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International audience ; Keyboard instruments preserved in French museums are in various states of conservation. Some came into public collections in the second half of the 19th century being part of decorative art collections (they are often in quite an "historic" state). Some were previously in musician's hands, and they then show signs of use, maintenance, and adaptation to specific "tastes". Whilst in the museum, they also get several "stratifications of restoration", each generation having a peculiar deontology, different techniques and different results. This paper present facsimiles and reconstitution of instruments in playing order of great historical and musical importance; facsimiles of instruments modified in the course of their life or highly damaged; facsimiles of unique instruments in a very "original" state and finally facsimiles for museographic purposes. As conclusion, we give some considerations regarding the "reception" of these policies among administrators and musicians, taking into account the public and the media. ; Les instruments à clavier historiques conservés dans les musées français présentent un état de conservation très variable. Certains sont entrés dans les collections publiques dans la deuxième moitié du XIXe siècle alors qu'ils appartenaient à des ensembles d'objets d'art (ils sont en général dans un état très "original"). D'autres ont été auparavant entre les mains des musiciens et présentent alors des traces d'usure, de jeu, d'entretien, d'adaptation à l'évolution du goût. Une fois dans les musées, ils ont aussi subi différentes interventions de restauration, chaque génération ayant eu sa propre déontologie, ses techniques et ses résultats. Cette étude présente différents types de fac-similés : des fac-similés et reconstitutions d'instruments en état de jeu d'une grande importance historique et musicale ; des fac-similés d'instruments modifiés au cours de leur période d'utilisation et très endommagés ; des fac-similés d'instruments uniques et dans un état très "original" ; des ...

Music is one of the most powerful entities in the universe. It has the ability to speak to the deepest part of the human psyche. Because of this ability, music can be used in countless ways to bring about the desired effects of anyone from a televangelist attempting to elicit an emotional response from an audience to a business professional endeavoring to sell more of his products to a dictator scheming to change the course of history. As has been clearly demonstrated throughout the history of civilization, music has been a driving force in the development of culture, society, and religion, and this was no exception in Adolf Hitler's Third Reich. Music had a direct impact on the character and beliefs of Hitler himself, and those beliefs and views affected the policies that he implemented during his reign of horror. His beliefs in the greatness and purity of the Aryan race were directly displayed in his policies regarding art and entertainment. The government of the Third Reich implemented strict policies on 'acceptable' music, composers and performers, and they also made extensive use of music in the media, public life of the individual citizen, and the Hitler Youth movement. Music played a prominent role in the rise of Nazi politics and culture in Germany and was used extensively by the party in propaganda and indoctrination of the entire country.

The purpose of the article is to study scientific research on the history of Bedřich Smetana's opera "The Bartered Bride". The methodology of the work includes: source study – for the study of scientific literature and periodicals on the history of B. Smetana's opera "The Bartered Bride"; historical – to consider the opera at different times; generalising – for updating and specifying the basic information about the specified opera. The scientific novelty of the work lies in the fact that the analysis of foreign scientific sources and periodicals on the subject of this opera was conducted for the first time. Conclusions. The relevance of the study of scientific literature and periodicals on the opera by the Czech composer Bedřich Smetana is determined: the importance of Czech culture and musical art in Ukraine (V. Shchepakin, Yu. Zinko, S. Kalytko, A. Kravchuk, I. Pop); clarification of the authorship of the Ukrainian translation of the libretto of B. Smetana's opera "The Bartered Bride" and parallels with M. Lysenko's opera "Natalka Poltavka" (O. Smolnytska); criticism of the choreographic component in the opera from an archival source (T. Churpita). Coverage of the fate of the opera at different times: the popularity and inexhaustible source of Czech folklore (G. Palla, S. Bergmannova); emphasising the patriotism and progressiveness of B. Smetana's work in comparison with other Czech composers (Z. Nějedla); the influence of F. Liszt and P. Cornelius on the idea of a national comic opera; the flourishing of national ideas and the activities of the C. H. Mahá circle, the reflection of ideas in the libretto of K. Sabina and its relevance to the Czech language (D. Tyrrell); criticism of the premiere performances (Josef Krejčí). Comparison of the comicism of W. A. Mozart's opera "The Marriage of Figaro" and B. Smetana's "The Bartered Bride" (G. Schenker) with an emphasis on heterogeneity, organic joy, simplicity, and charming naivety in the transfmission of content can be considered an open path to future popularity. The critic's remarks about the organic thematic development and orchestral perfection in Smetana's opera were available only to Mozart. Criticism of the contemporary opera performance directed by E. Nellis "The Bartered Bride" (G. Shpalkova).
Key words: musicology, logos of music history, criticism, comic opera, national opera, folk art, Bedřich Smetana's opera "The Bartered Bride", libretto.

Introduction. Popular Soundscapes of Yugoslavia / Danijela Š. Beard with Ljerka V. Rasmussen -- ZABAVNA-POP. Networking Zabavna Music : Singers, Festivals and Estrada / Jelena Arnautović ; "Melodies from the Adriatic:" Mediterranean Influence in Zabavna Music Festivals of the 1950s and 1960s / Anita Buhin ; The Sarajevo Pop-Rock Scene : Music from the Yugoslav Crossroads / Vesna Andree Zaimović ; Yugoslav Film and Popular Culture : Arsen Dedić's Songs in Films / Irena Paulus -- ROCK, PUNK, NEW WAVE. Belgrade Rock Experience : From Sixties Innocence to Eighties Relevance / Aleksandar Žikić ; Jugoton : From State Recording Giant to Alternative Producer of Yugoslav New Wave / Branko Kostelnik ; "Absolutely Yours :" Yugoslav Disco under Late Socialism / Marko Zubak ; The Aesthetics of Music Videos in Yugoslav Rock Music : Josipa Lisac, EKV, Rambo Amadeus / Ivana Medić ; Bijelo Dugme : The Politics of Remembrance within the Post-Yugoslav Popular Music Scene / Ana Petrov -- NARODNA (FOLK) AND NEOFOLK MUSIC. Starogradska Muzika : An Ethnography of Musical Nostalgia / Marija Dumnić Vilotijević ; "My Juga, My Dearest Flower :" The Yugoslav Legacy of Newly Composed Folk Music Revisited / Iva Nenić ; Music in Macedonia : Yugoslavia's Balkan Heartland / Velika Stojkova Serafimovska / Fantasy, Female Sexuality and Yugoslavism in the Music of Lepa Brena / Zlatan Delić -- THE POLITICS OF POPULAR MUSIC UNDER SOCIALISM. Yugoslavia in the Eurovision Song Contest / Dean Vuletic ; "Rocking the Party Line :" The Yugoslav Festival of Patriotic and Revolutionary Song and the Polemics of 1970s "Soc-Pop" / Danijela Š. Beard ; "Comrades, We Don't Believe You!" Or, Do We Just Want to Dance With You? : The Slovenian Punk Subculture in Socialist Yugoslavia / Gregor Tomc ; Music Labor, Class and Socialist Entrepreneurship : Yugoslav Self-Management Revisited / Ana Hofman ; Music for the "Youth Day Central Ceremony" after Tito: De-ritualization and Other Indices of Yugoslav Decline / Naila Ceribašić and Jelka Vukobratović -- CODA. Yugoslav Popular Music and Global Histories of the Cold War / Catherine Baker -- AFTERWORD. "What Would You Give to be in my Place? :" A Conversation with Goran Bregović / Vesna Andree Zaimović, Ljerka V. Rasmussen and Danijela Š. Beard.

Rancière and Music -- Edinburgh University Press -- Contents -- Examples -- Acknowledgements -- Notes on Contributors -- Introduction -- I Music and Noise -- 1 Musique concrète and the Aesthetic Regime of Art -- 2 'Rip it up and start again': Reconfigurations of the Audible under the Aesthetic Regime of the Art -- 3 A Lesson in Low Music -- II Politics of History -- 4 Wandering with Rancière: Sound and Structure under the Aesthetic Regime -- 5 Staging Music in the Aesthetic Regime of Art: Rancière, Berlioz and the Bells of Harold en Italie -- 6 Rancière on Music, Rancière's Non-music -- 7 Coloured Opera and the Violence of Dis-identification -- III Politics of Interaction -- 8 Musical Politics in the Cuban Police Order -- 9 Rancière and Improvisation: Reading Contingency in Music and Politics -- 10 Rancière's Affective Impropriet -- IV Encounters and Challenges -- 11 The Problem of Commemorative Art Rancière, Resistance and the Problem of Commemorative Art: Music -- 12 Stain -- 13 On Shoemakers and Related Matters: Rancière and Badiou on Richard Wagner -- 14 Roll Over the Musical Boundaries: A Few Milestones for the Implementation of an Equal Method in M -- Afterword -- A Distant Sound -- Works Cited -- Index.

This article responds to the new and major work on Lobby Loyde by Paul Oldham. It focuses on the middle period of Loyde's career, from the Chicago-period Billy Thorpe and the Aztecs through to Lobby's work with Sharpie band (was it?) Coloured Balls, and connects and compares Lobby's trajectory to that of the post-Lobby Aztecs, as expressed in Sunbury, the 1972 parallel Australian event to Woodstock. Who led these processes, the bands or the crowds? If the crowd claimed a band, what happened to musical autonomy in this process? This was a moment when mass audience response became tribal, and opened the possibility that musicians were no longer in charge of their art. Trying to escape from the wiles of the music industry, these musicians instead seem to have become captive to their audiences.

Music and politics have always been closely intertwined. Throughout history, political regimes have appropriated musical works for their own purposes, while musicians have expressed their own political views through their work—whether in the lyrics or in the music itself. Some pieces have become closely associated with certain political events, such as the fall of the Berlin Wall. Today, digital streaming services have brought a vast menu of global musical choices to consumers, but algorithmic recommendations could shape playlists in ways that serve political agendas or reinforce Western conventions.

"Black Power Music! is a study about music and socio-political movements, aesthetics and politics, as well as the ways in which African Americans' unique history, culture, and struggles have consistently led them to create musics that have served as the soundtracks or 'mouthpieces' for their socio-political aspirations and frustrations, their socio-political organizations and movements. Drawing on thinking from a variety of disciplines whose discourses traditionally are kept mostly apart, the author finds the consilience that binds these disciplines together vis-à-vis black power music. The book will be essential reading for all students engaged in black popular music studies, African American studies, popular culture studies, ethnic studies as well as sociology, ethnomusicology and political science"--

Investigative Case Management is a "first look" excerpted from Brett Shavers' new Syngress book, Placing the Suspect Behind the Keyboard. Investigative case management is more than just organizing your case files. It includes the analysis of all evidence collected through digital examinations, interviews, surveillance, and other data sources. In order to place a suspect behind any keyboard, supporting evidence needs to be collected and attributed to a person. This first look provides you with traditional and innovative methods of data analysis to identify and eliminate suspects through a comb