Journal articles on the topic 'University based conservatoria'

Abstract Over recent years, in Sweden, the vocation of textile conservator has been transformed from that of being regarded simply as a museum curator's assistant to becoming a profession in its own right. The members of the textile conservators association, the Swedish Association for Textile Conservation founded in 1967, played a crucial role in this transformation with the establishment of a university-based vocational education programme in 1985. The transformation is further scrutinized by considering aspects of gender where, for example, gender bias employment strategies favoured men as painting conservators, as well as social class where demarcation of women as curators was evident. This is discussed and compared with the contemporary shift of gender distribution among the employees in the museum sector that historically was largely male dominated. Social class and the effects of a university education on occupational status are considered, and the effects that education had on elderly, experienced colleagues are another important intersectional aspect. Today’s textile conservators have reached a professional status in several aspects with university education being probably the most important contributing factor. The image of the vocation has improved from that of a seamstress who performed repairs on textiles at the direction of her superior, to an academic who, on the basis of their scientific knowledge, independently performs the many tasks included in preservation, as well as conducting research to doctorate level. Despite this, it would seem that the museum community has not yet managed to take full advantage of textile conservators’ competence as researchers.

Abstract This study provides a compact overview of university-based music programs in Canada based on information gleaned from surveys of institutional members of the Canadian University Music Society (CUMS)—universities, colleges, and conservatories. The surveys took place between 2005 and 2009. The current report focuses on the metrics of enrolment and staffing, and goes on to provide basic data on graduate and undergraduate programs. It is a first step in sharing information that can facilitate informed advocacy in support of music in higher education both within and beyond individual institutions.

The need to apply conservation-restoration criteria in museums, heritage and public collections has been widely studied in previous publications. However, the functions of the conservator-restorer in the face of the problems of the Spanish Contemporary Art Market have hardly been addressed in scientific literature. This research is based on two objectives: firstly, to investigate how the specific technical and artistic knowledge of the conservator-restorer covers a need in the ecosystem of the Contemporary Art Market by means of expert reports, appraisal and valuation. Secondly, to analyze how these specific skills and knowledge are transferred through Higher Education programs. Based on a comparative study, the specific problems of the Spanish Art Market shall be mapped, and protocols proposed that are respectful of conservation-restoration criteria and transferable through university programs to the future contemporary art stakeholders.

The study provides a characteristic of the French model of higher musical education with a pronounced national specificity, which consists of a special division into levels, or cycles, with its own system of naming academic degrees, awarding diplomas, etc. The authors revealed that the organization of a complex “organism” of the musical education system, presented in a variety of types of public and private institutions, is based on the principle of complementarity of curricula and the identity of competitive examinations. The phenomenon of the high status of university music education is especially noteworthy. Although until recently it concerned mainly musicology and pedagogy, in the last two decades, obtaining an academic degree approved by the higher conservatory together with the university has become prestigious for musicians of various specialties, including concert performers.

The purpose of this paper is to provide an interim report on one aspect of a major project based in the Department of Music at the University of Ulster. The project, ‘Peer Learning in Music’, builds on the programme of peer assessment which was piloted in a module in performance studies on the BMus course during the academic year 1992–3 and has since become an established feature of the course. The project started in October 1996 and since then peer-learning techniques have been introduced in a range of modules throughout the course, impacting on the teaching and learning methods and the conduct of assessment. Dissemination of the nature of the work and the operation of the programmes is being actively pursued in universities, colleges and conservatories in England and Northern Ireland.

Since 1975 Richard had been based in Australia, where he taught at the Sydney Conservatorium, but he was born in England, in Chichester, and studied at Hull University. In the late 60s and early 70s he was active as a contemporary music pianist and in the mid-70s became part of the Cologne music scene, working as Stockhausen's Teaching Assistant at the Cologne Staatliche Musikhochschule from 1973 until his move to Australia. But his most significant contribution to new music was as a writer. His 1999 book on the life and work of Ligeti is a superb introduction to the composer's work, and in 2005 it was followed by his book of lectures on Stockhausen, Six Lectures from the Stockhausen Courses Kürten 2002; he also co-edited the collected writings of Ferneyhough with James Boros.

Joseph Pehrson is a well-known New York-based composer. He studied at the Eastman School of Music and the University of Michigan. He has been active in promoting contemporary music in New York, having been a co-director of the “Composers’ Concordance” concert organization from 1984 to 2011. Pehrson has written music in various styles, including neoclassical and avant-garde, microtonal music. The latter includes electronic compositions with and without solo instruments, which he wrote in the decade of the 2000s. He has delved very deeply into microtonal theory and has written compositions for various unusual and non-standard microtonal scales, such as the 21-note to the octave scale. The following is a transcript of Joseph Pehrson’s presentation at the Theremin Center, which was the Moscow Conservatory’s electronic studio in the 1990s and 2000s.

В статье рассматривается проблема качества образования в высших учебных заведениях в сложившихся системах оценивания деятельности, анализируются их достоинства и недостатки. Особое внимание уделяется рейтингам, получившим большую популярность в последнее десятилетие. Авторы обосновывают критерии оценки деятельности вузов ведущими рейтинговыми агентствами мира. Особое внимание уделяется отечественным системам рейтингования вузов и, в частности, Национальному агрегированному рейтингу, позволяющему минимизировать недостатки отдельных рейтингов. Анализу подвергается процедура рейтингования вузов искусств: в условиях сложившихся сегодня критериев не позволительно в должной мере оценить качество образовательных услуг, предоставляемых этой категорией учебных заведений. В вопросах формирования механизмов оценки озвучиваются позиции вузов разной направленности: хореографии, театрального и киноискусства, художественного и музыкального искусств. Понимая сложности в нахождении «единого измерителя» критериев и индикаторов, авторы подробно рассматривают позицию рейтингования Московской консерватории на международной конференции «Вузы искусств в международном пространстве», организованной Департаментом по науке и образованию Министерства культуры РФ в Российской академии музыки имени Гнесиных. В статье подробно обосновывается методика оценивания качества образования музыкальных вузов, основанная на учете составляющих ее компонентов. The article considers the quality of education in universities in the existing systems for assessing their activities, the advantages and disadvantages of each. Particular attention is paid to the rating system, which has gained great popularity in the last decade. The authors consider the criteria for evaluating the activities of universities by leading rating agencies of the world. Special attention is paid to domestic rating systems of universities and, in particular, to the National aggregate rating, which allows minimizing the shortcomings of individual ratings. The article examines the issues of rating universities of art, since the criteria that have developed today do not allow to adequately assess the quality of educational services provided by this category of educational institutions. In matters of the formation of assessment mechanisms, the positions of universities of various directions are voiced: choreography, theater and cinema, art and music. Understanding the difficulty in finding a “common denominator” in the criteria and categories that could be put forward by art universities, the authors examine in detail the rating positions proposed by the Moscow Conservatory at the international conference “Universities of the Arts in the International Space” organized by the Department of Science and Education of the Ministry of Culture of the Russian Federation at the Gnesins Russian Academy of Music. The article substantiates in detail the methodology for assessing the quality of education of musical universities proposed by the Moscow Conservatory, which is based on the account of all the components of its educational activities.

Problem statement. Conductor is considered to be one of the most prestigious occupation in musical field, so there has always been a certain interest to its history. But, despite a large amount of literature, there are no musicologist’s scientific works, with the systematized and generalized materials on training conducting staff in Ukraine in the 1920s – 1940s. This is partly due to a shortage of primary documents at a difficult historical period: most of them were destroyed by the employees of state institutions before being evacuated behind the lines during the Second World War; the other part was burned down during the hostilities; the third one was lost in the territories temporarily occupied by the fascists. The most important information was restored in the postwar years on the basis of personal documents of the musicians and memoirs of the contemporaries. The names of many other talented performers, who were not high ranked in the hierarchy of Ukraine musical culture, were forgotten. Research and publications analysis. Dealing with this article, the author relied on the research of three scientists. For example, the episode devoted to the history of the Kuban State Conservatory is based on the materials of the book by V. A. Frolkin, PhD in musicology, Professor of Piano Department of Krasnodar University of Culture and Arts. (Frolkin, 2006 : 70–89). The Kharkov period of Ya. Rosenstein’s activity is based on the article by E. M. Shchelkanovtseva, PhD in musicology, Department of Orchestral String Instrument of I. P. Kotlyarevsky Kharkov National University of Arts (Shchelkanovtseva, 1992 : 178–179), as well as the memoirs of conductor S. S. Feldman (Feldman, 2006). Ya. Rosenstein activities in T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR was described in research of Yu. A. Stanishevsky – Doctor in musicology, Professor. (Stanishevsky, 1981 : 533–534). The objective of this article is to create Ya. Rosenstein’s complete and non-biased biography, to analyze various aspects of his activity, and, as a result, to revive the name of a talented musician who was at the forefront of Ukraine musical pedagogy. This is the urgency and novelty of this study. Core material. Yakov A. Rosenstein (1887–1946) – a cello player, conductor, professor. In1907–1912 he studied at St. Petersburg Conservatory specializing in cello. Until February 1917, he had served as a cello player in the Royal orchestra of the Imperial Mariinskyi Theater. During the Civil War, he moved to Yekaterinodar (Krasnodar), where in 1918–1919 he was a director of Russian Musical Society Conservatory. October 1, 1920 witnessed the opening of Kuban State Conservatory. The university was funded from the budget of the People’s Commissariat for Education, so the training of all students was free. Ya. Rosenstein taught the cello class. But at the end of 1921, the Kuban Conservatory was deprived of state funding, and in summer of 1922 the university was reorganized into the Kuban Higher Technical School. (Frolkin, 2006 : 74–89). In autumn of 1923, Ya. Rosenstein moved to Kharkov, where he was a cello player in Russian State Opera orchestra. Later Ya. Rosenstein became a theater conductor. Also, he was engaged in pedagogical activity: in 1925 he became a dean of the instrumental faculty of Kharkov State Higher Music and Drama Courses, and in 1926 he became the head of the courses. According to E. M. Shchelkanovtseva, since 1927, Ya. Rosenstein had been teaching at the Music and Drama Institute (currently – I. P. Kotlyarevsky Kharkov National University of Arts) – Professor of cello class, chamber ensemble, orchestra class, conducting; in 1929 he became an Academic Director. (Shchelkanovtseva, 1992 : 179). Opera-symphonic conducting class at Kharkov Music and Drama Institute, which was opened in autumn of 1927, is a merit of Ya. Rosenstein. During 8 years, he had been training such conductors as: P. Ya. Balenko, M. P. Budyansky, I. I. Vymer, F. M. Dolgova, K. L. Doroshenko, D. L. Klebanov, B. T. Kozhevnikov, V. N. Nakhabin, V. S. Tolba and others. In 1926–1927, the Orchestra of Unemployed Musicians in Kharkov was transformed into the First State Symphony Orchestra of All-Ukrainian Radio Committee, which in autumn of 1929 was integrated with the Ukrainian Philharmonic. In 1929–1932 Ya. Rosenstein acted as a chief conductor. Then he was replaced by German Adler, a graduate of German Academy of Music and Performing Arts in Prague, and a world-famous conductor. In 1937, this musical group was the base for creation the State Symphony Orchestra of the Ukrainian SSR in Kiev (nowadays the National Symphony Orchestra of Ukraine). (Pluzhnikov, 2016 : 358). In 1935–1941 and 1944–1946 Ya. Rosenstein was a conductor of T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR. According to S. S. Feldman, there he brilliantly showed himself in the ballet performances “Swan Lake” and “Sleeping Beauty” by P. Tchaikovsky, “The Fountain of Bakhchisarai” and “The Prisoner of the Caucasus” by B. Asafiev, “Lilaea” by K. Dankevich and “Raymonda” by A. Glazunov (Feldman, 2009 : 102). In summer of 1941 the War began, and the theater troupe was evacuated to Ufa. In 1942–1944 the United Ukrainian State Opera and Ballet Theater was created on the basis of the Kharkov and Kiev theaters in Irkutsk. More than 650,000 people visited 785 performances conducted by N. D. Pokrovsky, Ya. A. Rosenstein and V. S. Tolba in Krasnoyarsk, Irkutsk and other cities! In June 1944, the theater troupe returned to Kyiv, and in 1946 Ya. Rosenstein died. He was buried at Baykove cemetery in Kyiv. Conclusion. The creative personality of Ya. A. Rosenstein, a cello player, conductor, teacher, one of the organizers of the First State Symphony Orchestra in Ukraine and the creators of the Kharkov school of orchestra conducting, deserves more attention on behalf of the scientists, musicians and all non-indifferent people. There is hope that Ya. A. Rosenstein’s memory will not be forgotten, and the name of this talented and noble person will take its rightful place in the annals of Ukraine and Russian musical culture.

From 1880 to 2005, the Eastman Kodak Company manufactured black-and-white fiber-based gelatin silver paper in a wide variety of weights, grades, and formats. Kodak manufacturer records and sample books include details about Kodak paper surface characteristics and are an invaluable resource for understanding photographic paper materials. Using the extensive number of Kodak data books, manuals, and manufacturing records spread out in the collections of three Rochester, New York-based institutions—George Eastman Museum, University of Rochester Special Collections, and Image Permanence Institute—I created a chronological guide to Kodak photographic paper surface characteristics. This guide is not an approximate identification guide for Kodak papers but rather a resource that can be used to fill in gaps and propose questions about Kodak manufacturing history that is no longer easily accessible. The guide aims to help researchers, photography archivists and historians, conservators, collection managers, or anyone else interested in Kodak history gain access to a better understanding of photographic paper produced by Kodak from 1930 to 1955. The process for creating the guide is described in this article and may be used as a starting point for future research while also illuminating the importance of documenting and providing access to technological and material details about photographic objects.

In 2022, two significant dates are celebrated: the 150th anniversary of the birth of S. P. Diaghilev (1872–1929), entrepreneur, creator and head of the "Russian Seasons" enterprise in Paris, and the 140th anniversary of the birth of I. F. Stravinsky, an outstanding composer. Based on documentary evidence, the article traces the nature of the interaction between the two creators in certain periods of their joint work. At the same time, it is noted that the fates of the two figures of Russian culture were closely intertwined in terms of personal friendship. They also had much in common: both Diaghilev and Stravinsky were brought up in families where art and music were deeply revered, both studied at Saint Petersburg University and took lessons from professors of the Saint Petersburg Conservatory. The composer and the entrepreneur collaborated for a long period in the Parisian "Saisons Russes", for which Stravinsky composed twelve operas and ballets. Their creative collaboration in the Diaghilev project lasted eighteen years. Fate surprisingly brought them together after their demise, both Stravinsky and Diaghilev rested with a difference of 42 years on the island-cemetery of San Michele in Venice.

Scientific investigations indicate that the technology expansions and the increases in the uses of additives, pesticides, antibiotics and hormones in the production of foodstuff in the developing countries have been accompanied by adverse and undeniable effects on the humans’ health during the recent decades. The present study aims at investigating the variables influencing the application of nonchemical pest control methods in cucumber greenhouses in a case study of the conservatories in Pishva County. The study population included all the Pishva County greenhouse owners who had been solely raising cucumber in 2016 reaching in number to 87 greenhouse owners. According to the limited number of the study population, they were all selected as the study sample volume based on a census sampling method; out of the study population, 83 individuals were at hand. The study instrument was a questionnaire the validity of which was confirmed through inquiring ideas from the university professors and its reliability was also verified based on Cronbach’s alpha coefficient within a 79% to 86% range. The results obtained for the collective effectiveness of the independent variables on the dependent variable through taking advantage of multiple regression tests signify that such variables as economic, informational and cognitive and promotional barriers have contributed to greenhouse owners’ lack of interest in making use of nonchemical pest control and plant disease management strategies.

Problem statement. The article is dedicated to the 120th anniversary of famous Ukrainian conductor, Honored Artist of Ukraine, Professor Israel Solomonovich Shteiman (1901–1983), who devoted more than 55 years of his life to opera conducting. The musician is also famous by his skills in training of opera singersactors to their professional activity, as a head of Opera Studio under the Kharkiv I. P. Kotlyarevsky National University of Arts (former Kharkiv Conservatoire and the Kharkiv National University of Arts now). However, in addition to short lines of newspaper chronicles covering the theatrical life of Kharkiv city at that time, the brief background information collected in the archives of art institutions of the city and single memoir pages of his contemporaries (Shasha, 1991; Chepalov, 2012), there are still no special studies on the artist’s work. At the same time, these few sources provide an opportunity to recreate a holistic picture of I. S. Shteiman’s activities as a conductor of the Opera Studio under the Kharkiv National University of Arts and highlight one of the pages of its historical development, which is the goal of this article. The research methodology is based on the ways of analysis and systematization that were used in working with factual material; generalization and historical reconstruction when referring to opera productions by I. S. Shteiman in striving to characterize him as a musician-teacher. The results for discussion. In the period after II World War, many famous conductors worked in the Opera Studio under the Kharkiv Conservatory, but the activity of Israel Shteiman was the most fruitful, long and outstanding one. From 1944 until the end of his life, he was one of the leading conductors of M. Lysenko Kharkiv Opera and Ballet Theater. A characteristic feature of Shteiman-conductor was the ability to penetrate deeply into the composer’s creative concept, an impeccable sense of taste, an attentive and sensitive attitude towards the singer. Having started working at the Vocals Department of Kharkiv Conservatory in 1947, since 1953 I. S. Shteiman became the Opera Studio’s conductor, and from 1973 to 1979 – the Head of Opera Training Department at I. P. Kotlyarevsky Kharkov Institute of Arts. When working with students, I. S. Shteiman infected them with love for creative process, showed and knew how to emphasize the individuality in each of them. Among I. S. Shteiman’s students – Peopl’s Artists of the USSR N. Tkachenko, M. Manoilo, T. Alyoshina, People’s Artists of Ukraine and Russia V. Arkanova, L. Solyanik, L. Sergienko, Honored Artists of Ukraine V. Tryshyn, A. Rezilova, Y. Danilchishin... Since late 1960s, a new trend has emerged in the Opera Studio’s repertoire policy associated with growing interest in the creative work of contemporary composers. Thus, Studio productions of the operas by A. Nikolaev “At the Price of Life” (1967), A. Spadavecchia “The Road to Calvary” (1970), A. Kholminov’s “Optimistic Tragedy” (1972) were called to life by I. S. Shteiman. He believed that a deep disclosure of modern themes requires new thinking not only by composers, but also by singers, and it is crucial to develop this in young actors based on modern repertoire only. Continuing the course for revival of Soviet classics, to commemorate the 30th Anniversary of the Great Victory, I. S. Shteiman together with director L. Kukolev, staged V. Gubarenko’s opera “The Revived May”. The directors managed to reveal vividly all the strengths of the talented opera by this contemporary Ukrainian composer. Farther, the performers of the main parts were successfully working on various opera stages at Ukraine and abroad. Conductor I. S. Shteiman’s individual approach to working with each performer led to positive results – a high performance culture that ensured his performances’ long and successful life and high-quality professional training of singers-actors. From 1982, even after the stopping of his active conducting work, to the end of his life, Israel Shteiman was a professor-consultant at the Opera Training Department of the Kharkiv State Institute of Arts, continuing his life and creative mission – “to awaken of an artist in every musician”… (S. Kussevitsky). Conclusions. So, I. S. Shteiman dedicated practically all of his life to opera conducting. The memorable date is an occasion to analyze and appreciate his contribution to the very difficult and extremely important task of professional education of the opera singers, to pay tribute of respect and gratitude to this extraordinary man and musician. As one of the leading conductors of the Kharkiv M. Lysenko Opera and Ballet Theater, I. S. Shteiman had extensive experience of collaboration with prominent opera performers of his time. His conducting work was distinguished by a subtle understanding of the composer’s idea, a huge artistic taste. All these qualities were reflected in his fruitful work with student creative teams, which was always characterized by an individual approach to performers, by the ability to convey to them the will of the composer, as well as his own creative thought aimed at educating of high musical culture, by the ability to discover the artistry and creativity energy of the young musicians. Thus, the long-term conducting work by I. S. Shteiman played a huge positive role in the professional education of the brilliant constellation of the singersactors of the Kharkiv opera scene, in the formation of the tradition that opens wide creative prospects for graduates of the Kharkiv opera’s school also and in modern world music culture. The extraordinary personality of the talented conductor, who has educated more than one generation of singers-actors for work on the professional stage, will remain in the hearts of those who respected and loved him for a long time.

Historic buildings, due to their architectural, cultural, and historical value, are the subject of preservation and conservatory works. Such operations are preceded by an inventory of the object. One of the tools that can be applied for such purposes is Light Detection and Ranging (LiDAR). This technology provides information about the position, reflection, and intensity values of individual points; thus, it allows for the creation of a realistic visualization of the entire scanned object. Due to the fact that LiDAR allows one to ‘see’ and extract information about the structure of an object without the need for external lighting or daylight, it can be a reliable and very convenient tool for data analysis for improving safety and avoiding disasters. The main goal of this paper is to present an approach of automatic wall defect detection in unlit sites by means of a modified Optimum Dataset (OptD) method. In this study, the results of Terrestrial Laser Scanning (TLS) measurements conducted in two historic buildings in rooms without daylight are presented. One location was in the basement of the ruins of a medieval tower located in Dobre Miasto, Poland, and the second was in the basement of a century-old building located at the University of Warmia and Mazury in Olsztyn, Poland. The measurements were performed by means of a Leica C-10 scanner. The acquired dataset of x, y, z, and intensity was processed by the OptD method. The OptD operates in such a way that within the area of interest where surfaces are imperfect (e.g., due to cracks and cavities), more points are preserved, while at homogeneous surfaces (areas of low interest), more points are removed (redundant information). The OptD algorithm was additionally modified by introducing options to detect and segment defects on a scale from 0 to 3 (0—harmless, 1—to the inventory, 2—requiring repair, 3—dangerous). The survey results obtained proved the high effectiveness of the modified OptD method in the detection and segmentation of the wall defects. The values of area of changes were calculated. The obtained information about the size of the change can be used to estimate the costs of repair, renovation, and reconstruction.

This article reports on findings concerning the use and understanding of marble in the eighteenth century, as uncovered by a team of geologists and conservators at the Department of Engineering Technology at the Technical University of Munich. While researching a group of marble objects in Bayreuth in order to devise suitable conservation methods, it became apparent that the eighteenth-century understanding of ‘marble’ was different to how we define the stone today. This earlier definition of marble was based on colour, pattern and the ability to shine when polished. However, by the end of the eighteenth century, there was a shift to a focus on the different grain sizes of the stones, while the previously defining quality of colour became less important. Such developments advanced towards the recognition of limestone and marble as two different types, enabling the distinction between sedimentary limestone and its metamorphic product marble to be drawn in the first half of the nineteenth century. At the same time, the exploration of local sources caused the exclusivity of marble to dwindle. Once a building and decorative material for the elite, it now became more widely available. Marble was still the material of sovereigns - proudly presented as locally found - but it simultaneously became accessible to a wider market for household utensils or collectors’ items. This is demonstrated through the exploration of a range of German sources, including encyclopaedias and lexicons with their inherent aim of accumulating the universal knowledge of their time, a ‘marble’ compendium, and a description of the prison and workhouse in St Georgen in Bayreuth, which had marble works on its premises.

Musculoskeletal (MSK) conditions among professional musicians and music students are frequent and may have significant physical and psychosocial consequences on their lives and/or on their playing abilities. The Risk of Music Students (RISMUS) research project was set up in 2018 to longitudinally identify factors associated with increased risk of playing-related musculoskeletal disorders (PRMDs) in a large sample of music students enrolled in pan-European institutions. The aim of this cross-sectional study was to describe the prevalence of playing-related musculoskeletal disorders (PRMDs) in this novel population at baseline of the RISMUS project. A further goal was to begin to identify variables that might be associated with the self-reported presence of PRMDs among music students. Eight hundred and fifty students from fifty-six conservatories and music universities in Europe completed a web-based questionnaire on lifestyle and physical activity participation levels, musical practice habits, health history and PRMDs, psychological distress, perfectionism and fatigue. A total of 560 (65%) out of 850 participants self-reported a positive history of painful MSK conditions in the last 12 months, 408 (48%) of whom self-reported PRMDs. Results showed that coming from West Europe, being a first- or a second-year Masters student, having more years of experience and higher rates of perceived exertion after 45 minutes of practice without breaks were factors significantly associated with self-reported presence of PRMDs. According to the authors’ knowledge, a large-scale multicentre study investigating prevalence and associated factors for PRMDs among music students at different stages of their education (from Pre-college to Masters levels) has not been conducted before. The high prevalence of PRMDs among music students, especially those studying at university-level, has been confirmed in this study and associated factors have been identified, highlighting the need for relevant targeted interventions as well as effective prevention and treatment strategies.

Ernest L. Ransome is a famous but often misunderstood 19th century California engineer and builder. Architectural historians and engineering professionals see him as a central figure in developing reinforced concrete as a usable building material decades before its use became prevalent. He is most commonly recognized as building the first reinforced concrete bridge, San Francisco's Alvord Lake Bridge, which was built in 1890 and is still in use. Historical accounts of his work, however, are based chiefly upon secondary sources and are sometimes incorrect or misleading. This article clarifies Ransome's true role in concrete building in California and debunks misinformation about the famous Alvord Lake Bridge. It traces his career in the United States (he emigrated to California in 1870 at the age of 26), first as a manufacturer of imitation stone and later as a builder of increasingly large and complex buildings and structures. It discusses his work on a series of iconic Northern California buildings and structures: the 1888 Bourn Winery (now the Culinary Institute of America school in St. Helena); the 1890 Torpedo Building, still standing on the Oakland side of Yerba Buena Island; the 1890 Alvord Lake Bridge and its near twin the Conservatory Bridge, both still in use in Golden Gate Park; the 1891 Art Museum, now being used as the Canter Center on the Stanford University campus. It also discusses Ransome's partnership with Sidney Cushing, a railroad magnate in Marin County for whom the Cushing Amphitheater on Mt. Tamalpais was named, and Francis Marion “Borax” Smith, who built the borax industry in Death Valley and who founded and owned the Key System transit in the East Bay. The article concludes with observations about Ransome's true place in the history of concrete engineering in the United States and concrete construction in California.

Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and practice of performing chromatic button accordion (the fundamental works of M. Imkhanycjkyj, U. Loshkova, I. Snjedkov, A. Mirek, А. Stashevskyj) Results. After the invention of the chromatic button accordion a little over 100 years ago, it went from a primitive musical instrument satisfying everyday needs to one recognized on the professional concert stage. The status of the instrument has been changing hand in hand with its improvement and the creation of original repertoire. Now the chromatic button accordion is on par with other academic instruments recognized worldwide. Currently there are four chromatic button accordion schools in Ukraine - in Kyiv, Odessa, Lviv and Kharkiv. Kharkiv has been viewed as a regional center of development of the chromatic button accordion performing since early 20-ies of the 20th century. However, the original “Kharkiv school of performing” was fully established with the opening of the chromatic button accordion class at the orchestra department of the University in 1951. This event became final in the formation of the system of professional chromatic button accordionists and teachers preparation. It is as follows: music school, music college, conservatory. The founder of the chromatic button accordion class was L. M. Horenko (1925- 1989). Volodymyr Yakovych Podgornyj (1928-2010), an outstanding performer, composer and teacher, played the key role in the formation of Kharkiv original chromatic button accordion school. His unique compositional and performing style dramatically changed the teaching methodology, performance priorities, approaches to transcription and translation of works for an chromatic button accordion, the “harmonic mindset”. Volodymyr Yakovych contributed greatly to the creation of original chromatic button accordion repertoire which surpassed existing samples in its quality, giving a new direction to the chromatic button accordion development not only in Kharkiv, Ukraine but also abroad. Thus, L. M. Horenko and V. Y. Podgornyj became the first generation of chromatic button accordion teachers in Kharkiv National Kotlyarevskyj University of Arts. The second generation of teachers at the department including Podgornyj’s students O. I. Nasarenko and A. P. Ghaidenko used to uphold these principles, but they also brought additional details generally related to their inherent features of character. The representatives of the third generation at the department - professors O. V. Mishhenko and I. I. Snjedkov brought innovative characteristics to the general terms of the performing school. They have been known to pay attention to the logic of dramatic development, conciseness of musical forms, technical perfection, academicism, the balance of the emotional and rational performance components, the perfection of small intonation pieces. The fourth generation includes Andrij Ghetman who`d been working since 1995 to 2007, and Andrij Strilets who started his career in 1998. They both were students of Kharkiv chromatic button accordion school taught by Professor I. I. Snjedkov. Following general principles of “Podgornyj school”, those personalities deviate significantly from the original source. A. Ghetman’s performing is characterized by specific academicism both in the quality of performing and in selecting a concert repertoire. A. Strilets distinguishes by advanced orchestral thinking, focused work with the viewer, attention to a musical phrase structure, expressiveness and emotional completeness of performance. The fifth generation consists of Dmytro Zharikov (a soloist of the regional Philharmonic society) who has received a Master’s degree at Rostov Academy of Music named after. S. V. Rakhmaninov under the direction of the world-famous accordion player Yurij Shyshkin and Yurij Djjachenko (a student of O. I. Nasarenko) who teaches the conducting course. They have worked at the department since 2015. Conclusion. The modern chromatic button accordion through developing in the plane of professional instrumental performing, repeats the path of other famous academic musical instruments. Moreover, Kharkiv regional accordion school, being one of the leading development centers of the chromatic button accordion in Ukraine, has entered the value system of the 21st century culture. Its development and increasing authority in the world arena are related to: 1) the further integration into the extensive network of European music universities; 2) experience exchange not only at the level of teaching methods, but also through the introduction of exchange programs with students from leading conservatories of different countries worldwide; 3) the creation of the conditions for the training of a certain unification specialists according to the existing genre and stylistic directions of performance on chromatic button accordion; 4) the orientation on the implementation of all the advanced instruments constructive capabilities (sound production and strokes) and timbral coloring; 5) the search for forms of the chromatic button accordion (as an academic instrument) creative synthesis: from established forms of ensembles (such as strings or wind) to modern theatrical, vocal and dance performances, music and light show.

Background. The article focuses on articulating the role of chromatic button accordion in the modern sociocultural system of Ukrainian musical art, based on the case of one leading school established in 1951 on the basis of Kharkiv National Kotlyarevskyj University of Arts. Objectives. The objective of the article is to provide an analysis of Kharkiv regional accordion school (since the second half of the 20th century to the present day), as well as its personalities using as an example five generations of performersteachers. Methodology of the study includes researching of the history and practice of performing chromatic button accordion (the fundamental works of M. Imkhanycjkyj, U. Loshkova, I. Snjedkov, A. Mirek, А. Stashevskyj) Results. After the invention of the chromatic button accordion a little over 100 years ago, it went from a primitive musical instrument satisfying everyday needs to one recognized on the professional concert stage. The status of the instrument has been changing hand in hand with its improvement and the creation of original repertoire. Now the chromatic button accordion is on par with other academic instruments recognized worldwide. Currently there are four chromatic button accordion schools in Ukraine - in Kyiv, Odessa, Lviv and Kharkiv. Kharkiv has been viewed as a regional center of development of the chromatic button accordion performing since early 20-ies of the 20th century. However, the original “Kharkiv school of performing” was fully established with the opening of the chromatic button accordion class at the orchestra department of the University in 1951. This event became final in the formation of the system of professional chromatic button accordionists and teachers preparation. It is as follows: music school, music college, conservatory. The founder of the chromatic button accordion class was L. M. Horenko (1925- 1989). Volodymyr Yakovych Podgornyj (1928-2010), an outstanding performer, composer and teacher, played the key role in the formation of Kharkiv original chromatic button accordion school. His unique compositional and performing style dramatically changed the teaching methodology, performance priorities, approaches to transcription and translation of works for an chromatic button accordion, the “harmonic mindset”. Volodymyr Yakovych contributed greatly to the creation of original chromatic button accordion repertoire which surpassed existing samples in its quality, giving a new direction to the chromatic button accordion development not only in Kharkiv, Ukraine but also abroad. Thus, L. M. Horenko and V. Y. Podgornyj became the first generation of chromatic button accordion teachers in Kharkiv National Kotlyarevskyj University of Arts. The second generation of teachers at the department including Podgornyj’s students O. I. Nasarenko and A. P. Ghaidenko used to uphold these principles, but they also brought additional details generally related to their inherent features of character. The representatives of the third generation at the department - professors O. V. Mishhenko and I. I. Snjedkov brought innovative characteristics to the general terms of the performing school. They have been known to pay attention to the logic of dramatic development, conciseness of musical forms, technical perfection, academicism, the balance of the emotional and rational performance components, the perfection of small intonation pieces. The fourth generation includes Andrij Ghetman who`d been working since 1995 to 2007, and Andrij Strilets who started his career in 1998. They both were students of Kharkiv chromatic button accordion school taught by Professor I. I. Snjedkov. Following general principles of “Podgornyj school”, those personalities deviate significantly from the original source. A. Ghetman’s performing is characterized by specific academicism both in the quality of performing and in selecting a concert repertoire. A. Strilets distinguishes by advanced orchestral thinking, focused work with the viewer, attention to a musical phrase structure, expressiveness and emotional completeness of performance. The fifth generation consists of Dmytro Zharikov (a soloist of the regional Philharmonic society) who has received a Master’s degree at Rostov Academy of Music named after. S. V. Rakhmaninov under the direction of the world-famous accordion player Yurij Shyshkin and Yurij Djjachenko (a student of O. I. Nasarenko) who teaches the conducting course. They have worked at the department since 2015. Conclusion. The modern chromatic button accordion through developing in the plane of professional instrumental performing, repeats the path of other famous academic musical instruments. Moreover, Kharkiv regional accordion school, being one of the leading development centers of the chromatic button accordion in Ukraine, has entered the value system of the 21st century culture. Its development and increasing authority in the world arena are related to: 1) the further integration into the extensive network of European music universities; 2) experience exchange not only at the level of teaching methods, but also through the introduction of exchange programs with students from leading conservatories of different countries worldwide; 3) the creation of the conditions for the training of a certain unification specialists according to the existing genre and stylistic directions of performance on chromatic button accordion; 4) the orientation on the implementation of all the advanced instruments constructive capabilities (sound production and strokes) and timbral coloring; 5) the search for forms of the chromatic button accordion (as an academic instrument) creative synthesis: from established forms of ensembles (such as strings or wind) to modern theatrical, vocal and dance performances, music and light show.

В специальном выпуске журнала раскрываются актуальные проблемы современной отечественной и зарубежной этномузыкологии. Настоящее издание включено в программу мероприятий Санкт-Петербургской государственной консерватории имени Н. А. Римского-Корсакова, посвященных Году культурного наследия народов России. В журнале представлены результаты исследований сотрудников, преподавателей, аспирантов, выпускников Московской и Санкт-Петербургской консерваторий, Российской академии музыки имени Гнесиных, Воронежского института искусств, Университета святых Кирилла и Мефодия (Скопье). На протяжении десятилетий в этих образовательных организациях ведется интенсивная деятельность в сфере собирания и изучения музыкального фольклора силами таких структур, как Научный центр народной музыки имени К. В. Квитки, Фольклорно-этнографический центр имени А. М. Мехнецова, Музыкально-этнографический центр имени Е. В. Гиппиуса, Институт фольклора имени Марко Цепенкова. В фондах этих подразделений сосредоточены многие тысячи уникальных экспедиционных аудио- и видеозаписей народных песен, инструментальной музыки, жанров устной словесности, хореографии, которые составляют «золотой запас» нематериального культурного наследия различных народов. В последние годы угроза утраты традиций народной культуры становится все более острой. В связи с этим исследователи столкнулись с необходимостью разработки алгоритмов доступа к документальным источникам, цифровизации фольклорно-этнографических материалов, их включения в сеть Интернет, создания общедоступных порталов, специализированных на различных аспектах актуализации фольклорного наследия. Формы и опыт такой работы в зарубежных странах (Норвегии, Италии, Македонии) представлены в статьях А. Остапенко, И. Тепловой, Р. Величковской. Не менее важной является задача обработки и введения в научный оборот документальных данных, полученных в ходе фольклорных экспедиций разных лет. Такая работа базируется на тщательном изучении каждого образца, требует системного подхода, применения методов типологического исследования, картографирования, историко-стилевой оценки. Конечные цели связаны с созданием фольклорно-этнографического атласа России, с одной стороны, и восстановлением очагов бытования ярких самобытных явлений народной культуры, с другой. В статье И. Никитиной характеризуются мужские певческие традиции Русского Севера; Л. Белогурова и Ю. Журавлева раскрывают особенности свадебных напевов Рязанской области; Г. Сысоева обобщает информацию о весенних песнях южнорусской традиции; исследование А. Косых связано с религиозными песнопениями духоборцев, в основе которых обнаруживаются тексты русских духовных стихов. Тема «фольклор и композитор» представлена в журнале исследованием М. Иоанну и И. Поповой: в статье впервые публикуются подлинные мелодии, которые были использованы Н. Скалкотасом в сюите «36 греческих танцев». В разделе журнала «Документы» перед читателем раскрываются картины истории этномузыкологии. Стенограмма доклада Ф. А. Рубцова, содержание которого затрагивает одну из краеугольных, до сих пор нерешенных научных проблем, позволяет «услышать» живую речь выдающегося ученого. Еще более выразительными по своей эмоциональной достоверности оказываются письма В. И. Харькова и К. В. Квитки, касающиеся чрезвычайно сложных ситуаций их жизни. Публикация документов предваряется статьями Е. Редьковой и Е. Битеряковой, подготовивших рукописи к изданию. A special issue of the magazine reveals current problems of the modern domestic and foreign ethnomusicology. This publication is included in the program of events of the Saint Petersburg Rimsky-Korsakov State Conservatory dedicated to the Year of Cultural Heritage of the Peoples of Russia. The magazine presents the results of the research by employees, teachers, graduate students, graduates of the Moscow and St. Petersburg Conservatories, the Gnesin Russian Academy of Music, the Voronezh Institute of Arts, and the University of Saints Cyril and Methodius (Skopje). These educational organizations have been conducting intensive activity in the field of collecting and studying music folklore for decades, engaging such structures as the Klyment Kvitka Folk Music Research Center, the Anatoliy Mekhnetsov Folklore and Ethnographic Center, the Yevgeniy Gippius Music and Ethnographic Center, and the Marco Tsepenkov Institute of Folklore. The archives of these units contain many thousands of unique expeditionary audio and video recordings of folk songs, instrumental music, genres of oral literature and choreography, which constitute the “golden reserve” of the intangible cultural heritage of various peoples. The threat of loss of traditions of folk culture has become more acute in recent years, which compels researchers to develop algorithms for accessing documentary sources, provide digitalization of folklore and ethnographic materials placing them in the Internet, create public portals specializing in various aspects of actualization of folklore heritage. The forms and experience of such work in foreign countries (Norway, Italy, Macedonia) are presented in articles by A. Ostapenko, I. Teplova, R. Velichkovska. The task of processing and introducing the documentary data obtained during folklore expeditions of different years into scientific circulation is also important. Such work is based on a thorough study of each sample and requires a systematic approach, use of typological research methods, mapping, historical and style assessment. The goal is not only to create a folklore-ethnographic atlas of Russia, but also to restore the forms of existence of original phenomena of the folk culture. Male singing traditions of the Russian North are characterized in the article by I. Nikitina; L. Belogurova and Yu. Zhuravleva describe the features of wedding singing in the Ryazan region; G. Sysoeva summarizes information about spring songs of the South Russian tradition; A. Kosykh studies religious chants of the Dukhobors based on the texts of Russian spiritual verses. The theme “folklore and composer” is presented in the article by M. Ioannou and I. Popova, the genuine melodies used by N. Skalkottas in the suite “36 Greek Dances” being published for the first time. The stages of the history of ethnomusicology are disclosed to the reader in the section “Documents”. The transcript of the report of F. Rubtsov, which covers one of the fundamental, though still unresolved scientific problems, allows you to “hear” a live speech of the outstanding scientist. Even more expressive in their emotional veracity are the letters of V. Khar’kov and K. Kvitka regarding extremely difficult situations of their lives. The section opens with articles by E. Redkova and E. Biteryakova, who prepared manuscripts for publication.

A Review of: Dougan, K. (2016). Music, YouTube, and academic libraries. Notes, 72(3), 491-508. https://doi.org/10.1353/not.2016.0009 Abstract Objective – To evaluate how music faculty members perceive and use video sharing sites like YouTube in teaching and research. Design – Survey Questionnaire. Setting – 197 music departments, colleges, schools, and conservatories in the United States. Subjects – 9,744 music faculty members. Methods – Schools were primarily selected based on National Association of Schools of Music (NASM) membership and the employment of a music librarian with a Music Library Association (MLA) membership. Out of faculty members contacted, 2,156 (22.5%) responded to the email survey. Participants were asked their rank and subspecialties. Closed-ended questions, ranked on scales of 1 to 5, evaluated perceptions of video sharing website use in classroom instruction and as assigned listening; permissibility as a cited source; quality, copyright, and metadata; use when items are commercially unavailable; use over library collections; comparative ease of use; and convenience. An open-ended question asked for additional thoughts or concerns on video sharing sites and music scholarship. The author partnered with the University of Illinois’ Applied Technology for Learning in the Arts and Sciences (ATLAS) survey office on the construction, distribution, and analysis of the survey data through SPSS. The open-ended question was coded for themes. Main Results – Key findings from closed-ended questions indicated faculty: used YouTube in the classroom (2.30 mean) more often than as assigned listening (2.08 mean); sometimes allowed YouTube as a cited source (2.35 mean); were concerned with the quality of YouTube recordings (3.58 mean) and accuracy of metadata (3.29 mean); and were more likely to use YouTube than library resources (2.62 mean), finding it easier to use (2.38 mean) and more convenient (1.83 mean). The author conducted further analysis of results for the nine most reported subdisciplines. Ethnomusicology and jazz faculty indicated a greater likelihood of using YouTube, while musicology and theory/composition faculty were more likely to use library resources than others. There was little significant difference among faculty responses based on performance subspecialities (e.g. voice, strings, etc.). Overall, open-ended faculty comments on streaming video sites were negative (19.3%), positive (19.3%), or a mixture of both (34.1%). Themes included: less use in faculty scholarship; a need to teach students how to effectively use YouTube for both finding and creating content; the value of YouTube as an audio vs. video source; concerns about quality, copyright, data, and reliability; and benefits like easy access and large amounts of content. Conclusion – Some faculty expressed concern that students did not use more library music resources or know how to locate quality resources. The study suggested librarians and faculty could collaborate on solutions to educate students. Librarians might offer instructional content on effective searching and evaluation of YouTube. Open-ended responses showed further exploration is needed to determine faculty expectations of library “discovery and delivery” (p. 505) and role as the purchaser of recordings. Conversations between librarians and faculty members may help clarify expectations and uncover ways to improve library resources and services to better meet evolving needs. Finally, the author recommended additional exploration is needed to evaluate YouTube’s impact on library collection development.

Statement of the problem. The professional activity and contribution of Professor Yulii Fedorovych Vakhraniov to the development of the Kharkiv piano school, musical pedagogy and domestic art studies has not yet been adequately covered. This challenge served as the main impetus of writing this work, which is a logical continuation of a number of studies devoted to the work of such outstanding piano teachers of Kharkiv National University of Arts as Regina Horovyts (Rudenko, 2001), Maria Yeshchenko (Kononova, 2009), Vsevolod Topilin (Pinchuk, 2012; 2018): Viktor Siryatsky (Sukhlenko, 2012) and others. The purpose of the study is to determine the role of the pedagogical and academic activities of Yu. Vakhraniov in the development of the Kharkiv piano school. The paper provides a brief analysis of the main scholarly studies of Yu. F. Vakharanev; an overview of his general pedagogical methods and principles due to which the article has a certain scientific novelty. Revealing the specifics of Yu. Vakhraniov’s pedagogical activity determined the application of general and special research methods, namely: historical, phenomenological and hermeneutic (interpretive) ones, the method of comparative analysis and systems approach when considering his pedagogical views and principles. Results. For many years of work, Yu. Vakhraniov has trained many professional musicians. He obtained multifaceted higher education: philological and musical, worked at Donetsk Music College, and then at Kharkiv Institute of Arts and Kharkiv Specialized Secondary Music Boarding School, graduated from the postgraduate studies at Kyiv Conservatory majoring in the History and Theory of Pianism (1969), defended his Ph.D. thesis (Vakhraniov, 1971) supervised by A. D. Alekseev. Later Yu. Vakhranev was awarded the academic title of a professor and for ten years he was the Head of the Special Piano Department (1977–1987) at Kharkiv Institute (University) of Arts. Among his fundamental research works, one should mention his reference book “Etudes, Op. 10 by Frederic Chopin” written in co-authorship with G. Sladkovskaya, monograph “V. Kosenko’s Piano Etudes” (1970), articles “National specifics of Igor Shamo’s piano work” (1969) and “Clavier and clavier music of Ukraine from the middle of the XVII – first quarter of the XIX century in historical and literary materials” (1992), monograph “The performance of music (Poetics)” (1994), which was not only a deep research work, but also a philosophical treatise. The work at individual piano lessons was substantiated from the view point of the concept and dramatization of the piece, its interpretative tasks; great attention was paid to the culture of sound, pedalization, development of various types of techniques, the art of mastering the key touch. Intonement inextricably linked with the art of sound production can rightfully be called the hallmark of the pedagogical principles of Yu. Vakhraniov. Each student was assigned individual tasks and he understood well the abilities of each of his students. When choosing a programme, the Professor followed a clear methodologically structured system of pieces, which belonged to different styles and corresponded to a particular epoch. Special attention Yu. Vakhranev paid to the development of industriousness and spirituality in his students. The conclusions emphasise the significant role of Yu. Vakhraniov in the development of the Kharkiv pianistic school. The study of his main works on arts made it possible to identify the range of research issues that Yu. Vakhraniov was engaged in. Among them are studies of both samples of Western art and the work of domestic composers. In this connection, his monograph “The performance of music (Poetics)” deserves special attention. Comparison of pedagogical methods and principles, teaching moments and semantic accents, which were given special attention, as well as the general atmosphere of the lessons that remained in the memory of the students taught by Yu. Vakhraniov, made it possible to conclude that the teacher had a unique pedagogical system based on an intelligent approach to training professional musicians. The study considers the concept of “class” as a multidimensional phenomenon associated with the process of training future professional musicians. Expanded and rethought, it approaches the concept of “professional level”. If the “piano school” is a complex of traditions supported by subsequent generations and characteristic of a specific geographical place or educational institution, then the “class” is a pedagogical system headed by a specific representative of musical art: a teacher and a spiritual leader

Ivan Boserup: The Chaves Drawing, the Galvin Murúa Manuscript, and the Miccinelli Claims Regarding Guaman Poma’s Nueva corónica Among the many extraordinary claims of the Miccinelli manuscripts kept in a private collection in Naples and published in 1989 and later, one of those most urgently in need of being closely investigated has concerned the authorship of one of the treasures of the Royal Library of Denmark: the autograph manuscript of the Nueva corónica (Ms. GKS 2232 4º). Authorship of this manuscript has traditionally been assigned, in accordance with its title page and other evidence, to the Andean Indian Felipe Guaman Poma de Ayala (1560?–1616?). Yet, in spite of the flat rejection of the Miccinelli material by the vast majority of leading specialists of the history and literature of early colonial Peru (see Adorno 1998; Zuidema 2001), the Miccinelli claims continue to find adepts at large and sometimes arouse new, fruitless debates. In 2012, however, it was revealed that a drawing included in one of the key manuscripts of the Miccinelli collection, a Contract which states that the mestizo chronicler and Jesuit Father Blas Valera was the real author of the Nueva corónica, is basically a tracing of a drawing of the Nueva corónica as reproduced from a retouched photograph in the facsimile edition of the Nueva corónica that was published in Paris in 1936 (see Boserup and Krabbe Meyer 2012; 2015). Following up on this material proof of the presence of recent forgeries within the Miccinelli collection, the present paper discusses the authenticity of a closely related drawing (the Chaves drawing) discovered c.1998 in the State Archives of Naples. This latter item turns out to be, in all probability, another recent tracing of a drawing of the Nueva corónica, based on the 1936 facsimile edition. The reason for discussing the Chaves drawing so many years later is a suggestion made in 2015 by the art historian Thomas B. F. Cummins (Harvard University). According to Cummins, the Chaves drawing is an authentic creation of Guaman Poma (see Cummins 2015). It is argued, however, that Professor Cummins’s superficial examination of the drawing and his advocacy of its authenticity are closely related to a theory developed by him in 2013 together with the renowned Peruvian anthropologist Juan Ossio (Pontificia Universidad Católica del Perú, Lima) and supported by Conservator at the Getty Museum Nancy K. Turner (2015). Their view, which is inspired by an outdated suggestion of the historian Manuel Ballesteros (1911–2002), is that the Chaves drawing may originate from the manuscript of the long lost illustrated chronicle (1596) of Martín de Murúa (the Galvin Murúa) supposedly consisting to a large extent of illustrated folios originating from other sources. The evidence of the Galvin Murúa itself does not, however, corroborate this view (see Adorno and Boserup 2005; 2008). Hence, as in the case of the demonstrably fake Contract, it is argued that the Chaves drawing was produced in the late 1990s and “dropped” in the State Archives of Naples so as to be innocently “discovered” by a scholar working there, and later promoted as “external” evidence of the authenticity and historical relia­bility of the two main Miccinelli manuscripts. By stepping right into this trap nearly twenty years after others have been lured into it (Cantù 2001; Laurencich Minelli 2001; 2007), Cummins has taken the risk of being counted among the supporters of the Miccinelli manuscripts and of stirring up once more an international debate on the status of forged or corrupted material, which one can hope, however, will be thwarted at an early stage by the present analysis.

In the last issue of Starinar (LXII/2012) a contribution On Neolithic Authenticity of Finds from Belica was published. The authors Dragana Antonovic and Slavisa Peric (further A-P), dispute the 'Neolithic' provenience of finds from the village Belica. The reason is based on two articles published by me and possibly the pending publication in T?bingen of my monograph Belica, the Greatest Group Find of Neolithic Artistic Cult Sculpture. A-P based their conclusion that the objects from Belica are not 'Neolithic' on the premise that the pit with these objects did not exist, that the objects are of 'contemporary provenience', most probably made by 'an archeologist-amateur aiming to create confusion in Serbian archaeology', that there are 'no analogies for them', that the site in Belica represents 'a small Neolithic settlement', that 'objects were made mechanically' and that traces of fast revolving 'grinding instruments' are visible on them. Also, A-P cite me as the only author to have written about the find from Belica and who believes that the find belongs to the Neolithic period. Technical, geodetic and photo documentation from systematic excavations, as well as the homogeneity of protostarcevo material confirm the existence of a pit, belonging to early Neolith. Four radiocarbon tests prove, apart from the characteristics of the material and the analogies, that the objects are not 'contemporary provenience' but belong to the Early Neolithic period. In connection with the possibility, as A-P state, that 'an archaeologist-amateur ... dug in the finds in the earth.' aiming to 'produce confusion in Serbian archaeology' I cite here what this 'archaeologist-amateur' needed to know to do this. He needed to shape artistically 93 objects of four typically Neolithic materials, stone, flint, bone and pottery (16 pottery, 66 stone, 11 bone objects) and to dig them in clandestinely, together with some protostarcevo pottery. He would need to find various types of stone which are not found in the region, such as serpentine and albite, and to make several dozen objects from them; to find animal bones (Bos/Cervus), from the protostarcevo period and make a large number of figurines exclusively of this material; then using baked clay (as A-P state), also from the protostarcevo period, make anthropomorphic figurines. He would then have to put all these objects into a pit which he dug out in the centre of the Neolithic site, surrounded by a trench 75 m in diameter and then cover it with a great quantity of ochre. To fill up the pit clay of specific content would have to be transport from somewhere else. He would also need to have excellent knowledge of the religious symbols of Neolith, (particularly the connection of the symbolism of woman and moon, as well as the symbolism of moon, woman, snake etc.), to shape such objects which stylistically, typologically, chronologically and symbolically completely correspond with the cultural tradition of the Stone Age of Europe, Asia Minor, Near and Middle East, including the ambivalent figures (which represent at the same time man and woman, i.e. male and female symbols, otherwise a recent term in archaeology) and to know how the vulva looks immediately before birth which was depicted on all figurines of woman in childbirth in Belica. The statement by A-P that 'there are no analogies' is not correct because numerous analogies are known in Serbia and other parts of the Balkan Peninsula as well as in Asia Minor, the Near and Middle East. As geomagnetic investigations confirm, the protostarcevo settlement in Belica, contrary to the opinion of A-P that it is 'a small Neolithic settlement', is one of the largest settlements from the Early Neolith in Serbia, covering an area of more than 7 ha. Also the statement, that parallel traces, such as those which exist on the surface and in grooves on the stone objects, are the remains of work with 'contemporary grind tools with a large number of rotations' is incorrect. The expertise of professional archeometrologists using a 3D electron microscope in the Institute for geology in Heidelberg and an experiment by conservators from the University in T?bingen confirm that the finish of the outer surface and the finish of grooves on the objects of serpentine (expertise was carried out exactly on objects which A-P explicitly marked as examples of mechanical finish) was done with typical Neolithic techniques. The statement that I was the only one who wrote about the Belica finds and identified them as Neolithic, is also not true. Although it is not important in this discussion about the 'Neolithic originality' of the Belica find, the fact is that apart from me five other authors have written on this subject.

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Introduction. The article is devoted to the study of the historical stages of the modern button accordion repertoire formation based on the genre and stylistic analysis of the repertoire models used in the process of teaching the students in the Kharkiv button accordion school. The actualization of the current research topic has set up a need for relying to a greater extent not on the printed sources, but on the reports of the witnesses, the first button accordion students of Kharkiv Conservatory, such as University professors Alexander Ivanovich Nazarenko, Anatoly Pavlovich Haydenko, Igor Ivanovich Kharkiv, as well as college professors Yevhen Leonidovych Vashchenko and Yevhen Heorhiyovych Malykhin, who were the first-hand participants in the process of the regional school formation. Theoretical background. Although the historiography of the Ukrainian button accordion art contains a fairly large amount of scientific and methodological studies (M. Imkhanitsky, V. Semeshko, A. Stashevsky, I. Snedkov, A. Svetov), many problems of the modern academic folk instrumental music remain unresolved. In particular, the concert repertoire formation in terms of a pragmatic dimension of the button accordion teachers approaches study within the Kharkiv school has not been the subject of a special interest of researchers in this area yet. The purpose of the research is to trace the stages of formation of the button accordionists’ modern concert and pedagogical repertoire on the basis of the genre and stylistic models’ analysis used in the process of teaching in the Kharkiv regional button accordion school. The object of the article is historical experience of the Kharkiv button accordion school as a component of academic folk and instrumental performance. Methods of research are conditioned by the material and formulation of the problem itself, in particular, a historical method is used to explain the organic connection of the facts, preconditions and personalities that brings together the historical experience of the Kharkiv button accordion school, a genre and stylistic method provides the embodiment of the performers original creative achievements. Results and Discussion. There are three main factors which have influenced the formation of the concert and pedagogical repertoire of the button accordion students of the Ukrainian Folk Instruments Department in KhNUA: ● the performing school and its genesis represented by particular teachers with their own repertoire preferences; ● improving the design of the instrument itself; ● the volume and quality of the original repertoire, as well as the productivity level and number of the composers working to develop it. Considering the general condition of the Kharkiv regional button accordion school of the 1950s, we can point out the prospects of the core guidelines underlying its basis: the formation of a list of clearly regulated and systematized program requirements; the impossibility of the requirements for the performance of genre forms (the absence of full-fledged imitation polyphony in the pedagogical repertoire) in full compliance with the “classical canons”; the predominance of small forms over large ones, as well as their obvious genre affiliation (songs, dances, marches); a significant shortage of the original works inciting the adaptation skills formation. Since the late 1960s the original pedagogical repertoire has been characterized by a great variety of genre and stylistic forms, such as a concert, a sonata, a suite, a partita, a fantasy, small cycles, a scherzo, a prelude, a concertino, a play, an arrangement of folk songs, arrangements of popular works, a concert etude. The representatives of five generations provide an inheritance of the traditions that represent the Kharkiv button accordion school creative experience and simultaneously transform it in accordance with the modern challenges. Conclusions. The conclusions emphasize the fact that the historically settled genre models of the performing and pedagogical repertoire of accordionists were established in the process of the Kharkiv button accordion school activity. The diversity of the original music for a button accordion is now represented by almost all existing genres and stylistic performance directions. It was the high culture of the Kharkiv musicians’ performance that brought the status of the academic art of playing folk instruments into a scientific level, as a new standard of sound and creative thinking.

Formulation of the problem. At the current stage, concertmaster activity as a kind of performing art requires a comprehensive study to justificatе the artistic effectiveness of the artist. Thereby, there was a need for research of the concertmaster activity of Oleksandr Nazarenko (Professor of the Department of Ukrainian Folk Instruments in I. P. Kotlyarevsky Kharkiv National University of Arts), in order to characterize his performing skills. This article is about the instrumental work of a accordionist, which is an organic component of the activities of art institutions in a variety of forms of work with the listener. The nuances of the instrumental accompaniment of a vocal composition (and not only) in conditions of genre and style diversity of the musical life of Kharkiv were the peculiarity of fruitful activity of the musician for many years. Is there a connection between this form of creative activity (at first glance, simple and not the most important) and other manifestations of the academic professional development of a musician? The answer to this question is the relevance of the topic of the article, devoted to the characteristics of O. Nazarenko’s concertmaster activity. The lack of a special study of the stylistic aspects of his concertmaster’s activity drove a necessitaty to take note to the biographical facts of the artist’s life in order to generalize the components of his performing skills. Analysis of the latest publications on the topic. O. Nazarenko’s compositional work for accordion is presented in the researches of Kharkiv accordionists and musicologists Y. Dyachenko (2012), M. Plushenko (2017), I. Snedkova (2016), A. Sagittarius (2018).However, these authors did not address the problem of concertmaster activity of O. Nazarenko, which was an important part of his professional growth as a model for the young generation of accordionists, drawing attention to this aspect of his performing arts. The object of research is the musical activity of O. Nazarenko; subject – concertmaster component of the artist’s creative universalism. The purpose of the article is to comprehensively research the process of evolution of the concertmaster’s activity of the famous Kharkiv accordionist Oleksandr Nazarenko. The research methodology is based on a complex of historical, genre-style and system approaches. Presenting of the main material. His acquaintance with concertmaster’s skill and it’s mastering O. Nazarenko began quite early – during the third year in B. Lyatoshynsky Kharkiv Music School (1955). Working with artists, he went with concerts to small factories, factory workshops (during breaks in the “red corners”), dormitories and clubs, where were held 40-minute meetings, where O. Nazarenko was accompanying dancers and vocalists. While studying at the Kharkiv Conservatory (1957–1962), he toured with a student team, where he was accompanying the instruments of the folk orchestra (domra, balalaika), symphony orchestra (violin, cello) and vocal performances. O. Nazarenko strived for performing activity, and therefore he chose the direction of creative work as a soloist-accordionist of the Kharkiv Regional Philharmonic (1962–1967), where together with solo performances he began professional concertmaster activity, working in various genres (vocal, dance and original). After graduating from the conservatory, O. Nazarenko paid much attention to the technique of reading from a sheet of works for piano, studied professional accompaniment to soloists, gained experience in concertmaster’s work to learn the new repertoire with artists. At the Department of Folk Instruments, students and teachers competed with each other in better technique of reading from a sheet, transposition into any key, play a tune by ear, improvisation, and skillfully translation the piano texture into accordion. According to the professor’s words, in order not to lose his performance skill during the tour and to maintain the technical level, he tried to practice even on a bus. He played accordion technical exercises with ready-made chords and fragments from masterpiece works (G. Diniku “Romanian round dance”, introduction to the opera “Ruslan” by M. Glinka); always worked on the plastic of his right hand. Most often, the acquaintance with the musical text took place during the move or a short time before the concert. Soloists-vocalists gave piano notes and indicated in what key they were comfortable to sing. Thus, the accordionist had to analyse the texture without an instrument, sing the melody in the required key with his inner ear, and transpose the musical material. O. Nazarenko tried to enrich the instrumental accompaniment with texture (counterpoint, melodic undertones) in order to move away from the primitive form (bass-chord support). The intention to complicate the accordion part made O. Nazarenko to improve his skills constantly in the selection of means of expression, intonation, the search for timbre diversity, all means which create true artistic values. Accompanying the soloists, the artist paid special attention to the thinning of the sound, imitating stringed instruments. While accompanying a group of brass instruments of a symphony orchestra (trumpet, trombone), he tried to convey the effect of “spaciousness”, equalling the techniques of sound production of brass instruments. Thus, performing a popular song of the Great Patriotic War “At Nameless Height”, O. Nazarenko imitated the replicas of the trumpet signal, and in the song “Buchenwald’s alarm” his performance gained maximum tension, sharpening and concentration in the transmission of bells. The world-famous song for the musical of the same name “Hello, Dolly” accompanied by O. Nazarenko gained a swing accent due to the alternation of the first and fourth parts of the bar and bright intonation. The material for accompaniment in the original genres (acrobats, jugglers, tightrope walkers, illusionists) was Latin American tunes (“Malagenya”, rumba “Valencia”), music for movies (“Serenade of the Sunny Valley”), personal improvisations. Between 1967 and 1987, the Union of Composers of Ukraine had author’s concerts-meetings, where among soloists were present the artists from the Philharmonic, the Opera House and teachers from the Institute of Arts. Well-known composers of Kharkiv such as G. Finarovsky, O. Zhuk, T. Kravtsov, F. Bogdanov, I. Kovach, N. Yukhnovska, O. Litvinov, G. Faintukh, V. Zolotukhin selected the soloists and completed the concert program. In general, during the whole period devoted to concertmaster’s activity, O. Nazarenko performed with more than a hundred soloists-vocalists of academic (bass, baritone, soprano, mezzo-soprano) and folk singing, as well as with numerous instrumentalists. Conclusions. Fruitful work on improving his own professionalism made the master a famous concertmaster-accordionist of Kharkiv. Collaboration with talented artists filled the emotional and intellectual state of the young musician, a rich palette of genres allowed the musician to think more widely and go beyond academism. The variety in the choice of means of expression enriched the technique of reading from a sheet, transposing and transition a piano works into an accordion. The expansion of the dramatic functions of the accordion accompaniment, the arsenal of means of expression contributed to the formation of a new type of ensemble based on the cocreation (equality / subordination) of its participants. This determined the active role of the accordionist concertmaster at all stages of the development of the interpretation plan: from the search for a key idea to its implementation on the concert stage. Working as an accompanist influenced not only his performing skills, but also Nazarenko’s work as a composer. Thanks to the personality of O. Nazarenko, the concertmaster activity of a whole generation of accordionists reached a qualitatively new professional level, and the profession of accompanist became popular among the younger generations working in this complex performance format.

The article analyses how the folk singing tradition of the Lithuania Minor developed in the late 20th and in the early 21st centuries. It examines the activities of the folklore groups in the Klaipėda Region during the period of 1971–2020, focusing on those that assert fostering of the lietuvininkai singing tradition as their mission or one of their goals. The study employs the previously unused materials, which allow revising the former research results regarding the revival of the Lithuanian ethnic music and show the folklore ensembles working in the Klaipėda Region as a significant part of the Lithuanian folklore movement and the revival of the ethnic music, emerging from the 1960s. Special emphasis is placed on the early phase in adoption of the lietuvininkai singing tradition related to the activities of the folklore ensemble “Vorusnėˮ established in 1971 at the Klaipėda faculties of the State Conservatory of the former LSSR, and the role it had in prompting the creation of other folklore groups in Klaipėda, as well as its impact on the broader cultural and educational processes taking place in the Klaipėda Region.In the 20th century, the prevailing narrative regarding the Lithuanian inhabitants of the Lithuania Minor maintained that books, hymns, schools, church, social and cultural organizations, and choral or theatre activities were the most significant factors influencing the cultural expression of lietuvininkai, while the Lithuanian folklore was hardly practiced anymore or even considered an inappropriate thing. Judging from the folklore recordings, the folk singing tradition supported by the lietuvininkai themselves disappeared along with the singers born in the late 19th century. However, after the WWII, it was adopted and continued by the folklore groups appearing the Klaipėda Region. These groups included people from the other regions of Lithuania who had settled there. This is essentially the process of reviving the ethnic music, which began in Europe during the Enlightenment period and continues in many parts of the world.“Vorusnėˮ was founded in 1971 as the first institutional student folklore ensemble in Klaipėda Region. For 27 years, its leader was a young and talented professor of the Baltic languages Audronė Jakulienė (later Kaukienė). She became the founder of the linguistic school at the Klaipėda University (KU). In the intense and multifaceted activities of the “Vorusnėˮ ensemble, two different stages may be discerned, embracing the periods of 1971–1988 and 1989–2000.In 1971–1988, the ensemble mobilized and educated students in the consciously chosen direction of fostering the Lithuanian ethnic culture, sought contacts with the native lietuvininkai, collected and studied ethnographic and dialectal data, prepared concert programs based on the scholarly, written, and ethnographic sources, gave concerts in Lithuania and abroad, and cooperated with folklore groups from other institutions of higher education.In 1989–2000, the “Vorusnėˮ ensemble engaged in numerous other areas of activity. The children‘s folklore ensemble “Vorusnėlėˮ was established in 1989; both “Vorusnėˮ and “Vorusnėlėˮ became involved in the activities of the community of the Lithuania Minor founded in 1989. The leader of the ensemble and its members contributed to the establishment of the Klaipėda University, which became an important research center of the Prussian history and culture. The leader of the ensemble and her supporters created a new study program of the Lithuanian philology and ethnology at the KU, which during its heyday (2011–2014) had developed three levels of higher education, including bachelor’s, master’s and doctoral studies. The Folklore Laboratory and Archive was established at the Department of the Baltic Linguistics and Ethnology, headed by Kaukienė, and young researchers in philology, ethnology, and ethnomusicology were encouraged to carry out their research there. In the course of over two decades, Kaukienė initiated organizing numerous research conferences dealing with lietuvininkai language and culture.Until 1980, “Vorusnėˮ was the only folklore ensemble in the Klaipėda Region, but in 1985, there were already ten folklore ensembles. These ensembles developed different creative styles that perhaps most notably depended on the personal structure of these ensembles and their leaders’ ideas and professional musical skills. Generally, at the beginning of their activity, all these ensembles sang, played and danced the folklore repertoire comprising all the regions of Lithuania. The activities of “Vorusnėˮ and other folklore ensembles in Klaipėda until 1990 showed that revival of folklore there essentially followed the lines established in other cities and regions of Lithuania.During the first decade after the restoration of independence of Lithuania in 1990, folklore was in high demand. In Klaipėda, the existing ensembles were actively working, and the new ones kept appearing based on the previous ones. The folklore ensembles of the Klaipėda Region clearly declared their priorities, embracing all the contemporary contexts. Some of them associated their repertoire with the folklore of lietuvininkai, others with Samogitian folklore.The lietuvininkai singing tradition was adopted and developed in two main directions.The first one focused on authentic reconstruction, attempting recreation with maximumaccuracy of the song‘s dialect, melody, and manner of singing, as well as its relationship tocustoms, historical events or living environment. The second direction engaged in creativedevelopment, including free interpretations of the songs, combining them with other stylesand genres of music and literature, and using them for individual compositions. These twoways could be combined as well. Lietuvininkai are not directly involved in these activities, butthey tolerate them and participate in these processes in their own historically and culturallydetermined ways.The contemporary artistic expression of the promoters of the lietuvininkai singing tradition is no longer constrained by the religious and ideological dogmas that were previously maintained in the Lithuania Minor and in a way regulated performance of these songs. It is determined nowadays by consciousness, creativity, resourcefulness, and knowledge of its promoters. The dogmas of the Soviet era and modernity have created a certain publicly displayed (show type) folklore. The ensembles took part of the institutionalized amateur art, subsequently becoming subject to justified and unjustified criticism, which is usually levelled on them by the outsiders studying documents and analyzing processes. However, favorable appreciation and external evaluation by the participants of the activities and the local communities highlight the meaning of this activity.

Background. The article is a step towards a modern comprehension of the creative heritage by M. Karminskyi, whose work in the second half of the 20 century contributed to the development and international fame of Ukrainian music. Analysis of scientific publications (Heivandova, K., 1981; Ivanova, Yu., 2001; Kushchova, E., 2004 etc.), memoirs (Hanzburg, G., 2000) and a huge array of periodicals devoted to the composer allows us to single out the characteristic features of his creative personality, which determine the originality of his talent as a composer, explaining the constant demand for his music and its successful functioning in the pedagogical process, in particular, in children’s music schools. The purpose and objectives of this study – to consider the artistic and aesthetic orientation of the creative heritage by M. Karminskyi and identify its distinctive features, focusing on the genre and style aspect of his works for children and youth and their methodological significance in pedagogical practice. Research methods are based on general scientific principles of systematization and generalization. The most important role was played by the interdisciplinary approach to the analysis of the composer’s creative heritage from the standpoint not only of musicology, but also of history, culturology, and pedagogy. For reflecting the spiritual atmosphere, where the composer’s talent was formed, the historicalbiographical approach was of great importance. Research results. The way of formation of M. Karminskyi’s individuality, development of his innate musical inclinations to successful realization of talent is crowned with creation of compositions of various genres, both largescale – partitas, operas, music to performances, and chamber – vocal-choral and instrumental miniatures, among which the piano music for children and youth audiences appealed to the style of Ukrainian folklore occupies a significant place. Ukrainian literature, in particular, works by Taras Shevchenko, Lesia Ukrainka, and Ivan Franko, which were carefully studied by M. V. Karminskyi as a student of the Faculty of Journalism at V. N. Karazin Kharkiv State University, had a significant influence on the formation of the composer’s worldview and aesthetic priorities. Probably, it was the love for literature that determined the programmatic narrative nature of M. Karminskyi’s compositions. However, the love for music itself prevailed: M. Karminskyi continued his studies at the Kharkiv Conservatory in the class of Professor D. Klebanov possessed in perfection by the musical artistic heritage and was able to transfer creatively this knowledge to students. M. Karminskyi’s later applied the skills acquired from him in his work. In those years, the Kharkiv School of Composition stood out among other music unions of Ukraine with a high level of creative competence: composers sought their own way and artistic individuality, creating a modern musical language. However, even in this highly educated environment, the personal potential of Mark Veniaminovich, his highly artistic taste and erudition rose. Mark Veniaminovich is sometimes called “the knight of the country of childhood” thanks to his brilliant compositions for children. The composer speaks to the children’s audience with the help of intonations and artistic techniques available to the child’s worldview, but he does not adapt to the child, but teaches him to develop thinking, show strong emotions. Pupils like program music with interesting content that evokes familiar associations, specific ideas. Therefore, in many of his works M. Karminskyi turns to the literary basis, clear concrete and dynamic images, heightened emotionality (“Steppe, steppe...”, “Autumn Day”, “Lyrical intermezzo”, etc.). Such approach motivates children not to perform works abstractly and mechanically, but to bring their own emotions and understandings into them. M. Karminskyi uses clear three-part or couplet forms that contain repetition (the plays “Favorite Tale”, “Ancient History”, “Merry Trumpeter”, etc.), he is characterized by conciseness of melodic phrases. The texture is convenient for children’s hands: parallel intervals, counterpointing voices, organ points of the lower voice, melodic figurations and harmonic degrees sustained in the middle line, register dynamics are used. These and other techniques promote students’ technical capabilities by developing mobility and finger strength. Continuing the traditions of the Ukrainian singing school, M. Karminskyi pays a lot of attention to the techniques of cantilena performance, forcing students to master the art of playing the pedal, which requires careful sound control. Piano ensembles, unique in their poetic beauty, were created by the composer at the end of his not too long life. These plays use themes from the music to the play “Robin Hood”, and the musical images of the pieces are extremely clear even in the names: “Old Grandfather Kohl”, “Lady Tambourine”, “Road to the Temple”, “Crazy Waltz”. M. Karminskyi, feeling a passionate interest in theatrical action with its playful moments and the task of embodying specific images, created music for performances. The radio production “Robin Hood” with the participation of the country’s leading artists, based on the poems of the famous Scottish poet R. Burns translated by S. Marshak and imbued with romantic sublimity, lyricism and sincerity, received a special resonance; it contains expressive melodies that are quickly memorized. In 1978, the company “Melody” released a stereo disc “Robin Hood” with a recording of this radio show. The variety of artistic tasks of the ensemble music of M. Kaminskyi leads to the formation of a variety of pianistic skills. The predominance of playful, moving images in plays develops motor technic and synchronization in performing. The meter and the rhythm of the works are complicated using the measures 6/8, 9/8 or size change in one work: 2/4; 3/4; again 2/4; then 4/4. This technique allows you to transmit movement and free breath of a musical phrase. Karminskyi actively uses chords from fourths and fifths intervals characterized the repertoire of Ukrainian bandura players. Conclusions. The composer gave the children a lot of strength and inspiration, creating music for them in accordance with high moral and ethical criteria and filled with vivid emotions, theatricality, and visible concrete imagery. Miniatures for the children’s choir, the master’s piano pieces have a high spiritual meaning and are among the best achievements of Ukrainian children’s musical literature. The piano music of M. Karminskyi is marked by a tendency to search for a new national style: the composer does not quote folk melodies, creating original musical images in the spirit of folklore. The multi-genre works of M. Karminskyi embody the eternal themes of good and evil, love and death, betrayal and fidelity with the emotional strength inherent in his music, demonstrating the composer’s deep erudition and human decency, originality, uniqueness of his personality and his talent.

Social support is one of the variables that exert the greatest influence on the motivation of music students, as well as on emotional aspects that affect their results. Research, however, is limited by the current scarcity of evaluation tools. This article thus presents the process of adaptation into Spanish of the Social Support Scale. We report on the elaboration of the questionnaire’s exact wording through direct and reverse translation. We subsequently present analysis of internal reliability and validity based on a sample of 668 music students in music schools and university-level music academies, aged 12–60 (mean 16.9). The study is complemented by an analysis of factorial invariance comparing secondary education and university. The results reproduce the social support factors stemming from parents and teachers; peer support is subdivided into two subcategories. Discrepancies with the original version are not so much due to the adaptation process, but can be attributed, for the most part, to differences between the sample compositions. Our results indicate that Spanish music students perceive a considerable amount of social support for their music learning activities; differences stand out, however, in terms of age, gender, and educational level.

Dr Anna Goldsworthy is one of Australia’s foremost concert pianists, a founding member of the Seraphim Trio, and a Research Fellow of the J.M. Coetzee Centre for Creative Practice at the University of Adelaide. She is also a distinguished writer, the author of two books: Piano Lessons (2009), a memoir of her musical education and her relationship with her teacher, Eleonora Sivan; and Welcome to your New Life (2014), a memoir describing the arrival of her first child. She has adapted Piano Lessons for the stage, and also co-written a play with her father, Peter Goldsworthy, based on his novel Maestro (1989). She has also written many essays, including cultural and literary criticism. Given my own interests in music and literature and how the two art forms intersect and overlap, Anna’s dual career has always been an inspiration for me. I met her in her office at the Elder Conservatorium in Adelaide in November 2016.

This article is devoted to the study of the history of the period of independence of higher musical education in Uzbekistan. It summarizes the implementation of the first days of independence of fundamental reforms in all spheres of life in Uzbekistan, including education, in particular, in the system of music education, as well as the adoption of decrees and resolutions related to the field, the changes that have occurred in the field of music, and successes other. Along with this, the peoples of the world are currently carrying out serious activities to study, promote their culture and spirituality, carefully preserve and develop their rich traditions, establish creative cooperation, organize international festivals, scientific and practical conferences, conduct research, in this regard, a special place For the development of the sphere, the system of higher musical education is of great importance. The article highlights information about the establishment in the system of higher musical education of teaching music education, training at the State Conservatory of Uzbekistan, the State Institute of Arts and Culture, at some regional pedagogical institutes, state universities, and about their achievements. It was analyzed that the opening of the pop art faculty, the development of jazz art at the State Conservatory of Uzbekistan, the teaching of new academic disciplines based on the requirements of our time is important. In particular, in universities and higher educational institutions of the pedagogical direction, carrying out their activities in the regions of the republic, a number of cases are being carried out to prepare specialists in musical art, which is examined by the example of the music departments of Navoi State Pedagogical Institute, Bukhara State University and Karshi State University. Thus, it is analyzed that from the first years of independence, the attitude towards national identity, spiritual heritage, traditional values, the Uzbek national musical heritage, music education and training, the implementation of large-scale reforms in recent years to widely familiarize the world community with our rich spiritual heritage at the international level, special attention paid to the faculty, training talent s staff in higher music education.

Under the conditions of multiculturalism, Chinese vocal art has formed its own unique theoretical system based on the characteristics of vocalization, articulation, diction, and breathing. The aims of the study are to identify singing features in Chinese popular and traditional music, as well as to determine the ways in which musical genres influence vocals. Two teachers of modern vocal, two teachers of traditional vocal, 30 students of the Vocal Arts Department of Peking University, and two art historians from the Central Conservatory of Music took part in the study. According to the study purpose, it was found that in traditional Chinese vocal arts, the main technique is falsetto (58%), mixed techniques (21.2%), vibrato (13.2%), overtone singing (6.1%), and glissando (1.5%) are also used. In popular singing the key technique is splitting (33.6%), also used: subtone (20.2%), vibrato (17.7%), drive (12.1%), glissando (11.1%), vocal fry register (9.2%), falsetto (3.3%), overtone singing (2%). As a result of the correlation analysis the dependence of popular singing techniques on traditional singing was determined. The coefficient of determination was 33.5%. It was also determined that when performing pop music, vibrato is controlled; noises and growling tones are used in rock music; uncontrolled vibrato, falsetto, and mixed techniques are used in opera; nasal sounds and minimal vibrato are in folk/country music; clear diction, articulation, slides, and scatting in blues/jazz; rhythmic and nasal sounds in hip-hop. The experiment results can be used in pedagogy for teaching vocals in China and abroad, as part of cultural activities related to the organization of events such as festivals, concerts, tourist programs, theatrical performances, etc.

Helen Harrison in her opening editorial in issue number 2 of the IASA Journal notes, “...on no account should we be complacent about the Journal or other IASA publications, ideas for change are always welcome and material for inclusion even more so.” She was contemplating the state of the Journal on the heels of its transformation from the Phonographic Bulletin (1971–1993) to the IASA Journal (1993–present). The name had changed, but Harrison took the role of editor with ideas for additional improvements to the structure, content, operation, and aesthetics of the Journal; and she found herself also faced with the task of developing a new reputation for the newly minted IASA Journal. That was 26 years ago, and the IASA Journal has now been the IASA Journal longer than it was the Phonographic Bulletin. The transformation, we can say, was a success. Today, in 2018, as editor, I face a similar challenge: whether to transform the IASA Journal to an e-Journal, and whether to push for an open access model for content in the IASA Journal. These are two slightly independent changes that I am proposing for the Journal, and both have a variety of options associated with them. The IASA Journal as an e-Journal When we think about the IASA Journal as an electronic journal, we can consider it with or without a printed version. At one extreme, we can imagine an online platform that serves as the only access point to IASA Journal publications. Such a platform can provide a variety of discovery and access options for IASA Journal content, including text-based search, author indexes, online reading via PDF or HTML, syndication for subscribers, and API access for data aggregators, among others. We can also imagine these online access options with additional options for printed issues, either “on-demand” or in small batches. At the opposite extreme, we could imagine the same full print scenario we have today with the addition of an online access point with the options I mention above (although, this option, of course, requires the greatest cost to the organization). These are the types of options we are considering as we develop a strategy for moving the IASA Journal to an online home. The IASA Journal as an Open Access Journal A related question, once the Journal has an e-Journal access point, is whether the content of the IASA Journal should remain closed to the World, open only to IASA members and subscribers, for five years after its publication. This has been, and still is, the policy of the IASA Journal. But, should it be? Does such a policy support the central mission of IASA, as stated in its constitution, “to promote, encourage, and support the development of best professional standards and practice in all countries through communication, cooperation, advocacy, promulgation, dissemination, training and/or education, amongst public or private archives or libraries, institutions, businesses, organisations and associations which share these purposes?” Could we, as an organization, do better to disseminate the writings in the Journal to the global audiovisual archives community? Could we, instead of using the content as bait for membership, rather use the content as a shared resource that enriches IASA’s network and entices new members to the organization? Launching an e-Journal does not require IASA to provide Open Access to the content; it merely offers the opportunity, and because of that, I think it valuable to have the conversation. So, these are the types of access questions that we are also considering as we develop a strategy for the IASA Journal online platform. If you, as a IASA member or subscriber, have thoughts on these topics, please feel free to reach out to me at editor@iasa-web.org. I am eager to hear from you. The Issue at Hand This issue, our third peer-reviewed issue, features a wide variety of topics important to the audiovisual archives communities today, including digital preservation, born-digital video, contemporary memories, diversification of the archive(s), repatriation of colonial and radio collections, and building stronger connections between archives and users of archival collections. The issue commences with three profiles highlighting the human labor that underlies all archives and archival collections. In Ghana, Judith Opoku-Boateng interviews J. H. Kwabena Nketia about his work recording the songs and interviews that would become the cross-cultural foundation for the J. H. Kwabena Nketia Archives of the Institute for African Studies at the University of Ghana. In Australia, Melinda Barrie talks with sound scholar Robyn Holmes about her lifelong passion to dissemination and document Australian music. And, in Italy, Ettore Pacetti and Daniela Floris discuss the pioneering fieldwork of the Italian ethnomusicologist, Diego Carpitella, and how his efforts laid the seeds for the current project of the Audiovisual Archives at RAI Teche to bring Italian cultural heritage to a worldwide audience. Paul Conway and Kelly Askew, both of the University of Michigan, provide a glimpse into efforts to organize, describe, and “re-broadcast” content from Voice of America’s radio program Music Time in Africa to new audiences. Conway and Askew contextualize the issues associated with providing access to cultural heritage resources, and conclude with a proposal for a proactive strategy for online dissemination. Approaching the topic of repatriation of cultural heritage from another angle, Diane Thram, from the International Library of African Music in South Africa, articulates the effort that she and her colleagues undertook to hand-deliver (or, digitally return) recorded copies of performances to musicians across the African continent. Beginning with Uganda, and then Kenya, Thram and colleagues located performers and descendents from recordings made by Hugh Tracey and coordinated visits to return and re-study the music and performances that had been recorded more than 50 years ago with musicians in these locales. Together, these two articles offer a thorough glimpse into the theory and practice of post-colonial archival practice. Reformulating a talk that was delivered at this year’s IASA conference in Berlin, Gisa Jähnichen of the Shanghai Conservatory of Music in China, along with colleagues Ahmad Faudzi Musib (Malaysia), Thongbang Homsombat (Laos), Chinthaka Prageeth Meddegooda (Sri Lanka), and Xiao Mei (China), take a close look at the successes and failures they see in the small-scale audiovisual archives where they work in China, Malaysia, Laos, and Sri Lanka. The work of these authors lays a foundation for conversations about how to ensure that audiovisual archives maintain living networks and continue to develop capacity within and outside of the archives themselves. If smaller archives in Asia are to sustain themselves in the digital present, what are the key issues that must be addressed? And, what can archives in other regions of the world learn from this study? The remaining articles in this issue move from questions of the management of archives, to technical questions about the digital infrastructures and digital formats that we are facing in audiovisual archives today. Silvester Stöger, from NOA in Austria, looks at the needs of broadcast archives with regard to production and preservation workflows, describing the values of an archive asset management system that can integrate with other business systems in a broadcast environment. Iain Richardson, from Vcodex, Ltd. in the UK, illustrates the lossy process of data reduction as a compression technique in digital video, offering insight into quantitative and qualitative methods to compare quality in digital video objects. From the Alexander Turnbull Library, National Library of New Zealand, Valerie Love describes the changes that the acquisition of born-digital content, specifically oral history content, has brought to the archive’s standard operating procedures. Wrapping up this issue, Ariane Gervásio, from the Brazilian Association of Audiovisual Archives, challenges readers to re-imagine the concept of personal memories in today’s transmedia world, where traditional concepts of content and media—e.g., a song exists as a single recording in a single place—must be understood as a multifarious entity, perhaps existing initially as a video posted to one web platform, yet then interacted with by users in another web platform, leaving a complex trail of engagement that ultimately constitutes the object that will be collected by an archive. Are we, as audiovisual archivists, ready to conceive of contemporary born-digital content in this way? Do we have a choice? I look forward to hearing your thoughts on the contents of this Issue, as well as on the future of the IASA Journal. Bertram Lyons, CAIASA Editor

«For a place to leave an impression on us, it must be made of time as well as space – of its past, its history, its culture» (Sciascia, 1987). Architecture is one the many disciplines which, due to their heteronomous nature, aspire to represent the past, present and future of a community. Just as the construction of buildings is not merely a response to a need, but rather an act that incorporates the concrete translation of desires and aspirations, so too do music, philosophy, and the figurative arts reflect contemporary themes in their evolution. The fragmentation of skills, the specialisation of knowledge, the rapid modification of the tools we work with, the digitalisation and hyperdevelopment of communication are all phenomena that have a substantial impact on the evolution of disciplines in a reciprocal interaction with the intangible values of a community – economic, social and cultural – as well as the material assets of the places where it expresses itself. Interpreting heteronomy as a condition in which an action is not guided by an autonomous principle that is intrinsic to the discipline, but rather determined by its interaction with external factors, a theoretical reflection on the evolution of the tools of knowledge and creation has the task of defining possible scenarios capable of tackling the risk of losing an ability to synthesise the relationships between the conditions that define the identity of architecture itself. The challenge of complexity is rooted in social, technological and environmental shifts: a challenge that involves space, a material resource, in its global scale and its human measure; and time, an immaterial resource, nowadays evaluated in terms of speed and flexibility, but also duration and permanence. These elements impact upon the project as a whole, as a combination of multiple forms of knowledge which, given their constant evolution, is subject to continuous comparison. The cultural debate has investigated at length the topic of art being forced to devote itself to heteronomy whilst also retaining a need for aesthetic autonomy. The risk of forgetting its own ontological status, of losing its own identity in the fragmentation and entropy of the contemporary world, finds an answer in the idea of design as a synthesis between an artistic idea and the social and environmental conditions in which it is places, configuring itself as an element capable of reconciling the antithetical drives towards an autonomous vision of the work, on the one hand, and a heteronomous one linked to its geographical, cultural, sociological and psychological characteristics, on the other. In the systemic and concerted working process so intrinsic to disciplines such as filmmaking and music – but also the visual arts or even philosophy – the act of designing is the expression of the relationship with a community of individuals whose actions are based on a role that is as social as it is technical, given that they act based on material and immaterial values of a public nature. If indeed the sciences – as Thomas Kuhn demonstrated in his writings on the scientific revolutions – cannot be understood without their historical dimension, then disciplines such as those addressed in this Dossier represent cultural phenomena that can only truly be understood in their entirety when considered in the context of their era and the many factors that fed into their creation. However, precisely as demonstrated by Kuhn’s theories (Kuhn, 1987), their evolution also consists of “scientific revolutions”: moments of disruption capable of changing the community’s attitude towards the discipline itself and, perhaps more importantly, its paradigms. Music, cinema, art, architecture and philosophy are all expressions of that which makes us human, in all its complexity: divided and confined to their own disciplinary fields, they are not capable of expressing the poetic quality of life and thus «making people feel and become aware of the aesthetic feeling» (Morin, 2019). Emanuele Coccia, an internationally renowned philosopher and associate professor at the École des Hautes Études en Sciences Sociales in Paris, imagines a world in which everything you see is the product of an intentionality articulated by human, non-human and non-living actors. Design – not only anthropocentric design – is the most universal power in the world. Every living being can, in effect, design the world, but at the same time, every agent of matter can also design, and it is the interplay between these elements that creates a continuous metamorphosis of our environment. In other words, being alive is not a necessary condition for being a designer. The two anthropologists Alfred Gell and Philippe Descola, in their writings on Western society and nature, present contrasting views on the presence of the soul/animism in nature. The result is a sort of architecture of the landscape, in which nature itself is imbued with a sense of design intentionality that exists in a continuum with mankind. Edoardo Tresoldi, a young Italian sculptor, is one of the latest exponents of the heteronomy of architecture, which rejects the limiting confines of individual disciplines so as to imagine a transversal vision of the environment and its construction. Through the interplay of transparencies created with ephemeral metal structures, Tresoldi exalts the geometrical qualities of this raw material, going beyond the simple spatiotemporal dimension to establish a dialogue between place and the artistic representation thereof. Tresoldi recounts this journey of his through five themes: Place, because architecture in itself is markedly conditioned by its context, as is – in his case – art; Design, that is the act of envisaging the work, which is ultimately influenced by everything around us and our imagination; Time, as art is characterised by a potential interweaving, a continuity in the creative processes influenced by the history of the place; Material, or rather, materiality and the duality between the technical and artistic parts; and, finally, “What’s Next”, exploring the idea of what the future holds for us. On this last point, Tresoldi imagines his works further opening up to a diversified range of skills in a way that would also carve out new professional profiles for young people. Cristina Frosini, Director of the Milan Conservatory, with a contribution on music – «the supreme mystery of the sciences of man» (Lévi-Strauss, 2004) – offers reflections on a field with deep affinities with the discipline of architecture, with both sharing a strong relationship between composition and execution. The sheer vastness of musical expression, from the precision of the classical score to the freedom of interpretation exemplified by the conductor or the improvising jazz musician, sees the concepts of overall rhythm and melody, the homogeneity and identity of different instruments, and the circularity of the process as the key themes of music as a public art whose creative process has always been founded upon the relationship between technical factors and cultural factors. The contribution provided by Michele Guerra, an academic and professor of History of Cinema, confirms the words of Edgar Morin. «Nowadays, cinema is widely recognised as an art, and in my opinion, it is a tremendous polyphonic and polymorphous art that is capable of stimulating and integrating into itself the virtues of all the other arts: novel-writing, theatre, music, painting, scenography, photography. [...] it can be said that those who participate in the creation of a film are artisans, artists, who play an important role in the aesthetics of the film» (Morin, 2019). The work of the “cinematographic construction site” is driven by forces which, incorporating the status quo of the technical and material factors, lead to “an idea of imaginary metamorphosis” which reflects the aspirations of a society in its efforts to become contemporary. A concept of a heteronomous approach to “making” is also founded upon recognising the didactic value of the work, as emerges from Luigi Alini’s contribution on the figure of Vittorio Garatti – an intellectual first and architect second – whose pieces are the result of work that is as much immaterial as it is material, with an «experiential rather than mediatic» approach (Frampton, in Borsa and Carboni Maestri, 2018), as true architecture is expected to be. The heteronomy of architecture, much like that of other similar disciplines, is based on engagement on two fronts: an understanding of the relevant international scenarios and the definition of the project charter, with a view to conforming it so that it takes into account any changes, operates in continuity with and with an appreciation for history, and develops in harmony with the universality of the discipline and the teachings of its masters. Stimulating a dialogue between different cultural positions is a means to create the conditions for a degree of adherence to contemporaneity without compromising on a principle of historical continuity. In light of this, the contribution by Ferruccio Resta – the current Rector of the Politecnico di Milano – focuses on the varying cultural and intellectual positions that have animated the culture of the Politecnico over the years, representing a highly valuable heritage for the university. Nowadays, with the presence of certain indispensable premises such as sustainability and connectivity, technology seems to overwhelm the design process, outsourcing it to a sort of management of the engineering and component production aspects. Hence the need to reaffirm a “humanistic and human” dimension of the act of making, starting at the root by orienting the training processes in line with the words of historian and philosopher Yuval Noah Harari, who says: «Many pedagogical experts argue that schools should switch to teaching “the four Cs” – critical thinking, communication, collaboration, and creativity. More broadly, they believe, schools should downplay technical skills and emphasize general-purpose life skills. Most important of all will be the ability to deal with change, learn new things, and preserve your mental balance in unfamiliar situations». This need reopens the theme of the dualism between “art” and “discipline”, surpassing it in favour of a coexistence of terminology in that it is the quality of the design and the piece that define where it belongs. Reflecting on the foundations of the paths and tools employed in different disciplines – in light of the innovations that involve the project charter in terms not only of concepts, but also of instruments – means reflecting on the concept of “project culture”, understood as the ability to work through actions which combine different contributions, tackling complex problems by way of a conscious creative process. The ability to envisage the new – as is implicit in the etymology of the word “project” itself – and, at the same time, to interpret continuity in the sense of a coherent system of methods and values, is shared by the disciplines and skills brought together in the Dossier: dealing with culture, society, the city, the landscape and the environment all at once requires a multifaceted vision, an ability to read problems, but also a certain openmindedness towards opportunities, the management of complexities, control of the risks of drops in quality in service of concepts of efficiency based on numerical parameters and the standardisation of languages. A comparison of the various contributions and perspectives throws up a picture in which the importance of relationships, the search for what Eiffell defined «the secret laws of harmony», the disciplinary specificity of design as the ability to relate in order to «understand, criticise, transform» (Gregotti, 1981), the ability to distinguish that which is different by involving it in the transformation of design, all represent the foundations for the evolution of heteronomous disciplines in how they move beyond the notions of technique and context as passive referents which generate possibilities in line with the Rogersian reflection on pre-existing environmental elements as historical conditions for reference, critically taken on as determinants. Hence the validity of a “polytechnic” cultural approach that is not only capable of deploying tools and skills which can deal with the operating conditions to be found in a heteronomous context, but also of stimulating critical approaches oriented towards innovation and managing change with the perspective of a project as an opportunity – in the words of Franco Albini – for «experimentation and verification in relation to the progression of construction techniques, tools for investigation, knowledge in the various fields and in relation to the shifts in contemporary culture» (Albini, 1968). The need for a sense of humanism is strongly linked to the reintroduction of the concept of “beauty”, in its modern meaning, under which it shifts from a subjective value to a universal one. Hence the importance of the dialogue with disciplines that identify with the polytechnic mould – that is, one which has always been deeply attentive to the relationship between theory and practice, to the design of architecture as an action that is at once intellectual and technical. As such, starting from the assumption that «no theory can be pursued without hitting a wall that only practice can penetrate» (Deleuze and Foucault 1972; Deleuze, 2002; Foucault, 1977; Deleuze, 2007), it is now essential to promote the professional profiles of artists, musicians, philosophers, humanistic architects and so on who are capable of managing design as a synthesis of external factors, but also as an internal dialectic, as well as skills capable of creating culture understood as technical knowledge. Sometimes, faced with the difficulty of discerning an identity for disciplines, we attempt to draw a boundary that allows us to better understand their meaning and content. However, going on the points of view that have emerged in the Dossier, it seems more important than ever to «work on the boundaries of each field of knowledge», drawing upon a concept expressed by Salvatore Veca (Veca, 1979), making communication between fields a central value, interpreting relationships and connections, identifying the relational perspective as a fundamental aspect of the creative act. The position of architecture as an “art at the edge of the arts”1, as so often posited by Renzo Piano, allows for a reflection on its identity by placing it in a position that centralises rather than marginalises it. A concept of “edge” that touches upon the sociological viewpoint that distinguishes the “finite limit” (boundary) from the “area of interaction” (border) (Sennet, 2011; Sennet, 2018), in which the transformational yet constructive contact with the entities necessary for its realisation takes place. The heteronomy of architecture coincides with its “universality”, a concept that Alberto Campo Baeza (Campo Baeza, 2018) believes to represent the identity of architecture itself. Indeed, its dependence upon human life, the development of society, of its cultural growth, derives from a single and inalienable factor: its heteronomy, the necessary condition for a process as artistic as it is technical, tasked with expressing the values of a community over time and representing the “beautiful” rather than the “new”. A design practice based on – to borrow some concepts already expressed years ago by Edgar Morin – “contaminations that are necessary as well as possible”, on the contribution of “knowledge as an open system”, but above all, one aimed at working “against the continuities incapable of grasping the dynamics of change” (Morin, 1974), thus becomes an opportunity to develop a theory on the identity of the discipline itself, striking a balance between the technical and poetic spheres, but necessarily materialising in the finished work, lending substance to the «webs of intricate relationships that seek form» (Italo Calvino).

Bones are one of the oldest materials used to create musical instruments. Currently, the world’s oldest known instruments are flutes made out of bones (Turk, Turk, and Otte 11). In fact, bones have been used to create or enhance musical instruments in a variety of settings throughout history and in modern day instrument making. Bone bull roarers, jaw bone percussion, clappers, trumpets, drum shells, lyres, or construction parts, such as frets, plectrums, pipes and pipe fittings, embouchure adjustments, or percussive strikes are just a few of the more common uses of bones in musical instrument construction. One man even made a guitar out of the skeleton of his dead uncle to memorialise the person who influenced his musical tastes and career (Bienstock). Bones can therefore be taken as a somewhat common material for making musical instruments. All of these instruments share a common trait, and not just the obvious one that they are all made out of or incorporate bones. None of these instruments are intended to represent something monstrous. Instead, they represent the ephemeral nature of humanity (Cupchik 33), a celebration of lineage or religious beliefs (Davis), or simply are the materials available or suitable to create a sound-making device (Regan). It is not possible to know the full intentions of a maker, in many cases, but a link to monstrosity and a representation of the ‘horrific’ or ‘freakish’ seems missing for the most. There are instruments, however, that do house this sentiment and some that utilise bones in the construction with the purpose of making this connection between the remains and something beast-like. In this article, I argue that the Bone Guitar Thing (BGT) built and played by raxil4 is one of those instruments. Introducing the 'Thing' Raxil4 is the stage name of sonic artist Andrew Page. He has been playing his Bone Guitar Thing for almost twenty years in a variety of settings (Page, email interview, 25 June 2021). The instrument has undergone slight changes during that time, but primarily it has retained its specific visual, timbral, and underlying associative features. The BGT is complex, more so than it may seem at first. By investigating the materials used, the performance techniques employed, and raxil4’s intentions as a musician, instrument maker, and community member within his circles of activity, the monstrous nature of the BGT comes to light. The resultant series of entanglements exhibits and supports a definition of what is a 'monster' that, like several definitions in monster theory discourse (Levina and Bui 6; Cohen 7; Mittman 51), includes challenging that which may be seen as ‘normal’ and thereby may nurture levels of unease or fear. However, in the case of the BGT, that which is monstrous is simultaneously being taken as something positive alongside its beast-like characteristics, and rather than evolving into something that needs to be repressed or eliminated, the ’monster’ here becomes a hero or champion, colleague, or even a friend. The Bone Guitar Thing is not really a guitar. It is a zither with a piece of driftwood for a base, (currently) five strings, and an electric pick-up (see Fig. 1). The bridge for the instrument is two bones, and the pitch and timbre of the strings is sometimes changed with bones used for Cage-like preparation (Cage 7-8; Bunger). Bones are also used to play the instrument, sometimes like a plectrum, others like a hammered dulcimer, or occasionally, simply pounding the string or the soundboard with great force to make a combination of percussive and string sounds. Glissandos are created by using the plectrum bones as a slide, and Page also uses jaw bones to introduce ratchet sounds, string scraping, and precise pitch bending (with the sharper edged part of the bones) (raxil4, “Livestream”). The instrument is electric, so the bones are enhanced with guitar pedals (typically reverb, distortion, and octave-splitter; Page, email interview, 25 June 2021), but the tonal qualities retain a semblance of the bone usage. Fig. 1: raxil4's Bone Guitar Thing. Photograph: Andrew Page. Page often uses the BGT as part of his sonic arsenal to perform dark ambient music, noisescapes, improv music, or live film soundtracks both in live concerts and recording situations. He plays solo as much as with ensembles, and more often improvises his music or parts, but occasionally works with predetermined organisation or scores of some description (although he admits to typically abandoning predetermined passages or scores during live performances; Page, email interview, 14 July 2021). Currently in London, raxil4 presents concerts in a variety of settings, typically well-suited for his brand of sonic art, such as Ryan Jordan’s long-running concert series Noise=Noise (raxil4 feat. King Sara), experimental music shows at the Barbican (raxil4 + King Sara + P23), and dark ambient showcases promoted and arranged by one of his record labels, Sombre Soniks (Wright). Sounds beyond Words: Monstrous Music One series of performances in which raxil4 used the BGT took the form of an immersive theatre show produced by Dread Falls Theatre called Father Dagon, based on the works of horror author H. P. Lovecraft. The performance incorporated a breaking of the ’fourth wall’ in which the audience wanders freely through the performance space, with actor- and sometimes audience-interactive musical performances of partially improvised, partially composed passages by musicians located throughout the set. Director and writer Victoria Snaith considered the use of live, semi-mobile, experimental music dispersed through the audience (mixed with an overall backing soundtrack) as heightening the intensity of the experience by introducing unfamiliar aspects to the setting. She discusses having made this decision based on Lovecraft’s own approach to story-telling that highlights a sense of unfamiliarity and therefore sense of “fear of the unknown”. The usefulness of creating unfamiliarity in this context can serve to support the parts of the narrative that contains supernatural and monstrous aspects. Given that the elements of the supernatural and horrible monsters in Lovecraftian tales are primarily indescribable (both because Lovecraft would recount beasts and fantastic magical happenings in his works as being such, and because in a practical theatrical situation, these things would be impossible to describe, especially without text or specific props or costumes, which the show purposefully uses sparingly, also as a conscious choice to embrace the unknown). Sounds created on instruments that are unique, or generated through unusual performance techniques would lend themselves to being more difficult to describe, and therefore fitting to support a desire to present something regarded as also difficult to describe, that being supernatural happenings or horrific creatures. (Connor 77) Page’s use of the BGT in these performances added directly to this notion both sonically and visually. The homemade nature of his instrument increased the potential that audience members would be less familiar with the source of his sounds, even if they were watching him perform, and the resultant soundscape he provided introduced harsh timbres, undulating pads, and aggressive punctuation of movement. Page sees the BGT as an instrument “reclaimed from the watery depths” (matching the theme of the show’s narrative), therefore as one fitting into the Lovecraft show “quite nicely” (Page, email interview, 25 June 2021). He likens the sounds created by the BGT as presenting “otherworldly melodies” akin to those played by Erich Zann (a character in another Lovecraft story who conjures a gateway to an alternate dimension full of indescribable creatures and nightmares via performing unusual music on his viola de gamba), which Page also sees as fitting (ibid.). His instrument in this setting as a producer and provider of unfamiliarity is supportive of constructing and maintaining a definition of “monstrous” or “terrifying” (Levina and Bui 6). Fig. 2: raxil4 performing in Dread Falls Theatre's Father Dagon, London 2012. Photograph: Pierre Ketteridge. Finding Community in the 'Freakish' Raxil4 also notes that the Bone Guitar Thing is appropriate for creative input within improv music circles (Page, email interview, 25 June 2021). Generally speaking, contemporary improv music (meaning the broad genre) is improvised performance focussing on sonic exploration over melodic, harmonic, or rhythmic content (even though all will be present in most cases; Toop 132-137). In my experience working with improv musicians since 1981, I find that these performers typically attempt to create sounds that are unusual or unexpected. Players often embrace extended techniques, repurposing non-musical items to be sound-making devices, and employ self-built instruments. Improv musicians seek to break free from the constraints of what may be seen as Western standard musical practices (ibid.), but they simultaneously strive to uphold some parallel aspects of artisanship and virtuosity, perhaps as a means to validate their departure from Classical/mainstream music norms. The instruments and approaches can be seen as factors that separate the experimental artists from the conservatory-based performers, yet still affords them the clout of being hard-working, innovative, expressive, and professional. As the name implies, improv music emphasises improvisation. André Hodier (23-36) in his classic book The Worlds of Jazz likens improvising jazz musicians to an alien race who battle each other on a daily basis (via jazz battles) in order to see who resides at the top of the improvisation chain. Improv musicians (some of whom come from a jazz background) tend to engage in this sort of hierarchical status ranking system using a much more ’polite’ and co-supportive mentality (at least in the scenes in which I have been privileged to participate). Improv musicians can occasionally embrace a friendly attitude that one should surpass the experimental nature of other performers, and may do so by presenting a new sound, technique, or instrument. The BGT can serve this function. It can stand out among other improv musicians’ gear, even if a majority of the instruments are self-built, through its use of bones and its intentional evocation of something horrific. Improvised music is sometimes looked down upon by musical communities who value conservatory training, popular music, or more traditional Western classical approaches to music. Referring to avant-garde jazz in the 60s and 70s, Valerie Wilmer (6) recounts that critics and Classical music enthusiasts perceived experimental and improv music as “‘freakish’ and only worthy of passing interest”. The dynamic is different today, but the overall attitude remains, at least in part. The improv music scene is creatively valid, but in comparison to conservative or more mainstream music, incorporates more experimental practices, therefore sometimes musical form, interactions, and preparation is less obvious to audience members outside the experimental music circles. The Bone Guitar Thing also plays into this construction. It is artistically valid, yet perhaps simultaneously challenging to the less-experienced listener. The BGT in this setting is multifunctional. Page (email interview, 25 June 2021) sees the BGT as a means to cut through or rise above other improv musicians, partly by being more recognisable as a “freakish” instrument at performances where the music is already considered freakish by some outsiders. Additionally, the fact that Page has taken the time to make this instrument, and uses notably practiced techniques to create the sounds he introduces, may position him as an innovative professional, rather than a non-trained imposter. The BGT can (at least for raxil4, but for others as well) become a monster among monsters that allows Page to validate his brand of creativity (Ibid). Musical ’freakishness’ appears in other settings as well. An example of this is a performance in which raxil4 took part where an ensemble provided experimental music for a live tattooing event (raxil4, “Listening”). Here, the congruency with being monstrous or freakish is perhaps more overt. Similar to the soundscape being performed, Fenske (6) points out that tattoos may still be seen as unfit or unexpected for certain classes, genders, or education levels, and may even still be associated with illustrated circus performers of the past. Furthermore, Kinzey (32) suggests that avant-garde and counter-culture communities (such as ones where tattooing and live music converge in a single event) often value uniqueness that serves to “erase boundaries between everyday life and art”. The combined performativity of live music and tattoo inking (both the artistic activity and the art itself) associates raxil4 and the BGT with this non-mainstream circle (to some degree), potentially conjuring an identity of something freakish or monstrous to people with different values. Engaging with Expressive Objects The conception and evolution of the Bone Guitar Thing has its roots in personal experience, art experimentation, and material culture related to Page’s life and the musical communities in which he played and plays. In the past, Page endeavored to make small sculptures to be given as Christmas and birthday gifts from materials he found on the shore of the River Thames, many including bones. Page then began to create new musical instruments with what he had available. Page’s brother is a doctor specialising in gunshot wounds and knife trauma, and his apartment was filled with remnants of his brother’s occupation, including a number of crutches. From these, Page crafted his first instruments in this period: crutch harps that utilised the leftover medical devices to build stringed sound generators. He claims the instruments at first were not overly successful, so he began to experiment with his bone sculptures to create more serviceable instruments. An early attempt was a percussion instrument made from various found bones, which Page deemed the “Xylobone” (see Fig. 4). This instrument and advanced crutch harps (6-string tenor (see Fig. 3.) and 2-string bass) became his first arsenal of sound makers, but Page felt the instruments ultimately failed to meet expectations and opted to rethink his approaches and designs. Fig. 3: One of Page's 6-stringed crutch harps. Photograph: Andrew Page. Fig. 4: The Xylobone - raxil4's bone xylophone percussion instrument. Photograph: Andrew Page. The BGT was intended to be more “playable”, “expressive”, and audible to battle louder co-performers. As mentioned, the driftwood base and bones for the instrument originated from the River Thames. The electronics come from a destroyed guitar that was the result of performing in a previous project in which Page was the singer, where the guitarist “had a habit of smashing his guitars on stage, in a sort of expensive tribute to [grunge guitarist] Kurt Cobain" (Page, email interview, 25 June 2021). The BGT started off as a 6-string zither that used guitar-gauge steel strings, but according to Page, given the harsh performance technique of beating or scraping the strings with bones, he was encouraged to switch to using wound, bass-gauge strings, affording him a lower pitch and greater resistance to energetic performance practices. One tuning peg, however, snapped off quite early in its life (as it was in a thinner, more weathered part of the driftwood), leaving the instrument one string shorter. Page says he likes to think that the instrument decided itself that it would be a “5-stringed beast” (ibid.). Conclusion The Bone Guitar Thing is, in fact, beast-like, at least in the settings, sonic attributes, and mindsets of the player and the communities in which the instrument is played, but it may not be the case that this beast-like nature is equal to being monstrous. Cohen (3-25) in his discussion of seven potential monster theories outlines several different notions of what can be considered “monstrous” and relates the monster in each theoretical situation to those fearing the monstrous construct. Most closely related to the situation in which the BGT is observed is a parallel theory based on the concept of “Us versus Them”, meaning “Us” as those who are dealing with the monster in question, and “Them” as being those on the side of the monster or the monster itself (Cohen 19-20). However, with the BGT, the monster is not unanimous with “them”, but rather with “us”. In all the situations outlined here, the instrument takes on the role of a beast, but not a negative role for Page (email interview, 14 July 2021) or fans of raxil4 (Wright). Instead, the beast is more like part of the team of noise makers actively engaged in the community’s activities of creation, entertainment, identity, and validation of values upheld thereof. Each of the performance settings can be argued to exhibit a sense of welcoming outsiders or praising diversity, rather than ostracising it. The Lovecraft performance and story were constructed on the premise of questioning what is a monster and who determines that definition. The Bone Guitar Thing supports and interacts precisely within this parameter to enhance the artistic commentary presented. Within the improv music setting, the instrument assists Page to achieve uniqueness among that which is already unique and highlights the values of community including a show of innovation, exploration, and personal performance technique development. For the live tattooing, the instrument stands out as a unifying sonic flag, connecting other (perhaps less-monstrous) artists into a stronger group of alternative creatives. Effectively, the BGT is a 'freak among freaks', serving to simultaneously fit in and rise above, all while maintaining a sense of “us” within respective circles. The beast-like nature is not entirely an outward force. Page (email interviews, 25 June 2021 and 14 July 2021) is aware that he has received no formal education in music. He admits he is less familiar with music theory, and more familiar with the science and technology behind the music. Page considers himself to be experimental in his approach to sound creation, which he sees as being more unique due to ignoring the “rulebooks” (ibid.). As a result, he feels (at least a slight) pressure of feeling “unprofessional” or “correct” in the eyes of Western conservatory-trained musicians and composers or those with a similar mentality (Page, email interview, 25 June 2021). The BGT was also, to a degree, built to battle being told what was “right”. For Page, his instrument is akin to a beast that helped him break free of the constraints of Western tonal and virtuosic constraints. “I made my own [instrument] so that nobody could tell me I was playing it the wrong way” (ibid.). His “beast” helped him break down barriers and asserted himself as an innovative musician and creative professional. So, then, the Bone Guitar Thing is a monster; sonically, visually, and physically. It represents a monster, it is called “the beast”, and it takes on the role of a terrifying creature raging through (sometimes, extremely quietly – raxil4; raxil 4 feat. King Sara; raxil4 + King Sara + P23) soundscapes, settings, and performances, rallying the like-minded and routing the unsuspecting or “others”. That is an overdramatic take on the situation, perhaps, but the instrument does uphold a series of values and creative aesthetics that fosters positive relationships between the artist, the community, and the sonic and physical qualities of the zither. Rather than being a device that places a horrific barrier to be overcome in an “us versus them” scenario, the monster takes on an alternate role and becomes a source of empowerment for “outsiders” or marginalised groups or people (Mittman 51). Thus the Bone Guitar Thing allows Page to demolish barriers and amalgamate fellow community members into a larger version of “us” to create a space in which the beast is no longer a monster. References Bienstock, Richard. “Man Builds Guitar Out of His Dead Uncle’s Skeleton.” Guitar World 11 Feb. 2021. Web. 13 June 2021 <https://www.guitarworld.com/news/man-builds-guitar-out-of-his-dead-uncles-skeleton-uses-it-to-play-black-metal>. Bunger, Richard. The Well-Prepared Piano. Colorado Springs: Colorado College Music P, 1973. Cage, John. Empty Words: Writings ’73-’78. Middletown, CT: Wesleyan University P, 1981. Cohen, Jeffrey Jerome. “Monster Culture (Seven Theses).” Monster Theory: Reading Culture. Minneapolis: U of Minnesota P, 1996. 3–25. Connor, Will. “Performing the Sounds of Darkness: An Exploratory Discussion of Musical Instruments and the Gothic Aesthetic.” The Dark Arts Journal: Reimaging the Gothic 2.I2 (Autumn 2016). 26 June 2021 <https://thedarkartsjournal.files.wordpress.com/2017/04/the-dark-arts-journal-2-21.pdf>. Cupchik, Jeffrey. “Buddhism as Performing Art: Visualizing Music in the Tibetan Sacred Ritual Music Liturgies.” Yale Journal of Music & Religion 1.1 (2015): 31–62. Davis, Josh. “Some Bronze Age Britons Turned the Bones of Dead Relatives into Musical Instruments.” Natural History Museum. 1 Sep. 2020. 23 June 2021 <https://www.nhm.ac.uk/discover/news/2020/september/bronze-age-britons-turned-the-bones-of-dead-relatives-into-musical-instruments.html>. Fenske, Mindy. Tattoos in American Visual Culture. New York: Palgrave, 2007. Hodier, André. The Worlds of Jazz. New York: Grove P, 1972. Kinzey, Jake. The Sacred and the Profane: An Investigation of Hipsters. Winchester, U.K.: Zero Books, 2012. Levina, Marina, and Diem-My T. Bui. “Introduction: Toward a Comprehensive Monster Theory in the 21st Century.” Monster Culture in the 21st Century: A Reader. Eds. Marina Levina and Diem-My T. Bui. New Delhi: Bloomsbury. 1–14. Mittman, Asa Simon. “Introduction: The Impact of Monsters and Monster Studies.” The Ashgate Research Companion to Monsters and the Monstrous. Eds. Asa Simon Mittman and Peter J. Dendle. London and New York: Routledge, 2013. 44–60. Raxil4. Listening Circuits: 19/06/21 with Live Tattooing from Catmouse. 21 June 2021. 23 June 2021 <https://www.youtube.com/watch?v=VZgUC5TTOxk&list=LL&index=3>. ———. raxil4 – Livestream for Iklecktik: 21/06/20. 22 June 2020. 23 June 2021 <https://www.youtube.com/watch?v=-zW-Mw2jRDQ&list=LL&index=6>. Raxil4 feat: King Sara. raxil4 feat: King Sara – Sawbones 13 – Live @ Noise=Noise (14/01/13). 26 Jan. 2013. 23 June 2021 <https://www.youtube.com/watch?v=fxFMA77yQ_A&list=LL&index=5>. raxil4 + King Sara + P23. raxil4 + King Sara + P23 – Barbican: 15/08/13. 11 Sep. 2018. 23 June 2021 <https://www.youtube.com/watch?v=N619ooZxx-0&list=LL&index=4>. Page, Andrew. Email interview. 25 June 2021. ———. Email interview. 14 July 2021. Regan, Marty. Video interview. 13 July 2021. Snaith, Victoria. Personal interview. 17 April 2016. Toop, David. Ocean of Sound. London: Serpent’s Tail, 2001. Turk, Matija, Ivan Turk, and Marcel Otte. “The Neanderthal Musical Instrument from Divje Babe I Cave (Slovenia): A Critical Review of the Discussion.” Applied Sciences 10-1226.2 (2020): 1–11. Wilmer, Valerie. As Serious as Your Life. London: Serpent’s Tail, 2018. Wright, Kevin. Email interview. 29 June 2021.

On the back cover of The Art Forger’s Handbook, Eric Hebborn proclaims No drawing can lie of itself, it is only the opinion of the expert which can deceive. (Hebborn) Well certainly, but like many forgers Hebborn was dedicated to ensuring the experts have ample material with which to work. The debate about authenticity rolls into the debate about originality rolls into the debate about excellence, slipping between the verifiable and the subjective, shadowed by the expert assessing, categorising, and delivering verdicts. Yet the proclamation ‘This is authentic’ is not straightforward. It is impossible to prove that the statement ‘This is a painting by Sir Arthur Streeton’ is true. It is always possible (though not probable) that the work in question is an excellent copy, manufactured with materials identical to those employed by Streeton, with brushstrokes reflecting Streeton’s manipulation of paint, applied in the kind of sequence Streeton used and with a provenance crafted to simulate perfectly an acceptable provenance for a work by Streeton. Much easier to prove that a work is not by a particular artist; one very obvious anomaly will suffice (Sloggett 298). But an anomaly requires a context, the body of material against which to assess the new find. John Drew’s manipulation of the art market was successful not because of the quality of the pictures he paid John Myatt to produce (after all they were painted with household emulsion paint often extended with K-Y Jelly). His success lay in his ability to alter the identities of these works by penetrating the archives of the Tate and the Victoria and Albert Museum and manufacturing an archival history that virtually copied the history of works by his target artists, Nicholson, Giocometti, Chagall, Epstein, Dubeffet, and de Stals. While the paintings mimicked works by these artists, without a provenance (an identity and identity trail) they were nothing more than approximate copies, many which were initially rejected by the dealers and auction houses (Landesman 38). Identity requires history and context: for something to be deemed ‘real’, both need to be verifiable. The plight of stateless refugees lies in their inability to verify their history (who am I?) and their context (I exist here because…). Drew’s ability to deliver a history is only one way in which works can slip identities (or in the case of Drew’s works – can be pushed). Drew’s intention and his ability to profit by the deception denoted fraud. But authentication is more often sought to support not fraud but optimism. ‘Can you please look at this painting which hung in my grandfather’s lounge room for over 50 years? It was given to him by the artist. I remember it as a small boy, and my father also remembers it when he was a child. But I can’t sell it because someone said it didn’t look right. Can you tell if it is by the artist?’ Such a problem needs to be approached on two fronts. Firstly, how strong is the evidence that this work is by the artist and secondly, what is the hypothesis of best fit for this work? The classic authentication process examines a picture and, against a framework of knowns (usually based on securely provenanced works) looks for points of identification between the proffered work and provenanced works. From these points of identification a theory of best fit is developed. For example, a painting with the inscription ‘Arthur Streeton/1896’ is analysed for its pigment content in order to test the proposition that this is a work by Arthur Streeton from 1896. Pigment analysis indicates that titanium white (a pigment not available commercially until 1920) is found in the clouds. So the proposition must be modified: either this is a work by Streeton that has been heavily reworked after 1920, or this is not a work by Streeton, or this is a work by Streeton but the date is wrong. The authentication process will define and redefine each proposition until there is one that best fits the evidence at hand. Fluorescing the date to establish whether it is a recent addition would be part of this process. Examining other whites in the painting to check if the clouds had been added later would be another. Checking the veracity of the provenance would also be critical. We may decide that this is not an 1896 work by Streeton based on the evidence of the pigment. But what if an art historian discovers a small pigment manufacturer in Box Hill whose records show they produced titanium dioxide as a pigment in 1890? The new evidence may affect the conclusion. But more likely we would want to verify such evidence before we altered our conclusion. Between the extremes of Drew’s manufactured identities and the optimism of a third generation is the strengthened work, combining identity shift and hope. Dali pulled a reverse strengthening when he signed 20,000 blank sheets of paper for lithographs that had not yet been executed (Hebborn 79), but more usually it is the inscription not the image that is missing. Of course a signature is good, but signature works may not have, and do not need signatures. A signature may be a picture of a certain place (Heidelberg) at a certain time of day (moonrise); optimism will soon join the dots, producing a David Davies Moonrise. Often an inscription helps; a nondescript clean-shaven Victorian gentleman can become a bearded founding father, an anonymous nag the first winner of the Melbourne Cup. And if the buyer is not convinced, then a signature may win the day. Unlike Drew’s fabricated histories these changes in identity are confined to transformations of the object itself and then, by association, to its context. Art fraud is an endearing topic, partly because it challenges the subjective nature of expertise. When van Meegeren manufactured his most successful ‘Vermeer’ The Supper at Emmaus (1937) he explored the theories of experts, and then set about producing a work that copied not an existing Vermeer, but the critic’s theory of what an as-yet-undiscovered Vermeer would look like. Hannema, van Schendel and finally Bredius subscribed to the theory that Vermeer’s trip to Italy resulted in Caravaggio’s influence on the artist (Dutton 25). Van Meegeren obligingly produced such a work. So does it matter? Is an identical work as good a work? Is a sublime copyist of great artists a great artist? (Not that van Meegeren was either.) Authentication is a process of assessing claims about identity. It involves reputation, ownership, relationships and truth. When an artist executes a copy it is homage to the skill of the master. When Miss Malvina Manton produced a scene of dead poultry in 1874, she was copying the most popular painting in the fledgling collection of the National Gallery of Victoria, Schendel’s The Poultry Vendor (Inglis 63), and joined a league of copyists including Henry Gritten and Nicholas Chevalier who sought permission to copy the Gallery’s paintings. When John O’Loughlin copied works by Clifford Possum Tjapaltjarri and passed them off as original the impact on the artist was less benign (Gotting). Sid Nolan refused to identify problematic paintings attributed to his oeuvre claiming that to acknowledge such paintings would cast doubt on his entire oeuvre. Bob Dickerson assiduously tracks down and ‘outs’ problematic paintings from his oeuvre, claiming that not to do so would leave the thin edge of the wedge firmly embedded for future opportunists. Both are concerned with their identity. Creation is a fraught business, simply because the act of creation is the act of giving an identity. Whether we create a child, a musical score, a painting or a t-shirt brand, the newly created entity is located within a lineage and context that means more than the single individual creation. This is why identity theft is such a major crime. If someone steals an identity they also steal the collateral developed around that identity, the ability to deal in credit, to drive a car, to travel overseas, to purchase a house. Identity is a valuable commodity; for an artist it is their tool of trade. There is no doubt that the public celebrates the fake. Perhaps it is a celebration of the power of the object over the critic or the theoretician. But it is an extraordinarily costly celebration. Despite the earlier assertion that it is possible to make the perfect copy, very few even approximate the vibrancy and intelligence of an original. Most, if accepted, would seriously dilute the strength of the artist’s oeuvre. Forging Aboriginal art is even more disgraceful. In a society where cultural transmission has traditionally been based on complex relationships of dance, song, painting and objects to customary rights, laws and obligations, art fraud impacts on the very fabric of society. There will always be works that slip identities, and many are not pulled back. False works do damage; they dull our perceptions, dilute our ability to understand an artist’s contribution to society, and are usually no more than blunt instruments used for financial gain. References Australian Institute of Criminology. “Art Crime: Protecting Art, Protecting Artists and Protecting Consumers.” 2-3 Decembeer 1999. 1 May 2005 http://www.aic.gov.au/conferences/artcrime/>. Catterall, L. The Great Dali Art Fraud and Other Deceptions. Fort Lee, New Jersey: Barricade, 1992. Dutton, Denis, ed. The Forger’s Art Forgery and the Philosophy of Art. California: U of California P, 1983 Gotting, Peter. “Shame of Aboriginal Art Fakes.” 16 July 2000. 31 May 2005 http://www.museum-security.org/00/112.html#3>. Hebborn, Eric. The Art Forger’s Handbook. London: Cassell, 1997. Inglis, Alison. “What Did the Picture’s Surface Convey? Copies and Copying in the National Gallery of Victoria during the Colonial Period.” The Articulate Surface: Dialogues on Paintings between Conservators, Curators and Art Historians. Ed. Sue-Anne Wallace, with Jacqueline Macnaughtan and Jodi Parvey. Canberra: The Humanities Research Centre, the Australian National University and the National Gallery of Australia, 1996. 55-69. Landesman, Peter. “A 20th-Century Master Scam.” The New York Times Magazine (18 July 1999): 31-63. Sloggett, Robyn. “The Truth of the Matter: Issues and Procedures in the Authentication of Artwork.” Arts, Antiquity and Law 5.3 (September 2000): 295-303. Tallman, Susan. “Report from London Faking It.” Art in America (November 1990): 75-81. Citation reference for this article MLA Style Sloggett, Robyn. "Slipping and Sliding: Blind Optimism, Greed and the Effect of Fakes on Our Cultural Understanding." M/C Journal 8.3 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0507/09-sloggett.php>. APA Style Sloggett, R. (Jul. 2005) "Slipping and Sliding: Blind Optimism, Greed and the Effect of Fakes on Our Cultural Understanding," M/C Journal, 8(3). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0507/09-sloggett.php>.