Der Beitrag untersucht den Einsatz digitaler Medien im Musikunterricht der Grundschule auf Basis ausgewählter Daten der 2024 durchgeführten Bedarfsanalyse des BMBF-Kompetenzzentrums KuMuS-ProNeD. Dafür werden grundschulspezifische Auswertungen einer quantitativen Lehrkräftebefragung mit einer qualitativen Inhaltsanalyse dreier Interviews mit Grundschulmusiklehrkräften trianguliert. Die Ergebnisse zeigen, dass Grundschullehrkräfte Ausstattung sowie eigene Erfahrung, Sicherheit und Kompetenz im Umgang mit digitalen Medien im Vergleich zu Kolleg:innen anderer Schulformen negativer bewerten. Insbesondere die Ausstattung wird als wenig beeinflussbar und durch begrenzte Verfügbarkeiten, organisatorische Hürden und technische Unzuverlässigkeit geprägt wahrgenommen – ein wesentliches Hemmnis für den Medieneinsatz. Potentiale digitaler Medien für den Musikunterricht erscheinen damit in der Grundschule bislang kaum praktisch erschlossen.

Der Beitrag nimmt explizite wie implizite Wissensbestände von Musiklehrkräften zur Digitalisierung in den Blick und analysiert deren Bedeutung für das professionelle Handeln im Musikunterricht. Die empirische Basis bilden dokumentarische Interpretationen von Gruppendiskussionen aus dem Projekt COMeARTS. Drei schulformübergreifend geteilte Orientierungsmuster konnten rekonstruiert werden: (1) das iPad als Nicht-Instrument, (2) Teilhabe durch Digitalisierung sowie (3) Unerfahrenheit im Umgang mit digitalen Musiktechnologien. Ihr Verhältnis wird über ein Dreiecksmodell veranschaulicht, das differenzierte Einsichten in den modus operandi der Herstellung von Wissen und Praktiken eines digitalisierungsbezogenen Musikunterrichts ermöglicht. Die Rekonstruktionen zeigen, wie kommunikative Orientierungschemata und konjunktive Orientierungsrahmen das Sprechen über unterrichtliche Praxis strukturieren. Dabei auftretende Inkonsistenzen im Verhältnis von Norm und Handlungspraxis einerseits sowie zwischen unterschiedlichen normativen Ordnungen andererseits lassen Rückschlüsse auf die Praxis selbst zu. Damit liefert die Studie eine empirisch fundierte Grundlage für die reflexive Weiterentwicklung musikpädagogischer Professionalisierung im digitalen Wandel.

BACKGROUND: Voice is individual and therefore several studies consider voice as a biomarker of health. Focusing on the change of voice parameters of depressed patients can provide an additional, objective measurement of the patient’s individual progress during psychotherapy. This retrospective study is focused on the analysis of voice parameters, specifically prosodic parameters, gathered from sessions and real-world data out of the Munich psychotherapy study (MPS). AIM: To investigate the prosodic parameters of patients with depression, their change over a long-term therapy and correlate them with Beck depression inventory (BDI) data. The analysis on the prosodic parameters aims to find, if and to what extent, a change in the patient’s voice can be discovered and identified. This data is then correlated with already available BDI data of each individual patient. The hypothesis is that voice expression is impacted by depression and changes with the state of depression.

This volume examines a broad spectrum of topics concerning plucked keyboard instruments and keyboard music in the sixteenth century, with a particular focus on Italy and its profound influence on European keyboard culture. Contributions address issues of notation, instrument building, music theory, iconography, as well as the cultural and social roles of keyboard instruments and performance. Bringing together papers and lecture-recitals from a conference held in Bologna in 2024, the volume follows up on ‘Universum rei harmonicae concentum absolvunt‘: The harpsichord in the Sixteenth Century (mdwPress 2024).

Against the backdrop of the contemporary period, which is increasingly defined by exclusionary conceptions of the nation and citizenship, this article (re-)examines the concept of political community through the prism of music and migration. By considering how post-migrant musicians in postcolonial societies such as France throw into sharp relief the contemporary dynamics of far-right populism, racism, and exclusionary statecraft, this article offers a critical reflection on what alternatives to hostile national political communities might entail and how they might come about. Given the growth of migration-related anxiety in contemporary Europe, I claim that migration studies research must not only concern itself with the genealogical study of key political concepts that frame our public institutions and cultural worlds. Rather, I argue that it should also entail a process of re-imagining what those key political concepts and institutions could become in the future. This article therefore explores not only what a post-national political community might look like, but what it might sound like. I consider how post-migrant creative practices and music, in particular, can make the limitations of political concepts such as the nation and national political community more visible and more audible. I argue that the Paris Olympic Games of 2024 offers a valuable case-study as these became the locus of a series of polarized public debates about how to represent the French nation, due to the controversy that erupted around the commissioning of a French-Malian musician, Aya Nakamura, to perform at the Opening Ceremony.

Measuring mechanical admittance (velocity over force) is a relevant method for analysing the vibration characteristics of mechanical systems. This generally involves exciting the structure with a known force and measuring the resulting acceleration using suitable sensors. The vibration is usually excited either by a shaker using a sinusoidal input force (sine sweep) or by an impact hammer using a force pulse. Depending on the hammer size and the object being measured, it is very difficult to reproduce excitations by hand. Therefore, it has become standard practice to stabilise the impulse hammer by suspending it like a pendulum. If the excitation is also to be automated, the pendulum assembly can be expanded to include a stepper motor. Commercial systems tested by the authors are expensive and, due to the loudness of the drive motor, are not suitable for acoustic measurements. This paper presents a relatively simple method for implementing an automated impact hammer system using commercial measurement technology and audio components. In addition to design proposals, the paper also discusses first measurement results and the potential for further development.

The relation between art and philosophy is highly precarious. To explore this complex connection, the contributors to this volume have structured their texts around key questions such as: What image of thought emerges when artistic practices are integrated into philosophical research? How does the conceptual personae of philosophers change when they become artist-philosophers? And how do writing and working methods shift when crossing the boundaries between art and philosophy? This approach opens up a holistic perspective on strategies, methodologies, and concrete examples of writing and reading by philosopher-artists and artistic researchers who strive toward a genuine crossover between art and philosophy. Mit Beiträgen von Reinhold A. Bertlmann, Arno Böhler, Soumyabrata Choudhury, Susanne Valerie Granzer, Krassimira Kruschkova, Sandra Noeth, Veronika Reichl, Avital Ronell, Tanja Traxler und Violetta L. Waibel.