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It is almost as if there are two Bartoks - the amiable collector of Hungarian folk music and the 'infernal' barbarian intent on destroying the music of the past (Gillies, 2010). These two sides of Bartok's character may be seen in such disparate works as The Miraculous Mandarin (1919) and his Suite No. 2, Op. 4 (1904-07). The confronting modernism and controversial subject matter of the former provide a stark contrast to the mild astringency and post-Romantic lyricism of the latter. The aim of this qualitative study is twofold: firstly, to gain a deeper understanding of why Bartok's music tends to be overlooked by Australian piano teachers and, secondly, to examine the technical aspects of teaching this music. Bartok's music has been described as elitist and difficult to understand (Alsop, 2007; Milne, 2010; Nissman, 2002; Oestreich, 1990; Suchoff, 2004) and the literature suggests that this may not be an exclusively Australian problem.

The main aim of this paper is to re-examine the modalities of Béla Bartók’s influence as a composer during the first half of the 20th century to the main, dominantly “nationally oriented style” in the former Yugoslavia, focusing on two of Bartók’s somewhat younger contemporaries – the composers Josip Slavenski (1896–1955) and Marko Tajčević (1900–1984), prominent representatives of European interwar musical modernism.

During the Cold War, thousands of musicians from the United States traveled the world, sponsored by the U.S. State Department’s Cultural Presentations program. Performances of music in many styles—classical, rock ’n’ roll, folk, blues, and jazz—competed with those by traveling Soviet and mainland Chinese artists, enhancing the prestige of American culture. These concerts offered audiences around the world evidence of America’s improving race relations, excellent musicianship, and generosity toward other peoples. Through personal contacts and the media, musical diplomacy also created subtle musical, social, and political relationships on a global scale. Although born of state-sponsored tours often conceived as propaganda ventures, these relationships were in themselves great diplomatic achievements and constituted the essence of America’s soft power. Using archival documents and newly collected oral histories, Danielle Fosler-Lussier shows that musical diplomacy had vastly different meanings for its various participants, including government officials, musicians, concert promoters, and audiences. Through the stories of musicians from Louis Armstrong and Marian Anderson to orchestras and college choirs, Fosler-Lussier deftly explores the value and consequences of \"musical diplomacy.\"

Music Divided explores how political pressures affected musical life on both sides of the iron curtain during the early years of the cold war. In this groundbreaking study, Danielle Fosler-Lussier illuminates the pervasive political anxieties of the day through particular attention to artistic, music-theoretical, and propagandistic responses to the music of Hungary's most renowned twentieth-century composer, Béla Bartók. She shows how a tense period of political transition plagued Bartók's music and imperiled those who took a stand on its aesthetic value in the emerging socialist state. Her fascinating investigation of Bartók's reception outside of Hungary demonstrates that Western composers, too, formulated their ideas about musical style under the influence of ever-escalating cold war tensions.

A list of new music under the headings of Scholarly & Historical Editions, Orchestral Music, Band Music, Choral Music, Dramatic Music, Chamber Music with Strings, Chamber Music Without Strings, Stringed Instrument with Keyboard Music, Woodwind Instrument with Keyboard Music, Brass Instrument with Keyboard Music, Solo Music for Bowed or Plucked Strings, Unaccompanied, Solo Music for Wind Instruments, Unaccompanied, Music for Piano or Harpsichord, Music for Percussion, Music for Voice, Methods and Studies, and Miscellaneous Music is provided.

UNUSUAL STAPLES OF THE TROMBONE REPERTOIRE In this January 2025 Orchestral Sectional column, we welcome the insights of James Nova and Bill Thomas on two of the more unique pieces in the repertoire: Let's learn from Bill Thomas, the bass trombone player of the Tonhalle-Orchester Zurich. [...]that's solid casting. Because this section is so intensely dissonant, it needs to be very well balanced for the harmonies to sound right. [...]from a \"bigger picture\" perspective, take stock of all the accents, marcato markings, and the sempre marcatissimo indication.

The article discusses how the concept of \"national composer\" was established and developed in Central and Northern Europe by looking into the attempted international careers of two Danish composers in the nineteenth and early twentieth centuries. The analysis focuses on the appropriation of national composers in relation to international recognition in order to reflect on how this changing relationship might have influenced the conditions for international recognition of Zoltán Kodály. In the 1840s, Leipzig was the place to obtain international reputation. It was in Leipzig that Niels W. Gade was first recognized as a composer with a \"Nordic tone\" and it was be cause of that reason that he had, a meteoric career and was ranked as an im portant European composer. In the early twentieth century, Carl Nielsen replaced Gade as the most revered Danish composer; however, at that time, being a national composer was not an advantage to an international career, it was an obstacle, if anything.