Introduction . The integration of virtual reality (VR) platforms into educational museum spaces plays a crucial role in preserving and promoting traditional music. However, the declining interest among young people in traditional Indonesian musical instruments emphasises the need for innovative pedagogical strategies. Museum-based VR platforms offer a promising tool to enhance interactivity, accessibility, and relevance in learning. Aim . The present study aims to identify the key factors influencing the implementation of VR technologies in the educational processes of museums, utilising the Unified Theory of Acceptance and Use of Technology (UTAUT) and the Technological Pedagogical Content Knowledge (TPACK) framework. Methodology and research methods . The study employed partial least squares structural equation modelling (PLS-SEM) to examine the influence of technological competence, cultural factors, behavioural attitudes, and pedagogical knowledge on the effectiveness of using VR. Results and scientific novelty. The critical role of teacher training in enhancing their technological and pedagogical qualifications was confirmed. The PLS-SEM results demonstrate that technological competence and pedagogical knowledge significantly influence behavioural intentions, which, in turn, are the strongest predictors of the actual use of VR technologies. Practical significance . Practical recommendations are provided for educators, developers of educational programmes, and specialists in cultural heritage concerning the integration of VR into learning and exhibition contexts. It is demonstrated that the pedagogically informed application of VR technologies to culturally significant materials enhances engagement and learning effectiveness, thereby contributing to the preservation of traditional Indonesian music.

Abstract Artificial intelligence-powered assistants are revolutionizing the music industry by transforming how music is produced and experienced, opening new frontiers for creativity and innovation. Their application in supporting learners to play a musical instrument, however, has yet to be fully explored. Most current applications primarily focus on sound data to distinguish between different notes. This approach excludes the correct hand form, which is essential for learning to play an instrument. Furthermore, sound can be subject to background noise or compression. The current article presents a pipeline for guitar chord recognition based on 3-D data acquisition and color images. The developed method utilizes MediaPipe to estimate hand landmarks from color images and leverages depth images to retrieve real-depth information. In this study, various machine learning (ML) algorithms were compared to perform chord recognition from hand landmark information. The number of chords was limited to four, plus one class for unknown gestures. The classifier was trained with an RGB-D video data set (red, green, and blue plus depth) that features the hands of 18 subjects who performed the selected chords. The random forest (RF) classifier demonstrated remarkable performance in the classification task, achieving a balanced accuracy (BA) that exceeded 85% on unseen data under the same acquisition conditions and improving the state-of-the-art performance. Future developments will focus on expanding the number of supported chords so that the proposed approach could be used in real-world applications. Such applications might include not only guitar education but also transcription, control of sound synthesis, identification in ensembles, and other contexts where audio input alone is insufficient.

This study investigates the material recycling potential of discarded wind instrument reeds (Arundo donax), which are conventionally incinerated, by compounding them with thermoplastics (thermoplastic polyolefin, TPO; polybutylene succinate, PBS). After recovered reeds were pulverized and injection-molded at 10 and 30 wt% concentrations, their mechanical and interfacial properties were evaluated. Experimentally obtained results indicate that waste reeds function as effective reinforcing agents, particularly when combined with biodegradable PBS. Incorporating 30 wt% reed flour into PBS enhanced flexural strength by approximately 1.7 times and flexural modulus by 2.8 times compared to the neat resin. This superior performance relative to TPO composites is attributed to robust interfacial hydrogen bonding among PBS carbonyl groups and the hydroxyl groups on the reed surface. Additionally, thermal and spectroscopic analyses revealed that these strong interactions elevate the crystallization temperature and generate a “Rigid Amorphous Phase” (RAF) that facilitates efficient stress transfer. These research findings demonstrate the feasibility of creating high-quality, bio-based composites, offering a sustainable method to reduce petroleum reliance and carbon dioxide emissions by upcycling musical waste.

The problem of occupational injuries and pain among musicians continues to receive wide attention. However, the limitations of survey tools have limited hindered the in-depth development of occupational health research on musicians across different regions to a certain extent. The aim of this study was to translate the Performance-Related Pain in Musicians Questionnaire (PPAM) into Simplified Chinese (PPAM-C) and to conduct the cultural adaptation and initial validation of the PPAM-C for music students. The reliability and validity of the questionnaire were tested with Chinese music students. A total of 610 valid questionnaires were collected (students' mean age 19.4 yrs, SD 1.146); females accounted for 69.7%. The respondents represented a variety of primary musical instrument types. Exploratory factor analysis (EFA) supported a three-factor structure consistent with the original version: pain intensity, pain interference in general activities, and pain interference in performance. The sample fit was good (KMO = 0.851; Bartlett's test of sphericity, p <0.001). The communalities and eigenvalues showed the robustness of the factor structure. The internal consistency (Cronbach's α = 0.786-0.937) of the subscales was good. The PPAM-C showed significant moderate to high correlations with the relevant domains of the Simplified Chinese versions of the Brief Pain Inventory (BPI), QuickDASH, and SF-36 scales, which confirmed its good convergent validity. The results of demographic analysis further showed that the questionnaire was applicable to music students of different ages, genders, and primary musical instruments. In conclusion, the PPAM-C exhibits excellent psychometric properties and is a reliable tool for assessing pain and its impact on music students' general and performance-related activities in the Chinese context.

Classical music follows classical principles from a practical point of view within a specific discipline and with specific rules. Classical music and high-pitched music are known as classical music and vocal instruments. From the point of view of Indian and Carnatic music is observed, as is Odissi music. Odissi music also has a special feature. A special feature is ‘na druta na bilambita', meaning it is not the first time or the last time. The classical nature of Odissi music in all its aspects, from vocal to raag taal, is in perfect harmony with the beauty of the unique classical music of India. Odissi Music Odisha has its own classical music tradition. It is the music of the temple and the service of Sri jagannath. The 12th century poet Sri Jayadeva described his lyrical poetry as sweet and tender verses. In the middle of the Riti era, the verses composed between 1780 and 1880 AD will be full of devotional movement, and from the middle point of view, this period is considered as Music Age or Padabali Yuga in the history of Odia literature. The compositions of many poets during this period form the basis of Odissi music.

The article is devoted to the analysis of the object world in V. I. Belov’s trilogy “The Sixth Hour”, which was created over a period of almost thirty years. The purpose of the study is to identify the features of the material world of the jovial hero, who is an heir to the traditions of the ancient Russian skomorokhs, in V. I. Belov’s trilogy “The Sixth Hour”. The article focuses on the ontological essence of various objects that are included in three circles of things, and traces the “irradiation” of the human principle, which includes items of clothing (hat, cap, and fur coat), musical instruments (balalaika), mechanisms (gramophone), printed materials (newspaper), and means of transportation (ski). The scientific novelty of the study lies in the fact that it establishes a specific feature of the writer’s poetics, which is the creation of the characters’ object fields as a means of characterology. As a result of the study, the items that form Kindi Sudeykin’s material field, a character who belongs to one of the main types of characters in V. I. Belov’s works, have been identified, and the connections between the items have been marked, the semantic halo of this field has been reconstructed, and the law of life in the peasant Universe has been deduced, which manifests itself through the functioning of these things.

Iranian folk music, one of the oldest and richest cultural heritages, plays a crucial role in shaping the cultural identity of this nation. This article examines the structure, technical characteristics, and historical aspects of Iranian folk musical instruments. The interdisciplinary study–combining historical research, anthropology, and musical analysis–aims to deepen the understanding of these instruments and their role in regional music. This study was collected through extensive field research, interviews with folk music masters, and reviews of written and oral sources. This article builds on the author's previous research, " The Iranian National Musical Instruments and Their Techniques" (Link: revistas.ufg.br/musica/article/view/80795), which explored Iranian national musical instruments in greater detail. In this section, the main focus is on regional and folk instruments of Iran, including their structural features, playing techniques, and their social and cultural roles within folk communities. The findings indicate that Iranian folk instruments, beyond their structural diversity, play a significant role in religious ceremonies, social events, and daily life. Additionally, by analyzing playing techniques and cultural influences, this study explores the challenges of preserving and revitalizing these instruments while proposing strategies to sustain this valuable heritage. The novelty of this research lies in its comprehensive analysis of the technical, historical, and cultural dimensions of Iran's folk instruments and its effort to safeguard and revive them.

When listening to music, people are able to separate the various parts or streams that the respective piece is made of, depending on their musical experience and aural training. Specific musical expertise affects these analytical listening skills, but different studies have shown that differences between experts and amateurs are smaller than often anticipated and depend heavily on the adequacy of the task for amateurs. The present replication study of Kopiez and Platz (2009) has investigated in a convenience sample ( N = 97) whether a presumably obvious clash of keys between solo and accompaniment can be detected. In an incomplete study design, participants listened to two pieces of music (jazz and classical) with solos each played by one of two instruments (trumpet and saxophone) in either a clashing or fitting condition. Participants' musical training and perceptual abilities showed a medium correlation with the harmoniousness ratings difference between the clashing and fitting stimuli. Overall, the clashing version of the classical piece was rated as less harmonious than the jazz piece. These results are in line with similar research and raise questions concerning the appropriate research method to investigate the perception of participants with various degrees of expertise.

Abstract Music notation has evolved to accommodate music and musical instruments as they have changed over time. However, the rapid advancement of musical technology has not been accompanied by a corresponding development and consensus in notation. This paper examines the challenges faced by notation in representing music written for augmented instruments. We contend that a novel understanding of musical works is necessary and propose a work-concept that recognises the significance of the technology – medium – that composers develop alongside their creations. We emphasise the role of the score within this work-concept model and present an instrumental augmentation system as a case study. Finally, we propose notation guidelines for augmented instruments and argue that standardising notation could facilitate the discovery of common ground that guides the development of augmented instruments and music written for them.

The article is devoted to the problem of professional training of future music instrument teachers (bachelors of specialty 025 "Music Art") for the development of the musical and aesthetic taste of primary music school students. The relevance of the study is determined by the deep transformations in the modern socio-cultural space, the dominance of mass culture, and the challenges facing arts education in the era of globalization. The paper reveals the essence of the concept of "musical and aesthetic taste" as a complex integrative formation that manifests itself through the student's selective and evaluative attitude towards musical works. The author analyzes the structural components of the taste of a student-instrumentalist, including: knowledge of styles and genres, empathy for the artistic image, sound culture, and the ability to critically evaluate their own performance. Special attention is paid to the methods of training future teachers within the study of the discipline "Specialty". It is determined that the foundation of a teacher's readiness is their own developed taste and artistic worldview. The methodology of artistic and pedagogical analysis of musical works is considered, which allows students to move from the mechanical decoding of the musical text to the disclosure of the deep meanings of music. The role of "scenario preparation" of the lesson and the principles of forming a "didactic repertoire" that ensures a balance between academic standards and modern artistic demands are outlined. The article proposes practical techniques for activating student training: modeling pedagogical situations, master classes on interpretation, and the development of interdisciplinary art projects. It is concluded that modern arts education should shift the emphasis from purely technical training to the upbringing of aesthetic ideals through the dialogic interaction between teacher and student.

This publication is dedicated to a comprehensive study of the scientific legacy of Lev Sergeyevich Termen, the renowned inventor and founder of electronic musical instruments. The article analyzes his technical achievements in radio communications and television, and examines key biographical milestones. Particular attention is paid to the therapeutic potential of the Theremin, which contributes to a rethinking of the scope of Termen's talent as a musician and scientist.

ABSTRACT This article critically reassesses the entrenched belief in Western musicology that regards the human voice as merely a musical instrument. It posits an alternative perspective rooted in African epistemology, wherein the voice is understood to hold a distinctly different ontological and cultural significance. In various African societies, vocal expression is intricately linked to language, spirituality, social identity, and communal engagement, rendering any consideration of the voice as merely an externalized ‘instrument’ fundamentally insufficient. This study engages with African scholarship, referencing the contributions of Nketia, Nzewi, Agawu, and a wider array of contemporary Africanist theorists (Addaquay). It juxtaposes Western organological classifications with various African internal logics that are rooted in communicative function, performance context, ritual significance, and embodied aesthetics. By employing a comparative taxonomy and analysing the shifts in vocal practice during colonial and postcolonial periods, the article illustrates the ways in which Western classification systems fail to accurately represent African vocal epistemologies, thereby leading to a distortion of knowledge. By focussing on indigenous conceptual frameworks and recognizing the variety of African approaches to vocality, the paper puts forth a decolonial argument for understanding the African voice as a unique analytical category rather than merely an instrument. The conclusion delineates the implications for music education, performance, intercultural analysis, and global music scholarship, advocating for an Afro-centric taxonomy that reinstates sovereignty to African musical thought.

This study revisits the Saumpi dance of the Kagan tribe in Mindanao, Philippines, using anthropological, performance theory, and cultural heritage frameworks. Through qualitative ethnography, it documents key dance movements, musical instruments, attire, and ritual practices integral to Saumpi. The findings show that the Saumpi dance serves as a living archive of Kagan identity, transmitting collective memory, values, and spiritual beliefs across generations. It highlights the dance’s role in fostering community cohesion and sustaining intangible heritage during social transformation. It also emphasizes the need for revitalization strategies to preserve the Saumpi and similar indigenous traditions, ensuring their continued relevance and transmission.

Abstract Background College music students face unique academic and performance pressures, with generally high levels of anxiety. Music intervention is an effective means of regulating emotions, but research on the application of specific ethnic musical instrument teaching is still blank. As a traditional Mongolian musical instrument, the horsehead fiddle's music and collective learning mode may have a positive effect on emotional regulation. The research aims to empirically explore the moderating effect of collective classes on anxiety among music students in Inner Mongolia universities, in order to provide a basis for developing characteristic psychological health intervention programs. Methods The study adopted a pre-test posttest design consisting of an experimental group and a control group. Firstly, using the Self Rating Anxiety Scale (SAS) as a screening tool, 60 students with mild to moderate anxiety were randomly selected from the music department of a university in Inner Mongolia and divided into an experimental group (n = 30) and a control group (n = 30). Before the experiment, SAS pre-test was conducted on both groups of subjects to ensure that there was no significant difference in baseline levels. The experimental group received a 12-week, weekly 90- minute group lesson on the horsehead fiddle, which included explanations of the history and culture of the horsehead fiddle, learning of basic performance techniques, and group ensemble training. The control group did not receive any intervention during this period and maintained a regular learning routine. After the experiment, the SAS posttest was immediately performed again on both groups of subjects. All data were processed using SPSS software. Results Through the analysis of pre-test and post test data, the following results were obtained: the posttest SAS score of the experimental group (45.23 ± 4.15) was significantly lower than its pre-test score (58.70 ± 5.62), and the difference was statistically significant (t = 11.857, p&amp;lt;.001). There was no significant difference (t = 0.421, p=.677) between the posttest SAS score of the control group (57.85 ± 5.48) and the pre-test score (58.02 ± 5.71). Inter group comparison showed that in the post experiment test, the SAS score of the experimental group was significantly lower than that of the control group (t = 10.924, p&amp;lt;.001). The results indicate that a 12 week group course on horsehead fiddle can effectively reduce the anxiety level of music majors in Inner Mongolia universities. Discussion The research results confirm that group teaching of horsehead fiddle has a significant positive effect on regulating the anxiety of college music students. Its mechanism of action may stem from multiple aspects: (1) the unique infectious power of horsehead fiddle music can trigger emotional resonance and release; (2) The sense of achievement brought by learning new skills enhances self-efficacy; (3) The form of group classes provides social support and effectively alleviates feelings of loneliness. This result provides empirical support for integrating ethnic culture into mental health education and has practical promotion value. Future research can be expanded to different student groups and incorporate multidimensional evaluation indicators to further explore their mechanisms of action. Fundings No. 2022NDC253; No. 23NYJB12.

Abstract Background Music therapy is a relatively effective non pharmacological intervention in the fields of psychiatry and mental health. Traditional music therapy often focuses on listening or free expression modes. But in recent years, research has begun to focus on the psychological therapeutic potential contained in the training of specific ethnic musical instrument performance skills. The horsehead fiddle is the most representative ethnic musical instrument in Inner Mongolia. Its unique tone and playing style carry rich emotional connotations and have a certain guiding effect on the emotional projection of performers. The research aims to explore the emotional expression and psychological intervention effects of horsehead fiddle performance music teaching practice on college students majoring in this field, providing a practical path for the integration of ethnic instrument teaching and mental health. Methods The study selected 60 third year college students majoring in horsehead fiddle from an art college in Inner Mongolia as the research subjects. All students gave informed consent and were randomly divided into two groups. The intervention group (n = 30) received a 12 week emotional oriented horsehead fiddle teaching practice, which focused on the analysis of emotional themed repertoire, emotional expression techniques in improvisation, and emotional sharing and discussion after performance. The control group (n = 30) received traditional technical horsehead fiddle teaching with the same class hours and repertoire, focusing on performance techniques and standard musical performance. After the intervention, psychological health assessment was conducted using the Performance Anxiety Inventory (PAI), Beck Depression Inventory II (BDI-II), Emotional Expression Questionnaire (EEQ), and Symptom Checklist-90-R (SCL-90-R). Results After the experiment, the average EEQ score of the intervention group increased to 4.18 ± 0.52 points, significantly higher than the control group's 3.35 ± 0.68 points (p&amp;lt;.05). In terms of alleviating performance anxiety, the intervention group's PAI decreased by an average of 7.51 ± 2.10 points, while the control group only decreased by 2.30 ± 1.95 points, and the difference was statistically significant (p&amp;lt;.05). At the same time, the BDI-II score of the intervention group decreased by an average of 5.88 points, while the control group only decreased by 1.15 points, and the difference between the groups was statistically significant (p&amp;lt;.05). In addition, the total score of SCL-90-R in the intervention group decreased by an average of 10.85 ± 3.20 points, while the control group only decreased by 4.12 ± 2.55 points (p&amp;lt;.05), which proves that emotion oriented horsehead fiddle teaching practice can alleviate the psychological distress of professional students through positive emotional expression and guidance. Discussion Integrating emotional expression training into the teaching practice of horsehead fiddle majors in Inner Mongolia can significantly enhance students' emotional expression ability and effectively alleviate their performance anxiety and depression symptoms, with positive psychological intervention value. The combination of ethnic musical instruments and spiritual therapy concepts provides a new path for psychological health support in professional art education. Subsequent research will design long-term follow-up studies to verify the effectiveness of this emotion oriented teaching practice in maintaining individuals' long-term mental health.

Theoretically, music teachers’ technological, pedagogical, and content knowledge (TPACK) substantially influences their teaching practice. However, although comprehensively validated music-related TPACK surveys are needed to establish the relationships between these factors, research to date has not created suitable tools. In this study, 734 pre- and in-service primary and secondary school music teachers in China responded to a music TPACK instrument (MTPACK-I). After expert review and pilot testing, exploratory factor analysis (EFA) and confirmatory factor analysis (CFA) are used to explore and validate the underlying factor structure. The results suggested a seven-factor structure derived from the exploratory factor analysis, which was subsequently confirmed through the confirmatory factor analysis. Invariance tests were employed to measure the variance of the MTPACK-I across genders and pre- and in-service music teachers. This study contributes to the validation of a seven-factor TPACK in music education and presents an important instrument for the effective measurement of both pre- and in-service music teachers’ TPACK.

The article studies auditory modality as a component of multimodal representation in English children’s nonfiction. In this work, auditory modality is considered an important semiotic resource that functions in interaction with other modalities and provides multichannel perception of information. The relevance of the research topic is determined by the growing interest in multimodal forms of children’s publications that integrate verbal, visual, auditory, tactile and spatial means of perception. Particular attention is paid to the means of realising auditory modality, which are divided into verbal (onomatopoeia, sound imitation, exclamations, descriptive sound nominations, metaphorical and poetic designations of sounds), paralinguistic (font highlighting, graphic imitation of sound) and material-technical or integrated (buttons, sliders, tabs, built-in musical instruments). The object of the study is English children’s nonfiction publications, and the subject is the ways of implementing auditory modality as a component of multimodal representation. The material highlights thematic areas of auditory modality representation: zoological (animal sounds), locational (natural, urban and cosmic environments), temporal (seasons, time of day, holidays), transport (sounds of vehicles), musical (musical works, styles, instruments, biographies of composers) and irreal (fantastic characters and events). The study shows that auditory modality contributes to the development of auditory perception, phonemic awareness, interactivity and emotional engagement of children by combining verbal, paraverbal and material-technical means, and is a key factor in the holistic multimodal representation of English children’s nonfiction texts. The results confirm the important role of auditory modality in shaping children’s cognitive, sensory, and emotional experience in the process of perceiving scientific information.

Sama' (spiritual audition/listening) is one of the most debated and complex concepts in Islamic mysticism and Sufism. This term encompasses a variety of meanings and objectives, with universal agreement on the permissibility and endorsement of some of its forms; such as listening to the Noble Qur'an. Listening to poetry, however, is a matter on which opinions can be expressed, taking into consideration the content, the manner of its performance, who recites it and how, the state and qualities of the listener, and the goal he seeks. The most controversial type of Sama' is that in which poetry is recited in a melodious voice accompanied by instruments of entertainment and music. Jurists, religious scholars, and leading Sufis have presented diverse opinions on this matter – with consideration given to circumstances, qualities, times, and occasions – highlighting the complexity of the subject. The most important, complex, and contentious type of Sama' is that which is accompanied by musical instruments, presented as "Sama' of the Sufis," which some have considered an act of worship and a means of drawing closer to God. Such Sama' is entirely rejected by jurists, and most major Sufis also deemed it impermissible and reprehensible (makruh); except for a few who considered it permissible, and that too under specific conditions.

Nada Nusantara is a collective of composers and musicians dedicated to exploring the musical heritage of the Nusantara (Malay Archipelago) and fusing it with classical Western traditions. Through original transcultural compositions, the group seeks to blend diverse musical forms, melodies, rhythms, and instruments from these traditions, creating a soundscape that intertwines emotional depth with physical expression. Their music fosters meaningful cultural connections and redefines contemporary practices by bridging oral and notated traditions. This study analyzes two representative works—Cermin Edina by Marzelan Salleh and Menambat Rakit by Camellia Razali—to examine Nada Nusantara's approach to transcultural composition. Cermin Edina reflects a rich interweaving of gamelan-inspired rhythmic patterns with Western harmonic language, employing cyclical structures, vocal ornamentation, and modal shifts that evoke a meditative yet theatrical atmosphere. In contrast, Menambat Rakit draws on the timbral qualities of traditional Malay music and integrates them with Western harmonic textures, producing a contemplative narrative through layered textures and dynamic contrasts. These analyses highlight how the composers thoughtfully incorporate elements from both cultures, resulting in works that are structurally and expressively transcultural. Nada Nusantara plays a vital role in promoting cultural sustainability and diversity through international collaborations and artistic innovation. Their compositions demonstrate the universality of music and its power to transcend cultural boundaries. By spotlighting the artistic and aesthetic values of Nusantara culture, Nada Nusantara advances transcultural music as a contemporary art form, embracing openness, creativity, and the limitless possibilities of cultural fusion in today’s global musical landscape.

The objective of this study is to determine how the implementation of audio-visual media influences students’ interest and participation in cultural arts learning, particularly traditional music material in Grade IV at MIN 1 Probolinggo. A descriptive qualitative method was employed, with data collected through observation, interviews, and documentation. All fourth-grade students participating in cultural arts lessons were involved as the research subjects. The use of audio-visual media in the form of animations integrating sound and visual elements was proven to significantly enhance students’ learning interest, making them more enthusiastic, focused, and active, including in asking questions, engaging in discussions, and understanding traditional music material. The increase in students’ learning interest can also be illustrated through a developmental graph showing an upward trend from one meeting to the next. In addition, audio-visual media assists students in grasping traditional music concepts more concretely, including recognizing musical instruments, sounds, and regional songs. The findings conclude that audio-visual media plays an effective role in improving students’ interest, participation, and understanding in cultural arts learning. To support optimal implementation, it is recommended that supporting facilities be provided and that teachers’ competencies be enhanced through regular training. Future studies are expected to further explore the use of audio-visual media by considering the conditions of school facilities and infrastructure.