Gaze tracking in music performance research often pertains to acoustic instrument performance. The differences between live-electronic music performance and acoustic instrument performance warrant an investigation of how performers use gaze in live-electronic music performance. We examine the combined use of gaze tracking recordings of 18 live-electronic performances with post-performance stimulated recall interviews with the goal of gathering qualitative information about gaze and the live-electronics setup. We identify two primary functional categories of gaze: visual information and looking–listening interplay. Visual information entails gathering visual feedback about the state of the setup and locating targets for hand-eye coordination. Beyond visual information gathering, gaze appears to actively shape auditory perception: participants reported that looking at an interface element facilitates retrieval of memory representations of a live-electronics setup, such as mappings or signal paths. Through visuospatial attention, gaze may support auditory information processing within the complex soundscapes of live-electronic music performance.

Introduction: Bow force and movement are intrinsic to learning and performing bowing techniques on bowed string instruments. This study explores the use of a low-cost sensorised glove designed to support right-hand technique learning in cello performance. Methods: The glove is fitted with piezoresistive sensors on the thumb and index finger to quantify grip force during bowing, enabling the evaluation of bow-hold ergonomics in real time. Tests with five cello students comprised three tasks (holding the bow still, sustaining a note, and performing a one-octave scale), followed by participation in a discussion group. Results: The results revealed consistent finger force patterns across all exercises, with higher forces occurring toward the bow tip and lower values near the frog, reflecting the natural lever dynamics of cello playing. Force behaviour proved stable and repeatable within the selected physiological range, confirming the glove’s reliability for capturing meaningful variations in bowing technique despite reduced sensitivity at higher loads. Participants reported that the glove enhanced their awareness of applied pressure during sostenuto. Discussion: These findings suggest perceived pedagogical potential for self-monitoring and technique refinement while demonstrating the feasibility of using visual real-time wearables in instrument instruction. Future research could include longitudinal studies and the synchronisation of audio recordings to further explore the relationship between applied finger forces and sound production.

Engagement with arts and cultural activities is increasingly recognized as beneficial for mental health; however, in Greece, there remains limited evidence regarding outreach museum programs for clinical populations. This study evaluates the Portable Art Therapy Museum Workshop, an initiative designed to examine the impact of a museum-based outreach program on the well-being of young people with severe mental health challenges, following a psychosocial approach. An art-based mixed-methods design was employed. Nineteen participants (aged 17–30 years, M = 22) from mental health community services engaged in a five-session portable workshop (museum visits and art as therapy workshops). Wellbeing was measured pre- and post-program using the University College London (UCL) Museum Wellbeing Wheel and analyzed with the Wilcoxon signed-rank test. Art-based qualitative observation and analysis identified three themes: Museum as Meeting Point, Self Objects, and My Personal Museum. UCL Wellbeing Wheel results showed a statistically significant improvement in psychological well-being (p < .001) before and after participation. Qualitative observations suggest that art objects can have multiple subjective and cultural meanings and therapeutic effects through memory and identity; that this approach helps to reduce practical, psychological, and symbolic barriers to social and cultural participation; and that it can enhance psychological well-being for young adults with severe mental health challenges.

Der ZfM-Schwerpunkt «Trans Media Studies» interessiert sich für das theoretische und politische Potenzial einer Verschränkung von Trans Studies und Medienwissenschaft. Dabei lassen sich geteilte Interessen beider Felder etwa in der machtkritischen Analyse von Sichtbarkeit und Vergeschlechtlichung ausmachen, wie auch gegenseitige Herausforderungen in Bezug auf den Status verkörperten Wissens oder die Bedeutung medialer Anordnungen für dessen Entstehung. Der Schwerpunkt bestärkt den wissenspolitischen Einsatz dieser Verschränkung, indem Ansätze der im US-amerikanischen Raum inzwischen etablierten Trans und Trans Media Studies für die deutschsprachige Medienwissenschaft auf produktive Verbindungen befragt und weiterentwickelt werden.

Die Internationale Gesellschaft für Neue Musik (IGNM) beging 2022/23 ihr 100-jähriges Bestandsjubiläum. Aus diesem Anlass fand in Wien ein internationales Symposium statt, das Zukunftsentwürfen in den Künsten gewidmet war. Nicht wenige dieser Entwürfe durchzieht ein dystopischer Grundton. Utopien und Dystopien zeichnen konträre, gleichwohl zueinander in Relation stehende Zukunftsbilder aus der jeweiligen historischen Gegenwart. Ob sie dies – wie in den Gründungsjahren der IGNM – auch heute noch mit dem Ziel tun, die Symptome der Zeit zu benennen und zu behandeln, oder ob das Relevanzversprechen der Kunst obsolet geworden ist, war eine der auf dem Symposium diskutierten Fragen. Die Beiträge des Bandes dokumentieren diese Fragestellungen bzw. suchen nach Antworten und bieten Einblick in die bewegte Vergangenheit der IGNM, behandeln aber ebenso gegenwärtige und zukünftige Probleme des Komponierens.

Die Elementare Musikpädagogik (EMP) sucht eine günstige Gewichtung zwischen prozesshaften Erlebnis- und Erfahrungsräumen, musikalischen Lernprozessen und künstlerischen Ergebnissen. Vor diesem Hintergrund untersucht die vorliegende Arbeit anhand von EMP-Interventionen mit Grundschulkindern, welche Wirkungen Elementares Musizieren auf musikalische Lernprozesse entfaltet. Die Studie kommt zum Ergebnis, dass EM-Unterricht zu signifikant positiven Leistungssteigerungen bezogen auf Elementare musikalische Fertigkeiten führen kann.

Signature Sound Vienna is an interdisciplinary digital musicology investigation of the Vienna Philharmonic Orchestra’s New Year’s Concert series, conducted by reference to a collection of relevant concert recordings and scores assembled for this purpose. In this paper, we present an overview of the workflows and software tools developed co-creatively between the project’s music scholars and technologists, aiming to facilitate the publication, analysis and dissemination of findings pertaining to musicological research data while adhering to FAIR principles of data management. These workflows and tools include automated conversion scripts to publish metadata of large collections of music media, retrieved and validated using the MusicBrainz Picard Tagger, as Linked Data adhering to the Music Ontology; mei-friend, a browser-based editor for music encodings; Listen Here!, an environment for tool-assisted close listening to score-aligned collections of performance recordings; and Primal, a platform for review and interaction with music annotation Linked Data. Building on Web standards and established ontologies, including the Solid platform for social Linked Data, the Web Annotation Data Model, the Music Annotation Ontology and the schema of the Music Encoding Initiative (MEI), our modular tools integrate on shared Linked Data structures. This supports complex musicological investigations through comparatively simple applications focusing on specific tasks and modalities, as well as enabling further extensions beyond the scope of our project. We present a case study of the use of this approach within our own scholarly investigations, showcasing findings from performance analyses of collections of the most frequently performed compositions of the New Year’s Concert series, and discuss the implications of our approach on broader digital musicology contexts.