Features of positioning of German university libraries on official websites

The problem of space music as a special cultural phenomenon requires scientific understanding. The purpose of the article is to study the features of the emergence and development of space rock as a specific trend in modern popular culture using the history of the “HAWKWIND” group as an example. The chronology of sound recordings of the “HAWKWIND” group as one of the founders of the “Space Rock Music” is established. The role of Dave Broсk, Bob Kalvert and other group participants in the creation of creative music programs is noted. It is proved that these musicians are the principles of the historical phenomenon, which received popularity as “Space Rock”. For the first time, the analysis of “HAWKWIND” sound documents through the prism of the history of space music development has been proposed.

Space music in socio-cultural retrospective: information analysis of the phonographic heritage of “Hawkwind”

The problem of space music as a special cultural phenomenon requires scientific understanding. The purpose of the article is to study the features of the emergence and development of space rock as a specific trend in modern popular culture using the history of the “HAWKWIND” group as an example. The chronology of sound recordings of the “HAWKWIND” group as one of the founders of the “Space Rock Music” is established. The role of Dave Broсk, Bob Kalvert and other group participants in the creation of creative music programs is noted. It is proved that these musicians are the principles of the historical phenomenon, which received popularity as “Space Rock”. For the first time, the analysis of “HAWKWIND” sound documents through the prism of the history of space music development has been proposed.

Parents’ Perception of Family-Centered Music Therapy with Stable Preterm Infants

Premature birth places considerable demands on preterm infants and their families. Most of these infants are treated on a neonatal intensive care unit immediately after birth, leading to psychosocial stress for parents and making it more difficult to build a stable parent-child bond. We hypothesized that accompaniment with live music therapy by a music therapist supports the parents to get in contact with their child and to promote the parents’ wellbeing. Preterm infants born at less than 32 gestational weeks received creative music therapy twice a week until discharge. At the time of discharge, the parents were asked to complete a Likert-style questionnaire to evaluate the music therapy. Six items related to socio-demographic characteristics, 4 items to observations on the infant and 10 items to personal perception. Of 40 preterm infants receiving music therapy, 32 (80%) parents completed the questionnaires. Thirty (94%) of these parents were able to relax during the music therapy session. Relaxation in their infants was observed by 29 (91%) during and by 28 (88%) after music therapy. Parents perceived music therapy as a positive change and enrichment during their infant’s hospital stay. All parents were thankful for the music therapy they received. Music therapy supports the parents of preterm infants in the first time after birth until discharge from the hospital.

Strategies for facilitating creative music collaboration online

Online collaboration between musicians in 2020 is a rapidly developing practice due to a range of environmental, epidemiological and creative motivations. The technical facility to collaborate in a variety of different formats exists via file-sharing services, video conferencing suites and specialist music services such as Splice and Auddly. Yet, given this proliferation of technologies, little attention has been paid into how creative musicians can most meaningfully utilize these new collaborative opportunities within their working practice. In this article, we wish to share some reflections from a case study of online music collaboration gained through our experience of facilitating three online songwriting camps with students from Leeds Conservatoire in the United Kingdom and Rhythmic Music Conservatory in Denmark. This article will particularly focus on the importance of managing roles, the impact of communication tools and the requirement for time management when collaborating online before proposing a set of guidelines derived from this study to help enable productive online creative collaboration.

Analysis of the seminar of creative music exercises

During the research entitled Teaching Creative Music, the focus is on getting to know creative music, which is becoming more and more widespread in Hungary, however using it, but still takes up little space in our music education, and its impact in high school and university environments is limited. The Kodály Concept contains a number of well-established practices also László Sáry’s collection of Creative Music Exercises (Sáry, 1999), mainly evoking Christian Wolff and John Cage, evoking the work of Stockhausen, also works well, but there is no teaching aid for the secondary school classes (9-12) based on different combinations of systematic vocal and rhythmic tasks – although in the 2017 NAT [“National Curriculum”], creative music activity as a reproduction is included as a requirement among the development tasks. There is also less experience among those pursuing higher music studies in terms of methodological preparation at the national level. We believe that much more student-based assignments should be used in high school singing and music education so that their classroom motivation and musical creativity can develop further, and their subject-related knowledge deepen. We are interested in the “rehabilitation” of this field, as there are a lot of opportunities in the creative music exercises, during which repetitive activity and musical creativity are essential, and Odena and Welch have already studied the latter (Odena–Welch, 2007). Music pedagogical research supports the need to study the field, as high school students are undermotivated in their lessons and their musical creativity is not sufficiently exploited (Deliège–Wiggins, 2006). In this article, we would like to explore an analysis of some of the practices of a creative music course over a semester in terms of how student activity and creativity changed during the 9 hours of the practice (measured with 3 groups per week). For all of this, we also use elements of Teachout and McKoy’s model, who examined music teacher attributes in terms of teacher success and failure.

Resonating moments: Exploring socio-material connectivity through artistic encounters with people living with dementia

In this article, I introduce insights from new material feminist theories into the understanding of connectivity on the basis of an aesthetic analysis of artistic encounters with people living with dementia. I draw on data from a situated art intervention conducted within the Resonance Project at a residential care home in Northern Norway where researchers, artists, health-care professionals, people living with dementia and family members came together in co-creative music sessions. I analyse two resonating moments from the sessions by way of an abductive process, oscillating between theory, written notes, video recordings and my own embodied experiences in the field. I discuss the ways in which materiality, listening and the group matter when it comes to our ability to connect during the sessions. Based on these findings, I conclude that the notion of socio-material connectivity provides an entrance point for studying different ways of relating to people living with dementia and enquiring into relations that matter.

What music therapy methods and techniques are likely to be the most appropriate for children working within a Conductive Education programme, and why?

<p><b>AbstractThe purpose of this research project is to explore the information available about the use of music therapy methods and techniques when working with children (0-6) who have physical disabilities, particularly in a Conductive Education setting. This is qualitative exploratory theoretical research. The data analysis strategy used is triangulation, which involves three sources of data. Thematic analysis of data was of nine pieces of literature, eight video transcriptions, and three meeting notes and three clinical supervision notes. From the analysis, four core themes were generated: 1) familiar songs, 2) following children, 3) repeated musical structure, 4) and musical cueing. Within the core themes, two music therapy methods, improvisation and re-creation, and many music therapy techniques overlap and interweave.</b></p> <p>Findings show a development of theory for this population that music therapists can naturally use improvisation and re-creative music therapy methods. They can use familiar songs, designing structured and repeated interactions in the music activities, following children in the moment to respond to them musically, and using musical elements to provide cueing and support. The four core themes identified in this research indicate the areas which can help children to participate in activities and improve their motor skills.</p>

What music therapy methods and techniques are likely to be the most appropriate for children working within a Conductive Education programme, and why?

<p><b>AbstractThe purpose of this research project is to explore the information available about the use of music therapy methods and techniques when working with children (0-6) who have physical disabilities, particularly in a Conductive Education setting. This is qualitative exploratory theoretical research. The data analysis strategy used is triangulation, which involves three sources of data. Thematic analysis of data was of nine pieces of literature, eight video transcriptions, and three meeting notes and three clinical supervision notes. From the analysis, four core themes were generated: 1) familiar songs, 2) following children, 3) repeated musical structure, 4) and musical cueing. Within the core themes, two music therapy methods, improvisation and re-creation, and many music therapy techniques overlap and interweave.</b></p> <p>Findings show a development of theory for this population that music therapists can naturally use improvisation and re-creative music therapy methods. They can use familiar songs, designing structured and repeated interactions in the music activities, following children in the moment to respond to them musically, and using musical elements to provide cueing and support. The four core themes identified in this research indicate the areas which can help children to participate in activities and improve their motor skills.</p>

The study of sessional recordings of 1962-1972 from the BBC radioarchive (The Beatles, Pink Floyd, Deep Purple)

Due to the recent increase in research interest in phono documents, which were created specifically for radio, a documentary analysis of the creation of music programs of the British Broadcasting Corporation is provided. Particular attention is paid to an overview of the chronology of recording sessions for a number of selected bands from the BBC’s archival collection (1962–1972). The role of John Peel in the creation of creative music programs within the framework of “Radio 1” was noted. The study showed that the digitalization of archival space has brought new opportunities for finding lost rarities that were at the origins of rock music. Both positive and negative trends in the restoration and use of archived musical phonograms from radio storages are noted.

Collaborative learning experiences in the university jazz/creative music ensemble: Student perspectives on instructional communication

While the ensemble is a ubiquitous learning environment within jazz education, opportunities to learn through engagement in ensemble performances and industry-level recording opportunities are rare classroom environments tertiary jazz music institutions offer. This qualitative study examines jazz performance contexts within an Australian tertiary music course, exploring students’ learning experience spanning three diverse collaborative projects across nine months. Phenomenological analysis explores the instructional relationship outlining connection between the student and instruction, the subject matter that is taught, and the connection between the student and the teacher as master improviser. Findings outline substantive teacher crafting of learning, relationship building and learning experiences garnered from interpersonal learning relationships, and the application of content with pedagogy that aims to build a positive learning climate between improvising teachers and their students. The author contends that a phenomenological perspective can highlight this diversity and emphasize effective interpersonal strategies and ensemble pedagogies that enhance student learning and potentially enculturate richer and more sophisticated musicianship in students and their developing creative abilities.