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During the 1970s a wave of 'counter-culture' people moved into rural communities in many parts of Australia. This study focuses in particular on the town of Kuranda in North Queensland and the relationship between the settlers and the local Aboriginal population, concentrating on a number of linked social dramas that portrayed the use of both public and private space. Through their public performances and in their everyday spatial encounters, these people resisted the bureaucratic state but, in the process, they also contributed to the cultivation and propagation of state effects.

Broadway musicals are one of America's most beloved art forms and play to millions of people each year. But what do these shows, which are often thought to be just frothy entertainment, really have to say about our country and who we are as a nation? The Great White Wayis the first book to reveal the racial politics, content, and subtexts that have haunted musicals for almost one hundred years fromShow Boat(1927) toThe Scottsboro Boys(2011). Musicals mirror their time periods and reflect the political and social issues of their day. Warren Hoffman investigates the thematic content of the Broadway musical and considers how musicals work on a structural level, allowing them to simultaneously present and hide their racial agendas in plain view of their audiences. While the musical is informed by the cultural contributions of African Americans and Jewish immigrants, Hoffman argues that ultimately the history of the American musical is the history of white identity in the United States. Presented chronologically,The Great White Wayshows how perceptions of race altered over time and how musicals dealt with those changes. Hoffman focuses first on shows leading up to and comprising the Golden Age of Broadway (1927-1960s), then turns his attention to the revivals and nostalgic vehicles that defined the final quarter of the twentieth century. He offers entirely new and surprising takes on shows from the American musical canon-Show Boat(1927),Oklahoma!(1943),Annie Get Your Gun(1946),The Music Man(1957),West Side Story(1957),A Chorus Line(1975), and42nd Street(1980), among others.New archival research on the creators who produced and wrote these shows, including Leonard Bernstein, Jerome Robbins, Stephen Sondheim, and Edward Kleban, will have theater fans and scholars rethinking forever how they view this popular American entertainment.

Sounding Out the State of Indonesian Music showcases the breadth and complexity of the music of Indonesia. By bringing together chapters on the merging of Batak musical preferences and popular music aesthetics; the vernacular cosmopolitanism of a Balinese rock band; the burgeoning underground noise scene; the growing interest in kroncong in the United States; and what is included and excluded on Indonesian media, editors Andrew McGraw and Christopher J. Miller expand the scope of Indonesian music studies. Essays analyzing the perception of decline among gamelan musicians in Central Java; changes in performing arts patronage in Bali; how gamelan communities form between Bali and North America; and reflecting on the \"refusion\" of American mathcore and Balinese gamelan offer new perspectives on more familiar topics. Sounding Out the State of Indonesian Music calls for a new paradigm in popular music studies, grapples with the imperative to decolonialize, and recognizes the field's grounding in diverse forms of practice.

In this paper, the hierarchical analysis method is improved based on the expert empowerment method, and the enhanced cluster AHP variable weight comprehensive evaluation model is constructed. Then, various elements and important features of music were evaluated perceptually. The correlation between musical elements and emotional appreciation of music art was analyzed through the indexes of harmonic concordance and sound area. The constructed model was used to make a comprehensive evaluation of the application effect of musical elements in the appreciation of music art. The results show that the proportion of people paying attention to the acoustic concordance of melody, tempo, and rhythm in music appreciation is 88.2%, 66.5%, and 75%, respectively. All VIP values for acoustic consonance and the range of tonal regions exceeded 1, which implies that harmonies with more unity and music in higher tonal regions can increase pleasantness perception. This study explores new research paths and provides new theoretical guidance for designing music appreciation teaching.

In Greater Sekhukhune District Municipality, Limpopo Province in South Africa, learning indigenous music and dance through observation and imitation seems to be a dominant and prominent practice of situational learning. Bapedi people tend to have their own distinctive music genres and purposes for their social events. Bapedi children’s musical arts reveal much about Bapedi people and their way of life. This paper sets out to discuss the transmission process of indigenous music and dance through observation and imitation; and musico-artistic skills acquired by children with at least a partial degree of independence during social and cultural events. In the Bapedi culture, music is a natural phenomenon. Dance too, is not excluded. It is a significant aspect of Bapedi people’s music tradition and a ubiquitous medium of communication or expression. Informal interviews, direct observations and video recordings were employed to collect data. The following research questions therefore guided this study: 1) How is social interaction in the Bapedi society viewed as a critical component of situational learning involving the transmission of children’s musical arts? and 2) Do children in the Bapedi society have the ability to recognize and interpret what musical activity/event is taking place and to participate in ways sensitive to the context? The investigation has revealed that in the Bapedi culture, informal learning of indigenous music and dance; and social processes are indissolubly linked and take place within contexts in which members of the society relate to each other and their environment. The results of this study have further shown that the spectrum of learning experiences can range from accidental, unintentional, or reluctant forms of learning to active, intentional, involved, and highly valued forms of learning. It was concluded that in early childhood, it is play that underlies almost all informal learning and holism is a dominant principle in music and dance enculturation process of Bapedi children’s musical arts.

St. Matthew Passion is Hans Blumenberg's sustained and devastating meditation on Jesus's anguished cry on the cross, \"My God, my God, why have you forsaken me?\" Why did this abandonment happen, what does it mean within the logic of the Gospels, how have believers and nonbelievers understood it, and how does it live on in art? With rare philological acuity and vast historical learning, Blumenberg unfolds context upon context in which this cry has reverberated, from early Christian apologetics and heretics to twentieth-century literature and philosophy. Blumenberg's guide through this unending story of divine abandonment is Johann Sebastian Bach's monumental Matthäuspassion, the parabolic mirror that bundled eighteen hundred years of reflection on the fate of the crucified and the only available medium that allows us post-Christian listeners to feel the anguish of those who witnessed the events of the Passion. With interspersed references to writers such as Goethe, Rilke, Kafka, Freud, and Benjamin, Blumenberg gathers evidence to raise the singular question that, in his view, Christian theology has not been able to answer: How can an omnipotent God be so offended by his creatures that he must sacrifice and abandon his own Son?

In this paper, the relation between live and online highbrow performing arts consumption is examined. Specifically, we analyse whether restrictions on live cultural participation can be overcome by online consumption and the differences in the profiles of live and online consumers. To this end, using the Survey of Cultural Habits and Practices in Spain 2014–2015, two Bivariate Probit models using information about online and live consumption of highbrow performing arts in Spain are estimated. We separately analyse theatre and musical performing arts (ballet, opera, Spanish operetta and classical music concerts). Our results show that the profiles of live and online cultural consumers differ. However, we also find a complementarity effect between live and online consumption. Therefore, the online channel could be a valuable tool for spreading access to culture that might overcome some restrictions on live cultural participation, such as high prices and time constraints. Alternatively, if this is true only for people already consuming culture but not attracting new consumers, the online channel would help just to reproduce old patrons of inequality in cultural access but not to democratize highbrow culture.

The first of its kind, this is book consists of twenty-one essays describing the many different uses of the digital computer in the field of music.

The article is devoted to the need of future music teachers’ intercultural competence forming on the Danube territory. Taking into account the peculiarities of the teaching of musical art as a multicultural phenomenon. This phenomenon involves not only the acquisition of knowledge, but also the development of students’ needs for intercultural communication with the art of different nationalities living in the fields of the Danube. It also involves the ability to feel their ethno-national beauty. It is established, that the intercultural competence formation occupies a special place in the structure of the professional activity of the future teacher of music. We believe that the intercultural teacher of musical art must be able to effectively organize the process of intercultural communication on the Danube territory, based on the understanding of the intercultural competence of the future teacher as a systemic and personal entity, manifested in the formation of skills to organize and implement the process of intercultural musical education of students at the level of contemporary artistic requirements.

Background/purpose – Musical art has great potential for developing a child’s personality. Research around the world confirms that the inclusion of musical art stimuli has a positive impact on preschool children and brings multiple benefits. However, it needs to be led by a teacher who is competent pedagogically, but who is also equally competent artistically. The aim of the research was to examine the use of works of musical art in preschool education in Slovakia from the perspective of preschool teachers.Materials/methods – Questioning was used to meet the survey aim. The research tool was a questionnaire constructed by the authors. In total, 366 kindergarten teachers responded to the questionnaire. A quantitative research design was employed in the study.Results – From the results of the research, it is possible to state that there is a higher than average level of the current status of musical art used in preschool education. The opportunities for kindergarten teachers to acquire knowledge of musical art in their preservice training or other forms of education were found to be below average. The attitude of kindergarten teachers towards musical art can also be described as below average. Opportunities to gain expertise in musical art were shown to statistically, significantly, and positively predict kindergarten teachers’ attitudes toward musical art. It was also confirmed that the kindergarten teachers’ attitude towards musical art statistically, significantly, and positively predicts the use of works of musical art in preschool education.Conclusion – The research findings point to the need to increase opportunities for kindergarten teachers to acquire professional knowledge in musical art. The results of the research may be a stimulus for further research, such as analysis of preschool teachers’ responses in terms of their age and pedagogical practice in order to estimate the development of the current state of using works of musical art in preschool education.