Critical Musicology

Innerhalb des Korpus von Adornos Beethoven-Fragmenten sticht ein Kommentar ziemlich radikal und nachdenklich stimmend hervor, obwohl selten besprochen. Darin äußert der Philosoph seine Verwunderung über das Streichquartett Op. 127 in Es-Dur, das er als „eines der schwierigsten und rätselhaftesten Werke“ bezeichnet. Dieses „Rätsel“ manifestiert sich sowohl auf technischer als auch auf ästhetischer Ebene: „Der letzte Beethoven verwischt Spuren. Aber welche? […] Soll dies klingen, als wäre es nicht mehr komponiert? Wäre hier das Subjekt eingegangen in die Veranstaltung, es als erzeugendes auszuschalten? Bild einer Selbstbewegung?“ Ein Eindruck von Fluidität – erzeugt durch tänzerische Lyrik und Blockwiederholungen – führt zur Erfahrung der Entfremdung, während eine neue Zeitlichkeit die Sonatenhauptsatzform durchdringt und deren Grundpfeiler nahezu auflöst. Verschiedene Musikwissenschaftler*innen haben versucht, dieses besonderes Zeitkonzept im ersten Satz von Op. 127 zu erfassen und verwendeten dabei Begriffe wie „spiralförmig“ (B. Barry), „schwebend“ (E. McKee) oder „mythisch“ (B. Lodes). Man könnte auch Adornos „Theorie extensiven Typus“ in Betracht ziehen, die auf das Trio Op. 97 und früher auf die Pastorale angewendet wurde, um einen „epischen Charakter“ zu beleuchten – eine Musikentwicklung, die die „Naivität“ transzendiert und zu einer Art der „Selbstbesinnung“ wird.
Obwohl es eine Fülle von Analysen zu Op. 127 gibt – von D. Epstein über D. Chua bis hin zu M. Sichardt – war bisher eine genaue Skizzenforschung ausstehend, die Aufschluss über die „Spuren“ von Beethovens Intentionen geben könnten. In meinem Beitrag möchte ich die Quellen zum ersten Satz des Quartetts untersuchen, um die Rätsel und möglichen Deutungen dieser einzigartigen Sonatenform neu zu kontextualisieren. Die etwa 35 erhaltenen Skizzenseiten ermöglichen einen Einblick in den gesamten Schaffensprozess. Man kann zum Beispiel sehen, wie die erste Idee von Anfang 1823 bereits die Kombination von zwei Elementen beinhaltete: eine „un poco maestoso“-Einleitung – charakterisiert durch leere Quinten und punktierte Motive, die an die Neunte Symphonie erinnern – und ein Allegro mit flexibler Kontur (D-BNba, Engelmann-Skizzenbuch, S. 1). Die fortlaufende Skizze der Exposition, die ein Jahr später entstand, präsentiert das Eröffnungsmotto in der plastischen Akkordfolge der endgültigen Fassung, während das Allegro zunächst mit einem ‚konventionellen‘ zweiten Thema in der Dominanttonart erscheint (PL-Kj, Artaria 206, S. 98), das dann in dem weitaus überraschenderen Kontext der g-Moll-Mediante neu gestaltet wird (D-B, Artaria 205/4, S. 2). Weiterhin werde ich zeigen, wie Beethoven die Form auflockerte, indem er die Analogie zwischen dem ersten und dem zweiten Thema verstärkte: sie zeigen sich als Hell-Dunkel-Paar (Dur/Moll), das durch dieselbe Vier-Takt-Gruppenstruktur und ähnliche Motive verbunden ist. Besonders wichtig sind in diesem Zusammenhang die Entwürfe zur Durchführung, in denen die Zahlen 1–2–3–4 angegeben sind, um die Periodizität der sich wiederholenden Taktmuster zu kennzeichnen, die sich in einigen Fällen bis zu Sechserblöcken ausdehnen (A-Wgm, A 51, F. 1r). Der kompositorische Prozess zeigt also deutlich Beethovens Absicht, eine Sonatenform zu schaffen, die nicht mehr auf dialektisch motivischer Arbeit basiert, sondern sich des Fortspinnungstypus bedient, bei dem Sequenzglieder in treibender Weise wiederholt und variiert werden. Die „Selbstbewegung“ in Op. 127, die Adorno so beeindruckte, erscheint als Ergebnis, das zugleich alt und modern ist, eine Prophezeiung für zukünftige Musik.

Bu çalışma, Batı müziğinde idealizasyonun estetik ve kültürel işlevlerini psikanalitik bir perspektifle ele almaktadır. Eşit tamperaman sisteminin doğadaki mikrotonal çeşitliliği bastırarak kusursuz görünen kapalı bir düzen inşa ettiği savunulmakta; bu düzenin Freud’un idealizasyon ve bastırma kavramlarıyla ilişkilendirilebileceği ileri sürülmektedir. 20. yüzyıl başında Schoenberg’in atonal müziği ve özellikle Stravinsky’nin Bahar Ayini, bu idealize edilmiş sistemin kırılma noktaları olarak ele alınmıştır.

This research explores the practice of choral conducting in contemporary Ibadan, focusing specifically on select choral directors within the Ibadan metropolis. Through qualitative analysis, the study investigates the pedagogical approaches, stylistic variations, and cultural influences that shape choral music in this region. Data were collected through interviews and observations with prominent choral directors and their ensembles, providing insights into the uniqueness of individuals' challenges and successes in the context of Nigeria's diverse musical landscape. The findings reveal a rich tapestry of traditional and modern influences, which highlight the role of choral music as a vehicle for cultural expression and community cohesion. This study contributes to the understanding of choral conducting in Nigeria by documenting the practices of choral directors, enhancing the appreciation of their individual approaches, and suggesting pathways for future research and development in the field. The implications of this research extend beyond local contexts, offering valuable perspectives for choral practitioners and scholars who are interested in the intersection of music, culture, and education in a global context.

In this article I assess recent literature on topoi in musicological studies outlining questions (particularly the problematic synonymous use of topos and trope) redefining what the topos denotes, expanding on current understandings of topoi and contributing to the recent topic studies debate in musicology. What I call topoi here are chiefly abstract nouns such as fate, destiny, love, death, grief, piety and others which dominate libretto texts first set down by the writer and then represented musically. I broadly define these topoi as affecting and expressive thematic signifiers. Furthermore, I argue that topoi in opera enable the identification of themes or motific triggers which do not directly evoke any of the five senses. In other words, topoi (to my mind) are overarching conceptual provocations that might directly engage an audience's emotional and/or intellectual faculties rather than appealing to the sensory experiences: sight; sound; smell; taste or touch. Operatic topoi therefore operate on a non-figurative level by shaping the narrative, its representation and interpretation by means of ideas, patterns and conceptual elements which might resonate with an audience's imagination, thoughts and impressions rather than through direct sensory stimulation. However, in modern literary criticism the term topos has come to be used to identify a conventional or recurring theme or expression, often in a pejorative sense as connoting a 'cliché.' By resorting to familiar and overused expressions, critics lose the opportunity to explore what is unique and innovative about each individual staging. Rather than offering a new or insightful account, writers frequently rely on a bank of clichéd interpretations of topoi, repeating an oft-used formula that has been used numerous times to describe the narrative and characters. For my purposes, topoi are conventional (albeit sometimes stereotypical) theatrical, literary or musicorhetorical devices representing standardised ideas or concepts. My use of the term 'topos' ultimately derives from the persuasive aspect of classical rhetoric (see below) but has been adapted for my purpose, which is essentially to deconstruct how cultural practices, texts and ideologies enable readers/audiences to make 'meaning,' incorporating the imperative literary-thematic aspect explicated above. Many critical theorists today follow Aristotle (384-322 BCE) in conceptualising/defining topoi as particular stereotypical arguments that an audience could comprehend without difficulty. Aristotle first recorded the notion of the topos in Topica (350 BCE). He convincingly used topoi to locate the invention of an argument's proposition in ἔνδοξα/endoxa (opinions held by a consensus of people) deriving from δόξα/doxa (individual opinions). It is also my contention (following Aristotle) that the affective connotation of a topos (or an 'argument') is located in a shared premise which is why abstract noun or affective topoi might be considered to be prototypical or archetypal. In this article, I thus maintain that a topos (which is fundamentally a thematic context) might be collectively understood as a commonplace or common sense but could also perceived as formulaic or prosaic. In the twentieth century the 'topos' label became widely associated with literary studies following German philologist ER Curtius' European Literature and the Latin Middle Ages (1948). Curtius linked rhetorical forms to modern literary constructions in an attempt to bring back or re-invent the European Latin heritage. Curtius' innovation produced common modes of expression which both represented and had an impact or 'troped' on literary and for my purposes musico-rhetorical 'clichés.' Topoi in critical theory have a number of methodological applications here. As I argued above, I employ the term to refer to the thematic and/or conceptual rhetorical constructions by means of which I critique text, music, culture, discourse and society.

Cent mille escus, ascribed to Caron in two of its many sources, has long attracted scholarly attention. Questions nevertheless persist concerning its authorship (there are conflicting attributions), the transmission of its music (distinct versions survive), and its poetic text (with the appearance of the Leuven Chansonnier there now exist three entirely different final stanzas—a possibly unique instance among songs of the period). New information is presented on all these issues. I offer reasons for accepting Caron’s authorship, pursue various implications of the song’s complex transmission, and point to musico-poetic links with other works, including Ockeghem’s Ma maistresse, that demonstrate how well-known songs could spark chains of reference and association beyond the realm of music.

Desde a decada de 1980, a musicologia brasileira vem incorporando aspectos da Teoria Critica, desenvolvendo gradativamente uma disposicao de compreender as estruturas discursivas sobre o passado da musica no Brasil. A perspectiva e desconstruir a historiografia por suas matrizes bibliograficas, conceituais e ideologicas. O presente artigo se propoe a observar os modelos interpretativos da historiografia sobre o periodo colonial, articulando dois autores que possuem forte impacto na constituicao do saber sobre esta epoca: Francisco Curt Lange e Regis Duprat. Nessa senda, trata-se de averiguar a visao de cada autor sobre a estrutura sociopolitica que baseia suas teses sobre o exercicio da atividade musical. Diante do quadro interpretativo, o texto busca identificar os conceitos ideologicos e suas referencias teoricas, concluindo, por fim, a posicao de cada autor face as suas escolhas: Curt Lange como representante ultimo na historiografia musical brasileira do determinismo bio-sociolo...

Il Ristabilimento del canto e della musica liturgica di Pietro Alfieri Modelli per una restaurazione della musica sacra [CHIARAMIDA, M. (2025), Il Ristabilimento del canto e della musica liturgica di Pietro Alfieri, in Sacra opera o opera sacra? Musica sacra a Roma nel XIX secolo, A. Porfiri (a cura di), Solfanelli Chieti, 2025] Il panorama delle fonti in nostro possesso ci restituisce l'immagine di un ambiente romano di metà ottocento fortemente coinvolto nell'acceso dibattito circa la necessità di una profonda riforma della musica sacra, con interventi che coinvolgono sia il canto liturgico in senso proprio-il canto fermo-che la prassi strumentale, organistica in particolare. Se il punto di partenza di tale dibattito sembra basarsi su un riconoscimento condiviso degli 'abusi' in merito alla musica nella liturgia, i contributi di musicisti e studiosi sembrano tuttavia polarizzarsi in partiti contrapposti che non hanno trovato nel tempo una sintesi adeguata. In un contesto così fortemente polarizzato, il trattato intitolato Ristabilimento del canto e della musica liturgica del sacerdote romano Pietro Alfieri rappresenta un momento di particolare interesse poi-ché consente di delimitare i contorni di almeno uno dei modelli ideali a cui il mondo musicale romano fa riferimento. 1 Opinioni circa lo stato della musica sacra a Roma nella prima metà del XIX secolo Per avere una idea generale dello status quaestionis e delle problematiche sollevate in merito allo stato della musica sacra, vale la pena ripercorrere i passaggi essenziali del Rapporto intorno la Riforma della Musica di Chiesa 2 che Gaspare Spontini redige in qualità di capo di una commissione specificamente no-minata, e all'indomani dell'Editto contro l'abuso delle musiche teatrali introdotto nelle chiese […] emanato nel 1838 dal cardinale Ostini, arcivescovo di Jesi, che lo stesso Spontini aveva contribuito a redigere 3. La commissione era composta dai maestri delle maggiori cappelle musicali romane: G. Baini (poi nominato alla cappella sistina), F. Basili (cappella Giulia), G. B. Molinari (San Giovanni in Laterano), D. Fontemaggi (Santa Maria Maggiore), D. Cenciarelli (cappella nazionale spagnola).

This paper examines Baba Mimo, a choral composition by Professor Bode Omojola, as a pivotal example of Nigerian Art Music. It provides an analytical overview of the piece's melodic, harmonic, and rhythmic configurations, showcasing Omojola's innovative techniques, including quasi-bitonality and African pianism. By situating Nigerian art music as a genre that bridges African traditions with Western classical structures, the study argues that these works retain their Africanness despite external influences. It highlights the pressing need for proactive documentation of living composers to safeguard Nigeria's rich musical legacy. By dissecting Omojola's composition, this paper contributes to the understanding of NAM and inspires future musicologists to explore similar endeavours.

Este ensayo explora los vínculos entre Violeta Parra y el punk chileno, más allá de la música, en su actitud, discurso crítico y espíritu autogestionado. A través de comparaciones con bandas como Los KK o Los Miserables, y en diálogo con la teoría de Bajtín, se muestra cómo la obra de Violeta trasciende el folclor y resuena como una fuerza punk y contemporánea.

The Uvwie Urhobo of the Niger Delta like many cultures in Nigeria have performance art as part of its festivals. Prominent among them are the Ohworu and Edjouvwie festivals. This paper focuses on the Ohworu. Its festival is unique, and devoid of the use of wooden sculptures that accompany many masked performances in the Niger Delta region of Nigeria. Ohworu is a deity with thematic jurisdiction. A significant highlight of the festival is the performance art, usually done on the open streets for a few days. While these are important aspects of the Uvwie cultural life, tradition forbids photographing or the video recording of the performance and other events associated with it. This paper discusses the performance art associated with Ohworu festival. It utilizes data from the observation of the author in 1988 and 2018. Its' analysis will show the changes in the performance art mode of Ohworu after 30 years. The paper argues that the concept of the performance is changing and may become lost without digital preservation for future reference. It concludes by highlighting the long-term benefits of this to the Uvwie Urhobo community and suggests that it is digitized in accordance with UNESCO's guideline for intangible heritage preservation.

Lassen wir uns noch nachdenken, ab wann und warum wird die Musik als Werk überliefert. Blicken wir in die Vergangenheit und finden wir keinen Komponisten vor 1320. Natürlich nicht, denn das Konzeptwerk ist mit Kunst verbunden und Musik ist bisher kein einziges Mal als Kunst erwähnt worden, sondern als scientia oder Ars musica – Eine Wissenschaft, wo dem Verstand (scientia oder epistéme) eine diskursive Rationalität (dianoia) zugrunde liegt. Übrigens wir sind sicher, dass alle Musiker, die vor dem Roman de Fauvel gelebt haben Lyriker waren, aber keine Komponisten. Einige Ausnahmen könnte man beibringen wie z.B. Leoninus, Perotinus.

Musiksoziologie erforscht Musik als sozialen Tatbestand. Wie durchdringen soziale Prozesse und Strukturen Musik und musikalisches
Handeln, wie wirkt Musik in das Soziale hinein? Die Einführung gibt
einen aktuellen Überblick über die wichtigsten Themen der modernen
Musiksoziologie. Dabei werden vielfältige Musikarten in Geschichte
und Gegenwart und in unterschiedlichen Kulturräumen in den Blick
genommen. Schwerpunkte bilden die Bereiche Werturteil, Identität,
Medialität, sozialer Raum, Ökonomie sowie die Herausforderungen
der Disziplin in der postmodernen Gesellschaft.
Inhalt:
KARSTEN MACKENSEN, Einleitung: Musik und, Musik in oder Musik als Gesellschaft? • CLAUDIA BULLERJAHN & KARSTEN MACKENSEN, Musiksoziologie im Konzert der Wissenschaften • KARSTEN MACKENSEN, Musikästhetik und Musiksoziologie • CLAUDIA BULLERJAHN, Musikalische Sozialisation • CLAUDIA BULLERJAHN, Geschmack, Kanonbildung und Werturteil • KARSTEN MACKENSEN, Werkkonzept als soziales Konstrukt: das Problem der Autonomie • CLAUDIA BULLERJAHN, Musik im Alltag • CLAUDIA BULLERJAHN, Jugendmusikkulturen und Jugendmusikszenen • KARSTEN MACKENSEN, Doing Gender with Music • CLAUDIA BULLERJAHN & KARSTEN MACKENSEN, Musik in rituellen und religiösen Zusammenhängen • KARSTEN MACKENSEN, Musik und nationale Identität • KARSTEN MACKENSEN, Musik als Kommunikation • CLAUDIA BULLERJAHN & KARSTEN MACKENSEN, Mediamorphose • KARSTEN MACKENSEN, Mediation und Musicking • CLAUDIA BULLERJAHN, Publikumsforschung • CLAUDIA BULLERJAHN, Souveräne Rezipienten und Prosumers • CLAUDIA BULLERJAHN & KARSTEN MACKENSEN, Professionalität in der Musik • CLAUDIA BULLERJAHN, Musik als Ware • KARSTEN MACKENSEN, Politische Ökonomie der Musik • CLAUDIA BULLERJAHN, Schutz vor unerlaubter Nutzung, Plagiaten und Konfrontationsrisiken • KARSTEN MACKENSEN, Musik in der Postmoderne • KARSTEN MACKENSEN, Globalisierung und Weltmusik

Partly taking its title from the song Life We Make, by British anarcho-punk band Flux of Pink Indians, this thesis investigates how participants of the British anarcho-punk subcultural scene of the late 1970s to late 1980s, reflexively narrate their affiliation to, and engagement with, that subcultural scene, and the significance that has had on their later lives. Whilst most studies in the field of subcultural and post-subcultural studies tend to focus on 'active' adherents, little research has been conducted into how youthful affiliations with a music-driven subcultural scene continue to inform those who relinquish that affiliation, in later life. This thesis is concerned with the long tail of subcultural scene affiliation, where through their reflexive narratives my participants map their personal journey into and out of British anarcho-punk. In doing so it raises a number of questions. truth, an exposition, an explanation: I am not exaggerating when I say that record changed my life. It was answering questions and ideas I had been wrestling with. How your parents, your teachers, the police were all colluding against you to try to control your life and get you to conform to theirs and society's expectations. Get qualifications, get a job, get married, get a house and become a slave to the system. Of course, those weren't the words I was using at that point; but that moment, that aural epiphany, suddenly started to put vague threads of thoughts, feelings and ideas into place; into some semblance of cohesive order and importance. The combination of stark imagery and powerful words were like gold dust to a young boy trying to find his place in all this madness of adolescence. So began my lifelong relationship with a form of 'punk' that went beyond the attention grabbing, but empty, sloganeering of the Sex Pistols' Anarchy in the UK and made anarchism a central tenet of this developing subset of punk. Crass were far more overtly political than the other punk I had listened to and encapsulated an array of politics and ideologies that I could relate to. This style later became known as British anarcho-punk 1 .This was the education that I would never get at school and it helped inform me of a whole set of ideologies that has served as a 'personal' guide and manifesto in my adolescence and to my life today. I was introduced to a number of political and cultural ideas that I had never considered before, new ways of thinking about my place in society and the world in general. Through British anarcho-punk I started to learn more about anarchism, feminism, gender politics, animal rights, squatting, third world poverty, class politics, police and state oppression and the state war machine. This 'education' was gleaned from the lyrics of the bands I listened to, and the proliferation of 'zines 2 and cassette tapes that were sold or traded at anarcho-punk gigs. Reading 1 British anarcho-punk is a retroactive term with some debate over who and when the term was first coined, and when it came into common parlance among its adherents. It is recognised as a subset of punk that existed in the UK between 1979 and 1987. I use the term British anarcho-punk in this thesis to differentiate it from other global anarcho-punk subcultural scenes. The literature supports the claim that anarcho-punk, in more general terms, originated in the UK in the late 1970s through the seminal anarcho-punk band Crass. However quite rapidly in its wake, other anarcho-punk subcultural scenes emerged in other localities around the globe. In this thesis, all my participants affiliated with the British anarcho-punk subcultural scene, between 1979 and 1987. 2 In this thesis I use the term 'zine rather than fanzine. Although it is recognised that 'zine is a shortened form of the term fanzine, or fan magazine, the prefix 'fan' could imply that one is a fan of a particular form of music, art or culture. Many punks don't necessarily perceive themselves to be fans of punk rock, but rather members of a subculture, scene or movement, that for many is a lived experience or way of life. The term 'fan' is, for many punks associated with pop music and the commodified mainstream music industry is often explicitly rejected by punks 'zines was a great way to spend the journey home after a gig, finding out more about the bands I was seeing play live, forthcoming gigs, what was happening in other anarcho-punk subcultural scenes around the country, and most importantly the developing politics and ideologies that were being written about and discussed within the 'zines and amongst the people I met at anarcho-punk gigs. I left school in the summer of 1981, into a decade of political and social upheaval at the hands of Margaret Thatcher's Conservative government (Vinen, 2009;. Under her leadership, the government imposed a political model that further deindustrialised Britain, privatised many public owned businesses, created mass unemployment, quashed the trade union movement and increased the class divide in favour of the wealthy minority (Vinen, 2009; Jackson& Saunders, 2012). Her strong, but at times problematic alliance with the then US President, Ronald Reagan, heightened the Cold War standoff with the Soviet Union (Aldous, 2012) and with Thatcher agreeing to allow US nuclear missiles to be based on British soil created an overarching fear of the possibility of nuclear war in Europe . This militarised confidence led to Britain going to war with Argentina over the Falkland Islands, and in 'victory' Thatcher unleashed a militarised police force on the miners, black communities, peace activists, new age travellers and many other protest groups or cultures of resistance, resulting in violent tactics to suppress any political challenge to the government and its policies . Informed by a new set of cultural ideologies, I became more politically militant and active. I started attending political rallies and demos with Class War, Anarchist Federation, the Campaign for Nuclear Disarmament, Animal Liberation Front. I went hunt sabbing, became a committed vegetarian, got involved in community projects, and spent the summers at music festivals such as Stonehenge Free Festival where I had my first contact with a 'tribe' of travelling people that would later form the next chapter of my life. I moved into a squat in Brighton with other like-minded people, and very much felt part of a 'community' that was seemingly actively challenging the existing political system. During that period, I was at times on the direct receiving end of the Government's policies, and saw first-hand the measures the state would go to deprive marginalised groups of people their civil liberties.

Bütün yayın hakları saklıdır. Kaynak gösterilerek tanıtım için yapılacak kısa alıntılar dışında yayıncının yazılı izni olmadan hiçbir yolla çoğaltılamaz. © İÜ OMAR, 2022 istanbuluniomar istanbuluniomar istanbuluniomar omarsiv Ekim 2020'de yayımlanan bu kitapçık-CD'nin repertuvarı, Serhanende Nurettin Çelik'in hocası Agapos Alyanak'ın Hamparsum yazım sistemiyle kaydettiği ve bazı eski yazılı kaynaklardan seçilen suzidil makamında 20 adet eserden oluşuyor. Kitapçıkta Gönül Paçacı Tunçay'ın geçmişten günümüze fasıl geleneğini özetleyen yazısı ve Nurettin Çelik'le yapılan söyleşinin yanı sıra özgün eserlerin görselleri de yer alıyor.

The paper addresses women's participation in church choral ministries, focusing on women as conductors. Despite the growing recognition of women leaders, women's involvement in music ministries is often challenged by gender-and traditionbased barriers. The study examines how women overcome these barriers, shape worship styles, and enrich the church's spiritual and musical life. This study employs a qualitative research method, utilising in-depth interviews with 15 women choral conductors, surveys of 30 church music directors across various denominations, and a critical analysis of historical and contemporary literature. Thematic analysis was used to interpret qualitative data, identifying key themes related to gender dynamics, leadership experiences, and musical influence within church settings. The research is guided by feminist theory, as outlined by Hooks (2000), and ecclesiological theory proposed by Johnson (2015). The paper outlines how women have shaped worship experiences and congregations' spiritual and artistic identity through historical examples, personal narratives, and contemporary practice. By juxtaposing their leadership within the discourses of religion and art, this article pays tribute to women conductors who employ their batons to glorify God and inspire others in the sacred domain of church ministries. The paper concludes that to tap the full potential of women in church music, there needs to be a deconstruction of the gendered barriers that continue to constrain their leadership opportunities. Churches must proactively offer mentorship, professional training, and equal leadership roles for women. Future research should explore the impact of cultural and denominational variations on women's leadership equality in church music, investigate the long-term career trajectories of women conductors, and examine the role of theological education in shaping gender-inclusive music ministries.

The study explores the application of Jùjú music performance techniques to Yorùbá choral art works, focusing on public performances. Western-based choral compositions often need more of African interpretative nuances. The aim is to develop a system for integrating Jùjú music performance techniques into Yorùbá choral art music. The study uses Ossaiga's Theory of Conducting Dynamism and Hutcheon's Theory of Adaptation to analyze Jùjú music performance techniques in Yorùbá art choral concerts. It employs interpretive research and analytical research, analyzing ten selected works. The researcher compares traditional Jùjú performance techniques with the concert, evaluating audience reactions using a 4-point Likert scale and unstructured interview questions. The results provide insights into the effectiveness of Jùjú music in conducting concerts. The study reveals that conducting adapts to various musical cultures, contexts, conductors, and compositions. The master musician or lead singer performs conducting, with distinct voice arrangements and stylistic techniques. The study suggests extending the scope of conducting beyond Western nuances and adapting Jùjú music performance techniques for Yorùbá choral art music.

Choral conducting and directing remain critically underrepresented and insufficiently theorised within the Nigerian university education due to curriculum marginalisation, lack of formal mentorship, and the dominance of Western paradigms that undervalue indigenous musical expressions. Thus, this paper sought the repositioning of choral conducting as a central, autonomous, and interdisciplinary component of music education in Nigeria. The study examined factors contributing to the academic neglect of choral conducting, established its pedagogical and cultural significance within Nigeria's higher education system, and examined challenges encountered in choral conducting in Nigeria. This study was guided by ethnomusicology and performance studies as interpretive lenses, which provide a lens for understanding conducting as both a learned skill and a culturally embedded performance practice. Methodologically, the study employed case studies and archival research to construct a historical and analytical account of choral conducting practices in Nigeria. Findings revealed systemic gaps in curriculum design, training resources, institutional support, and tensions between Western and indigenous traditions. However, the study also identified models of excellence among Nigerian conductors who creatively integrate local idioms with global standards. The conclusion emphasised the need to recognise choral conducting as an academic and cultural enterprise. The study recommended curriculum reform, establishing dedicated training programmes, faculty development initiatives, and institutional partnerships with professional choirs and global networks as a professionally viable discipline within Nigerian university education.

This study examines Afrocentric waves in church music, using Molete Baptist Church as a case study. The findings underscore the significance of church music in conveying and preserving doctrinal beliefs. Music plays a crucial role in communicating the church's teachings and values, making it an essential aspect of worship and ministry. The study highlights the necessity of a disciplined music ministry, pointing out that effective church music demands a solid understanding of biblical objectives and disciplined performance. Church music also allows Christians to use their gifts in spreading the gospel, making it vital for stewardship and evangelism. To improve church music, the study suggests providing necessary musical resources and promoting music education. Theological educators should stress the importance of music in church life, ensuring that songs are theologically sound and heritage is upheld. By adopting these recommendations, churches can cultivate a vibrant music ministry that supports their mission and values.

موسیقی‌شناسی انتقادی که از آن با عنوان‌های دیگر هم مانند «موسیقی‌شناسی نو» و «موسیقی‌شناسی رادیکال» یاد می‌شود، به زمینه‌ای جدید در مطالعات موسیقی‌شناسی اطلاق می‌شود که از دهه‌ی هشتاد میلادی تاکنون رواج یافته است. از حیث روش‌شناسی، ویژگی منحصربه‌فرد موسیقی‌شناسی انتقادی، فاصله‌گیری آن از تحلیل‌های پوزیتیویستی و بینارشته‌ای بودن آن است. موسیقی‌شناسی انتقادی از انواع مطالعات فرهنگی، اجتماعی، جامعه‌شناسی انتقادی، مطالعات جنسیتی، فمینیسم، روان‌کاوی و گفتمان پست‌مدرنیسم برای تحلیل موسیقی بهره می‌جوید. از جنبه‌ی موضوعی، مشخصه‌ی موسیقی‌شناسی انتقادی، توجه هم‌زمان آن به موسیقی هنری و موسیقی مردم‌پسند و سیر تاریخی تحول این دو است. در این مقاله، ابتدا به معرفی جریان موسیقی‌شناسی انتقادی می‌پردازیم. سپس ویژگی‌های موسیقی‌شناسی لکانی را بررسی می‌کنیم و حدود کاربرد آن را مشخص می‌کنیم. پس‌ازآن چهار دلیل برای موجه بودن به‌کارگیری نظریه‌ی لکان در موسیقی‌شناسی ارائه می‌کنیم. در ادامه، به دنبال پاسخ به این پرسش هستیم که «نظریه روان‌کاوی لکان چه امکاناتی برای موسیقی‌شناسی انتقادی فراهم می‌آورد؟» در این راه، ابتدا مفاهیم لکانی که بیشترین کاربرد را در موسیقی‌شناسی داشته‌اند را معرفی می‌کنیم و با بررسی آثاری که در زمینه‌ی موسیقی‌شناسی لکانی نوشته شده، نحوه‌ی کاربرد این مفاهیم در موسیقی‌شناسی لکانی را بررسی می‌کنیم. سپس به بررسی مزیت‌ها و محدودیت‌های موسیقی‌شناسی لکانی می‌پردازیم. در پایان مبحث اخلاق در موسیقی با رویکرد اخلاق لکانی در «اخلاق روان‌کاوی» را به‌عنوان طرحی برای پژوهش‌های آینده پیشنهاد می‌کنیم.

Resumo: Este estudo buscou expandir a aplicação da teoria dos PCORD, ou classes de intervalos das classes de conjuntos, ao caso da música dodecafônica, focando nas séries com todos os intervalos (STI). Para isso revisitou-se a análise das séries STI clássicas mencionadas na literatura e estudaram-se as relações entre as séries intervalares, as classes de conjuntos das partições hexacordais e seus respectivos PCORD. Reconheceu-se a existência de três categorias que envolvem classes iguais ou diferentes, respectivamente nas classes de conjuntos e nos PCORD dos dois hexacordes de uma série STI. Observou-se ainda a existência de outros casos de simetria na série de todos os intervalos, além dos relatados na literatura. Concluiu-se que este estudo pode eventualmente ser aplicado na análise de peças existentes, mas sua maior utilidade seria na composição de novas obras, que embora baseadas em material dodecafônico, abdiquem dos procedimentos tradicionais da escola de Schoenberg e optem pelo uso consistente do princípio da parcimônia, como é usual na forma processo de Reich.

Music education stands out as a significant area for supporting social projects. The integration of music into children's educational processes is achieved through various social responsibility projects. This practice offers a multifaceted approach aimed at supporting children's cognitive, emotional, and sociocultural development and developing their talents. The ethnographic field observations used in this study are considered initiatives aimed at meeting the need for social responsibility projects through music education. Focusing on the accessibility of music education, the study highlights a significant area for disseminating and increasing the effectiveness of social responsibility-based music education approaches in Türkiye. In this context, the integration of music education with social responsibility projects stands out as an approach that can contribute to the multifaceted development of children by making music accessible to a wider audience. The long-term impact of music education projects on children's lives represents a critical area to consider when shaping future education policies and practices.

Siguiendo la estela del imprescindible Fubini 1 , el musicólogo canadiense James O. Young (Victoria, British Columbia, 1959) lleva a cabo en esta publicación un recorrido por la historia de la filosofía de la música con una de esas afirmaciones que, por su rotundidad, parecen, en un principio, inasumibles. A saber: la filosofía de la música es tan antigua como la filosofía. Sin embargo, a poco que se piense, la aseveración del autor es acertada. El hipotético correlato entre la armonía del universo y la armonía tonal es desde tiempos remotos una ilusión del pensamiento humano, que, con todos los matices que el paso de los siglos ha ido introduciendo, se ha apoderado de la filosofía. Las pretensiones de Young no son escasas. Viaja desde la Antigüedad al Periodo contemporáneo, pasando por el Medievo y la temprana y la tardía Edad moderna (respectivamente de 1500 a 1800 y de 1800 a 1950). 2 1. FUBINI, E. (2005). La estética musical desde la Antigüedad al siglo XX. Alianza. 2. Como es bien sabido, la historiografía anglosajona divide la Edad moderna en dos sub-épocas, a diferencia de la francesa que hace arrancar la contemporánea de la Revolución de 1789.

John Adams's Nixon in China (1987) is one of the most iconic operatic works of the end of the 20 th century. It is also an interesting case to study the relationship between aesthetics and politics. In this paper, I offer a reading of the political and aesthetic sides of the work in light of John Dewey's philosophy. Central to my account is to examine the effect that Dewey's own trip to China had on his political philosophy. I argue that Nixon is not just a series of anecdotes related to Nixon's 1972 visit to China, as has been claimed by some critics, but that the Deweyan perspective I take particularly on Nixon's third act shows that the opera has genuine political substance, which is also tied to the work's musical and aesthetic features.

This book introduces the concept of activist music research, emphasising action and social responsibility and suggests that music research can be used to promote social and ecological justice. This is discussed in a series of position papers by music researchers who engage in public debate in their various roles - educator, critic, journalist, DJ, producer, promoter - and work with other actors in civil society and culture.

The book suggests that we are experiencing an activist turn in music research, evidenced by the growing number of projects and publications discussing inequalities in musical practices and the impact music research can have on these inequalities. This idea is explored in a series of position papers and contemplative texts, where music researchers, music educators, and artistic researchers reflect on how their work and the position they occupy as professionals in society serves eco-social justice and equity. What is the point of studying and teaching music in an age of ecocide, neo(liberal)-colonialism, rampant racial inequities, persistent gender identity and sexual orientation discrimination? What does social and ecological responsibility and sustainability mean in music research?

The idea for the book was conceived within the context of Suoni, a non-profit independent research association in Finland founded as a self-organizing and independent network for scholars interested in exploring methods, pedagogics, practices and action for eco-social equity in relation to music and music research.

Through fifteen relatively short chapters, Sonic Identity at the Margins covers a wide range of social resistance through sound and music. Taking initial historiographical cues from Martin Stokes' collection on Ethnicity, Identity, and Music (1997), Jesse Fillerup and Joanna Love have collected numerous chapters related to identity, ethnicity, and Indigenous Studies through a historical reading of both musicology and Sound Studies.

PIOTR ILITX TXAIKOVSKI
(Votkinsk, Rússia 1840 – Sant Petersburg, Rússia 1893)

Concert per a violí i orquestra en Re major, op. 35
(1878) – 34’

Allegro moderato
Canzonetta:  Andante
Finale: Allegro vivacissimo

Marc Bouchkov, violí

PAUSA 20’

ANTON BRUCKNER
(Ansfelden, Àustria 1824 – Viena, Àustria 1896)

Simfonia n. 9 en re menor
(1891-1896) – 59’

Feierlich, misterioso
Scherzo: Bewegt, lebhaft – Trio: Schnell
Adagio: Langsam, feierlich

Repertori
Sílvia Lanao: Aigua (2025) 10′ – Encàrrec de L’Auditori per al projecte Canta amb l’OBC
Dmitri Xostakóvitx: Concert per a violoncel n. 1 en Mi b, op. 107 (1959) 30’‎
Nikolai Rimski-Kórsakov: Schéhérazade, op. 35 (1888) 42′

Artistes
Marta Gardolińska, direcció
Zlatomir Fung, violoncel
Cor participatiu del projecte Canta amb l’OBC amb membres de la Coral Cantiga, dirigits per Montserrat Meneses
Orquestra Simfònica de Barcelona i Nacional de Catalunya (OBC)

The interview with Francesco Finocchiaro offers a critical examination of contemporary musicology, addressing its evolving paradigms, methodological developments, and interdisciplinary intersections. In light of the rapid turnover of theoretical frameworks and the influence of dominant academic institutions, this discussion provides an analytical perspective on the forces shaping musicological inquiry today. Finocchiaro questions the balance between textual and contextual approaches, the potential risks of detaching the discipline from its core subject, and the systemic pressures associated with scholarly productivity. His research on silent film music serves as a compelling case study in interdisciplinary scholarship, illustrating the intersections between historical musicology, media studies, and cultural analysis. In addition, his reflections on public musicology underscore the necessity of bridging academic research with wider audiences, fostering broader engagement beyond institutional boundaries. Through these perspectives, the interview emphasizes the importance of mentorship, critical engagement, and adaptive methodologies in sustaining a rigorous and reflective approach to musicological scholarship.

This study interrogates the persistent conflation of professional identities between musicians and musicologists in contemporary discourse, illuminating the implications of misuse of nomenclature within academic and cultural contexts. Grounded in qualitative content analysis, the research critically evaluates published texts, institutional documents, and expert commentaries to demarcate the distinctive roles, epistemic orientations, and contributions of musicians and musicologists in the 21st century. Drawing from disciplinary identity theory and field theory, the investigation reveals that while musicians primarily engage in creative production and performative interpretation, musicologists operate within a research-oriented framework, generating theoretical, historical, and analytical insights. The findings indicate that terminological ambiguity not only distorts public and academic perceptions but also undermines disciplinary legitimacy and pedagogical clarity. Furthermore, the study highlights trends in hybrid professional identities and the challenges posed by interdisciplinary practices, especially in higher education and arts administration. The article concludes by advocating for a more nuanced nomenclatural paradigm that reflects the functional and epistemological distinctions between practitioners and scholars in music. Such a recalibration holds promise for curriculum reform, scholarly publishing, and professional accreditation, thereby fostering greater coherence in the global musicological landscape and advancing intellectual integrity across domains of music practice and research.

John Locke y Benito Jerónimo Feijoo enseñaron lógica en alguna etapa de sus vidas. Esto ha influido para que la lógica esté presente en sus obras. Algunas diferencias en temas de lógica están condicionadas por el nominalismo de Locke y el realismo de Feijoo. El monje español tiene mayor conciencia del valor intrínseco de la lógica formal que el médico inglés. Pero ambos coinciden en recomendar la brevedad en la enseñanza de la misma y en resaltar la importancia de la lógica natural.

John Locke and Benito Jerónimo Feijoo taught logic during a period of their lives. This fact contributed to logic being present in their respective works. Locke’s nominalism and Feijoo’s realism explain some of their differences on the subject. The Spanish monk shows more awareness than the English physician of the instrinsic value of formal logic. Both thinkers recommend teaching logic only briefly, and they also emphasize the importance of natural logic.

El siguiente análisis muestra cómo Biznaga ha construido en su cuarto disco de estudio, Bremen no existe (2022), un retrato desencantado de su propia
generación, y cómo una banda actual puede desarrollar su creatividad desde un proyecto a contracorriente en lo comercial y lo estilístico que pretende
aunar valores del punk y del pop. Para ello, se estudian tanto los elementos musicales que afectan al estilo de las canciones (tempo, melodía, instrumentación, arreglos...), como la elaboración literaria de las letras, en especial su temática, su estructura textual y su retórica. Dentro de la música popular, y a pesar de su consideración actual como género minoritario, el rock mantiene intacta en este álbum su capacidad expresiva y comunicativa por medio de estrategias poco comunes que, sin embargo, explotan las posibilidades que la canción ha ofrecido tradicionalmente como discurso.

Education plays a fundamental role in young people's lives. Though approaches to education differ, there are some common goals which is to give young people the knowledge and skills needed to survive in a global society, and to help them grow and develop into. This paper looks at how the educational theatre management in Nigeria institution is reflected in the professional sector in a bid to understand if there is any relationship between both sectors. The Department of Creative Arts at the University of Lagos is the paradigm of this paper to investigate their teaching method and its affiliation with the profession of the course in order to prevent the students from struggling to adapt when the leave school. It was observed that some methods used in teaching the student which had been a norm is not replicated in the profession of the course. I agree that the educational systems provides the theory in which the practice of the course is based which implies educational theatre is the catalyst for theatre practice in Nigeria and for that reason, bridges the gap between the educational and professional theatre but, it is imperative not to just teach in isolation disregarding how things are done outside the University. The society is changing and this has affected the practice of this profession, so this paper proposes that the educational system looks at this new development and inculcate it in the curriculum of the school and this will help the students be more engaged and take theatre more seriously as well as appreciate it.

Booklet for a recording of 22 Hanslick songs, jointly authored Anja Bunzel (principal contributor to the Czech songs and their contexts) and Alexander Wilfing (project coordinator and principal contributor to the discussion of the significance of Hanslick's changing biographical circumstances and the development of his theories). My own contribution centred on the musical analyses of the songs, their genres and the stylistic influences on Hanslick.

The aim of this study is to identify the music listening behaviors of university students and the types of music they prefer to listen to. In line with this objective, the research problem was formulated as: "What are the preferred types of music of university students, and what are their behaviors related to listening to this music?" This study was conducted using the basic qualitative research model, one of the descriptive research approaches. In this study, the music listening behaviors of university students were explored and explained through the identification of their preferred and least liked music genres, the duration of their music listening, the devices they use to listen to music, their attitudes towards paying for music, and the factors influencing their music preferences. Data regarding music genre preferences were collected through semi-structured interviews with 54 undergraduate students at Atatürk University. The findings revealed that participants predominantly listen to both domestic and international pop music. When the genre labeled by participants as "slow music" is included in the pop music category, this proportion increases further. After pop music, Turkish folk music and Arabesque were found to be the most preferred genres. It was also observed that the listening rates of traditional music genres (world/ethnic music, Arabesque, and Turkish folk music) were lower than those of popular music genres (pop, slow, jazz, rap, rock, and Anatolian rock). Most participants reported listening to music for 30 minutes to 3 hours daily, often while engaging in other activities. Common contexts for music listening included doing household chores, walking, studying, traveling, or working on a task. When considering music preferences during such activities, the most preferred genres were pop, Turkish folk music, Arabesque, rock, and classical music. Among the prominent findings obtained, it was revealed that music is most commonly listened to via mobile devices, paid subscriptions to digital streaming services are generally not preferred, and there is a strong tendency to create personal playlists rather than relying on algorithmic * Bu çalışma, ikinci yazarın birinci yazar danışmanlığında yürüttüğü aynı başlıklı lisans tezinden genişletilerek üretilmştir.

This article analyzes the symphonic poem Kukuli and demonstrates how Armando Guevara Ochoa
uses elements of oral tradition music, which serve as a compositional paradigm in his regionalist
style, reflecting a sound world linked to the music he was exposed to since his childhood. It also
allows us to understand and explore Guevara Ochoa's nativist discourse, which distances him from
the ideas of indigenous composers who proposed the continuity of Inca music in their imaginary.
On the other hand, this paper provides a first exploration of the little–discussed aspect of
Armando Guevara’s life as an audiovisual composer, offering insight into his creative processes in
the incidental music created for the film Kukuli, and its subsequent transformation into a formal
work, the symphonic poem of the same name.
It also examines the orchestral treatment, both harmonic and textural, that Guevara
Ochoa employs to recreate a sonic imaginary. In this work, the harmonic treatment applied to
pentatonic melodies, recreated from oral tradition, can be observed, representing in sound the
nostalgia of his experiences in the Andean world. This feature clearly distinguishes him from the
so–called indigenous composers who preceded him and, at the same time, distances him from the
compositional avant–gardes developed by his contemporaries.

Rhythm is the pattern of regular or irregular pulses caused in music by the occurrence of strong and weak melodic and harmonic beats. African rhythmic pattern is characterized by improvisation and many other rhythmic techniques. The focus of this paper is to analyze the rhythmic pattern of "who man" and to identify and decode cultural values in Nigerian popular Music by examining this Lagbaja's music. To achieve this, the paper adopt both primary and secondary sources of data, with a close listening to the music of Lagbaja "Who man", within the ethno musicological frame work .The paper reveal that in this music, lagbaja used more than one gong which brought about an interlocking rhythmic pattern, the paper further revealed that this popular music brought the younger ones closer to the tradition of using African musical musical instrument which is fast fading away due to the influence of the west and he gave himself a clear identity as an African musician the paper raised the issue of gender inequalities as mention in the music admonishing the men gender to live and treat the female gender appropriately. The paper therefore concludes that with good knowledge of the basic rhythmic pattern or bell pattern in African music, African popular musicians can be more creative and innovative with a clear sense of identity.

Esta obra se distribuye bajo licencia Creative Commons Atribución-NoComercial 4.0 Internacional (CC BY-NC 4.0) La Editorial Dykinson autoriza a incluir esta obra en repositorios institucionales de acceso abierto para facilitar su difusión. Al tratarse de una obra colectiva, cada autor únicamente podrá incluir el o los capítulos de su autoría.