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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.

Is it possible or desirable at all to establish a museum for music? The question was first posed by Franz Liszt in the 19 century. This essay will not only present the background and context of the question, but also the contradictory conclusions that emerge from the idea of the musealisation of music, and which still linger in 20 -and 21 -century music culture.

Frontier Figures is a tour-de-force exploration of how the American West, both as physical space and inspiration, animated American music. Examining the work of such composers as Aaron Copland, Roy Harris, Virgil Thomson, Charles Wakefield Cadman, and Arthur Farwell, Beth E. Levy addresses questions of regionalism, race, and representation as well as changing relationships to the natural world to highlight the intersections between classical music and the diverse worlds of Indians, pioneers, and cowboys. Levy draws from an array of genres to show how different brands of western Americana were absorbed into American culture by way of sheet music, radio, lecture recitals, the concert hall, and film. Frontier Figures is a comprehensive illumination of what the West meant and still means to composers living and writing long after the close of the frontier.

In recent times, African drumming organisations in South Africa and worldwide have adopted group drumming as an experiential learning mechanism for facilitating interactive teambuilding within organisations. Research conducted on drumming circles indicates that group drumming fosters a sense of community by breaking down barriers between participants and creating a space where respect and tolerance for others are valued. In light of South Africa's recent history of apartheid, various issues discussed as part of diversity training workshops remain \"emotionally charged\" topics. This study aims to investigate the role of African drumming in creating an environment that encourages open and honest communication around sensitive issues in the context of diversity training. Using a case study design and drawing on a rich source of qualitative data the study concludes that whilst African drumming can be a successful intervention in diversity training, more exploratory and applied research needs to be done in the area. Cilj je ovoga članka odgovoriti na pitanje kako mogu kulturne forme i prakse poput zapadnoafrickog bubnjanja pripomoci u odgoju različitosti na južnoafričkim radnim mjestima. Tradicionalno se zapadnoafričko bubnjanje smatra da služi kao središnji aspekt ruralnog života gdje se upotrebljavalo kao sredstvo očuvanja starih tradicija i običaja, što sudjeluje u kulturnim svečanostima i gradi zajednice medu zapadnoafričkim plemenima. Danas su afričke bubnjarske organizacije u Južnoj Africi i širom svijeta prihvatile grupno bubnjanje kao sredstvo za podupiranje interaktivnog stvaranja timova unutar organizacija u svrhu pojačanja grupne dinamike i timskoga duha (Helm, 2000). Pospješujući otvorenu komunikaciju i grupnu solidarnost, smatra se da afričko bubnjanje pridonosi poticanju kulturnih vrijednosti »unbuntua« medu organizacijskim timovima (O'Malley & Ryan, 2006). Medutim, postoji manjak akademskih analiza i procjena takvoga rada kako u južnoafričkoj tako i medunardonoj literaturi. Istraživanje provedeno za ovu studiju istražuje uporabu afričkog bubnjanja kao sredstva za podupiranje odgoja različitosti na južnoafričkim radnim mjestima. Radeći na taj način studija prosiruje empirijski fokus prethodnih istraživanja južnoafričkih radnih mjesta. Na teorijskom se planu u članku tvrdi da kulturne forme i prakse poput bubnjanja trebaju postati važan dio praksa upravljanja Ijudskim izvorima. To osporava glavnu struju mišljenja u disciplinama upravljanja Ijudskim izvorima, industrijskoj sociologiji i industrijskoj psihologiji, koje su povijesno naginjale zanemarivanju korisnosti kulturnih forma i praksa u oblikovanju praksi Ijudskih izvora u svrhu boljeg postizanja organizacijskih ciljeva.

The integration of traditional music and cultural elements in Bel canto teaching can promote the inheritance, innovation and development of national music culture, and help to enhance the soft power of traditional culture. In this paper, the method of traditional music culture integration in modern Bel canto teaching is studied, and the vocal frequency in Bel canto singing is visualized and analyzed by using the quantitative tool of spectrum measuring instrument. The students’ test scores were used to test and analyze the effects of integrating traditional music and culture elements on the teaching effect of Bel canto, and the results showed that Bel canto teaching with traditional music and culture elements had a significant effect on the improvement of the students’ music scores. Then, using a quantitative tool called a spectrometer and real-time monitoring, we obtained vocalization spectrograms of students of different genders. Finally, we analyzed the different styles of singing and the different Bel Canto teaching methods. The results show that under different genders, the resonance peak of male voice appears near 2500 Hz, and the resonance peak of female voice appears near 3000 Hz, and the Bel canto teaching which integrates the elements of traditional music and culture can be very good to help the students to improve their music vocalization.

Born four months apart, Bruce Springsteen and Billy Joel both released their debut albums in the early 1970s, quickly becoming two of the most successful rock stars of their generation. While their critical receptions have been very different, surprising parallels emerge when we look at the arcs of their careers and the musical influences that have inspired them.Bridge and Tunnel Boys compares the life and work of Long Islander Joel and Asbury Park, New Jersey, native Springsteen, considering how each man forged a distinctive sound that derived from his unique position on the periphery of the Big Apple. Locating their music within a longer tradition of the New York metropolitan sound, dating back to the early 1900s, cultural historian Jim Cullen explores how each man drew from the city's diverse racial and ethnic influences. His study explains how, despite frequently releasing songs that questioned the American dream, Springsteen and Joel were able to appeal to wide audiences during both the national uncertainty of the 1970s and the triumphalism of the Reagan era. By placing these two New York-area icons in a new context, Bridge and Tunnel Boys allows us to hear their most beloved songs with new appreciation.    

In the contemporary educational environment, the protection and inheritance of traditional music culture faces challenges. The current diverse needs of music education urgently require innovative teaching models to integrate traditional music culture and enhance students’ aesthetic and cultural literacy. The eco-beauty perspective provides a new educational idea that emphasizes the harmonious coexistence with nature and promotes all-around development of students. Combining traditional music culture and modern education technology effectively can be achieved by combining deep learning technology and new paths in music education. This study explores the music teaching model that integrates traditional music culture with deep learning technology, under the perspective of ecological aesthetic education. The study utilizes a mixed methodology, combines quantitative and qualitative Analysis, and compares the experimental design to verify the effectiveness of the teaching model. In this paper, implementing the music teaching model under the perspective of ecological aesthetic education has improved students’ performance in music perception ability, music emotion expression, music composition and performance, and music knowledge theory. The average increase in music perception ability of the experimental class students is 5.18 points, and the average increase in music composition and performance ability is 11.57 points, showing the impact of this teaching mode on the overall improvement of students’ music ability. In this paper, the music teaching mode combining deep learning under the perspective of ecological aesthetic education can effectively integrate traditional music culture, promote the improvement of students’ music literacy, and provide a new teaching strategy for the inheritance and development of traditional music culture.

The diffusion degree of traditional music in music teaching is analyzed by constructing an information diffusion model based on traditional music knowledge. Combine the information flow window to analyze the path process of integrating traditional music culture and music teaching. Combine the kernel function to calculate the degree of similarity between traditional music culture and music teaching. Analyze the students’ preference for traditional music culture content in music teaching by calculating the traditional music theme preference value. The results show that music teaching that incorporates traditional music culture has a better diffusion effect on teaching content, teaching method and teaching form, with the diffusion degree in the interval of [0.45, 0.85), and the diffusion degree interval of teaching information that does not incorporate traditional music culture is in the interval of [0.25,0.35). This study contributes to the integration of traditional music culture and music teaching to a certain extent and enhances the effect of music teaching in colleges and universities.