Search Results (93)

In this article, an improved real-valued dimension-reduction MUSIC (IRDR-MUSIC) algorithm is proposed for a crossed-dipole array. Initially, conjugate symmetry of the spatial component in the manifold vector is derived such that two real-valued matrices for the sum and difference covariance are constructed, which consist of the real and imaginary parts of the complex covariance matrix respectively. However, sum and difference covariance matrices with information loss would deteriorate the performance. Thus, given that the sum and difference covariance matrices have an identical null space, a joint sum–difference covariance matrix combining both the sum and difference covariance matrices is constructed, which includes the complete information of a complex covariance matrix. Accordingly, a computationally efficient IRDR-MUSIC algorithm with an enhanced performance is proposed. Compared with the existing dimension-reduction MUSIC algorithm, the proposed IRDR-MUSIC algorithm greatly reduce the complexity reduction almost without any performance loss since singular-value decomposition of the joint sum–difference covariance matrix operates in the real-valued domain, and only half of the range of the spatial spectrum search is required. Furthermore, the proposed IRDR-MUSIC algorithm outperforms the state-of-art complex-valued, symmetry-compressed, dimension-reduction MUSIC algorithm in both its multi-target resolution and computational efficiency. Numerical simulations and analyses verify the superiority of the proposed IRDR-MUSIC algorithm. Full article

This paper examines the emergence of vernacular liturgies in Latin America, particularly through the incorporation of folk music in Nicaraguan Masses following the Second Vatican Council (Vatican II). In response to the Romanization of the Catholic liturgy in the nineteenth century, folk songs in local languages became a form of theological and cultural resistance, offering an alternative to the Latin-dominated liturgical tradition. Despite Vatican disapproval of certain Mass settings due to their non-traditional texts, these vernacular liturgies transcended their missionary origins, enriching both devotional practice and theological discourse. The study explores key Vatican II documents on liturgical participation, examines the role of liberation theology in framing vernacular and multilingual Masses as tools for social and religious transformation, as well as historical precedent as a lens for understanding the progression of change in the setting of the Mass, particularly in Latin America. Using the Misa Campesina, by Carlos Mejía Godoy, as a case study, the paper demonstrates how Nicaraguan folk Masses embody the intersections of ecclesial reform, cultural identity, and social justice within the broader context of Latin American liturgical innovation. Full article

This paper explores the harmonious integration of Confucian moral values and officially sanctioned love-themed lyrics in music education across Mainland China. It addresses the main research question: What role do officially approved school songs, which embody themes of love related to three key relationships—(1) family and home, (2) teachers and friends, and (3) the Chinese Communist Party (CPC) and the Chinese nation—play in promoting the virtue of love through singing within Mainland China’s music education? By analyzing two sets of officially approved music textbooks for primary school students, consisting of a total of 24 volumes, this study reveals how love-themed lyrics serve as a medium for propagating political ideology while reinforcing traditional Confucian values among the younger generation. The research illustrates how love, as a fundamental virtue, is expressed and reinforced through these songs, highlighting their significance in fostering emotional and ethical development. The findings underscore the role of music education in cultivating a sense of community and national identity, as well as the interconnectedness of personal and collective values in shaping students’ moral frameworks. Full article

While all types of musical works have been affected by the advent of recording, it has not always been in the same way or to the same extent. The aim of this paper is to delve into these differences and to clarify the role played by recording in defining the ontological identity of musical works. Starting from the discussion of some ontological approaches, it considers music recording in light of the conceptual tension between its meaning as a document of a performance of a pre-existing musical work and its meaning as a construction of an autonomous musical work. It argues that the diverse roles that recording can play depend not only on a grasp of the ontological identity of works but on an adequate understanding of the (type of) performance to which they refer. An expansion of the “logical space” of the notion of performance is ultimately necessary to account for the ontological identity of musical works, whether documented or constructed through recording. Full article

Any human action can be repeated; none can be repeated exactly. In fact, most human actions will be repeated—in its most basic sense, culture is the establishment of forms and standards of repeatability. The performing arts are based on this fact, they make it explicit and explore it, albeit in very different ways. In light of these differences, it becomes obvious that ontological questions in music and the performing arts have a cultural index—rather than asking about the nature of identity and repetition, we should ask what counts as identical under what circumstances. These circumstances differ widely across cultures as well as across disciplines, and they are subject to change. Drawing on examples from performance art and music, this paper will explore the different constellations of repeatability we find in these fields. This comparative perspective promises to reshape some gridlocked debates in music as well as in the theory of performance. In particular, Christopher Bedford’s idea of a “viral ontology” of performance and the displacement of the concept of the work by Bruno Nettl’s notion of the model prove fruitful. Full article

This paper explores the possibility of counteracting the crisis of culture and institutions by investing in the identity values of the user-actor within digital spaces built for the purpose. The strategy is applied to the analysis of three Catalan cloisters (Spain), with a focus on the representation of the cloister of Sant Cugat (Barcelona). Heuristic picklocks are found in the semantic richness proposed by Marius Schneider exclusively on the verbal level. The authors interpret the contents and transcribe them into graphic signs and digital denotations of sounds and colors. They organize proprietary ontologies, or syntagmatic lines, to be entrusted to the management of computer algorithms. The syncretic culture that characterized the medieval era allowed the ability to mediate science and faith to be entrusted to the mind of the praying monk alone in every canonical hour. The hypothesis that a careful direction has programmed the ways in which to orient souls to “navigate by sight” urges the authors to find the criteria that advanced statistics imitates to make automatic data processing “Intelligent”. In step with the times and in line with the most recent directions for the Safeguarding of Heritage, the musical, astral, and narrative rhythms feared by Schneider are used to inform representative models, to increase not only the visual perception of the user (XR Extended Reality) but also to solicit new analogies and illuminating associations. The results return a vision of the culture of the time suitable for shortening the distances between present and past, attracting the visitor and, with him, the resources necessary to protect and enhance the spaces of the Romanesque era. The methodology goes beyond the contingent aspect by encouraging the ‘remediation’ of contents with the help of machine learning. Full article

By analyzing the musical works of Paul Simon and Leonard Cohen, this study examines the theological expressions of secular Jews in the diaspora who retain elements of belief. Drawing on contemporary theories of lived religion and post-secular spirituality, it explores how their lyrics articulate distinctive forms of Jewish spirituality outside traditional frameworks. Through a close textual analysis of their final albums, this study reveals complex theological narratives that intertwine Protestant-oriented individual spirituality with collective Jewish religious and cultural memory. The findings indicate that Cohen and Simon demonstrate distinct approaches to divinity. Cohen adopts a more traditional theistic stance, whereas Simon develops a pantheistic theology. These narratives offer viable and meaningful models for secular-believer Jewish identity and suggest possible foundations for a contemporary secular Jewish existence in the diaspora. Full article

Multiselfing is a form of musicianship where one person digitally clones themself into several single selves, creating layers and a musical collective that would otherwise be impossible without the mediation of technology. There are various kinds of multiselfers. This article categorizes them as the following: singers, instrumentalists, loopers, live performers, and hybrids. While these five categories are presented distinctly here, they may often overlap. This article explores the notion of multiselfing and its implicit potential when situated in music education to develop comprehensive music skills. Comprehensive musicianship is important because it enables students to grow in broad musical knowledge and skills at all levels of instruction by synthesizing the musical materials they are working with and by making conceptual connections through performance, analysis, and composition. In addition to including many examples, this article also includes lists of resources and applications to help schoolteachers better understand how to integrate multiselfing into their pedagogic practices. Full article

In its broadest meaning, salutogenesis denotes an orientation toward the origins and assets for positive health, as opposed to the origins and risk factors associated with disease (i.e., pathogenesis). While salutogenesis continues to inspire health promotion, it has been noted that qualitative studies can further its understanding and broaden its use in research, clinical practice, and policies. The present study is based on an analysis of structured and unstructured recorded interviews with six refugee musicians. Applying interpretive phenomenological analysis, we comparatively explored the factors contributing to persistence in music between participants. Five factors were found: (a) long-term participation and identity as musicians; (b) desirable effects of music performance; (c) competence, talent, and social recognition; (d) management of social and cultural differences; and (e) locally organized refugee events. The links between music performance and salutogenesis include the following: (1) the inclusion of salutogenic orientation (in addition to pathogenic orientation) toward health; (2) that music invigorated generalized resistance resources so that their expression was augmented, steady, and enduring; and (3) that a high sense of coherence (SOC) was demonstrated. Future studies are needed to reveal whether other activities can take similar roles in developing SOC, and experimental studies are needed before health policy recommendations regarding activities can be made for people that need improved SOC. Full article

This article presents an introductory historical, sociolinguistic, and ethnographic study of “Wazobia gospel music”, a twenty-first-century Nigerian congregational musical genre. The term ‘Wazobia’ signifies a fusion of the three regionally recognized local languages in Nigeria: Wa (Yorùbá), Zo (Hausa), and Bia (Igbo)—words that mean ‘come’ in the respective languages. In the Nigerian context, the Wazobia concept could also symbolize the inclusion of more than one ethnicity or language. By dissecting three multilingual Nigerian congregational songs, I unveil the diverse perceptions of Wazobia gospel music and the associations of the musical genre in line with the influencing agencies, text, and performance practices. Furthermore, I provide a detailed description and analysis of the textual and sonic contents of Wazobia gospel music, emphasizing its roles, meanings, and functions in the Lagos congregations context. I argue that Wazobia gospel music—multilingual singing in Nigerian churches—embodies multilayered roles in negotiating identity and creating hospitality. The complexity of studying congregational singing in cosmopolitan cities (like Lagos, Nigeria) due to multiple ethnolinguistic and musical expressions within local and transnational links is also addressed. To tackle this complexity, this article adopts an interdisciplinary approach, combining historical research, oral history, and hybrid ethnography. This approach ensures a thorough and in-depth understanding of Wazobia gospel music, a topic of significant importance in the study of Nigerian music, linguistics, and cultural studies. By employing frameworks of musical localization and signification, I incorporate the results of my ethnographic studies of three Protestant churches in Lagos, Nigeria, to illustrate Wazobia gospel music’s continued importance. The article conceptualizes multilingual singing and offers fresh perspectives on studying Nigerian Christian congregational music in the twenty-first century. Full article

Danielle Abrams’s performance art critically engages with late twentieth-century debates on race, queerness, and identity, positioning her as a vital figure in challenging monolithic and heteronormative structures of identity. Her early work Quadroon (1998), a live performance and four-channel video installation blending music, costume, gesture, and speech, compounds impassioned debates within the art world and beyond around the impact of multiculturalism on identity-based art, the invisibility of Jews of color and other marginalized members of the Jewish community, and the state of Black/Jewish relations in the United States following the Crown Heights riots of 1991. Abrams’s pieces frequently negotiate the tensions and intersections between her Black and Jewish familial heritage and her lesbian identity through the embodiment of semi-fictional personae grounded in family lore, self-perceptions, and cultural stereotypes. This paper explores how Abrams destabilizes the readability of “authentic” identities on the surface of the body in Quadroon via her adoption of personifications of her Black grandmother, her Jewish great grandmother, her identification as a butch lesbian, and her (unsuccessful) teenage attempt at passing for Greek. Pairing video recordings of each character with interludes from an unpublished performance script, I consider the anxieties of passing expressed in the personas of Dew Drop and Janie Bell, and through the lens of Abrams’s diaries, pose Butch in the Kitchen’s potential as an indefinite body to queer socially imposed constructions of monolithic and essentialist identity. Full article

Diverse multivariate statistics are powerful tools for musical analysis. A recent study identified relationships among different versions of the composition Sadhukarn from Thailand, Laos, and Cambodia using non-metric multidimensional scaling (NMDS) and cluster analysis. However, the datasets used for NMDS and cluster analysis require musical knowledge and complicated manual conversion of notations. This work aims to (i) evaluate a novel approach based on multivariate statistics of potential note degree of rhyme structure and pillar tone (Look Tok) for musical analysis of the 26 versions of the composition Sadhukarn from Thailand, Laos, and Cambodia; (ii) compare the multivariate results obtained by this novel approach and with the datasets from the published method using manual conversion; and (iii) investigate the impact of normalization on the results obtained by this new method. The result shows that the novel approach established in this study successfully identifies the 26 Sadhukarn versions according to their countries of origin. The results obtained by the novel approach of the full version were comparable to those obtained by the manual conversion approach. The normalization process causes the loss of identity and uniqueness. In conclusion, the novel approach based on the full version can be considered as a useful alternative approach for musical analysis based on multivariate statistics. In addition, it can be applied for other music genres, forms, and styles, as well as other musical instruments. Full article

Kunqu Opera, hailed as the “ancestor of all Chinese operas”, plays a crucial role in preserving cultural identity and collective memory in the Jiangnan region. This research examines the acoustical traditions of Kunqu. Through expert interviews and thematic analysis, the study explores key acoustic elements, including vocal techniques and musical structures, and their symbolic and emotional impact. Five central themes emerged, including Kunqu’s role in collective memory, its function as a cultural symbol, the evolution of its transmission, the emotional resonance of its acoustic elements, and the modern challenges and opportunities for preservation. The findings highlight the importance of maintaining Kunqu’s cultural identity within acoustical heritage, while also recognizing the need for innovation in its transmission. This research contributes to the broader discussion on intangible cultural heritage and provides insights into how traditional art forms like Kunqu can be preserved amidst modernization. Full article

Augmenting the author’s prior research on lyrical code-switching, as presented in Picone, “Artistic Codemixing”, published in 2002, various conceptual frameworks are made explicit, namely the enlistment of multimodal and intertextual approaches for their methodological usefulness in analyzing and interpreting message-making that incorporates lyrical code-switching as one of its components. Conceived as a bipolarity, the rooted (or local) and the transcendent (or global), each having advantages in the negotiation of identity, is also applied to the analysis. New departures include the introduction of the notion of “curated lyrical code-switching” for the purpose of analyzing songs in which multiple performers are assigned lyrics in different languages, as a function of their respective proficiencies, as curated by the person or persons having authorial agency and taking stock of the social semiotics relevant to the anticipated audience. Moving beyond the negotiation of the identity of the code-switching composer or performer, in another new departure, attention is paid to the musical identity of the listener. As a reflection of the breadth of lyrical code-switching, a rich assortment of examples draws from the musical art of Beyoncé, Jon Batiste, Stromae, Shakira, BTS, NewJeans, Indigenous songsmiths, Cajun songsmiths, Latin Pop and Hip-Hop artists, songs composed for international sports events, and other sources. Full article

Since ancient times, music has been instrumental in giving life to the stories we build our identities and cultures around. I will examine how, in our time, music creates new myths by creating its own heroes and heroines through capital and the star system. In traditional literary and cultural analysis, a distinction was drawn between the natural and the supernatural when discussing literary mythology; in the twentieth century, an equivalent distinction was made in works of art that, in Baudrillard’s terminology, make use of the realms of the real and the “hyperreal” (1981). In today’s mythmaking, the supernatural has been largely replaced by the technological, and recent developments blur the line between science fiction and fantasy; tech has become megalotech. A recent episode of the television series Black Mirror, “Rachel, Jack, and Ashley Too” (2019), explores these concepts with an examination of the pros and cons of replacing human performers with AI simulacra. Full article