Artículos de revistas sobre el tema "Funk musicians"

This article reports long-term fieldwork on jamming funk musicians’ interaction from a combined anthropological, ethnographic, and grounded theory perspective. The study draws from over 20 years of data collection through personal interviews with New Orleans funk musicians, personal experiences with jamming and second-lining, and participant observation of funk jam sessions and second line parades. Also the author’s personal funk jam teaching experiences are included. The article is in four parts to mark the historical phases in the longitudinal research process towards a theoretical, empirical argument for how funk musicians think and act when they jam. The final theory suggests funk jamming to be guided by overarching notions of “making the music feel good” and “making them dance” and in an iterative spiral process of “open approach,” “prioritized focusing,” “categorical reflection,” and “artistic realization.” Based on this, some educational implications for learning and teaching how to jam conclude the article.

The working-class pedagogy, or ‘resistance education’ of Chris Searle; his identification of linguistic colonialism; his practice of critical literacy as embracing the lives, experiences and imaginations of his students; and the massive body of work, from Stepney Words onwards, in which he has set this down, comprise an unparalleled resource for radical educationalists seeking to develop the practice — and theory — of critical literacy and working-class pedagogy. Yet, while concepts such as linguistic colonialism have been elaborated to furnish the careers of more high-profile intellectuals and academics on the cultural Left, that same cultural Left, in its concern with a self-limiting identity politics, has sidelined the challenging, revolutionary implications of Searle’s approach and methods. In the process, Searle has been left ‘standing in the shadows’, much like the musicians who originally crafted the Motown sound — the Funk Brothers — and made that phenomenon possible.

The singular style of rhythm & blues (R&B) that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel (12/8) to even or straight eighth notes (8/8). Many jazz historians have shown interest in the process whereby jazz musicians learned to swing (for example, the Fletcher Henderson Orchestra through Louis Armstrong's 1924 arrival in New York), but there has been little analysis of the reverse development – the change back to ‘straighter’ rhythms. The earliest forms of rock 'n' roll, such as the R&B songs that first acquired this label and styles like rockabilly that soon followed, continued to be predominantly in shuffle rhythms. By the 1960s, division of the beat into equal halves had become common practice in the new driving style of rock, and the occurrence of 12/8 metre relatively scarce. Although the move from triplets to even eighths might be seen as a simplification of metre, this shift supported further subdivision to sixteenth-note rhythms that were exploited in New Orleans R&B and funk.

MUSIC ELICITS PROFOUND EMOTIONS; HOWEVER, THE time-course of these emotional responses during listening sessions is unclear. We investigated the length of time required for participants to initiate emotional responses ("integration time") to 138 musical samples from a variety of genres by monitoring their real-time continuous ratings of emotional content and arousal level of the musical excerpts (made using a joystick). On average, participants required 8.31 s (SEM = 0.10) of music before initiating emotional judgments. Additionally, we found that: 1) integration time depended on familiarity of songs; 2) soul/funk, jazz, and classical genres were more quickly assessed than other genres; and 3) musicians did not differ significantly in their responses from those with minimal instrumental musical experience. Results were partially explained by the tempo of musical stimuli and suggest that decisions regarding musical structure, as well as prior knowledge and musical preference, are involved in the emotional response to music.

This article explores Jaco Pastorius’s efforts to legitimize himself as a jazz electric bassist. Even though the instrument had existed at the margins of jazz for decades, by the 1970s it was overwhelmingly associated with rock and funk music and therefore carried with it the stigmatized connotations of outsider status. Building on the work of Bill Milkowski, Kevin Fellezs, Lawrence Wayte, and Peter Dowdall, I situate Pastorius’s career within the broader context of 1970s jazz fusion. I then analyze how he deliberately used his public persona, his virtuosic technical abilities, the atypical timbre of his fretless electric bass, and his work as a composer and bandleader to vie for acceptance within the jazz tradition. As I argue, Pastorius specifically attempted to establish his jazz credibility through his first two solo albums, initially by disassociating himself from his own instrument, and then by eventually abandoning the musical style that had made him famous. Ultimately, Pastorius’s story serves as a useful case study of the tangible ramifications of authenticity disputes and the complicated ways in which musicians have attempted to navigate contested musical spaces within popular music.

This article explores Jaco Pastorius’s efforts to legitimize himself as a jazz electric bassist. Even though the instrument had existed at the margins of jazz for decades, by the 1970s it was overwhelmingly associated with rock and funk music and therefore carried with it the stigmatized connotations of outsider status. Building on the work of Bill Milkowski, Kevin Fellezs, Lawrence Wayte, and Peter Dowdall, I situate Pastorius’s career within the broader context of 1970s jazz fusion. I then analyze how he deliberately used his public persona, his virtuosic technical abilities, the atypical timbre of his fretless electric bass, and his work as a composer and bandleader to vie for acceptance within the jazz tradition. As I argue, Pastorius specifically attempted to establish his jazz credibility through his first two solo albums, initially by disassociating himself from his own instrument, and then by eventually abandoning the musical style that had made him famous. Ultimately, Pastorius’s story serves as a useful case study of the tangible ramifications of authenticity disputes and the complicated ways in which musicians have attempted to navigate contested musical spaces within popular music.

Statement of the problem. The globalization process of modern music art constantly creates new phenomena in the research field worthy of detailed study and scientific justification. The active expansion of Jazz in different parts of the world and its interaction with the local folklore and home music production led to the formation of such phenomena as Latin Jazz that presented the world a number of outstanding performers and composers who opened up new horizons for the further development of musical art. Among unique pearls of Latin-American Jazz, the creative personality of a Brazilian performer (piano, vocals) and composer Tania Maria should be highlighted. Analysis of recent research and publications showed that Tania Maria’s creative work in the context of Latin Jazz development has not been sufficiently studied at the present time, being limited mainly by short references to biographical articles and interviews with the artist in foreign online publications. Thus, Tania Maria’s work requires a much deeper study that determines the feasibility and scientific novelty of the proposed research, which aims to reveal the genre and stylistic specificity of Tania Maria’s work in the 80s of the 20th century, the period, when the complex of her individual compositional and performing characteristics was formed. The result of the study was the disclosure, based on historical-genetic, comparative, analytical methods, of the genre-stylistic origins of Tania Maria’s “intonation vocabulary”, where the metrorhythmic and melodic structures of Brazilian samba and the hot-jazz component closely interact with each other, as well as the intonation-textural features of some compositions of the 1980s from the albums “Piquant” and “Come With Me”. Conclusions. Tania Maria’s creative work in the 80s of the 20-th century exemplified by compositions “Yatra ta”, “It’s Not for Me to Say” and “Come With Me” is a combination of genre and stylistic features of funk, Latin-American samba and elements of pop music (jazz-Latin-pop-funk). The musical art of the second half of the 20th century demonstrates a variety of styles and trends that were quite quickly “re-intonated” in the jazz language, which testifies to the universality of jazz as a unique form of musical thinking, creativity and cooperation of musicians. The combination of these styles is organic in line with the trend of development of musical art of that period and at the same time is the basis of Tania Maria’s unique performance style as a representative of both, South American and European jazz music.

Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art, elevating it to the level of the most in-demand ones in the public music practice. This article puts forward and proves the thesis that the course of evolution of saxophone in jazz – traditional (before bebop) and modern (after it) – has synchronized, in terms of esthetical and communicative features, with the general movement and the changes of its paradigms: from realistic and transitional (conventional-autonomous), in terms by Aleksandr Soloviev (1990) to radical-phenomenal. This study outlines, for the first time, the path of movement of jazz saxophone from collective (ensemble and orchestral) forms toward free improvisation in the spirit of esthetics of the newest free jazz, which does not rule out retrospection of former paradigms realized via the styles of outstanding jazz saxophone players: from Coleman Hawkins, Lester Young and Charlie Parker to John Coltrane, Ornette Coleman and Sonny Rollins. The results of the study. It was noted that the sound image of saxophone, distinguishable for a paradoxical combination of certain “sweetness” and extremely expression, turned out to be the most consonant with the stylistics of jazz instrumentalism, where a number of aerophones tested by European academic practice, such as trumpet, clarinet, trombone and other, appeared in a fundamentally new light. The sources of saxophone’s penetration into jazz were entertainment dancing genres that were popular both in Europe and in the United States at the turn of the 20th century. The solo practice of saxophone improvisation, typical for jazz, was not used back then. An ensemble featuring several saxophones was used either in dance orchestras or in jazz bands that appeared later (the first example is the sweet-band founded by Arthur Hickman in San Francisco in 1914). The ensemble practice helped bring saxophone to the leading positions in solo instrumental jazz concerting. The first virtuoso jazz saxophone players were representatives of Chicago school of the 1920s: Lawrence “Bud” Freeman, Sidney Bechet, Benny Carter, Joe Poston, Don Redman, Jimmy Strong and Frankie Trumbauer. Decades later, saxophone improvisations in swing style became an unalienable component of swing choruses, an example of which is the works by such outstanding musicians as Coleman Hawkins and Lester Young who prepared the ground for bebop with its free improvisations of original tunes (an example is the works by Charlie Parker). The article notes that the taking of front stage by an improvising saxophone player in esthetical and communicative aspect was reflected in the formation of a sort of object paradigms (according to A. Soloviev), the first among which were “realistic” ones based on the syncretism (inseparable unity) of musicians and listeners. The “interchangeability” principle applied there, when any participant of communication was poly-functional in terms of the ruling function (the examples include saxophone sweet bands of the 1920s, communicatively related to blues). The conventional-autonomous paradigmatics in saxophone jazz art began developing in the bebop era, which saw the appearance of a clear demarcation line between musicians and the audience. Saxophone improvisations of such musicians as Charlie Parker and his followers heralded formation of the saxophone concert style, which in many aspects is close to academic practice. “Phenomenologization” of saxophone jazz performance became a direct continuation of “autonomization”, walking off via the complete freedom from any stylistic norms (an example is the works and esthetics by Ornette Coleman with his “no any wave” principle). In these conditions, the esthetics of the complete “freedom from…” were joined by the radical demand for “otherness”, i.e. the quality of a unique order when a jazz musician shows something new, something that “never existed” before in almost every improvisation. However, as we know, anything “new” most often means well-forgotten “old”, which is reflected in saxophone jazz stylistics via the combination of the “free” and “fusion” principles. Jazz, including its saxophone version, went quite a long way of development, and along this way, its paradigms were not historical “milestones” per se, but rather logical principles potentially preserved in the memory of jazzmen who think in the language of their art. There is another important point: continuous struggle that took place (and which still takes place) between elite and mass culture, concerning the language of this art in which one can expect the appearance of the most diverse elements, from the improvisation techniques created by the traditional folk cultures towards the academic avant-garde esthetics and writing techniques marked as collage and polystylistics. Such a “splitting” in saxophone jazz stylistics allows to identify a whole complex of means and techniques mirroring esthetical-communicative paradigms of jazz in their separate and interrelated combination: 1) the “free” principle that has appeared within the framework of jazz “realism”; 2) the idea of dramatization typical for “conventions”; 3) the category of “freedom from…” denying previous paradigms but at the same time having direction toward genetic origins. Conclusions. The saxophone in jazz has gone through a rather complicated path of formation, but has retained the status of one of the “title” instruments symbolizing this art. Like jazz in general, its saxophone “branch” developed in line with a kind of aesthetic “splitting”, in which the instrument was thought as belonging to pop culture (pop jazz), then used as part of an elitist style close to academic avant-garde (free jazz). The path of the saxophone in jazz is traced in connection with aesthetically communicative paradigms, in the context of which the attitude to this instrument was formed among the jazzmen themselves and the public. In the early stages (“realistic” paradigms), the “pop” role of the saxophone was cultivated; then there was “autonomy”, the main feature of which was the selection of virtuoso soloists; under the latest phenomenological paradigms, saxophone art is divided into various stylistic movements, from folk and funk trends to complete freedom from any style standards in individual solo improvisations. The prospects for further research of this theme are seen in the study of individual styles and patterns of jazz saxophone improvisation, both “schoolish” (the paradigm of a particular school of saxophone playing) and “personal” (the work of leading jazz saxophonists). The stylistic approach will make it possible to single out and correlate the “general” and “individual” in the sound image of this instrument, which has become one of the personifications of modern music.

ABSTRACTThis article presents an ethnographic analysis of the popular economy of informal musical production in the Venda region of South Africa. It focuses on the activities surrounding the Burnin' Shak Studio, a recording house that specializes in reggae music. Reliant on second-hand computers, pirated software, borrowed instruments, networks of trust and cycles of debt, musicians and producers in the Burnin' Shak occupy a distinctly peripheral position in South Africa's music industry. Unlike artists in the formal sphere of musical production, who sign deals with specific record labels, musicians in the informal sector seek out sponsors – usually young local businessmen – to fund their recordings with local producers. Marketing and distribution is the sole responsibility of the artist and the sponsor, who often develop a ‘patron–client’ relationship. And yet whilst the artists' entrepreneurial activity often earns them significant airplay on local radio stations, and associated cultural capital, the financial benefits are slim. In order to convert their cultural capital into cash, musicians in the informal sector must compete in the market for performances at government-sponsored shows. These shows are well funded by lucrative tenders, but they present musicians with a double-edged sword. To secure a contract with tender holders – or to entertain hopes of regular paid performances – musicians must ensure that these performances do not express critical political sentiment. As purveyors of a genre renowned for its critical social commentary, reggae musicians are particularly affected by this expectation of self-censorship. Informal musical production in the post-apartheid era thus affords musicians little artistic freedom. Rather, whilst the products of this culture industry may appear to be part of a ‘secondary’ economy, removed from the spheres of formalized production and control, they are in fact regulated and standardized through the process of tender allocation.

The easiest part of running a new music group in Britain is probably the beginning. You gather some like-minded musicians, make a programme, find a venue and perform. After that it gets harder: establishing a reputation, persuading someone to fund you, negotiating with promoters, maintaining the commitment of your musicians, keeping going year after year. But EXAUDI have done much more than just keep going: they have established new standards for what an ensemble of solo voices can achieve and championed a host of spectacularly ambitious, beautiful, challenging works, both their own commissions and revivals of music waiting for a group of this quality to come along. Their fifteenth birthday is, then, something to celebrate, and the Wigmore Hall an ideal venue in which to celebrate a consort of beautifully blended voices.

Film music, often considered a ‘Cinderella’ art-form, is really more of a ‘Sleeping Beauty’: to a ‘first approximation’, its entire history exists on films which we are never shown. Prefatory to the 2003 Musicians Benevolent Fund Royal Concert on 4 November, however, the Barbican cinema presented an early-evening resuscitation of no fewer than four long-dormant items connected in some way with Vaughan Williams, two of whose orchestral works were programmed to follow.

Abstract The Blues and Older Minority Musicians: More Than Just Music XXIXThe “ ’Bo Diddley’ Track”; GSA, 2022 Indianapolis, INLecture/Interview/ Performance: TBAIndianapolis has been described as “The Crossroads of America,” with a long history of fostering the music and entrepreneurial spirit of Black Americans. Starting in 1915 with Mrs. C.J. Walker, America’s first female millionaire and her cosmetic enterprise, and the Starr Piano Company and its Gennett Records studio – identified as “The Cradle of Recorded Jazz” in the 1920s and 30s – both were instrumental in national distribution of the works of the earliest blues, jazz, country, and gospel artists including Louis Armstrong, King Oliver, Alberta Hunter, and Charlie Patton among others.Indianapolis continues to host a thriving Blues music community, and will host the 29th consecutive year of GSA’s “Bo Diddley Track” with local older minority musicians, one of GSA’s most popular and fun events. This year will feature a lecture, interview, and mini-performance with leading local blues musicians, followed by a typically raucous live blues performance that evening at a local blues hotspot, with prizes for the first 50 GSA attendees. This has been going on for 29 years for a reason folks---don’t miss it!

The little-studied period at the beginning of Lev Venediktov's creative activity in the Song and Dance Ensemble at the Kyiv Military District is considered. The scale of personality and creative work of an outstanding musician, brilliant choirmaster, conductor, teacher, artistic director of a well-known ensemble is studied. The ways of formation of professional skill of the artist, gradual formation of his individual creative method are analyzed. The influence of the Master’s personality on the professional growth of the team, education of a galaxy of talented youth, which is now the golden fund of Ukrainian culture — outstanding choirmasters, conductors, musicians, teachers, state awards, degrees, honorary titles. The peculiarities of the creative atmosphere, the moral climate in the team, the motivation of its participants to achieve significant artistic goals are described. The specific nature of the artistic director's activity during the preparation and conducting of the band's tours in Ukraine and abroad is revealed. The basic principles of the Master 's creative activity, which received their further development in the conditions of the Kyiv Opera House, are determined. His personnel policy, which was distinguished by a personal individual approach to the formation of the team is outlined. The specifics of Lev Venediktov's repertoire policy in the ensemble, its multi-vector approach with the presence of works of army patriotic, modern themes, Ukrainian folk songs, classical repertoire focused on the philharmonic, academic artistically prepared audience are established. It is proved that in the work on the repertoire the colossal erudition of the Master was shown, directed on application of synthesis of various means of stage expression in the context of theatricalization of concert programs. It is noted that Lev Venediktov's professional activity organically combined organizational-managerial, staging-demonstration, pedagogical-educational aspects of work with the team, which contributed to the creative growth and wide popularity of the ensemble in Ukraine and abroad.

During the 1960s bossa nova was the trademark of Brazilian popular music. In the 1980s a second wave of Brazilian popular artists, such as Milton Nascimento, Djavan, Ivan Lins and Caetano Veloso, has emerged on to the international popular music scene. These artists have been issuing and distributing their records through international labels, and have also had their music recorded by other artists and groups like Pat Metheny and Manhattan Transfer (recipient of a Grammy for their album Brasil). Milton Nascimento, who since 1968 has been playing in concerts around the world with jazz musicians such as saxophonist Wayne Shorter, also receives good reviews in Europe. The Observer describes Milton Nascimento as ‘one of the top musicians in the world’, whose poetry ‘… fuses emotion, feeling, experience, dreams, [and] hopes’ with ‘a burnished voice … tempered with a taut edge at times’, and ‘beautiful melodies which are deceptively intense and powerful even when surrounded by funky keyboards or lush strings’. For the reviewer: ‘His songs have summed up the collective feelings of a nation’. And for Brazilians what is the meaning of Milton Nascimento's music?

This article is about the famous sound engineer, talented musician and teacher Vitaly Nikolayevich Gushchin, who made an invaluable contribution to the development of various areas of sound engineering in Uzbekistan, including music, audiovisual and radio ones. He is one of those who carried out highly professional sound recording of classical, folk and pop music works, which made up the richest fund of national culture and are in great consumer demand. V. N. Gushchin trained several generations of specialists who successfully work in many areas of sound engineering in the republic and abroad.

Abstract The “ ’Bo Diddley’ Track”; GSA, 2022 Indianapolis, INLIndianapolis has been described as “The Crossroads of America,” with a long history of fostering the music and entrepreneurial spirit of Black Americans. Starting in 1915 with Mrs. C.J. Walker, America’s first female millionaire and her cosmetic enterprise, and the Starr Piano Company and its Gennett Records Studio – identified as “The Cradle of Recorded Jazz” in the 1920s and 30s – both were instrumental in national distribution of the works of the earliest blues, jazz, country, and gospel artists including Louis Armstrong, King Oliver, Alberta Hunter, and Charlie Patton among others.Indianapolis continues to host a thriving Blues music community, and will host the 29th consecutive year of GSA’s “Bo Diddley Track” with local older minority musicians, one of GSA’s most popular and fun events. This year will feature a lecture, interview, and mini-performance with leading local blues musicians exploring their life, influences, music and resilience, followed by a typically raucous live blues performance that evening at a local blues hot-spot, with prizes for the first 50 GSA attendees. This has been going on for 29 years for a reason, folks---don’t miss it!

Cet article porte sur le groove, plus précisément sur celui que l’on peut retrouver dans des genres musicaux populaires tels que le funk, la soul et certains types de jazz ; le phénomène y est abordé selon l’angle de ses spécificités perceptives. Le groove étant souvent ressenti mais très rarement verbalisé, il importait d’en donner une définition, d’une part en situant l’objet d’étude à partir de la littérature sur le sujet, mais aussi en rapportant le résultat d’entrevues menées auprès de musiciens (trois étudiants provenant de trois différents programmes universitaires en musique). La question de la perception est ensuite explorée au moyen de travaux de psychologie de la musique. Le groove est compris comme un phénomène essentiellement rythmique qui, au niveau musical, prend généralement ses sources dans la section rythmique (basse et batterie) d’une formation de jazz ou de funk. Un rythme syncopé se superpose à un mètre très clairement établi, que la pulsation soit directement jouée ou seulement induite. Le groove est cyclique et répétitif, ce qui suscite un effet d’entraînement menant l’auditeur au mouvement et même à la danse, desquels résulte un sentiment de bien-être. Cet affect positif joue un rôle central dans la définition du groove. La cyclicité et la répétitivité quant à elles sont à l’origine d’un phénomène d’entraînement qui peut se traduire au niveau corporel mais qui est avant tout cortical : c’est ce qui est appelé couplage sensorimoteur en sciences cognitives. L’analyse de trois exemples musicaux tirés du répertoire funk et reconnus pour la qualité de leur groove sont analysés, « Doing it to Death » de James Brown, « Chameleon » de Herbie Hancock et « Superstition » de Stevie Wonder, permet d’observer comment les caractéristiques mentionnées plus haut se traduisent musicalement.

there has been no greater tension within the tradition of black pop music than that associated with the performance of ‘black’ styles by white musicians and performers. in the past, it has been all too easy to identify many of these white artists under the rubric of ‘blue-eyed soul’ – a term that is as much a social construction of raced identities as it is a marketing ploy. using paul c. taylor's essay ‘funky white boys and honorary soul sisters’ as a reference, i'd like to argue that there are artists who transcend, to varying degrees, the kinds of ‘affective obstacles’ that make it difficult for some audiences to derive pleasures from so-called ‘white’ performances of black musical idioms.

Abstract Prince Rogers Nelson (1958–2016) was an innovative American musician whose life and work defied categorization. His music combined the spiritual with the sexual while spanning funk, rhythm and blues, soul, rock and roll, and pop genres. Prince embraced nonbinary gender performance and, as a Black artist of enormous celebrity, exemplified what W. E. B. Du Bois named double-consciousness: a sensibility gained from looking at oneself through the eyes of others; a “two-ness” derived from being both American and Black. Prince used multivalent signs, symbols, and codes to craft an enigmatic personal mythology. In this essay, I use Roland Barthes's poststructuralist theory and Stuart Hall's writing on stereotypes to examine Prince's semiotic world. By studying recurring motifs in his lyrics, fashion, and visual communication design, I show that Prince's signifying practices constitute a sensual text that, through illegibility, catalyzed emancipatory cultural expressions.

Music educators regularly employ covers – or the performance of a version of a song previously performed or recorded by an artist – to learn and teach popular music. While covers might be an effective strategy towards music learning, issues of social justice become present when these covers cross genre and identity boundaries. How are educators and musicians to approach covers that enact these ethically perilous terrains? In this action-research and autoethnography-inspired study, I look at my cover of the song ‘Girls Just Want to Have Fun’ (), performed by Cyndi Lauper in 1983. I explore the ethical aspects of me – a White male – aiming to perform this feminist anthem. Using a framework of strategic anti-essentialism, I suggest that covers can be a uniquely musical way to create solidarity by crossing identity boundaries in ways not available through language. This might become a framework for judging covers that cross identity and genre boundaries. I conclude with implications for music education practice as well as research, including using strategic anti-essentialism to structure discussion in the classroom.

For the first time in the Russian-language historiography, there is examined the correlation of two approaches - ethnic and professional - in the formation of the teaching staff of the Latvian Conservatory in the first years of its existence (1919-1922). The research is based on materials of periodicals of that and later periods, letters from conservatory director Jazep Vitols, as well as documents of the Latvian Conservatory record stored in the conservatory fund in the Latvian State Archives and in the fund of the Ministry of Education of the Republic of Latvia in the Latvian State Historical Archives. The article considers the tasks that the state and its leaders set for the conservatory, as well as the dominant principles of staffing. The author reveals a fundamental contradiction between the desire to make the conservatory in the Latvian style and the need to set and keep a high bar of the higher music school of the European level. The author comes to the conclusion that the political circumstances and national aspirations hindered the formation of the teaching staff of the conservatory on a strictly professional basis. In turn, the requirement to ensure a high quality of teaching forced the conservatory to resort to services of non-Latvian musicians and thereby limited the manifestations of Latvian national egoism. At the same time, in the post-revolutionary years it was Soviet Russia that served as the main source of staff for the Latvian Conservatory, both Latvian and foreign.

AbstractThis paper explores, analyses and discusses Zimbabwean gospel song themes from 1980 up to 2007 in relation to the Zimbabwean political and socio-economic situations in the country. The history of the socio-economic and political development of Zimbabwe during 1980-2007 would certainly be incomplete without including gospel music. Until about the mid-1980s, the general atmosphere in the newly-independent state of Zimbabwe was characterized by liberation euphoria and great optimism for the future. Equally so, local gospel music during this period was largely celebrative and conformist as far as the political and socio-economic dispensation was concerned. Socio-economic hardships crept in as a result of the government's implementation of neo-liberal economic reforms under the guidance of the World Bank and the International Monetary Fund (IMF) during the early 1990s. The ruling party soon found itself confronted by a multitude of gospel musicians criticizing its policies and malpractices. Works of various gospel artistes will be used as evidence but due to issues of space, it has not been possible to cover all Zimbabwean gospel artists.

Academic work on popular music has had a difficult and intermittent relationship with work on gender and sexuality. Bursts of intense debate have been followed by years of scholarly silence, and questions that were raised in the early days of rock writing remain unresolved today. Is rock a male form? And if so, is this achieved through the gender of the performers? of audiences? through the sexuality of the performance, or the discourse of the songs? Is rock's ‘serious’ status guaranteed by its binary definition as the opposite of ‘pop’, seen as ‘for the girls’? And if a rock/pop divide now seems absurdly outdated, do we not see its gender divisions reconstituted within the new forms? On the other hand, what happens to these divisions when boys, too, decide they ‘just want to have fun’? And why have musicians been so much happier ‘flirting’ with gay identities than coming out as gay?

When musicians ‘cover’ a previously recorded song, they provide an intertextual commentary on another musical work or style. This paper considers several ways in which such commentaries engage constructions of authenticity, focusing on two covers by the Pet Shop Boys: ‘Where the Streets Have No Name’, originally by U2, and ‘Go West’, first recorded by the Village People. I analyse the musical sound, performance style, and lyrical themes of each pair of songs, as well as the discourse surrounding their production and reception. I also consider how scholars have theorised authenticity in the interpretive traditions engaged by these songs. I argue that the Pet Shop Boys’ version of ‘Where the Streets Have No Name’ is subversive, poking fun at certain common ways of expressing authenticity in 1980s rock, while their cover of ‘Go West’ repositions disco - a genre that has widely been construed as inauthentic - as a type of ‘roots music’ for the gay community of the 1990s.

AbstractSinger, bass player and songwriter Meshell Ndegeocello has inspired a growing body of scholarship addressing her funky, political, ‘othered’ musical personae. Existing work celebrates Ndegeocello in the context of identity politics (most commonly feminist, Black Feminist/Womanist, Black Nationalist or Africanist). This tactic not only defies Ndegeocello's rejection of identity politics, but also oversimplifies her complex, sometimes divergent musical negotiations of selfhood. This article highlights the discursive tensions of engaging ‘Black’ with ‘queer’ with ‘woman’ with ‘musician’ by exploring her most contradictory performances of self, particularly those which other scholars argue are ‘feminist’ or ‘queer’. Identifying a scholarly gap around Ndegeocello's strikingly conflicted performances of Black queer gender in songs about same- and opposite-sex relationships, this queer of colour critique explores manner and process over essence, articulating experiential, situational, non-linear and even incoherent perspectives. In doing so, it offers an affect-oriented, politically and musically attentive alternative conceptual frame to identity politics.

The Romani, who are the people always looked from a distance throughout the history, scared and feared, have always been so close and so far away at the same time. It is hard for every society to accept what is not the same with it, the “other”. However, a Project was planned, with the idea of from local to universal, so that The Romani, who can perform the intercultural carrier, transfer their life-style in a fun way through their language with the music they create, could socialize, instead of being seen as the “other”. Within this Project, it is planned that various groups with a certain musical talent, consisting of The Romani, will have a four-year education in different areas of music and will be helped to share their talent with the society. With this Project, The Romani will tell their dreams, sadness, fights, and their nonchalance of life and their forgotten lives that no one doesn’t want to see or could not see through their songs and dances, which comes from the assumption that it will contribute their unity with society. The artistic activities of the Romani, who are different color in our country, having a rich cultural variety, should be supported. That the natural ability to music and dance in the Gypsies are not limited within them, and that these talents are turned into productivity in different areas of music will both support their development and increase their social value. In this study, Bursa Metropolitan Municipality Conservatory “Musician School” (Çalgıcı Mektebi) Project, designed in 2011 within the scope of music’s role in socialization of the Romani, is examined and it is aimed to present this Project.

This article, using extensive archival material, examines the history of the emergence of youth cafés, provides an analysis of the preconditions and historical conditions in which they were created, and highlights the problems that they had to overcome on their way. During the 1960s youth cafés was created throughout the country on the initiative of Komsomol members. There were places where one could have an interesting and fun time listening to jazz over a cup of coffee or a glass of wine, dancing a popular twist, meeting poets and musicians and artists, or just going an impromptu stage to read poems. The youth café became a symbol of the 1960s. The feeling of freedom was first felt by young people who began to actively explore Western culture and lifestyle. Harsh administrative measures and punishments proved to be ineffective. This is how the idea of creating the first youth club, corresponding to the interests and demands of young people, arose, but under the supervision of an “elder brother” in the form of the Komsomol. Urban young boys and girls were attracted by the democratic atmosphere of the café, which the sixtiers would later write about more than once. In the mid-1960s this interesting experience was relocated to the countryside, but this was less successful. Even in large cities, not many cafés survived until the mid-1970s, faced with enough problems.

The research subject of the article is the piano art of Pavel Alekseevich Serebryakov, an outstanding Leningrad pianist, pedagogue, artist and director. The research object is the mani-sided activity of this person. The author considers such aspects of the topic and the performer’s individual style, his repertoire preferences, concert, music and social activity. The author gives special attention to particular facts of the great artist’s biography which had influenced his performance path. The author refers to the reviews of various musical critics, colleagues and students, as well as Serebryakov’s own performance views drawn from autobiographical notes and interviews. Based on the author’s conversation with P. Serebruakov’s grandson P.V. Dmitriev, the author reveals the methods of the pianist’s individual work with the repertoire and some peculiarities of his performance thinking. The scientific novelty of the research consists in the fact that it uses rare previously unpublished archive materials covering performance and music and social activity of P.A. Serebryakov, including: The Serebryakovs family archive documents provided by Serebryakov’s grandson P.V. Dmitriev Materials, reviews and newspaper articles kept at the Central State Archive of Literature and Arts (fund 214) Audio recordings from the sound library of St.Petersburg Conservatory Materials of Serebryakov’s conversations with students The research material can be used by young musicians, as well as the pedagogues of special music schools for illustrative and educational purposes.  

Writing about popular music in 1977 from what I would describe as a ‘classical’ Marxist perspective, Steve Chapple and I proclaimed unequivocally that:The position of the music as an increasingly important cultural commodity within a consumer economy weakened any of the explicit anti-materialist content of the music.… Musicians and the creative personnel within the industry were integrated into an entertainment business now firmly part of the American corporate structure. (Chapple and Garofalo 1977, p. 300)In 1981, four short years later, British sociologist and music critic Simon Frith described the structure and functioning of the music industry in much the same terms that Chappie and I had put forth, but his analysis shifted the emphasis considerably. Declared Frith:Cultural commodities may support the contemporary power of capital, but they have their civilising moments, and even as the most effortless background music, rock is a source of vigour and exhilaration and of good feelings that are as necessary for the next morning's political struggle as for the next day's work. My argument is that rock fun is as much a quality of the music's use as of its form. (Frith 1981, pp. 264–5)Attempting to avoid what he saw as an economically reductive position, Frith de-emphasised the role of monopoly corporations in controlling the marketplace and shaping popular culture. In the tradition of ‘cultural’ Marxism, he focused instead, and somewhat optimistically, on the power of the consumer to reappropriate the music in unintended ways, to ‘resignify’ its meaning, if you will.

This paper seeks to explore the presence of Irish stereotyping in the international music press using a case study of the Irish blues rock musician Rory Gallagher. Using a dataset of 600 articles about Gallagher published between 1968 and 1998, it draws upon a combination of corpus and thematic analysis to identify frequently occurring Irish stereotypes and how they were used to describe him, embedding arguments in postcolonial theory, particularly the work of Homi K. Bhabha. The analysis identifies five major themes—the Irish as violent troublemakers; the Irish as heavy drinkers; the ‘Irish’ way of talking; the Irish as ‘dumb Paddys’; Irish folklore and traditional ways of life—highlighting the different roles into which Gallagher was unwillingly cast by the music press. These references often wrapped Irish prejudice in a cloak of fun and frivolity, which made it seem harmless and trivial. However, such disparagement humour fostered discrimination by moulding (negative) public opinion of what it meant to be Irish at a time when Anglo-Irish tensions were already high and ignored the deeply emotional impact of the Northern Irish conflict on Gallagher. It also took attention away from Gallagher’s music and, in doing so, downplayed the important contribution he made to the world of blues and rock. Keywords: Rory Gallagher; music press; Irish; Ireland; stereotypes; disparagement humour; postcolonialism

This research is the author of a thorough research to see the marketing strategies used by indie musicians in the music industry. The purpose of this research is to see what marketing communication strategy is used by Adhitia Sofyan Team in conducting marketing activities. With today's technological developments, artists can use various kinds of computer software to record their work and market it through various social media online. An independent label, also known as an indie label, is a record label company that can market, fund, and publish artists and their work, funded independently. By analyzing a person's research subject (Adhitia Sofyan). The research method that I use here is to use qualitative methods. The research technique uses analytical techniques. The data technique used observation and interview techniques. The interview was conducted with one of the indie staff management (Rendy Kopoy) as the manager of Adhitia Sofyan. He was also the manager of a duo Endah and Resha before becoming manager of Adhitia Sofyan.Penelitian ini penulis teliti untuk mengetahui Strategi pemasaran yang digunakan oleh musisi indie dalam industri musik. Tujuan dari penelitian ini adalah untuk mengetahui Strategi komunikasi pemasaran apakah yang digunakan oleh Tim Adhitia Sofyan dalam melakukan kegiatan pemasaran. Dengan adanya perkembangan teknologi di masa kini, artis dapat menggunakan berbagai macam software komputer untuk merekam karyanya dan memasarkannya melalui berbagai media sosial secara online. Label independen, juga dikenal sebagai label indie, adalah perusahaan label rekaman yang dapat memasarkan, membiayai, dan mempublikasikan artis dan karyanya, didanai secara independent. Dengan menganalisis subjek penelitian musisi indie (Adhitia Sofyan) . Metode penelitian yang penulis pakai disini adalah dengan menggunakan metode kualitatif. Teknik penelitian memakai teknik analisis. Teknik pengumpulan data menggunakan yaitu teknik observasi dan juga wawancara. Wawancara dilakukan dengan salah satu manajemen musisi indie (Rendy Kopoy) selaku manajer Adhitia Sofyan. Ia juga pernah menjadi manajer salah satu duo Endah and Resha sebelum menjadi manajer Adhitia Sofyan.

e20505 Background: 68% of cancer patients live at least 5 years after diagnosis and many are cured. Cancer survivors continue to need support. Music is energising, affirming and therapeutic. More funds are needed for cancer research so that more patients become long-term survivors. In 2012 Galway University Hospital founded 'Something To Sing About' (STSA.ie), a not-for-profit organisation to support cancer survivors and cancer research. Methods: Local publicity brings small bands of cancer survivors together rehearsing the same music at the same time every week (Wednesday 7pm) in a local hall, hospital or hotel, each with its own local musical director. The music is selected by a representative music committee and music therapist. Musical instruction is disseminated by the chief musical director via website and social media. A plenary rehearsal takes place every 3 months. All profits from events and music sales are allocated to cancer research projects through an open peer-reviewed grant-application process. Results: In 6 months STSA has grown from concept to network of 20 centres with total membership of 251 cancer-survivors. Immediate feedback has been extremely positive as assessed by personal communication and facebook activity (currently 1,025 ‘likes'). Over 100 singing-survivors participated in the first plenary rehearsal. All commercial venues have donated their meeting rooms gratis. Internationally there is one participating centre in Brisbane, Australia, with others signalling their intention to join in 2013 including: Memorial Sloan Kettering Cancer Center, New York; 14 breast cancer support centres in UK; and one centre in the Czech Republic (updated at meeting). STSA members are particularly keen on establishing links with other cancer patients abroad. Professional musicians are pledging support and suggesting fund-raising collaborations. Conclusions: Cancer survivors continue to need ongoing support and find the music therapy and group therapy provided by STSA most beneficial. Cancer survivors are very interested in supporting cancer research. STSA has the potential to become a major international cancer support network and cancer research foundation.

During the Cold War, American private foundations subsidized American modernist composers, supporting their work through commissions, underwriting recordings and concerts, and promoting their ideas in radio programs and periodicals circulated at home and abroad. From its establishment in 1952, the Fromm Music Foundation (FMF) acted as an important player in this field. Using archival material and interviews with people who worked with the founder Paul Fromm, I show how Fromm’s involvement in his foundation, and his reliance on professional advice, constituted a unique patronage model that enabled select composers to participate actively in the promotion of their music. Fromm’s relationship with Elliott Carter provides an especially complex example of a mutually beneficial and successful partnership. Fromm’s goal was to integrate contemporary music into American musical life by supporting the production and dissemination of new compositions. Fromm sought to play the role of patron, fostering close relationships with composers who received funds and acted as his artistic advisers. Fromm’s partnership, and consequent friendship with, Carter illustrates the many ways the FMF served composers. In 1955 Fromm commissioned what became Carter’s Double Concerto for piano, harpsichord, and two chamber orchestras (1961). Fromm’s subsequent help, administered through his Foundation and personal connections, enabled Carter to secure high-quality premieres of this piece and other difficult-to-perform repertoire, helped facilitate repeat performances and recordings of these compositions, and allowed Carter, together with his wife Helen, to establish a system to fund musicians who performed his music—and also reap tax benefits. Among the recipients who benefited from Fromm’s largesse were Charles Rosen, Paul Jacobs, and Jacob Lateiner. Fromm’s actions spawned a familiar fable. Carter’s career and the way he talked about it reinforced many persistent falsehoods about an artist’s relationship, or lack thereof, to potential listeners and audiences—a source of financial support for artists since the advent of public concert life. Fromm’s financial support and Carter’s ability to supplement it helped buttress the late-Romantic myth of creative autonomy. The details of this partnership—the words exchanged, the other figures involved, and its variegated benefits—harbor broad implications for the study of Cold War-era patronage networks and for our view of Carter’s career.

The modern process of the mediatisation of all spheres of public life affects both the volume of speech creation and the media texts themselves. The mass character and the multi-language openness of media discourse allow us to consider winged units as a means for representing and imple- menting phraseological innovations. The role of mass media in the formation of new sustainable turns is being actively studied, which speaks of their significance in this process, since it is the media discourse that demonstrates most clearly the current usage and viability of phraseological innovations in language and speech. The media discourse has a large number of ways of influencing the mass addressee, and, as recent studies of Russian media texts show, the fund of winged units as an integral part of the phraseological corpus of the national language is widely used in it. Various phrase resources (idioms, winged expressions, paremias, aphorisms, etc.) are often used both in a strong text position - the title or ending of the publication, and in the creation of media texts connecting the verbal and visual parts in which their transformational and creative potential is most clearly realized, multiplying their linguo-pragmatic effect on the addressee. The analysis of the media content of the site “Orthodox Laughs” revealed the tendency of creative use of folklorism “Баю-баюшки-баю, не ложися на краю. Придет серенький волчок - И укусит за бочок!”, which has not yet been fixed by lexicographical practice, as well as its variants that are the result of various methods of transformation language units. Structural and semantic transformations of various categories of phraseological units are an effective means of implementing specific expression in the media text. Previously, fiction was considered the main source of winged units, today the situation is changing, and the leadership belongs to synthetic art forms (cinema, television, pop, etc.). The analyzed potential winged unit has not one source of appearance: along with Russian and German folklore, this is German literature, but the expression in the Soviet animated film “The Bremen Town Musicians” was actualized. In analyzing the publications of this site, interdisciplinary methods of studying media content were used: discursive, descriptive-analytical, linguocultural, and media linguistic. The conducted research has shown that the functioning of the considered potential winged unit and its transforms confirms the thesis that these language units are in demand and widely used in modern media texts, since they have productive mechanisms of meaning formation.

The study of music centers of Chernihiv-Siversky region in the context of the leading musical and public organization of the Ukrainian Renaissance – M. D. Leontovych Music Society (1921–1931) – opens wide opportunities for scientific research of hitherto unknown pages of the history of musical culture of Ukraine in XX century. Although the emergence of music centers in this period was due to a certain historical event and created in these lands after the tragic news on the death of the famous composer Mykola Leontovych, this process began long time before they received legal status as the members of the Society as its Chernihiv and Pryluky branches. Establishment of the branches of the Leontovych Society was associated with increasing the level of musical culture of the republic and was aimed to organize the process of unification of the Ukrainian people around the idea of national revival. All members of the Leontovych Society (not only the Pryluky and Chernihiv branches) had a responsible mission to be pioneers and reformers of musical culture in cities and villages, which at the time of the formation of the new Soviet art appeared to be the most important and difficult task. and coordinated work of each member of Leontovych Society, at the beginning of 1927 as its parts throughout Ukraine it was opened, registered and operated 69 branches and music centers, including about 930 members and 1013 musical organizations consisting of professional musicians and amateurs, who presented the school and student, peasant and workers’ choirs and ensembles, the chamber, brass, folk orchestras, etc. The history of the Leontovych Society’s activity turned out to be a kind of challenge to fate and a conscious putting on the altar of building the musical culture of Soviet Ukraine of the best human abilities, knowledge and strength, which became an unsurpassed example of the civic service to its people. The archival heritage of the Music Society named after MD Leontovych, preserved in the Fund № 50 of the Manuscript Institute of the National Library of Ukraine named after VI Vernadsky, was and is a unique document of Ukrainian history, which will forever remain for descendants an exclusive source of the information national past of Ukraine in many spheres of science, art and culture as a spiritual monument of our country.

Digests of articles by young musicologists of the Belarusian State Academy of Music, devoted to revealing the landscape panorama of the Belarusian ethnomusical culture of ritual genesis, are examined [1–5]. It’s shown that the considerations of young researchers published in the ethnomu- sicological editions of 1991–2013 aim at studying the autochthonous and historically deep phenomena of the Belarusian folklore fund, at revealing the features of ethnic song and instrumental melos in ritual complexes of calendar-farming and life cycles. A significant part of the research is devoted to the disclosure of typology, melo- geography, functional load, intonational, structural-rhythmic-compositional and eth- nophonic characteristics of song-ritual and instrumental practices of different regional and local traditions. In the subject spectrum of the articles the important issues are the sound world of ethno-song archaic layer considered in the aspect of mytho-sound-poetics [5], the pitch, articulation and ethnophony of the ancient melos, conditioning thereof by the signal-communicative sound activity as a factor of stability of ritual sound standards in the musical consciousness of carriers for many centuries. The ‘song territories’, which, as a result of placement on the borderland of his- torical-ethnographic and ethnocultural areas, are marked by a variety of linguistic in- fluences, the coexistence of diverse anthropological types in the autochthonous popu- lation (with the appropriate difference in beliefs, ritual practices and lifestyles) found their study in the issues of the ethnomusicological series. The ethno-song loci of various scales and levels – from their intraregional spe- cies (‘local’, ‘special’, ‘island’) [4] to status ones for ethnomusical cultures (the so- called ‘regional borderland’) [5] are studied. An ethnopsychological consideration is reflected in a number of articles [4]. Among the objects studied by young musicians there are significant ones in the ethnomusic culture of Belarusians song forms of the ‘Valachobny’ (Easter) and St George Day ancient rituals [1], congratulatory visiting rituals of the Carol period and the ‘Yashchar’ roundelay-game action assigned to the time of the Philippe post (Ad- vent) [2], childbirth and narrative (ballad) songs [4], groups of ‘Rajok’–‘Sparysh’– ‘Dazhynki’ (end of the Harvest) and ‘Aviasets’ (autumn) songs of Poozer’e (Lake district) [4], song traditions of the Maslenitsa (Shrovetide) ceremonies [4], the lead of the ‘Arrow’, ‘Rusal’, spring swings [5]. In the series of ethnomusicological collections of 1991–2013 landscapes of the ancient ethnomusic culture in its ‘Belarusian’ area on the territories of the Western Dvina basin, the upper course of the Dnieper, Dnieper–Druts–Berezina interfluve, Po- nemanje [1–5] were disclosed from the positions corresponding to the leading direc- tions of modern ethnomusicology. 187 The perspective of the researches carried out by young musicologists, their level and directly the potential of scientific problems were confirmed later in ethnomusico- logical dissertations [6–10], audio collections of the ‘Audio Atlas of the Traditional Musical Culture of Belarus’ and monographs [11–13].

Статья посвящена персональным мифоритуальным наигрышам - феномену культуры обских угров (хантов и манси). Автором систематизированы нотные записи и аудиоматериалы из опубликованных и неопубликованных источников, в том числе полевых материалов, собранных на обском Севере в экспедициях 1980 - 2000-х гг. В репертуаре обско-угорских музыкантов есть два блока наигрышей. В первый входят мелодии божеств и духов-покровителей, в том числе медведя. Второй включает разнообразные наигрыши, связанные с людьми и животными: танцевальные (они различают людей по этнолокальному, половозрастному признакам); изображающие трудовые процессы; показывающие повадки и голоса животных; инструментальные «транскрипции» песен; входящие в состав повествований. Большинство инструментальных мелодий звучат во время проведения обряда: медвежьего праздника, шаманского сеанса, жертвоприношения. Персональные мифоритуальные наигрыши посвящены конкретному божеству или духу-покровителю, исполняются только на струнном инструменте и только мужчиной. Локальное распределение таких наигрышей показывает следующее: мелодии божеств, общих для хантов и манси, есть во всех группах обских угров; наделение духов-покровителей собственными мелодиями носит системный характер у манси, причем в сыгвинской и верхнелозьвинской традициях данный феномен выражен особенно ярко. Каждое божество через музыкальную характеристику становится узнаваемым, это достигается благодаря устойчивым мелодико-ритмическим оборотам в структуре наигрышей и общности мелодического фонда персональных наигрышей для разных обрядов. Феномен персональных мифоритуальных наигрышей описан впервые в музыкальном угроведении. Полученные результаты необходимы для проведения компаративных исследований народных музыкальных культур, взаимосвязей музыки и ритуала. This article is devoted to personal mythological melodies (naigryshi) - a phenomenon of the culture of the Ob-Ugrians (Khanty and Mansi). The author systematizes musical notes and audio materials from published and unpublished sources, including field materials collected in the Ob North during the expeditions of the 1980s-2000s. In the repertoire of Ob-Ugric musicians there are two groups of tunes. The first includes melodies of deities and patron spirits, including the bear. The second includes tunes from a variety of games related to people and animals: dances (which distinguish people by ethno-local, gender and age characteristics); depictions of labor processes; those showing the habits and voices of animals; instrumental “transcriptions” of songs; and tunes included in narratives. Most of the instrumental melodies are played during rituals - the bear festival, shamanic sessions, sacrifices. Personal mythological tunes are dedicated to a specific deity or patron spirit and are performed only on a stringed instrument and only by a man. The tunes are distributed locally in the following ways: the melodies of deities common to the Khanty and Mansi are found in all groups of the Ob-Ugrians; the endowment of patron spirits with their own melodies is characteristic of the Mansi, and this phenomenon is particularly pronounced in the Sygvin and Verkhnelozvin traditions. Each deity becomes recognizable through a musical characteristic. This is achieved via stable melodic-rhythmic turns in the structure of the tunes and a common melodic fund of personal tunes for different rites. For the first time in Ugric musical studies the article describes the phenomenon of personal mythic-ritual tunes. This is necessary for conducting comparative studies of folk musical cultures and for understanding the interrelationships of music and ritual.

Abstract Background Yangqin was introduced into China in the late Ming Dynasty and early Qing Dynasty. With the flow of musicians, it spread all over the world. It is not only used for folk God welcoming games, birthday celebrations, literati self entertainment or music clubs, but also the most eye-catching musical instrument in private collections, government and business and children's Museum music clubs. From the leisure and entertainment stage of “song” popular in the Qing Dynasty to the commercial rap of “selling medicine” and “sweeping the floor”, it absorbs the nutrition of performance forms such as car drum array, Siping opera, Tea Picking Opera and juggling, and adds the “opera in the play” of hand and foot dance to show the footprints of Yangqin. Xiangju opera, developed from Taiwan songs, is a mixture of Zhangzhou Xiangjiang generation folk music. Hunan Opera (Gezai Opera) is the only common local opera on both sides of the Taiwan Strait. In 2005, Hunan opera was included in the first batch of national intangible cultural heritage list. It is deeply influenced by Southern Fujian culture and has distinctive Southern Fujian characteristics. It has played a positive role in promoting cross-strait cultural exchanges, which is reflected in the frequent exchanges between relevant researchers and troupes on both sides of the Strait. The excellent repertoire of Hunan opera has been widely praised at home and abroad. Research Objects and Methods This study adopts the methods of literature analysis and field investigation to collect and sort out the research data. Literature analysis is mainly the collection, comparison and classification of historical data. Fieldwork is the author's fieldwork for more than ten years and his contact with folk artists and musicians of Gezai Opera. Starting from the Yangqin proposition, the master's thesis began to study and collect data, collect and read Taiwan Local Chronicles, newspaper documents, Shengzhi diaries, oral history and fieldwork for more than ten years, and copy the existing music manuscripts, photos, sound recordings and audio materials in the public sector. At the same time, it is selected from the emotional experience report form compiled by Ekman, freisen and ancoli (1980), which has been modified many times by gross and widely used. There are 10 adjectives in the emotional experience report form. Each emotion was assessed by the 9-point Likert scale, “0” means no, “8” means very strong, and the subjects were required to choose the corresponding number according to their actual emotional experience. 2.2.4 questionnaire on the degree of implementation of guidance. The questionnaire consists of 6 questions. Using the 6-point Likert scale, “0” indicates complete non-compliance, and “5” indicates complete compliance. The purpose is to check whether the subjects adjust their emotions according to the instructions of the main test when watching emotional movie clips, and ask the subjects to answer truthfully according to their actual situation. Results Performance knowledge comes from objective analysis. Performers practice and change the objective world and themselves through psychological thinking such as perception, imagination and emotion. With the progress of the times, Hunan opera is facing the dual pressure of economic and cultural inheritance. Economically, the income of the troupe's actors is unstable, which gradually weakens the actors' enthusiasm for the cause of Hunan opera. In terms of cultural inheritance, the older generation of Hunan opera is relatively old. The emergence of new culture has reduced the interest of contemporary young people in Hunan opera and led to the crisis of the inheritance of Hunan opera. In the process of the influence of life events on anxiety, they play an intermediary role through economic response. The higher the economic level, the stronger the emotional regulation ability of the troupe personnel. Among them, the mediating effect of anxiety can be adjusted through psychological elasticity. That is, economic level can regulate the pressure of life events, and coping style can be used as an intermediary factor of emotional regulation to regulate the impact of life events on anxiety through coping style. Conclusion Facing the challenge of traditional art inheritance and survival, driven by the cultural environment and multicultural environment of the global village, this is a problem that many traditional arts must think about if they want to survive. The government needs to take various measures to change the current situation and make the excellent traditional culture of Hunan opera continue to flourish. Through more bilateral exchanges and communication, cross-strait cultural inheritance and innovation, strengthen cross-strait cultural and artistic exchanges and cooperation, jointly play the piano art for the opera troupe, and work together for the in-depth development of both sides. Acknowledgments This paper is the general project of Fujian Social Science Planning Project Art Fund in 2019: Fujian Taiwan Gezai Opera (Xiang Opera). Phased achievements of Yangqin Development Research (Project No.: fj2019b029).

Background. The modern system of national education, including music, is on the path of reorganization and reformation. Creating new educational models, it is useful to refer to the samples, time-tested, created by people whose names are permanently inscribed in the European cultural and historical fund. This confirms the life and work of Stepan Vasilyevich Smolensky (1848–1909) – teacher, medievalist, composer, regent, reformer of the music education system, public and cultural figure, ideologist of the New Direction of Orthodox Music of the late XIX – first half of the XX centuries. The formation of the ideology of the musician-teacher, the approval of his convictions became possible in many ways thanks to the support of two of his contemporaries, outstanding pedagogical figures – N. Ilminsky and S. Rachinsky. Objectives. The purpose of the article is to reveal the personal interaction of S. Smolensky with N. Ilminsky, S. Rachinsky, to appraise the contribution of the latter to the formation and development of his ideological positions, which determined the direction of further professional activity. Methods. The article uses the method of historicism, which allows us to consider the phenomena of artistic culture, enlightenment and education in the dynamics of their formation. Results. The formation of S. Smolensky took place in the Kazan period of life under the influence of Nikolai Ilminsky and Sergey Rachinsky. Nikolai Ivanovich Ilminsky (1822–1891) – orientologist, mission temissionary-teacher, biblical scholar, takes a special place in the biography of Stepan Vasilyevich Smolensky. The scientific works of N. Ilminsky cover a wide area of knowledge, like that: theology, linguistics, foreign translation, pedagogy and missionary work. His scientific studies, their practical implementation, which have not lost their relevance even nowadays, put Nikolai Ivanovich in a row of prominent figures of the Orthodox enlightenment of small peoples of the Volga region, Ural region and Siberia. The merits of N. Ilmisnky belongs to the founding of the first schools for small nations of the Volga region, as well as the teachers’ seminary in Kazan, where S. Smolensky was invited to the post of teacher of singing, history and geography. Church singing was considered in the missionary policy of the government as an important strategic element of introducing baptized aliens to orthodoxy. To this end, S. Smolensky was involved in a large-scale project of translating religious chants into the languages of the national small peoples of the Volga region, which determined the direction of his entire musical and singing work. Fully sharing the beliefs of N. Ilminsky, the young teacher focused on teaching church singing, in the moral and educational significance of which he infinitely believed. The lack of a methodical program for this discipline in public schools made S. Smolensky delve into this area of knowledge, as a result of which he developed the author’s system of teaching the named subject. In his pedagogical activity, S. Smolensky made extensive use of the methodological manuals created by him, which became an indispensable teaching material for future teachers. Here in Kazan, with the assistance of N. Ilminsky was opened a new page in the life of S. Smolensky, his deep immersion in the field of paleographic research. In Kazan, in the period of close cooperation with N. Ilminsky, typical features of S. Smolensky’s future activity were outlined, which received its brilliant application in the next Moscow period of life, during his leadership and reforming the Synodal School of Church Singing and Choir. S. Smolensky called his last teacher Sergei Alexandrovich Rachinsky (1833–1902) – professor and founder of the Department of Plant Physiology, Moscow University, a teacher, corresponding member of the Imperial St.-Petersburg Academy of Sciences. The acquaintance of S. Smolensky and S. Rachinsky occurred on the basis of the folk soil, based on Orthodox ideals. Foresight of judgment and deep knowledge of ancient church chants gave S. Rachinsky the right to take an active part in the scientific and educational activities of S. Smolensky. This confirms the extensive work carried out by S. Smolensky on the harmonization of the main Orthodox chants, undertaken at the insistence of his elder friend. The reforms carried out by S. Smolensky in Moscow and St.-Petersburg were fundamentally based on the education system of S. Rachinsky, aimed at developing the national element. Conclusions. A powerful monolith in the face of the polyglot and the manager N. Ilminsky, set off by the elegance of the artistic, but at the same time «meekly obstinate» nature of the educator-creator S. Rachinsky multiplied to the personality of Stepan Vasilyevich. In turn, the example of the life and work of S. Smolensky set a high tone and indicated a movement vector for many respectable professionals of musicians, teachers, choir masters, and scientists. Faith S. Smolensky, by lifeblood of the folk song and znamenny chant, inspired a wide range of composers, including P. Chesnokov, A. Kastalsky, S. Rachmaninov, A. Grechaninov, A. Nikolsky, N. Golovanov, K. Shvedov, Vik. Kalinnikov and others. Becoming one of the founders of medievalism in the area of church music, S. Smolensky outlined the main components of a scientific search in the history and theory of ortodox church singing, in the course of which A. Preobrazhensky, A. Nikolsky and others. A gifted teacher and organizer, S. Smolensky showed an example of the work of exemplary musical institutions whose school was attended by the greatest choirmaster of the last century: P. Chesnokov, N. Golovanov, N. Danilin, S. Zharov, A. Egorov and others. What has been said gives the right to assert that we can be fruitful in history, provided, like S. Smolensky, we will with intense effort learn from our forefathers, carefully looking at the value of their professional and life experience.

The article deals with folk couplets (Lith. pl. talalinės) – an underresearched peripheral genre of the Lithuanian folklore. This genre includes short, mostly one stanza-long comic songs that frequently deal with obscene topics and use unquotable vocabulary. This unadvertised folk poetry provisionally dates back to the middle of the 19th century, when its first publications appeared. This genre of folksong attributed to the popular culture of laughter has been always marginalized in relation to the traditional culture. Therefore, the article presents an analysis of this ill-repute frivolous folksong genre, touching upon various aspects of its functioning. The main problem under investigation is, why couplets with no recognized positive value have been so popular among certain groups of the village community (especially young people), and on what grounds this essentially merry and playful folkloric communication has been carried on, bearing in mind that this process is actually not over even today. The development of the Russian частушка as a special instrument of communication and its meaning in the scholarly discourse is also taken into consideration, as well as possible influence of these Russian couplets upon their Lithuanian counterparts. The analysis of talalinės is based upon materials from the Lithuanian Folklore Archives and various publications. Firstly, the article gives an outline of the meager publication and research history of this genre, noting that for a long time these couplets have been made into a certain kind of the sociocultural taboo even in the sphere of scholarly investigation. Right from the beginning of its publication in the second half of the 19th century and throughout the Soviet times, this genre was ignored as having no artistic (or esthetic) value, which was the only criterion applied to the folklore appreciation during that period. However, the first half of the 20th century could be considered the “golden age” in terms of the public spread of these couplets: when the Lithuanian radio started broadcasting, these comic folklore pieces found their way into its program, immediately gaining huge public approval. However, performance only of couplets with appropriate contents was allowed; particularly those dealing with political or obscene topics had to be avoided. The reader is reminded about a historical case from the interwar period, when public distribution of proverb collection edited and published in 1934 by the famous writer Vincas Krėvė-Mickevičius was prohibited, since it contained 300 of obscene texts, which caused significant restrictions to the availability of this publication. A similar misfortune had somewhat earlier befallen the Latvian colleagues publishing a volume of “dirty” Latvian folksongs and other folklore. Such censorship was related to the rigorous program of fostering the national morality of the time that was introduced by the government. However, the authorities did not interfere with collecting of the obscene folklore for the archiving purposes. Therefore, big amounts of folklore material attributed to the culture of laughter were collected especially in the interwar period. Further reviewing of the history of talalinės elucidates the connections between these songs thriving in the 19th – the first half of the 20th century and the humorous poetry created by the contemporary poets, as well as the newly formed folksong genres related to it. The author presents a wide field of miscellaneous relations evolving around this form of folklore. She pays attention to the sarcastic way of caricaturing used in these couplets, when for the purposes of fun-making the outdated popular customs and beliefs are critically targeted, made fun of and vulgarized using obscene vocabulary. Discussion of the essential peculiarities of the talalinės pattern, among other things, elucidates two main tendencies in the thematic canon of this genre. One part of these couplets simply treats the members of the native community and their relationships in a humorous way, as if observing them through a sarcastically distorting comical lens. These cutting couplets mock people from the immediate surroundings, making fun of them as if having previously sorted them into groups according to various characteristics. These include: 1) age groups (making fun of the things that are well-suited to the young but ill-suited to the old, and vice versa), 2) social status (gibing at relations between people from different social classes, like landlords and farmhands, as well as those not engaged in agriculture, like craftsmen, particularly tailors, shoemakers, blacksmiths, but also musicians, priests, nuns, etc.), 3) the alleged or true foreigners, distinguished on the grounds of belonging to a different religious or ethnic group, or characterized by different behavior (however, certain “foreign” character may be attributed to nearly everyone that comes from another community, including a neighboring village or some further locality in Lithuania). According to the second provisionally distinguished type of the talalinės pattern, their thematic scope narrows considerably: these couplets focus on man as a physical creature, an on the human body, or rather, on its lower part. Such couplets are especially fond of the nonstandard – obscene or scatological – vocabulary. Obscene couplets create scenes of essentially similar kind, namely, describing sexual intercourse and the private parts, and using exclusively ribald vocabulary that is usually banned from the public discourse. These quatrains present a wide range of erotic improvisations – from foul suggestions to the harshest obscenities. However, the author concludes that this kind of comic, even obscene speech employed in the couplets is of carnival nature (to use the term by the Russian culture researcher Mikhail Bakhtin): that is, when the temporarily assembled social group aims at entertainment and by common consent decides to ignore the social norms, each participant experiences a special kind of communal unity and belonging. Having crossed the established line, the creator-performer-listener of these couplets feels free both from the public reaction and from the entrenched ideology, and experiences an overwhelming sense of freedom. Such transgression is supplemented by compromise (a certain concession in terms of individual moral principles that are temporarily abandoned for the sake of participating in the game, usually obscene, proposed by the talalinė), and it allows the addressee and the addresser to become equal members of the same group. This is a special mode of folklore communication. Having compared the Lithuanian talalinė with the outwardly related Russian частушка, the author concludes that in spite of certain coincidences, the Lithuanian couplets were composed and structurally arranged independently from their Russian counterparts. However, the most important thing is that the Lithuanian talalinė, recorded for the first time in the second half of the 19th century, presented an alternative for the old folksong, and continued to exist / keeps existing alongside the folksong, abstaining from dismantling its traditional canon, although occasionally making fun of it.

Background. Contemporary musical art is an open stage for collision and coexistence of various artistic ideas, landmarks, styles, etc. The work of the recognized Canadian pianist-composer Marc-André Hamelin (born in 1961) raises a particular interest. The fact that the peculiarities of the musician’s performing and composing style are insuffi ciently covered in Ukrainian musicology determines the research rationale. It is also caused by the need to identify the specifi c features of the author’s inheritance, ensuring its consistency with the present time, where the laughter phenomenon becomes an important component of the picture of life. Objectives of the study are the comprehension of Marc-André Hamelin’s composer searches in the aspect of laughing cultural tradition and the defi nition of the author’s proposed ways of its embodiment in music. Methods. The research is based on the principles of complex approach, which involves using the biographical, the systematic, the genre and style, the structural and functional, and the comparative methods, etc. Results. M.-A. Hamelin appears to be a universal personality. He implements his creative intentions in various performing incarnations – as a soloist-pianist, a distinct interpreter and recognized virtuoso and intellectual; a performer who actively collaborates with the orchestra; a piano duo participant; a chamber ensemble participant and a studio musician. The repertoire palette he chose includes world-famous works, opuses of transcendental complexity, rarely performed music, and his own music works. His choosing some of the original works outlines the sphere of laughter as he searches new performing techniques, which has an infl uence on him as a composer. The original style of M.-A. Hamelin aims to create a special “rebus” fi eld, where the multiplicity of artistic perception is related to the degree of immersion into a given playing situation. The piano cycle “12 Études in all minor keys” was intended to be hommage to the samename work by Charles-Valentin Alkan. The iconic ceremoniousness of the title forms a special fi eld of culture, which creates a laughter background. Most of the cycle items correspond to the creativity of a particular artist whose musical image appears through the original style of writing. The synthesizing type of composer’s thinking contributes to the combining the music and the colorifi c etude, that is, the virtuoso music piece and the exercise at the same time, and a graphic sketch-drawing, and to the creation of a musical portrait “gallery” (F. Chopin, N. Paganini, F. Liszt, Ch. Alcan, D. Scarlatti , P. Tchaikovsky, J. Rossini, V. Goethe and the author himself). Using masks, theatrical techniques, bright characters is manifested at all levels and serve as markers of a carnival. The existing playing mode ensures the importance and essentiality of laughter. M.-A. Hamelin refers to the established palette of the piano techniques and formulas, while demonstrating new algorithms of interpreting the existing traditions. A musical rebus is the leading idea. To embody this idea, it is required to use not only artistic ingenuity, but also the competition elements. These are “Triple” etudes Nr. 1 (after Chopin) and Nr. 4 (after Alkan), where counterpoint techniques are enriched by the principle of combination. The other side of “rebusness” is demonstrated in the Etude Nr. 8, where the plot of “The Elf King” ballad by Goethe is very accurately reproduced through the piano means of expressiveness. Competitive ingenuity presides in the Etude Nr. 7 for the left hand (“The Lullaby” by P. Tchaikovsky) and Nr. 3 – an alternative transcription of “La campanella” by N. Paganini, which turns into an evil joke compared to Liszt’s interpretation. This is another side of laughter, a dark one, an enhancement of grotesque imagery. Etude Nr. 5, “Toccata grottesca”, looks similarly. Here, the grotesque images are represented by transcendental pianism, unceasing “drive”, change of metric pulsation and rhythmic groups, and wide dynamic amplitude. The lookalike expressive complex is also used in another music piece – toccata “L’Homme armé”. Another variant of laugher is the creation of a musical “shapeshifter” – re-interpretation of an original source to the point where it is hardly recognized. For example, Etude Nr. 9 (after Rossini) and Nr. 10 (after Chopin), where the principle of transformation is prevailing. The presence of a highly-intellectual play allows us to draw a parallel with baroque inventory. In the latest etudes of the cycle, M.-A. Hamelin uses such genres as “Minuetto” (Nr. 11) and “Prelude and Fugue” (Nr. 12). Therefore, using a certain genre model, the composer places it in different context conditions, creating a special laughter-playing space, where all the main sources of comic elements are involved: a parody, implemented through the stylization or the style dialogue-collision; daily mode of like, which is refl ected in a festive-carnival worldview, and fantasy, which determines the composer’s inventiveness. M.-A. Hamelin chose the same creative strategy when composing “Variations on the theme of Paganini” for piano solo. A playful piece “Waltz-Minute” is another example of the laughter potency. It resembles either a relative transcription of the famous work by F. Chopin, or a music sketch, or a fi xed improvisation. In the reprise, the graceful and airy waltz turns into a friendly caricature through using the dissonant seconds, the change of touche and an excellent artistic presentation. This creates the effect of distance in time, in epochal or individual style, even in the own “Me”. Another area of the laughter direction employment is the actualization of the playing sound image of the instrument. These are music pieces designed for a player piano. It is signifi cant that the composer tends to the theme of circus, which echoes with carnival, stunts, and fun. Conclusions. Being a universal personality, the artist determines the predominance of combinatorics as a guiding principle of author’s thinking. The key to understanding the composer’s style is the laughter tradition. The main artistic ideas are: portrait, character, mask, “rebus”, competition, creation of “shapeshifting” music pieces, “duality”. Talking about the level of musical stylistics, these features appear through the usage of a quoted material, stylization, grotesque, caricature and pamphlet elements. They are also expressed through the transformation of the original themes, re-interpretation, using multiple rhythmic layers, redesign of modes and counterpoint ingenuity.

Рассматривается возможность использования исторически сложившихся интонационных семантических стереотипов для развития творческой активности учащихся, мотивации познавательной учебной деятельности. Анализируются конкретные варианты использования «мигрирующих интонационных комплексов» для импровизации, сочинения, ансамблевого музицирования на музыкально-теоретических дисциплинах детских музыкальных школ (детских школ искусств), на музыкальных занятиях общеобразовательных школ и различных учреждениях дополнительного образования, включая дошкольное. Именно мотивация способствует достижению важнейшей цели в образовании – экологизации учебного процесса. Это значит максимально вписать учебную деятельность в жизненные потребности учащихся. Положительно переживаемые эмоции в процессе музыкальных занятий способствуют решению очень многих задач. «Пропустить» музыку через себя, «прожить в ней», музицируя, – значит полюбить, понять. Решение весьма сложных вопросов музыкальной педагогики академик Б. В. Асафьев видел в использовании семантического подхода, открывающего и перспективу будущих исследований ученых, и перспективу разработки методики и методологии семантического подхода в музыкально-художественном воспитании и образовании. На основе семантического подхода-анализа исследуются наиболее яркие культурные коды «золотого фонда стандартов» мировой музыки. Представлены некоторые методические подходы-рекомендации и предложения их практического использования в музыкальной педагогике. Сделаны соответствующие выводы по теме исследования. На основе семантического подхода-анализа можно раскрыть феномен музыкального текста, его смысла «не только с позиции фонетики, грамматики и синтаксиса», но и «с точки зрения поэтики, семантики, стилистики». Используя семантический подход в процессе обучения, можно приобрести «навыки устной музыкальной речи» – импровизации, бывшей обязательной когда-то при подготовке музыканта. Необходимо создание «органичной межпредметной связи» между теоретическими дисциплинами и «музицирующей практикой», так как теоретические дисциплины могут и изначально должны быть музицирующими. Вопрос в методике, методологии «погружения» в музыку. Музыкальной педагогике еще предстоит принять и освоить семантический подход, учитывая уровень современной психологии восприятия, выработать методику и методологию учебного процесса, чтобы заинтересовать, увлечь, влюбить в музыку, слушаемую и исполняемую. The article considers the possibility of using historical intonation semantic stereotypes for the development of creative activity of students, motivation of cognitive learning activities. Specific options are being considered for the use of «migratory intonation complexes» for improvisation, composition, ensemble music in the musical-theoretical disciplines of CMS / CSA, in music classes of general education school and various institutions of additional education, including pre-school. It is motivation that contributes to the achievement of the most important goal in education - the greening of the educational process. This means to maximally incorporate educational activities into the life needs of students. Positively experienced emotions in the process of music classes contribute to the solution of many problems. To «pass» music through oneself, «to live in it» while playing music means to love, to understand. Academician B. V. Asafiev saw the solution to very complex issues of musical pedagogy in the use of the semantic approach, which opens up both the prospect of future research of scientists, and the prospect of developing the methods and methodology of the semantic approach in musical and artistic education and training. Based on the semantic approach of analysis the article explores the brightest cultural codes of the «golden fund of standards» of world music. Some methodical approaches-recommendations and proposals for their practical use in music pedagogy are presented. In the effective and final sections of the article, the relevant conclusions are drawn on the topic of the study. On the basis of semantic approach-analysis it is possible to reveal the phenomenon of musical text, its meaning «not only from the position of phonetics, grammar and syntax», but also «from the point of view of poetics, semantics, style». Using a semantic approach in the process of learning you need to acquire «the skills of oral musical speech» – improvisation, which was once obligatory in the training of a musician. It is necessary to create an «organic intersubject communication» between theoretical disciplines and «music-making practice» because theoretical disciplines can and should be musical. The question is the methods of teaching, the methodology of «immersion» in music. Musical pedagogy has yet to be adopted and mastered, taking into account the level of modern psychology of perception, to develop the methods and methodology of the educational process to interest, captivate, to make students fall in love with music heard and performed.

Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of professional theater for children, take in account its growing popularity, both in the world and in Ukrainian musical culture. The lack of scientific research that fully and comprehensively cover the scientific and practical significance of musical children’s plays by Marko Kropyvnytskyi for the development of musical children’s theater in Ukraine indicates the need for more in-depth researching of the chosen topic. In our research, we rely on the works and articles of authoritative experts – in particular, I. Franko (1910), M. Voronyi (1913), D. Antonovich (1925), P. Rulin (1929), I. Mar’ianenko (1953), P. Kyrychok (1985), N. Yosipenko (1958), P. Perepelitsa (1956), A. Novikov (2007; 2011), L. Moroz (1990). The vast majority of researchers noted the great merits of the artist to the national drama in particular and Ukrainian culture in general. Among the scientific works devoted to Kropyvnytskyi as a children’s playwright, one can distinguish the research by A. Novikov (2007), which focuses on the history of creation of the first children’s troupe in the country, which had no analogues in the history of the world theater, since the actors in it were peasant children. In mentioned critical and scientific works, the innovative features of the playwright’s creative heritage are outlined, attention is focused on the specifics of the genre and problem-thematic range, literary-aesthetic, socio-political, and pedagogical views. The literary and theatrical activity of M. Kropyvnytskyi has been thoroughly studied. However, there is still no work that comprehensively reveal his musical and dramatic creativity for children. The purpose of the article is to show the significant role of M. Kropyvnytskyi in the development of children’s musical theater in Ukraine based on the research of children’s musical and dramatic creativity by the artist. The research methodology is integrative. The work uses knowledge of various fields of art history and related sciences: history and theory of theater, music theory, music and theater psychology, vocal and theater pedagogy. Presentation of the main material. A great pride of the playwright is the foundation by him on the territory of his village Zatyshok of the children’s theater, “actors” in which were his own and peasant children. This event was and remains unprecedented, since nothing like this has been observed in the history of Ukrainian and European culture. The troupe consisted of peasant children aged 10–13. For performances, Kropyvnytskyi assigned the largest room (hall) in the old house, where, as in a real theater, the stage was equipped. The first performance, “Goat-Dereza” (“Koza-dereza”), took place on Christmas day, 1906. The playwright drew the scenery himself, and prepared the costumes together with the children. The play was a great success. A few days later, the children’s troupe was invited to a “tour” in the neighboring village, and the entire theater with the scenery on five carts went on a journey of six versts (Novikov, 2007: 33). In the children’s repertoire at that time, there was, in fact, only one work – the opera by M. Lysenko “Goat-Dereza” (“Koza-dereza”) (libretto by Dniprova Chaika). Ukrainian children’s repertoire did not exist at that time, and in 1907, Kropyvnytskyi created two plays for young performers based on folk tales – “Ivasyk-Telesyk” and “At the behest of the pike” (“Po shchuchomu velinniu”). The performances included vocal numbers composed by M. Kropyvnytskyi on the themes of Ukrainian folk melodies. In a letter to his good friend entrepreneur A. Suslov in January 1908, the writer, in particular, notes: “I have assembled a troupe of peasant children and I am staging in the villages: Goat-dereza, IvasykTelesyk, and At the behest of the pike (the latter both are my)” (Kropyvnytskyi, 1960: 530). Based on the plot of folk tales of the same name, he wrote original musical and dramatic works for children of great educational value. The plays are quite simple in meaning and clearly depict the images of all the negative and positive characters. The first represent such social vices as lies and insincerity, and the second are carriers of eternal positive qualities – sincerity, candor, hard work. The plays are written in an exquisite Ukrainian language, close to the oral poetic creativity. All this, as M. Yosypenko rightly notes, is evidence of “a serious approach of M. Kropyvnytskyi to the business of writing plays for children, a deep knowledge of the psychology of the young audience and its cultural and educational needs and demands” (Yosypenko, 1958: 265). The performances require participation of music, which organic include into the language range of the play itself. Music explains and complements the true meaning of the situation to the young audience. Ukrainian musical folklore material formed the basis of the musical solution of M. Kropyvnytskyi’s children’s performances. Most often, folk songs served as a means to create the image and were introduce before the dramatic action mainly by the method of self-presentation: performing a particular song, the characters showed certain traits of their nature. The songs help to reveal the inner world of the characters, to express their state of mind and moods; often they contributed to the creation of the necessary stage atmosphere: festivities, fun and jokes. A significant part of the characters could not be imagined without songs. Using some folk melodies, Kropyvnytskyi mainly wrote original music, close in melody to the folk-song sources. Solo numbers, ensembles, and choirs are organically woven into the dramaturgy of these plays. A clear reflection of the integrity and unity of the musical and dramatic process is the principle of end-to-end development of the main musical idea of performances. In preparation for productions of his children’s plays, Kropyvnytskyi wrote an orchestration for them also. Intending to put these plays on the professional stage, Kropyvnytskyi wrote down advice to future directors regarding the production of their children’s plays. He began to think of broader horizons for them. In the spring of 1910, small artists had to show their art to the audience of the neighboring county town Kupyansk. However, the premature death of the Ukrainian playwright did not allow this plan to be realized. The children’s troupe soon ceased to exist. Kropyvnytskyi children’s troupe and the repertoire he created for it became a prologue to the development of the Ukrainian theater’s creativity for young viewers. In nowadays from the repertoire do not go off the pearls of drama for children “Ivasik-Telesik’ and “At the behest of the pike”. Conclusions. Marko Kropyvnytskyi’s creative heritage and practical activities wrote the gold pages to the history of Ukrainian musical children’s drama and Ukrainian children’s theater. Children’s musical and dramatic works of the writer based on song folklore are the effective mean to educate positive attitude of young Ukrainians to folk tradition as well as to form positive nature traits: generosity, hospitality, goodwill, charity.

Anatoliy Haidenko’s creative path lasts for about sixty years, during which this outstanding musician has been working fruitfully as a composer, performer, teacher, scientist, methodologist, music and public figure. The versatility of his personality, the diversity of talents, the relentless search for new ideas or means of expression, interest in a wide range of current issues of today are fully manifested in each of these areas. The desire to keep up, not to miss any opportunity to do something for people and at the same time to find time to «create» music in the silence of the cabinet led to a fair recognition of the achievements of Anatoliy Haidenko, currently an honored artist of Ukraine, professor, winner of numerous prestigious awards, permanent member of the jury of national and international festivals and competitions. Background. The figure and work of Anatoly Haidenko often attracts the attention of music scholars. In the field of view of researchers there were, above all, the issues of biographical and aesthetic nature, which are the necessary foundation for a thorough study of the artist’s work. Genre searches and stylistic principles of creativity are another important vector of research, based on analytical observations of Anatoliy Haidenko’s music. However, unfortunately, there are few special works dedicated to the creative work of the Kharkiv composer. Separate pieces of information about some of his opuses, as a rule, are contained in works aimed at highlighting certain trends in modern Ukrainian, especially accordion music. Thus, in order to establish the worldview of the composer, his creative and aesthetic principles, it is necessary to review the available in domestic musicology knowledge about Anatoliy Haidenko and his music. The purpose of the article is to highlight the figure of the artist and his contribution to the Ukrainian academic music art. The material of this research. Analyzing the scientific sources that cover the figure of the outstanding artist A. Haidenko, it is necessary to single out the meaningful work of the monographic type by A. Semeshko (2010) from the series “Portraits of modern Ukrainian composers” about the life and career of A. Haidenko. T. Bolshakova’s textbook (2007) “Concert works for accordion by A. Haidenko” is, in fact, a detailed preface to the publication of musical texts of accordion works of the composer, which had not been published before. The scholar focuses on the artist’s inherent synthesis of modern compositional writing and Ukrainian folk music tradition, emphasizing their subordination to the symphonic thinking of the master. T. Bolshakova’s opinion is also important regarding the “neo-pantheistic concept of existence”, the manifestos of which in A. Haidenko’s works are “the figurative content and semantics of the musical language of his works” (Bolshakova, 2007). The author of the candidate’s dissertation on the topic: “Bayan creativity of Anatoliy Haidenko: aesthetic and genre-style aspects” (Yeromenko, 2019) of Sumy, defended in 2019, thoroughly researches the creative way and accordion work of A. Haidenko. Tracing the evolution of the artist’s compositional path, the researcher A. Stashevsky (2013) identifies the most significant works from his point of view, briefly characterizing them. This opinion is asserted by A. Stashevsky in fundamental work “Modern Ukrainian music for accordion: means of expression, compositional technologies, instrumental style” (2013). In this work, the composer’s work is considered in the section devoted to one of the main vectors of development of modern accordion music – folklore and neo-folklore. Conclusions. During the sixty years of his creative path A. Haidenko has been fruitfully working in various spheres of activity: composition, performance, pedagogical, scientific, methodical, musical and public ones. Performing activities began with a trip as part of a student concert. The activity, which began with travels as part of concert student brigades and continued during the work in Sumy, demonstrated the talent of A. Haidenko as a bayan soloist and ensemble player. However, later the leading role was played by the compositional and pedagogical areas of activity. As a composer, A. Haidenko went through a difficult path from the status of “amateur author” to a recognized master of large forms and exquisite miniatures. Four works, submitted by him before joining the Union of Composers of Ukraine, identified the main directions of his further creative activity: symphonic music, music for folk instruments, choral and chamber and vocal music. A. Haidenko’s teaching activity – ten years of work at the Sumy Music School, four years at the Kharkiv Institute of Culture and more than forty years of hard work at the Department of Folk Instruments at the Kotlyarevsky Kharkiv National University of Arts – contributed to the formation of their own pedagogical principles, proved by the students of A. Haidenko: Y. Alzhnev, V. Geiko, A. Zhukov, E. Ivanov, S. Kolodyazhny. A. Haidenko’s research interests are connected with the history of the Kharkiv school of composition and instrument science. The textbook “Instrumentology and Fundamentals of Instrumentation Theory”, published in 2010 and addressed to teachers and students of folk instruments departments of higher musical educational institutions, is the result of many years of experience teaching the relevant course at KhNUA named after I. P. Kotlyarevsky. A significant place in the life of A. Haidenko is occupied by musical and public activities. In the National Union of Composers of Ukraine, he has served as Deputy Chairman and Executive Secretary of the Kharkiv Organization, a member of the UWC Board and Audit Committee, and Chairman of the Music Fund. Anatoliy Pavlovych Haidenko is also a member of the National All-Ukrainian Music Union, the Supervisory Board of the Ukrainian Cultural Foundation, and regularly participates in the jury of various competitions and festivals.

Groove is a common experience in music listeners, often described as an enjoyable impulse to move in synchrony with the music. Research has suggested that the groove experience is influenced by listeners’ musical taste and their familiarity with a musical repertoire. This study reports the results from an online listening experiment in which 233 participants rated the groove quality of 208 short clips from different Western popular music styles. Findings show that participants’ familiarity with a song, its musical style, and listeners’ preference for that style have a considerable effect on the groove experience. Overall, pop and funk stimuli triggered a stronger groove experience than rock stimuli. Listeners had a tendency to give high groove ratings to music they had heard before and to music that belonged to a style they liked. Results also show that professional musicians had a tendency to experience more groove in response to funk compared to pop music, whereas non-musicians experienced more groove with pop compared to funk. Together, these effects explained approximately 15% of the groove ratings’ variance. In sum, listeners’ attitudes and their musical backgrounds have a considerable impact on their experience of groove.

This paper discusses how different ways of defining the ontological status of recorded sound have developed throughout the 20th century. My claim is that even within the period of analog technology, sound recording was moving away from its purposes of preserving and documenting real life musical performances. I will illustrate this by using three different examples. First, I will look at how John and Alan Lomax´s folkloristic documentation of blues music in the 1930s changed the very culture they documented by introducing a new medium that enabled the sharing and dissemination of music beyond the word of mouth. Secondly, I will look at how the producer John Culshaw redefined the recording of classical music in the 1960s by moving away from the ideal of documenting an actual performance and towards the use of technology to brake previous constraints imposed on the musicians and create an improved version of the musical work. Lastly, I will look at Brian Eno and David Byrne´s My life in the Bush of Ghosts (1981), which utilized tape splicing technology to create a blend of western funk and pop with field recordings of non-western folk music and various other sound sources.

In Finnish popular music, the adoption of electronic musical instruments, such as synthesizers, drum machines, sequencers, samplers, computers and musical software progressed slowly and was a complicated process until the early 1990s. Compared with Swedish, German and British pop and rock the electronic instruments remained longer in the margins of rock and pop rock. Regardless of the breakthrough of synths and drum machines in certain styles, such as progressive rock, funk and disco, synth pop and hip hop, the majority of Finnish bands and artists shunned synthesizers until the mid-1980s. Only after the waves of hip hop, house, techno and euro dance in the late 1980s and early 1990s, synthesizers were widely accepted as ‘normal’ and equal rock instruments. In this article, I focus on the adoption of music technology among Finnish rock and pop musicians of the 1970s and 1980s. I have interviewed three electronic musicians from three different generations. Esa Kotilainen (b. 1946), Pekka Tolonen (b.1957) and Tommi Lindell (b.1966) have all witnessed several turns in the emergence of electronic musical instruments. They have also experienced various changes in lieu the accessibility and acceptability of synthesizers. In Finland, they are known as the early adopters and intensive users of the musical electronics. In the first section of the article I ask, when and how electronic musical instruments became more popular in Finland and how they were adopted and used in progressive rock, new wave, synth pop, goth rock and mainstream pop. I also frame an overview on the adoption of synthesizers in Finnish pop and rock. The section also parallels the developments with Finnish schlager and disco, where synthesizers were intensively used by a handful of composers and producers in the late 1970s and early 1980s. In this section, I primarily utilized published interviews and magazine articles supplemented with a small selection of musical release reviews and synthesizer advertisements. The next three sections follow my observations and conclusions which primarily stem from the interviews with three above-mentioned musicians. I also utilize some additional interviews with other musicians. I inquired how the interviewees encountered electronic instruments, how they have used their instruments and how the early adoption of synthesizers has contributed to their understanding of sound and music. Furthermore, we discussed on the impact of the electronic instruments on their musicianship, career and the regeneration of their professional image. Regarding the ‘synthesizer turns’ in the history of Finnish pop and rock I invited the interviewees to recall the response displayed by their fellow musicians, producers and the audience. In the concluding section, I sum up my observations. One of them is that in Finland electronic musical instruments seem to gain in popularity in jumps which coincide not only with international pop trends but also with some major technological developments and the waves of marketing. This is not unexpected by any means, but it makes an interesting case in Finland. While the more advanced and more affordable synthesizers of the period 1980–83 marked the final breakthrough of electronic instruments in Western pop and rock, in Finland only a couple of tens of musicians adopted synthesizers as their primary instruments. Furthermore, in Finland only a handful of fully or almost fully electronic bands emerged in the early 1980s. All of them remained short-lived. Only some of the most popular teeny pop bands of the early and mid-1980s adopted synthesizers as their main keyboards. The accelerated marketing cycles of synthesizers provoked suspicion among some Finnish musicians; synthesizers could be left aside as novelty gimmicks and earmarks of a momentary trend. One reason for denouncing the ‘synths’ in the 1980s mainstream rock may have been the developing ‘Suomi-rock’ (Finnish rock), a down-to-earth, nationally and locally rooted style which got a heavy dose of influence from Finnish folk and the long tradition of Finnish schlager. One extra reason for a rocker in keeping off synthesizers was the extensive use of electronic musical instruments in Finnish light pop and schlager in the early 1980s. However, in the late 1980s it became audible that synthesizers had survived and welcomed in the margins of rock, pop and especially within the emerging new styles of electronic dance music.

Music is a powerful approach to engage communities and disseminate information. Specifically, health campaigns employing music have been used to promote behaviors that can prevent emerging infectious diseases (EIDs). For example, hip hop artists supported campaigns to prevent acquired immunodeficiency syndrome in the 70s in the United States, while Brazilian funk promoted vaccination to mitigate the ongoing COVID-19 pandemic. Similarly, we broadcast musical messages in local languages to increase community awareness and support prevention measures in Guinea and Liberia in response to the recent Ebola outbreak in 2021. Given the potential of music to promote both individual and population-level behavioral changes to prevent transmission, there is a need to consolidate information on music-based health interventions, and on how we can measure their effectiveness. In this perspective, we provide examples of relevant initiatives, discussing challenges and solutions associated with implementing interventions based on our experience with the 2021 Ebola outbreak. We recommend four steps for a successful music-based health intervention including (1) establishing a task force, (2) compose a “catchy” song including critical preventive measures, (3) deliver the song to the target audience, and (4) evaluate the campaign effectiveness. We argue that close interactions between scientists and musicians can produce rapid musical content for disease prevention. We also identify and discuss several methodological frameworks for testing the effectiveness of such interventions. We conclude that support from public health authorities, government media departments, and international agencies, is necessary to deliver wide outreach and long-term sustainability of musical messaging toward effective EID prevention.

IntroductionMusicians and critics regard Australian jazz as vibrant and creative (Shand; Chessher; Rechniewski). From its tentative beginnings in the early twentieth century (Whiteoak), jazz has become a major aspect of Australia’s music and performance. Due to the large distances separating cities and towns, its development has been influenced by geographical isolation (Nikolsky; Chessher; Clare; Johnson; Stevens; McGuiness). While major cities have been the central hubs, it is increasingly acknowledged that regional centres also provide avenues for jazz performance (Curtis).This article discusses findings relating to transient musical populations shaped by geographical conditions, venue issues that are peculiar to the Northern region, and finally the challenges of cultural and parochial mindsets that North Queensland jazz musicians encounter in performance.Cairns and MackayCairns and Mackay are regional centres on the coast of Queensland, Australia. Cairns – population 156,901 in 2016 (ABS) – is a world famous tourist destination situated on the doorstep of the Great Barrier Reef (Thorp). Mackay – population 114,969 in 2016 (ABS) – is a lesser-known community with an economy largely underpinned by the sugar cane and coal mining industries (Rolfe et al. 138). Both communities lie North of the capital city Brisbane – Mackay in the heart of Central Queensland, and Cairns as the unofficial capital of Far North Queensland. Mackay and Cairns were selected for this study, not on representational grounds, but because they provide an opportunity to learn through case studies. Stake notes that “potential for learning is a different and sometimes superior criterion to representativeness,” adding, “that may mean taking the one most accessible or the one we can spend the most time with (451).”Musically, both regional centres have a number of venues that promote live music, however, only Cairns has a dedicated jazz club, the Cairns Jazz Club (CJC). Each has a community convention centre that brings high-calibre touring musicians to the region, including jazz musicians.Mackay is home to the Central Queensland Conservatorium of Music (CQCM) a part of the Central Queensland University that has offered conservatoire-style degree programs in jazz, contemporary music and theatre for over twenty-five years. Cairns does not have any providers of tertiary jazz qualifications.MethodologySemi-structured in-depth interviews were conducted with twenty-two significant individuals associated with the jazz communities in Mackay and Cairns over a twelve-month period from 2015 to 2016. Twelve of the interviewees were living in Cairns at the time, and ten were living in Mackay. The selection of interviewees was influenced by personal knowledge of key individuals, historical records located at the CQCM, and from a study by (Mitchell), who identified important figures in the Cairns jazz scene. The study participants included members of professional jazz ensembles, dedicated jazz audience members and jazz educators. None of the participants who were interviewed relied solely on the performance of jazz as their main occupation. All of the musicians combined teaching duties with music-making in several genres including rock, jazz, Latin and funk, as well as work in the recording and producing of recorded music. Combining the performance of jazz and commercial musical styles is a common and often crucial part of being a musician in a regional centre due to the low demand for any one specific genre (Luckman et al. 630). The interview data that was gathered during the study’s data collection phase was analysed for themes using the grounded theory research method (Charmaz). The following sections will discuss three areas of findings relating to some of the unique North Queensland influences that have impacted the development and sustainability of the two regional jazz communities.Transient Musical PopulationsThe prospect of living in North Queensland is an alluring proposition for many people. According to the participants in this study, the combination of work and a tropical lifestyle attracts people from all over the country to Cairns and Mackay, but this influx is matched by a high population turnover. Many musicians who move into the region soon move away again. High population turnover is a characteristic of several Northern regional centres such as the city of Darwin (Luckman, Gibson and Lea 12). The high growth and high population turnover in Cairns, in particular, was one of the highest in the country between 2006 and 2011 (ABS). The study participants in both regions believed that the transient nature of the local population is detrimental to the development and sustainability of the jazz communities. One participant described the situation in Cairns this way: “The tropics sort of lure them up there, tease them with all of the beauty and nature, and then spit them out when they realise it’s not what they imagined (interviewee 1, 24 Aug. 2016).” Looking more broadly to other coastal regional areas of Australia, there is evidence of the counter-urban flow of professionals and artists seeking out a region’s “natural and cultural environment” (Gibson 339). On the far North coast of New South Wales, Gibson examined how the climate, natural surroundings and cultural charms attracted city dwellers to that region (337). Similarly, most of the participants in this study mentioned lifestyle choices such as raising a family and living in the tropics as reasons to move to Cairns or Mackay. The prospect of working in the tourism and hospitality industry was found to be another common reason for musicians to move to Cairns in particular. In contrast to some studies (Salazar; Conradson and Latham) where it was found that the middle- to upper-classes formed the majority of lifestyle migrants, the migrating musicians identified by this study were mostly low-income earners seeking a combination of music work and other types of employment outside the music industry. There have been studies that have explored and critically reviewed the theoretical frameworks behind lifestyle migration (Benson and Osbaldiston) including the examination of issues and the motivation to ‘lifestyle migrate’. What is interesting in this current study is the focus of discussion on the post-migration effects. Study participants believe that most of the musicians who move into their region leave soon afterwards because of their disillusionment with the local music industry. Despite the lure of musical jobs through the tourism and hospitality industry, local musicians in Cairns tend to believe there is less work than imagined. Pub rock duos and DJs have taken most of the performance opportunities, which makes it hard for new musicians to compete.The study also reveals that Cairns jazz musicians consider it more difficult to find and collaborate with quality newcomers. This may be attributed to the smaller jazz communities’ demand for players of specific instruments. One participant explained, “There’s another bass player that just moved here, but he only plays by ear, so when people want to play charts and new songs, he can’t do it so it's hard finding the right guys up here at times (interviewee 2, 23 Aug. 2016).” Cairns and Mackay participants agreed that the difficulty of finding and retaining quality musicians in the region impacted on the ability of certain groups to be sustainable. One participant added, “It’s such a small pool of musicians, at the moment, I've got a new project ready to go and I've got two percussionists, but I need a bass player, but there is no bass player that I'm willing to work with (interviewee 3, 24 Aug. 2016).” The same participant has been fortunate over the years, performing with a different local group whose members have permanently stayed in the Cairns region, however, forging new musical pathways and new groups seemed challenging due to the lack of musical skills in some of the potential musicians.In Mackay, the study revealed a smaller influx of new musicians to the region, and study participants experienced the same difficulties forming groups and retaining members as their Cairns counterparts. One participant, who found it difficult to run a Big Band as well as a smaller jazz ensemble because of the transient population, claimed that many local musicians were lured to metropolitan centres for university or work.Study participants in both Northern centres appeared to have developed a tolerance and adaptability for their regional challenges. While this article does not aim to suggest a solution to the issues they described, one interesting finding that emerged in both Cairns and Mackay was the musicians’ ability to minimise some of the effects of the transient population. Some musicians found that it was more manageable to sustain a band by forming smaller groups such as duos, trios and quartets. An example was observed in Mackay, where one participant’s Big Band was a standard seventeen-piece group. The loss of players was a constant source of anxiety for the performers. Changing to a smaller ensemble produced a sense of sustainability that satisfied the group. In Cairns, one participant found that if the core musicians in the group (bass, drums and vocals) were permanent local residents, they could manage to use musicians passing through the region, which had minimal impact on the running of the group. For example, the Latin band will have different horn players sit in from time to time. When those performers leave, the impact on the group is minimal because the rhythm section is comprised of long-term Cairns residents.Venue Conditions Heat UpAt the Cape York Hotel in Cairns, musicians and audience members claimed that it was uncomfortable to perform or attend Sunday afternoon jazz gigs during the Cairns summer due to the high temperatures and non air-conditioned venues. This impact of the physical environment on the service process in a venue was first modelled and coined the ‘Servicescape’ by Bitner (57). The framework, which includes physical dimensions like temperature, noise, space/function and signage, has also been further investigated in other literature (Minor et al.; Kubacki; Turley and Fugate). This model is relevant to this study because it clearly affects the musician’s ability to perform music in the Northern climate and attract audiences. One of the regular musicians at the Cape York Hotel commented: So you’re thinking, ‘Well, I’m starting to create something here, people are starting to show up’, but then you see it just dwindling away and then you get two or three weeks of hideously hot weather, and then like last Sunday, by the time I went on in the first set, my shirt was sticking to me like tissue paper… I set up a gig, a three-hour gig with my trio, and if it’s air conditioned you’re likely to get people but if it’s like the Cape York, which is not air conditioned, and you’re out in the beer garden with a tin roof over the top with big fans, it’s hideous‘. (Interviewee 4, 24 Aug. 2016)The availability of venues that offer live jazz is limited in both regions. The issue was twofold: firstly, the limited availability of a larger venue to cater for the ensembles was deemed problematic; and secondly, the venue manager needed to pay for the services of the club, which contributed to its running costs. In Cairns, the Cape York Hotel has provided the local CJC with an outdoor beer garden as a venue for their regular Sunday performances since 2015. The president of the CJC commented on the struggle for the club to find a suitable venue for their musicians and patrons. The club has had residencies in multiple venues over the last thirty years with varying success. It appears that the club has had to endure these conditions in order to provide their musicians and audiences an outlet for jazz performance. This dedication to their art form and sense of resilience appears to be a regular theme for these Northern jazz musicians.Minor et al. (7) recommended that live music organisers needed to consider offering different physical environments for different events (7). For example, a venue that caters for a swing band might include a dance floor for potential dancers or if a venue catered for a sit down jazz show, the venue might like to choose the best acoustic environment to best support the sound of the ensemble. The research showed that customers have different reasons for attending events, and in relation to the Cape York Hotel, the majority of the customers were the CJC members who simply wanted to enjoy their jazz club performances in an air conditioned environment with optimal acoustics as the priority. Although not ideal, the majority of the CJC members still attended during the summer months and endured the high temperatures due to a lack of venue suitability.Parochial MindsetsOne of the challenging issues faced by many of the participants in both regions was the perceived cultural divide between jazz aficionados and general patrons at many venues. While larger centres in Australia have enjoyed an international reputation as creative hubs for jazz such as Melbourne and Sydney (Shand), the majority of participants in this study believed that a significant portion of the general public is quite parochial in their views on various musical styles including jazz. Coined the ‘bogan factor’, one participant explained, “I call it the bogan factor. Do you think that's an academic term? It is now” (interviewee 5, 17 Feb. 2016). They also commented on dominant cultural choices of residents in these regions: “It's North Queensland, it's a sport orientated, 4WD dominated place. Culturally they are the main things that people are attracted to” (interviewee 5, 17 Feb. 2016). These cultural preferences appear to affect the performance opportunities for the participants in Cairns and Mackay.Waitt and Gibson explored how the Wollongong region was chosen as an area for investigation to see if city size mattered for creativity and creativity-led regeneration (1224). With the ‘Creative Class’ framework in mind (Florida), the researchers found that Wollongong’s primarily blue-collar industrial identity was a complex mixture of cultural pursuits including the arts, sport and working class ideals (Waitt and Gibson 1241). This finding is consistent with the comments of study participants from Cairns and Mackay who believed that the identities of their regions were strongly influenced by sport and industries like mining and farming. One Mackay participant added, “I think our culture, in itself, would need to change to turn more people to jazz. I can’t see that happening. That’s Australia. You’re fighting against 200 years of sport” (interviewee 6, 12 Feb. 2016). Performing in Mackay or Cairns in venues that attract various demographics can make it difficult for musicians playing jazz. A Cairns participant added, “As Ingrid James once told me, ‘It's North Queensland, you’ve got an audience of tradesman, they don't get it’. It's silly to think it's going to ever change” (interviewee 7, 26 Aug. 2016). One Mackay participant believed that the lack of appreciation for jazz in regional areas was largely due to a lack of exposure to the art form. Most people grow up listening to other styles of music in their households.Another participant made the point that regardless of the region’s cultural and leisure-time preferences, if a jazz band is playing in a football club, you must expect it to be unpopular. Many of the research participants emphasised that playing in a suitable venue is paramount for developing a consistent and attentive audience. Choosing a venue that values and promotes the style of jazz music that the musicians are performing could help to attract more jazz fans and therefore build a sustainable jazz community.Refreshingly, this study revealed that musicians in both regions showed considerable resilience in dealing with the issue of parochial mindsets, and they have implemented methods to help educate their audiences. The audience plays a significant part in the development and future of a jazz community (Becker; Martin). For the Central Queensland Conservatorium of Music in Mackay, part of the ethos of the institution is to provide music performance and educational opportunities to the region. One of the lecturers who made a significant contribution to the design of the ensemble program had a clear vision to combine jazz and popular music styles in order to connect with a regional audience. He explained, “The popular music strand of the jazz program and what we called the commercial ensembles was very much birthed out of that concept of creating a connection with the community and making us more accessible in the shortest amount of time, which then enabled us to expose people to jazz” (interviewee 8, 20 Mar. 2016).In a similar vein, several Cairns musicians commented on how they engaged with their audiences through education. Some musicians attempted to converse with the patrons on the comparative elements of jazz and non-jazz styles, which helped to instil some appreciation in patrons with little jazz knowledge. One participant cited that although not all patrons were interested in an education at a pub, some became regular attendees and showed greater appreciation for the different jazz styles. These findings align with other studies (Radbourne and Arthurs; Kubacki; Kubacki et al.), who found that audiences tend to return to arts organizations or events more regularly if they feel connected to the experience (Kubacki et al. 409).ConclusionThe Cairns and Mackay jazz musicians who were interviewed in this study revealed some innovative approaches for sustaining their art form in North Queensland. The participants discussed creative solutions for minimising the influence of a transient musician population as well as overcoming some of the parochial mindsets in the community through education. The North Queensland summer months proved to be a struggle for musicians and audience members alike in Cairns in particular, but resilience and commitment to the music and the social network of jazz performers seemed to override this obstacle. Although this article presents just a subset of the findings from a study of the development and sustainability of the jazz communities in Mackay and Cairns, it opens the way for further investigation into the unique issues faced. Deeper understanding of these issues could contribute to the ongoing development and sustainability of jazz communities in regional Australia.ReferencesAustralian Bureau of Statistics. "Mackay (Statistical Area 2), Cairns (R) (Statistical Local Area), Census 2016." Canberra: Australian Bureau of Statistics.———. "Perspectives on Regional Australia: Population Growth and Turnover in Local Government Areas (Lgas), 2006-2011." Canberra: Australian Bureau of Statistics.Becker, H. Art Worlds. Berkeley, CA: University of California Press, 1982.Benson, Michaela, and Nick Osbaldiston. "Toward a Critical Sociology of Lifestyle Migration: Reconceptualizing Migration and the Search for a Better Way of Life." The Sociological Review 64.3 (2016): 407-23.Bitner, Mary Jo. 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"Adapting Musicology for Commercial Outcomes." 9th International Conference on Arts and Cultural Management (AIMAC 2007), 2007.Rechniewski, Peter. The Permanent Underground: Australian Contemporary Jazz in the New Millennium. Platform Papers 16. Redfern, NSW: Currency House, 2008. Rolfe, John, et al. "Lessons from the Social and Economic Impacts of the Mining Boom in the Bowen Basin 2004-2006." Australasian Journal of Regional Studies 13.2 (2007): 134-53. Salazar, Noel B. "Migrating Imaginaries of a Better Life … until Paradise Finds You." Understanding Lifestyle Migration. Springer, 2014. 119-38. Shand, J. Jazz: The Australian Accent. Sydney: UNSW Press, 2009.Stake, Robert E. "Qualitative Case Studies." The Sage Handbook of Qualitative Research. Eds. Norman K. Denzin and Yvonna S. Lincoln. 3rd ed. Thousand Oaks, CA: Sage, 2005. 443-66. Stevens, Timothy. "The Red Onion Jazz Band at the 1963 Australian Jazz Convention." Musicology Australia 24.1 (2001): 35-61. Thorp, Justine. 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In this paper, I explore conceptions of creativity in musical performance in both popular and Western art musics. I examine Cyndi Lauper’s iconic performance of the song “Girls Just Want To Have Fun,” which transformed the meaning of Robert Hazard’s original demo of the same song. I then analyze performance choices relating to structural cadences in Mozart’s Sonata in A minor, K. 310; Bach’s Cello Suite No. 1 in G major, BWV 1007; and Beethoven’s Sonata in ".fn_flat("A")." major, op. 110.