An implicit assumption in musicology is that musicological thought influences/informs musical practitioners. Through a series of qualitative interviews with performance and musicology faculty in combination with contextualizing structural information, the authors explored to what extent the two fields in their current state intermingle, and how, where and to what extent advances in musicological thought are being transmitted to performance students in tertiary education settings. Four test case study institutions in North America and four in Germany and Austria were selected. The hypothesis that little meaningful interaction existed between performance and musicology faculty and students in terms of shared understanding/work/thought was largely confirmed.

Celebrating the International Council for Traditional Music: Reflections on the First Seven Decades brings together the reflections of more than one hundred scholars from different parts of the world on the history, current dynamics, and perspectives of the association, known until 1980 as the International Folk Music Council. The essays are based on insights gained through the study of historical sources and archival materials, combined in many cases with the authors' personal experiences and their internalized writing on individual thematic sets. The book, divided into sections on the origins and operations of the association, its governance, scholarly events, study groups, publications, and accumulated knowledge, as well as the views of individual members, presents in a systematic and comprehensive manner the first seven decades of the existence of this leading international organization of ethnomusicologists and ethnochoreologists. It is by far the most ambitious publication on the history of the association and its place in the academic and sociopolitical context of music and dance studies on a global scale.

In this article, I discuss ethnomusicological takes on refugees and forced migration relating to five years of fieldwork within the Afghan community in Vienna. Against the background of the recent surge in ethnomusicological studies on forced migration, I critically interrogate my own positionality in relation to the coloniality of asylum that inherently racializes relations between researchers and refugees in ethnographic work. I then review narratives of “crises” and effects of “borders” in relation to migration between Afghanistan and Europe, specifically Austria. In the article’s main section, various scenarios of Afghan musical practice in Vienna are outlined while offering insights into the musical worlds of the city’s Afghan diaspora both regarding online and offline settings. I approach music as an everyday practice with a perspective strongly shaped by my friendship with Qais Behbood and Bahram Ajezyar. I then specifically discuss Afghan pop music, presenting two Vienna-based singers, Dawood Sarkhosh and Masih Shadab, referring to song examples. Concludingly, I address relationships, partnerships and friendships in ethnographic fieldwork on forced migration. I contrast friendship with the coloniality of asylum-related research on music and dance and suggest friendship and affection as an ethnographic mode.

Within the ever-expanding field of ethnomusicological research in contexts marked by socio-political, financial, and environmental crisis, a newly emerging area of study has been that of music in contexts of forced migration. This article explores the groundbreaking contribution of one of the pioneering figures in ethnomusicological research in that field: Adelaida Reyes. The article’s goal is to encapsulate a framework that could be adopted and adapted by, and inspire new researchers on music and forced migration. After an introduction to the personal background of Adelaida Reyes, the article discusses three main positions that permeate her inaugural research in urban contexts, particularly that of New York. These are the interdisciplinary conceptualization of the socio-political context; the study of music of groups of people without essentialist preconceptions, and the adjustment of fieldwork methods to correspond to theoretical concerns and the empirical reality. The article then proceeds to link Reyes’ core thoughts with the particular innovative theoretical and methodological concepts she applied in her multi-sited research with Vietnamese refugees in the U.S. and in refugee camps in the Philippines, as well as in her research with refugees from South Sudan in Uganda. Informed by anthropological refugee studies, her pioneering approach perceives forced migration as a unified experience and context, consisting of pre-departure features, departure-related, and finally, those related to resettlement. Musical meaning then becomes intensively transforming and dependent on a plethora of factors. On the one hand, as Reyes' ethnomusicological research in urban settings had pointed out, there was complexity, heterogeneity, and blurred boundaries, and on the other, emerging in particular experiences of forced migration, there was psychological distress; processes of institutional labeling; living in refugee camps; asymmetrical power relations between refugees and the larger society; and the emotional and political relationship with the past homeland. In the conclusion of the article, Reyes’ priceless contribution is discussed alongside recent ethnomusicological research on music and forced migration.

Die Musik Wolfgang Amadeus Mozarts fasziniert die Menschen, auch mehr als 200 Jahre nach seinem Tod. Neben einer anhaltenden Beliebtheit veränderte sich der Blick der Menschen auf den Komponisten im Lauf der Zeit: Ab dem 19. Jahrhundert wurde Mozart idealisiert bzw. heroisiert und heute vor allem auch kommerzialisiert.1 Dies spiegelt sich auch, wie Daniel Samaga untersucht,2 in dem Umstand wider, dass seit der ersten Hälfte des 19. Jahrhunderts bis in die Gegenwart zahlreiche Bühnenproduktionen über Mozarts Leben, seine Person oder seine Musik entstanden: Seine Kindheit, in welcher er als ›Wunderkind‹ viele Konzertreisen absolvierte, oder seine rätselhaften letzten Jahre inspirierten Dramatikerinnen und Dramatiker sowohl in der Vergangenheit als auch in der Gegenwart zu Theaterstücken. Mozart und Salieri (1830), das Versdrama von Alexander Puschkin, ist dafür ein Beispiel. Der russische Dichter stellte die Genialität Mozarts aus der Perspektive des italienischen Komponisten Antonio Salieri dar und fügte dem Lebenslauf Mozarts Wesentliches hinzu: Salieri vergiftet Mozart aus Neid. Dieses Sujet, welches in der Zeit der Etablierung der nationalen (russischen) Musikkultur entstand, wandelte sich zu einem quasi-biographischen Topos und wurde in den facettenreichen Darstellungen der Figur Mozart immer wieder aktualisiert

Vast amounts of publicly licensed classical music resources are housed within many different repositories on the Web encompassing richly diverse facets of information—including bibliographical and biographical data, digitized images of music notation, music score encodings, audiovisual performance recordings, derived feature data, scholarly commentaries, and listener reactions. While these varied perspectives ought to contribute to greater holistic understanding of the music objects under consideration, in practice, such repositories are typically minimally connected. The TROMPA project aims to improve this situation by interconnecting and enriching public-domain music repositories. This is achieved, on the one hand, by the application of automated, cutting-edge Music Information Retrieval techniques, and on the other, by the development of contribution mechanisms enabling users to integrate their expertise. Information within established repositories is interrelated with data generated by the project within a data infrastructure whose design is guided by the FAIR principles of data management and stewardship: making music information Findable, Accessible, Interoperable, and Reusable. We provide an overview of challenges of description, identification, representation, contribution, and reliability toward applying the FAIR principles to music information, and outline TROMPA's implementational approach to overcoming these challenges. This approach applies a graph-based data infrastructure to interrelate information hosted in different repositories on the Web within a unifying data model (a 'knowledge graph'). Connections are generated across different representations of music content beyond the catalogue level, for instance connecting note elements within score encodings to corresponding moments in performance time-lines. Contributions of user data are supported via privacy-first mechanisms that retain control of such data with the contributing user. Provenance information is captured throughout, supporting reproducibility and re-use of the data both within and outside the context of the project.

his paper investigates how two-port network theory as a means for system identification can be applied to the anal- ysis of brass instruments. A special focus is placed on the energy conversion efficiency as this is limited by inner damping, which receives much attention by expert players and makers of brasses. Theory suggests that a reconstruc- tion of the 2 x 2 matrix representing the network requires input impedance and transfer function for two different boundary conditions. Besides the normal case of free sound radiation, instruments are also analyzed with the bell closed by a spherical cap. For this purpose, a customized 3D-printed spherical cap was fabricated and attached to the bell. Four measured spectra and the passivity condition over-determine the set of system equations. It is shown how to take advantage of this freedom when analyzing wind instruments. Measurements and simulations of a trumpet and a trombone are presented and compared.