National Music Research Articles

Artistic Creativity in the Aspect of Cross-Cultural Communications (on the Example of the Activity of the P. I. Tchaikovsky National Music Academy of Ukraine)

The article examines the processes of artistic creativity and scientific activity in the second half of the 20th - at the beginning of the 21st centuries, using the example of cross-cultural communications carried out by representatives of the P. I. Tchaikovsky National Music Academy of Ukraine. These intercultural interactions contributed to the discovery of Ukrainian culture and its carriers in the eyes of other European creative and scientific communities. The participation of Academy representatives in the post-war international festival movement provided an opportunity to learn about and create platforms for researching mutual historical heritage, the latest paradoxes of composer creativity, and experimental approaches in reading opera canvases. These forms of artistic and scientific activity influenced the formation of national cultural and artistic fields: Ukrainian school of musical medievalism, powerful galaxy of sixties composers, equipped with the dynamics of the development of the festival movement already in Independent Ukraine. The typological characteristics of cross-cultural formats of artistic creativity and scientific activity are based around the personality-culture carrier (B. Lyatoshynskyi, O. Shreyer-Tkachenko, I. Karabyts, etc.), a creative or scientific collective, the communicative actions of which are aimed at intercultural interaction (projects of the Opera Studio of the National of the Academy of Music of Ukraine), educational and scientific programs aimed at communicative openness and replication of the results of the advanced artistic and scientific experience of the Academy (UNESCO chair) within the framework of European and world artistic spaces. Among the main communicative models of the development of artistic and scientific activity are the preservation and continuation of the best traditions of academic art, the search for and approval of new artistic principles of classical and modern art, the introduction of active concert-performance practices as models of improving professional skills, the enrichment of the repertoire of the Opera Studio with new international theatrical productions, realization of creative commonwealth with other cultural institutions of Ukraine and abroad. International art projects as a plane for cross-cultural interactions contribute to enriching the stylistic/species/technically expressive components of artistic creativity with an updated system of artistic values and norms, and also normalize the forms of cross-cultural interactions — from cooperation intentions, which form communication vectors, to the representation of artistic activity — projects between artists of different schools and countries.

Designing an Educational Concert. The Analysis of The Noah’s Ark Children’s Concert

"To design an educational concert, for it to be a valuable cultural-educational event and be attractive to children, various pedagogical, psychological, musical, and organizational aspects must be considered. These will be presented and illustrated through the analysis of the Noah’s Ark children’s concert, moderated, and conducted by the author as part of the Do Re Mi Start! educational program of the Gheorghe Dima National Music Academy. Keywords: educational concert for children, repertoire, visual elements, elements of music mediation. "

Música Tipica: Cumbia and the Rise of Musical Nationalism in Panama - By Sean Bellaviti (Book)

CAML Review is published three times per year. It is concerned with music and music materials and strives to promote a better understanding of the cultural importance of music libraries, archives and documentation centres locally, regionally and nationally.

Clémence de Grandval in the French artistic culture of the XIX century

Statement of the problem. One of the main issues of the humanities has always been to study urgent problems due to the proceses of economic and social life, changes of artistic guidelines, one of which is to comprehend the specifics of the functioning of contemporary art. Nevertheless, the direction of music scholarship that explores the culture of previous eras and the work of little-known «second-rate» artists remains no less important. In this aspect, the XIX century, namely the era of Romanticism, attracts attention with the flourishing of salon culture, the interest in the work of the Musician-Creator, which led to the formation of a significant layer of educated amateurs and many composers, whose works have been forgotten. The purpose of this article is to present Clémence de Grandval’s creativity as an important component of the development of artistic culture of France in the XIX century. Results and conclusion. The centers of salon culture, where composers and performers, poets and publicists, artists and theater figures gathered in the epoch of blossom of the European Romanticism influenced on shaping of personality and individual artistic style of Clémence de Grandval (1828–1907), born as Marie Félicie Clémence de Reiset (and also known as Vicomtesse de Grandval and Marie Grandval). Unlike of many women of that time, she was lucky to study from a young age. She took lessons from a family friend, the German composer F. Flotow, and later – from F.Chopin and C. Saint-Saëns. In the artistic environment of France in the XIX century Clémence de Grandval was not only well-known, but also a highly respected composer. For many years she held an honorable place in the National Musical Society of France, where she was also involved in patronage, helping young talented composers to promote their works. Both, the significant art prizes of that period, which Clémence de Grandval received through her musical talant and professional knowledge, as well as the respectful attitude of her contemporaries, indicate that during her lifetime she achieved great recognition. Clémence de Grandval’s creative heritage includes several operas, choral and instrumental works that were actively publishing in the XIX century, but later the scores of her orchestral compositions were lost. As of today, the interest to Clémence de Grandval’s creativity is reviving, though performers focus mainly on her chamber works, where orientation on home music is obvious. Thus, the legacy of this remarcable French women composer deserves a deeper investigation.

越劇과 女性國劇의 비교 연구 - 발전과정과 특징을 중심으로

Yue-ju Opera and Female Gukkeuk are representative traditional theater styles in which only actresses perform. In the 20th century, women’s social advancement had become more frequent, so women’s stage performances are no longer unfamiliar. Yue-ju Opera and Female Gukkeuk are popular and traditional plays developed in Seolchang(說唱), and have similarities such as the actress’ male costume acting and romance narratives. The history of Female Gukkeuk and Yue-ju Opera is a process in which women, who were excluded from stage performances and were taboo, became the central body of the stage.BR First of all, I reasearched the process of women becoming the central body on the stage. Yue-ju Opera and Female Gukkeuk were theatricalized from Seolchang Art. Changgeuk was established by the Joseon(朝鲜) Vocal Music Research Association, and Yue-ju Opera was established as Yue-ju Opera through Nakji Changseo, Sogaban, and Shaoxing-Munhee. Both theater styles had performed only by men at the beginning period. Since then, Changgeuk has partially performed by Ki-saeng or female singers of Pansori, but Yue-ju Opera had established a female troupe and let male troupe push out.BR Since Female Gukkeuk and Yue-ju Opera are performed only by actresses, the actress’ male costume is the core of these two styles. Female Gukkeuk was established by Im-Chun-Aeng, who participated in the early days, and Yue-ju Opera was established by YIn-guifang through various resuscitation actors in the late 30s and 40s. Unlike the Female Gukkeuk established actress’ male acting and then the other actors’ acting was highlighted, the Yue-ju Opera was centered on the Huadan(花旦) at first and later on, Xiaosheng(小生) became centered. In terms of makeup, costumes, romance narratives, and singing method, Female Gukkeuk has a relatively strong and powerful images, compared to Yue-ju Opera which has a soft images.BR After liberation from Japanese colonial rule, Female Gukkeuk had a desire to become the representation of national theater with the motto of establishing a nation- state and national musics. This desire was also expressed in a national formation narrative. However, the Female Gukkeuk, which wanted to be the representation of the nation-state, became marginalized when Korean society had rebuilt the traditional gender order again.BR In Shanghai, many immigrants from Zhejiang(浙江) and Jiangsu(江蘇) province accounted for the majiority, and Yue-ju Opera had the locality to put them together. After the establishment of People’s Republic of China, thanks to the marriage law campaign, romance narrative-oriented works gained popularity nationwide and even were introduced to foreign countries, functioning as the representation of the nation-state.

Classification System of National Music Rhythm Spectrogram Based on Biological Neural Network.

National music is a treasure of Chinese traditional culture. It contains the cultural characteristics of various regions and reflects the core value of Chinese traditional culture. Classification technology classifies a large number of unorganized drama documents, which are not labeled, and to some extent, it helps folk music better enter the lives of ordinary people. Simulate folk music of different spectrum and record corresponding music audio under laboratory conditions Through Fourier transform and other methods, music audio is converted into spectrogram, and a total of 2608 two-dimensional spectrogram images are obtained as datasets. The sonogram dataset is imported into the deep convolution neural network GoogLeNet for music type recognition, and the test accuracy is 99.6%. In addition, the parallel GoogLeNet technology based on inverse autoregressive flow is used. The unique improvement is that acoustic features can be quickly converted into corresponding speech time-domain waveforms, reaching the real-time level, improving the efficiency of model training and loading, and outputting speech with higher naturalness. In order to further prove the reliability of the experimental results, the spectrogram datasets are imported into Resnet18 and Shufflenet for training, and the test accuracy of 99.2% is obtained. The results show that this method can effectively classify and recognize music. The experimental results show that this scheme can achieve more accurate classification. The research realizes the recognition of national music through deep learning spectrogram classification for the first time, which is an intelligent and fast new method of classification and recognition.

Interactive Teaching Based on Artificial Intelligence and Its Application in Improving National Music Appreciation Ability

The limitations of the traditional interactive teaching model are gradually becoming apparent in the current music teaching process. Based on the interactive teaching theory of artificial intelligence, this paper constructs an evaluation model of ethnic music appreciation ability and conducts research by using a novel method of fusion of long- and short-term audio features. The model proposes the classical features describing the sound quality and the beat histogram as the feature of the long-term rhythm of the music to form a mixed feature; secondly, the representation method of the song style vector is proposed, and the quantitative problem of music teaching is solved. During the simulation process, the model adopts the popular Model-View-Controller (MVC) design pattern and Unified Modeling Language (UML) and is developed with the Java 2 Platform Enterprise Edition (J2EE) architecture. It realized the user login function of three identities of students, teachers, and system administrators, and the subsystem can complete the management of students’ personal information, browse related courseware information and other resource information, and download courseware and tutorials. The experimental results show that the average value of the students’ evaluation is 0.606; the average value of case is 0.5852; it also reduces the workload of later maintenance of the system.

Alexander Spendiaryan in the Music of the World (Ethnomusicological Observation)

This paper explores the work of Alexander Spendiaryan from the standpoint of modern ethnomusicology. The interdisciplinarity of the field of ethnomusicology allows it to comprehend the position of a musician both within the national musical tradition and in the broader scope of world musical culture. The evolution of a national composer is here studied not only in connection with the concepts of contemporary European, Russian and Armenian classical music, but also in the context of the developing national ideology of the intelligentsia in the Armenian diaspora; the cultural processes reflected in the evolution of the national musical style are also considered. Questions of musical nationalism, folklorism, orientalism, cultural and musical identity are discussed taking into account developments in social and political theories of our time. The paper explores the ways in which, although Alexander Spendiaryan’s formation as a musician stemmed from Western, specifically Russian art music, due to the development of his distinct style the composer can be considered one of the founders of the Armenian national school of music composition.

THE The Virtuosity of Traditional Africa and the Plasticity of Its Affects: The Cross-Cultural Fertilization of “Yela” in the Western Sahel and Savanah

Throughout the poetic image and imaginative construction of the self, the Yela embodies a protrusive source of vindication within the intellective and creative process of understanding become an object of perception. From an ingenuous beget to a more compound whole of a convention of representation and the association of experience, the Yela inside the Puular language becomes a structural material. Thus, the constituent of conservative imagery and the colonialist dynamic influences frame an innovative eccentric variety that appraises the formation of reality, memory, and symbol. Therefore, the domain of Yela through its cultural and artistic body, and within its existing essentiality of Gaandal and Demngal overtakes the principles of basic linguistics and the colonialist conventional perception of productivity. In effect, the Yela art through the all-encompassing relation of the Puular language with the whole performance of time and space, emphasizes on a cosmopolitan wholesome recombination, settlement and re-appropriation of material imagination and objective reality of intellection. The foundation of intellectual and artistic image, and imaginative expression, the corresponding inventiveness of the Yela art, and the musical nationalism arrange move beyond comatose understanding. Therefore, the commitment of this article underlines the question of the effective temperature of the Yela indigenous value of imagination, and its transformative experience as regard language, sociolinguistic and ecological reflectivity, and then its emphasis on its contemporary stylistic compass of performance.

The Invention of Latin American Music: A Transnational History

Pablo Palomino's book The Invention of Latin American Music aims to trace the development and embrace of the notion of Latin American music as it is commonly used today, whether in academic circles, among listening audiences, in the realm of cultural policy and diplomacy, or with artists and performers themselves. The author argues that the concept, which began to take shape and exert its influence in the 1930s, did not emerge out of a cohesive and concerted regionalist project. Instead, it is the result of a process of layering of competing ideas regarding Latin America as a geographical entity, which intersect with modernist and nationalist desires for cultural distinctiveness and with more pragmatic concerns regarding the creation, protection, and expansion of networks and markets centered on different forms of musical production (live performances, radio broadcasts, recorded sound, music education programs, academic research, etc.). As a result, Palomino defines Latin American music as an aesthetic category, one that provides a convenient handle to those who engage with it, despite lacking a single discernible core or clear external boundary.Palomino further suggests that understanding this process of invention and naturalization also sheds light on the often-overlooked transnational dynamics that informed the various articulations of musical nationalism in Latin America. With this he adds a much-needed regional-level historiographical analysis of how musical nationalism and cosmopolitanism are interrelated and mutually constitutive rather than mutually exclusive. The book begins by considering how a heterogeneous collection of music performance circuits—local, national, regional, and intercontinental—led not to a unifying notion of Latin American music but instead to the emergence of multiple incarnations that partly overlapped and partly competed with one another. Additional conceptualizations of Latin American music grew out of a nascent commercial music industry, in which music critics, royalty collection organizations, and broadcasting stations used a variety of genre labeling practices to negotiate their positionality vis-à-vis national and transnational discourses of authenticity regarding the musics with which they were involved. Nationalist and populist state musical polices, for their part, relied on transnational notions of civilizing the citizenry and elevating the vernacular to help create a regional Latin American framework. That framework was then fleshed out by a transnational network of scholars who undertook the work of theorizing the nature of Latin American music and thus defining its aesthetic ethos. Finally, US foreign policy interests in the region, in particular as articulated by the Music Division of the Pan-American Union and later by the United Nations Educational, Scientific, and Cultural Organization, helped to legitimize the work and expertise of these Latin American music scholars, naturalizing the aesthetic category defined by them and laying the foundation for decades of research, educational initiatives, cultural exchanges, music festivals, and music industry categories that continue to invoke the category.The Invention of Latin American Music covers a great deal of ground and offers a number of important insights for readers interested in the historiography of music research in Latin America. Based on meticulous archival research in Argentina, Brazil, Mexico, Germany, and the United States, the various case studies included in this book are engrossing in their own right, many of them providing tantalizing leads for future research. The book is also important because of its emphasis on social actors, institutions, and perspectives within the regional context of Latin America, a much-needed complement to other recent research that has tended to privilege the role of US-based individuals and institutions. The book's regional emphasis also offers a good alternative vantage point from which to broach the subject of music nationalism in Latin America, one that meshes well with the work of music scholars like Cristina Magaldi, Fernando Rios, and Leonora Saavedra and that helps to highlight and complicate the overlaps and continuities between nationalism and cosmopolitanism.

Herrman S. Saroni: Paths to Success as a Composer in New York, 1844–52

Herrman S. Saroni: Paths to Success as a Composer in New York, 1844–52

Inheritance and Innovation of National Music Culture in Music Education

In the context of globalization, national music culture has become the focus of academic circles. How to protect, inherit and innovate the excellent national music culture is an important problem facing the current music education theory and practice research. This study argues that music education needs to keep a proper balance between “globalization” and “localization”, reasonably use the teaching materials of national music, and maintain the “root” and “uniqueness” of national culture, so as to better inherit and innovate national music culture. Thus, in this study, based on the summary of the concept of national music, the integrated teaching method of “teaching-practice-scientific research” is put forward from the perspective of inheritance, and the idea of integrating international music teaching method and national music culture is proposed from the perspective of innovation.

Designing a National Music System for a Smart Concert Hall Using Neural Network and Wireless Internet of Things

With the fast advancement of science and technology, numerous music systems have emerged. However, there are few folk music in the music industry, for example, pop music, which leads to the inability of folk music lovers to find their favorite music. For this problem, this paper develops a national system of smart concert hall based on a neural network and wireless Internet of things (IoT). It establishes the architecture model of the wireless IoT system of the concert hall by describing the neural network, neuron model, and BP neural network model in detail. Besides, this paper develops the smart music national system based on this model, completes the functional module design of the national music system, and uses the music attribute recommendation model. Finally, it analyzes the scoring performance of the national music system. The results show that when the number of recommended folk music songs is less than 20, the lowest MAE is 0.73.

The Use of Deep Learning-Based Intelligent Music Signal Identification and Generation Technology in National Music Teaching.

The research expects to explore the application of intelligent music recognition technology in music teaching. Based on the Long Short-Term Memory network knowledge, an algorithm model which can distinguish various music signals and generate various genres of music is designed and implemented. First, by analyzing the application of machine learning and deep learning in the field of music, the algorithm model is designed to realize the function of intelligent music generation, which provides a theoretical basis for relevant research. Then, by selecting massive music data, the music style discrimination and generation model is tested. The experimental results show that when the number of hidden layers of the designed model is 4 and the number of neurons in each layer is 1,024, 512, 256, and 128, the training result difference of the model is the smallest. The classification accuracy of jazz, classical, rock, country, and disco music types can be more than 60% using the designed algorithm model. Among them, the classification effect of jazz schools is the best, which is 77.5%. Moreover, compared with the traditional algorithm, the frequency distribution of the music score generated by the designed algorithm is almost consistent with the spectrum of the original music. Therefore, the methods and models proposed can distinguish music signals and generate different music, and the discrimination accuracy of different music signals is higher, which is superior to the traditional restricted Boltzmann machine method.

International Activity of P. I. Tchaikovsky National Music Academy of Ukraine as A Vector of Brand Development of A Higher Educational Institution

The specificity of cultural creation in the 21st century is considered in terms of certain unification, which is characterized by powerful trends towards globalization and alterglobalization, as well as the intensity and dynamism of communicative processes that affect the mutual enrichment and mutual borrowing of various cultural strategies and practices. The article highlights the problems of modern art education in Ukraine. There is an updated need for branding art universities as institutions that enable young people to obtain professional training in accordance with the requirements of current legislation and constantly fight for the right to be in the rating of potential and competitive subjects in the educational activity. The multi-vector nature of the artistic educational paradigm, thanks to which modern trajectories of the development of a competitive higher education brand are formed, are described in the article. The priority directions of the international activity of the P. I. Tchaikovsky National Music Academy of Ukraine are highlighted as those that ensure competitiveness. It was found that the lack of a clear understanding of the nature and structure of art education branding leads to the loss and devaluation of a significant number of principles in the process of purposeful development of the higher education brand. The co-branding initiatives of the P. I. Tchaikovsky National Academy of Music of Ukraine are outlined, aimed at building systemic partnerships with other institutions in the form of international parity cultural and artistic dialogues, which in terms of content and design comprehensively meet the demands of modernity. The four-vector model of the Academy's international partnership is substantiated and detailed, in which the first vector involves interaction with the prioritization of the educational component, the second is aimed at partnership with the dominance of the cultural and artistic direction, the third enables the conclusion of interinstitutional agreements with a particular emphasis on the synergy of scientific cooperation, and the fourth has universal in nature and oriented towards cooperation with global international organizations such as UNESCO and the UN

Mykola Sylvansky’s Cultural and Pedagogical Activities as A Unique Aspect of His Creative Biography

The article focuses on the cultural and pedagogical activity of Mykola Yosypovich Silvanskyi at the general and specialized piano department at the P. I. Tchaikovsky Kyiv Conservatory. The facts of his creative biography are presented on the basis of the studied materials that are stored in the Central Archive-Museum of Literature and Arts of Ukraine also in the archive of the P. I. Tchaikovsky National Music Academy of Ukraine. Knowledges have also been gained due to the interviews with colleagues, students and relatives of M. Silvanskyi. Mykola Yosypovych's compositional work formed the basis of the cultural-pedagogical activity of the artist, because his works are still actively performed both by professional pianists and by students of conservatories at various stages of learning to play the piano. The personal qualities of the artist, which are described in the article, are important for the comprehensive characterization of his cultural and pedagogical activity. The features of his individual performance style are outlined as the features of a pianist with a romantic orientation (this is evidenced by concert programs found in archival posters). The repertoire policy of M. Silvanskyi in the class of general and specialized piano is described, as well as its inextricable relationship with his stage performance and compositional work. The study determines the factors that form the didactic principles of teaching students to play the piano, leading among which was the principle of practical demonstration of the most effective methods aimed at achieving the desired results (borrowed from Ya. Flier during his studies at the P. I. Tchaikovsky Moscow Conservatory). It is proven that a whole generation of student composers, studying with Mykola Yosypovych in the general piano class, formed artistic and aesthetic values that became leading in their further creative activity and influenced the development of Ukrainian piano music of the late 20th and early 21st centuries. The need for further study and understanding of the significance of M. Silvanskyi's creative activity for a better understanding of the artist's role in the development of Ukrainian musical culture is emphasized.

Construction of Intelligent Recognition and Learning Education Platform of National Music Genre Under Deep Learning.

In order to study the application of the deep learning (DL) method in music genre recognition, this study introduces the music feature extraction method and the deep belief network (DBN) in DL and proposes the parameter extraction feature and the recognition classification method of an ethnic music genre based on the DBN with five kinds of ethnic musical instruments as the experimental objects. A national musical instrument recognition and classification network structure based on the DBN is proposed. On this basis, a music library classification retrieval learning platform has been established and tested. The results show that, when the DBN only contains one hidden layer and the number of neural nodes in the hidden layer is 117, the basic convergence accuracy is approximately 98%. The first hidden layer has the greatest impact on the prediction results. When the input sample feature size is one-third of the number of nodes in the first hidden layer, the network performance is basically convergent. The DBN is the best way for softmax to identify and classify national musical instruments, and the accuracy rate is 99.2%. Therefore, the proposed DL algorithm performs better in identifying music genres.

Representing Russia’s Orient: From Ethnography to Art Song Adalyat Issiyeva.

At the heart of Adalyat Issiyeva’s impressively researched, richly documented, and persuasively argued new monograph lies a simple, yet powerful thesis: namely, that ‘Russia’s (musical) ethnographies about its Asian and Caucasian neighbors played a pivotal role in the formation and development of Russia’s own musical identity’ (p. 4). To be sure, the question of Russian musical orientalism is hardly new. In 1883, Vladimir Stasov identified the ‘eastern element’ as one of the features that distinguished Russian national music from that of western Europe, particularly the Austro-German tradition. More recently, studies by scholars such as Marina Frolova-Walker and Richard Taruskin have exposed the ideologies that shaped the emergence of Russian musical nationalism, including its oriental element, and Issiyeva duly incorporates their insights into her own analysis. What distinguishes her approach from almost all preceding scholarship, however, is the detailed attention it pays to ethnographic approaches to the music of the non-Russian peoples of the Russian empire, and its particular focus on the art song repertory, rather than the more familiar genres of opera and programme music (both orchestral and instrumental). As Issiyeva observes in her introduction: ‘little has been said about how the ethnographic knowledge and construction of the Russian Orient contributed to the formation of Russian identity in general, and to music identity in particular. Nineteenth-century music histories generally treated Russian music and Russia’s Asian music as separate, nonoverlapping categories’ (p. 5). While drawing productively on ideas advanced by Frolova-Walker and Taruskin, Issiyeva makes equal use of scholarship on British and French colonialism, and of work by historians of the Russian Empire, in order to fashion a thoughtful, flexible, and fruitful methodology.

Between Nationalism, Exoticism, and Social Distinction: The Spanish Lyric Drama in the 19th Century

AbstractAttempts to create a national opera in Spain repeatedly failed throughout the 19th century. Some authors have attributed this phenomenon to a deficit in the nationalization process. Others, to the contrary, have proved that there was a strong sense of Spanish national musicality from the middle of the 19th century onward. This article tries to explain this paradox underlining some essential elements that are not always attended by specialists: the importance of transnational, social, and economic dynamics that interfered in the process of the cultural construction of modern national identities. The projects of the Spanish nationalist intellectuals of the 19th century in relation to the definition of a national music were marked by the Romantic construction of Spanish musical exoticism, the new industry of entertainment, the existential situation of Spanish musicians, the formation of new artistic and musical fields, and the appearance of new forms of social distinction in the aftermath of the Spanish Liberal Revolution of the 1830s.

Ethnic Piano Rolls in the United States: Between Folk, Foreign and National Music

A small part of piano rolls among the thousands of rolls in the United States were published for local ethnic communities. These piano rolls were never collected and have not been researched either historically or musicologically. Only a few articles in academic journals or chapters in scholarly books on this topic have appeared in the last decade. As such, this opens a new field of research, one still neglected and underappreciated. After some investigation, it is clear that many 'ethnic' piano rolls are unique, not found on other recorded media such as phonograph cylinders or gramophone discs. Here we can find not only music, but an old language used by immigrants too. U.S. 'ethnic' piano rolls expand our knowledge of musical history and technological and sociological developments, revealing intensive musical communication, musical migration, influences, and contaminations between local ethnic societies, countries, and even continents. This article aims to formulate the main concept of 'ethnic' piano rolls, to describe the music encoded on them, and to explore avenues for future research.