Journal articles: 'Mass (Music) Music' – Grafiati (2024)

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With its blends of Amerindian, African and European sources, Brazil has one of the richest and most diverse musical cultures in the world. Primitive tribal musics flourish in the Amazon, rural and urban regions practise many folk/traditional forms, and cosmopolitan art music has been produced since before the time of Villa-Lobos. Various musics that can be considered popular reflect both this wide national spectrum and the impact of international mass media pop music. Here, a description of the major tendencies in contemporary urban popular music of Brazil will be followed by bibliographical and discographic indications for further study or research.

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Abstract This article explores the origins of the notion of the polyphonic mass as an epoch-making early embodiment of the principle of musical unity and as the quintessence of the Renaissance “masterwork.” Finding no evidence for this status in the fifteenth and early sixteenth centuries, it uses surviving written materials to inquire how the mass might have been perceived by its original users. Taking this inquiry as its point of departure, the study details how the modern status of the mass evolved gradually in the course of the “rediscovery” of early music from the late eighteenth century to the early twentieth. That status arose in response to prevailing ideologies in Western European thought from the Enlightenment through Hegel, reaching its apogee (influenced by Hegel and Jacob Burckhardt) in the Geschichte der Musik of August Wilhelm Ambros. Ambros was the first music historian to place aesthetic value on music of the generation of Du Fay, and the first to broach the notion of a musical Renaissance. Although he did not actually propose a Renaissance beginning in the fifteenth century, he was construed to have done so by later writers. The subsequent location of the beginnings of a musical “Renaissance” in the early fifteenth century, and the association of the early “cyclic” mass with it, provided the linchpin in the creation of the level of prestige and historical importance enjoyed by the mass in modern music-historical writing.

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This research describes about the growth of popular culture with one relevant example of popular culture product called music but with the specific mainstream called Hip-Hop. This era is also well known with the era of technology and the spread worldwide quickly rather than we thought. Advances in technology now moves so quickly that directly affect the lives of people in the world, for example with new innovations with all the advantages that make it as a product that is consumed and even become a role model gadget by the society such as iPod, Music, Internet, Hollywood Movies, Jeans, BlackBerry, iPhone, Music, Barbie, etc. America is a highest standard for these products then the power of mass media distribute through advertisem*nts, songs, movies, internet, cable tv and deploy these products to the world and then consumed by society who later became part of our daily lives . These products are known as popular culture. One way to find out is the study of popular culture is through music. The music certainly can not be separated from popular culture because it is a culture that has a lot of fans around the world virtually. In this paper the author tried to theme music Hip-Hop as the study of popular cultureproducts.

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The purpose of this article is to describe how public diplomacy is carried out by the Samosir Regency Government through the festival Samosir Music International 2018. The concepts used in this article are the three dimensions of public diplomacy by Joseph Nye; Soft Power; and Sub-Actors national in Public Diplomacy. This research used qualitative research methods. This research found that festival Samosir Music International 2018 had utilizied the role of mass media as a daily communication. In order to create more efficient and targeted communication, the Samosir Regency Government had conducted a series of events and the Indonesian music community as a strategic communication medium. In the end, the relationships between related actors, such as national and international music communities, artists, and media partners were the supporters of the creation of sustainable long-term Relationships. Artikel ini bertujuan mendeskripsikan diplomasi publik yang dilakukan Pemerintah Kabupetan Samosir melalui festival Samosir Music International 2018. Konsep yang digunakan ialah: tiga dimensi publik oleh Joseph Nye (Komunikasi Sehari-hari, Komunikasi Strategis, dan Pembangunan Hubungan Jangka Panjang), Soft Power, dan Aktor Sub-nasional dalam Diplomasi Publik. Artikel ini menggunakan metode kualitatif deskriptif. Artikel ini menemukan bahwa festival Samosir Music International tahun 2018 memanfaatkan peran media massa sebagai media komunikasi sehari-hari. Demi menciptakan komunikasi yang lebih efisien dan terarah, Pemerintah Kabupaten Samosir melakukan rangkaian acara dan para komunitas musik Indonesia sebagai media komunikasi strategis. Pada akhirnya, hubungan yang terjalin atara aktor-aktor terkait, seperti para komunitas musik nasional maupun internasional, artis, dan media partner yang menjadi pendukung terciptanya pembangunan hubungan jangka panjang yang berkesinambungan

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This special issue is the first collection of articles specifically devoted to Middle Eastern popular musics to be published anywhere. When we began work on this issue, we were not operating in a void, however. Popular Music has already published a number of articles on Middle Eastern topics and the ‘great names’ associated with mass distributed musics and films in the earlier part of this century – in particular the Egyptian stars Umm Kulthūm and Muhammed 'Abd al-Wahhāb – have already been the subject of excellent studies published elsewhere. This issue has, however, provided us with an opportunity to reflect on the ways in which Middle Eastern musics have conventionally been studied and represented, and on the contribution that several decades of popular music studies might make to this field. The contributors have responded to these opportunities in a variety of ways and the result, we feel, is a distinctly fresh picture of the Middle East.

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We combine perceptual research and acoustic analysis to probe the messy, pluralistic world of musical semantics, focusing on sound mass music. Composers and scholars describe sound mass with many semantic associations. We designed an experiment to evaluate to what extent these associations are experienced by other listeners. Thirty-eight participants heard 40 excerpts of sound mass music and related contemporary genres and rated them along batteries of semantic scales. Participants also described their rating strategies for some categories. A combination of qualitative stimulus analyses, Cronbach’s alpha tests, and principal component analyses suggest that cross-domain mappings between semantic categories and musical properties are statistically coherent between participants, implying non-arbitrary relations. Some aspects of participants’ descriptions of their rating strategies appear to be reflected in their numerical ratings. We sought quantitative bases for these associations in the acoustic signals. After attempts to correlate semantic ratings with classical audio descriptors failed, we pursued a neuromimetic representation called spectrotemporal modulations (STMs), which explains much more of the variance in semantic ratings. This result suggests that semantic interpretations of music may involve qualities or attributes that are objectively present in the music, since computer simulation can use sound signals to partially reconstruct human semantic ratings.

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Mass-media and new technologies influences bring some paradoxes that make advisable to change concepts of culture, education, information or communication. In a world of sounds these media pay an unfair attention to culture and music. In an educational field, we can express by ourselves and perceive musical language using methods adapted to a multicultural world starting with those-one we already know. La influencia de los medios de comunicación y las nuevas tecnologías producen tal impacto en la sociedad actual que sus aportaciones provocan ciertas paradojas que aconsejan la revisión de conceptos como cultura, educación, información o comunicación. En un mundo de sonidos como el nuestro, estos medios prestan una atención desigual a la cultura y particularmente a la música. Desde las tareas educativas podemos expresarnos y percibir el lenguaje musical adaptando las metodologías de que disponemos a las exigencias de la globalización y multiculturalidad a través de los procedimientos de producción y comunicación que tenemos hoy a nuestro alcance.

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Creating a new edition of the Missa Tempore paschali forces one to confront the extensive parallelisms found in the collected works edition and to consider a set of questions that are comparable to those raised by musica ficta in Gombert’s music: is an aggressive editorial stance justifiable when stylistic norms are exceeded, or might the composer have intended these unusual patterns? Answers emerge from the dense eight-voice Credo and twelve-voice Agnus dei II that both maintain our preconceptions about the style, and challenge them deeply. A new source for the Agnus dei II enriches our understanding of the editorial issues, the connection with Brumel's “Earthquake” mass, and our appreciation of the mass as a whole.

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The article deals with the problem of definitions and boundaries of concepts widely used in modern postindustrial culture, scientific and public discourse: «mass», «popular», «academic», «classical», «elite» music. Mass music has several features that are largely determined by the specifics of the socio-cultural and technical development of society in the post-industrial era. However, the loosely applied term «popular» in relation to this direction of music is inaccurate, since not only the works of mass music become well-known, but also classical, academic. In the conditions of post-industrial culture, works of not only mass, but also academic, elite music are used as entertainment, and as a commodity of «organized consumer culture», receiving, among other things, the status of «popular», which is not identical in essence to the concept of «pop music», which is one of the directions of mass music as a cultural phenomenon of the XX century. The consideration of the essential aspects of the musical directions of mass and elite music leads to the conclusion about the social conditionality of the vector of development and their demand in the conditions of modern culture.

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On 3 August 1029, Adémar de Chabannes inaugurated his newly-composed liturgy for the Feast of Saint Martial that recognized Martial, patron saint of the abbey that bears his name in Limoges, as an apostle. The Mass of the day was celebrated at the cathedral of Saint Stephen in Limoges, with the full support of Odolric, abbot of Saint Martial, and Jordan, the city's bishop. Adémar created a grand musical canvas to form part of the spectacular ceremony that took place that day. Among the original compositions he created for the Mass are several in which the literary text moves far into the background behind elaborate melismatic settings, and, in one case, the offertory of the Mass, the text virtually disappears. With these gestures, Adémar seems to be stepping beyond the verbal text to address the non-Latin speaking populace of Limoges directly in melody, to convince them of the necessity of acknowledging what most of them knew to be untrue: that Martial, their patron saint, was an apostle.

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In the past, the majlis or dıwanıyah a sitting room used for socializing in many Gulf homes, was often a place of music-making. In recent years, however, the ‘ud, duff, and tabl have been supplanted by satellite TV, Wi-Fi Internet connections, and video game consoles. Other long-established music-making contexts in the Gulf have also disappeared, particularly songs associated with maritime occupations that were such an intrinsic part of life in the recent past. Some of these songs were performed as accompaniments to tasks on ships, such as pulling up the anchor or setting the sail, whereas others were songs of supplication, asking God for protection from the perils of the seas (Al-Taee 2005). Traditional music in the region has also suffered from the breakdown of original patronage systems, as wealthy merchants now seek to invest in skyscrapers and artificially created islands rather than support musical ensembles. With the disappearance of these traditional music-making contexts and support networks, mass media has increasingly become the primary mode of experiencing music, both old and new, in the region.

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Rock and pop music in the USSR and eastern Europe has become an area of increasing interest to both the western mass media and cultural studies since glasnost, perestroika, the collapse of the Eastern bloc Communist regimes and the constitution of new western-styled democratic governments. This is largely because rock music has represented probably the most widespread vehicle of youth rebellion, resistance and independence behind the Iron Curtain, both in terms of providing an enhanced political context for the often banned sounds of British and American rock, and in the development of home-grown musics built on western foundations but resonating within their own highly charged political contexts. As the East German critic Peter Wicke has claimed,Because of the intrinsic characteristics of the circ*mstances within which rock music is produced and consumed, this cultural medium became, in the GDR, the most suitable vehicle for forms of cultural and political resistance that could not be controlled by the state. (Wicke 1991, p. 1)

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AbstractIn 1957, soon after his emigration from Hungary, György Ligeti began an internship at the electronic music studio of Westdeutscher Rundfunk (WDR) in Cologne. The three electronic works Ligeti produced there constitute a small portion of his oeuvre, but it is commonly acknowledged that his experiences in the studio were crucial for his stylistic development. This article makes specific analytical connections between the techniques of elektronische Musik that Ligeti encountered at the WDR and his sound-mass techniques in acoustic composition. The discourses in circulation in the electronic studio of the 1950s – especially as articulated by Karlheinz Stockhausen, Karel Goeyvaerts, and Gottfried Michael Koenig – reveal a collective obsession with gaining compositional control over timbre. By internalizing and reusing mainstream elektronische Musik techniques such as additive synthesis, filtering, and Bewegungsfarbe in an acoustic form, Ligeti brought timbre forward as the central compositional problem in the acoustic work Atmosphères.

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The article considers mass music as a socio-artistic phenomenon in the culture of the XX century. The article covers the issues of socio-cultural and technological factors that contributed to the development of music as a mass phenomenon in the XX century. The phenomenon of mass music is interpreted in comparison with the elite, academic direction in music, and the features of the social customer are studied. Evaluation of mass music as an artistic and social phenomenon leads to the conclusion that entertainment, as its main function, has a number of features over the course of the century: from the emphasized relaxation dance in the modern era to the concept of play, outrage, and theatricality in the postmodern era. Analyzes the characteristics of mass music as «product of the era of consumption» in the modern art market, which has a «life cycle», and in the conditions of the competition task creators, it is not the embodiment of values and meanings, and their use for the long-term profi t. The article also explores the aspects of musical and artistic specifi city of the considered direction

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A number of Mahler’s symphonies contain climactic accumulations and releases of musical-expressive energy that overspill conventional boundaries between the aesthetic and the sensational, the spiritual and the physical, high art and the popular. These might be said to define something of the ‘problem’ that his music represented for many of his contemporaries. They are still infrequently confronted in terms of their elaborately staged excess, as if mocking the metaphorical language of harmonically contrived ‘tension and resolution’ by revealing, in spite of conventional mockery of ‘programmaticism’, what such notionally formal or ‘theoretical’ language always implies. Even Lawrence Dreyfus’s recent exploration of the ‘erotic impulse’ in Wagner’s music was to some degree hedged by symptomatic analysis of Wagner’s supposed ‘decadence’, although it valuably opened up the field and offered insight into key features of post-Wagnerian, late-romantic music. Mahler himself, in a famous letter to Gisela Tolnay-Witt, situated these in the specific, socio-cultural characteristics of symphonic music in an era of mass consumption by ever larger numbers of people in ever larger spaces. The history and changing implications of these climactic moments in Mahler’s symphonies will be sketched here with reference to their often explicitly transgressive implications.

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The traditional music and performing arts in the ASEAN have found new powerful conduits of transmission with the advent of the digital age. Although claims of cultural ownership over music and dance occasionally appear on social networks and media platforms, the ubiquity of the Internet has in fact benefitted the general public, allowing them access to images and sounds hitherto unknown. Modernisation has taken its toll on the region’s musical heritage. Ancient elements of indigenous music have faded away. The influx of popular and Western music has increasingly eroded the space and demand for traditional music. Many orchestras in the region feature diverse musical instruments tuned to a common Western tuning system, thus relinquishing their Asian musical roots. The fusion of Asian musical ensembles with Western musical instruments has forced the tuning of gongs, xylophones, metallophones, and singing to the Western diatonic scale, losing their indigenous resonances, sonorities, and timbres. Urbanisation and the migration of the young into urban areas disrupted the discontinuity in generational transmission of music. Village rituals and ceremonies play an important role in preserving ancient religious systems where music, dance, and theatre were essential as part of agricultural life, trance and curing rites, and communal well-being. The onslaught of mass media and the Internet has also accentuated the de-sacralisation of ritual spaces, leaving many musical traditions behind as memories of the past.Keywords: traditional music, urbanisation, de-sacralisation, memories, ASEAN.

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This paper discusses, actualizes and problematizes the representation and treatment of art music in the context of contemporary mass media radio discourse, in its traditional and digital/internet formats. The thesis is that understanding the content of high culture and art music is key to the social and cultural progress of the audience, and that it implies the clear views of the creator of the work of art music, on the one hand, and the experience of the recipient - that is, the audience, on the other hand. In this context, traditional and digital mass media must continue to act as the main transmitters/mediators of musical creation. Through the prism of art music on the radio, the types and ways of the operation of contemporary (meta) mass media are detected, as well as the effect of the reception of elements of mass/media culture on the audience. The critical-analytical-interpretive method interprets the phenomenon of artistic music on the radio and contributes to the research of the impact on the audience with music as the key parameter of mass media discourse.

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AbstractIndie pop, like rock and other independent genres more generally, has had a complicated relationship with mass culture. It both depends upon and simultaneously deconstructs notions of authenticity and truth. Independent genres have invited scholarly analysis and critique that often seek to unmask indie as ‘elite’ or to show the extent to which indie musics are, ironically, defined and shaped by consumer capitalism. Using songwriter Stephin Merritt's music and career as a case study, this essay explores the kinds of authenticities at work in indie pop. Indie pop, I argue, is a genre especially adept at generating ‘personal authenticity’. It is useful to turn to the concept of kitsch, understood here as an aesthetic and not a synonym for ‘bad’. Kitsch functions to cultivate personal attachment in the face of impersonal mass culture; it is this aesthetic, I argue, that indie pop has cultivated through its lo-fi and often nostalgic sound world and through its dissemination, which has relied upon dedicated collectors. The ‘honesty’ of this music does not arise from an illusion of unmediated communication, but instead from the emphasis on the process of mediation, which stresses the materiality of the music and the actual experience of listening.

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Article discusses the domination of Malay pop music through textual analysis of songs, observation of musical programs, and interviews with important figures. The research data were obtained by library research and analyzed through a critical theory approach to gain an understanding of the text and its effects. The article concludes that Malay pop contains a strong uniformity which may be termed a phenomenon in the context of the culture industry, while also being dominant because of its legitimacy created by the media. The nature of Malay pop is also very profitable for those participating in it, therefore the spirit of capitalism was also quite dominant in this context. There is also resistance from the indie music movement, and its attempts to fight regressive qualities of music that are legitimized in the mainstream mass media.

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HOWELL: Violin Sonata in F minor; Rosalind for violin & piano; Piano Sonata in E minor; Humoresque for piano; 5 Studies for piano. Lorraine McAslan (vln), Sophia Rahman (pno). Dutton Epoch CDLX 7144.BACEWICZ: Violin Sonatas Nos. 4–5; Oberek No. 1; Sonata No. 2 for violin solo; Partita; Capriccio; Polish Capriccio. Joanna Kurkowicz (v;n), Gloria Chien (pno). Chandos CHAN 10250.MARIC: Byzantine Concerto1; Cantata: Threshold of Dream2,3,6; Ostinato Super Thema Octoïcha4–6; Cantata: Song of Space7. 1Olga Jovanovic (pno), Belgrade PO c. Oskar Danon, 2Dragoslava Nikolic (sop, alto), 3Jovan Milicevic (narr), 4Ljubica Maric (pno), 5Josip Pikelj (hp), 6Radio-TV Belgrade CO c. Oskar Danon, 7Radio-TV Belgrade Mixed Choir & SO c. Mladen Jagušt. Chandos Historical 10267H.MUSGRAVE: For the Time Being: Advent1; Black Tambourine2–3; John Cook; On the Underground Sets1–3. 1Michael York (narr), 2Walter Hirse (pno), 3Richard Fitz, Rex Benincasa (perc),New York Virtuoso Singers c. Harold Rosenbaum. Bridge 9161.KUI DONG: Earth, Water, Wood, Metal, Fire1; Pangu's Song2; Blue Melody3; Crossing (electronic/computer tape music); Three Voices4. 1Sarah Cahill (pno), 2Tod Brody (fl), Daniel Kennedy (perc), 3San Francisco Contemporary Music Players c. Olly Wilson, 4Hong Wang (Chinese fiddle), Ann Yao (Chinese zither), Chen Tao (bamboo fl). New World 80620-2.FIRSOVA: The Mandelstam Cantatas: Forest Walks, op. 36; Earthly Life, op. 31; Before the Thunderstorm, op. 70. Ekaterina Kichigina (sop), Studio for New Music Moscow c. Igor Dronov. Megadisc MDC 7816.KATS-CHERNIN: Ragtime & Blues. Sarah Nicholls (pno). Nicola Sweeney (vln). Signum SIGCD058.CHAMBERS: A Mass for Mass Trombones. Thomas Hutchinson (trb), Ensemble of 76 trombones c. David Gilbert. Centaur CRC 2263.

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In this chapter I develop the psychological underpinnings of environmental music towards an understanding of how the goals of cognitive and behavioral psychologists contributed to a new kind of listening at the beginning of the twentieth century. I begin with an examination of nineteenth-century concerns about both the physical and psychological effects of music and fraught debate among experimental psychologists of the role of musical expertise in the laboratory. These concerns were, I argue, rooted in the assumption of a direct, corporeal connection between the generation and reception of music, usually bound within a single, individual body. In the twentieth century, new technology liberated the listener from a temporally- and geographically-bound experience of music. The Tone Tests, Re-Creation Recitals, and Mood Change “parties” of Thomas Edison and the psychologist Walter Bingham show that recording technology allowed for a normalization and standardization of listening not previously possible in the music halls and laboratories of the nineteenth century. Rather paradoxically, since it also made music more accessible to the individual listener, recorded music, mobilized by industrial psychologists and record companies alike, created a new sound experience actively designed for the lowest common denominator of mass listening. It also contributed to the cultivation of a new practice of mass listening. The new mass listening practice presents broader questions about the definition of music and its functional role – If the function of music is to be ignored, is it still music?

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This study explores the construction of “authenticity” and related identity-competencies in popular electronic music through an investigation of the music group Ladytron during their formative first decade: 2001-2011. Textual analysis is used to examine the Ladytron narrative; the story that discursively emerges in/between industry and popular articles, music reviews, and band interviews. In developing the Ladytron narrative, the band's identity depends on negotiations between a “roots” concept of electronic music authenticity, performing artistic integrity, and interaction with audiences who participated in the perpetuation and maintenance of this alternative/indie identity. The Ladytron narrative shows how music artists might maintain an identity alternative to mass culture, while creating their own space within it.

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AbstractMusic is used as a medium to teach norms andrules that apply in the society. Music isconsidered as a communication medium, it hasrules, ethical and technical guidelines thatshould be considered by the composer.Unfortunately, copyright law which is stillprevailing in Indonesia gives less attention to thecompetition of the creative industries. Copyrightis one of the intellectual property rights that themost vulnerable to breaches and it is alsobecoming more susceptible in accordance withthe development of information technology.Many cases a number of Indonesian artists doplagiarism controversy. Actually the result ofmusic plagiarism sold well in the Indonesianmarket and many Indonesian musiciansadmitted that they deliberately made such musicbased on business reason. Mass communicationstudies contribute to identifying plagiarism inmusic area, and the advancement of technologyand information makes the public easier todetect plagiarism practice.Keywords: Music, Plagiarism, CopyrightInfringement, Mass Communication AbstrakMusik digunakan sebagai media untukmengajarkan norma-norma dan aturan-aturanyang berlaku di tengah masyarakat. Oleh karenamusik dianggap sebagai media komunikasi yangmemiliki kaidah, etika dan rambu-rambu teknistertentu yang harus diperhatikan dan dipatuhioleh composernya. Namun, undang-undang hakcipta yang berlaku di Indonesia dinilai masihkurang memperhatikan persaingan danpesatnya pertumbuhan industri kreatif dunia.Hak cipta merupakan salah satu obyek hakkekayaan intelektual yang paling rentanterhadap pelanggaran yang semakin canggihdilakukan sejalan kecanggihan perkembanganteknologi komputer. Banyak kasus yangmelanda sejumlah musisi di Indonesia karenakontroversi plagiarisme yang telah dilakukan.Musik-musik hasil plagiarisme itu malah lakukeras di pasaran dan banyak juga musisi yangmengaku sengaja membuat musik yang semiripmungkin karena motif bisnis. Kajian komunikasimassa bekontribusi mengidentifikasi plagiarismeyang terjadi di dunia musik, dan kemajuanteknologi dan informasi semakin memudahkankhalayak mendeteksinya.Kata kunci: Musik, Plagiarisme, PelanggaranHak Cipta, Komunikasi Massa

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AbstractIntroductionElectronic dance music (EDM) festivals represent a unique subset of mass-gathering events with limited guidance through literature or legislation to guide mass-gathering medical care at these events.Hypothesis/ProblemElectronic dance music festivals pose unique challenges with increased patient encounters and heightened patient acuity under-estimated by current validated casualty predication models.MethodsThis was a retrospective review of three separate EDM festivals with analysis of patient encounters and patient transport rates. Data obtained were inserted into the predictive Arbon and Hartman models to determine estimated patient presentation rate and patient transport rates.ResultsThe Arbon model under-predicted the number of patient encounters and the number of patient transports for all three festivals, while the Hartman model under-predicted the number of patient encounters at one festival and over-predicted the number of encounters at the other two festivals. The Hartman model over-predicted patient transport rates for two of the three festivals.ConclusionElectronic dance music festivals often involve distinct challenges and current predictive models are inaccurate for planning these events. The formation of a cohesive incident action plan will assist in addressing these challenges and lead to the collection of more uniform data metrics.FitzGibbonKM, NableJV, AydB, LawnerBJ, ComerAC, LichensteinR, LevyMJ, SeamanKG, BusseyI. Mass-gathering medical care in electronic dance music festivals. Prehosp Disaster Med. 2017;32(5):563–567.

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The way in which Marshall McLuhan’s theories relate to teaching and learning broadly has garnered scholarly attention. It is surprising, though, given his impact on Schafer and others, that there is scant critical commentary on the implications of McLuhan’s theories for either mass music or higher music education. The present study is a step towards redressing this gap. The study concludes that McLuhan’s iconoclastic views have direct bearing on formal learning environments, like music schools, that struggle with notions of inclusivity and exclusivity, community music and concert music, improvisation and textual interpretation, even as they embrace timely and sweeping curricular reform.

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The content of music teacher education study programmes is conditioned by the needs of the market economy and information society, higher education as a mass phenomenon, penetration of humanist ideas into the curricula and many other factors. The aim of these study programmes is to respond to the needs of society, develop the competencies of teacher education and establish the right conditions for successful implementation and to achieve the intended learning outcomes. The training of music teachers in China requires overall improvement in the level of music teacher training. The Ministry of National Education provides the curriculum for music teacher education as well as the guidelines for teaching compulsory courses for music teachers at general institutions and prestigious universities in China. This profession is important in professional courses and in the field of pedagogy; therefore, integrating the content of elective courses into professional courses could be more prolific and comprehensive. Keywords: Music teacher education, study programme, music education.

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ABSTRACTSpain was a latecomer to the cyclic Mass, which began to develop there in the 1490s or late 1480s. A number of different strands in this process – free single movements, mix-and-match Masses, ferial Masses, imports, three-voice Masses, Missae sine nomine and the six cycles of Francisco de Peñalosa – can usefully be separated and laid at least tentatively onto a chronological framework on the basis of manuscript date and composer biography. The surviving evidence seems to show a tradition that arose with particular energy in the decade or so after 1500 and reached maturity within a single generation.

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