Musical Expression Research Articles

Contemporary Interpretation of the Music Language of Guangxi Artistic Nationalities—Taking the Piano Solo "Eight Tones Playing Drum" as an Example

Guangxi ethnic folk music, with its unique musical expression - singing in the field, language of life, and symbols of ethnic life, expresses the feelings and lifestyle of people in ethnic areas. With the development of the times, national folk music also needs to inject new music language and new music elements on the basis of tradition, and make contemporary interpretation of national music language from three aspects of music ontology, performance techniques and music performance.

Identification of Traditional Music of Nonoava, Chihuahua

Throughout our history, war conflicts have served in some way as generators for the music of peoples. In the case of Mexico, the movements of troops and their bands in such an extensive territory, allowed their music to become known in other regions, even for its melodies to become popular. Specifically, two war movements in our country will be the subject of study for musical identity: Independence, and Revolution. This last social conflict unleashed a musical style that would soon become the favorite of the revolutionaries, specifically in the northern region. In Chihuahua in the 19th century, there were no musical expressions of identity. The emergence of wind music came to fill that gap, as it was adopted by Chihuahua´s society. Already in the 20th century, during Mexican Revolution is when a predilection for a certain type of music arises in Chihuahua. Perhaps nowhere else, throughout the country, were there so many military musical bands as in Chihuahua at this time, so their influence on the tastes of the population was representative. With this entire precedent, it will be possible to problematize how wind music was of vital importance in the social life of the people during the Mexican Revolution. Music bands will have a new valuation within society. Thanks to this, Chihuahua acquires a predilection for this type of wind music. In the town of Nonoava, Chihuahua, is where this musical aesthetics formed during the Mexican Revolution, somehow managed to subsist. It is known as the Nonoava style in which some musical elements similar to those of the Mexican Revolution still prevail on it today. This style is mainly made up of wind instruments. In their traditional repertoire, they continue to use European rhythms such as the polka, the redova, the chotis, and the waltz, among others. It is for this reason that the Nonoava style is the object of study in this work. This has turned the Nonoava style into an element of artistic export, since it has unique musical aesthetic elements, such as its instrumentation, repertoire and phrasing, which make it culturally valuable. In 2015, the city is named by the State Congress as “Nonoava, land of musicians”, becoming cultural heritage of the state of Chihuahua. However, the diffusion of Nonoava’s music has been scarce. More detailed research and work dissemination is necessary so that with this music is valued. It is for these reasons that it is pertinent to work. On the rescue and revaluation of this music, for the growth and dissemination of the Chihuahua´s culture. This work tries to find key pieces of this music.

Новый метод ладового мультифакторного анализа музыкальной формы для систематического музыковедения. Часть 1: Интервальное масштабирование и формообразующая роль градаций дыхания и музыкальной артикуляции

This article introduces a new method to analyze the tonal organization of music. This method uses “indefinite” intervallic typology instead of “definite.” The focus is on sounds with continuous frequency modulation and fluctuating pitch and time values rather than those with discrete time and frequency intervals that remain constant throughout a music work, forming sets of pitch and interval classes and rhythmic divisions. All existing methods of musicological analysis are primarily intended for the latter kind of music and are hardly useful for analyzing timbral rather than frequency characteristics of sounds and their relative registral position rather than “definite” pitch values. Our novel approach elaborates Eduard Alexeev’s theory of musical mode evolution, corroborating it with findings of modern psychoacoustics, biomusicology, ethology, evolutionary anthropology, genetic epistemology, and cognitive sciences. We implement the latest technologies for frequency and spectral analysis of music. Not only does our approach quantify the melodic, harmonic, rhythmic, metrical, thematic, and textural patterns of TO, but it also allows such aspects of musical expression as dynamics, tempo, articulation, breathing pulse, registration, and timbre to be evaluated. This multivariate method is supposed to improve considerably the analysis of music based on both “indefinite” and “definite” pitch forms. Such a comparative multifactorial analysis is essential for establishing the pathways of the global evolution of music and its biologically ingrained universalities and distinguishing music from other types of auditory communication. To summarize, we present the methodology for identifying the intervallic typology, articulatory gradations, and breathing segmentation of the music flow.

Processual Form in Sufi Dhikr Ritual

For four hundred years, the zikir ritual has been performed weekly in Kadirîhâne in Istanbul. Sufi rituals are believed to have been compiled by the founder (pîr) of the order. The ritual conductor (şeyh, postnişin) symbolizes the founder. The ritual form consists of chanting (dhikr) several divine names (esmâ). While participants perform the divine names with drone-like melodic repetitions or guttural rhythmic ostinatos, musicians perform songs, recitations, and improvisations. Through rhythmic enunciation, body sway, and breath control, these chants are embodied as ostinatos while music varies the mood. The ostinato polyphony between the derviş and zakir, as well as the succession of the divine names symbolizes unity (tevhid) in different ways. The manners and the formality of the ritual (ethics) and their musical expressions (aesthetics) implies harmony that leads to communal and/or individual unity. This article examines the form and content of the ritual, and shows their relation to Sufi concepts.

Современные сочинения кубанских композиторов на православные канонические богослужебные тексты

The article is devoted to the compositions of Kuban composers of the 21st century on Orthodox canonical liturgical texts. The features of the musical poetics of the works, their stylistic prototypes, as well as the motivation for turning to spiritual topics are considered. The problem of rapprochement of two lines of choral performance - church and secular is touched upon. Attention is drawn to the precedent of inlaying canonical liturgical texts as a private means of artistic expression in the context of a secular composition. Attention is focused on a careful renewal of the means of musical expressiveness of compositions, taking into account the traditional author's poetics of liturgical chants. The signs of following the style model of Obikhod in the harmonization of S. Smolensky, as well as the compositional techniques of the authors of the New Direction in Russian sacred music at the turn of the 19th-20th centuries, are revealed. The importance of the composer's church singing experience for the adequate embodiment of the verbal basis of rites in chanting is emphasized. A causal relationship is revealed in the change in the musical interpretation of the liturgical verbal basis in secular compositions under the influence of the concept of the opus, where the canonical liturgical text is “encrusted”. It also shows the dependence of the expansion of liturgical chants on the concert stage and secular compositions on the kliros on the processes of personnel “migration” of singers, the role of the individual in the development of this type of art, and the concept of the development of a creative team.

Vom Erwecken des musikalischen Ausdrucks im Instrumentalunterricht – ein Dissertationsprojekt

Musical expression in the sense of communicating feelings is central to the performance of music. However, how musical expression is integrated into instrumental teaching with young learners has not yet been researched in depth. In this dissertation project, an empirical-qualitative research approach is used to investigate which methods are used in German speaking countries to promote musical expression in instrumental lessons with young learners.

В поисках пределов музыки: каков он, инвариант музыкального искусства?

The article discusses the methods of constructing an invariant in musical art. The problem of the invariant in its final form is formulated as the problem of the limits of music. The answer to the question “what is music?” requires the formulation of its invariable properties, which are preserved in any form of acoustic realization of a musical concept. The comparison of three influential models of the invariant of music presented in the works of E. Kurt, G. Schenker and Yu.N. Kholopov allows us to draw a conclusion about a unified method for constructing the invariant of music. It is based on the idea of primary energy, which reveals itself in the course of the embodiment of an artistic conception and appears to us through the acoustic realization of a piece of music. Invariant properties permeate the structure of the musical fabric and then ascend to the most important principles of musical expressiveness, which allow the very possibility of perceiving music as a meaningful sound, in contrast to acoustic phenomena of a different origin. Therefore, the construction of the invariant of musical art requires taking into account its features at hierarchically correlated large-scale levels of organization of musical creativity, perception and thinking. This requirement remains the most general and conventional, uniting strategies for finding an invariant even in those cases when they try to search for the area of limiting invariant properties in various existential and conceptual spheres.

Peculiarities of Teaching Jazz Improvisation for Pop Singers of Music Colleges

The purpose of the article is to reveal the historical aspects of the formation of jazz as one of the directions of musical art; to find out the meaning and essence of the concepts "improvisation" and "vocal improvisation" in modern musicology and music-pedagogical literature; to determine the pedagogical conditions that contribute to the successful formation of jazz improvisation skills among music college students in the pop vocal class; to identify, theoretically justify, and describe the pedagogical conditions for the formation of jazz improvisation skills among music college students in the pop vocal class. The research methodology consists in the application of such methods as empirical method, analogy method, axiomatic method, elementary-theoretical method, and method of systematisation. The scientific novelty lies in the fact that for the first time the problem of formation of jazz improvisation skills among students of music colleges specialising in pop singing is revealed. Conclusions. The theoretical analysis of the research problem and the results of the research work made it possible to draw the following conclusions. The analysis of scientific literature made it possible to reveal such concepts as "improvisation", "improvisation of pop singer", "sket". Improvisation is a simultaneous performance of music without prior preparation, a spontaneous musical expression, and a direct, instant realisation of a musical thought. The definition of pop vocalist improvisation has also been given. It is a creative process of forming a musical and artistic image at the moment of direct vocal-syllabic intonation of a musical and literary text (sket singing), the essence of which is the knowledge, reproduction and dissemination of objectively and subjectively new use of generally accepted compositional combinations and the introduction of original scat-vocal compositions, original jazz phrasing, swing, accentuation and new articulation. The specificity of this process consists in special methods of sound creation, the use of a wide range of timbre colours and sound imitation elements within the framework of the structural scheme of the work. Research work has shown that the formation of jazz improvisation skills among students of a music college in the class of pop vocals is impossible without the creation of appropriate conditions, in this case pedagogical ones. These conditions include teacher-student communication, various methods, and exercises that affect the quality of formation of jazz skills improvisations. Thus, the inclusion of students in creative activities, the use of various methods in working with students contributes to the manifestation of positive dynamics in the formation of jazz improvisation skills among music college students in the pop vocal class. High indicators are associated with the successful organisation of classes, the use of various methods aimed at the formation of jazz improvisation skills among music college students in the pop vocal class. Key words: vocal pedagogy, vocal improvisation, pop music, jazz, improvisation, swing, pop singing

Piano music by Viktoria Poleva: Experience of performing embodiment

Relevance of the study. The main characteristic identifiers of Victoria Poleva's compositional style are considered, in particular, the dominant piano component of the music worldview, which translates the main ideas and meanings in the spiritual and instrumental genres of oeuvre. The actual factors of the special study of the meaningfulness of the texture embedded in the piano within the style of "sacred minimalism" are highlighted. The main performance specifics of the works were found to be close to the correct understanding in the construction of the interpretive version. The piano work of the composer has not been scientifically studied, the lack of competent analytical works prompts the study "Music for the Piano" (author's name), which is a sought-after and popular repertoire. Scientific investigations of this matter will reveal one of the bright styles of modern music art in the field of musicology and cultural studies. For the first time in home-bred art history, the main stylistic guidelines, image-emotional, programmatic priorities were identified, and the majority of piano music material was examined and analyzed. The chosen aspect of the research is under the spotlight of modern, global, concert life.
 The main objective of the study. The purpose of the article is to reveal the artistic meanings-messages of the composer, the peculiarities of their concert performance, the role of meaningful interpretation of piano reception.
 The methodology. Empirical research method was used from the experience of numerous performances of Viktoria Poleva's works, the analytical method reveals the essence of the actual problem; the comparative method consists in comparing the interpretive versions of pianists' performance live, and by comparing them in video and audio recordings, it allows presenting modern performance trends; the source method in the form of archival notes, newspaper publications, posters, work with manuscript scores argues the basis of the outlined aspect; relying on citations during communication with the author brings the research result closer to reliability.
 Results and conclusions. It has been proven that the author's philosophical and artistic messages hit the listener's reactions-impressions through her performing skills during live music performances. The top priority role of a pianist’s training is emphasized. The importance of world performances of compositions that reflect the author's spiritual quest is explained in terms of restoring the man’s balance and harmony in response to the today’s cruel challenges. The author substantiates the means of music expressiveness in the piano presentation, which serve to achieve the goal-affect, as the main idea of focusing on powerful manifestations of aesthetic impression. Attention is focused on special, technical and artistic piano techniques that enhance sound effects, and with the help of which the main essence of the composer's ideas is expressed. Significance. The piano music of V. Poleva is gaining widespread worldwide popularity, the score music is mostly in the state of manuscripts and needs publication, the topic of piano works is relevant for future scientific research.

Hugo Wolf’s Embodiment of Johann Wolfgang Goethe’s Humanistic Views in the Vocal Collection Goethe-Lieder

The purpose of the research is to study the basic principles of G. Wolf’s embodiment of J. W. Goethe’s humanistic views in the songs from the vocal collection Goethe-Lieder written for baritone voice – three songs of the Harpist and the monologue “Prometheus”. The research methodology consists in the analysis of musical and expressive means and their symbolism, with the help of which Hugo Wolf created the images and characters of J. W. Goethe’s heroes. The scientific novelty of the research. For the first time in Ukrainian musicology, the characteristic musical and expressive features of H. Wolf’s vocal works from the collection Goethe-Lieder for baritone voice, with the help of which the composer embodied the humanistic ideas of J. W. Goethe, are investigated. Conclusions. Through the depiction of the inner world of his heroes, the poet illuminates important moral and humanistic themes. In the Goethe-Lieder collection, the composer implements the humanistic ideas of J. W. Goethe with the help of means of musical expressiveness. He embodies his main worldview ideas in the poetic images of the suffering Harpist and the rebellious Prometheus. Every image created by Goethe gets a new meaning from Wolf. For him, the main source of the embodiment of musical thought is the poetic word. For the composer, the persuasiveness of vocal writing lies in the original melody. Harmony, texture, dynamics, and agogics, which he gives a certain meaning, acquire special importance in the creation of musical and poetic images. As a result, these tools acquire a symbolic meaning for revealing the created images. Developing the traditions of his predecessors (R. Schumann, F. Liszt, R. Wagner) with musical and expressive means, the composer strengthens the poetic word and gives it a deeper interpretation.

Playing Gamelan Bonang in the Air: User Requirements for Designing a Digital Musical Instrument for the Malay Bonang

In recent years, computer technologies have been impactful in the design and development of Digital Musical Instruments (DMIs). As music interaction became prominent in the Human-Computer Interaction (HCI) field, emphasis on user requirement upon the design of musical interfaces has also grown since the last decade. Although designing new DMIs is becoming very popular, it is often determined by the designers and often not reflective of users’ needs. In this study, we explored user requirements for the design of a virtual musical instrument of the Malay bonang, an instrument found in the Malay gamelan ensemble. The requirements were elicited from a group of gamelan experts to establish the bonang playing techniques to be mapped to the virtual instrument which we called Air Bonang. Findings revealed that in designing the Air Bonang that is natural and expressive, the fundamental playing techniques of the bonang should be integrated into the system using mid-air interaction. In addition, exploratory techniques might also be integrated into the Air Bonang to leverage musical expression. The outcome of the study proposes design criteria that encompass three aspects of a natural Air Bonang, namely, embodiment, expressiveness, and feedback.

The Origin of the Concept of Style in European Musical Thinking

"Essentially, the emergence of the concept of style in European musical thinking is the consequence of the shift produced at the end of the Renaissance. The trend towards the simplification of language and musical expression and the subordination of both to the notional-poetic discourse determines the unimaginable: the hegemony of rhetoric and, implicitly, of style as a rhetorical sub-category having the function of organizing and controlling musical suggestiveness – the taxonomy of musically expressible emotions. It is also during the period of the musical Baroque that the practical insertion of the concept of style begins by cohabiting with the idea of genre in all its three forms: as a specific habitat for the performance of the musical act, as a composition coefficient and equally as a type of ethos. This confusion will persist for the entire period of use of the concept of style, which gradually fades as the insertion of postmodernism gathers momentum. As a tool for functional and semantic dislocation, style also acts in relation to the term canon, the only value reference until the shift from the mathematical-cosmic quadrivium to the discursive-philological trivium (the Del Bene moment, 1586). Apart from taking over the attributions from the concept of genre, style also claims the function of canon as the exclusive value reference. Starting with the Baroque, we already speak of the stylistic canon. The complete absorption of the canonical function by style takes place during the Viennese Classicism, when style becomes a personalizing-biological reference, attached to the musical thinking of a prominent personality (Wilhelm von Lenz, Beethoven et ses trois styles, 1855). Musical Romanticism raises the understanding of style to the level of an almost absolute exclusivity, on a par with the transcendentalism displayed by the genius-musician (the Liszt-Wagner paradigm). The dissipation of Romanticism determines the return to the identification through ethos: verism, expressionism, impressionism-symbolism and naturalism, so that it is only during the first musical modernism (1900-1914) that we witness the return to the purely technical Renaissance acceptance: the atonal style, during the second modernism (1918-1939) – the dodecaphonic style, the serial style, and further, during the third modernism (1946-1968) – the style of stochastic music, the style of aleatoric music, the minimalist style etc. The uselessness of the concept of style as a procedure of identification through differentiation (Boris Asafiev) and obviously as a meta-narrative is already revealed in musical postmodernism, with all the three anti-metanarrative “ideologies” of postmodernism: the ideology of distrust, the ideology of the fragment and the ideology of recovery. Keywords: history of style, stylistic canon, style as a genre, style as a metanarrative, liberation from style "

Estlandssvenskar på Sverigeturné med körsång och ett bondbröllop på Skansen

This article discusses the formation of Estonia-Swedish musical self-images during the interwar period. The question that is raised is what influence the relation between a cultural minority, Estonia-Swedes, and its historical land of origin, Sweden, had on the minority’s image-creation. The case-study analyses the first Sweden tour ever with an Estonia-Swedish music group. The tour consisted of performances both in churches and in the open-air-museum Skansen in Stockholm among a couple of other places. At Skansen, the choir performed the play Ett bondbröllop från Wormsö (A Farmers’ Wedding from Ormsö) that was written specially for the tour. The research material consists of archive material with the musical expressions used on stage, articles in newspapers about the performances and other texts related to the persons and organisations behind the arranging of the tour. Seen as a whole, the tour expresses two cultural belongings: the pan-Swedish and the Estonia-Swedish. Pan-Swedishness focuses on bounds with an imagined pan-Swedish community expressed by spritual and patriotic songs in standard Swedish. Estonia-Swedishness, on the other hand, is based on a revived repertoire of wedding songs and dances from the mid-19th century that expresses uniqueness using a well-known cultural mould – the farmers’ wedding.

Samuel Barber’s chamber and vocal lyrics in the mirror of performance interpretation (on the example of «Three songs», op. 10 to the words by J. Joyce)

Samuel Barber’s chamber and vocal lyrics in the mirror of performance interpretation (on the example of «Three songs», op. 10 to the words by J. Joyce)

«Marpha and Maria» for eight cellos by Oleksandr Shchetynsky: integration/disintegration as a principle of timbre organization

Statement of the problem. Compositional practice of XX – beginning of XXI centuries is marked by radical reconsideration of timbre. In many cases it becomes a factor creating the very sense and compositional organization of the work. Timbre being reconsidered and recognized as a main factor of music expression in the first half of XX century became just a beginning of “delving” into timbre, a process that in the second half of the century started to occur in the domain of electroacoustic music as well. The research of timbre is developed in the same multifaceted manner, on the basis of completely different works, with different goals, with inclusion of the achievements of different branches of humanitarian studies (results of studying of semantics of timbre), as well as science and computer technologies (research of specifics of timbre in electroacoustic music). The topic of this article is inspired by the growing relevancy of the research of timbre as a leading parameter of music of XX–XXI centuries in Ukrainian and foreign scholarly works. The relevancy of the chosen theme is also caused by the interest in the creativity of modern Ukrainian composers, including O. Shchetynsky. Recent research and publications. Theoretical basis of the article consists of Ukrainian and foreign sources devoted to timbre: articles and thesis of Yu. Ishchenko (2012a; 2012b), O. Zharkov (2002; 2017; 2020) O. Voytenko (2012), S. Korobetska (2003), H. Kosenko (2018), R. Kashyrtsev (2022), P. Boulez (1999), D. Smalley (1994). Also, this basis is broadened by the research of the creativity by O. Shchetynsky: by P. Rud (2021) and H. Savchenko (2021; 2023). The objectives of the studу. The aim of the article is to research specifics of timbre organization in the work “Marpha and Maria” for the ensemble of eight cellos on the basis of juxtaposition of articulation (disintegration) and joining (integration). The scientific novelty of the results of the article is caused by the fact that the work “Marpha and Maria” has not been analysed before, including the peculiarities of timbre organization. Results and conclusion. One of the main principles of timbre organization in orchestral and ensemble music is interaction of articulation (disintegration) and joining (integration). In the work “Marpha and Maria” these principles, firstly, create logically-constructive basis of timbre organization; secondly, they acquire symbolical meaning (juxtaposition of calmness and rush, constant and changing), which helps to incarnate the programmatic idea. These principles act simultaneously and consecutively, in the vertical dimension of the texture (between the lines and layers) and in the horizontal dimension of the composition (between the segments). Realization of timbre integration (joining) and disintegration (differentiation) is aided by the following: texture, type of themes, register, dynamics, agogics, ways of producing the sound.

Nocoastjazz

Nocoastjazz

Musical Eschatology in Contemporary Christian Worship Songs

This article examines musical expressions of the Christian doctrine of eschatology in Contemporary Worship Music (CWM), a subgenre of Contemporary Christian Music (CCM). Taking an interdisciplinary approach that combines recent scholarship on pop-music analysis and Christian studies of CWM, I analyze the lyrics and the music of select contemporary worship songs to interpret how their phrase rhythm, form, and tonal design convey and enhance eschatological ideas in the text. The findings address the purported superficialities in CWM’s eschatological content both musically and theologically, and challenge Christian worship leaders and practitioners to consider the skillfulness and artistry of CWM, especially in the areas of phrase rhythm, phraseology, formal proportions, and strategic deployment of tonal resolutions, when evaluating and selecting contemporary worship songs for congregational singing.

동시대 미술감상 기반 통합적 미술활동이 유아의 창의적 미술표현력, 정서창의성에 미치는 영향

Objectives The purpose of this study is to investigate the effects of contemporary art-based integrated art activities on young children's creative art expression ability and emotional creativity.
 Methods For this purpose, 47 kindergartens aged 5 years were selected and conducted for a total of 12 weeks. The experimental group performed integrated art activities based on contemporary art appreciation, and the comparative group performed art, music, and physical expression activities related to the theme. Before and after the experiment, creative art expression ability and emotional creativity test were conducted, and covariance analysis (ANCOVA) and independent sample T-test were conducted to analyze the data.
 Results Integrated art activities based on contemporary art appreciation had a positive effect on children's overall creative art expression and sub-areas such as expression attitude, expression ability, and aesthetic attitude. In addition, there was a positive effect on the whole emotional creativity and the sub-areas of frankness, efficiency, and novelty, but no significant effect on readiness.
 Conclusions This study is significant in that it showed the possibility of using contemporary art by expanding the scope of existing masterpieces in art appreciation education for young children, and suggested the importance and necessity of integrated art education for young children.

뮤지컬 『노트르담 드 파리』에 나타난 음악과 무대 공간 특성 분석

The study on the elements of music stage space in musicals has in particular significant implications as comprehensive theatrical art combined with various fields including music. This paper classified special characteristics between stage design in terms of visual, spat ial and objet’s points by the scenes of remarkable numbers of 『Notre Dame de Paris』 and analyzed how the stage design and music has heightened the effect interactively. In additio n to this, it has been investigated how the music and space expression described and charact erized effectively in harmony. Consequentially, the stage of 『Notre Dame de Paris』 is sym bolized with the simplicity of designs without emptiness using visual and spatial elements and objet appropriately. From the musical point of view, the numbers of 『Notre Dame de Pari s』 played a role in giving a plot and depicting character’s conflict including symbolic son gs. In stage design, there are dramatic changes of stage with configurations of huge objet and structural symbol so that the different background and situation has meaningful polysem ous functions in space and time. These kind of designs of stage in 『Notre Dame de Paris』 are contemporary approach to express restrained symbolism in space of theater. The music with lyric melodies and dynamic rhythms in 『Notre Dame de Paris』 also convey the literary narrative of the spectacle French musical.

Analyzing experimental music performance in "AquaSonic" by Between Music

This essay analyzes the performance of experimental music in Between Music’s Aquasonic Project using a qualitative approach. We investigate the creative combination of music and underwater performance art by analyzing various sources such as literature and audio-visual information found on platforms like YouTube. The essay explores the distinctive difficulties and artistic opportunities that arise from performing music underwater, focusing specifically on Between Music’s Aquasonic Project. The project explores the ways in which it challenges the conventional norms of music performance by combining avant-garde music, visual arts, and scientific investigation. The study reveals the complex and diverse aspects of the Aquasonic Project, emphasizing its dependence on specialized instruments, the acoustic characteristics of water, and the physical interactions between the performers and their underwater surroundings. The essay offers a detailed analysis of the experimental music performance landscape in the Aquasonic Project by combining insights from study literature and analysis video on YouTube. It highlights need to work together across several disciplines, using advanced technology and exploring new artistic ideas to expand the limits of musical expression. Moreover, the study proposes possible areas for future investigation and artistic development in the field of underwater music performance, highlighting its capacity to evoke wonder, stimulate contemplation, and alter traditional concepts of musical engagement.