Music Studies Research Articles

New Currents in Film Music, Television Music, and Streaming Media Music Studies

New Currents in Film Music, Television Music, and Streaming Media Music Studies

Ship of Darkness: Jazz and/as Affect in the Global Cruise Industry

Ship of Darkness: Jazz and/as Affect in the Global Cruise Industry

Significant Difference in American Music Studies

Significant Difference in American Music Studies

Corrigendum

Correction| December 01 2022 Corrigendum Journal of Popular Music Studies (2022) 34 (4): 143. https://doi.org/10.1525/jpms.2022.34.4.143 Connected Content Errata: “Boundlessly Different”: Popular Brass Music in Austria Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Corrigendum. Journal of Popular Music Studies 1 December 2022; 34 (4): 143. doi: https://doi.org/10.1525/jpms.2022.34.4.143 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of Popular Music Studies Search “‘Boundlessly Different’: Popular Brass Music in Austria,” Journal of Popular Music Studies, 2020, 32(4), 118–147. Bernhard Steinbrecher, Bernhard Achhorner https://doi.org/10.1525/jpms.2020.32.4.118 The authors wish to make the following corrections to their article: “Even more remarkably, in 2016, two-thirds of the 500,000 people playing in approximately 12,000 marching bands in Austria were under age 24.” which appears on page 120 is to be replaced with: “Even more remarkably, in 2019, 86,422 members of the Austrian Brass Band Association (143,192 total members) were under age 31.” Accordingly, reference 6 in the main text is to be replaced with: Österreichischer Blasmusikverband, ÖBV Jahresbericht 2019 (Spittal an der Drau: ÖBV, 2020), 9–10. In the references section, the new source is as follows: Österreichischer Blasmusikverband. ÖBV Jahresbericht 2019. Spittal an der Drau: ÖBV, 2020. View Original Article You do not currently have access to this content.

The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries, by Anna Maria Busse Berger

<i>The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries</i>, by Anna Maria Busse Berger

Review: Pop Masculinities: The Politics of Gender in the Twenty-First Century Popular Music, by Kai Arne Hansen

Review: <i>Pop Masculinities: The Politics of Gender in the Twenty-First Century Popular Music</i>, by Kai Arne Hansen

Introduction

Introduction

Valuing Collaboration in American Music Studies

Valuing Collaboration in American Music Studies

Contributors to This Issue

Contributors to This Issue

Naamyam Songs of Love and Longing (訴衷情:杜煥瞽師地水南音精選), Hong Kong’s Cultural Treasure 1. 2007. Performed by Dou Wun. Produced by Yu Siu-wah. Hong Kong: Bailey Record Co. and the Chinese Music Archive of the Chinese University of Hong Kong, CMA-07001. Booklet (24 pp.) with colour photographs, lyrics, and liner notes by Yu Siu-wah, Bell Yung, and Erica Lee in Chinese. CD,

Naamyam Songs of Love and Longing (訴衷情:杜煥瞽師地水南音精選), Hong Kong’s Cultural Treasure 1. 2007. Performed by Dou Wun. Produced by Yu Siu-wah. Hong Kong: Bailey Record Co. and the Chinese Music Archive of the Chinese University of Hong Kong, CMA-07001. Booklet (24 pp.) with colour photographs, lyrics, and liner notes by Yu Siu-wah, Bell Yung, and Erica Lee in Chinese. CD, 2 discs (CD 1, 4 tracks, 69:33; CD 2, 6 tracks, 63:39). - Blind Dou Wun Remembers His Past: 50 Years of Singing Naamyam in Hong Kong (飄泊香江五十年地水南音: 全本《失明人杜煥憶往》), Hong Kong’s Cultural Treasure 2. 2008. Performed by Dou Wun. Produced by Yu Siu-wah. Hong Kong: Bailey Record Co. and the Chinese Music Archive of the Chinese University of Hong Kong, CMA-08001. Booklet (85 pp.) with single-colour graphics, lyrics, and liner notes by Yu Siu-wah, Bell Yung, and Sonia Ng in Chinese. CD, 6 discs (CD 1, 62:08; CD 2, 53:42; CD 3, 61:24; CD 4, 57:01; CD 5, 58:06; CD 6, 66:01). - Rare Recordings of Melodies from a Bygone Age (絕世遺音: 板眼, 龍舟, 粵謳), Hong Kong’s Cultural Treasure 3. 2011. Performed by Dou Wun and Lee Ngan-giu. Produced by Yu Siu-wah. Hong Kong: The Chinese Music Archive of the Chinese University of Hong Kong, CMA-11001. Booklet (27 pp.) with colour photographs and lyrics, and liner notes by Yu Siu-wah, Bell Yung, and Sonia Ng in Chinese. CD, 1 disc (53:47). - Jade Palm––Leaf Fan (《玉葵寶扇》之〈大鬧梅知府〉、〈碧蓉探監〉: 瞽師杜煥演唱龍舟版本), Hong Kong’s Cultural Treasure 4. 2012. Performed by Dou Wun. Produced by Bell Yung and Yu Siu-wah. Hong Kong: The Chinese Music Archive of the Chinese University of Hong Kong, CMA-12001. Booklet (20 pp.) with lyrics and liner notes by Bell Yung and Sonia Ng in Chinese. CD, 1 disc (59:14). - The Blind Musician Dou Wun Offers Auspicious Songs for Festive Occasions (八仙賀壽:瞽師杜煥賀喜慶), Hong Kong’s Cultural Treasure 5. 2013. Performed by Dou Wun. Produced by Bell Yung and Lee Tong Soon. Booklet (24 pp.) with illustration by Leumas To and liner notes by Bell Yung and Sonia Ng in Chinese. Hong Kong: The Chinese Music Archive of the Chinese University of Hong Kong, CMA-13001. CD, 1 disc (59:13). - The Birth of Guanyin, Goddess of Mercy (觀音出世), Hong Kong’s Cultural Treasure 6. 2015. Performed by Dou Wun. Produced by Bell Yung and Lee Tong Soon. Booklet (38 pp.) with colour photographs and liner notes by Bell Yung and Sonia Ng in Chinese. Hong Kong: The Chinese Music Archive of the Chinese University of Hong Kong, CMA-15001. CD, 3 discs (CD 1, 57:54; CD 2, 56:12; CD 3, 52:17). - Excerpts from Literary Masterpieces (名著摘錦:瞽師杜煥首本南音), Hong Kong’s Cultural Treasure 7. 2016. Performed by Dou Wun. Produced by Bell Yung and Lee Tong Soon. Booklet (39 pp.) with colour photographs, lyrics, and liner notes by Bell Yung and Sonia Ng in Chinese. Hong Kong: The Chinese Music Archive of the Chinese University of Hong Kong, CMA-16001. CD, 2 discs (CD 1, 81:51; CD2, 68:32). - Revenge in Guang Chang Long: Deishui Naamyam Sung by Blind Master Dou Wun (大鬧廣昌隆), Hong Kong’s Cultural Treasure 8. 2019. Performed by Dou Wun. Produced by Bell Yung and Frederick Lau. Booklet (21 pp.) with lyrics and liner notes by Sonia Ng and Bell Yung in Chinese. Hong Kong: The Center for Chinese Music Studies of the Chinese University of Hong Kong, CCMS-19001. CD, 2 discs (CD 1, 77:40; CD 2, 57:36). - Volume 54 Issue 2

Variasi Bowing Etudes Ou Caprices No. 2 Rodolphe Kreutzer Sebagai Strategi Pembentukan Teknik Tangan Kanan Pada Pemain Violin

Violin players are required to have balanced technical skills not only with the left hand (finger operation on the strings), but also the role of the right hand (playing the bow). Qualifications that emphasize exercises that focus on right-hand skills are in fact often under-appreciated. This research proposal presents a study-based violin learning strategy that emphasizes right hand skills through bowing variation treatment, which is applied to Rodolphe Kreutzer's Etudes Ou Caprices No. 2. The focus of this research is the music education study program, ISI Yogyakarta. This study uses a qualitative method with a musicological approach. The stages that were passed in this research were through the process of literature study, observation, interviews, and analysis. The results of this study are: the emergence of eight variations of bowing which was applied to Etudes Ou Caprices no.2 Rodolphe Kreutzer; the treatment applied is useful in improving the right hand technique and the differentiating specifications between each bowing technique; through continuous practice of bowing variation techniques can make students responsive in reading notation symbols, especially on the diversity of right-handed techniques; treatment of variations of bowing detache, staccato, spiccato, legato, and their variations can be easily applied to the repertoire/songs being studied to support interpretation.

Perjuangan Mahasiswi Gitar Klasik pada Jenjang Pendidikan Sarjana Musik di Indonesia

The population of guitar students in the Bachelor of Music Study Program, Faculty of Performing Arts, Institut Seni Indonesia Yogyakarta, is dominated by male students. Purpose: This study aims to uncover women's efforts in gaining learning achievement in the context of guitar studies at the Indonesian higher education level. Research Method: This study uses qualitative research methods with interview instruments. However, in the analysis of some preliminary data using a quantitative approach. Result and discussion: Results and Interviews with four female alums and four active students provided information about their effort in pursuing Bachelor's studies with a classical guitar major. The analysis includes motivation, learning process, gender, and expectations. Implication: This study concluded that all subjects were not affected by the dominance of men in the guitar student population at ISI Yogyakarta. For them, gender does not affect the quality of learning outcomes; instead, perseverance and enthusiasm for learning play an important role.

Making interdisciplinary connections through music: A systematic review of studies in general schooling context in Turkey

This study aimed to systematically review the literature focusing on music integration approaches adopted in preschool to secondary education in Turkey. The relevant studies were identified through a systematic search on five databases (The National Thesis Center, TÜBİTAK ULAKBİM TR Index, ERIC, Scopus, and Web of Science). The paper analyzed the publications that were written in Turkish and English between 2010 and 2022 and that are available on the databases of empirical theses and peer-reviewed scientific journals, addressing music integration approaches adopted in preschool to secondary schools by using qualitative, quantitative, and mixed methods. By operationalizing these criteria, 35 studies were included in the review. The studies included were found to tend to use quantitative methods. Music has mainly been integrated into math, science, and language arts curricula. This study revealed that most of the analyzed studies used a subservient integration style, an arts integration style, and offered limited insight into the depth and scope of subject areas covered and the sequencing of skills. Furthermore, this study proposed to consider educational, cognitive, artistic, and affective outcomes together by maintaining the integrity of each of the disciplines in music integration studies in the general schooling context.

Guitar Music of Celso Garrido-Lecca: Modern Projections of Peruan Traditions

The relevance of the article is to deepen the analytical aspect of knowledge about Peruan guitar music of the late 20th – early 21st centuries in the context of the renewal of genre traditions of Andean music on the example of works by Celso Garrido-Lecca. Main objective of the study is to determine the influence of Peruvian traditions on the guitar music of Celso Garrido-Lecca in the conditions of modern creative contexts. The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis for: contextual consideration of the composer's creative activity; study of genre and style elements of Peruvian music traditions of folk, professional and non-academic origin in their interaction with the academic language of new music; comparison of the genealogy of rhythmic structures and their manifestations in the researched works; correlation of associative-figurative series with timbral connotations, specific genres and intonation and chord patterns. Results and conclusions. The study of the guitar music of the contemporary Peruvian composer Celso Garrido-Lecca performed by masters of academic art opens interesting pages of the new South American repertoire. Loyalty to the folklore traditions of his country, the study of timbre specificity and aesthetics of the Andean sound, the organology of ancient aerophones and local analogues of the charango, the collective practice of music making, as well as the ethnic language elements of the music of the coastal regions have affected the author's guitar works. Household traditions of Peruvian culture are identified in the sound atmosphere of the new vocabulary of the European model - polytonal “collage” music layers, constructivist modal octatonic arrangements, in the context of serial elements and polystylistic overlays of “foreign” texts. The genealogy of the rhythms deciphered in the composer's guitar opuses indicates a closeness to specific genre features: the Andean rhythm formulas of the huáyno, the Afro-Peruvian festejo, the ancient figures of the landó, the Creole samacueca, the tondero and the marinera with Iberian roots. The author resorted to quoting folklore sources in "Popular Andean Dances" with their updating with musical means of modern vocabulary; imitated the timbres of Andean flute orchestras in the cycle “Poetics” in the guitar parts; introduced the Andean charango of the Ayacuchan model into the scores of the orchestral versions of his suites; in the part of the instrumental duet of charango and guitar. In Celso Garrido-Lecca's guitar works, syntheses of archaic thinking of folkloric Andean chants, hybrid origins of poetics of local Creole and Afro-Peruvian rhythms with new language and intonation paradigms of academic art are organically embodied. Research perspectives are seen in the study of the influence of Peruvian culture on the modern non-academic traditions.

Ethnomusicology of Ukraine at the Turn of XX–XXI Centuries (1991–2022): Science, Publications, Conferences

The long-awaited times of Independence opened wide opportunities for Ukrainian ethnomusicologists. In the last issue of Problems of Ethnomusicology”, we began to review the achievements of the latest Ukrainian musical folklore studies during the years of Independence: we identified the main ethnomusicological centers and characterized their activities, considered ethnomusicological pedagogy, achievements in the field of documenting folk music – its collection and archiving. In this issue, we want to focus on such important areas as scientific, publishing and conference activities.&#x0D; The relevance of our research is due to the need to paint a general picture of the achievements and, possibly, omissions of domestic ethnomusicology over the past 30 years. This will significantly complement the existing historiographical studies, focusing mainly only on certain aspects or certain periods of development of Ukrainian musical folkloristics.&#x0D; Scientific research is a more expressive result of the work of Ukrainian ethnomusicologists of the period of Independence. They show a variety of interests, depths in scientific research, openness to knowledge and increasing the achievements of world ethnomusicology. There are such more important research areas of Ukrainian scientists: the theory of ethnomusicology, areal-typological research, historical studies, organology, ethnochoreology, resource science, ethnoculturology and ethnomusical sociology, folk music culture of ethnic minorities in Ukraine, professional music of the oral tradition of the East, folk music acoustics, etc. These directions are different in terms of achievements, fullness, and degree of innovation, but each of them is a contribution to the pan-European and world folk music science.&#x0D; Publishing activity clearly demonstrates the results of the work of Ukrainian ethnomusicologists. It was able to develop in Ukraine only after Independence when Soviet censorship disappeared. This direction has become important not only for scientific institutions themselves, but also for higher educational institutions. Thus, two professional Ukrainian annual ethnomusicological collections of articles and materials were launched at the Kyiv and Lviv Music Academies, respectively: “Problems of Ethnomusicology” (1998–2021) and “Ethnomusic” (2006–2021). Ethnomusicological articles are published in other scientific collections, mainly periodical and serial. An important place in publications of the period of Independence is occupied by the publication or reprint of the heritage of predecessors, including the epistolary. A lot of different folk music collections with vocal and instrumental folklore of different Ukrainian regions were also published.&#x0D; The conference activity of Ukrainian scientists deserves special attention. One of the most important forums is the Lviv “Conferences of folk music researchers of Chervona Rus’ (Halychyna and Volodymyria) and neighboring lands” (1991–2021). The series of specialized ethnomusicological conferences was later (2011) started in Kyiv, Dnipro (2018, 2020 and 2022). It is also worth mentioning the Lviv “Kolessa’s readings” (from 2007). Young researchers also have their own conferences. Ukrainian scientists constantly participate in international scientific conferences, including ICTM (The International Council for Traditional Music) conferences.&#x0D; In general, in our brief review, presented by two articles, we tried to draw a line under the modern achievements of Ukrainian musical folkloristics. Such reviews should be done regularly since Ukrainian ethnomusicology is constantly evolving. Today, researchers are working in extremely difficult conditions due to russia’s military aggression, but all of all, the work continues.

Music and Aesthetics in Education: Towards a Contemporary View

Abstract Aesthetics provides an important philosophical and practical dimension to arts and music education. It helps teachers and learners consider art more deeply, and find room to explore artistic meaning about the personal, creative, emotional and transformational aspects of human life. However, aesthetic education has not always achieved what it has potential to do because of its disciplinary orientation. At the same time, attempts to negate aesthetic education have neglected to foreground the creative insights and meanings of personal experience, and as such, have not clearly connected with music (and arts) education. The condition of contemporary education and society necessitates a revision of aesthetics in education that is responsive to the changing nature of art, technology and education. The changing means of music construction and meaning has altered the power and reach of music in society and education. It is proposed that a revised notion of contemporary aesthetics in music education needs to operate on two levels. One, at the personal level, music learners need to be able to articulate and reflect on their music learning experiences. This requires an understanding of aesthetics that is focused on the individual and their discovery of music. At another level, a contemporary aesthetics reaches into places and spaces outside music study. As portrayed in the Nietzschean Dionysian drive, this may include transdisciplinary and exploratory trajectories where music study stands visibly and evocatively alongside other subjects of learning. This involves finding space for the power of music to transform emotion, thinking and action in every area of learning. These two levels and trajectories of contemporary aesthetic education can work together in dialogue despite their intrinsic differences.

Ownership and Engagement in Performance Art: The Black Drum Signed Musical Theatre Case Study

Ownership and Engagement in Performance Art: <i>The Black Drum</i> Signed Musical Theatre Case Study

Motivational Factors of Collegiate Instrumental Music Practice during the Covid-19 Pandemic

The purpose of this study is to analyse the commitment level and motivational factors of collegiate instrumental music practice during the Covid-19 lockdown. The study sample consists of 58 subjects (Male=31, Female=27), who are collegiate students pursuing diploma and bachelor’s degrees in music at a local university in Malaysia. The collection of data was conducted through a survey questionnaire developed from The Behavioural Regulation in Sport Questionnaire (BRSQ). The results have showed a low commitment level to musical practice, where students are motivated by internal factors of accomplishment, knowledge, and the importance of musical practice in their music studies.

The Implementation Of Digital Audio Workstation Learning In Digital Music At Art Drama, Dance, And Musicstudy Program Of Padang State University

This study aimed to determine, describe and analyze the facilities and infrastructure for Digital Music lectures at the Art, Drama, Dance and Music Study Program of UNP, the use of DAW as the primary medium for learning Digital Music at the Art, Drama, Dance and Music Study Program, Universitas Negeri Padang, and the implementation of digital audio workstations in the Digital Music lectures of the Art, Drama, Dance and Music Study Program, Universitas Negeri Padang. This type of research was descriptive qualitative research. The main instrument in this study was the researcher himself and assisted by supporting instruments such as stationery, camera, memory card /flash disk, and mobile phone. This study's data sources were lecturers and students of the Art, Drama, Dance and Music Study Program, Universitas Negeri Padang. The informants of this research are lecturers in Digital Music lectures at the the Art, Drama, Dance and Music Study Program, Universitas Negeri Padang. Data collection techniques were carried out using library research, observation, and interviews. The steps to analyze the data were data collection, data reduction, data presentation, and concluding. The results showed inadequate facilities and infrastructure for digital music lectures. The facilities and infrastructure only use computers and soundcards in digital music lectures.&#x0D; Meanwhile, the facilities needed in digital music lectures are computers, soundcards, mixers, microphones, and midi controllers. The Sibelius, Nuendo, and fruity loop software were used in this lecture. However, students still expect the provision of software from the lecturer without trying to download the software. The implementation of the classes for this course went well. It was following the RPS used by the lecturer in charge of digital music courses, so the material provided was well conveyed. However, in implementing a Digital Audio Workstation, many students could not operate it properly, whether operating Sibelius, Nuendo, or fruity loop. As music academics, students should at least master notation writing and music editing to have skills in work after graduating from college.

Teknik Bowing dalam Pembelajaran Praktek Instrumen Mayor (Gesek) di Prodi Pendidikan Musik Departemen Sendratasik UNP

This study aims to explain the benefits orof thetechnique usesbowing in the practice course of major stringed instruments in the Music Education Study Program, Department of Drama, Faculty of Language and Arts, Padang State University. This type of research is qualitative with descriptive analysis method. The research instrument is the researcher himself. The object of research istechnique bowing in learning major string instruments 1 and 3 in music education study program FBS UNP. The research subjects were students of major string instruments 1 and 3, lecturers of major stringed instruments. Data collection techniques through literature study, observation, interviews and documentation. Data analysis techniques are data reduction, data presentation, and drawing conclusions. The results showed that the use of the Whole Bow (WB) had not been maximized because the strength of the index finger was not strong enough to push the swipe straighter or not controlled. The use of legato has not maximized the results because it has not been able to share the swipe as much because the strength on the index finger is not strong enough to control the swipe. The use of staccato has not maximized the results because a weak index finger in pushing the swipe and a stiff wrist cause friction to be less balanced. The use of spiccato has not maximized the results because the strength of the index finger that is not strong enough to push the friction causes the short length of friction to be less controlled to produce a shorter friction than the staccato. The use of legato staccato has not maximized the results because weak index strength and stiff wrists make friction not evenly distributed and staccato friction is less than optimal. The use of legato spiccato has not maximized the results because it is less able to produce a friction sound that is shorter than staccato due to the weak force on the index finger pushing the bow both up (Up Bow) and down (Down Bow).