Chinese nation, is the spiritual portrayal of the Chinese nation, and embodies the soul and thought of the Chinese nation. For the younger generation in China, the primary school stage is an important period for the formation of outlook on life, values and world outlook, and school education is the key way to promote the formation of music culture for primary school-age children. Therefore, the cultivation of music cultural quality should be started from an early age. Under the cultural background, this paper studies the formation of music culture of primary school-age children by vocal music education. The influence of physical characteristics and personal characteristics of primary school-age children on the formation of music culture is analyzed. This paper focuses on the formation and development of music culture of primary school-age children in combination with China traditional music, which is helpful to carry forward China traditional music and excellent traditional culture.

The structure of global cultural networks: Evidence from the diffusion of music videos.

We apply the independent cascade network inference model to a large database of music videos to infer the structure of the global network of music diffusion. The derived network reveals an intricate topology-fully interconnected, exhibiting a modular structure, and characterized by asymmetric links. We explore the relationship between the identified bilateral cultural diffusion pathways and the geographical and cultural distances among countries, and key socioeconomic interactions such as international trade and migration. Additionally, we use a gravity model to ascertain the factors contributing to both the formation and the intensity of the estimated diffusion channels between countries. Our findings reveal that cultural, geographical, and historical factors serve as primary drivers of musical diffusion, downplaying the importance of economic factors. This study posits that these elements exert considerable force in shaping musical preferences across nations, making the emergence of a homogeneous global musical culture improbable. This exploration adds valuable insights to the discourse on the globalization of music and its potential cultural implications.

Strategies for the Integration of Traditional Music Culture in College Music Teaching under Information Diffusion Modeling

Abstract The diffusion degree of traditional music in music teaching is analyzed by constructing an information diffusion model based on traditional music knowledge. Combine the information flow window to analyze the path process of integrating traditional music culture and music teaching. Combine the kernel function to calculate the degree of similarity between traditional music culture and music teaching. Analyze the students’ preference for traditional music culture content in music teaching by calculating the traditional music theme preference value. The results show that music teaching that incorporates traditional music culture has a better diffusion effect on teaching content, teaching method and teaching form, with the diffusion degree in the interval of [0.45, 0.85), and the diffusion degree interval of teaching information that does not incorporate traditional music culture is in the interval of [0.25,0.35). This study contributes to the integration of traditional music culture and music teaching to a certain extent and enhances the effect of music teaching in colleges and universities.

Tourism and education intersection: cultural reproduction of Osing community in the Angklung Caruk music festival

Music festivals are social and cultural events mostly seen as activities to present artistic expressions for the audience to enjoy. If it is investigated closely, the presentation of work at festivals is the final culmination of training and learning, both of which are essential elements of the educational process. This research aims to examine and show that music festivals have educational elements, even in the context of tourism interests. The music festival studied was the Angklung Caruk Festival, a type of traditional music from the Osing community. The festival competes for musical skills between student angklung groups in Banyuwangi, East Java. The research uses ethnographic methods to discover and explain the intersection between festivals' education and tourism dimensions. Data collection uses participant observation techniques, interviews, document study, and documentation. Data analysis uses an ethnographic model, including domain analysis, taxonomy, components, and cultural themes. The research results show that the Angklung Caruk music festival is an arena for competition in the beauty of musical works between student groups to achieve victory. This competition has become a tourism commodity packaged under the title Banyuwangi Festival. To present their best musical works, each angklung group receives intensive and profound education from professional musicians, with the support of the school, government, and parents. Thus, the Angklung Caruk Festival is an arena for reproducing Osing traditional music culture which has an economic and educational dimension. It has an impact on strengthening the identity and social repositioning of the Osing community in the present and future.

Global arts on mission: Longitudinal perspectives

The conference theme, “Global Arts on Mission: Embedded, Embodied, and Empowered” explored the arts in mission for the first time in the 50-year history of the ASM. This article features the Presidential address from the annual meetings. Its purpose was to consider the dynamics of contextualized arts on mission over the last 45 years drawing from three case studies of my work as a missiologist-cum-ethnomusicologist. The theoretical concept of musicking provides a foundation for exegeting musical cultures, revealing the dialogical nature of shared musical performance. Not only does it point to how the nations around the world continue to discover their unique voices in raising songs of witness and worship to the Lord Jesus Christ, but it also presents longitudinal perspectives of the enduring impact of global arts on mission.

Construction of Wu Di Music Culture Education Inheritance Innovation System Based on Clustering Algorithm in the Internet Background

Abstract This paper constructs a blended teaching strategy based on Internet information technology and gives the teaching design of Wu Di music culture education. Behavioral science theory and the K-means clustering algorithm of rough set optimization were used as the guide to construct the behavioral analysis model of students’ learning Wu Di music culture education. The effectiveness of the blended teaching model in the inheritance and innovation of Wu Di music culture education was verified through empirical analysis. The results show that blended teaching can further enhance students’ absorption of Wudi music culture, and the percentage of the experimental class who are very interested in Wudi music culture education is 12.03% higher than that of the control class. The blended teaching mode can enhance students' interest in Wudi music and culture education and contribute to the inheritance and innovation of Wudi music and culture education.

The legacy of the Altai composer Afanasy Stepanovich Anokhin as a focus of the formation of the national choral culture of the mid-twentieth century

The authors of the article consider the main directions of the development of choral culture of the twentieth century in the context of domestic and regional socio-cultural processes through the prism of the legacy of the multifaceted creative personality of A. S. Anokhin, as well as through the analysis of the biography and creative path of the composer, based on his diaries and memoirs; presenting his views on the historical events of that time from the point of view of the musician and a teacher. The figure of Afanasy Stepanovich Anokhin is one of the key figures in the musical education and enlightenment of the Altai Territory in the XX century, about his creative and educational activities. The novelty of the research lies in the reconstruction of the integral creative image of the composer in the context of the formation of musical culture in the Soviet period in the Altai Territory. In this work, for the first time, a complete list of the composer's published works is published. A. S. Anokhin's main compositional legacy is connected with mass songwriting, one of the most popular genres of the Soviet era. The article also examines the development of musical and choral culture in the Altai Territory from amateur groups to professional performance and the development of musical education throughout the twentieth century, as well as raises issues of preservation and reclamation of regional cultural heritage.

Chinese national music platformisation: A systematic review

Chinese national music is unique to China, and in the past, the single means of distribution and the audience led to the fact that knowledge of Chinese culture and history was limited to national musicians and a subset of fans. With the rapid development of the internet, the dissemination of Chinese national music is no longer limited to live performances, but is beginning to shift to media platforms. Social media has had a tremendous impact on Chinese music culture; people can search for any information they need about Chinese music. With the advancement of social media, groups of internet celebrities such as wanghong (网红) have formed on the internet. This study systematically reviews platformisation and the social media in Chinese national music. Past literature and current notions on Chinese national music development under platformisation are examined given the essentiality of smart devices in developing music through digital technology. The study posed three research questions: 1.What is the current state of development of Chinese national music? What opportunities does platformisation bring to Chinese national music? 2.What areas are the focus for research on platformisation and social media? What is the impact on the music field? 3.What is the history of the development of the Chinese wanghong phenomenon? What impact has it made on Chinese national music? A general systematic review of scholarly articles was conducted for this study using multiple publications from reputable databases: Scopus, Web of Science and CNKI (China National Knowledge Infrastructure). The articles were categorised based on scholarly works involving platforms, platformisation, Chinese national music, social media, and wanghong to determine past study profiles in this domain and relevant knowledge gaps.

The integration of vocal music teaching and traditional music culture in colleges and universities with a full media perspective

Abstract The first part of this paper examines the classification of traditional music culture and the method of integrating it with modern vocal teaching. Then, the association rule algorithm was used to establish the calculation model of integrating college vocal teaching and traditional music culture, and the weighted MINWAL algorithm improved the model. Finally, the degree of integration and the effect of integration between college vocal music teaching and traditional music culture were analyzed using indicators of integration degree, value, and acceptance. The fusion levels of singing style, voice, tune melody, lyrics, performance technique and dynamics were 4, 3.5, 4.3, 4.4, 4.1 and 3.9, respectively. The fusion level regarding teaching content was 4.1, and the fusion level in terms of practical activities was 4.0. A teaching strategy that is feasible and effective and has promotion value is the combination of college vocal music teaching and traditional music culture.

Processy formirovaniya i identifikacii muzykal'noj kul'tury malyh narodov Kitaya v kontekste antropologii

This article will take the anthropological context as the starting point to discuss and analyze the multi-dimensional interaction between the minority subjects, local governments and the state in the minority music culture of China, as well as various issues related to the identity construction and cultural identity of this kind of festival ceremony music.

THEATRICAL ACTIVITY AS A MEANS OF FORMING MUSICAL CULTURE OF FUTURE PRESCHOOL AND PRIMARY EDUCATION SPECIALISTS

The article analyzes the problem of using theatrical activities in the process of forming musical culture of future specialists in preschool and primary education. The purpose of the publication is a comprehensive scientific analysis of the problem of using theatrical activities in the process of forming musical culture of future specialists in preschool and primary education. In particular, the importance of professional training of future specialists in preschool and primary education by means of theatrical activity has been determined. During the research, the following methods were used: theoretical ‒ analysis of regulatory documents and philosophical, psychological-pedagogical, cultural, methodological literature, as well as abstraction, systematization and generalization of data in order to determine the state and theoretically justify the investigated problem; empirical ‒ a role-projective method for studying and analyzing the results of theatrical activity. The significance and influence of theatrical activity on the development of a child’s personality, as well as the importance of preparing students to ensure the appropriate development of children of preschool and primary school age, are emphasized. Attention is focused on the importance of such a characteristic of theater art as the syntheticity (regarding different types of arts and the stage performance of an actor). The issue of forming musical culture of future preschool and primary education specialists by means of various forms and types of theatrical activity is highlighted. The main forms of organizing this process are lecture, practical and laboratory classes (in the disciplines “General pedagogy”, “Fundamentals of culture and speech techniques”, “Fundamentals of stage and screen art with teaching methods”, “Organization of theatrical activities in preschool education institutions”, “Methodology of music education”, “Theory and methods of conducting events and entertainment in PEI”, etc.) and extracurricular forms of students’ the atrical activities (theatre studio, theater circle, etc.). Mini-creative projects, which can be a component of control classes of any discipline or be used as an independent type of theatrical activity of extracurricular forms of work, are defined as important types of theatrical activity for the formation of future specialists’ musical culture.
 Keywords: formation of musical culture; future specialists of preschool and primary education; theatrical activity; children of preschool and primary school age; forms of work organization; professional training of specialists; types of musical activities; creative mini-projects.

Censoring the Filthy Fifteen: An Examination of Music Genres

This research project contributes an important component to the field of censorship and freedom of speech in contemporary music by comparing songs of the Filthy Fifteen to top pop songs of the 1980’s. It analyzes the potential legitimacy for concerns about obscene lyrics brought by the Parents Music Resource Center (PMRC) to the 1985 Record Labeling U.S. Senate Hearing. The Filthy Fifteen was used as justification for establishment of the music rating system, which has had lasting impacts on American music culture to this day. Findings show that there were more violent references in songs of the Filthy Fifteen, however, popular music songs contained more sexual references.