The impact of musical expertise and directional isotropy on the proportions and magnitudes of pitch-shift responses in glissandos by Li-Hsin Ning

“…Nevertheless, the influence of musical expertise and the preference for adopting opposing or following responses during glissando vocalizations remain unexplored.MethodsIn this study, thirty-six native Mandarin speakers, comprising equal numbers of musicians and non-musicians, were asked to perform three vocal tasks. …”
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Increased Insular Connectivity and Enhanced Empathic Ability Associated with Dance/Music Training by Li Gujing, He Hui, Li Xin, Zhang Lirong, Yao Yutong, Ye Guofeng, Lu Jing, Zhou Shulin, Yang Lei, Luo Cheng, Yao Dezhong

“…Previous behavioural studies have reported that dancers/musicians show a better sensorimotor ability and emotional representation of others. …”
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Factors influencing the holding of Ilia Slatin’s Symphonic Concerts in Kharkiv in the 1870s–1880s by Lichuan Zhang

“…Factors such as the improving financial position of KhRMS in the 1880s, the opening of wind instrument classes at the Kharkiv Music School in 1886, and the formation of a pool of orchestral musicians in the city helped solve the issues of forming a full-fledged symphonic orchestra, which by the early 1890s consisted of professional musicians from Kharkiv. …”
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The Concepts and Contextualization of Incantations in Nigerian Popular Music: Juju Music as Paradigm by Kayode Olusola

“…This paper discusses the concepts and contextualization of incantations by some Nigerian Juju musicians as part of their music in order to highlight various types and their socio-religious roles. …”
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„INTERNET SYMPHONY No. 1”: RETHINKING THE ORCHESTRA AS A VIRTUAL COMMUNITY by Bianca ŢIPLEA TEMEŞ

“…The interaction between musicians is redefined within a multiplicity of contexts, providing a new framework for conceptualizing the artistic act as a matrix of integrative “multi-track creativity”. …”
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“On A Mission”: Preserving Creole Culture One Tweet at a Time. Keith Frank, Zydeco, and the Use of Social Media by Marie Demars

“…In this unfavorable context, it might seem difficult to link zydeco with modernity or high-profile communication tools and technologies, yet more and more young Creole musicians are bridging the gap by heavily using social media to promote their music as well as their south Louisiana cultural heritage.…”
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The role of music performance anxiety in musical training: four personal histories by Oscar Casanova, María Elena Riaño, Francisco Javier Zarza-Alzugaray, Santos Orejudo

“…Musical Performance Anxiety (MPA) is one of the major obstacles many musicians face in the course of their training and careers. …”
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How and Where Did Students Learn Music in the Late Middle Ages and Renaissance? by Grantley McDonald

“… Musicologists have traditionally focused on mature musicians working in musical centres such as courts and cathedrals. …”
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DER MUSIKALISCHE SPRACHE DES KOMPONISTEN PIERRE VILLETTE IN DEN „A CAPPELLA MOTETTEN HYMNE A LA VIERGE (OP. 24) UND PANIS ANGELICUS (OP. 80)“ by Miklós FEKETE

“… This paper presents first of all the importance of the 20th century French composer Pierre Villette, who’s instrumental, vocal-instrumental and choral works are relatively unknown even between musicians. Secondly, this writing focuses on the choral music of the composer, presenting the result of the analysis of the two chosen a cappella motets mentioned in the title (written by Villette in two different periods of his creation). …”
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La virtuosité comme arme de guerre psychologique by Aurélie Helmlinger

“…At any level of sociability, we observe that virtuosity is expressed primarily in innovations and quantifiable records (number of notes to play, number of decibels, of musicians, of winning competitions ...) which allows to establish a hierarchy and a ranking of rivals conducive to harmony and to the renewal of the social order.…”
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Il «maraviglioso» e il «maravigliosissimo» dei tempi moderni by Anna Chiara Luzzi

“…The movie is a synthesis and a rewriting of literary topoi inherited primarily from Flaubert’s Salammbô, but also from other writers such as Salgari and his Cartagine in fiamme, and of painters such as Sargent or musicians like Reyer, themselves influenced by the French novel. …”
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FRANZ SCHUBERT AND THE MUSICAL ROMANTICISM by Boróka GYARMATHY-BENCZE

“…This era was one of the richest and most prolific ones in the entire history of music. Most musicians of that age possessed a vast cultural background, often being poets, composers and performers at the same time. …”
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La représentation de la musique et de la danse dans les œuvres de Post et Wagner : une archéologie des musiques noires au Brésil by Jean-Pierre Estival

“…By comparing art history analysis concerning the place of music in contemporary Dutch paintings with the few written sources, we emphasize the following points: precision regarding the organologic descriptions, the position of the musicians and the dancers’ bodies, as well as the type of performance represented.…”
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Être dansé by Lydia Zeghmar

“…Before fully entering into the dance, the soloist carries out an improvised walk lasting a few dozen seconds, during which time he gets into harmony with the musicians and seeks the state of dance. To characterise this transitional moment, zeybek dancers stress the dancer’s soul and temperament. …”
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Hibridismo no mercado da música e a articulação das identidades by Michel Nicolau Netto

“…This process is clearly noticed at the level of social relations, which are analyzed here on the basis of descriptions of musicians found in catalogues of a World Music international trade fair. …”
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Yeats et le mélange des genres : du texte à la scène by Pierre Longuenesse

“…This project transforms dramatic writing process into the creation of a multiform object, in which the issue of the drama is brought out by the tension between opposite medium : theatre on the one hand, singing, dance, tale on the other hand… This exploration involves Yeats into original collaborations on stage with composers, musicians, and dancers. In short, those manifestations of an artistic « hors-champ », far from  threatening the drama, become on the contrary the core of its expression, as a new power is, on stage, devoted to the Verb : the extra-ordinary power to arise the pneuma of singing as well as the rhythm of the dancing body.…”
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Le récit mythique d’une conversion : La Argentina à l’Athénée de Madrid by Hélène Frison

“…That evening, while she performed at the Athenaeum in Madrid in front of "intellectuals, painters, writers, poets, musicians," a double shift took place: while the spectators experienced a kind of epiphany of the dance, she became aware of what her priesthood would be from then on - to embody "the spirit of the Spanish dance". …”
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Un opéra français d’après la Salomé de Wilde, l’appropriation d’un drame by Déborah Bonin

“…By placing the young Judean princess at the heart of the drama and using, in keeping with other symbolist authors, language resembling a musical dialogue, Wilde’s play inspired a number of musicians including Richard Strauss, Alexandre Glazounov and the French composer, Antoine Mariotte.What were the reasons for Mariotte’s enthusiasm for his English contemporary’s play ? …”
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Sakha Music: Selling 'Exotic' Europeanness in Asia and Asianness in Europe by Aimar Ventsel

“…In a period from the late 1990s to 2007, the same artists have switched from pop to rock to folk music, using different languages and different costumes, performing as Asian or European artists. comparing these strategies, one can see how Sakha musicians use cultural stereotypes of foreign audiences for economic purposes.…”
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WORKING WITH VISUALLY-IMPAIRED PERFORMERS IN PIANO CLASS by Julia P. Antonova, Vitaliy V. Kalitskiy

“…The authors make a conclusion that the specifics of professional training of visually-impaired musicians refers only to methods and means needed to achieve the main goal, which is an ultimate expression of an idea of a composition.…”
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