Abstract: The jurnal entitled “The Study of Musical Composition of Gamelan Logdro Bangsaku by Blacius Subono” basically aims to examine the musical elements in the composition of Gamelan Logdro Bangsaku. The problems contained in this study include: 1. How is the process of creativity of B. Subono in creating the composition of Gamelan Logdro Bangsaku, 2. How is the musical study in the composition of Gamelan Logdro Bangsaku. The type of research used is qualitative research with data collection techniques including interviews, transcriptions, observations and literature studies. After going through the analysis process, the following conclusions and findings were found. First, the creation of Gamelan Logdro's composition was formed from the manifestation of B. Subono's artistic journey. Secondly, the creation of the composition of Gamelan Logdro Bangsaku also created a new interval of composing slendro and pelog tones sequentially with araka intervals that are not too far away. Third, the melody of the clash of notes that focuses on the beauty of the song's sentences. Fourth, there is a lot of musicality in the compositional work of Gamelan Lodgro Bangsaku.

Abstract: This repository contains materials for the Musicality Genomics Consortium's phenotyping project.

Abstract: Natural environments typically contain a blend of simultaneous sounds. A substantial challenge in neuroscience is identifying specific neural signals corresponding to each sound and analyzing them separately. Combining frequency tagging and machine learning, we achieved high-precision separation of neural responses to mixed melodies, classifying them by selective attention toward specific melodies. Across two magnetoencephalography datasets, individual musicality and task performance heavily influenced the attentional recruitment of cortical regions, correlating positively with top-down attention in the left parietal cortex but negatively with bottom-up attention in the right. In prefrontal areas, neural responses indicating higher sustained selective attention reflected better performance and musicality. These results suggest that musical training enhances neural mechanisms in the frontoparietal regions, boosting performance via improving top-down attention, reducing bottom-up distractions, and maintaining selective attention over time. This work establishes the effectiveness of combining frequency tagging with machine learning to capture cognitive and behavioral effects with stimulus precision, applicable to other studies involving simultaneous stimuli.

Abstract: The article reviews the works of musicologist Yulduz Isanbet. She distinguished herself in various fields of musicology related to Tatar culture. Yulduz Isanbet was engaged in scientific, pedagogical and musical-educational work. All of these are given varying degrees of attention in this article. We mainly focus on her large-scale publications, considering them in the context of musical culture and education in Tatarstan from the 1970s and up to 2021. The works are systematized according to their content, structure and genre, revealing their novelty and significance in Tatarstan musicology. The analysis of Yulduz Isanbet’s works and the experience of the author’s communication with her teacher during the years of her study at the Kazan State Conservatory made it possible to formulate the principles underlying the musicologist’s scientific work. The article highlights the influence her father, the writer and folklorist Naki Isanbet, had on the development of these scientific principles. We define further ways of searching and studying Yulduz Isanbet’s heritage and make a suggestion to publish unpublished works by Yulduz and Naki Isanbet, indicating their storage locations. We also suggest publishing materials of the source studies, devoted to individual works of the musicologist.

Abstract: Paper The Musicality of sounding objects, presented on June 11, 2024 at the Analytical Approach to World Music Conference in Bologna.

Abstract: I have been deaf to operatic art for half my life, because I believed that opera was based on an artificial foundation of continuous singing, incompatible with living life. I have never fought against operas, I have never mocked them, like Mayakovsky, who believed that operas were made for non-smokers, in other words, for special lovers of this special dish, to which I, for my part, was simply indifferent. But one day the opera came to my house, I had nowhere to retreat, the brilliant Schnittke created an opera based on my mini-novel “Life with an Idiot.” I not only admitted my mistake – I rushed to correct it, reworking my ideas about freedom in art. Now I think that opera is the freest direction of all the arts. What used to seem conventional to me has now become an amazing absoluteness. In opera, everything is allowed. It is an almost metaphysical dimension, close to enlightenment. After Schnittke, the musicality of my prose became quite conscious, form-generating. In this respect, the novel “The Pink Mouse” became a rhythm novel, that is, a simultaneously thought-out and spontaneous musical phenomenon. Iraida Yusupova turned the musicality of the novel into music, verbal images into musical phrases. The novel went to the screen of her media opera, having lost nothing, on the contrary, having acquired stage authenticity. The opera's heroes themselves received the right to musical existence thanks to the novel's proto-heroine, the Pink Mouse. She was in the novel and remained in Iraida's opera as a clot of vital energy in all its possible manifestations, from rational to divine, from aesthetic to erotic. The Pink Mouse ignited existence. Young Marusya Mendeleyeva, her colleague in the design of the plot of the narrative, is not far behind her. No less significant a figure in the opera is the Guitarist, the chief of evil will, who, however, is in love throughout the opera, and in this state does not fully understand who he is: an agent of love or world evil. In this internal battle with himself, the Guitarist is a new rich operatic figure who finds his theme in the song composition “The Last Lover” – an undoubted pinnacle of modern opera art. None of the other heroes of the opera were created as accomplices of our favorites. Dad is a liberal, Mom is a lover of love, Klop, the first gentleman of Marusya Mendeleyeva, his dad, who is eaten as a cutlet many times in the opera – each sister has an earring. Amazingly suits Iraida's music and the artistic design of the media opera. It is difficult to tear yourself away from the screen. The opera is long, like the battle of love relationships itself, like a full-fledged love act, continuing for hours without stopping. This is a love masterpiece, I have no doubt that this is exactly so.

Abstract: <p>This study examined the impact of Indigenous musicality practices and curriculum integration approaches on student engagement and cultural identity formation in Indigenous Peoples (IP) communities, employing a convergent parallel mixed methods design. Quantitative data were gathered through survey instruments administered to 65 participants, while qualitative data were collected via in-depth interviews with educators and community members. Results revealed that the integration of musicality practices—instrumental music, dance, and storytelling through music—was moderately extensive, while student engagement levels were notably high, particularly in relation to cultural interest and skills development. Curriculum integration through extracurricular and community-based programs was also assessed as moderately extensive. Although no statistically significant interaction effects were observed between musicality practices and curriculum integration, a moderate effect size indicated practical relevance. Qualitative findings underscored the cultural and pedagogical value of Indigenous musical practices, highlighting their role in cultural preservation, emotional expression, and social connection. Teachers expressed both strong support and challenges, including limited resources and training. The findings support the need for contextualized, culturally grounded education strategies that affirm identity and promote inclusive learning in Indigenous settings.</p>

Abstract: Music is a remarkable art form that deeply touches the heart. Through music, we can acquire fond memories and cherished moments. We can express our feelings, and it's a way to create beautiful melodies. With that in mind, we decided to write about two musicians who embody the art of musicmaking: Brazilian Ademir Júnior and American Sonny Stitt. Sonny Stitt is a world-renowned artist who played a pivotal role in the development of jazz, not only in his own time but also for future generations, even brightening the present day. Ademir Júnior, an incredible Brazilian musician, has not only established the art of playing the clarinet and saxophone, but also pioneered arranging, composition, and spectacular improvisational performances. With that in mind, we sought to outline some reflections on these two artists, offering as much information as possible about them and connecting their musicality. We hope, then, to contribute to the musical scene by providing insights and thoughts that, in due sense, can help the artistic class, particularly those who use instrumental music, providing starting points for improvisation and musical performance.

Abstract: Accepted Author Manuscript of the paper "The musicality of sounding objects. An ethnomusicological perspective on the study of musicality". Accepted for publication by Sound Ethnographies.

Abstract: This article explores the phenomenon of ‘musical blood’ using the case of Slovak Roma to challenge both the specific myth of innate Romani musicality and the broader assumption that musical ability is genetically inheritable within ethnic groups. Rather than debunking racist ideas about primordially assigned ethnic features, the article advocates for a more nuanced and scholarly approach to understanding how musical abilities are constructed, perceived and valued within varying social and cultural environments. The article provides an overview of the literature on the heritability of musicality, focusing on the specifics (and pitfalls) of applying this concept to ethnic groups. Then, it critically examines how societal conceptions of music contribute to the persistence of the musical blood myth, suggesting that these beliefs are rooted in sociocultural narratives and stereotypes. It delves into an analysis of multifaceted sociocultural constructs that sustain the notion of ethnic musical predispositions; different sociocultural contexts shape the perception and valuation of musical enculturation, musical aptitude and music per se. The article then analyses the case of Slovak Roma to illustrate broader theoretical implications, providing a critical lens on the role of systemic biases held by non-Roma (heterostereotypes), Romani self-ascribed identification with the construct (autostereotypes), and mutual interactions thereof. While the article is based on the author’s long-term ethnographic observations in Gemer-Malohont in Slovakia (2013–2023), it pairs material from this context with existing ethnographic scholarship, covering cases of Romani musical blood in different sociocultural contexts. The article reflects on the importance of understanding ‘musical blood’ not just as a stereotype but as a meaningful and impactful sociocultural construct deeply embedded in the lives and identities of Romani musicians and their communities.

Abstract: The evolution of human musicality has attracted immense and intense cross-disciplinary research attention. However, despite widespread interest, there has been surprisingly little explicit focus on the conserved roots and evolutionary precursors of musicality in our closest relatives, chimpanzees (Pan troglodytes) and bonobos (P. paniscus). We here aim to evaluate the extant literature on chimpanzees and bonobos in behavioral contexts relevant to evolutionary theories of musicality, especially simultaneous production of acoustics signals by multiple individuals ("collective acoustics"). We illustrate the importance of this literature by evaluating and comparing a pair of recent, influential, and competing theories on the evolution of human musicality (music for social bonding and music for credible signaling) in light of the reviewed empirical evidence. We conclude by highlighting core remaining questions for future empirical studies on great ape collective acoustics that may have a critical influence on our understanding of the evolution of human musicality.

Abstract: Musicality in E.L. Doctorow’s Ragtime is quite deserving of study, as represented by its title. This article conducts an interdisciplinary study and offers a corrective to previous scholarship that has routinely overlooked the relationship between the counterpoint of musicality and the American identities. It is split into three parts: the manifestations of counterpoint musicality in Ragtime, stabilized left-hand voice echoing progressive industry and varied right-hand voice echoing conflictive revolt, which emphasizes the reflections on the “double” American identities.

Abstract: <p>Accepted Author Manuscript of the paper "The musicality of sounding objects. An ethnomusicological perspective on the study of musicality". Accepted for publication by Sound Ethnographies.</p>

Abstract: Abstract This chapter introduces the theory of communicative musicality in regard to Colwyn Trevarthen. It explains that the theory is vital for the human experience of music, and the support, insights, and methodologies it offers to music education, technology, and informatics. The psychobiological and intersubjective models in the emerging theory of communicative musicality became critical for the development of Music in Community interventions to support children in zones of conflict and post-conflict. The chapter then looks into several case studies primarily concerning communicative musicality and Covid-19. It explains that the experiences of listening to music online embrace a certain kind of intersubjectivity and indeed several aspects of communicative musicality.

Abstract: The "cocktail party problem" challenges our ability to understand speech in noisy environments and often includes background music. Here, we explored the role of background music in speech-in-noise listening. Participants listened to an audiobook in familiar and unfamiliar music while tracking keywords in either speech or song lyrics. We used EEG to measure neural tracking of the audiobook. When speech was masked by music, the modeled temporal response function (TRF) peak latency at 50 ms (P1TRF) was prolonged compared to unmasked. Additionally, P1TRF amplitude was larger in unfamiliar background music, suggesting improved speech tracking. We observed prolonged latencies at 100 ms (N1TRF) when speech was not the attended stimulus, though only in less musical listeners. Our results suggest early neural representations of speech are stronger with both attention and concurrent unfamiliar music, indicating familiar music is more distracting. One's ability to perceptually filter "musical noise" at the cocktail party also depends on objective musical listening abilities.

Abstract: This short viewpoint discusses current evidence and future directions for investigating individuals' musicality as a relevant factor for hearing outcomes. We argue that based on methodological, theoretical advances, and increased momentum in the science of musicality, now is the ideal time to investigate connections between human musicality and hearing health using multidisciplinary approaches.

Abstract: Abstract This chapter discusses how to share and build communicative musicality through therapeutic conversations. It explains a therapeutic relationship as an activity in which a skilled person engages with another to further an inner sense of shareable, graceful, and goal-directed inner life. Therapeutic change is created and experienced through the jointly created narrative of the mutually informing words and musicality of voice and body movement as therapist and client talk and interact. The chapter then provides an overview of the notions of pulse, quality, and narrative, and two therapeutic activities under the model of communicative musicality. It considers how therapy and musicality assist others to move towards biological efficiency.

Abstract: This thesis examines the late lyrics of W. B. Yeats in an exploration of his evolving understanding of the relationship between music and poetry, drawing on his personal letters, essays, and speeches. The thesis first contextualizes Yeats’s late work, resulting from a lifetime of musicality and catalyzed by an illness that shifted his attention toward old, unrealized goals of uniting music and poetry. It then looks at three publications through which Yeats attempted to combine the distinct, often opposing forces of musical accompaniment and his own intrinsically musical poetics: Words for Music Perhaps (1932), “Three Songs to the Same Tune” (1934), and Broadsides (1937). These works, along with Yeats’s personal correspondence and other concurrent writings, highlight his understanding of music as part of the Irish oral tradition, his view of himself as a modern Irish bard, and the centrality of emotion and communal experience to music. These themes reframe the role of musical accompaniment in Yeats’s work, therefore opening up a way of uniting the two seemingly contrary energies of music and poetry.

Abstract: Techno-musicality – the mechanics of audio production on the meaningful effect of a recording – is an integral part of composition, production and performance of popular music. Yet this discussion is largely absent from Australian music classrooms. The pedagogy of aural perception is taught as part of the Australian music curriculum and framed via six concepts/elements of music – pitch, duration, structure, texture, timbre and dynamics/expressive techniques. Student engagement with these six concepts largely neglects to address matters of techno-musicality. A study, conducted across Australian secondary students and their educators, revealed that students demonstrate rudimentary skills and/or knowledge to adequately engage with techno-musicality in their listening analyses, and yet educators are willing and mostly confident working in this area. This article addresses the importance of techno-musicality to meaningful analyses of recorded sound and discusses how educators can equip students to engage with techno-musicality utilizing the musical concepts and, in particular, timbre and expressive techniques.