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Applied Musicology and Ethnomusicology
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Applied Musicology and Ethnomusicology

A special issue of Arts (ISSN 2076-0752). This special issue belongs to the section "Musical Arts and Theatre".

Deadline for manuscript submissions: closed (31 August 2024) | Viewed by 13004

Special Issue Editor

Dr. Ivana Medić

E-Mail Website
Guest Editor
Institute of Musicology, Serbian Academy of Sciences and Arts, Beograd 11000, Serbia
Interests: Balkan music; popular music; Russian/Soviet music since 1950; Serbian music since 1950
Special Issues, Collections and Topics in MDPI journals

Special Issue Information

Dear Colleagues,

This Special Issue on Applied Musicology and Ethnomusicology gathers together scholars from different disciplines (musicology, ethnomusicology, media studies, music theory, and anthropology) who are engaged in innovative and groundbreaking work in the domain of applied science. Applied musicology and ethnomusicology use knowledge to influence social interaction and to direct the course of cultural change beyond typical academic contexts, thus linking knowledge with social activism and responsibility and focusing on results that are publicly visible and practically applicable. Applied ethnomusicology only entered academic discussions about fifteen years ago, while applied musicology is yet to be properly defined. Hence our main goal is to define applied musicology and provide case studies for both applied musicology and ethnomusicology as “hybrid” disciplines at the junction of science, culture, and art. Our contributors will examine the theoretical, methodological, and practical aspects of the emerging concept of applied musicology (including the related concepts of engaged and public musicology), as well as foster the rapprochement between academic research and applied musicology and ethnomusicology. With this Special Issue, we will redefine the role of musicology and ethnomusicology in contemporary society and make an impact on global research trends. We will highlight how these disciplines can and do contribute to the betterment of society by preserving and promoting musical heritage both in local and international contexts through performing practices, safeguarding initiatives, music programming, creating digital archives, developing new educational and scientific policies, and other forms of the public dissemination of research results.

Dr. Ivana Medić
Guest Editor

Manuscript Submission Information

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. All submissions that pass pre-check are peer-reviewed. Accepted papers will be published continuously in the journal (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as short communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Arts is an international peer-reviewed open access semimonthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1400 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

Keywords

  • applied musicology
  • applied ethnomusicology
  • contemporary music
  • opera
  • music festivals
  • internet platforms
  • 21st-century avant-garde

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Published Papers (8 papers)

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18 pages, 509 KiB  
Article
Applied Musicology and the Responsibility for Shaping the Cultural Scene in Serbia: On the Experience of Working for the Serbian Ministry of Culture
by Ivana Medić
Arts 2025, 14(3), 45; https://doi.org/10.3390/arts14030045 - 22 Apr 2025
Viewed by 254
Abstract
This article presents the first discussion of a musicologist’s work as a member of the commission appointed by the Serbian Ministry of Culture to select cultural projects in the field of contemporary music creation and performance for annual funding. The analysis draws from [...] Read more.
This article presents the first discussion of a musicologist’s work as a member of the commission appointed by the Serbian Ministry of Culture to select cultural projects in the field of contemporary music creation and performance for annual funding. The analysis draws from the disciplines of applied musicology and autoethnography. My appointment at the Serbian Ministry of Culture lasted five years, from 2018 to 2022, during which I observed first-hand the inner workings of the Serbian cultural scene and associated policies; more importantly, I utilized my musicological expertise to influence the very same cultural scene. The article also presents the legislative and practical challenges of working in a country that allocates less than 1% of its annual budget for culture. Full article
(This article belongs to the Special Issue Applied Musicology and Ethnomusicology)
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18 pages, 5749 KiB  
Article
Multivariantism of Auditory Perceptions as a Significant Element of the Auditory Scene Analysis Concept
by Adam Rosiński
Arts 2024, 13(6), 180; https://doi.org/10.3390/arts13060180 - 9 Dec 2024
Cited by 1 | Viewed by 967
Abstract
The concept of auditory scene analysis, popularized in scientific experiments by A. S. Bregman, the primary architect of the perceptual streaming theory, and his research team, along with more recent analyses by subsequent researchers, highlights a specific scientific gap that has not been [...] Read more.
The concept of auditory scene analysis, popularized in scientific experiments by A. S. Bregman, the primary architect of the perceptual streaming theory, and his research team, along with more recent analyses by subsequent researchers, highlights a specific scientific gap that has not been thoroughly explored in previous studies. This article seeks to expand on this concept by introducing the author’s observation of the multivariant nature of auditory perception. This notion suggests that listeners focusing on different components of an auditory image (such as a musical piece) may perceive the same sounds but interpret them as distinct sound structures. Notably, even the same listener may perceive various structures (different mental figures) when re-listening to the same piece, depending on which musical elements they focus on. The thesis of multivariantism was examined and confirmed through the analysis of selected classical music pieces, providing concrete evidence of different interpretations of the same sound stimuli. To enhance clarity and understanding, the introduction to multivariantism was supplemented with graphic examples from the visual arts, which were then related to musical art through score excerpts from the works of composers such as C. Saint-Saëns, F. Liszt, and F. Mendelssohn Bartholdy. Full article
(This article belongs to the Special Issue Applied Musicology and Ethnomusicology)
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24 pages, 4753 KiB  
Article
Laban Effort in Empty-Handed Interactions of Hindustani Dhrupad Vocal Improvisation
by Stella Paschalidou
Arts 2024, 13(6), 177; https://doi.org/10.3390/arts13060177 - 29 Nov 2024
Viewed by 987
Abstract
Effort, commonly understood as the power of an action toward an intended goal, is acknowledged as an important aspect of music expressivity. Previous studies in Hindustani Dhrupad vocal improvisation, particularly those focusing on manual interactions with imaginary objects, have revealed the intricate connection [...] Read more.
Effort, commonly understood as the power of an action toward an intended goal, is acknowledged as an important aspect of music expressivity. Previous studies in Hindustani Dhrupad vocal improvisation, particularly those focusing on manual interactions with imaginary objects, have revealed the intricate connection between effort and various movement and melodic variables. The study employed manual annotations by participants who visually inspected and assessed the amount of effort that such interactions were perceived to require. However, since effort is inherently perceptual and subjective and the way that an observer makes assessments on effort levels remains a non-transparent process, the paper seeks to examine the applicability of the Laban Movement Analysis (LMA) system in this task. For this, it relies on a multi-way analysis of variance (ANOVA) to infer manually annotated (numerical) effort levels from Laban’s (categorical) Effort Factors, namely Weight, Flow, Time, and Space, for two Dhrupad performances. The results suggest that apart from the Space factor, which was excluded for reasons delineated, a good part of effort’s variance can be explained through the remaining three statistically significant Effort Factors, leading to the rejection of the null hypothesis that they are unrelated. By ascertaining this relationship, effort-related melodic aspects in Dhrupad improvisation can be predicted using the three Laban Effort Factors. Full article
(This article belongs to the Special Issue Applied Musicology and Ethnomusicology)
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8 pages, 187 KiB  
Article
Towards a Study of Incidental Music Through the Lens of Applied Musicology
by Monika Novaković
Arts 2024, 13(6), 164; https://doi.org/10.3390/arts13060164 - 29 Oct 2024
Viewed by 1089
Abstract
In this article, applied musicology is discussed in the context of research on incidental music in Serbia—a task which, to my knowledge, has not been undertaken so far. In recent years, the body of publications on applied musicology has notably expanded, resulting in [...] Read more.
In this article, applied musicology is discussed in the context of research on incidental music in Serbia—a task which, to my knowledge, has not been undertaken so far. In recent years, the body of publications on applied musicology has notably expanded, resulting in a number of important articles and a landmark collective monograph. This, in turn, prompted me to view my main research interests—applied music and, in particular, incidental music—through the lens of applied musicology and offer my perspective on the possibilities of regarding incidental music as a field that can benefit from applied-musicological interventions. In this article, I draw attention to challenges that arise once a musicologist sets out to analyse incidental music. I undertake this by (a) presenting what I define as a reconstructive-analytical method in approaching incidental music and (b) utilising the narrative “behind the scenes” of my doctoral research. Full article
(This article belongs to the Special Issue Applied Musicology and Ethnomusicology)
16 pages, 963 KiB  
Article
“Beyond Quantum Music”—A Pioneering Art and Science Project as a Platform for Building New Instruments and Creating a New Musical Genre
by Sonja Lončar and Andrija Pavlović
Arts 2024, 13(4), 127; https://doi.org/10.3390/arts13040127 - 25 Jul 2024
Cited by 2 | Viewed by 1980 | Correction
Abstract
In this text, we discuss the “Beyond Quantum Music” project, which inspired pianists, composers, researchers, and innovators Sonja Lončar and Andrija Pavlović (LP Duo) to go beyond the boundaries of classical and avant-garde practices to create a new style in composition and performance [...] Read more.
In this text, we discuss the “Beyond Quantum Music” project, which inspired pianists, composers, researchers, and innovators Sonja Lončar and Andrija Pavlović (LP Duo) to go beyond the boundaries of classical and avant-garde practices to create a new style in composition and performance on two unique DUALITY hybrid pianos that they invented and developed to create a new stage design for multimedia concert performances and establish a new musical genre as a platform for future musical expression. “Beyond Quantum Music” is a continuation of the groundbreaking art and science project “Quantum Music”, which began in 2015; we envisioned it as a long-term project. In order to build an experimental dialogue between music and quantum physics, we created the DUALITY Portable Hybrid Piano System. This innovative instrument was essential for expanding the current sound of the classical piano. As a result, new compositions and new piano sounds were produced using various synthesizers and sound samples derived from scientific experiments. The key place for this dialogue between music and science was the Delft University of Technology, the Netherlands, where Andrija Pavlović, as a Kavli artist in residence, and Sonja Lončar, as an expert, spent several months in 2022 collaborating with scientists to compose new music. Later on, we collaborated with the visual artist “Incredible Bob” to develop the idea for the multimedia concert “LP Duo plays Beyond Quantum Music” to be performed at various locations, including the Scientific Institute MedILS Split (Croatia), the Theater Hall JDP Belgrade (Serbia), the Congress Hall TU Delft (the Netherlands), and open-air concerts at the Kaleidoskop Festival (Novi Sad, Serbia) and Ars Electronica Festival in Linz (Austria). Full article
(This article belongs to the Special Issue Applied Musicology and Ethnomusicology)
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10 pages, 220 KiB  
Article
Analytical Listening and Aesthetic Experience in Music Criticism
by Srđan Teparić
Arts 2024, 13(1), 34; https://doi.org/10.3390/arts13010034 - 14 Feb 2024
Cited by 1 | Viewed by 2716
Abstract
In this article, I discuss the methodological and contextual aspects of writing music criticism, drawing cues from applied musicology and autoethnography. The challenge for any music critic is the question of the relationship between objective and subjective approaches. I analyze the relationship between [...] Read more.
In this article, I discuss the methodological and contextual aspects of writing music criticism, drawing cues from applied musicology and autoethnography. The challenge for any music critic is the question of the relationship between objective and subjective approaches. I analyze the relationship between analytical listening and aesthetic experience, using the examples of two music reviews of Ivo Pogorelić’s piano recitals that I wrote. The interpretations of this pianist are suitable for the analysis precisely because he is commonly seen as an unconventional, even controversial pianist, and his interpretations of romantic music are often regarded as examples of anti-academicism and even deconstruction of pianistic canons accumulated during the 20th century. Against that term, I will talk about liberation, which is perhaps a more suitable label for Pogorelić’s modernist approach to performance. Full article
(This article belongs to the Special Issue Applied Musicology and Ethnomusicology)
13 pages, 274 KiB  
Article
Activist Musicology and Informal Multimedia Archives: The Case of YouTube Channel “Serbian Composers”
by Bojana Radovanović and Miloš Bralović
Arts 2023, 12(5), 184; https://doi.org/10.3390/arts12050184 - 27 Aug 2023
Cited by 1 | Viewed by 2796
Abstract
The YouTube channel “Serbian Composers” was founded in 2012 by four musicology students from Belgrade. As the first page dedicated to both art music and applied music of Serbian composers on this popular video-sharing website, over the past 11 years this channel has [...] Read more.
The YouTube channel “Serbian Composers” was founded in 2012 by four musicology students from Belgrade. As the first page dedicated to both art music and applied music of Serbian composers on this popular video-sharing website, over the past 11 years this channel has shown itself to be an excellent platform for the promotion, multi-media archiving, research, digitalization, and preservation of Serbian music. The founders of the channel—nowadays active researchers in the field—recognized the potential of YouTube for applied musicological work and worked diligently on making this channel the most reliable online source for anyone interested in Serbian composers and their works. In this article, we elaborate on what working on this channel throughout the years has entailed. We cover the realities of both the social media and internet presence of one such endeavor and situate the research in the domain of seeing YouTube as an informal multimedia archive. We also discuss the ongoing processes of collecting music and data, digitalization and preservation, selection and categorization, and the presentation of material on YouTube and other relevant social media platforms. Full article
(This article belongs to the Special Issue Applied Musicology and Ethnomusicology)

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1 pages, 129 KiB  
Correction
Correction: Lončar and Pavlović (2024). “Beyond Quantum Music”—A Pioneering Art and Science Project as a Platform for Building New Instruments and Creating a New Musical Genre. Arts 13: 127
by Sonja Lončar and Andrija Pavlović
Arts 2024, 13(5), 139; https://doi.org/10.3390/arts13050139 - 13 Sep 2024
Viewed by 687
Abstract
The authors requested to add the following to the Acknowledgments section of the original publication (Lončar and Pavlović 2024): We want to thank Martin Depken (TU Delft) for his kindness in opening the door to art and science dialogues, organizing concerts and lectures, [...] Read more.
The authors requested to add the following to the Acknowledgments section of the original publication (Lončar and Pavlović 2024): We want to thank Martin Depken (TU Delft) for his kindness in opening the door to art and science dialogues, organizing concerts and lectures, and establishing links with the scientists at the Bionanoscience department, TU Delft [...] Full article
(This article belongs to the Special Issue Applied Musicology and Ethnomusicology)
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