Musical Traditions Research Articles

Elisabeth Janik: Recomposing German Music. Politics and Musical Tradition in Cold War Berlin

Elisabeth Janik: Recomposing German Music. Politics and Musical Tradition in Cold War Berlin

Regenerasi Kelompok Kesenian karawitan Laras Budaya untuk Pemuda di Desa Bligo, Magelang

This article aims to identify the regeneration process undertaken by the Laras Budaya Karawitan Art Group in Bligo Village, Ngluwar, Magelang Regency, Central Java. Traditional arts such as karawitan should ideally be utilised to preserve this musical heritage. Karawitan is a traditional music performance involving the use of gamelan instruments. The Laras Budaya Karawitan Art Group, established in 1976 and led by Temu Riyadi, represents this musical tradition in Bligo Village. The regeneration of members within this art group has significantly contributed to preserving karawitan in Bligo Village. Data collection was focused on research needs and employed qualitative techniques. A qualitative methodology was used to explain the phenomena under study comprehensively. Based on observations and research conducted, it was found that the regeneration process by the Laras Budaya Karawitan Art Group has been successful. This is evidenced by the forming a karawitan group of youth from Bligo Village aged 18 to 25. The regeneration was carried out through training sessions directly supervised by Indonesian Institute of the Arts (ISI) Yogyakarta students. The training method employed in this regeneration process was the demonstration method, enabling the youth to grasp the material effectively.

Decolonising Sound: The Scholarship of Teaching and Learning for 21st-Century Music Students in South Africa

South Africa’s education system, including its music curriculum, has historically been shaped by Western classical traditions, a legacy of colonial influence. Following the end of apartheid in the 1990s, efforts to decolonise higher education gained momentum, with scholars advocating for the inclusion of indigenous African musical traditions. These challenges reflect the lingering effects of colonialism on education. This article examines the importance of decolonising sound within the Scholarship of Teaching and Learning (SoTL) for 21st-century South African music students. It highlights the critical role of indigenous African music in addressing historical imbalances, reshaping music education, and ensuring cultural relevance. Using qualitative research and content analysis, the study analyses a sample of 30 articles. Thematic analysis and a triangulation approach were employed to enhance accuracy and eliminate bias. Findings indicate a growing acknowledgment of African music’s value in education, but progress is hindered by resistance to change, limited resources, and insufficient educator training. The article underscores the necessity of collaborative efforts among educators, policymakers, communities, and students to develop a more inclusive and equitable music education system. This article concludes by pointing out that integrating indigenous music into the curriculum and promoting student-centred learning are vital steps toward aligning South African music education with its diverse cultural heritage. This approach not only enriches the learning experience but also empowers future musicians, ensuring they are rooted in the nation’s rich and multifaceted identity.

«Русский восток» как символ национальной самобытной красоты в музыке С. Рахманинова

This article explores the development of Orientalism in the works of Sergei Rachmaninoff, who, influenced by both Russian and Eastern musical traditions, creates a unique synthesis of cultural elements. Here, the expression of national identity is reflected through the lens of personal experience. The music of one of the greatest Russian composers of the 20th century represents a complex intertwining of cultural influences, emphasizing the uniqueness of the Russian character, which is marked by a pursuit of infinity and freedom through the concept of “elemental forces”, as well as through symbols of rebellion, space, and solitude. The article highlights the importance of understanding Russian culture not merely as a collection of customs and traditions, but as a valuable mosaic piece of the global cultural palette, unique in its multifaceted nature and depth of meaning. The author analyzes how Eastern motifs in the composer’s works become not just exotic insertions, but vital structural components that reflect the musician’s inner world and personal experiences. Through an examination of pieces such as “Piano Concerto No. 2”, “Symphony No. 2”, “Études-Tableaux for Piano, Op. 39”, and “Alexander Nevsky”, it is shown how Rachmaninoff transforms Eastern melodies, adapting them to his artistic language and creating multilayered musical textures. The article emphasizes that Orientalism in Rachmaninoff’s music serves not only as a means of self-expression but also as a philosophical tool for contemplating questions of human nature and identity. In conclusion, it is underscored that the composer shapes a musical space where personal and national experiences intertwine, creating a profound emotional revelation that mirrors the complex nature of the Russian spirit, reflecting its quest for self-understanding and comprehension of the surrounding world. It concludes that through his artistry, Sergei Vasilievich Rachmaninoff advocates for the preservation and understanding of Russian culture as an integral part of the world’s cultural heritage, which is crucial not only for maintaining historical memory and spiritual legacy but also for enriching humanity as a whole.

An Immense Portugal: The Fate of Being a Colonial Empire

In 1973, Brazilian musician Chico Buarque, in collaboration with Mozambican poet Ruy Guerra, composed Fado Tropical for the play Calabar. Set in the 16th century during the Dutch invasion of northeastern Brazil, the play tells the story of Calabar, a mixed-race entrepreneur who switches allegiances, shifting his support from the Portuguese Empire to aiding the Dutch Republic in its invasion. Fado Tropical satirizes the aspirations of the colonial elite, who dreamed of transforming Brazil into an "immense Portugal," awkwardly culminating in a “colonial empire.” Written during Brazil's repressive military dictatorship and shortly before Portugal's Carnation Revolution, both the song and the play were initially censored. Fado Tropical skillfully employs the musical tradition of fado (Portugal’s most renowned musical genre) to deliver a biting critique of colonialism. The article aims to analyze the song in relation to its historical period. The method used is a discussion of its poetic and musical construction, and how both elements interact with various socio-cultural movements—from modernism to the cultural and artistic critiques of oppression that followed the period of dictatorship. The conclusion is that the satire in this song also conveys a strong sense of nihilism, suggesting a future where Brazil, despite its vastness and immense potential, is doomed to always remain a colony—even if one day it becomes an empire, it will be colonial empire.

Winfield, Kansas’s Early Roots in Community Music: 1870 to 1930

Winfield, Kansas has a rich musical tradition. This is especially true in its early years when citizens worked to integrate music education and community music. Several factors converged during Winfield’s early years (1870–1930) that facilitated the community’s musical successes. These factors included an isolated location with settlers who made music a crucial part of the area’s social network; music educators and community leaders who gained national fame for their efforts in Winfield; public schools and three colleges that placed unusual emphasis on musical excellence; and municipal organizations with high rates of community participation and support. Importantly, music occurred both within and beyond educational institutions, with citizens fully engaged in music as both consumers and participants. Music in Winfield had a wide-reaching impact, with concerts for thousands of students, potentially the nation’s first public school orchestra and class method book, and thriving community music groups and festivals.

Research on the Development of Folk Music in Music Education of Higher Education

This study examines the development of ethnic music education in Chinese higher education, focusing on its current status, challenges, and strategies for improvement. It underscores the importance of ethnic music education in preserving cultural heritage, enhancing musical literacy, and promoting multicultural understanding. Through an analysis of curricula, teaching methods, faculty development, technology integration, and campus cultural activities, the study suggests a comprehensive approach to strengthening ethnic music programs. Key findings include the need for curricula that balance theory and practice, innovative teaching methods (e.g., the master-apprentice model and immersive technologies), and a faculty skilled in both academia and traditional music. The study also highlights the role of modern technology in preserving and sharing ethnic music, as well as the value of diverse campus activities to boost student engagement and cultural awareness. Challenges include curriculum standardization, maintaining authenticity in modern education, and resource limitations. The study concludes that overcoming these challenges requires collaboration between educational institutions, policymakers, and cultural practitioners. Implementing the proposed strategies will help preserve and evolve China’s ethnic musical traditions while preparing students for a globalized cultural landscape.

Analysis and Comparison of Communication Strategy of Guzhengart Based on Artificial Intelligence

The integration of Artificial Intelligence (AI) into traditional art forms has opened new frontiers for both the creation and communication of artistic expressions. This paper explores the communication strategies of Guzhengart, a traditional Chinese string instrument, by employing AI-driven technologies to analyze, enhance, and compare communication processes in different contexts. Through a comparative analysis, we examine how AI tools such as machine learning, natural language processing, and audio analysis software can model and interpret the emotional, cultural, and technical dimensions of Guzheng performances. By contrasting traditional methods of conveying Guzheng music with AI enhanced strategies, we assess the potential of AI to expand the artistic reach of Guzheng performances globally while preserving its cultural heritage. The findings reveal both challenges and opportunities in blending ancient musical traditions with modern AI capabilities, ultimately contributing to a deeper understanding of cross cultural communication in the context of performing arts.

From the Village to the Táncház: The Revival Metamorphosis of a Peasant Flute Player

AbstractDuring an inevitable rural-to-urban conforming process, the Hungarian revival movement, known as táncházmozgalom, has left marks of change on the knowledge of tradition bearers, which is the very source and condition of its existence. The aim of preserving original cultural frames of music and dance in its new environment was obvious, and still active village musicians and dancers have been respected (or even idolized) as the protagonists of the movement from the onset. Still, their original social roles as well as the status and function of their knowledge have been misinterpreted in multiple cases. Despite deliberate attempts to maintain authenticity, the result is a brand-new milieu with new musical phenomena, differing greatly from the original forms of musical tradition. The case study presented here concerns one of the last living Hungarian peasant musicians, András Hodorog. He and his unique technique of playing the furulya (flute) are highly regarded in the movement. After nearly two decades of recording, learning, and researching Hodorog's flute technique, comparatively monitoring changes in his instrumental style and repertoire, I have discovered that certain aspects of his musical profile would not have evolved without the impact and demands of the Hungarian revival movement.

Christian Ceremonial Folk Song. Case Study: Pilgrimage Songs From Nicula Monastery

In the complex landscape of contemporary Romanian religious music, the last decades have been marked by a phenomenon of crystallization and diffusion of a new musical genre, with deep roots in the popular music tradition. This genre, defined by specific structural, thematic and functional characteristics, has succeeded in imposing itself within the Koinonikon liturgical ritual, in some cases replacing the traditional musical repertoire of the period. Initially, Christian ceremonial folk songs were associated with certain liturgical feasts dedicated to the Virgin Mary, fulfilling an occasional function of marking important moments in the church calendar. Through oral transmission and adaptation to the religious context, these songs entered the collective consciousness and became an integral part of the religious practices of rural communities during pilgrimages. Over time, under the influence of socio-cultural and religious factors, Christian ceremonial folk songs underwent a revalorization and an expansion of their original functions. They have thus gone beyond the strict liturgical ritual of pilgrimages and have been integrated into various forms of cultural and religious expression, such as folksong festivals or religious events: camps, competitions. An emblematic case in this respect are the pilgrimage songs, especially those associated with the Nicula Monastery. These songs, originally intended to accompany pilgrimages to the monastery, have spread nationwide, becoming a symbol of Romanian religious and cultural identity for the musical genre of Christian ceremonial folk songs.

Singing Crimes, Rhyming News: Folksong Newsprints, Horror Sensibilities, and the Rise of Sensationalist Mass Media in Siam, 1920s–1940s

Abstract The proliferation of print media in early-twentieth-century Siam coincided with the rising popularity of folk vocal music. By the 1920s, certain styles of folk balladry were appropriated by urban writers for news reportage and sociopolitical criticism with doses of sensationalization. Published in periodicals and chapbooks, this popular literature was characterized by its versification of true crimes and its typical focus on the figure of the criminal or the ghost. My article examines this hybrid genre of news entertainment at the nexus of a modern structure of the horror experience, folk music tradition, print capitalism, and journalistic culture in Siam. It argues that the genre constituted an early wave of Thai sensationalist mass media that represented a new aesthetic of horror and violence as sources of popular consumption and morbid curiosity. It also shaped the public’s horror and gothic sensibilities and anticipated the lurid intensification of print sensationalism in post-wwii Thailand.

NEŞET ERTAŞ'S FINGERPRINT IN THE HICAZ MAKAM: PITCH/FREQUENCY ANALYSIS

ABSTRACT This study examines the unique pitch and microtone structures in Neşet Ertaş’s renditions of the Hicaz makam, particularly as shaped by the Kırşehir region's musical traditions. Known as one of the most prominent figures in Turkish folk music, Neşet Ertaş brings a distinctive pitch configuration to the Hicaz makam, reinterpreting Kırşehir’s musical heritage with a modern approach. The objective of this study is to determine whether Ertaş’s music reflects a Kırşehir-specific interpretation of the Hicaz makam. To this end, the pitch choices Ertaş used in his Kırşehir-based performances are analyzed in detail. This analysis aims to show that the Hicaz makam in Ertaş's music embodies a localized interpretation, emerging as a unique modal understanding specific to the Kırşehir region. The study aims to contribute to Turkish music culture by analyzing the distinct variations of the Hicaz makam as observed in the Kırşehir region. Its scope is centered on examining the unique musical characteristics of Kırşehir, as presented through Neşet Ertaş’s music. While the universe of the study comprises works performed in the Hicaz makam within Turkish folk music, the sample consists of recordings of Kırşehir folk songs performed by Neşet Ertaş in the Hicaz makam. In the study, frequency analyses of the pitches and microtone values in Ertaş’s music were conducted using signal processing software, including MakamBox. Through this approach, the precise deviations in pitch and microtones used by Ertaş have been identified. Quantitative analyses provide numerical measurements of microtones, which are compared to the Arel-Ezgi-Uzdilek pitch system. In the qualitative analyses, Ertaş’s local performance style and characteristics within the Hicaz makam were interpreted alongside these findings.The study’s findings indicate that Ertaş’s music deviates from the Arel-Ezgi-Uzdilek system, presenting a Hicaz makam profile unique to the Kırşehir region. Particularly, the deviations in the pitches of si flat and do sharp reflect Kırşehir’s distinct musical character. For example, in practice, the si flat pitch is often executed with microtone values of 5.5 and 6 commas, which are not present theoretically, while variations from 3 to 4 commas are observed in the do sharp pitch. These findings reveal that Ertaş’s music is marked by entonations and melodic trajectories unique to the Abdal cultural tradition. The study concludes that Neşet Ertaş’s approach to the Hicaz makam reflects the musical richness of the Kırşehir region and reveals this regional identity through modern analysis tools. The study emphasizes the importance of preserving, analyzing, and incorporating regional musical variations into music education. It recommends increasing the number of music analyses focused on local variations, conducting more comprehensive frequency analyses, and developing tools like MakamBox for in-depth regional makam analysis. These suggestions support a broader perspective on the interpretation of regional differences in Turkish folk music and the preservation of cultural diversity within Turkish music. Ertaş’s music contributes a cultural and artistic value to Turkish music through its Kırşehir-specific interpretation of the Hicaz makam and serves as a vital source for the transmission of this heritage to future generations.

Harmony Analysis Tasks in the Music Theory Admission Test for Higher Music Education in Norway: A Proposal for Development

The digital music theory admission test for higher music education in Norway uses two alternative symbol systems for harmony analysis. In the view adopted here, both systems are unnecessarily complex for an admission test, where a lower level of theoretical knowledge would suffice. In addition, both systems focus on the so-called Euroclassical music tradition and largely ignore the conventions of other musical styles. Moreover, the literature suggested for candidates preparing for the test is not properly aligned with the test. This article outlines the harmony tasks in the admission test, discusses issues with the test design, reviews the literature suggested for candidates, and explores the symbol systems used in the test. As a proposal for development, the article suggests that a different analysis system be used for the test.

Предчувствие любви и смерти в традиционных личных песнях западных эвенков

Evenki musical folklore has long attracted the attention of researchers. The earliest publication of traditional Evenki song texts was produced by G. Hut at the beginning of the 20th century. The first audio recording of Evenki songs was made using a phonograph by L. Y. Sternberg in 1910. The Phonogramme Archive of the Pushkin House in St. Petersburg includes extensive collections of traditional Evenki personal and shamanic songs, which were recorded in the first quar­‑ ter of the 20th century and still need to be transcribed and analyzed. Since then, a number of articles and monographs dedicated to Evenki songs, both traditional and modern, have been published. However, these publications have not included many actual texts of traditional Evenki songs. Collections of Evenki songs, published regularly since the 1930s, primarily reflect the “new wave” of songs written under the influence of the Russian/Soviet and global pop music traditions. This is the type of songs that we have had the opportunity to record since the turn of the 21st century among not only the Wes­­­­‑ tern, but also Eastern Evenkis. Therefore, the two traditional songs presented in this article are rare exceptions among our Evenki field data. They were recorded in 1999 in Turukhansk, the district centre, performed by Maria Fedorovna Bezrukikh (Kurmatova), an 80-year-old Evenki woman from the Arctic village of Sovetskaya Rechka. These are traditional personal songs, not of the performer herself, but of her elder relatives. The first one is the song of a young girl who dreams of meeting a yet unknown man with whom she could spend the rest of her life. The second song is that of an old woman anticipating her approaching death.

Kama-taguste udmurtide kevadise suure päeva (bõddzh’õnal) kombetalituse laulufolkloor

The article is dedicated to the analysis of musical motifs performed by Eastern Udmurts within the framework of the spring ritual complex Bydzhynnal (The Great Day). The relevance of this study is justified by the limited exploration of the musical folklore of this local group. The primary sources for the analysis include field materials collected during the period from 2016 to 2023, as well as materials from the Scientific Archive of the Institute of Udmurt Philology, Ethnography, and Arts of the Ural Branch of the Russian Academy of Sciences, along with expedition records by Udmurt ethnographer Ranus Sadikov. The research methodology is based on philological and musicological approaches, involving a plot-thematic analysis of poetic texts and the identification of features in the development of melodies in the context of their modal, rhythmic, and melodic characteristics. The results of the analysis indicate the diversity of motifs used in the examined tunes. The identified anhemitonic tonal systems suggest similarities between the calendar musical compositions of Eastern Udmurts and the musical tradition of Southern and Western Udmurts. The rhythmic structures are presented in two main types. The presence of melisma in the melodies has also been identified, which is explained by the influence of Turkic culture.

성장과 빈곤: 국내 K-pop 연구 20년 동향

This study examines the research trends in K-pop studies within South Korea from 2005 to 2024, analyzing 511 academic papers published in Korean journals. The research aims to understand how K-pop studies have developed quantitatively and qualitatively, identify major research themes and their evolution, and suggest future directions for the field. Using a mixed-method approach combining quantitative analysis of publication trends and qualitative content analysis, the study categorizes K-pop research into eleven thematic areas. The findings reveal a significant increase in K-pop research, particularly after 2020, reflecting the global rise of K-pop. The study identifies key research areas such as industry and production, text and representation, global dissemination, media and circulation, and fandom studies. While the research demonstrates the expansion and diversification of K-pop studies, it also highlights several limitations. These include a lack of critical political-economic analyses, insufficient research on certain aspects of the K-pop industry (such as physical albums and merchandise), and a disconnection from broader popular music studies traditions. Moreover, the study notes a scarcity of new theoretical frameworks or analytical models specific to K-pop. The paper concludes by suggesting future research directions, emphasizing the need for more interdisciplinary approaches, development of K-pop-specific theories, and studies addressing current issues in the K-pop industry. This meta-analysis contributes to understanding the academic landscape of K-pop studies and provides insights for its future development in line with K-pop's global cultural significance.

세계 음악 교수법에 대한 예비교사의 인식 사례 연구

The purpose of this case study was to surface pre-service teachers’ perceptions of World Music Pedagogy(WMP) as designed by Patricia S. Campbell. Study participants(N = 20), who were enrolled in the Elementary Music Learning and Teaching Methods course, engaged with the pedagogical theory of WMP and learned a representative musical piece in the Cumbia of a coastal musical genre, <Chicitios pero Picos>. They participated in interviews, class discussions, and submitted reflection papers to share the pedagogical meaning from their perspectives. Findings centered around (a) expanding one’s understanding of global musical cultures and traditions; (b) encouraging one’s active participation and creativity via the content integration of music appreciation, performing, creating and interdisciplinary areas; and (c) maximizing one’s learning achievement from the creating stage. These findings strengthened the significance of the application of WMP to a diverse range of music genres around the world when in-service elementary teachers organize world music lesson plans.

Exploring Cultural and Stylistic Themes in the Works of Shi Guangnan and Rossini: A Conceptual Study of 'Regret for the Past' and 'William Tell

This paper explores the cultural and stylistic themes in the works of two prominent composers, Shi Guangnan and Gioachino Rossini, focusing specifically on Guangnan's Regret for the Past and Rossini's William Tell. Through a comparative analysis, the study examines how these works reflect the cultural identities, historical contexts, and emotional expressions of their respective traditions—Chinese and Western classical music. By analyzing the structural and thematic elements, including the use of the tenor voice, orchestration, and narrative styles, this paper reveals the ways in which both composers navigate national identity, historical reflection, and emotional expression through music. The study also situates these works within broader cross-cultural dialogues, offering insights into the universal themes of loss, heroism, and freedom as interpreted through diverse musical traditions. This exploration contributes to the understanding of how music serves as both a reflection and a mediator of cultural narratives, while also proposing future research directions, such as interdisciplinary approaches and the influence of digital platforms in cross-cultural musical exchanges.

Fazil Say’s «Shahmeran»: the metamodern paradigm of an Eastern myth in the music of a Turkish composer

The relevance of the study The relevance of this study stems from the insufficient scholarly exploration of Turkish academic music, particularly its contemporary manifestations, which integrate Eastern traditions with Western compositional techniques. The musical legacy of Fazıl Say, one of the most prominent representatives of 21st-century Turkish music, showcases a unique synthesis of national identity and global musical trends, reflecting Turkey's broader cultural context as a crossroads of civilizations. The main objective of the study is to examine the stylistic features of Fazıl Say’s symphonic poem «Shahmeran» as a realization of an Eastern myth in the context of global cultural trends of modernity, particularly metamodernism as a contemporary artistic paradigm. The methodologу includes the following approaches: the biographical method (to analyze the impact of the composer’s sociocultural environment on his creativity), the genre-stylistic method (to determine the genre characteristics of the composition and its connection with the traditions of Western instrumental music), the intonational-dramaturgical method (to explore the construction of the musical narrative), as well as cultural-historical and theoretical generalization methods (to define the place of the composition within the contemporary musical discourse). Results and conclusions. The symphonic poem «Shahmeran» by Fazıl Say is analyzed through the lens of the metamodern artistic paradigm as a multilayered composition that synthesizes elements of Eastern mythology, Turkish musical traditions, and contemporary compositional techniques. The central role of the myth of Shahmeran is identified as a tool for reinterpreting cultural heritage and generating new meanings within a globalized world. Emphasis is placed on the capacity of myth to function as a dynamic cultural code, adapting to modern challenges while maintaining its connection to archetypal structures, aligning with the key characteristics of metamodernism. The preconditions for the development of Turkish academic music are outlined, and the main factors that contributed to its rapid growth in the second half of the 20th century are determined. Fazıl Say’s creative method is examined, highlighting the influence of his active career as a pianist and his overseas education. Say’s compositional style is characterized as synthetic, seamlessly integrating Western compositional techniques with the distinctiveness of national musical traditions. The genre status of «Shahmeran» is identified as ambiguous, blending elements of a single-movement symphonic poem and a cello concerto under the framework of a programmatic title. The compositional features of the work are analyzed, including its fragmentary structure and non-linear form. The role of modalintonational and rhythmic specificities in shaping its distinct Eastern modality is emphasized. The significance of oriental instruments (kudüm, waterphone) and unique performance techniques (aleatory glissandi, the use of strings as percussion, and cello timbres approximating traditional instruments) is revealed, highlighting their contribution to the creation of a distinctive sonic landscape. It is demonstrated that the composer employs methods of «new simplicity», presented through the prism of oriental intonations.

HISTORICAL AND CULTURAL ASPECTS OF THE EVOLUTION OF TWO-PIANO MUSIC IN CHINA

Objective: This study aims to analyze the historical development and theoretical foundations of music for two pianos in China and to establish a periodization of its key stages. Special attention is devoted to the methodological issues related to performance techniques in this genre, as well as to the influence of Western musical traditions on the formation of Chinese two-piano music. The research seeks to identify the specific features of this genre as an important element of Chinese musical culture and to analyze its interaction with contemporary trends in musical art. Methodology: To achieve the research objectives, a historical-musicological approach has been applied, which allows for tracing the development of two-piano music in the context of cultural and social changes in China. A comparative method is also employed to analyze the interplay between Chinese and Western musical elements in two-piano compositions. The research is based on the analysis of musical scores, monographs, and academic works dedicated to Chinese musical traditions. Scientific novelty: For the first time, this study systematically examines the historical development of two-piano music in China, emphasizing the key stages of its formation and the influence of both national and Western musical traditions. It explores how Chinese composers have utilized this genre to express national identity, blending traditional Chinese elements with Western musical forms. Particular attention is given to analyzing the technical and performance innovations that have shaped the development of this genre in China. Conclusions: Music for two pianos in China reflects a unique synthesis of Chinese folk musical traditions and Western technical and harmonic approaches. It not only enriches the concert repertoire but also plays a significant role in shaping contemporary Chinese musical identity. Although this genre is still evolving, notable achievements in its development can already be observed, especially due to support from educational and performance initiatives. However, further expansion of the repertoire and improvement in performance standards require enhancing the system of musical education and actively incorporating new pedagogical approaches to two-piano ensemble training.