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Music students need library search skills to find music resources of scores and sound recordings for study, repertoire selection and performance practice. This article describes the design and evaluation of a Blackboard eLearning module, Music Library Instruction Module based on a music information literacy standard 2, accessing needed information effectively and efficiently. The module supported students' development of skills in catalog searching to find music resources. The learning achievements of 25 participants were evaluated using a pre-test–post-test method. Post-test results had an increase between scores of 15% and statistical significance (t = 4.75; p < 0.001) to support the hypothesis that students demonstrate higher performance in search skills after interaction with the module. The Music Library Instruction Module was successful as an eLearning treatment in instructing library search skills to find music resources however additional instruction is needed when searching by major composer and subject headings. This study has practical implications in the design and assessment of music information literacy programs in the eLearning environment. [ABSTRACT FROM AUTHOR]

When music educators discuss repertoire, they often discuss what pieces to perform and when in the year to perform them. In this article, I ask, " Who should choose the music for ensemble study, and how should it be chosen?" I share a rationale for why music educators might include students in ensemble repertoire selection and several ways they might open the repertoire so their students can contribute to the process. Based on my interest in how teacher–student dialogue can occur in this process, I draw from conversations I had with six orchestra teachers and twenty-seven of their students. The approaches presented here come from my interviews with these six teachers, from others with whom I have since collaborated, and from my own experience as an educator. Music educators may find these approaches useful for discussion, study, and implementation of more inclusive practice. [ABSTRACT FROM AUTHOR]

In this article, I propose some ways that music educators might become anti-racist. I explore the ways that Whiteness manifests in music education and subsequently examine actions we might take to resist this Whiteness. Ultimately, I suggest anti-racism as a way forward for music education. I delineate some of the ways that Whiteness operates in music education, not to discourage educators but rather to encourage us to notice the way Whiteness pervades our field. [ABSTRACT FROM AUTHOR]

Gender in music has been explored over recent decades with growing recognition of the challenges that are faced by women in the field. There has been substantial work exploring the Western music canon but little that addresses the music of Australian women, and more specifically, repertoire written for the wind band genre. With thousands of Australian children every year starting their musical journey in their school band, this is an area that has potential for significant impact in addressing the continued gender disparity for composers. In addition, the substantial influence of the conductor in repertoire selection and promotion of the music of women cannot be denied. This article draws its insights from an action research project that explores the journeys and experiences of Australian women composers through interviews along with artistic collaborations between myself and these composers. Furthermore, Australian conductors of wind bands were surveyed to ascertain their understanding of the role that they may play in facilitating change in this area. This article addresses the barriers that composers and conductors experience, the benefits of networks, the generation of additional repertoire, and the subsequent implications for educational contexts. [ABSTRACT FROM AUTHOR]

This article reports on part of an ethnographic research project undertaken over a period of 20 months in Leeds, UK, with a youth spoken word (YSW) poetry organisation. The research focused on the fluid practices in which the youth engage that span spoken, written, visual, gestural, digital, musical and spatial modes, and across times and places. Given its inherent fluidities, YSW is a particularly interesting practice for studying semiosis. Among other aspects, the research focused on the trajectories of poems written and performed by youth and the semiotic transformations they undergo across time and space. The article explores how resemiotisation sheds light on the complexities of the transformations that one particular poem undergoes as it travels. It focuses on a poem titled 'To Him', written and performed by a 17-year old poet. The main arguments put forward are that: (1) translanguaging is a more comprehensive term than others for describing how the poet engages her communicative repertoire; (2) resemiotisation is both a lens for conceptualising translanguaging, and an indispensable analytical process in the case of the data studied for understanding the complexities of the poet's meaning-making practices. Looking beyond our own discipline and making use of musical annotation, we contend that focusing solely on spoken and written language would be insufficient to gauge the complexity of the meaning-making process undertaken by the young poet. [ABSTRACT FROM AUTHOR]

Many K–12 teachers face hurdles when it comes to running a Modern Band, including the pedagogical challenges of facilitating large scale ensembles with unfamiliar repertoire and instruments. Approximation and scaffolding are two important tools teachers can use to help learners thrive in this environment. This article uses music examples to demonstrate how to approximate popular songs in a variety of ways, providing accommodations and adaptations for students of all skill levels to give all students an opportunity to learn. This article outlines how scaffolding in the Modern Band classroom allows for whole-class instruction while keeping advanced students motivated without alienating beginning students. [ABSTRACT FROM AUTHOR]

This is the editors' introduction to the Special Focus Issue on Popular Music Education. Also included is a forward from Robert A. Cutietta, editor of the 1991 Music Educators Journal Special Focus Issue on Popular Music Education. [ABSTRACT FROM AUTHOR]

The last two decades in the North America have seen a resurgence of scholarly and practitioner activities advocating for integrating more popular music in music classrooms both through repertoire and pedagogy. However, the emphasis has been on Western-oriented popular music practices, neglecting those of other cultures, even though there is a major increase in population diversity occurring in the United States and Canada. This article examines the concept-oriented framework, through which, instead of exploring popular music geographically, one can engage with the wider concept of popular music across cultures. The framework consists of a central concept selected by music teachers and students and is contextualized by various areas of exploration. Popular music can play an influential, transformative, and socially just role in improving numerous situations. [ABSTRACT FROM AUTHOR]

Repertoire programming decisions taken by symphony orchestra managers usually pursue a mixture of aims embracing both quality and audience success, but are influenced by various factors. Our goal is to assess the quality of the repertoire of Spanish symphony orchestras and to gauge the impact of a series of external variables on the programming decisions. We take a sample of 20 professional symphony orchestras covering a homogenous period from 2014 to 2017. First, we summarise the quality in the repertoires through three partial indices (contemporaneity, most well-known composers and conventionality) before constructing a composite quality indicator using Data Envelopment Analysis. Second, we use regression analysis to examine the effect on the programme quality of various external variables, some related to the internal management of the orchestras, others addressing the socio-economic contextual aspects of the area in which they are located. We also carried out a cluster analysis to identify the most frequent programming strategies. We find there are two programming strategies, ranging from novelty and risk to more stable and safe repertoires based on well-known composers. The quality of orchestras is linked to longer seasons, how young these institutions are, and their being located in Madrid, whereas the most conventional programmes correspond to longer-standing orchestras located in areas with older populations and lower levels of education. [ABSTRACT FROM AUTHOR]

The article offers information on the state theater Comédie-Française of France which is focused on attracting audiences through its cycle of readings. Topics discussed include repertoire in theater, role of historians, scenography, archives of reading texts, and power relations between actors and administrators.

This study investigated required repertoire lists for state music education associations' choral performance assessment events in the National Association for Music Education North Central division. Questions included: (a) How many states have required repertoire lists; (b) What categories/genres and historical time periods are represented on these lists; (c) Are there any notable differences between and among states' required repertoire lists within NAfME's North Central region; and (d) Do the required repertoire lists reflect NAfME's National Core Arts Standards for Ensembles? Analysis of 2,714 pieces revealed 74. 94% of the repertoire was representative of Western art music, with 60. 72% of those pieces composed post-1900, and 25. 06% of the total repertoire was Non-Western. Implications of these results may question the concordance between NAfME's National Core Arts Standards and values set forth through required repertoire lists as determined by NAfME state performance assessment leadership. [ABSTRACT FROM AUTHOR]

The article focuses on a discussion between choir conductors of color on cross-cultural engagement in choral music for social justice. The topics discussed by them include irritants in choirs as they tend to learn/perform the music of other traditions/cultures, and suggestions on how choirs can enhance their performance with regard to cross-cultural music. Suggestions include providing a platform through collaboration, choosing repertoire, and applying score study to performance practice.

Copyright of Annales Historiques de la Révolution Française is the property of Librairie Armand Colin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study uses meme templates as a lens for exploring cultural globalization. By conceptualizing such templates as expressive repertoires that simultaneously enable and limit expression, we examined global and local dimensions of mainstream meme culture. We traced the top 100 templates in meme generators in English, German, Spanish, and Chinese, using 10 examples to typify each (n = 4000). Combining quantitative and qualitative analysis, we examined the forms, social identities, and emotions embedded in these templates. Our findings demonstrated that whereas meme templates are dominated by American/Western pop culture, local templates are also evident, especially in Chinese. Overall, memes are socially conservative yet emotionally disruptive; while they align with hegemonic representation patterns, their emotional palette tilts toward the negative, with anger as a major anchor and happiness expressed ironically. Finally, our findings suggested an individualism–collectivism puzzle, wherein emotions in memes seem to contradict the existing literature on cultural values. [ABSTRACT FROM AUTHOR]

Molière never played Don Juan. Instead, he chose the part of Sganarelle, the querulous yet cowardly sidekick of the ‘grand seigneur méchant homme’. This choice might simply have been motivated by Molière’s desire to reprise one of the most popular character types of his comedic répertoire. However, beyond the proto-Bergsonian quest for mechanical laughter, this desire for repetition could also have signaled the comedian’s far more metaphysical concern with the repetitive nature of human time. From a dramatic standpoint, in fact, a case will be made for how Sganarelle’s cyclical experience of life on stage may well prove just as eternal as the myth of Don Juan itself. [ABSTRACT FROM AUTHOR]

The history of the Italian opera in Prague in 1780s is linked with the name of Pasquale Bondini. Although an impresario of famous Mozartian performances, the details concerning his enterprise and repertoire are often neglected or unknown. Starting in autumn 1781, he succeeded against concurrence and converted the Thun Theatre in public venue of many functions: a scene for connoisseurs, opera and music funs, as well as a meeting point of high society, or political rivals. The repertoire, although dominated by popular opera buffa composers as An- fossi or Cimarosa, reveals a distinct dramaturgical policy, which points toward Bondini's previous experience in Dresden. Through choosing concrete operas and its adaptations a relatively original mixture of titles and genres (comic, serious, mixed) was set up, which helped to attract various audiences and maintain high level of performances. [ABSTRACT FROM AUTHOR]

Selecting excellent literature for a small or unbalanced band can be challenging, especially if the ensemble is ready to perform literature beyond Grade 2.5. This article describes a process for choosing high-quality repertoire for the small band, focusing on high school/college groups. Also examined is how to analyze and alter pieces to fit the needs and instrumentation of an ensemble without sacrificing technical or musical demands or the composer’s intent. By considering pieces through this lens and understanding basic reorchestration ideas, the instrumental music educator can work with a wealth of available wind band literature. [ABSTRACT FROM AUTHOR]

This study explores the factors that contributed to the development of Western orchestral music repertoires in non-Western nations, with a particular focus on Japan. Japan introduced Western music under the direct government involvement in the early 1900s, and it spread rapidly nationwide for a brief period after World War II (1945 onward). While previous studies have discussed repertoires of Western music in the context of Western society, this study empirically analyses Japanese professional orchestras’ concerts and provides an example of repertoires of Western music in a completely different historical and cultural context. My findings indicate that three factors reduced the concentration of the Western orchestral repertoires of a small number of canonic composers: orchestras’ increased performance capabilities, their financial stability, and local economic growth. I also identify three factors that contributed to the introduction of new and/or other Japanese composers to established repertoires: orchestras’ increased performance capabilities, their financial stability, and the government’s cultural policies. [ABSTRACT FROM AUTHOR]

The article presents the author's views on the post-1950 repertoire. Topics discussed include specialized techniques of subdividing the note values into smaller for contemporary works, instrumental lines to be inserted into cello part at strategic places, and compositions by David Clay Mettens having cues for different instruments.

The article offers information on the Repertoire and CoisCéim Dance Theatre's These Rooms, 2016, live performance that cross-pollinates contemporary dance, visual art and theatre. Topics include commemorative performances, historical recollections from archives and oral histories; scenarios of emplaced Bodies, memories; and mentions photographs of several artists including Emma O'Kan, Úna Kavanagh and Matthew Williams.

The article discusses several aspects of score preparation. It mentions that first stage preparation includes repertoire selection, repertoire presentation, vocal production, rehearsal techniques. It also looks at the American Choral Directors Association (ACDA) R&R criteria including vocal production and rehearsal techniques.

The Archive of St Joseph's Convent in Kraków contains a collection of musical manuscripts, which have not been studied before. Among books of liturgical use, such as graduals and antiphonaries, there are also small cantionales, full of canto fratto repertoire. The majority of these sources originate from the Convent of Bernardine Nuns in Kraków; however, there are also at least two manuscripts from the Convent in Wilno. The aim of this paper is to present canto fratto repertoire of Benedicamus Domino found in the 18th and 19th century liturgical manuscripts from the Convent of Bernardine Nuns in Kraków. The author indicates sources of studied melodies based on the wide range of liturgical manuscripts from the 18th and 19th centuries-especially from convents of Bernardine Nuns in Poland, as well as from the Convent of Benedictine Friars in Staniątki-and compares it to the dispersal of canto fratto settings of ordinarium missae. Finally, the paper presents complete index of Benedicamus Domino melodies in the annex. [ABSTRACT FROM AUTHOR]

This article reviews the compositional practice of Peruvian electroacoustic music in the 1960s, to investigate the methods and sources of influence on music and new technologies of that time. It therefore explores local expressions and national and regional identities through elements of folk and traditional music used in these practices. The analysis of this repertoire, from a cross-cultural perspective, sheds new light on the history and originality of experimental art and music in Peru, as well as on Peruvian ethnomusicology. [ABSTRACT FROM AUTHOR]

The purpose of this study was to examine junior level preservice instrumental music teachers' (N = 6) perceptions and experiences surrounding repertoire selection for concert bands through pointed curricular activities, including fieldwork and a programming project. An instrumental case study design (Stake, 2005) allowed me to gain an in-depth understanding of junior level undergraduate music education majors' perspectives. The participants in the study represented junior level undergraduate music education majors enrolled at a tier-one research institution in the midwestern region of the United States. The participants' perspectives and experiences highlight the complexities surrounding preservice music teachers' ability to develop the knowledge and skills for selecting repertoire. Although the participants' articulated a clear understanding of the role and function of repertoire in the context of a concert band, they lacked the confidence to make pedagogical decisions surrounding how to evaluate the aesthetic and educational merit of a work. [ABSTRACT FROM AUTHOR]

The article examines the avant-garde drama societies and their impact on the performance repertoire in London, England from 1890 to 1959. Topics include the extent to which the societies introduced a dramatic repertoire to commercial theatre, the relationship between theatrical ephemera and performance databases in the modern era, and modernism's relationship with the stage. Also discussed are the factors that contribute to box-office successes and the history of the term "repertoire."

In this article the tradition of Song and Dance Celebration (SDC) is analysed, focusing on the aspects of innovation of its repertoire and the effect these innovations may have on the development of traditions. Repertoire is the one aspect which pervades the whole SDC process and is dealt with by all actors - organisers, participants (choir members), conductors, audience members. Repertoire is also one of the most changing aspects of the SDC, because at the beginning of every five-year cycle it is redefined and is put together anew. Lately, the content of the repertoire has been a subject of discussions especially regarding the ability of participants of the amateur-arts groups. The main goal of this article is to describe if and how innovations in the SDC repertoire are an obstacle or the source of a progress. In this article theoretical and empirical data gathered in the framework of research programme HABITUS have been used. Data show that participants are not satisfied with the proportion and content of the new compositions (innovations) in the repertoire. Nevertheless, article argues that the aspects of innovation are inevitable and necessary in order for this tradition to be sustainable, progressing and actual. It cannot be asserted that too many innovations in the repertoire could stop the SDC tradition altogether. However, it is suggested that few actions are taken in order for the tradition to keep on being widely practised and accepted by large groups of people. [ABSTRACT FROM AUTHOR]

The article offers information on the humor within the classic music. Topics discussed include decrease in musical literacy and the drift of classical music to the periphery; creation of works of musical satire and parody; and music, rituals and repertoire of classical music pianist Victor Borge and performance mannerisms in the stage performances.

The article focuses on assessment of several repertoires performed at national conferences of the American Choral Directors Association (ACDA) from 1969 to 2017. Topics discussed include analysis of several music performances of different choirs in the conferences; participation of several choirs in the conference such as school choirs with assistance of the choral literature in choral music education; and contribution of music performed at the conference for choral conductors and teachers.

Studies on recordings often focus on the conductor's musical decisions and interests, overlooking the record company's perspective or how the market's current offerings affected the choices of repertoire. To show the intricate decision-making process behind the business of making recordings, especially for a regional orchestra and a smaller record company, this article examines the Utah Symphony's recording output and includes in the discussion Vanguard Records, the American Federation of Musicians'policy, and the m.arket. Under the leadership of Maurice Abravanel, the Utah Symphony made over 120 recordings between 1952 and 1978. Among the various record companies with which the Utah Symphony worked, Seymour Solomon and Vanguard Records produced most of the recordings and formed a particularly strong relationship with the conductor. The recordings on the Vanguard label contributed to the orchestra's growing fame, as demonstrated by record reviews in and outside the United States. Through archival materials and record reviews, this article shows that the orchestra musicians' willingness to receive less pay, as well as the conductor's and record company's shared view on strategically selecting repertoire, were crucial to the Utah Symphony's recording career. [ABSTRACT FROM AUTHOR]

The article discusses the role of archives, archival research, and integration of archival records and Repertoire in contemporary Caribbean visual artwork, which is the perspective of Caribbean women artists. It discusses the multimedia installation Ghosting by Guyanese artist Roshini Kempadoo. Also discusses the modernist techniques of recontextualization, such as montage in Caribbean visual culture.

The article looks at Rockefeller Foundation's Recorded Anthology of American Music. It argues that the employment of outside consultants in the RAAM had major implications for the inclusion and exclusion of repertoire. It analyzes the role of musicologists and composers that integrates Pierre Bourdieu's concepts of social and cultural capital into role played by experts in society and decision making.

This paper gives an account of the establishment of the Muckross Music Collection project in 1980 and of the author’s participation as a collector for the initiative from 1983 to 1990. The paper discusses methodologies and approaches adopted by the organizers for the collecting and the cataloguing of the materials. The account of the processes and encounters involved in fieldwork provides insights into motivations, expectations and results. The large number of musicians in a small area around Listowel in North Kerry revealed a rich ground for the collection of music. Likewise, repertoire varied according to individual and district. Narratives accompanying the tunes abounded. Players understood the importance and prestige of the project and that their music, largely unrecorded previously, would be preserved for the future. Sometimes the collector missed an opportunity due to a musician’s death. The paper indicates the value of this collection for future research projects on the history and ethnography of Irish traditional music in the twentieth century. [ABSTRACT FROM PUBLISHER]

Some studies of concert hall acoustics consider the acoustics in a hall as a single entity. Here, it is shown that the acoustics vary between different seats, and the choice of music also influences the perceived acoustics. The presented study compared the acoustics of six unoccupied concert halls with extensive listening tests, applying two different music excerpts on three different seats. Twenty eight assessors rated the halls according to the subjective preference of the assesors and individual attributes with a paired comparison method. Results show that assessors can be classified into two preference groups, which prioritize different perceptual factors. In addition, the individual attributes elicited by assessors were clustered into three latent classes. [ABSTRACT FROM AUTHOR]

The perception of the style characterizing the last decades of the 19th century as late romanticism and its different reception in the context of the parallel existence of the other styles specific to the first decades of the 20th century, provide us with various interpretations of Postromanticism. Based on these considerations, the phenomenon discussed here may be tackled from several perspectives: Late Romanticism, Typical Postromanticism, Postromanticism - synthetic style. We will attempt, in the research hereunder, to underline the three ways of highlighting the style in connection with representative composers and especially with opuses in different genres of the world and Romanian repertoire signed by Anton Bruckner, Richard Strauss, Gustav Mahler, Arnold Schönberg, George Enescu. [ABSTRACT FROM AUTHOR]

This work focuses on the topic of melodic characterization and similarity in a specific musical repertoire: a cappella flamenco singing, more specifically indeblaandmartinetestyles. We propose the combination of manual and automatic description. First, we use a state-of-the-art automatic transcription method to account for general melodic similarity from music recordings. Second, we define a specific set of representative mid-level melodic features, which are manually labelled by flamenco experts. Both approaches are then contrasted and combined into a global similarity measure. This similarity measure is assessed by inspecting the clusters obtained through phylogenetic algorithms and by relating similarity to categorization in terms of style. Finally, we discuss the advantage of combining automatic and expert annotations as well as the need to include repertoire-specific descriptions for meaningful melodic characterization in traditional music collections. [ABSTRACT FROM PUBLISHER]

The memory of classical empires has been prominent in both Chinese and European history but it has had a different imprint in each culture. The Han territories were periodically reunified in part and were more consistently ruled as unified empires from the 13th century onwards. In medieval Western Europe the Carolingian and the Holy Roman empires boasted of being renewals of the glorious ancient models but they developed in a different environment, were no longer built on the Roman scale, and only borrowed selectively from the Roman repertoire. In this essay we examine how differences in power relationships, fiscal regimes, and territoriality help explain both the peripheral impact of the classical model in the European context and the enhanced prospects for it in Chinese history from the 12th century onwards. [ABSTRACT FROM AUTHOR]

Bernardino de Ribera (ca. 1520–1580) was a widely recognized maestro de capilla in sixteenth century Spain. However, his actual status is often associated with the great figure of Tomás Luis de Victoria (ca. 1548–1611), since it seems that both were in Ávila at the same time, Ribera as an established master, Victoria as a young choirboy. The present study analyses the large choirbook that Ribera himself created as a gift for the cathedral in Toledo. It examines the history of the manuscript (mutilated some years after its creation because of the value of its illuminations), the construction of the Codex, and the repertoire contained within, and reveals the importance of some neglected figures like Bernardino, a significant composer who deserves more attention than he is currently given. [ABSTRACT FROM AUTHOR]

Sexual selection for larger repertoires and the social advantages of sharing songs with territorial neighbours are two forces that may drive the evolution of complex song repertoires in songbirds. To evaluate the influence of these two selective pressures on repertoire evolution in a species with a complex repertoire, we examined repertoire structure, song sharing, reproductive success, and territory tenure in a Canada Warbler ( Cardellina canadensis (L., 1766)) population in New Hampshire. Over two breeding seasons, we recorded 63 singing males, classified their song repertoires, quantified male song sharing, and determined male reproductive success and territory tenure. Male Canada Warblers had complex repertoires averaging 12 phrases (particular sequences of song elements) and 55 variants (songs composed of particular sequences of phrases). Song sharing decreased significantly with distance between territories, all of which were <1.75 km apart. Network analysis revealed clusters of male neighbours with high variant sharing, which was significantly associated with longer territory tenure. Overall pairing and fledging success were high, but were not related to repertoire size or song sharing. Our results suggest that song sharing aids in male territory acquisition and defence, and that females may therefore select mates based on their ability to retain a high-quality territory. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Arts Management is the property of International Journal of Arts Management and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)