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This paper examines how listeners hear contemporary art music practices such as post-spectralism, glitch-electronica, contemporary classical and electroacoustic music. The sound configurations of this music evoke sensorial qualities and mental imagery as abstract geometries. These result from tonotopic information of acoustic stimuli organised according to Gestalt and kinaesthetic patterns. The study, employing listening surveys, suggests that our aural experience involves an embodied connection to the world. This paper proposes that contemporary art music facilitates an engagement with our experiential knowledge, minimising semantic interpretation and factual listening. Overall, it offers new insights into perceptual approaches to contemporary art music. [ABSTRACT FROM AUTHOR]

A framework of cultural humility includes three main tenets: (a) commitment to lifelong, critical self-reflection; (b) recognition and mitigation of power imbalances; and (c) accountability to individuals and institutions. In this article, I aim at applying the concept of cultural humility to frame my analysis of musical diversity in music education. Through a cultural humility lens, music teachers may acknowledge their own beliefs, values, biases, and prejudices in relation to diverse musics. A commitment to lifelong introspection through self-reflection and critique may help teachers continue to investigate new ways to redress power imbalances inherent in music education, as well as build their relationships with students and communities bidirectionally. [ABSTRACT FROM AUTHOR]

Diagram is 'marking with line,' which implies 'image-ness' that is emphasized by most of the research on diagram. Notation is also 'diagram' in the sense that it means 'to mark' (notare). Like diagram, the significance of notation is based more on the 'image-ness' of the signs than on the writing of words. Nonetheless, diagram is more than 'marking with line'. I argue that the game which the artists developed in the research-based artistic project Transnotators (2018–19), which I conducted at Taiwan Contemporary Culture Lab (C-LAB) and Taipei Performing Arts Center, could bring forth a reinterpretation of notation as diagram. Diagram, as 'writing(-gram)-through(dia-)', could be reinterpreted as 'writing through which one passes to another space'. In Transnotators, the artists researched not only the different music and dance notations but also the notation of Chinese board game qi 碁, which is one of the most ancient Chinese board games. Inspired by the notation of qi, the artists developed a game with the signs devised from their own practice of music or dance. The signs of notation on paper placed in line on the ground become the 'ways' for the participants in the game. Taking steps one at a time along the 'ways', the participants are asked to interpret the signs as music or dance when they pass through the signs. The signs of notation therefore become 'diagram' in the most literal sense that they are 'writings through which one passes'. Moreover, they are writings through which one passes to another space that is set up with the image-ness of the signs. Diagram is therefore more than writing. It is writing-through. It is more than marking with line. It is the line of writing-through for passing-through. [ABSTRACT FROM AUTHOR]

Introduced in Brazil at the beginning of the 19th century and widely accepted by the economic and social elite of the time, the guitar was played in aristocratic venues such as the Quinta da Boa Vista palace, where the Empress Leopoldina would practice music daily. Beginning in the 1840s in the hands of foreign artists, who fostered the development of Rio de Janeiro's 19th-century musical life, a busy agenda of musical performances allows us to become acquainted with the guitar's repertory, which was composed of original works and, especially, transcriptions of opera arias. This information is in stark contrast with the highly negative image of the instrument in Brazilian society during the advent of the Republic, due to the guitar's unshakeable association with the cultural practices of the urban poor. [ABSTRACT FROM AUTHOR]

Previous community music research indicates a diverse field with many forms of practice. Understanding the views of community music practitioners about their approaches offers an important way to understand their professional identities and strategies they employ. A qualitative study interviewed five community music practitioners from the same company to investigate their approaches. Two had 30 years of experience and were training three practitioners in workshop leading; one trainee (Joseph) has additional support needs (ASN). Two lay researchers with ASN contributed to thematic analysis. Two themes were identified: pedagogical identities accentuated personalization and enacting inclusivity as key dimensions of being a workshop leader; interpersonal processes demonstrated the crucial nature of individualized communication, humour and building relationships. Although Joseph's interview shared these themes, he also identified confidence, adaptability and creativity as key qualities for himself to develop and expressed a strong personal identification with participants' development of self-efficacy. While interviewees had varied musical backgrounds and skills, common principles may offer a basis for the translatable beneficial impacts of community music across the highly diverse facilitators and settings that characterize this field. Appreciating pedagogical contributions of practitioners with ASN can help in envisaging new identities and ways of being creative and inclusive in community music practice. [ABSTRACT FROM AUTHOR]

In this article, I provide a conceptual analysis of care in community music. Despite growing interest in the belief that an ethic of care should inform our community music practices, truly considering what caring means may be challenging. Caring through musicking is further complicated by the inherent power imbalances in interventionist forms of community music. I refer to this conundrum using the term (un)caring. The topographic decision to write (un)caring using a bracketed qualifier is meant to reflect the dialogic nature between caring and uncaring. This concept analysis proposes that (un)caring is informed by negotiation of the following critical attributes: (1) (un)attentiveness, (2) (un)responsiveness and (3) (in)competence. This concept analysis contributes to the continual development of community music theory by providing an evaluative and theoretical lens through which community music practitioners could engage in critical discussions concerning the ethics of community music practice and research. [ABSTRACT FROM AUTHOR]

The article focuses on the importance of effective practice in music education. Topics include the challenges students face in practicing and suggests strategies for modeling and demonstrating new music, the role of individual lessons in addressing fundamental problems, and the responsibility of music teachers in coaching good practicing strategies.

This article proposes that the framing of jazz diaspora in relation to Australia must embrace significant antecedents of jazz-related performance and culture in Australia, including blackface and African-American minstrel show music, improvisatory popular and art music practices and various subgenres of ragtime. It argues that the spirit of "jazz" as a vehicle for extroverted self-expression and identification with American popular modernity and youthful rebellion through music, dance, and fashion was already present in the Antipodes from around 1912 to the final year of World War I, when a "ragging" and "jazzing" novelty act called Australia's First Jazz Band appeared in vaudeville. [ABSTRACT FROM AUTHOR]

The aim of this research is to determine the views of conservatory students on the bibliotherapy in music and piano education. This study was carried out with a qualitative approach and is in the phenomenological pattern. In phenomenological studies, it is aimed to put the meanings that the individual attributes to the phenomena. The study group consists of 7 conservatory students selected by homogeneous sampling method. The data in the research were obtained through semi-structured interviews. The data obtained as a result of the research were analyzed with the content analysis method. In the research, the opinions of the students were collected in 5 categories as general opinions on the use of bibliotherapy in music and piano education, individual contribution of bibliotherapy, contribution to music and piano education, positive and negative opinions. The three most prominent results in all categories in the research are awareness of insight, insight, and being able to recognize problems. The participants of the study stated that they had insight and awareness as a result of bibliotheraphy. In line with the findings obtained in the research, it was concluded that the participants were able to identify and cope with the problems they encountered in piano and music education more easily, thanks to their awareness of their personal backgrounds through bibliotherapy. In light of these results, it can be suggested to use bibliotheraphy as a supporting and facilitating practice in music and piano education. [ABSTRACT FROM AUTHOR]

Music Education is changing rapidly worldwide. What effective and promising practices in music teaching and learning are available and can be cross-culturally applied? Using Finland as a case study, this exploratory research highlights promising current endeavors in primary and secondary school music education. In light of these undertakings, data were collected from interviews with students and teachers in Australia and England (N = 25) to investigate if these practices would be considered promising in both Australia and England. The results revealed four key areas of promising music teaching and learning: (1) Allocated Time for Music Teaching and Learning; (2) Teacher Training and Expertise; (3) A Diverse, Collaborative and Interdisciplinary Curriculum, and; (4) Transition to Tertiary Education. A number of practical recommendations are proposed and their pedagogical significance discussed. [ABSTRACT FROM AUTHOR]

The Pontic Greeks or Pontians play an important role in contemporary Greek history. Pontic identity and collective memory narratives wield significant influence over the national memory, and particularly the memories of Asia Minor and of the 1922 Catastrophe. Pontians commemorate and postmemorialize their ancestral pre-1922 homeland in the practice of music socialization known as parakathi or muhabeti. The performance of the parakathi repertoire involves an intertextual and dialogical negotiation of broader narratives of Pontic memory, especially nationalist Pontic folklore and representations of transgenerational trauma, thus exemplifying the complexity of collective postmemory practices as involving both highly personal processes of remembering and canonistic narratives of a usable past. Emotionality is central in the Pontic practices of the post/memory of Asia Minor. [ABSTRACT FROM AUTHOR]

Ear training is the most basic building block of music education. This training forms the basis of music and instrument education given in both formal and non-formal education. This course, which aims to develop the musical ear of individuals, also leads students who have just started fine arts high schools in many subjects. Ear training course includes cognitive goals as well as psychomotor goals thanks to applied goals such as intervals, solfeggio and dictation. It can be said that these psychomotor goals contribute to many lessons in the music department. One of the lessons contributed by psychomotor goals is instrument lessons. For the students who have just started their instrument education, the psychomotor goals acquired with the ear training enable the instrument lessons to be carried out more systematically. For this reason, it is thought that the psychomotor goals related to the terms of rhythm patterns, intervals knowledge, tonality knowledge and loudness in instrument education should overlap with the psychomotor goals in ear training. In this study, the 9th grade course book of Western Music Theory and Practice - Turkish Art Music Theory and Practice within the ear training given at the fine arts high school; within the scope of instrument education, the 9th grade Instrument Education (Cello) course book was examined. In this research, the exercises, etudes and pieces in the 9th grade course books of Turkish Art Music Theory and Practice - Western Music Theory and Practice and Instrument Education (Cello) were examined in terms of psychomotor. This research is a descriptive research and qualitative research methods were used. The model of the research is the case study. The universe and sample of the research consists of 9th grade Instrument Education (Cello), 9th grade Music Theory and Practice and Turkish Art Music Theory and Practice course books in Fine Arts High Schools, which is a music education institution in our country. During the data collection phase, the document analysis data collection technique was used. The analysis of these collected data was analyzed using the content analysis technique. As a result of the data obtained, it was revealed that the two course books examined did not overlap in terms of some psychomotor goals. [ABSTRACT FROM AUTHOR]

Background: The incidence of skin cancer is increasing globally, leading to a greater need for dermatologists to perform skin surgery. However, skin surgery can be a potentially stressful experience for patients due to the fear of a possible cancer diagnosis coupled with anxiety related to pain and cosmetic outcomes. Aim: To examine whether there is any evidence to support the hypothesis that listening to music during dermatological surgery under local anaesthesia can help reduce patient anxiety. Methods: This systematic review considered all original research published until May 2020. Four relevant studies were identified, comprising a total of 381 patients (three randomized control trials and one case–control trial). Results: Two of the four studies showed a significant reduction in perioperative anxiety in patients who had listened to music during surgery. Both of the other studies showed no statistically significant difference between music and no music for patients, although one of these noted reduced anxiety in surgeons. Conclusion: There is currently limited evidence to support the use of perioperative music in clinical practice to reduce anxiety in skin surgery. However, given the potential benefits and the likely limited costs of this simple intervention, we believe that further research on this topic is warranted. [ABSTRACT FROM AUTHOR]

People can learn, understand, and use music using the solfeggio method. People involved in professional music training have given it importance because it is a fundamental discipline of enlightenment music and a necessary training method and technical theory course to enter the professional level. This article presents an in-depth analysis of the music curriculum model based on data mining technology. Additionally, a music style classification method based on FP Growth association rules mining is developed, which decreases the number of frequent element sets needed and speeds up database scanning. To better match the characteristics of music, a multirepetition structure model is used, and the MFCC (Mel-frequency cepstral coefficients) function is used to set the repetition structure model. The results demonstrate that the music style classification method put forth in this article has clear advantages in terms of efficiency: when the minimum support is 0.2 percent, this method's execution time is about 33 percent compared to the other methods. The outcomes of the experiment suggest that this method can more accurately capture the repeatability of music and enhance separation performance to some extent. [ABSTRACT FROM AUTHOR]

In order to further promote the innovative development of piano teaching of music major in colleges and universities under a diversified environment, we explore a modern piano teaching reform with distinctive innovative characteristics and strengthen the work needs of colleges and universities for the cultivation of comprehensive, practical, and high-quality piano talents. This study deeply understands the current piano learning, curriculum teaching, and innovative practice of music majors in colleges and universities in the form of questionnaire and interview. On this basis, based on the summary of piano teaching methods, this paper puts forward a piano teaching curriculum system based on innovative development, hoping to provide reference and suggestions for the innovation, reform, and development of piano teaching of music majors in colleges and universities. [ABSTRACT FROM AUTHOR]

This article considers the musical lives of eleven US-based families, micro-communities of sorts, as they were affected by the COVID-19 pandemic and associated physical isolation directives. With a focus on family pods as sites and sources of community, we employed processes of virtual ethnography including interviews, observations and the distribution of cameras to help empower participants, especially the children, to become active collaborators in a research study called Project COPE. Families indicated that musical practices during this time of learning, listening, moving and creating with instruments, voices and one another served a variety of purposes. These included self-regulation, identity formation, transmission, social cohesion, emotional bonding, embodied communication, well-being and a recognition of communal music expression as a human need. We note that in some cases, this rupture has been an opportunity for refocusing, reworking and re-envisioning in ways that impact community music practice. In returning to in-person music making, practitioners should be aware of the creative ways in which families were musically active during this time apart. We urge diligent community musicians to continue responsive practices in relation to the ways in which families facilitate their own musical lives and community in the home. [ABSTRACT FROM AUTHOR]

This paper is written as an homage to Yehudit Cohen, attending to multi-disciplinarity and the contrapuntal relationships among disciplines. Yehudit's musicological work centered on early Baroque, yet simultaneously engaged with contemporary Israeli music and the music education scene. This paper addresses methodological worldviews and practices in musicology and music education with their distinct trajectories, recognizing that eventually both were affected by similar macro forces of the social sciences. Writing from the qualitative research methodology of music and arts education, the second half of the paper reflects, in an autoethnographic style, on the ways that my disciplinary journey has been shaped by broader academic as well as personal contexts. I explore the kind of tuned listening that has guided my research, a listening cultivated by both musicology and qualitative educational research, noting that not only do we research who we are, but that in the process, we become what we research. The paper is written as an invitation for readers to weave in their own disciplinary experiences, attending to differences of perspective and what it may mean for their own inquiries. [ABSTRACT FROM AUTHOR]

We sketch the processes of understanding music as a set of phenomena intricately involved with the IT practices of music retrieval within the Slovenian research community from the three basic perspectives: ethno-/musicological, librarian (essential when approaching music computationally), and IT. The article assesses what these perspectives have brought to the understanding of music and suggests that the three addressed perspectives are not arbitrary. [ABSTRACT FROM AUTHOR]

Previous studies suggested the possibility that the red nucleus (RN) is involved in other cognitive functions than motion per se, even though such functions have yet to be clarified. We investigated the activation of RN during several tasks and its intrinsic functional network associated with social cognition and musical practice. The tasks included finger tapping, n-back, and memory recall tasks. Region of interest for RN was identified through those tasks, anatomical information of RN, and a brain atlas. The intrinsic functional network was identified for RN by an analysis of connectivity between RN and other regions typically involved in seven known resting state functional networks with RN used as the seed region. Association of the RN network with a psychological trait of the interpersonal reactivity index and musical training years revealed subnetworks that included empathy related regions or music practice related regions. These social or highly coordinated motor activity represent the most complex functions ever known to involve the RN, adding further evidence for the multifunctional roles of RN. These discoveries may lead to a new direction of investigations to clarify probable novel roles for RN in high-level human behavior. [ABSTRACT FROM AUTHOR]

The article deals with the evolutionary processes of development of psalm and ecclesiastical miniature genres in choral music from the Renaissance to the present. It has been found that the wide possibilities of creating liturgical and non-church, concert and stage spiritual works gave the way to the enrichment of canonical канонічних principles of such traditional genre models as psalm and ecclesiastical miniature with individual stylistic features. Accordingly, gaining more and more popularity in church and secular music practice, psalms and ecclesiastical (prayer) miniatures have acquired nmiew qualities - canonical flexibility, genre mobility, openness to style and stylistic syntheses and authorial individualization in both textual and much more in musical aspects. The research methodology is based on historical-typological, genre-stylistic, and analytical methods. The historical-typological method relates to the problems of historical evolution of psalm and ecclesiastical miniature genre models, genre-stylistic and analytical methods allow to come to reasonable conclusions about the peculiarities of prayer texts in choral compositions created by modern Ukrainian composers. Traditions of Ukrainian spiritual music and at the same time the modern tendencies of the musical language are brightly shown in choral compositions. It is noted that the level of correlation between traditional and innovative referrence to psalm and ecclesiastical miniature genre models is determined by the individual creative approach of a certain composer, which requires making references to ecclesiastical texts and creating unique motets on their basis. [ABSTRACT FROM AUTHOR]

Music education is among the most significant subjects covered in providing high-quality education in Chinese universities and colleges. Music education is critical to providing high-quality education to students. It contributes significantly to the development of students' creative motivation, inventive capacity, and personality development. Music education provides excellent outcomes in music instruction and fosters students' original thinking and comprehensive abilities, and therefore supports the overall development of high-quality education. With the development of the educational system, it is becoming more vital to teach students a high level of musical literacy. With the advent of 5G mobile communication, it will become one of the core technologies in Chinese music education, providing an innovative framework for music education. In this study, a novel music education model is proposed for the development of music education using the GTZAN dataset which is comprised of 100 distinct specimens for every genre and ten various kinds of music. The dataset is normalized to prepare it for further processing and the characteristics of the song are retrieved using a technique called spectrum-based feature extraction (SBF). Bi-recurrent neural networks (Bi-RNN). are used to classify objects in space. An improved TCP congestion control algorithm (ITCCA) is proposed for efficient data transmission between the 5G networks. To optimize the performance of the transmission protocol, the honey bee optimization algorithm is employed. The performance of the proposed model is examined and contrasted with that of the currently used approaches. The proposed model shows high performance in terms of throughput, average delay, and packet delivery ratio. The model has the potential to successfully integrate 5G technologies and music education and provide the students with rich and diversified teaching materials and flexible instructional formats. [ABSTRACT FROM AUTHOR]

Recently, 2-D multiple signal classification (MUSIC) algorithm was applied to map lighting propagation with improved quality. However, the quality is improved at the cost of increasing the calculation load. To improve the efficiency, this article proposes an improved MUSIC-based lightning mapping algorithm, which transforms the 2-D direction of arrival (DOA) estimation problem for an L-shaped array into 1-D DOA estimation problem for the two arms of the array. Additionally, the lightning mapping array is arranged in a nonuniform way to reduce the risk of trivial ambiguity problem. The performance of the developed lightning mapping system is verified with numerical Monte Carlo simulation and further with real lightning observation results. The simulation results show that the nonuniform array outperforms the uniform array in terms of detection accuracy, spatial resolution, and antiambiguity. The observation results show that the MUSIC-based methods produce better lightning mapping quality compared with the interferometry method (15 777 sources mapped), due to better robustness for low signal-to-noise ratio (SNR) lightning very high-frequency (VHF) signals. Compared with the 2-D MUSIC method (34 620 sources mapped), the proposed low computational cost method (30 461 sources mapped) is proven to produce fairly similar path of lightning leader with significant lower computational cost. Specifically, the proposed method saves about 84.91% of calculation time compared with the 2-D MUSIC method in practice. [ABSTRACT FROM AUTHOR]

Caroline Shaw's Partita for 8 Voices (2009–11) is a largely diatonic work with an infectious groove that has rocketed Shaw to stardom, earning her a Pulitzer Prize at the age of 30. But Partita's accessible surface belies its complexity and its close relationship to the New York Schools of both music and art. Following in the footsteps of her experimental forerunners, Shaw's notations are indeterminate and, therefore, situated in a community of musicians that become co-creators with Shaw. The graphic notations that Shaw employs are largely an attempt to indicate timbral variety, as Shaw borrows from a wide variety of global vocal techniques for this piece. The focus of this study is on the problems Partita poses as a result of its timbral variety and the graphic notations that function as instructions for the group of highly-trained 'insiders' performing it, namely, Shaw's own Roomful of Teeth. Communities of insiders rely on boundaries that also exclude, and the work has faced criticisms of cultural appropriation, most famously in 2019 from the Inuit throat singer Tanya Tagaq. This study problematises the sense of joy that this piece excites in the body of the white listener—joy created in the absence of bodies of marginalised musicians. [ABSTRACT FROM AUTHOR]

Given the contemporary polarized political landscape and the elective nature of much music teaching and learning, it is important that music educators understand how they reinforce or undermine stakeholders' political beliefs. The purpose of this inquiry is to investigate alignment between Lakoff's moral-political metaphors and Allsup's main ideas and to consider the value of certain moral-political discourses for music education. I demonstrate that Allsup favors concepts that align with Lakoff's liberal nurturant-parent metaphor, while his ideas work in tension with the conservative strict-parent metaphor. When conservative moral discourse goes unacknowledged, discussions about what kind of ethics should inform music education get misrecognized as arguments about whether ethical concerns should inform music education. I also examine the potential implications of practices aligning with music educators' individual moral-political beliefs, a community's moral-political preferences, or a balanced approach to the two metaphors. Yet, nurturant-parent values and associated practices often remain unarticulated and peripheral in music teacher education. I propose that music educators might name the role that conservative ethics play within the profession, provide increased attention to practices aligning with the nurturant-parent moral-political metaphor, and experiment with discourse and actions not directly invoking either moral-political metaphor. [ABSTRACT FROM AUTHOR]

Podcasts have become an important part of music reception practices, providing new ways of engaging with reviews and recommendations, artist interviews and popular music histories. This article presents a replicable working methodology that can be applied to study the data associated with podcasts of any genre. In our analysis, we explore approximately 16,000 listener reviews of the Top 50 podcasts in the Apple (UK) music chart in order to discover what it is about music podcasts that draws listeners to regularly engage with their favourite shows. This method, based on unsupervised machine learning algorithms, automates data-scraping for podcast reviews and ratings. We describe and critically reflect on this process in order to understand not only how listeners describe their range of motivations for engagement with music podcasts, but also the limitations of this approach in a media and cultural studies context. [ABSTRACT FROM AUTHOR]

This paper puts forward a method of similarity distribution and applies it to music teaching management system. We use Java language, using JavaME development platform to complete the basic information management, music homework management, music practice management, online classroom management, information notification management, and other modules of the technical implementation. The system uses mobile learning system to provide a convenient learning platform for learners. However, student users can only view the course information in the system. To allow students to know the course change information more quickly when teachers update course information, the system implements the course information update reminder function. Compared with the existing music teaching system, the music teaching system based on Android adopts wireless Internet technology, which is more suitable for the daily habits of today's college students and makes full use of the fragmentary time, which is conducive to improving their learning efficiency and stimulating students' interest in learning. [ABSTRACT FROM AUTHOR]

Building upon Ettarh's call to dismantle vocational awe in librarianship, this article outlines the shared components of Western libraries and Western music that lay the groundwork for vocational awe in each of these institutions and explores the ways in which vocational awe uniquely manifests for workers in the interdisciplinary field of music librarianship. The article explores the narrative of music's goodness, disciplinary training, and manifestations of vocational awe as they appear in the institutional cultures of practice of music and librarianship: inability to develop work-life balance, job creep, low morale, and inequitable compensation. In naming this phenomenon as it is situated within music and music librarianship, we critically examine how it may affect our own narratives and values. We seek to empower those in music library work to become mindful of and address the presence and influence of vocational awe at individual and institutional levels. [ABSTRACT FROM AUTHOR]

This article presents a theoretical framework for understanding headbanging to metal music as an embodied practice of perception and offers several analyses to demonstrate how specific patterns serve as a common core of rhythmic patterning in the genre. Listeners express metal's flexible rhythmic style through headbanging, creating experiences of heaviness and community. This motion brings felt beats into existence, guided by what I call "metering constructions," familiar rhythmic/motional patterns that are both schematic knowledge of music and embodied practices of perception. I define metering constructions through theories of embodied meter and cognitive linguistics. Two constructions, the backbeat and the phrase-ending 332, are used throughout rock, but distinguished in metal by characteristic drum patterns and motional qualities. Headbangers thus create and perform their own beat interpretation, what I call a "patchwork quilt of recognized rhythms" stitched together in various orders and combinations—sometimes resembling regular isochronous meter, sometimes not. [ABSTRACT FROM AUTHOR]

As the field of community music scholarship continues to evolve, opening up a dialogue around music making with trauma survivors and implementation of trauma-informed practice is both timely and critical. Whilst there has been an acknowledgement of the presence of trauma connected to specific contexts, community music literature has not yet begun to respond to the potential prevalence of trauma within any community music setting. As a field in which music projects will often be operating with groups of vulnerable people, trauma-informed practice is beginning to be acknowledged, but without a broad base of research to support training and implementation. As a community musician working with known trauma survivors, it is my assertion that the question of whether pedagogic frameworks should be developed in order to promote safe and appropriate practices needs to be addressed, especially where traumatic experience can remain hidden, but still be profoundly impactful. This article explores the origins of trauma-informed practice as well as providing an example framework from the York St John University Prison Partnership Project. A literature review of community music scholarship explores the potential benefits of music making for those who have experienced trauma and emerging themes are examined through the lens of trauma-informed practice. This article also suggests that trauma-informed practice could be integrated more widely within community music in order to: (1) acknowledge that in any group or context, statistically, a number of participants are likely to have experienced trauma; (2) acknowledge that because trauma is often hidden, having an understanding of manifestations of trauma responses will better equip practitioners; (3) understand that trauma-informed practice enables practitioners to work reflexively and responsively within their groups, thereby building solid foundations on which to develop safe and secure environments in which music making can flourish. [ABSTRACT FROM AUTHOR]

This article identifies and explores community-building in Indigenous music radio, drawing on music programming examples and practitioner insights from two Indigenous radio stations: KPRI FM and KSUT FM. The article considers ways in which multifaceted music programming across the two stations embodies the concept of grounded normativity (Coulthard and Betasamosake Simpson) and expands capacities for tribal community-building on-air, in turn reinforcing a cultural Indigenous internationalism. In particular, this article argues that Rez Dub Reggae and Songs of the Southwest at KPRI and the Tribal Radio Morning Show at KSUT enable and encourage Indigenous community-building through place-based practices of music radio production which in turn embody possibilities for Indigenous resurgence (Corntassel). [ABSTRACT FROM AUTHOR]

Active engagement in music has numerous academic and social benefits for young children and music-making is included in many early childhood standards and preschool curricula. The purpose of this article is to provide quality resources for classroom teachers to use in providing music-making activities for young children, ages 3–5. Although teachers may use music in their classrooms, we provide resources and suggestions for more intentional and extended integration of music-making. Specifically, we identify best practices for preschool music education based on key standards and research as well as with common music pedagogies. We then turn to concrete examples of how teachers can implement these music best practices throughout the entire preschool day. We provide ideas and resources for whole-group activities, focusing on choice-time/center activities and ways to incorporate music activities in other academic areas as these seem to be of greater need for teachers. Finally, we use the stated best practices to review the alignment of a sample of commercially available preschool music curricula as an additional support for teachers. [ABSTRACT FROM AUTHOR]

This article examines the concept of democratization and explains why it has been applied in unhelpful ways to the study of music. We focus on three examples to illustrate the real-world complexities involved in the adoption of new technologies that are often seen as democratic by dint of their widespread use. We argue for a close-reading of the participatory practices of socially-located actors with music-making devices – one that asks detailed questions about who is participating, how, and under what socio-economic conditions. We finish with a call to move beyond the term democratization to an application that is specific to the field of popular music. [ABSTRACT FROM AUTHOR]

We addressed how circadian rhythms influence daily musical activities of performing musicians, who exhibit fine temporal control. Music performances often occur in the evening and late at night; evidence suggests that composing musicians tend to be later chronotypes than non-composing musicians. However, chronotype and daily music-making in performing musicians have yet to be investigated. The current study examined chronotype in actively practicing and/or performing musicians and non-musicians, and whether it was related to the daily timing of music performance. To test influences of daily changes due to the global COVID-19 pandemic, disruptions to musical, athletic, social, and sleep habits were also measured. Performing musicians, active (practicing but non-performing) musicians, inactive musicians, and non-musicians, residing in Canada, completed a 7-day online daily activity and sleep diary in Summer 2020. There were more evening chronotypes than morning chronotypes in the sample. Active/performing musicians tended to be earlier chronotypes than all other groups. Musicians' chronotype, but not nightly sleep timing, predicted the time of day that musicians made music: Late chronotypes made music later in the day and early chronotypes made music earlier in the day. Music performance and practice amount decreased during the COVID-19 period, but the daily timing of these activities did not change. All participants reported later sleep onset during the COVID-19 period; the amount of social interaction decreased during the COVID-19 period, while exercise increased for some and decreased for others. No changes in the daily timing of exercise, social interaction, or morning wake-up were reported. These findings suggest that performing musicians may be slightly earlier chronotypes than non-performing musicians and non-musicians, despite music performances often occurring in the evening. Chronotype was related to the time of day of music-making independent of nightly sleep timing, suggesting that times of day for making music reflect an individual's circadian rhythm. [ABSTRACT FROM AUTHOR]

Increased availability of tablets at home and in classrooms provides educators access to a powerful tool for music instruction. Music production lessons on tablets offer alternate approaches to developing music literacies while teaching valuable technology skills. These activities are ideal for general music education because they align with contemporary music practices and are adaptable to a variety of learning environments (in person, remote, and hybrid). This article will present a model for tablet-based music production instruction in the general music classroom that aligns with the National Core Arts Standards and accompanying process components grounded in five essential skills: sequencing, recording, editing, effects processing, and mixing. [ABSTRACT FROM AUTHOR]

Today, collaborative playlists (CPs) translate long-standing social practices around music consumption to enable people to curate and listen to music together over streaming platforms. Yet despite the critical role of CPs in digitally connecting people through music, we still understand very little about the needs and desires of real-world users, and how CPs might be designed to best serve them. To bridge this gap in knowledge, we conducted a survey with CP users, collecting open-ended text responses on what aspects of CPs they consider most important and useful, and what they viewed as missing or desired. Using thematic analysis, we derived from these responses the Codebook of Critical CP Factors, which comprises eight categories. We gained insights into which aspects of CPs are particularly useful—for instance, the ability for multiple collaborators to edit a single playlist—and which are absent and desired—such as the ability for collaborators to communicate about a CP or the music contained therein. From these findings we propose design implications to inform further design of CP functionalities and platforms, and highlight potential benefits and challenges related to their adoption in current music services. [ABSTRACT FROM AUTHOR]

A critical race theory framework was used to examine the role of music listening practices in the academic and social contexts of Latino college students enrolled at a predominantly White institution. An inductive thematic analysis examined themes in participants' open-ended responses. Awareness of their Latino identity in music and the use of digital music players served to construct sonic counterspaces, an affirming auditory realm that is comprised of emotional, psychological, and physical space activated through intentional listening practices. Sonic counterspaces facilitated their academic experience and helped them navigate negative social encounters. [ABSTRACT FROM AUTHOR]

This text aims to discuss the enactive perspective as a possible foundation for practices in music education, considering that such perspective allows an active view of music teaching and learning. Based on a conceptual definition, enactivism is considered as a perspective that proposes a continuity between the processes undertaken by the body and the mind guided by the person's action in the world. This text characterizes embodied music cognition and enactivism, presents dialogues with literature, and reflects on the implications of an enactive perspective for music teaching and learning. The article also discusses the inseparability between musical and extra-musical content, including the importance of people's experience with their sociocultural worlds. Finally, the relationship between praxis and enactivism is presented, as well as the application of enactivism as a foundation for different practices in music education. The analysis of this text can help music educators to broaden and deepen foundations and reflections on teaching and learning in music education from an enactive perspective. [ABSTRACT FROM AUTHOR]

The rediscovery of ancient ideas about the power of music inspired Renaissance scholars to formulate a tantalizing view of the restoration of the wonderful music of the ancient Greeks. But from the start of this revival, skeptical voices questioned the feasibility of any attempt to establish a historically informed music practice. This article explores the changing status and authority of classical music-theoretical sources 132 in sixteenth - century Italy by analyzing the famous debate between Girolamo Cardano and Julius Caesar Scaliger on ancient ideas abolit sound, hearing, and the power of music. Both voices mark a pivotal early stage in the emergence of early modern musical science, in which scholars began to study musical phenomena in accordance with a new philosophy of nature but had no established research agenda upon which to rely when doing so. Their attempts to theorize, in terms of natural phenomena, the seemingly inexplicable musical wonders recounted iii traditional sources demonstrate that the tradition of Pythagorean and Platonic mathematics could not be easily discarded in the mid-sixteenth century. Cardano and Scaliger inspired later generations of scholars to formulate new theories in which music was valued less for its numerical perfection and supernatural power than for its sensory qualities and natural effect on the passions of the soul-ideas that would come to underpin the development of acoustics and music aesthetics in later centuries. [ABSTRACT FROM AUTHOR]

This article presents practical and artistic contributions to the field of computer music systems based on audio feedback networks. The ideas that oriented the conception of two digital music instruments and examples of their use in the author's music practice are discussed. The article begins with a general conceptualization of feedback systems as well as a brief historical review of its use in experimental music. Later, a more specific contextualization of its application in recent computer music research and artwork is made, and two contributions are presented: the first is a network of cross-modulated sinusoidal oscillators (by frequency modulation), and the second is a network of algorithms for playing and transforming pre-recorded sound samples. In conclusion, examples of the artistic usage of the described systems to the creation of electroacoustic music are discussed. [ABSTRACT FROM AUTHOR]

In 2021, we interviewed Matt Hyde of Wellington's Beastwars for our ethnographic podcast Lingua Brutallica as part of a project exploring language in metal scenes outside of America and Europe. In this annotated interview, we edit, discuss and frame the content of the interview in relation to how Hyde's comments shed light on important conflicts between personal, local and global understandings of what makes 'metal' lyrics and music. The interview covers, in Hyde's own words, his approach to metal lyrics, and how he weaves his personal experiences and New Zealand's unique landscape into images of pagan rituals, ancient battles, death, and other emblems of international 'metal' practices. This distinctive taste of New Zealand metal that results brings together the local and international scenes that devour it. Through breaking up the transcript with commentary on the sociolinguistic insights Hyde provides on understandings of language, metal and identity, we explore how Hyde aligns with, resists, and feels pressured by stereotypes of 'metal language', producing a guided tour of how a key figure in New Zealand metal has navigated the fluidity of 'local' and 'global' language practice in metal music throughout his 15 years in the scene. [ABSTRACT FROM AUTHOR]

Igbo choral art music is a Nigerian genre that exhibits interesting musical hybridity as it combines a notated choral part with an un-notated orchestral part into a final musical artwork. The notated choral part is produced by the composer through a synthesis of Igbo traditional music and European classical music, while the orchestral part, based on Igbo traditional music practices, is produced by the choral director. For over five decades, scholarly discussions on Igbo choral art music have focused on the notated choral part and how composers blend European classical music and Igbo traditional music principles. Although the choral part is significant, my more than two decades of participation in the genre as well as interviews with leading practitioners reveal that without the orchestral part, a composition is considered incomplete by both the practitioners and the audience. Such a critical aspect of the genre has received little to no academic attention. This article is an autoethnographic report on the orchestration principles of Igbo choral art music, its relationship with Igbo traditional music, and how such orchestration contributes to hybridity as a fundamental resource in the genre's development. [ABSTRACT FROM AUTHOR]