Music Process Research Articles

Interactive Audio-Visual Course Teaching of Music Education Based on VR and AI Support

People’s living standards have gradually improved, people have higher and higher requirements at the spiritual level, and music is increasingly loved by people. In the process of music development, music teaching reform is the focus of the current society. Based on the current educational background, the teaching mode of teachers has changed, breaking the ecological balance in the traditional classroom, which has brought advantages to music teaching. Aesthetic education, especially music education, plays a balanced and promoting role in intellectual education and even the whole quality education. Music can effectively reduce the pressure of intellectual education itself on students’ bodies and minds, so that intellectual education can achieve better results. Virtual reality (VR) and artificial intelligence (AI), as the latest technologies in the new century, have been rapidly integrated into the music education (ME) industry. By applying VR and AI technologies to the music teaching process, students’ learning ability can be effectively improved. Through the use of VR and AI technology, this text has created an interactive curriculum teaching mode and verified the feasibility of combining VR and AI technology with music teaching through experimental analysis. The experimental results show that the recognition of bass signal, midrange signal, and treble signal has reached 100, 90, and 100%, respectively. In general, the recognition accuracy of the algorithm in this text is very high, which can satisfy the requirements of music signal recognition and can be applied to daily music teaching.

Book Review: Culture, music education, and the Chinese dream in mainland China

As China has its distinctive cultural elements and political situations, it has intensively impacted the general music education system. Unlike other researchers, focusing on the detailed music education structure, educational standards and balancing traditional and modern approaches to learning music (Reimer, 1989), Culture, Music Education, and the Chinese Dream in Mainland China is aiming to analyse how the traditional Chinese culture and political idea of ‘the Chinese Dream’ have actively influenced the music education process, results, and reflections. Approaching music education through interviewing teachers in primary and secondary schools, the book is able to conduct a comprehensive conclusion of the historical and current political and cultural origins, with the consideration of the global economic development and individual values. The positive side of this book is that it actively combines communication studies and social studies with the topic of music education in China. It engages interdisciplinary research to come together and have a broader understanding of music education in mainland China. In the meantime, the weakness of this book also lies in the fact that Wai-Chung Ho didn’t elaborate and articulate the section on the general educational changes. It solely emphasizes the continuous political and economic development; however, it didn’t provide a sufficient explanation of the education system itself and its change of focus in the past few years.

The Evolutionary Pentatonism in Nicomachus, the Extant Fragments and an Ancient Greek Musical Praxis

Abstract Pentatonism in ancient Greek music refers to so called ‘gapped scales’, quoted by Pseudo-Aristotle, Pseudo-Plutarch, Nicomachus and Aristides Quintilianus. In the case of Nicomachus, the interchangeabilities of pitches and positions of notes, with the musical nomenclature, make the text incomprehensible. These extracts have already been analyzed by Chailley (1956, 1968), Barker (1989, 2007) and Franklin (2019). It is important though, to shift from the Western concept of music in order to unfold the musical process revealed in the texts. Ethnomusicological research reveals a network of musical dialects which follows an evolutionary process and suggests new possible interpretations: it breaks down the predominant concept of the theory of the cycle of the fifths and leads to a ‘flexible’ pentatonism, produced by focal points created by a ‘building up’ or ‘making’ of musical scales. Additionally, the critical approach of the extant fragments in the environs of the field of Ethnomusicology offers new interpretations for an ancient Greek musical praxis.

Online System Construction of Music General Education in Higher Vocational Colleges Based on Internet-Assisted Spectrum Signal Transmission

In this paper, a synchronizing method, which is fully realized by software, is proposed in the transmission of digital signal transcoding, and a detailed theoretical description of music is presented, and the steps and methods of it to achieve synchronization are proposed. This article attempts to study the relationship between general music education and campus culture construction, and finds that general music education is the way to realize campus culture construction, and campus culture construction makes general music education more comprehensive. It suppresses the characteristic components of the interference spectrum in the process of signal transmission, extract the statistical characteristics of musical instruments, and use the joint parameter estimation method to estimate the scale and time delay of home control signals. The cultivation of music literacy, the development of music education resources, and the improvement of music teachers, etc., propose the application of teaching subject information technology Combination strategy with informatization of music education practice process.

КЫРГЫЗСКИЕ МУЗЫКАЛЬНЫЕ ИНСТРУМЕНТЫ И МУЗЫКАЛЬНАЯ КУЛЬТУРА В СОВРЕМЕННЫХ УСЛОВИЯХ

The article discusses the features and problems of using, creating musical instruments (traditional Kyrgyz and modern) and an attempt is made to determine their role and place in the national cultural and social sphere. It is indicated that the musical educational process is associated with the use of musical instruments. And, the quality of teaching musical art at all levels is determined by the effective element, which is a musical instrument. The article is devoted to the consideration of the patterns of evolution of musical instruments and the features of the Kyrgyz musical instrument and the musical instrument as a whole, which constitutes the cultural and creative content of a new stage in the development of musical culture.

HISTORICAL DEVELOPMENT OF THE ENSEMBLE PLAYING OF THE FLUTE GROUP IN A SYMPHONY ORCHESTRA

The historical features of the playing of the flute group in the symphony orchestra, the ability of soloists-instrumentalists to be performers of a single group and a single whole among the large composition of members of the symphony orchestra are analyzed. The authors substantiate the expediency of the development of instrumental musicians first of all as orchestra players, and then as solo performers. The aim and the tasks: to analyze the historical development of the ensemble playing of the flute group as part of the symphony orchestra. The tasks of the research are the analysis of publications on this issue and the selection of the necessary components for playing a group of flutes in a symphony orchestra.Research methods: the research methodology consists of the ratio of traditional and modern expedient, ascent from individual to generalized (generalizing principle) from abstract to concrete. Research results: a wide range of research on the musical performance process from the New Age to the present is analyzed. Analysis of new modern concepts of training of instrumental musicians in institutions of higher education is carried out. The European search for new forms is characterized by the search for objective regularities in music education of past centuries, taking into account the modern demand for orchestra players on the European labor market. Discussion. What should come first in the training of an orchestra playerindividual classes or his training in a team. Conclusion. Thus, the analysis of the historical development of the ensemble playing of the flute group in the symphony orchestra allowed us to draw the following conclusions: during the reign of the classicism and romantic styles, an understanding of the necessary components for a symphony orchestra artist in the flute group was formed: a the component of pure vertical and horizontal intonation; a the component to feel the dynamic balance of all participants in the ensemble playing of the flute group as part of the symphony orchestra; a component of the timbre fusion of the flute group and full sounding in different registers; a component understanding in performing strokes in groups of flutes; a component of expressiveness and vivid phrasing of the ensemble playing of a group of flutes as part of a symphony orchestra; a component of metrorhythmic feeling in ensemble playing; a component of the collective understanding of style by a group of flautists in a symphony orchestra. All these components in their unity will allow the group of flutes to sound as a single harmonious whole.

Зонная теория музыкального времени и трансдисциплинарный подход к изучению музыкальных явлений

The study of the factors of uncertainty in the system of musical thought has become a subject of fixed attention on the part of music researchers, partially being in advance of certain analogous results in the spheres of the exact sciences. The synergetic approach, stipulated by processes of development of contemporary science, is determined by the substantiation of its application towards their studies, not only in the natural sciences, but also in the humanitarian disciplines and becomes an important instrument of cognition and interpretation of the semantic structures of all the temporal arts, including the art of music. the article examines a number of endeavors to study the probabilistic-statistic natural laws of music presented in Ludwik Bielawski’s book The Zonal Theory of Time and its Meanings for Musical Anthropology: The Endeavor of Definition of the Place and the Role in the History of Theoretic Musicology (Krakow, 1976), in which the natural laws of the functioning of musical levels on various levels and in the various forms of its manifestation. The authors of the article give attention to the use in scholarly research works devoted to this problem range of music computer technologies which has served as a basis for the possibility of creating new theoretic and experimental-practical means of studying music, including the factors of indeterminacy in music applied to the sphere of musical education researched with the means of music computer technologies. In this connection, the article elucidates a number of new educational directions and programs developed by the members of the learning and teaching laboratory “Music Computer Technologies” of the Herzen State Pedagogical University of Russia called to provide the preparation of specialists who possessed various forms and means of the transdisciplinary approach to studies of musical phenomena and processes.

Listening to J.S. Bach's "Brandenburg Concerto No. 4 in G Major" May Suppress the Sympathetic Nervous Activity.

This study aimed to investigate the effects of listening to Wolfgang Amadeus Mozart's "Sonata for two pianos in D major, K448" and Johann Sebastian Bach's "Brandenburg concerto No. 4 in G major, BWV1049" on the heart rate, blood pressure, and autonomic nervous activity. Seventeen healthy young adults were recruited as participants. All participants underwent a 10-minute rest, a 10-minute load test, and a triplicate 8-minute music listening process. Electrocardiograms were continuously measured from the measurement onset to completion. Moreover, the high-frequency (HF) component was extracted from the heart rate variability analysis as a measure of the parasympathetic nervous activity and the ratio of low frequency (LF) to HF as a measure of the sympathetic nervous activity. Blood pressure was also measured. There was a significant decrease in the heart rate after listening to both K448 and BWV1049, as well as in the silence state. Blood pressure did not significantly change in either case. Further, the LF/HF ratio significantly decreased after listening to BWV1049. Nevertheless, HF did not change after listening to either music. In conclusion, this study suggests that listening to K448 does not affect the heart rate, blood pressure, or autonomic nervous activity, whereas listening to BWV1049 may suppress the sympathetic nervous activity in healthy adults.

“RUSSIAN ELECTRONIC SCHOOL” IN THE WORK OF MUSIC TEACHERS

The article presents the results of a survey conducted among music teachers in Russian secondary schools. The subject of the study was the use of materials from the digital resource “Russian Electronic School” (RESH) in music lessons, the motives and degree of awareness of professional pedagogical activity in the process of their use, the advantages and disadvantages of this digital platform from the point of view of music teachers. A generally positive attitude of respondents towards the processes of digitalization of education and a high level of trust in official digital resources were revealed. The negative side is manifested in the predominance of a fragmented, unsystematic approach to their use of electronic content. The main problem is the presence of a significant number of errors and shortcomings in NES resources, and an uncritical attitude towards them on the part of teachers. Dangerous trends in the loss of substantive content of music lessons at school have been identified, which are associated with the low level of digital materials used, as well as the lack of constructive techniques and methods for working with video materials. At the article, the question is raised about the risks of using digital educational resources and the fundamental possibility of their implementation in a systemic activity approach in the music pedagogical process.

Music and Language Acquisition

This literature review is aimed at how music affects language acquisition throughout the long term music training process or music therapy sessions. We discussed, analyzed and summarized several experiment’s results about music’s effects on both physiological(brain, natural system…) and psychological side of people in different life stages. We found the obvious similarity and differences of music and language and their mutual effect. Also, we developed music as a therapeutic tool to improve language acquisition. All in all, we come to the conclusion that specific attention will be paid to the influence of music on the language learner, as well as the implications of incorporating music into the language learning curriculum.

Scoring the Original Soundtrack of an Escape Room

Through the example of Nobody – Vis et ressens (Nice, France, 2021), this article sheds light on the musical creation process involved in the conception of an automatized escape room, where participants experience a multimodal experience (sound, light, scenery, video) driven by an original scenario. As the composer, sound designer, and computer music designer, I propose to study Nobody as a playful game. I show how current ludomusicology insights can be used and adapted to a game that is played in a physical space. After first exposing considerations of both technical and aesthetic aspects, I explain the artistic choices made for creating the soundtrack of six interactive puzzles. Through practice-led research of these different mini music games, I analyze how the influence of electronic dance music (EDM) and related club culture are melded together into the development of the plot and its retro-futuristic theme. I show how constraints forced me to adapt the audio content yet also opened a wide range of musical possibilities. The analysis helps clarify how what I call “game music” differs from “background music”. Moreover, the discussion highlights compositional issues that are similar to video game music-making and shows that escape rooms need to be studied further within the field of ludomusicology. Although some of the analytical tools remain valid because of their technical aspect (transition types, typology of music games, transition speed quantization) or their theoretical aspects (ALI model, branching-layering concept, triple lock of synchronization), traditional concepts such as “immersion” or “game feel” need to be questioned for escape room games, as that type of game takes place in a physical space.

Generating Music With Emotions

AbstractWe focus on the music generation conditional on human emotions, specifically the positive and negative emotions. There is no existing large-scale music datasets with the annotation of human emotion labels. It is thus not intuitive how to generate music conditioned on emotion labels. In this paper, we propose an annotation-free method to build a new dataset where each sample is a triplet of lyric, melody and emotion label (without requiring any labours). Specifically, we first train the automated emotion recognition model using the BERT (pre-trained on GoEmotions dataset) on Edmonds Dance dataset. We use it to automatically ‘`label’' the music with the emotion labels recognized from the lyrics. We then train the encoder-decoder based model to generate emotional music on that dataset, and call our overall method as Emotional Lyric and Melody Generator (ELMG). The framework of ELMG is consisted of three modules: 1) an encoder-decoder model trained end-to-end to generate lyric and melody; 2) a music emotion classifier trained on labeled data (our proposed dataset); and 3) a modified beam search algorithm that guides the music generation process by incorporating the music emotion classifier. We conduct objective and subjective evaluations on the generated music pieces, and our results show that ELMG is capable of generating tuneful lyric and melody with specified human emotions.

Exploration of Development Strategies of the Music Education in Secondary School from the Perspective of Post-Philosophical Culture

Since the 1960s and 1970s, the aesthetic-centered music education system in Secondary School has been increasingly mature, while the post-philosophical culture has brought about an obvious impact on the ideas of music education in Secondary School. From the post-philosophical cultural perspective, it is important for us to reflect on the return of music education in Secondary School to the world of life, to explore the practical philosophical tendency of music education, to emphasize the pursuit of pluralistic dialogue, and to promote the integration of multiple cultures. In the specific implementation of music education teaching process in Secondary School, it contains the interdisciplinary multi-level and multi-perspective dialogue thinking between teachers and students, between teachers and students and music text and between students. The development strategies of music education in Secondary School in the post-philosophical cultural perspective are to emphasize the practicality of music education, to cultivate a pluralistic and value-oriented view of education for the subject, to expand the horizon of interdisciplinary dialogue and to pay attention to interdisciplinarity.

ПЕРІОДИЗАЦІЯ УКРАЇНСЬКОЇ ДИРИГЕНТСЬКО-ХОРОВОЇ ШКОЛИ В КОНТЕКСТІ ІСТОРІЇ МУЗИЧНО-ОСВІТНІХ ПРОЦЕСІВ

ntroduction. It was determined that the Ukrainian conducting and choral school was historically formed in the context of the development of national musi-cal culture, artistic, in particular musical, education as paradigms of the spirituality of the Ukrainian nation, its worldview and mentality -artistic and pedagogical. The author's historical periodizations of music-pedagogical education, focused on the interpretation of national history in the aspect of understanding the role of music as a means of learning andeducation, are ana-lyzed, illustrated by a powerful panorama of historical artistic and educational facts. The purpose of the article is to justify the periodization of the Ukrainian conducting and choral school in the con-text of the history of musical and educational processes.The research methodology is based on systemic, his-torical and cultural approaches.Summary. The author's periodization of the formation of the conducting and choral school in the context of the history of musical and educational processes is substan-tiated, in which two periods are distinguished: the first is the formation of the conducting and choral school in Ukraine (initial stage, 10th -18th centuries; cumulative stage, the end of the 18th century -to the beginning 20th century), the second is the development of the modern conducting and choral school in Ukraine (catalysis stage, 1910’s –1950’s, mature stage, 1960’s –2020’s). It has been proven that the first period (10th -beginning of the 20th century) is characterized by the birth of the Ukraini-an conducting and choral school, the growth of the spir-itual and formative influence on the society of choral art and education, and the accumulation of the main features of the phenomenon. The analyzed second period (1910’s –2020’s)is characterized by the activation of creative and pedagogical achievements of choral culture and pedagogy figures. The catalytic stage (1910’s –1950’s) is singled out, during which the processes of national cultural crea-tion and centralization of the system of national musical education are accelerated. The mature stage (1960’s –2020’s), characterized by the processes of de-russification, national self-identification, regionalization, and Europeanization, is analyzed.Conclusion. It has been proven thatthe existence of the conducting and choral school in Ukraine over a long historical period is characterized by: the complication of the system of national schooling based on the artistic and mental unity of regional traditions; the growth of national and regional symbiosis; increasing influence of the activi-ties of representatives of the national school on the artistic process of post-postmodernism, scientific-pedagogical resource and artistic-mental experience of the school, expressive creative-pedagogical self-identification of re-gional artists, reflection on the development of conducting and choral art in the culture of post-postmodernism, Euro-pean integration processes in the performing-pedagogical sphere.

Marc-André Dalbavie’s “Diadèmes”: From the Polyphony of Layers to the “Polyphony of Processes”

In the spectral and post-spectral music the category of process acquires special significance. Realizing the idea of an internal connection between form and material, processuality is endowed with compositional functions and, being implemented in a continuum of transformations of sound objects — timbre-harmonic and timbre-textural complexes, — determines the dynamics of shaping. The concept of «composing» directed musical processes as a conductor of the idea of transition and transitivity, which is the cornerstone for the aesthetics of spectralism, becomes part of the compositional strategy of Marc-André Dalbavie (b. 1961). In the Russian-language musicological literature, this publication is the first and so far the only reference to the work of one of the leading contemporary European composers. Based on the material “Diadèmes” for viola solo, instrumental ensemble and electronics 633 (1986), the most important components of the author’s method are considered: the principles of continuity of transformations of sound structures, interpolation of timbre-textured blocks and musical “streams”, as well as the principles of sound polarization and “reintegration” a number of “historical” compositional procedures. Particular attention is paid to the author’s concept of “polyphony of processes” as a tool for the multifaceted implementation of the compositional action of the process category, carried out both within the layers of individual musical parameters — harmony, rhythm, timbre — and in the space of their cross interaction.

Music therapy and music-based intervention as a form of therapeutic and educational work with preschool and early school-aged children with selective mutism

Selective mutism is an increasingly recognised disorder among preschool- and early school-aged children. Currently, therapists are searching for optimal therapeutic intervention techniques for working with children affected by selective mutism. Music therapy is proving to be an effective modality for working with children who are communicatively isolated in preschool and school environments, which manifests itself in absent, impaired or difficult relationships with peers. This text characterises the specific features of selective mutism. In the initial section, the author discusses the multifactorial aetiology of selective mutism. In the following section, the author presents selected techniques for initiating improvisational musical activity as one of the therapeutic approaches in working with children with selective mutism. The author emphasises the potential of music therapy in the process of lowering the level of anxiety (getting rid of the fear of speaking) and restoring free non-verbal communication as soon as possible in children of preschool and early school age. The author also draws attention to the specific nature of the relationship between the therapist and the child, which is conducive to the effective course of the music therapy process. The main conclusion of the study is that music therapy, which shows a great psychological, medical, and especially pedagogical potential, can contribute to a reduction in communicative tension and promote a relatively rapid acquisition of spontaneous speech in children. Thus, it represents a worthwhile therapeutic option in working with children with selective mutism in kindergartens and schools.

Methodological approaches to the formation of the pre-service Music teachers' systematic idea of the national musical culture

The work is devoted to the formation of a systematic idea of the national musical culture (NMC) in the music teachers training process. The expediency and validity of four pedagogical approaches have been determined. It concerns systemic, culture-based, activity-centred and hermeneutic approaches. Based on the conceptual provisions of researchers' works, as well as the method of systemic genre modelling of musical culture, the idea of the structure of the NMC as a systemic and holistic phenomenon is accepted as a guideline. The basis of the NMC is the tradition of folk art, folklore of large and small peoples belonging to a single nation. Folklore is a complex phenomenon that should be presented and studied as a system of song, dance, and instrumental genres (mythological, ritual and magic, calendar and ritual, epic, game, etc.) The author describes that the genre model of the NMC used in the study allows to cover all the main characteristics and elements of the cultural practice of music, such as: the activities of performing musicians; functioning of theatres, concert organisations, creative unions; work of educational institutions; production and use of musical instruments, sheet music and books; media activity, etc. Therefore, the NMC can be considered not only in terms of its genre content. However, with any approach, from any point of view, the theoretical reflection of musical culture will be a multi-element, multi-faceted and multi-level unity. They are implemented through the application of a complex of pedagogical principles, methods and forms of education, such as: the principle of coordination and subordination of artistic cultures and their components; the principle of the "spiral trajectory" of the educational course thematic composition; the principle of the genre and style model of the NMC; the method of immersion in culture; the method of multi-artistic representation of educational material; the principle of establishing the level of cultures affinity, which regulates the involvement of comparative analysis methods; the principle of creative assimilation of the music-language system of the NMC; the didactic game method; the "hermeneutic circle" principle; the method of creating mnemonic symbols, etc.

Needs Analysis of Using Tiktok Applications as an Alternative in Music Teaching and Learning

The current direction of education is changing towards digital education, known as information and communication technology (ICT). Educators can choose the right digital platform to use as a teaching aid among media that has a place among Generation Z, one of which is TikTok. Nevertheless, from several selected platforms cannot be separated from the inherent consequences and challenges. This study aims to discuss the use of Tiktok in the music learning process, both as a teacher and a student. The research method used is qualitative analysis to get an in-depth understanding of the use of Tiktok, which focuses on music knowledge. The results of this study show the advantages and disadvantages of using the Tiktok application in Music Education.

Is the collective listener a passive recipient or a creator of ideas? (about the intentional dimension of music performance

Relevance of the study. The proposed research is determined by the realities of the musical society, they are characterized by the active inclusion of collective listening acceptance in the creation of modern musical projects. The lack of a musicological base determined the strategy of understanding the process of communication in music in the perspective of the achievements in the current communication theory. The ideas of the theory of communication developed by American and Canadian scientists Marshall McLuhan, Harold Innis, and John Durham Peters became the theoretical support of the presented considerations. Communicative strategies of the Socratic-dialogic and evangelical-dispersive type receive scientific approval in the research in the musical and communicative sphere.
 Main objective of the study is to substantiate of the hypothesis about the nature of musical communication as an act of collective (composer, performer, listener) sound-intonation intentionality, where the creativity or passivity of the reaction of the collective listener directly depends on the performance creativity.
 The discursive understanding of the role of the collective listener in music is carried out using the complex methodology of scientific knowledge, which combines the methods of theoretical generalization, discourse analysis, comparative studies and empirical observations.
 Results. For the first time, the definition of musical communication is formulated as a process that unites its participants with the desire (conscious or not) of spiritual development by immersion in acts of musical and intonation creation. Emphasis is placed on the function of individual intentionality of the musical and performing component in communicative processes. The author's definition of an individual musical and performance style as a system of expressive means corresponding to the specificity of the performer's musical worldview has been spread. This system, while maintaining its integrity, functions as a supporting factor for the re-intonation of various compositional styles and a guarantor of auditory co-intonation in musical communication processes. Empirical testing of the theoretical generalizations presented in the proposed research is based on the personal professional experience of the author.

The role of A. Norst’s activities in the research of musical culture of Bukovyna

The scientific topicality of the work lies in the study of the history of musical art of Bukovyna and identification of the role of individual personalities in the formation of the region’s musicological opinion. Among the figures of culture, art and education of Bukovyna, an important role was played by Anton Norst, whose cultural works have been known since the time of Austria-Hungary and have gained relevance and new recognition in our time. He became one of the first and most famous researchers of the culture and art of Bukovyna. Therefore, a need arose for scientific evaluation of his research and an outline of the significance of his activities in the process of formation and development of musicology in Bukovyna.
 The purpose of the article is to determine the role of Anton Norst in the study of musical culture of Bukovyna and the description of his work “The Society for the Promotion of Musical Art in Bukovyna. 1862–1902”.
 The methodology. While preparing the article, several research methods were used, in particular, biographical, historical, cultural and deductive, which made it possible to reveal new facts of Anton Norst’s life and determine his role in the development of musicology in Bukovyna.
 The results. One can learn about the development of Bukovynian culture, its musical life and the role of individual personalities in the process of the region’s cultural upliftment from the works of scientists, musicians and public figures of that time. Among the works of the Austro-Hungarian period, Anton Norst’s German-language work “The Society for the Promotion of Musical Art in Bukovyna. 1862–1902” stands out. A. Norst is an active participant and co-founder of numerous societies, chairman and honorary member of the Union of Journalists and Writers of Bukovyna. He is the author of numerous publications, poems, short stories, comic strips and reviews. Anton Norst’s edition is timed to celebrate the fortieth anniversary of creation of the organization that contributed to the development of musical art and education in the region.
 The scientific novelty lies in the fact that for the first time the role of Anton Norst in the development of musicology in Bukovyna was determined and an assessment of his work dedicated to musical and cultural processes in Chernivtsi during the Austro-Hungarian rule was given.
 Conclusions. The first cultural studies that appeared in Bukovyna are of significant value for modern musicology. Anton Norst’s book “The Society for the Promotion of Musical Art in Bukovyna. 1862–1902” was such a work. It became an important source of information about the development of musical culture of the region in the XIX — early XX centuries and a model of historical musicology of that time.