Abstract: Computational methods for big data music research mostly come from the field of music information retrieval. Through feature extraction and machine learning, many practical tasks have been automated, like genre recognition and playlist generation. However, for musicological purposes, conventional features do not provide enough insight into the music production process. In this study, we evaluate how well Mel-frequency cepstral coefficients and recording studio features reveal aspects of early house and techno music from the United States of America and Germany. The explorative study is an exemplary case-study where music production plays an essential role. Further studies may reveal how much the findings transfer to other producer-driven music, like hip hop and electronic dance music.

Abstract: This study examines the role of music education as an instrument of national identity construction in the five Central Asian states and analyses the consequences of this function for regional educational integration. Drawing on the theory of invented tradition (Hobsbawm and Ranger, 1983) and the concept of imagined communities (Anderson, 1983), the research analyses music curriculum content in the principal conservatories of Kazakhstan, Uzbekistan, Kyrgyzstan, Tajikistan, and Turkmenistan. The source material includes publicly available curriculum documents, programme descriptions, UNESCO Intangible Cultural Heritage nomination files, national education laws, and World Bank statistical data. The analysis maps the divergent national music canons that have been constructed through higher education curricula since independence in 1991. A pattern we term curricular nationalism emerges from this mapping: the deliberate use of music education curricula to construct nationally specific cultural identities by selecting canonical instruments, elevating particular musical genres to national heritage status, and incorporating specific musicians and composers into national pantheons. Each of the five states has built a distinct canon within its conservatory system. Kazakhstan has centred its curriculum on the dombra and the kuy tradition; Uzbekistan on the Shashmaqom classical system and the dutar; Kyrgyzstan on the komuz and the Manas epic tradition; Tajikistan on a reframing of the shared Shashmaqom heritage as distinctly Tajik; and Turkmenistan on the dutar and the bakhshi bardic tradition. These divergent canons are not accidental products of institutional development but purposeful constructions that serve to distinguish each newly independent state from its neighbours. The study identifies a structural paradox: the cultural proximity of the five states, including shared musical traditions, instruments, and performance practices that could in principle support regional cooperation, is precisely what drives curricular divergence, because shared traditions become objects of competitive national appropriation rather than a basis for integration. We suggest that this dynamic forms an identitarian barrier to regional music education integration that the structural mechanisms of the Bologna Process and the relational mechanisms of bilateral cooperation are largely unequipped to resolve, since the obstacle is not technical or institutional but political in nature.

Abstract: The present study investigates the governance of music higher education in Central Asia by examining two competing external integration frameworks that currently operate in the region: the European Bologna Process and China's Belt and Road Initiative. The empirical focus is placed on five Central Asian states, namely Kazakhstan, Uzbekistan, Kyrgyzstan, Tajikistan, and Turkmenistan. The research draws on the theory of policy borrowing and lending as formulated by G. Steiner-Khamsi, the concept of soft power in educational cooperation, and the theory of regional education space as developed by S. Marginson, with the aim of analysing how these two frameworks act upon Central Asian music education institutions through different mechanisms and produce different effects. Documentary evidence is collected from national education laws, institutional reports from principal conservatories in the region, programme descriptions from the Shanghai Conservatory of Music's Belt and Road Art Talent Training Programme, Aga Khan Music Programme publications, diplomatic agreements from the 2023 China-Central Asia Summit, and statistical data from the World Bank and UNESCO. The analysis brings to light that the Bologna Process acts on Central Asian music education through structural standardisation, which requires the adoption of compatible degree formats, credit systems, and accreditation mechanisms, while China's Belt and Road Initiative operates through relational exchange, which offers talent training programmes, bilateral institutional partnerships, and cultural diplomacy events that do not require structural convergence. The paper puts forward the concept of dual integration pressure to describe the condition in which music education institutions must respond to both frameworks at the same time, and identifies a structural incompatibility between the multilateral norm convergence logic of the Bologna model and the bilateral relationship logic of the Chinese model. The findings point to the fact that music education, as a domain where cultural specificity and institutional standardisation exist in direct tension, makes visible a governance problem that remains hidden in other fields of higher education cooperation in Central Asia. A complementary engagement framework is proposed that identifies conditions under which the two models can operate without mutual interference and suggests that Chinese cooperation can address gaps in heritage documentation, traditional instrument exchange, and performance-based mobility that Bologna-oriented reforms are structurally unable to fill.

Abstract: China's "Double Reduction" policy, introduced in 2021 to curtail excessive academic tutoring, has redirected millions of families toward extracurricular arts education, particularly music. Yet this surge in demand has exposed longstanding structural weaknesses in China's extracurricular music education system, including an entrenched examination-grading culture, market fragmentation, and a narrow conception of musical learning centered on technical reproduction rather than creative engagement. This paper presents a comparative analysis of extracurricular music education systems in the United States, Germany, and Japan, examining how each country has developed distinct institutional arrangements to support music learning outside the formal school curriculum. The United States relies on a decentralized, community-driven model that privileges creative expression and cultural pluralism. Germany maintains an extensive network of publicly funded music schools (Musikschulen) organized as a complement to general schooling. Japan embeds much of its extracurricular music activity within the school-based club (bukatsu) system, supplemented by well-established industry-education partnerships with corporations such as Yamaha and Suzuki. Drawing on policy documents, institutional data, and existing scholarship in comparative education and music education, we identify both shared principles and irreducible differences across these three models. The analysis suggests that China's current predicament cannot be resolved through market expansion alone; rather, it requires a reconfiguration of institutional design, pedagogical orientation, and the relationship between assessment and musical experience. We conclude by outlining a set of policy directions, including reforming the graded examination system, expanding public provision at the community level, and reorienting teacher education toward broader conceptions of musicianship.

Abstract: This paper examines why music higher education across five Central Asian states—Kazakhstan, Uzbekistan, Kyrgyzstan, Tajikistan, and Turkmenistan—resists the regional integration that general higher education has begun to pursue. We compare degree structures, accreditation systems, and curriculum models at each country’s national conservatory, and we analyse national education laws alongside international agreements to trace the roots of divergence. The analytical lens combines institutional isomorphism—a framework that explains how organisations copy, comply with, or professionally absorb external models—with the concept of regional education space as a deliberate governance project. The evidence reveals a pattern we call the conservatory paradox: every government simultaneously pushes its conservatory toward Bologna-compatible degree formats and charges the same institution with safeguarding nationally distinct oral music traditions that UNESCO has inscribed on its heritage lists. This dual mandate opens a persistent gap between what formal structures describe and what classrooms actually deliver. Rather than full harmonisation, we propose a three-level coordination framework—mutual trust through accreditation without curriculum uniformity, joint heritage projects anchored in shared traditions such as Shashmaqom, and short-term mobility windows that bypass the credit-transfer bottleneck.

Abstract: We examine the friction between oral music transmission and formal curriculum structures inside three Central Asian conservatories — the Kurmangazy Kazakh National Conservatory (Almaty), the State Conservatory of Uzbekistan (Tashkent), and the Kyrgyz National Conservatory (Bishkek). The analytical lens is drawn from M. Polanyi’s tacit knowledge theory and I. Nonaka and H. Takeuchi’s SECI model of knowledge conversion. We worked through publicly available syllabi, programme descriptions, accreditation reports, and institutional data from these three institutions. The core finding is what we call epistemic mismatch: a structural clash between the codified, modular, outcome-based knowledge that Bologna-style curricula demand and the tacit, embodied, relationally transmitted knowledge on which oral music traditions survive. A “two curricula” phenomenon emerged from the data — formal written documents describing traditional music programmes coexist with an entirely separate enacted curriculum that teachers actually follow in the studio. The Aga Khan Music Programme’s work in Kyrgyzstan and Tajikistan, reaching over 7,000 students in 80 schools, is analysed as an attempted epistemic bridge. We propose a three-principle framework: protected pedagogical space for oral transmission within credit structures, competence-based assessment replacing written examination, and audio-visual documentation replacing notation.

Abstract: MPA occurs in very young children and is prevalent throughout the lifespan of musicians. Childhood presentations are phenotypically similar to adult musicians which raises the question as to whether MPA is innate or acquired and if identified in childhood, the most appropriate way to manage it to forestall MPA as a lifelong problem. An understanding of developmental and psychodynamic psychology and the multifactorial causation of MPA is necessary to develop effective interventions.

Abstract: This study deals with the classificational aspects of raags of Hindustani Classical music by grouping raags into thaats and timings. The raags are classified based on the notes and the time of the day. The different timings of the days portrays various emotions, and these emotions are expressed through raags.

Abstract: This study is our sincere effort and service towards Hindustani Classical Music. The raag which we are writing about in this article is Raag Shankara. We have researched multiple resources, which include books, websites, other digital media and multiple performances of various artists. The artists range from vocal, sitar, sarod, surbahar and flute. The aim of this article on Raag Shankara is to bring together the knowledge and historical background of Raag Shankara based on theory, structure, patterns and various ways the artists have expressed it over decades of performances. This article also serves as a unique learning resource for students of various skills, knowledge and performance levels, who are in the process of becoming performers and learners of Hindustani Classical Music. We are not endorsing or following a specific gharana system of music. Rather, we are aiming to keep the structure as it is and the readers are free to apply it to any gharana system or not. We have also included a big list of websites which have performances on Raag Shankara, and this will serve the learner in a multitude of ways.

Abstract: This study is our sincere effort and service towards Hindustani Classical Music. The raag which we are writing about in this article is Raag Yaman. We have researched multiple resources, which include books, websites, other digital media and multiple performances of various artists. The artists range from vocal, sitar, sarod, surbahar and flute. The aim of this article on Raag Yaman is to bring together the knowledge and historical background of Raag Yaman based on theory, structure, patterns and various ways the artists have expressed it over decades of performances. This article also serves as a unique learning resource for students of various skills, knowledge and performance levels, who are in the process of becoming performers and learners of Hindustani Classical Music. We are not endorsing or following a specific gharana system of music. Rather, we are aiming to keep the structure as it is and the readers are free to apply it to any gharana system or not. We have also included a big list of websites which have performances on Raag Yaman, and this will serve the learner in a multitude of ways. It would be ambitious to say that this is the first resource on Raag Yaman, but we can certainly say for sure that a study with such detail does not exist. We can confidently say that if a learner follows this article to learn Raag Yaman, then they would not have to spend endless hours researching the theory from other resources.

Abstract: This article proposes a novel method to describing the chord relations involving triads and seventh chords. It is based on the quantity of semitones between two chords, while also considering the quantity of common tones and the quality and quantity of intervals beyond semitones and common tones. The premise of this research is that the existence of semitones and quantity of semitones between chords are correlated with the degree of tendency of their relation. After examining the effects of semitones, common tones, and other intervals between two chords, this article introduces a new concept called “Chord Relation Value” to facilitate a quantitative and qualitative analysis of chord relations. A key innovation of this study is its departure from traditional voice leading concepts by examining all possible semitonal movements between two chords, leading to conclusions that differ from those of existing analytical theories. Through the analysis of musical excerpts from various periods, including classical music, pop music, jazz music and film music, this article demonstrates that the Chord Relation Value is highly effective in analyzing and describing the chord relations involving triads and seventh chords, applicable in both tonal and non-tonal contexts.

Abstract: This article examines the nature of musical stimuli used in eye-movement research on music reading, with a focus on syntactic elements essential for fluent reading: melody, rhythm, and harmony. Drawing parallels between language and music as syntactic systems, the study critiques the widespread use of stimuli that lack coherent musical structure, such as random pitch sequences or rhythmically ambiguous patterns. Eight peer-reviewed studies were analyzed based on their use of stimuli specifically composed for research purposes. The findings reveal that most stimuli do not reflect authentic musical syntax, limiting the validity of conclusions about music reading processes. The article also explores how researchers interpret the concept of “complexity” in musical stimuli, noting inconsistencies and a lack of standardized criteria. Additionally, it highlights the importance of considering motor planning and instrument-specific challenges, which are often overlooked in experimental design. The study calls for more deliberate and informed stimulus design in future research, emphasizing the need for syntactically meaningful musical excerpts and standardized definitions of complexity. Such improvements are essential for advancing the understanding of visual processing in music reading and ensuring methodological consistency across studies.

Abstract: This study explores the modern songs of Kabir Suman, a pivotal figure in contemporary Bengali music, through a semantic, discursive, and inclusive lens. His songs have redefined urban Bengali music by blending political consciousness, personal introspection, and social inclusivity. Through a multidisciplinary framework, this paper investigates how Suman’s lyrical innovations contribute to the cultural and political discourse in West Bengal and beyond. The study uses semantic analysis to unpack the meanings within his lyrics, discursive analysis to explore his thematic strategies, and inclusion theory to assess his engagement with marginalized voices. Findings reveal that Kabir Suman’s oeuvre challenges normative cultural narratives and reconstructs Bengali identity in postmodern urban spaces.

Abstract: This study uses the role of social media in efforts to introduce and preserve traditional Malay music as a valuable cultural heritage. The use of digital platforms such as Facebook, TikTok, Instagram, and YouTube is seen as a strategic way to increase exposure to traditional music, especially to the younger generation who are more inclined to modern music. However, the main challenges faced include lack of exposure, lack of effective promotional strategies, and production of creative content that is less attractive to young listeners. Therefore, this study aims to understand how social media can further expand exposure to traditional Malay music, identify the most relevant social media platforms to use, and identify the challenges faced in promoting this music. This study shows that social media has great potential in ensuring the survival of heritage arts, but requires a more strategic and creative approach to achieve maximum impact.

Abstract: This study explores how Philip Glass's post-minimalist techniques in the film score of *The Hours* interact with the film’s non-linear narrative structure. By integrating musicological analysis and film narrative theory, the paper examines the use of micro-variations, additive processes, and repetitive harmonic structures in Glass’s score. These techniques are shown to not only intensify the emotional resonance of the film but also reinforce its fragmented temporal flow across three interwoven storylines. Case studies of specific scenes illustrate how the music's subtle evolution parallels the narrative’s thematic continuity and psychological depth. This research contributes to the understanding of post-minimalist film scoring, emphasizing the aesthetic and structural synergies between music and moving image.

Abstract: The human voice consists of two major registers: the lower voice, which is regarded as “the chest voice”, and the upper voice, which is regarded as “the head voice”. The lower voice is mainly utilised for normal speech, whilst the activity of singing is more based upon the upper voice. There is an upper section of the “head voice” that is known as “falsetto” and a bridge toward the “whistle” vocal register. There are three general categories of the human singing voice. In males, the three categories are generally known as Bass, Baritone and Tenor, whilst in female voice, the three categories of singing voice are generally known as: Alto, Mezzo-Soprano and Soprano. The determination of the human vocal range is usually done via an assessment of the utilised vocal registries within specific ranges of musical notes from a piano (i.e. C0 - C7, 8 octaves => 64 whole notes, with 38 intermediary notes), and based on the equilibrium of lower-upper vocal registry utilisation in the process. For example, if a lower musical note is hit with the upper vocal registry, then the user is deemed to have a lower vocal range. On the other hand, if a higher musical note is hit with the lower vocal register, then the user is deemed to have a higher vocal range. Furthermore, vocal range is known to be fluid, in accordance to the level of vocal training, as users reported that their vocal ranges widened significantly following extensive, long-term training. The human voice is overall regarded as a musical instrument that has been utilised since the beginning of human history and, as with any musical instrument, the present study emphasises upon the importance of a proportional training of the human voice to ensure that the utmost potential in singing abilities is reached through a thorough, long-term and careful extent of vocal training, exercises, as well as considerable durations of vocal rest in between. The present study compares the long-term development of the human singing voice with the patterns behind the assembly of the Eiffel Tower, which occurred in three stages to create a structure composed of two exponentially-growing curves intersecting with each other at the top, given that it is in a similar manner that the singing voice is developed, with the human voice becoming exponentially more capable of hitting high notes as a result of the training of the head voice (i.e. second section of the Eiffel Tower) and even of the “whistle” register (i.e. third, top section of the Eiffel Tower), with the three human passagios resembling the three levels separating the three sections of the Tower. Such an analogy would support teenage users in resolving puberty-generated vocal gaps and proportionally reflect the theory in which the range of the upper voice expands by 3 quarters of a tone during each training phase displaying a threshold level of both quality and duration, resulting in the R squared value equating to 0.92 (p value < 0.01). With each round of accurate vocal training, a phenomenon occurs in which “a vocal mix” occurs and its quality continuously increases. Such a “mixing” process implicates the reversion of the vocal foundations, in which the random human voice has its foundation changed, from a lower, speaking register, to a higher, singing register. Some vocalists and researchers may describe such contexts in a few words “pulling the voice reversely”, by basing the human voice upon the “head” voice, rather than the “chest” voice, to avoid phenomena of “vocal straining” and “breaks”. Principles of human psychology, as well as emotional and physical wellbeing can apply to effective methods of singing vocal development, meaning that motivation plays a significant role in ensuring a long-term state of vocal progress. The overall manuscript suggests that the successful assembly of the singing human voice reflects the assembly of the Eiffel Tower’s structure, hypothesising that the extension of the human vocal range reflects a two-phase exponential growth model.

Abstract: This study presents a bibliometric analysis of scientific production on women performers in music, employing coauthorship network techniques and altmetric indicators to assess their impact and dissemination. Through the analysis of data extracted from the Scopus and Web of Science databases from 1995 to the present, the study examines the evolution of research in this field, identifying collaboration patterns, thematic trends, and the influence of these studies within the academic community. Traditional bibliometric principles and tools such as VOSviewer were applied for data and metadata processing. The results reveal a progressive increase in the number of publications on this topic, although they remain concentrated in a limited number of specialised journals. Additionally, certain countries and authors dominate coauthorship networks, and the focus of studies has evolved from historical and descriptive analyses to integration with digital methodologies and gender approaches. Finally, altmetric data show a rise in the dissemination of these studies through social networks and academic platforms, suggesting a growing interest in highlighting the role of women in the history of music.

Abstract: Many publications on early house and techno music have the character of documentation and include (auto-)biographical statements from contemporaries of the scene. This literature has led to many statements, hypotheses, and conclusions. Weaknesses of such sources are their selective and subjective nature, and the danger of unclear memories, romanticization and constructive memory. Consequently, a validation through content-based, quantitative music analyses is desirable. For this purpose, the HOuse and Techno music from Germany and AMErica (HOTGAME) corpus was built. Metrics from the field of data quality control show that the corpus is representative and explanatory for house and techno music from Germany and the United States of America between 1984 and 1994. HOTGAME can serve as a reliable source for the analysis of early house and techno music using big data methods, like inferential statistics and machine learning.

Abstract: This research aims to investigate psychological anxiety factors, particularly Music Performance Anxiety (MPA), that influence the sustainability of music learning systems. This study employs an innovative integration of qualitative and quantitative methodologies, marking the first use of a nonlinear system paired with a comprehensive data framework for analyzing questionnaire responses. This approach allows for a detailed examination of the effects of these factors on academic outcomes. Previous research has primarily focused on the fragmented music learning system from the perspective of teachers' instructional strategies, emphasizing phased teaching methods and learning objectives which focus often neglected a significant subset of music learners. Addressing this oversight, the current study specifically centers on the emotional aspects of anxiety within music learning systems, with a particular emphasis on students, who play a crucial role in music education. This perspective enables a deep exploration of how MPA and other related emotional factors affect music learning systems. A notable innovation of this research is the development of a stochastic nonlinear system designed to model the psychological factors impacting student music learning, complemented by a quantitative model that assesses actual learning outcomes. By analyzing this nonlinear system, the research identifies weight values for various negative emotions, particularly those related to MPA, that significantly influence the music learning process. The integration of MPA and other anxiety related emotional factors with practical learning outcomes provides a comprehensive understanding of their combined impact on the music learning system. These insights are invaluable for educators and policymakers aiming to enhance both the effectiveness and emotional well-being within music education. This comprehensive approach offers a novel perspective in understanding and improving the dynamics of music education through a more empathetic and scientifically grounded lens.

Abstract: This case study explores communication challenges faced by Spotify users, focusing on messaging consistency, personalization, and user feedback mechanisms. Conducted with students at Umm Al Quwain University, the study reveals a disconnect between Spotify's communication and user expectations, impacting engagement and satisfaction. Key findings highlight the need for personalized messaging, improved communication channels, and active user feedback incorporation. By implementing these recommendations, Spotify can bridge the communication gap, enhance user experience, and solidify its position as a leader in user-centricity.