Relevant bibliographies by topics / Music theory

Academic literature on the topic 'Music theory'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2024

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Journal articles on the topic "Music theory"

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Hall, R. W. "MUSIC THEORY: Geometrical Music Theory." Science 320, no. 5874 (April 18, 2008): 328–29. http://dx.doi.org/10.1126/science.1155463.

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Biamonte, Nicole. "Online Music Theory in Music Theory Online." Zeitschrift der Gesellschaft für Musiktheorie [Journal of the German-Speaking Society of Music Theory] 13, no. 2 (2016): 297–309. http://dx.doi.org/10.31751/903.

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Meikle, George. "ScreenPlay: A topic-theory-inspired interactive system." Organised Sound 25, no. 1 (March 4, 2020): 89–105. http://dx.doi.org/10.1017/s1355771819000499.

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ScreenPlay is a unique interactive computer music system (ICMS) that draws upon various computational styles from within the field of human–computer interaction (HCI) in music, allowing it to transcend the socially contextual boundaries that separate different approaches to ICMS design and implementation, as well as the overarching spheres of experimental/academic and popular electronic musics. A key aspect of ScreenPlay’s design in achieving this is the novel inclusion of topic theory, which also enables ScreenPlay to bridge a gap spanning both time and genre between Classical/Romantic era music and contemporary electronic music; providing new and creative insights into the subject of topic theory and its potential for reappropriation within the sonic arts.
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Syamah, Sheehan Maulana, Yusnelli Yusnelli, and Bambang Wijaksana. "The Hearts Sound Of Victim (Electro Acoustic Music)." Musica: Journal of Music 2, no. 2 (November 30, 2022): 120. http://dx.doi.org/10.26887/musica.v2i2.3034.

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TThe Hearts Sound Of Victim merupakan sebuah komposisi musik multimedia yang berangkat dari sebuah fenomena sosial yaitu menjadi korban Bullying. Penciptaan karya ini bertujuan untuk mengungkapkan pengalaman empiris menjadi sebuah karya multimedia agar kejadian bullying tidak terjadi lagi di lingkungan sosial anak-anak dan sekolah. Karya musik multimedia ini digarap dengan Elektro Akustik Musik dan pendekatan experimental musik. Metode yang digunakan dalam proses penggarapan karya ini yaitu eksplorasi, ekperimentasi dan perwujudan. Selain dari pada itu untuk menjadi acuan pengkarya menggunakan beberapa teori diantarnya teori ekperimental music, teori Elektro Akustik Musik, teori musik programa dan teori musik sound design sebagai landasan dalam proses penggarapan. Karya ini akan digarap menjadi tiga bagian karya. Bagian pertama, mengekspresikan kondisi seorang anak yang tenang belum mengalami pembulian, bagian dua mengekspresikan kegiatan pembulian sedang terjadi dan bagian tiga mengekspresikan perasaan seseorang setelah mengalami pembulian.ABSTRACTThe Hearts Sound Of Victim is a multimedia music composition that departs from a social phenomenon, namely being a victim of bullying. The creation of this work aims to reveal empirical experiences into a multimedia work so that bullying does not happen again in the social environment of children and schools. This multimedia music work is done with Electro Acoustic Music and experimental music approach. The methods used in the process of making this work are exploration, experimentation and embodiment. Apart from that, as a reference, the authors use several theories including experimental music theory, Electro Acoustic Music theory, program music theory and sound design music theory as the basis in the cultivation process. This work will be divided into three parts. The first part, expresses the condition of a calm child who has not been bullied, part two expresses the bullying activity is going on and part three expresses one's feelings after being bullied.
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Zbikowski, Lawrence M. "Music Theory, Music History, and Quicksand." Music Theory Spectrum 33, no. 2 (October 2011): 226–28. http://dx.doi.org/10.1525/mts.2011.33.2.226.

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Anderson, Nancy K. "Music Learning Theory in General Music." General Music Today 8, no. 2 (January 1995): 17–21. http://dx.doi.org/10.1177/104837139500800206.

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Placek, Robert W. "Practical Music Theory." Music Educators Journal 72, no. 4 (December 1985): 8. http://dx.doi.org/10.2307/3400513.

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Boenn, Georg, Martin Brain, Marina De Vos, and John Ffitch. "Computational Music Theory." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 4 (June 30, 2021): 27–34. http://dx.doi.org/10.1609/aiide.v8i4.12559.

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One of the goals of the study of music theory is to develop sets of rules to describe different styles of music. By formalising these rules so that their semantics are machine intelligible, it is possible to use computers to reason about and analyse these rules -- computational music theory. Anton is an automatic composition system based on this approach. It formalises the rules of Renaissance Counterpoint using AnsProlog and uses an answer set solver to compose pieces. This paper discusses Anton, presenting the ideas behind the system and focusing on the challenges of modelling and synthesising rhythm.
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Lee, Gavin. "Queer Music Theory." Music Theory Spectrum 42, no. 1 (October 22, 2019): 143–53. http://dx.doi.org/10.1093/mts/mtz019.

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Abstract Queer musical phenomenology refers to the practice of disorientation away from established music theories, including one’s own. In Lewin’s “Phenomenology” article, queering can be understood as his intentional, self-critical, conceptual disorientations—first departing from Schenkerian theory, and then moving toward and finally away from the perception-model. Through a close reading of Lewin in combination with Sara Ahmed’s Queer Phenomenology, which offers a theory of embodied lives marginalized by pathways of normativity, I examine the generalizable application of theories such as queer phenomenology to another domain beyond gender and sexual embodiment: music theory at large. Lewin’s practice models a form of music theory that I regard as phenomenologically queer.
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Jones, Allan. "Music theory unravels." New Scientist 198, no. 2660 (June 2008): 21. http://dx.doi.org/10.1016/s0262-4079(08)61476-1.

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Dissertations / Theses on the topic "Music theory"

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Lefcoe, Andrew. "Kuhn's paradigm in music theory." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21231.

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Thomas Kuhn's essay The Structure of Scientific Revolutions has had an overwhelming impact upon academics from various fields, creating a virtual paradigm industry. Authors have frequently had recourse to Kuhn's book, applying insights into the structure and development of the sciences to nonscientific fields. This essay presents a critical review of Kuhn citation in the music-theoretic literature, first reviewing similar citation analyses in the humanities and the social sciences for comparison. While much of the Kuhn citation is problematic, music scholars are found to sin less broadly than those in other fields. After reviewing some of the salient distinctions between scientific and nonscientific endeavors, some of Kuhn's insights into science are found to clarify an issue in the history of music theory, namely the nature of the succession from figured-bass theory to the formulations of J. P. Rameau.
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Diener, Glendon. "Formal languages in music theory." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59610.

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In this paper, the mathematical theory of languages is used to investigate and develop computer systems for music analysis, composition, and performance. Four prominent research projects in the field are critically reviewed. An original grammar-type for the computer representation of music is introduced, and a computer system for music composition and performance based on that grammar is described. A user's manual for the system is provided as an appendix.
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Wickens, H. E. "Music and music theory in the writings of Notker Labeo." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376009.

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Wiederkehr, George A. "The role of music theory in music production and engineering." Thesis, University of Oregon, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1602500.

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Due to technological advancements, the role of the musician has changed dramatically in the 20th and 21st centuries. For the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production and engineering, so that they are able to provide a finished product to employers, clients, or listeners. One goal of a successful production or engineered recording is to most effectively portray the recorded material. Music theory, and specifically analysis, has the ability to reveal important or expressive characteristics in a musical work. The relationship between musical analysis and production is explored to discover how music analysis can provide a more effective and informed musical production or recording and how a consideration of music production elements, notably timbre and instrumentation, can help to better inform a musical analysis. Two supplemental MP3 files are included with this thesis to demonstrate proposed mixing guidelines derived from the analysis.

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Wiederkehr, George. "The Role of Music Theory in Music Production and Engineering." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19679.

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Due to technological advancements, the role of the musician has changed dramatically in the 20th and 21st centuries. For the composer or songwriter especially, it is becoming increasingly expected for them to have some familiarity with music production and engineering, so that they are able to provide a finished product to employers, clients, or listeners. One goal of a successful production or engineered recording is to most effectively portray the recorded material. Music theory, and specifically analysis, has the ability to reveal important or expressive characteristics in a musical work. The relationship between musical analysis and production is explored to discover how music analysis can provide a more effective and informed musical production or recording and how a consideration of music production elements, notably timbre and instrumentation, can help to better inform a musical analysis. Two supplemental MP3 files are included with this thesis to demonstrate proposed mixing guidelines derived from the analysis.
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Owens, Paul School of English UNSW. "Cognitive load theory and music instruction." Awarded by:University of New South Wales. School of English, 2005. http://handle.unsw.edu.au/1959.4/22994.

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Cognitive load theory assumes that effective instructional design is subject to the mechanisms that underpin our cognitive architecture and that understanding is constrained by the processing capacity of a limited working memory. This thesis reports the results of six experiments that applied the principles of cognitive load theory to the investigation of instructional design in music. Across the six experiments conditions differed by modality (uni or dual) and/or the nature of presentation (integrated or adjacent; simultaneous or successive). In addition, instructional formats were comprised of either two or three sources of information (text, auditory musical excerpts, musical notation). Participants were academically able Year 7 students with some previous musical experience. Following instructional interventions, students were tested using auditory and/or written problems; in addition, subjective ratings and efficiency measures were used as indicators of mental load. Together, Experiments 1 and 2 demonstrated the benefits of both dual-modal (dual-modality effect) and physically integrated formats over the same materials presented as adjacent and discrete information sources (split-attention effect), confirming the application of established cognitive load effects within the domain of music. Experiment 3 compared uni-modal formats, consisting of auditory rather than visual materials, with their dual-modal counterparts. Although some evidence for a modality effect was associated with simultaneous presentations, the uni-modal format was clearly superior when the same materials were delivered successively. Experiment 4 compared three cognitively efficient instructional formats in which either two or three information sources were studied. There was evidence that simultaneously processing all three sources overwhelmed working memory, whereas an overlapping design that delayed the introduction of the third source facilitated understanding. Experiments 5 and 6 varied the element interactivity of either two- or three- source formats and demonstrated the negative effects of splitting attention between successively presented instructional materials. Theoretical implications extend cognitive load principles to both the domain of music and across a range of novel instructional formats; future research into auditory only formats and the modality effect is suggested. Recommendations for instructional design highlight the need to facilitate necessary interactions between mutually referring musical elements and to maintain intrinsic cognitive load within working memory capacity.
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Song, Chunyang. "Syncopation : unifying music theory and perception." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/15132.

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Syncopation is a fundamental feature of rhythm in music. However, the relationship between theory and perception is currently not well understood. This thesis is concerned with characterising this relationship and identifying areas where the theory is incomplete. We start with a review of relevant musicological background and theory. Next, we use psychophysical data to characterise the perception of syncopation for simple rhythms. We then analyse the predictions of current theory using this data and identify strengths and weaknesses in the theory. We then introduce further psychophysical data which characterises the perception of syncopation for simple rhythms at different tempi. This leads to revised theory and a new model of syncopation that is tempo-dependent.
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Van, Sickle Karen. "Assessing Five Piano Theory Methods Using NASM Suggested Theory Guidelines For Students." Thesis, The University of Arizona, 2011. http://hdl.handle.net/10150/217071.

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Many incoming students have studied piano prior to entering college and receive much of their theory training through music study with a piano teacher. The National Association of Schools of Music (NASM) designed a website page for potential students to answer the question, "How should I best prepare to enter a conservatory, college, university as a music major?" Theoretical concepts they suggest can be grouped into three main categories: Basic Music Theory Rudiments, Ear-Training Skills, and Form and Harmony. This research examines five piano theory method books (Alfred Premier Piano Course, Bastien Piano Basics, Faber Piano Adventures, Harris Celebrate Piano!, and Kjos Fundamentals of Piano Theory) to assess their effectiveness in presenting the theoretical concepts NASM recommends they should know. The five books used for this study provide a basic foundation for many of the concepts undergraduates will be expected to know as they enter college theory courses.
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Lefcoe, Andrew H. "Kuhn's paradigm in music theory (Thomas Kuhn)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0027/MQ50536.pdf.

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Maxwell, David R. "Augustine's De musica 6.12.34-6.14.48 an ontology of music which saves the soul /." Theological Research Exchange Network (TREN), 2005. http://www.tren.com.

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Books on the topic "Music theory"

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Brimhall, John. Music theory. Las Vegas, NV (6010 W. Cheyenne Ave., Suite 15, Las Vegas, NV 89108): Brimhall Music Pub., Inc., 1990.

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Richer, Margaret. Music theory. London: Hodder Headline, 2002.

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Henry, Earl. Music theory. Englewood Cliffs, N.J: Prentice-Hall, 1985.

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Music theory. Englewood Cliffs, NJ: Prentice-Hall, 1985.

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Theory of music. Bangalore: Prism Books, 2005.

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Harrison, Mark. Contemporary music theory. Milwaukee: Hal Leonard, 1996.

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Understanding music theory. 2nd ed. Langhorne, Pa: Music Theory 411 Press, 2009.

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Schmeling, Paul. Berklee music theory. Boston, MA: Berklee Press, 2005.

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Elementary music theory. Mississauga, Ont: F. Harris Music Co., 2001.

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Mark, Harrison. Contemporary music theory. Milwaukee: Hal Leonard, 2001.

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Book chapters on the topic "Music theory"

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Terefenko, Dariusz. "Music Fundamentals." In Jazz Theory, 3–15. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315305394-1.

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de Alencar, Marcelo Sampaio. "Sound Theory." In Music Science, 103–13. New York: River Publishers, 2022. http://dx.doi.org/10.1201/9781003338895-8.

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Terefenko, Dariusz. "Music Fundamentals." In Jazz Theory Workbook, 3–6. New York ; London : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445477-1.

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Navas, Eduardo. "Remix[ing] Music." In Remix Theory, 33–61. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1263-2_3.

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Mazzola, Guerino, Jason Noer, Yan Pang, Shuhui Yao, Jay Afrisando, Christopher Rochester, and William Neace. "Mathematical Music Theory." In The Future of Music, 105–10. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39709-8_10.

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Gibson, David, and Maestro B. Curtis. "Music Theory Primer." In The Art of Producing, 59–84. Second edition. | New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351252461-5.

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McGuire, Sam. "Music Theory Primer." In Modern MIDI, 260–301. Second edition. | New York, NY : Routledge, 2019. |Includes index.: Routledge, 2019. http://dx.doi.org/10.4324/9781351263849-8.

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Hill, John Walter. "Cognate music theory." In Cognate Music Theories, 17–35. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003311690-3.

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Mazzola, Guerino, Maria Mannone, and Yan Pang. "Modulation Theory." In Computational Music Science, 191–202. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-42937-3_23.

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Mazzola, Guerino, Maria Mannone, Yan Pang, Margaret O’Brien, and Nathan Torunsky. "Creativity Theory." In Computational Music Science, 173–76. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-47334-5_20.

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Conference papers on the topic "Music theory"

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Wang, Anna Yu. "Stimulus accessibility and music theory/therapy." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0025.

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Rashid, Sabbir M., David De Roure, and Deborah L. McGuinness. "A Music Theory Ontology." In SAAM '18: 1st International Workshop on Semantic Applications for Audio and Music. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3243907.3243913.

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Ho, Hubert. "Rethinking gesture theory via embodiment and acousmatic music." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0034.

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Calilhanna, Andrea M., Stephen G. Onwubiko, and Adebowale O. Adeogun. "Mathematical music theory of embodied acoustics of Ikoro music using beat-class theory." In 178th Meeting of the Acoustical Society of America. ASA, 2019. http://dx.doi.org/10.1121/2.0001276.

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Badicu, Iurie. "Global music industry: theory of weak links." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.37.

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The article is centered on the cultural analysis of the weak links of the global music industry. The research polarizes the structural components of the global music industry by including them within an illustrative figure developed by the author. This procedure is used to argue the personal vision on the music industry, although the researched issue contains the author’s precedent incursion into both the functional field of the music industry and the previous theories about the music industry. Thus, under the conditions of the persistence of the conflict between the musical creativity and technological progress, the theory of weak links highlights the main structural aspect: between the proximal components of the music industry there is a constant erosion of functional connections, which leads to the appearance of systemic breaches. The special feature of the research consists in the identification and interpretation of the weak links of the current music industry. As a result of the research, two directions of development of the global music industry are put forward- revolutive and involutive, which are shaping two new industries: the created music industry and the produced sound industry. This research complements the theoretical spectrum of the sociology of culture as well as the field of arts management in the public and private sectors. At the same time, the analysis of the cultural impact, of the globalized music industry on the local music industry structures gives this research a civilized character, relevance and applicability for the Republic of Moldova.
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Calilhanna, Andrea Mary, and Stephen Gbakobachukwu Onwubiko. "Mathematical music theory and the representation of Igbo music." In 178th Meeting of the Acoustical Society of America. ASA, 2019. http://dx.doi.org/10.1121/2.0001136.

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Lim, Kenneth Y. T., Kim Mai Truong, and Yuxuan Wu. "MUSIC MYSTERY: LEARNING MUSIC THEORY THROUGH ESCAPE ROOM PUZZLES." In 15th International Conference on Education and New Learning Technologies. IATED, 2023. http://dx.doi.org/10.21125/edulearn.2023.0678.

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Kassler, M. "APL applied in music theory." In the international conference. New York, New York, USA: ACM Press, 1988. http://dx.doi.org/10.1145/55626.55654.

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Maxwell, Braden N., Johanna B. Fritzinger, and Laurel H. Carney. "A new auditory theory and its implications for the study of timbre." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0051.

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Mou, Luntian, Yihan Sun, Yunhan Tian, Yiqi Sun, Yuhang Liu, Zexi Zhang, Ruichen He, et al. "MemoMusic 3.0: Considering Context at Music Recommendation and Combining Music Theory at Music Generation." In 2023 IEEE International Conference on Multimedia and Expo Workshops (ICMEW). IEEE, 2023. http://dx.doi.org/10.1109/icmew59549.2023.00057.

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Reports on the topic "Music theory"

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Hagel, Stefan. Understanding early auloi: Instruments from Paestum, Pydna and elsewhere. Verlag der Österreichischen Akademie der Wissenschaften, October 2021. http://dx.doi.org/10.1553/oeai_ambh_3.

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Starting from data on the ‘Paestum’ or ‘Poseidonia’ aulos established by Paul andBarbara Reichlin-Moser and Stelios Psaroudakēs, the ‘Pydna’ aulos, and comparable finds ofearly, mainly six-hole one-hole-shift, doublepipe fragments, possible musical interpretations ofthis important instrument type of the early Classical Period are considered. Probable pitchesand intervals are assessed by means of well-tested software and confirmed experimentally;the required double reeds of a much longer type than known from later periods are shownto be substantiated by iconographic and literary testimony. The harmonic analysis of theinstruments proposes the notion of a rudimentary tetrachordal structure, with equallydivided tetrachords, which is both plausible in terms of music-ethnological parallels and thedevelopment of ancient musical theory. Some of the studied instruments appear to adhereto an early pitch standard, seemingly coinciding with the typical cithara octave. Criticalevaluation of literary sources finally leads to a cautious interpretation as ‘Lydian’ instruments.
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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn, and Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”. The software tools for mobile application development (Android Studio, SDK, NDK, Google Sceneform, 3Ds MAX, Core Animation, Asset Media Recorder, Ashampoo Music Studio, Google Translate Plugin) are described. The bank of 3D models of elements of electrical circuits (sources of current, consumers, measuring devices, conductors) is created. Because of the students’ and teachers’ surveys, the advantages and disadvantages of using AR in the teaching process are discussed. Mann-Whitney U-test proved the effectiveness of the use of AR for laboratory works in physics by students majoring in “Mathematics”, “Computer Science”, and “Cybersecurity”.
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Buene, Eivind. Intimate Relations. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481274.

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Blue Mountain is a 35-minute work for two actors and orchestra. It was commissioned by the Ultima Festival, and premiered in 2014 by the Danish National Chamber Orchestra. The Ultima festival challenged me – being both a composer and writer – to make something where I wrote both text and music. Interestingly, I hadn’t really thought of that before, writing text to my own music – or music to my own text. This is a very common thing in popular music, the songwriter. But in the lied, the orchestral piece or indeed in opera, there is a strict division of labour between composer and writer. There are exceptions, most famously Wagner, who did libretto, music and staging for his operas. And 20th century composers like Olivier Messiaen, who wrote his own poems for his music – or Luciano Berio, who made a collage of such detail that it the text arguably became his own in Sinfonia. But this relationship is often a convoluted one, not often discussed in the tradition of musical analysis where text tend to be taken as a given, not subjected to the same rigorous scrutiny that is often the case with music. This exposition is an attempt to unfold this process of composing with both words and music. A key challenge has been to make the text an intrinsic part of the performance situation, and the music something more than mere accompaniment to narration. To render the words meaningless without the music and vice versa. So the question that emerged was how music and words can be not only equal partners, but also yield a new species of music/text? A second questions follows en suite, and that is what challenges the conflation of different roles – the writer and the composer – presents? I will try to address these questions through a discussion of the methods applied in Blue Mountain, the results they have yielded, and the challenges this work has posed.
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Näslund-Hadley, Emma, María Mercedes Mateo-Berganza Díaz, Emma Strother, and Danielle S. Parrillo. The Power of Music Education: Unlocking the Talent of Latin American and Caribbean Youth. Inter-American Development Bank, September 2023. http://dx.doi.org/10.18235/0005159.

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The IDB supports youth empowerment through music education in Latin America and the Caribbean. This note draws on conversations with beneficiaries, project team leaders, and partner organizations about music as an engine of social inclusion and economic development. It highlights successful initiatives, including a program focused on music entrepreneurship among young people in Colombia, an all-female orchestra and a choir for women's rights in Guatemala, young luthiers crafting stringed instruments in Peru, and a program preventing violence through music education for children and their families in Nicaragua.
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Zuo, Lingyan, Fengting Zhu, Rui Wang, Hongyan Shuai, and Xin Yu. Music intervention affects the quality of life on Alzheimer’s disease: a meta-analysis. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, December 2021. http://dx.doi.org/10.37766/inplasy2021.12.0055.

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Review question / Objective: Inclusion criteria: population: 1) A randomized controlled study on the impact of music intervention on the QOL of patients with AD; 2) The participants in this study is patients with AD; 3) There is no significant difference among age, gender and education background in sorted groups before analysis which make these groups comparable; intervention: 1)Intervention Modality Music-based intervention; comparison: 1) All data were sorted into two groups: the music intervention group and the control group without any music intervention; outcome: 1) The indicators evaluated in the literature included the score of QOL-AD or WHOQOL-BERF scale, at least one of the two scales summarized in selected publications; language: 1) Only articles published in English and Chinese were considered. Exclusion criteria: 1) The participants were not diagnosed with AD; 2) Non-musical intervention;3) Non-RCTs; 4) No specific values for outcome variables; 5) Articles lacking original data; 6) Repeat published reports; 7) Full text could not be obtained.
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Abdulkhaliq, Zubeida S. Kakai Religion and the Place of Music and the Tanbur. Institute of Development Studies, January 2023. http://dx.doi.org/10.19088/creid.2023.001.

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This paper discusses the historical context and mythic framework of the Kakai religion. While some information regarding Kakai theological views and beliefs may be known to outsiders, many facets of their religious life, customs and traditions remain undisclosed. Much secrecy surrounds this religion, and non-believers are not encouraged to engage in or witness most Kakai rites. Geopolitical instability in the Kurdistan region also makes access difficult. Throughout this paper we will look at the relationship between Kakai beliefs and music (tanburo), and how the tanbur (a sacred lute) is not merely a musical instrument but is seen as a symbol of Kakai identity, with the music preserving language and legend.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Di Campli San Vito, Patrizia, Stephen Brewster, Satvik Venkatesh, Eduardo Miranda, Alexis Kirke, David Moffat, Sube Banerjee, Alex Street, Jorg Fachner, and Helen Odell-Miller. RadioMe: Supporting Individuals with Dementia in Their Own Home... and Beyond? CHI '22 Workshop - Designing Ecosystems for Complex Health Needs, 2022. http://dx.doi.org/10.36399/gla.pubs.267520.

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Dementia is an illness with complex health needs, varying between individuals and increasing in severity over time. Approaches to use technology to aid people with dementia are often designed for a specific environment and/or purpose, such as the RadioMe system, a system designed to detect agitation in people with mild dementia living in their own home and calming them with music when agitation is detected. Both the monitoring and intervention components could potentially be beneficially used outside of the own home to aid people with dementia and carers in everyday life. But the adaptation could put additional burdens on the carer, as many decisions and the handling of the data and software could rely on their input. In this paper we discuss thoughts on the potential role of the carer for adaptations of specified system’s expansion to a larger ecosystem on the example of RadioMe.
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Rogers, Amanda. The Seven Colours Festival: Young People and Civic Participation in the Arts. Swansea University, July 2024. http://dx.doi.org/10.23889/sureport.66346.

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Based on our previous research (Rogers et al 2021) we noticed a difference between how artists think the arts relate to society, and how young people imagine this relationship. Young people wanted to see (and connected most strongly to) art works that more immediately engaged with the pressing social issues of Cambodia, many of which are political – including climate change, the expression of identity and human rights (e.g. LGBTQ identity), corruption and scams, and democracy. However, artists, particularly in the performing arts and music sectors, must walk a tightrope in making works that address this kind of content, with incidents of censorship most likely to occur in music (Brennert and Yean 2023). This raises the question of how the arts can connect to society, and the possibilities and limitations of this relationship. This project follows on from our initial findings, focusing on young people who may not have much experience of the arts. It considers how the arts may work for young people as a form of civic participation and what that might look like in Cambodia. To do this it traced the journey of four young interns in producing a youth festival (the 7 Colours Festival) during the course of 2023 for Cambodian Living Arts (CLA). We examined their participation in creating the event, how they connected the festival to the social concerns of young people, and evaluated how young people participated in the festival. Translation report available.
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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