Musical Performance Research Articles

Dissemination of Marimba Performance Skills through Workshops: The Case of Rimba Resonance Vibes Ensemble

The Zimbabwe Marimba music performance has been disseminated both locally and globally, transcending national barriers since the Kwanongoma marimba was designed in Bulawayo in the 1960s at the United College of Education. There has been a phenomenal rise in marimba performance activities in Europe and America, while there is relative calm in Zimbabwe where the marimba was designed. This study chronicles my role in the dissemination of marimba performance within Zimbabwe with Rimba Resonance Vibes Ensemble from an insider perspective. The lull in local activity is largely due to the country’s socio-economic struggles which have led to marimba instructors, lecturers, tutors, and performers leaving for greener pastures. A yawning gap now exists, and the agency role is critically needed so that there are deliberate efforts to pass marimba performance knowledge and skills to the next generation, and conducting workshops is one way in which applied ethnomusicologists can advocate for the continuity of this culture. This paper is an autoethnographic account of my role in teaching marimba music performance experiences at marimba workshops in Zimbabwe. I conduct a qualitative autoethnographic exploration of Rimba Resonance Vibes Ensemble’s marimba workshops, describe the situation in Zimbabwe marimba music performance practices, and reflect on the nature of practice, skills development, and education. The paper reveals the concerted effort that marimba teachers need to invest to ensure the survival of their art in the future. There is a glaring need for action and dissemination to sustain the art of marimba music performance by bands based in Zimbabwe.

The Impact of the 2023 Cashless Policy on Live Music Performance in Nigeria: A Study of Selected Popular Musicians and Audience

The Impact of the 2023 Cashless Policy on Live Music Performance in Nigeria: A Study of Selected Popular Musicians and Audience

Improvised Variations of Sami Al-Shawa

This study aims to detect the most improvised performing method in Sami Al-Shawwa’s works through taking some samples from his musical recordings and highlighting the hardihood creative aspects in those samples, in a scientific thoughtful manner, while working on referencing those methods to special symbols. In fact, those familiar with Sami Al-Shawwa’s recordings may notices that they are full of diverse aesthetics and additions that show his to the moment creative abilities, and emphasize the need to pay more attention to this state of the art musical heritage and use it in a new musical inherent creative models. The results of this study included knowledge of the modalities of some improvised varieties at Sami Al-Shawwa’s performance that form a strong motivation for more deep and studious search discusses the characteristic of the Arabic Music performance and its integration with the contemporary music through high-level scientific methods. Keywords: Musical variations, improvisation, Sami Shawa, violin

TRADITIONAL BATAK MUSIC IN THE CONTEXT OF WORSHIP: CASE STUDY OF MANAGEMENT AND THE ROLE OF MUSICIANS

When hearing traditional music presented as accompaniment to worship, the author has a desire to know how much church management has put into preparing the presentation of music to accompany worship, as well as the role of musicians in delivering the worship musically. The aims of this research are to find out 1) how the presentation of Batak cultural worship is managed using traditional music, 2) to find out the role of musicians as accompanists of worship. The type of research used in this research is qualitative research with a descriptive approach. This research was conducted at the HKBP Pardamean church. The selection of research samples was based on the researcher's initial observations, where the researcher saw the phenomenon of presenting traditional music performances in the context of worship with various church management that were different from each other. Then the researchers also saw the phenomenon of the role of musicians who present worship music in services at the HKBP Pardamean Church. HKBP Pardamean holds a Cultural Service once a month as an effort to exist "Batak" in the context of presenting worship. At HKBP Pardamean, a presentation of worship is carried out by management. HKBP Pardamean holds a Cultural Service once a month as an effort to exist "Batak" in the context of presenting worship. Where nowadays it is almost eroded by the current of globalization. One of the symbols of culture that has begun to disappear from the Batak identity itself is traditional music.

RELASI MUSIK DAN SAWER DALAM PERTUNJUKAN DANGDUT NEW MONATA

This research is motivated by sawer activities in the New Monata dangdut music performance space. Sawer and dangdut music have a close relationship as performing arts. What we want to explain in this article is how saweran occurs in New Monata dangdut music performances and what the relationship is between music and saweran activities. This research was conducted using qualitative methods with stages of observation, interviews, document study, data presentation, data analysis, and drawing conclusions. Based on the analysis, it was found that the saweran activity in the New Monata dangdut music performance was carried out during the song. The act of nyawer is a reflective (spontaneous) and non-reflective (planned) action of the audience. Sawer is part of the reaction to the action of New Monata's dangdut music presentation. The relationship between music and sawer is a cause and effect relationship. The action of New Monata's dangdut music is the cause, the audience's reaction is the effect. Action and reaction are a natural phenomenon in a dangdut performance, music as action, and sawer as reaction.

Santur-Playing Iranian Americans in Northern California

In Northern California, there are Iranian Americans who play santur, originally a representative instrument of Iranian music. The present article focuses on this community, taking the following issues under consideration: · What are the aesthetic conceptions of Iranian santurs and their sounds, held by santur-playing Iranian Americans in Northern California? · What are the social applications of Iranian santurs in Northern California? Regarding methods, participatory study in the field served as the basis for this work. Partners of the study took part in intensive interviews, and also shared their opinions on various music samples. Literary investigation was also applied, clarifying the necessary historical and social backgrounds. My particular interest in santur led me to conduct this work. An aspect of it lies in underlining of diaspora discourse in ethnomusicology. Although there are strong ties between Iranian santur practitioners in Iran and santur-playing Iranian Americans in Northern California, the latter group has its own distinctive social identity and follows its concerns. Their repertoire goes beyond Iranian music as understood in Iran: it includes folk music and takes influences from neighboring minorities, such as Indian Americans. Regarding social applications of santur in Northern California, this study focuses on two main trends: political motivations, and interest in establishing dialogues with neighboring cultures. In both cases, the role of Radif-inspired improvisation is strongly present. In Northern California, the santur is used by various segments of the society. This practice sometimes goes beyond the Iranian American community. As this study focuses on a specific practice of santur away from the instrument’s original homeland, its outcomes can contribute not only to ethnomusicology, but also to areas of diaspora studies, music history, and such creative directions as music performance and improvisation.

Entertainment performance robots application in music network classroom based on speech sensor recognition and artificial intelligence

This article designs a framework for a music online classroom, optimizing the actions of performing robots to improve their performance. Combined with speech recognition and control algorithms, the robot’s actions are adjusted in real-time based on the emotions and rhythm of the music to increase student engagement and interactivity. Music recognition adopts methods based on time–frequency analysis and pattern recognition, identifying the type of music played based on the frequency and amplitude distribution patterns in the audio signal; Voice recognition uses feature analysis and speech recognition algorithms based on speech signals to better provide targeted feedback and interaction. This article optimizes the teaching of music online classrooms and verifies the feasibility and effectiveness of using performance robots based on speech sensor recognition and artificial intelligence in music online classrooms through experiments and analysis. Performance robots can mimic the way humans perform music, including singing, playing, and dancing, helping students better understand and imitate music performances. The music online classroom application in this article combines advanced technologies such as voice sensing recognition, artificial intelligence, and performance robots, providing students with a more convenient, personalized, and efficient music learning experience.

Exchange and negotiation of value when symphonic music is marketed as a commodity

The overall aim of this article is to investigate how different ideas about classical music are expressed in advertising campaigns and what ideological grounds are used to construct music as a valuable resource. Based on a case study of how the Gothenburg Symphony Orchestra (GSO) presents its music and concert performances in marketing campaigns, the article examines how commodification is used as a marketing strategy. A discourse-analytical perspective is used to demonstrate how values that are communicated to a listener are involved in value exchange processes that, although based on neoliberal ideology, also acknowledge traditional norms of aesthetic value. While this value exchange process enables aesthetic value norms to be reproduced, it is also involved in ongoing negotiations about which values should apply today and in the future.

Rethinking Instrumental Interface Design: The MetaBow

Abstract Although extensive research has been conducted over the past two decades on the development and implementation of sensors using inertial movement units for violin bows, most of these new interfaces share a common drawback—bulky and user-unfriendly design. Despite the advancements in sensor data processing for composition, performance, and pedagogy, interface design remains a critical bottleneck for the real-world implementation of these sensor-embedded devices. Our study introduces MetaBow, a low-cost, nonintrusive frog design for violin bows that can accommodate either a standard sensor kit or a custom-designed board. This interface eliminates the need for additional physical training and maintains the integrity of traditional violin performance mechanisms. We thus view MetaBow as heralding a new era in digital music interface design for the violin family with the potential for seamless human-computer and human-machine collaboration in music practice and performance.

What do you mean? Developing a ‘model of the aesthetic dialogue’ in collaborative music making

This article explores a teaching method wherein undergraduate music performance students were given the task of making music in four different modes: (1) Nashville mode, (2) DAW mode, (3) track-for-topline mode and (4) topline-for-track mode. Thematic analysis of qualitative interviews highlights four domains influencing quality and efficiency of negotiation of musical ideas: (1) what the environment affords, (2) students’ ability to show or explain, (3) students’ taste and preferences and (4) students’ comfort sharing opinions. Based on these findings, we develop a model of aesthetic dialogue, understood as negotiation of musical ideas within a group. We argue that aesthetic dialogue is dynamic and constantly negotiated and that the model provides a framework suitable to address a range of issues relevant to students wanting to progress as co-writers. This model is proposed as a starting point for addressing collaborative music making and dialogues from student, teacher and curriculum perspectives.

Resonating Culture: Ethnomusicological Theories Unveiling Zhuhu Music in Yangxin Tea-picking Opera of China

More than a century ago, the enchanting tea-picking songs enjoyed widespread popularity among the residents of Yangxin in China. These songs served as a source of entertainment within the tea plantation quarters. Folk music artists subsequently reworked these melodies, transforming them into short tunes for collective singing and dancing during the Lantern Festival. The integration of Huangmei tea-picking opera with the "lantern opera" further shaped the musical identity of Yangxin tea-picking opera. This research aims to analyze the features of zhuhu music and its contribution to the musical culture of the Yangxin community, with a particular emphasis on analyzing the music's characteristics and its cultural significance. The study will also delve into the evolving status of zhuhu music within contemporary Yangxin society. Employing an ethnographic research design, I combines participant observation and interviews with her own field experiences to provide a comprehensive account of traditional zhuhu performance practices in Yangxin tea-picking opera. Through a musicological analysis of zhuhu's repertoire, the paper uncovers the uniqueness of zhuhu music and traces changes in its traditional form, style, and function, linking these shifts to broader socio-cultural transformations. In approaching the study of this musical performance, I draw upon theories from the field of ethnomusicology. Building on my preliminary investigation of zhuhu music, I shaped the study by considering theoretical insights from various scholars and incorporating my perspectives. The paper will discuss pertinent theories applied to analyze the music of zhuhu as it accompanies Yangxin tea-picking opera. This research not only contributes to ethnomusicological theory and methodology but also deepens our understanding of the musical culture surrounding Yangxin tea-picking opera in China.

Exercise as a means of preventing musculoskeletal problems in musicians, a systematic review

Abstract Introduction The lifetime prevalence of performance related musculoskeletal disorders in musicians is reported to reach a very high rate (93%) and many times affect the music performance, playing efficacy, the quality of their work or their career progression. It can also have a significant financial burden on the musicians as well as on the organizations/orchestras. Purpose This systematic review summarizes the evidence available from randomized clinical trials investigating the effect of exercise in the prevention of musculoskeletal disorders in musicians. Methods The search was performed in the PubMed database and the specialized Journal of Medical Problems of Performing Artists, Science & Medicine, Inc. until March 2022. The keywords used were decided by Mesh terms. Studies that had titles and abstracts related to exercise or prevention programs in musicians to reduce or treat PRMDs were selected for detailed analysis. Exclusion and inclusion criteria were used for the final outcome. A qualitative assessment was also carried out with the PEDro scale. Results Of the 1050 articles found, 138 were selected by title for relevance and their abstracts were studied. Of these 22 randomized studies were selected for full reading. The criteria of the systematic review were met by 7 articles, which were examined in detail. Parallel searches were conducted with different combinations of keywords to cross-reference the selected randomized studies. Three clinical studies showed a reduction in the frequency of musculoskeletal disorders and a reduction in pain and symptom intensity with a statistically significant difference. Two clinical studies have had a positive effect on physical effectiveness. A control group in one study showed significant statistical significance in aerobic capacity. The same clinical study had a positive effect on the playing performance of the instrument. Another clinical study showed reduced inability related to music performance in both groups. Three clinical studies had an educational intervention together with the exercise intervention. No clinical research was found to assess the health costs of musculoskeletal disorders in musicians. Conclusions This systematic review provided evidence for the effect of exercise training in preventing musculoskeletal disorders in musicians. Prevention programs with exercise intervention had significant clinical value such as reducing the occurrence of musculoskeletal disorders in intensity, frequency and pain as well as improving their functional capacity and their quality of musical performance. Additional clinical randomized control studies are necessary with a larger number of participants and duration of follow-up of the results to confirm the above findings.

Adjudicating Equity in Music Performance Assessments: A Literature Review

Adjudicating Equity in Music Performance Assessments: A Literature Review

Coaching approaches in the practice of music performance

Coaching approaches in the practice of music performance

Representasi Budaya Jember dalam Jember Fashion Carnival: Pendekatan Teori Representasi Stuart Hall

This article aims to analyze the representation of Jember culture in the Jember Fashion Carnival (JFC) using Stuart Hall's representation theory approach. The main concepts applied in this analysis are change and resistance, which are used to understand how cultural symbols are represented and interpreted in JFC. The data collection process was carried out through literature study. Where the data obtained comes from the results of research and scientific work of other people which is studied and then developed. Data analysis was carried out by combining the concepts of Stuart Hall's representation theory with the findings found in the JFC event. The results of the literature study analysis show that JFC is an important forum for representing Jember's cultural identity through costume modifications, dance, music and other performances. In addition, the media plays an important role in the spread and influence of these cultural representations. In the context of Stuart Hall's representation theory, change refers to the transformation of cultural symbols in the JFC, while resistance describes the process of building cultural representations through interactions and agreements between JFC actors, the government and society. Through this process, Jember's cultural identity is represented and interpreted in JFC events. The implication of the results of this research is the need for continuous support in developing and promoting Jember culture through collaborative efforts between the government, cultural actors and the community. In this case, JFC can be an effective means of strengthening and expanding understanding and appreciation of Jember's cultural identity.

Hyper-brain hyper-frequency network topology dynamics when playing guitar in quartet.

Ensemble music performance is a highly coordinated form of social behavior requiring not only precise motor actions but also synchronization of different neural processes both within and between the brains of ensemble players. In previous analyses, which were restricted to within-frequency coupling (WFC), we showed that different frequencies participate in intra- and inter-brain coordination, exhibiting distinct network topology dynamics that underlie coordinated actions and interactions. However, many of the couplings both within and between brains are likely to operate across frequencies. Hence, to obtain a more complete picture of hyper-brain interaction when musicians play the guitar in a quartet, cross-frequency coupling (CFC) has to be considered as well. Furthermore, WFC and CFC can be used to construct hyper-brain hyper-frequency networks (HB-HFNs) integrating all the information flows between different oscillation frequencies, providing important details about ensemble interaction in terms of network topology dynamics (NTD). Here, we reanalyzed EEG (electroencephalogram) data obtained from four guitarists playing together in quartet to explore changes in HB-HFN topology dynamics and their relation to acoustic signals of the music. Our findings demonstrate that low-frequency oscillations (e.g., delta, theta, and alpha) play an integrative or pacemaker role in such complex networks and that HFN topology dynamics are specifically related to the guitar quartet playing dynamics assessed by sound properties. Simulations by link removal showed that the HB-HFN is relatively robust against loss of connections, especially when the strongest connections are preserved and when the loss of connections only affects the brain of one guitarist. We conclude that HB-HFNs capture neural mechanisms that support interpersonally coordinated action and behavioral synchrony.

Daya Tarik Wisata Musik dalam Meningkatkan Kunjungan Wisatawan ke Kota Bandung

Today, music tourism is multiplying due to a shift in tourism trends from mass tourism to more personalized tourism activities or special interest tourism. This shift in tourism trends has a positive impact on the city of Bandung, which is famous for the creativity of its young people and produces many famous musicians and music festivals in Indonesia. This study aims to identify the influence of music tourism attraction on the motivation of tourists visiting Bandung. Mixed methods through in-depth interviews with music tourism providers and distributing questionnaires to 100 respondents who have attended music performances in the city of Bandung were used to collect comprehensive and in-depth data. The results show that the city of Bandung has fulfilled the four components of tourism. Meanwhile, the results of the quantitative analysis show that music tourism has the potential to influence the motivation of tourists visiting Bandung City.

The influence of music performance anxiety on career expectations of early musical career students: self-efficacy as a moderator.

Music performance anxiety (MPA) is recognized as a distinct emotional behavior rather than merely a motor control disorder and is influenced by specific conditioning experiences. This study investigates the interrelationships between MPA, self-efficacy, and future career expectations among music students within the Chinese context. The participants of this study were 340 high school students majoring in music education and performance, drawn from three music schools in China. Data were collected using several questionnaires: the MPA Inventory for Adolescents (MPAI-A), the Self-Efficacy Formative Questionnaire, and the Career Futures Inventory (CFI). The findings indicate that MPA is negatively associated with self-efficacy and future career expectations. Additionally, self-efficacy acts as a partial moderator between MPA and career expectations, suggesting that enhancing the self-efficacy of music students can boost their future career aspirations and mitigate the adverse effects of MPA. This research explores the complex relationships among MPA, self-efficacy, and future career expectations, emphasizing the importance of curriculum and pedagogical strategies in music schools. Music students with high levels of self-efficacy may exhibit more confidence and stable performances before audiences. According to the panel regression analysis, self-efficacy significantly positively influences career expectations. An appropriate educational environment and supportive pedagogical approaches to MPA can foster the early career development of musicians.

Between Desire and Anxiety: Music Performances during The COVID-19 Period In West Sumatera

This article discusses the desire and anxiety of mutual attraction experienced by traditional and popular artists in West Sumatra during the COVID-19 pandemic. Musicians in tradition and entertainment who rely on the survival of music performance services are under heavy pressure by the COVID-19 pandemic situation because performances are rarely performed, even banned. Musicians committed to the creative field of creation experience the same thing. Live music performances are considered to be the cause of the gathering of many people, which results in being vulnerable to the transmission of the COVID-19 virus. However, they still channel the desire to perform live with the risk of getting in the way. Some are creative, using digital internet technology and social media to perform virtually. The research method used in collecting data is a mixture of field and virtual research. The tug-of-war between desire and anxiety is realized through live and virtual performances with non-maximal results.

Exploring quantitative indices to characterize piano timbre with precision validated using measurement system analysis.

Timbre in piano performance plays a critical role in enhancing musical expression. However, timbre control in current piano performance education relies mostly on descriptive characterization, which involves large variations of interpretation. The current study aimed to mitigate the limitations by identifying quantitative indices with adequate precision to characterize piano timbre. A total of 24 sounds of G6 were recorded from 3 grand pianos, by 2 performers, and with 4 repetitions. The sounds were processed and analyzed with audio software for the frequencies and volumes of harmonic series in the spectrum curves. Ten quantitative timbre indices were calculated. Precision validation with statistical gage R&R analysis was conducted to gage the repeatability (between repetitions) and reproducibility (between performers) of the indices. The resultant percentage study variation (%SV) of an index must be ≤10% to be considered acceptable for characterizing piano timbre with enough precision. Out of the 10 indices, 4 indices had acceptable precision in characterizing piano timbre with %SV ≤10%, including the square sum of relative volume (4.40%), the frequency-weighted arithmetic mean of relative volume (4.29%), the sum of relative volume (3.11%), and the frequency-weighted sum of relative volume (2.09%). The novel indices identified in the current research will provide valuable tools to advance the measurement and communication of timbre and advance music performance education.