Musical Practice Research Articles

A Theoretical Review Towards a Conceptual Framework for Creating ‘Neoclassic Big-Band Highlife Music’

It is a truism that highlife, Ghana’s first acculturated popular music, presents various styles employing various musical ensembles and playing to different audiences. However, the diverse highlife stylistic trends have declined in musical works recently due to generational differences and tastes. As a result, modern-day recorded highlife compositions sound similar and, in some cases, the same. Despite its iconicity in Ghanaian popular music, it is also quite surprising that highlife music still struggles for compositional and theoretical relevance in Ghanaian academic programmes of schools, colleges and universities. This paper, therefore, presents a characterisation of the diverse highlife music trends as an attempt to develop a conceptual framework for creating ‘neoclassic big-band highlife music’ that transcends diverse styles and generational tastes. Drawing on my experience as a highlife practitioner and music educator, I reviewed theories, concepts, and literature relevant to highlife music to conceptualise a framework for creating works that transcend the generational differences and tastes of highlife music. This paper expands the frontiers of highlife music practice and scholarship. Therefore, it is not just a recommendation but a call to action for Music composition professors to adopt this conceptual framework as a blueprint to begin a taught course on ‘Highlife Music Composition’ in music institutions. The involvement of Music composition professors in this process is crucial to enhancing the structural and theoretical trajectory of highlife music.

Towards a model of playful music learning for primary classrooms: recommendations based on a review of literature

Abstract Playful practices have been linked to increased motivation, engagement, learning and skill development. However, limited research has explored what playful music learning might look like for primary schools, and how teachers might incorporate a range of playful music practices within their classrooms. Our conceptual model for playful music learning amalgamates and builds upon previous philosophy, theory and research in the education and music education spheres. In doing so, it extends musical play across a continuum of ownership as has been proposed by Zosh et al. (2017) in the realm of playful learning more generally. Playful elements associated with the work of music education pedagogues Kodály and Kokas and other researchers in the field are outlined. Examples of musical games-play and guided musical play for primary classrooms are illustrated, and some recommendations are provided to support teachers in facilitating increasingly playful music learning.

Ecosystems and Sounding Lives: Musical Instrument Makers in Greater Central Asia

ABSTRACT Environmental changes present new challenges for twenty-first century musical instrument makers who continue customary practices but are also forced to make visual and sonic changes due to eroding natural resource access and health. Informed by fieldwork in Kazakhstan, Uzbekistan, Kyrgyzstan, western China, and western Mongolia, this article uses an eco-ethnomusicological approach to consider relationships between instrument making and the social, cultural, and ecological systems that influence the characteristics of natural resources and the creative opportunities of makers. Managing change, makers use prior knowledge to account for patterns and variables and support adaptation as they work to sustain local musical practices.

Musical activity, show business and post-colonial politics in socialist Maputo, or ‘the multiple sides of a full circle’ (1975–1994)

ABSTRACT This article evaluates the configuration of musical practices in Mozambique’s capital city, Maputo, during the ‘socialist single-party period’ (1975–1994), focusing on changes in dancing venues and entertainment shows organized by companies like Produções 1001, Delta Produções, and the state-owned Empresa Moçambicana de Entretenimento (EME), which aimed to centralize all aspects related to música ligeira (literally ‘light music’) in the country. Through fieldwork interviews with politicians, producers, musicians, and archival research, this article elucidates the significance of musical activity and the entertainment industry in shaping the ‘sonorous construction’ of the ‘new Mozambican man’, as envisioned by FRELIMO. It explores numerous topics, including the initial prohibition of many venues in the early years of independence and the subsequent informal reversal of such decisions by 1994.

Gene-environment interaction in expertise acquisition: Practice effects on musical expertise vary by polygenic scores for cognitive performance

Expert performance is associated with practice, partly because of causal effects of practice on skill (i.e., learning). However, the practice-expertise association is also influenced by a complex interplay between genes and environment including partly overlapping genetic influences. The importance of cognitive ability in the practice-expertise association is less well understood. Therefore, we first examined whether genetic predisposition for cognitive performance, operationalized as a polygenic score, is associated with music practice and expertise. Next, we tested whether there is evidence for gene × environment interaction, i.e., whether effects of practice on expertise differ depending on an individual's genetic predisposition for cognitive performance. Polygenic scores for cognitive performance (PGScp) and multi-trait cognitive performances, including educational attainment and mathematical performances (PGScps) were calculated for approximately 3800 genotyped Swedish individuals with information available on their cumulative amount of music practice, musical achievement, and musical auditory discrimination. We found that higher PGScp and PGScps were associated with higher levels of achievement, musical auditory discrimination, and more practice, although the association with practice weakened when controlling for education. Music practice was linked to both expertise outcomes, and the effect sizes of these associations varied depending on an individual's PGScp and PGScps (with the exception of PGScp for musical auditory discrimination). These results suggest genetic pleiotropy between cognitive performance and musical expertise. Additionally, they reveal the presence of G × E interaction in skill acquisition, as effects of practice on musical expertise are stronger for individuals with a higher genetic predisposition for cognitive performance.

Cultural Interactions in Sunda Karawitan Vernacular Music Practice: Forms of Cultural Adaptations among the Chinese Community at Padepokan Pasundan Asih, Bandung, Indonesia

Cultural Interactions in Sunda Karawitan Vernacular Music Practice: Forms of Cultural Adaptations among the Chinese Community at Padepokan Pasundan Asih, Bandung, Indonesia

Autoethnographic Memoirs of Rimba Resonance Vibes Ensemble Festival Performances

Marimba music performance practice has emerged globally in hundreds of marimba ensembles since the Kwanongoma marimba was designed in Bulawayo in the 1960s. The purpose of the study is to explore, the situation of marimba performance within Zimbabwe from an emic perspective. The country has a fledgling economy which is a push factor leading to the problem of about eighty-five percent of the population intending to relocate to other countries. This has not spared the marimba music industry as numerous marimba builders, performers and tutors have already, or intend to migrate. In this autoethnography I present perspectives on my marimba music performance experiences at local and regional festivals in Zimbabwe and South Africa. I conduct a qualitative autoethnographic exploration of Rimba Resonance Vibes Ensemble’s performances, describe the culture of Zimbabwe marimba music performance practices, and reflect on various permutations of the practice in which the art has been kept alive in Zimbabwe in the wake of a brain drain. The findings show multiple challenges that we face as marimba musicians. There is a glaring need for agency and advocacy to sustain the art of marimba music performance by bands based in Zimbabwe.

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.

Audiophile cultures: contexts, performances and listening protocols

ABSTRACT This paper seeks to delimit communicational questions for the study of the phenomenon of audiophilia. The research on audiophilia raises topics such as the influence and experience of audio technologies, the circulation of different types of sound media, the feedback between production and consumption, the practices that connect human and nonhuman in the reconfiguration of artistic production, etc. We aim to present three axes of analysis of audiofilia as a problem of communication. Firstly, audiophilia as a concept, its historical, functional and ideological determinations. Secondly, the musical production practices that problematise the links between art and technique in the scope of studios and phonographic recordings. Finally, the impact audiophilia has on listening techniques and on the very forms of translation and configuration of audiophile listening as communicational processes.

Scaling Form

This paper examines the question of formal scale in acousmatic music, aiming to identify ways in which relationships between a composer’s materials shape or determine the duration of the final form. Successful short and long forms in music are traditionally regarded as encapsulating a sense of completeness with notions such as narrative, development, departure and return as informing principles – the nature of which may influence formal scale. Yet, as with many contemporary music practices, acousmatic music may not always be read in terms of such established teleological models. The digital tools we find at the heart of acousmatic music make it possible to fabricate large quantities of new sounds very quickly, with signal processing and synthesis routines capable of giving composers unanticipated sonic outputs, setting up challenges for sorting, sifting and valorising materials with a view to formal design. That given, in order to locate some formal mechanisms, attention is given to ways in which materials are initially shaped and presented in a work, using the metaphor of ‘formed and ‘forming’ spaces. Through analysis of selected acousmatic pieces the idea of the ‘design impression’ is used to show through how salient levels of musical form can be identified and that comparable readings of acousmatic forms can be made across different formal scales.

The use of popular music in the education of children aged 4–6 years from the perspective of Polish and American early childhood education teachers1

The aim of this study was to examine Polish and US teachers’ popular music education practices with children 4–6 years old. Focus groups and individual interviews involved eighteen Polish and eighteen American teachers. The data were analysed using MAXQDA software in a coding process based on sociocultural theory. The results demonstrate that Polish and US teachers use similar popular music in similar contexts. However, the author found specific differences. When asked about their plans for future inclusion of popular music education, American teachers stressed that they planned to intensify its use by designing and implementing more activities. On the other hand, Polish teachers equated their plans with their own professional and self-development. This study sheds light on the role of popular music in educating young children as reported by Polish and US teachers and highlights the importance of continued research in this area.

МУЗИЧНА ПЕДАГОГІКА ПІВНІЧНОЇ АМЕРИКИ ЗА ЧАСІВ КОЛОНІЗАЦІЇ

The article dwells upon the evolution of music pedagogy in North America during the Colonial period. The study aims to highlight the development of music education in North America during this time and to identify the significant influences of European cultural heritage on the music pedagogy of the Indigenous peoples of North America. The authors have employed the following methods: systematization, analysis, and synthesis of historical, scientific, and pedagogical sources to generalize information on the outlined topic; historical and genetic analysis examines the impact of European notation systems and teaching methods on Indigenous traditions as well as the changes that occurred in musical practices during colonization; comparative analysis compares European and Indigenous musical traditions, particularly in the areas of vocal performance and pedagogical methods; cultural and contextual analysis addresses the social, cultural, and other conditions that accompanied music pedagogy during the Colonial period. The article provides a comprehensive analysis of how European musical practices were introduced and adapted within the colonial context, reflecting the complexities of cultural exchange and adaptation. The study focuses on transmitting European musical traditions, including instructional methods, notation systems, and musical repertoire, as they encountered the diverse cultural landscape of the American colonies. The article examines the role of music in colonial education, emphasizing its significance in religious instruction and socialization. It shows how hymns, psalms, and folk tunes were used in schools and religious settings to impart moral values and foster community cohesion. The impact of various European settlers is analyzed to reveal how their musical heritage influenced local pedagogical practices. Challenges such as geographical isolation, limited resources, and interactions with Indigenous populations are discussed to understand the adaptability of European music education practices in the colonial environment. The article also highlights the contributions of colonial educators and musicians who played a crucial role in shaping the musical education landscape. Future research prospects involve exploring contemporary educational practices in the context of historical influences and cultural changes, which will contribute to developing new approaches to music education that consider the diversity of cultural and social contexts. Key words: music pedagogy of North America, Colonial period, Indigenous peoples, European colonizers, musical traditions, cultural conflicts, assimilation, historical influence.

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.

Effective Music Practice. Equipping Students with the Tools to Succeed

By showing their musical achievements in concerts, auditions, competitions and the like, music students are not only executing notes, but they are exhibiting their aspirations and exposing their affective dimension. Many times, their personal dreams, as well as their own professional future are put at a stake with the resulting social and affective consequences. This represents a great responsibility for teachers since, as educators, they must provide their students with the necessary tools to succeed in their endeavor. In this essay, the author provides an overview on different music practice strategies whose effectiveness have been tested in rigorous research studies or proved by experienced teachers. The author expects they may be helpful to teachers and students to overcome the musical challenges the learning of music and its public performance entails.

The effects of musical practice on the well-being, mental health and social support of student, amateur, and professional musicians in Canada during the COVID-19 pandemic.

This pan-Canadian study investigates the effects of musical practice on the well-being, mental health, and social support of Canadian musicians during the COVID-19 pandemic. Using a survey questionnaire, data was collected from 1,618 participants aged 14 and above during the first wave of the pandemic up to the first half of 2022. The survey included standardized questionnaires to self-assess well-being (WHO-5), mental health (MHC-SF), and social support (SPS-10 measures social support). Results show that increased musical practice frequency correlates with improved well-being and mental health, particularly among amateurs. Professional musicians and those at a post-secondary level exhibit lower well-being scores, likely due to pandemic-related challenges. Factors such as age, gender, sports engagement, and participation in social clubs or volunteer work significantly influenced outcomes. While sports engagement was associated with higher scores on well-being, mental health and social support, no significant differences were found among participants engaged in artistic hobbies. As for involvement in social clubs or volunteer work, benefits were reported on two of the three outcomes. Overall, the findings suggest that regular amateur musical practice, especially in group settings, alongside engagement in sports and social activities, may have promoted well-being, mental health, and social support among musicians during the challenging period of the COVID-19 pandemic.

Diaspora, music, and identity: Indians in the Caribbean and the Indo-Caribbean diaspora

ABSTRACT To maintain a unified identity within a local community, people express their association with specific rituals and practices. As a testament to the evolution of cultural ideas and journeys, these rituals and practices serve as an important platform for validating their ethnic identity as well as providing a sense of authenticity to the community. Migration and dislocation are associated with a sense of ruptured identity and an unfulfilled desire to reconnect with lost culture, with a focus on traditional practices as a way of reconnecting with their roots. While the old indentured migrants glorified ‘Indianism’ through music, their successors used music to strengthen ethnic ties and to preserve their diasporic identities. Examining the contemporary development in music practices and genres, this article focuses on the creation and recreation of Indian identities in the diaspora through music with the example of Indo-Caribbeans.

La trompa de la salsa: the role of the French Horn in Afro-Cuban music

Discovering Afro-Cuban music as a classical musician was an outstanding moment in my career. Realizing how unusual it is for French Horns to be involved in this style inspired me to start this research and further develop my skills. Even though it is usual to find trombones and trumpets in Afro-Cuban music ensembles, it is challenging to find examples with French Horn players. Currently, the most successful horn player in this genre is Sarah Willis, who fell in love with Cuban rhythms and decided to share them by creating innovative albums. The methodology of this research includes a literature review of existing works related to Afro-Cuban music, interviews with experienced players in this field, and practical demonstrations in video form. The theoretical framework provides a brief review of Afro-Cuban music from its origins until today, paying special attention to the practically non-existent presence of French Horn players in this field. The practical framework collects data on the challenges that a classical French Horn player may encounter when playing this music and offers possible solutions. As a result of this study, I now have a better understanding of this style and why the horn is not usually included in it. Also, having the experience of playing Afro-Cuban music as a classical musician has clarified the differences and difficulties of approaching this music but more so how it can nourish my musical practice with new skills. The chosen format of presentation will be a public exposition of the results of the research.

The pedagogical–artistic strategies of community music facilitators as an inspiration for formal music education: A single case study

In this article, we elaborate on the pedagogical–artistic strategies of a community music project and how they may inspire formal music educational practices. To do so, we draw on findings from a study on the pedagogical–artistic strategies of the musicians–coaches of The Ostend Street Orchestra (TOSO), a community music project that started as an artistic response towards the commotion around a group of homeless people in the coastal town of Ostend, Belgium. The pedagogical–artistic strategies adopted by the TOSO coaches foster the emergence of an educational approach that may have the potential to enrich music educational practices by creating a learning environment that is more democratic and inclusive. Data collection included in-depth semi-structured interviews with the TOSO coaches in 2017 and 2021, as well as video-stimulated recall. The interview data were analysed using thematic analysis. Seven themes emerged from our analysis: embodied interaction, co-coaching, re-thinking musical parameters, personal musical skills, collaboration, collective experiential learning and inclusion. We present the framework and rationale of the study, describe the pedagogical–artistic strategies of the coaches, and discuss the results. In conclusion, we briefly consider possibilities for further research and music teacher education.

“The Part of the Music Industry That God Forgot”

In October 2020, the B2B (business-to-business) background music company Soundtrack Your Brand—formerly Spotify Business—launched the world’s first full-catalog on-demand streaming service for background music. Although background music providers have licensed, curated, and distributed music to businesses for nearly a century, they have only recently started embracing the new possibilities of streaming. Now, streaming is rapidly influencing the background music industry’s features, music selection practices, and economics. While scholars in music and media studies have extensively studied B2C (business-to-consumer) streaming services such as Spotify and Apple Music, they have largely neglected streaming’s impact on background music. This article investigates how streaming is impacting the B2B background music industry, drawing upon platform analysis, marketing materials, and interviews with background music CEOs and researchers. After reviewing background music’s history and effects, the article examines how streaming is influencing business-oriented background music features, such as scheduling, zoning, messaging, and monitoring. It then considers streaming’s impact on background music selection practices, demonstrating how businesses are increasingly using features popularized by mainstream consumer services, such as playlists, algorithmic recommendations, and massive catalogs of music. The final section explores how streaming is shaping the economics of the background music industry, particularly for rightsholders who have historically been underpaid billions of dollars in public performance royalties. I argue that streaming may improve background music’s efficiency for businesses, but it also potentially reifies broader concerns about social control, surveillance, and inequitable artist remuneration that have become increasingly prevalent in the streaming age.

METHODOLOGICAL GUIDELINES IN THE STUDYOF MUSIC EDUCATION PEDAGOGY

This article discusses the methodological foundations that play a key role in research in the field of music education. One of the most important methodological guidelines is methodological analysis, considered as a meta-method in the context of music pedagogy. This analysis is an integrated approach to the research process, which allows us to comprehend various aspects and processes of musical and pedagogical theory and practice. Within the framework of methodological guidelines, professionally significant functions and approaches are also highlighted, which contribute to the awareness of the value of concepts of a musical and pedagogical nature, innovative processes in science and education, as well as the formation of a research strategy. The approaches under consideration include various intellectual operations, among which reflection stands out as a method of creative thinking and personal rethinking of values and motives in the activities of a teacher-musician. The basis for the development of methodological guidelines in this context is knowledge from various fields of human activity, including science and art. Reliance on knowledge serves as the basis and methodological basis for the pedagogy of music education, to determine the principles and methods of organizing the research process.