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Biography
Gary McPherson
Gary Edward McPherson (born April 1, 1954) is an Australian music educator, academic and musician, who has researched various topics within the areas of musical development, music performance science and music psychology. He has served as the Ormond Chair of Music at the Melbourne Conservatorium of Music (MCM) since 2009 and between July 2009 and July 2019, served as director of the MCM at th
  • 415
  • 19 Aug 2022
Biography Video
F. Gregory Holland
F. Gregory Holland is an American composer, jazz guitarist musician, author, business professional, producer and publisher based in Milwaukee Wisconsin. Performing predominantly as a studio artist musician, Holland has arranged and produced numerous musical compositions for distribution and licensing. His International Standard Name Identifier as a contributor of musical works is: 0000 0004 7604
  • 826
  • 11 Aug 2022
Topic Review
Optical Medieval Music Recognition
Optical Music Recognition (OMR) is one of the key technologies to accelerate and simplify the transcription task in an automatic way. Typically, an OMR system takes an image or manuscript of a musical composition and transforms its content encoded in some digital format such as MEI or MusicXML. 
  • 496
  • 11 Jul 2022
Topic Review
Positive Affect Evoked by Music and the Arts
A positive experience in response to a piece of music or a work of art (hence ‘music/art’) has been linked to health and wellbeing outcomes but can often be reported as indescribable (ineffable), creating challenges for research. There are two simultaneously occurring classes of experience are proposed: the ‘emotion class’ of experience (ECE) and the positive ‘affect class’ of experience (PACE). ECE consists of conventional, discrete, and communicable emotions with a reasonably well-established lexicon. PACE relates to a more private world of prototypical aesthetic emotions and experiences investigated in positive psychology.
  • 388
  • 25 May 2022
Topic Review
Neural Mechanisms of Coping with the Sounds
Listening to music, by definition, refers to the sensorial act of processing acoustic features by the auditory system. Hence, a description in terms of the objective acoustic characteristics may help to tackle some of the elusive aspects of possible causal relationships between music and its effects by describing at least the stimulus side of the music processing chain (input).
  • 483
  • 15 Dec 2021
Topic Review
Soundscape archaeology
Through an approach that aims to recognise and investigate the religious and public spaces of the past as “embodied spaces” and “sensory artefacts”, we can raise hypotheses on the sound experience in the ancient world and on the complex relationship between spaces and social interactions, making use of the potential provided by the application of 3D technology to virtual acoustics.  
  • 839
  • 27 Oct 2021
Topic Review
Trends in Recent English-Language Literature (2015–2021)
Several recurring themes and discourses emerge within this literature, including identity/identity-politics, indigenous spiritualities and religion, and intercultural syncretisms (especially in the context of Euro–American Christianity). Many of these and other discourses intersect with notions of cultural purity and the overarching institution of Western colonialism, which significantly impacted indigenous peoples (and music) throughout the world, particularly over the course of the nineteenth and twentieth centuries. Ingalls et al. propose “musical localization” as an alternative to other syncretic discourses—namely, indigenization, contextualization, and inculturation—to better address “the complex ways music-making becomes locally useful”.
  • 536
  • 15 Oct 2021
Topic Review
Water-Driven Music
Water-driven music technology has been one of the primary sources of human leisure from prehistoric times up until the present. Water powered, along with air pressure organs, have been used throughout history. One of them was an organ of fountains located inside a formal garden. 
  • 2.0K
  • 22 Feb 2021
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