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.

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.

Trumpet playing requires precise embouchure, breath control, and postural support, engaging facial and respiratory muscles as well as muscles within the abdomen, thorax, and neck. Research on muscle activity during trumpet playing focuses mainly on embouchure and its involved facial muscles, whereas studies investigating torso muscles are scarce. METHODS: In this observational study, the activity of the abdominal, thoracal, and neck muscles of 24 male professional trumpet players between 20–45 years of age were measured with surface electromyography (sEMG) during playing. Electrodes were positioned on the m. rectus abdominis, m. obliquus externus, m. obliquus internus, mm. intercostales, m. pectoralis major, m. trapezius pars descendens, and m. sternocleidomastoideus. All participants played the same musical tasks. Markers were set at three representative places of expected low (G4) and high (B5 and C#6) activity. RESULTS: In the deep abdominal and intercostal muscles, activity was remarkably high during high and loud notes (m. obliquus internus: 94.91% (34.05) mean (SD), m. obliquus externus: 89.12% (36.74), mm. intercostales 85.24% (45.82) of MVIC during ff B5), whereas the m. rectus abdominis worked only with a medium effort of 57.99% (34.19) of MVIC during that same task. Muscle activity was significantly higher during high and loud notes than in low notes (p < 0.001). When comparing isolated with concatenated notes, smaller peak values of abdominal muscle activity were recorded in concatenated notes played in musical context than in isolated tones. Neck muscles also presented significant differences in activity between high and low notes, but with generally only a medium high activity throughout all measures and regardless of the playing task. CONCLUSION: This study provides valuable insights into the muscular demands of the torso and neck muscles during trumpet playing and can be beneficial for performers and trumpet pedagogues.

In recent years, transcultural orchestras have increasingly emerged in Western Europe, initially in response to the arrival of refugees and later developing into a professional artistic field. Rooted in Western classical orchestral traditions, these ensembles incorporate diverse musical influences and reflect the cultural complexity of post-migrant societies as well as experiences of displacement and marginalisation (Sievers 2024). The negotiation of stylistic parameters in the musical practice in such orchestras can be seen as a reflection of the negotiation of multiple forms of belonging and identity construction among musicians (Präger 2024: 187). This article examines these dynamics through a case study of the Bridges Kammerorchester, a chamber orchestra based in Frankfurt am Main, whose members are socialised in diverse musical traditions. The ensemble emphasises participatory engagement in shaping its repertoire and brings together musicians with and without migration biographies. In the specific practice of composition, performance, and interaction within the ensemble, different layers of relevant belonging and a spectrum of identities – also constructed along ethnically and culturally marked categories – become visible, marked by an intrinsic ambivalence: the artistic premise of representing specific cultural markers in music meets the attempt to dissolve boundaries shaped by cultural heritage into a form of transculturality. Drawing on interviews with musicians from the orchestra and the analysis of three selected works from the ensemble’s repertoire, this paper discusses how the musicians of Bridges deal with their cultural heritage and their biographical and musical backgrounds in this transcultural community, how they position themselves in different affiliations, and how this is reflected in the ensemble’s musical repertoire. The paper argues that the orchestra’s artistic profile, involving a mixture of music traditions, has the potential to transcend existing boundaries between these traditions and the associated expectations, but still needs to draw and produce musical boundaries. The ambivalence of dissolving boundaries and performing ethnically or nationally marked music remains.

This article investigates how Syrian political and protest songs contribute to enactments of insurgent, precarious, and transnational citizenship across the trajectories of the 2011 Syrian uprising, forced displacement, and resettlement in Europe. Drawing on multi-sited ethnographic research, combining online documentation of performances from the protests in Homs with hybrid fieldwork in refugee camps in Thessaloniki, Greece, and among Syrian diasporic communities in Vienna, Austria, it traces the heterochronic political life of three songs: “Jannah, Jannah, Jannah,” “Bi-ḥuzn wa-al-rīḥ taṣfar min warā al-bībān,” and “Ṣabāḥkun Ḥurriyyah – Roja û Azadî be.” Although each song emerges from a distinct political moment, their trajectories illuminate interconnected ways in which protest music mediates political agency across contexts of brutal repression, restrictive border regimes, and diasporic reconfiguration. By examining the discursive, sensorial, affective, and performative registers of these songs, and the multi-layered continuities that link them, this article shows how individuals who identify as Syrians sustain political agency and generate alternative imaginaries of political belonging and citizenship in response to the multiple forms of political exclusion they encounter. Finally, it calls for a politically attuned and ethically committed practice of listening, a politicizing mode of response that not only recognizes musical expressions by marginalized and disenfranchised individuals and groups as sites of political agency, but also positions ethnomusicologists as responsive agents rather than detached observers.

Since the mid-2010s, Brazilian immigrants have celebrated carnival festivities in the streets of Brazil’s ex-metropole, Lisbon, Portugal. As the events of the blocos (carnival ensembles) began relatively small, they initially paraded using the legal status of “demonstrations” with minimal fees. By 2020, when their events had grown to attracting crowds in the thousands, the police began to categorize them instead as “commercial events.” This new status required the blocos to pay exorbitant fees despite their celebrations in public space having no profit motive, which created many obstacles for the realization of the events. Brazilian immigrants have often interpreted the differential treatment of the carnival as a manifestation of the prejudicial xenophobia they often experience in Portugal. However, the City of Lisbon was careful not to stigmatize Brazilian cultural practices, claiming that Brazilians were treated no differently from others. I argue that Brazilian immigrants in Portugal have confronted structural xenophobia, a systemic form of immigrant exclusion manifested through bureaucratic obstacles that may or may not accompany prejudicial xenophobia. When event management systems do not structurally adapt towards the goals of equity and inclusion, they can exclude the festivities of these communities, which cannot take advantage of these systems as easily as actors of the host society. In 2023, the blocos launched a campaign to make the carnival viable through protests against and negotiations with the City. This article examines how the carnival community transformed into a social movement against structural xenophobia. In a promising development, Lisbon signed an agreement in 2025 officializing the carnival and providing a firmer footing for the festivity, which represented a victory following years of campaigning and negotiation. The article takes stock of the strategies the blocos deployed to ultimately achieve this status after years of combatting the structural xenophobia that had perennially left them in a precarious position.